The article reports on the announcement of a Christian and democratic festival by Carlo Conti, who aims to create an event that reflects equality and inclusivity reminiscent of the 1950s. This initiative is positioned as an effort to embrace a national identity that is both cultural and celebratory; however, it juxtaposes the ideal of unity with the reality of selective invitations to notable artists, raising questions about who is recognized and included.

Conti's vision for the festival is portrayed as noble, aspiring to integrate a wider range of participants while purposely avoiding certain personalities such as the Jalisse, who seem to represent the forgotten artists of Italy's music scene. The article critiques the oversight of inviting prominent figures like Al Bano Carrisi, who has significant historical ties to the festival's legacy, and Katia Ricciarelli, emphasizing the disconnect between the festival's goals and its execution.

As the narrative unfolds, the tone conveys a sense of nostalgia and irony, reflecting on how the festival could celebrate Italy's cultural heritage while simultaneously alienating veteran artists through the lack of invitations. This dichotomy presents an ongoing discourse on how inclusive celebrations can overlook essential contributions from the past, questioning the criterions for participation and the message it sends to the public.