“They are all looking at this. They make faces, gestures … well, now we are going to listen to everything. This will generate a lot of comment, Luis. In full electoral campaign,” he observed Esteban Trebucqin full television pass with Luis Majul de la Nación +, referring to the libertarian show at the Movistar Arena. Monday afternoon, Javier Milei I present his latest book “The construction of the miracle” before a stadium full of militants of freedom progresses.
In the midst of live recording, Majul said: “All this, if the economy walked well, and if there were no problems that the government had with the $ Libra case, with spagnuolo and with sour could be decoded otherwise. In this context …”. “You can lose a choice,” Trebucq finished. The two drivers pointed, with some concern, without losing sight of the screen where the match was transmitted.
The images of the libertarian leader performing iconic national rock songs with his group “The Presidential Band”, monopolized the attention of national and international media. Many analysts said that it was a libertarian proselytizing event made up, to prosecute the communicational strategy and take a new electoral envión aiming to improve survey numbers after the scandalous resignation of José Luis Espert.
From before the formal act it was already perceived that it was not a conventional literary launch. The president broadcast the sound test live through his social networks: he showed musicians, technicians and instruments aligned under the scenic structure, while greeted mocking: “Prepare for a show of the Putsima Mother”With that gesture he sought to tighten the public’s expectation, suggest that the event would be more than a speech, anticipate a format where the political and the performative would converge.
An open corridor between stalls, screens with explosions and buildings collapsing, everything worked as a prologue of a theatrical irruption: from the bottom of the stadium Milei appeared, walking among the people, until you take the stage after a few minutes and hug her sister Karina. Accompanied by his “presidential band” interpreted immediately Demoling Charly García hotelspercuting the idea of symbolic demolition against the “caste” that repeats in his speech.
The repertoire traveled Argentine rock classics and some personal adaptations of popular songs, such as Give me Sandro’s fire or free of Nino Bravo, With a visual setting loaded with ideological propaganda: images of the Berlin wall, attacks, barbed wires and deaths projected in synchrony with interpretation. The band, composed of some musicians and several LLA leaders, replied with energy while Milei alternated song, harangues and direct political references.
Milei pronounced a solemn passage over Israel, which he defined as “the Bastion of the West”, and demanded defense against what he considered ideological attacks of the left to the Judeo -Christian world. He then sang Hava Naguila along with Lilia Lemoine. After recess, to the Returning to the stage in a more limited act: it was wrapped in an Argentine flag, recited the national anthem and was interviewed by its spokesman Manuel Adorni as an institutional auction of the event.
The public, estimated between 14,000 and 15,000 people, was largely composed of related militants, groups such as the forces of heaven and followers who lived the event with almost liturgical fervor. Outside the stadium there were security operations to contain opposition manifestations and symbolic resistances – cars in nearby streets said: “Milei: the only miracle is to reach the end of the month.”
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