I am a regular viewer of the Eurovision song contest and have watched if for a few decades. I am not a fan, being too old to enjoy the popular music, but I enjoy seeing what is popular and enjoy the blatant nationalism that is on show – it is far better to see this fought out with dancers and rigged votes rather than soldiers and bombs.
This year was rather different. I was worried that the acts could have been created by AI algorithms. The majority seemed to be long-legged pretty girls, posing, without much clothing, in front of equally revealing backing dancers doing their sexually suggestive routines. The lyrics of “na na na” or “rim tim tagi dim” being equally banal and singable in all languages. This was all standard fare.
The intrusion of genderism was well on show. Anything queer or non-cis-het was going to do well, even a talentless, screeching, queer witch doing horror film impressions did quite well. It is no surprise, however, that Switzerland won the jury vote by a huge margin. It had it all – a catchy chorus (“Ooh ooh I ooh”), a gamine boy dressed in girls’ clothes, an adult with childrens’ pompom accessories and a pointer in the lyrics to non-Binary happiness. Perhaps this was also ChatGPT’s answer to what is a winning entry.
Whatever program the UK had used had a serious bug. Although it got the lyrics, gay boy singer and backing dancers all correct, indeed the song was pretty catchy, setting the whole thing as a raunchy sex scene in a lavatory was a serious error (perhaps they reused some of pornhub’s code by mistake). It cost them dearly as, although the juries thought they had followed the instructions well, the popular vote was mostly struck by the bad taste and vulgarity and awarded them no votes whatsoever.
I may have thought the biggest revelation was going to come from Ireland’s Bambi Thug entry. Indeed this did look like a cast member from the Book of Revelations. I was wrong. The biggest surprise was the Israeli vote. It’s no surprise that the national juries tended to give it low scores. Anti-Israeli sentiment at the event was high. Their singer was under round the block guard for her safety, had to sing against a barrage of booing and knew that there were ongoing Pro-Palestinian demonstrations outside the hall. The juries kept faith with this sentiment, but the popular vote did not.
Although none of the national juries had given high marks to Israel it received the second highest popular vote, with 15 countries giving it the highest score possible. The song was not so bad that it warranted the extremely low national jury votes, this was clearly political point scoring against Israel. This gives rise to the second revelation; the public knows this bias is ongoing and does not share the ruling class’s animus against Israel. There are not enough jews in Europe to push the voting in this manner and the Israeli song was not so spectacularly good that it blew all the competition out of the water. What happened here was that the European public saw what was being done to Israel and wanted a corrective voice to be heard. The populations of Western European nations, in the phone-in polls, voted Israel the most possible votes. I think the silent majority, fed up with the biased reporting of this war, found a chance to have their say, for once, and shouted out their support for Israel.
Through this chink we were able to see that the media’s reportage, suggestive of widespread support for Hamas’s attack on Israel, may be inaccurate and that many people want to see Israel defend itself and defeat this terrorist group.