Rosalía, a saint in 'The Revolt'

This time Rosalía has prioritized The revolt and not The anthill. A clear statement of principles. Whether they like it or not, the two rival programs have ended up becoming symbolic options. Pablo Motos has favored such a pronounced ideological leaning to the right, and beyond, that Broncano has become, by contrast, the cool left. The revoltA failed and overrated program, based on the laziness and supposed sympathy of alpha males, sells an appearance of naturalness, humility and transparency to the point that the stage has ended up looking like an improvised cleaning point. The anthill It is the relentless and competitive machine, operating with the gears of the military. It represents glamour and "Nothing more can be saidRosalía could choose. Her enormous power, with a P of patronessIt frees her from any servitude. With her, media blackmail to guarantee promotion loses all meaning. It was where she was excited, on the TV program she watches and where she sees people she likes.

A The revolt They had never gone to such lengths to introduce a guest. Alexia Putellas, Pedro Almodóvar, Carmen Machi, one of the Javis, Estopa, and Manuela Carmena, among others, participated for three minutes in a short comedy sketch as opening acts. With T for titanicAnd despite the entourage of VIPs as a welcoming committee, there, on Monday night, we didn't see a star, but the girl from Sant Esteve Sesrovires.

Rosalía arrived dragging a suitcase, like the girl next door. She introduced herself with a cake she'd baked, spent a good while handing out pieces to the audience, sent greetings to her grandmother, took off her shoes, arm-wrestled with Broncano, and put on a huge, cheaply printed t-shirt that someone had given her. There was no glamour whatsoever. In the middle of her musical performance of Lux,Linked to the highest spirituality, Rosalía was more down-to-earth than ever. Spartan like a saint, not with the airs of a goddess. It's impossible to imagine Taylor Swift, Lady Gaga, or Madonna in that context. She avoided answering questions about her bank balance and proclaimed her celibacy. With a capital C. coquetteIt's difficult to perceive her as one of the great international music stars because it's so easy to place her on our immediate map. But with Rosalía, nothing is accidental. Rosalía chooses the antagonistic approach to solidify her media strategy of personal demystification. The act of rejecting the diva role is already a profession of faith in herself. In her mystical discourse, her stripping away of religious affiliation, there appears this staging of simplicity: cooking, taking off her shoes, distributing food. A humble, domestic, casual narrative. Despite the aura she carries in her bleached hair, Rosalía needs to reclaim her humanity.