The Null Device

Some takeaways from Eurovision 2012:

• Azerbaijan's Eurovision budget seems to have run out some time after the building of the stadium; hence the reused footage in the interstitial tourism ads they show between songs. But, as they are proud to inform us, they have electric light. And tea. And horses and horsemen. And, judging from the clips, Baku looks like quite a livable metropolis, as long as you're heterosexual and not inclined to take an unwelcome interest in the way you are governed. They're very proud of those flame towers, it would seem.
• This time, the UK seemed to have taken it seriously; rather than sending a few talent-show contestants to demonstrate what a joke they think the whole thing is, they sent veteran crooner Engelbert Humperdinck. As was pointed out, Humperdinck was older not only than most if not all of the other contestants, but than 22 of the countries competing as well. His song was actually not bad, and he performed well. He came second-last; some said it had to do with Britain drawing the shortest straw and getting the first slot, and consequently being forgotten by the audiences, though it could just as well be residual antipathy to Britain in Eurovision.
• Last place went to Norway, who had a fairly average club-pop number sung by a buff young man of Iranian heritage. Its main value was probably in annoying the Iranian theocracy, which is Azerbaijan's southern neighbour and has issued statements condemning Azerbaijan for hosting a “gay parade”. Of course, the odds of there being an actual gay parade in Azerbaijan are next to non-existent, though compared with its neighbour, it may well be edgily cosmopolitan.
• Norway's humiliation is compounded by the fact that the crown was taken by its neighbour and rival, Sweden. The Swedes entered a slick piece of dance-pop which had already topped the charts in half a dozen countries, though, which strikes me as a bit dodgy, at least in spirit, suggesting that, just as the Olympics has become a marketing exercise backed with SWAT teams and missile batteries, Eurovision is well on its way from being an endearingly amateurish exercise in peaceful cultural exchange to being a trade fair for the commercial pop music industries.
• If not the Swedes, who should have won? Well, Albania's entry (fronted by a female “experimental jazz singer” with a powerful voice) was good. Malta's entry deserved to end up somewhere higher than the arse-end of the rankings where it landed. And the Former Yugoslav Republic of Macedonia's entry combined melodramatic balladeering with chunky metal guitar riffs in the finest eastern-European Eurovision-contestant tradition.
• Ireland once again entered Jedward, who can be best described as if 1980s boy band Bros were played by toy trolls. This time, they were dressed in silver space/robot suits, which (perhaps in an appropriately regional touch) looked like something from one of those low-budget Turkish knock-offs of Star Wars or Star Trek. Though this didn't change the fact that both their song and performance were mediocre.

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A man in Azerbaijan was recently interrogated by the National Security Ministry for having voted for the Armenians in the Eurovision Song Contest:

"They wanted an explanation for why I voted for Armenia. They said it was a matter of national security,” Nasirli said. “They were trying to put psychological pressure on me, saying things like, 'You have no sense of ethnic pride. How come you voted for Armenia?' They made me write out an explanation, and then they let me go."

This is not the first time that politics have clashed with Eurovision voting; some years ago, Lebanon withdrew from the contest because, to participate, they would have had to allow their citizens to vote for any contestants, including the Israeli ones.

(via xrrf) ¶ armenia authoritarianism azerbaijan eurovision 0 Share