“This must be read as institutional violence”, analysis of Milei’s criticism of Lali Espósito

2024-02-16 04:05:00

“All the artists who were there, let’s say, for example, Lali depósito,†says the President of the Nation in an interview with La Nación +In front, Esteban Trebucq, Pablo Rossi and Luis Majul in suits and ties look at him attentively. “How?†Trebucq asks, “Lali deposito,†Milei answers. The three are silent, paying attention. Do they prick it? Do you investigate a little more? Do you mark the insult he just said? “Deposit?†Trebubcq insists, “ahh deposit,†he remarks, “didn’t you like what he said?†he emphasizes, “he charged the State fee,†Milei responds.

The President of the Nation chose his words, he changed her last name to Lali Espósito. He did it in an ironic way, to build a stigmatizing image? Of the singer. He accused her of collecting “from several governments” and he even assured that these expenses were financed with “the VAT that takes food from the poor kids of Chaco.â€

In an interview on Radio La Red Milei insisted. I speak directly to her: “Who started this? Did I start? She started. If you like peaches, ignore the fluff. Do you want to act handsome? Let me answer you”.

Milei did not choose to face Lali Esposito at random. She is a woman, young, renowned pop artist and critic of the government.: on social networks he had already expressed his concern regarding Milei’s possible victory in the PASO. “How dangerous. How sad,’ he posted on her exTwitter account. And at Cosquín Rock, last weekend, on stage Lali decided to respond to the criticism she received on social networks. She changed the lyrics of her song Who Are They? and she added: “that I smoke, that I drink, that I live off the State†.

But, What is behind these insults? “There are several layers of analysis†, starts Pablo Alabarces Master in Sociology of Culture and Cultural Analysis“first you have to read this as institutional violence. It is not a candidate who speaks, it is not a showman, it is not a panelist, it is not Yanina Latorre, it is the President of the Nation.

“What happens,†continues Alabarces, “those who can’t stand criticism. She has a brutal intolerance. Because for him, whoever criticizes him is wrong, he is evil, he acts for interests, he is corrupt, or he sold his soul to the devilâ€.

The messages of support for Lali Espósito from It didn’t take long for artists and well-known personalities to arrive.. The following expressed themselves on social networks: Ricardo Mollo, MartÃn Lousteau, Pablo Moyano, Daniel Grinbank, Guillermo Moreno, Jorge Rial, Abel Pintos, the Actrices Argentinas collective, Pablo Moyano and to the ex-ally representative of the national government Carolina PÃparo, among others.

“Hay además,†continues Alabarces, “the claim that artists live on air. And in reality what they do is sell a commodity that is their artistic production in the best possible conditions†and they ask themselves, “Why does Lali charge such a high fee?†and answers: “as Milei would like to say, because the market rules say so. It is a valuable commodity”.

“Who pays you for that cash?†Alabarces also asks, “in Córdoba a private company paid for it, but in La Rioja the State paid for it. Is that wrong? “Artistic work must be paid work.” And Alabarces reinforces his idea: “Milei does the math wrongâ€. And he explains: “the State stops charging a tax to the businessman who makes the Cosquín Rock, and in exchange he receives much more money from the spending produced by the public at the event: more consumption, more attendance. tourism, more occupancy of hotel beds. In short, an account that It is convenient for the State of the province.

But, there is one more layer of analysis What the sociologist and professor at the UBA adds: public policies. Why should the State invest in culture? Alabarces does not mince words: “it is the obligation of the State to contribute to the public well-being of a society. A non-democratic state is limited to protecting borders and simply establishing security, preventing people from killing each other. But, a democratic State has the mission of promoting social well-being. And that means tending to reduce inequalities and differences.” That’s where public policies come into this explanation: What specificity do those intended for culture have? Alabarces rounds off the idea: “they have the same meaning: distribute cultural goods in a more democratic way. Cultural enjoyment, according to the United Nations, is a human right. So, as a State you have to guarantee that all inhabitants have the possibility of accessing cultural goods. How is it done? It is done by paying orchestras, paying for libraries, financing museums, financing recitals.â€


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