Everyone knows the song “Waterloo” from the pop band ABBA. It’s a fascinating song and it’s fun to listen to melodious music. Most people would also have enjoyed the songs of Mama Mia, a musical based on ABBA’s music. However, few remember that Sweden’s leading ABBA won the Eurovision Song Contest in 1974, directed by Waterloo.
The Eurovision Song Contest was first held on May 24, 1956, with the participation of seven countries. This is the brainchild of Marcel Bezençon, chairman of the European Broadcasting Union (EBU).
The contest was an attempt to bring together national broadcasters across Europe to promote a lasting wave of peace between nations born of the devastating war in Europe of World War II.
The show was based on the Sanremo Music Festival in Italy, which began in 1951, but with some changes and novelties due to the international nature of the Eurovision Song Contest. The televised program was also used to test the limits of live television broadcasting technology.
Australia has been participating since 2015. Australia is a non-EBU member, but was invited to reward its commitment to broadcast the event for over 30 years. Its participation rights are reserved until at least 2023.
This short advance into the history of the show brings us to this year’s competition, where Ukraine’s leading Kalush Orchestra won their song “Stefania”. Song compliments to their mother. This song got a very high score of 65.73 points. After the jury trial, Britain’s leading Sam Ryder song “Spaceman” took the lead in the jury trial, but the general vote was far behind the Ukrainian performers.
However, the contest is far from the previous edition. Sure, it’s still testing the limits of cross-border live broadcasts, but the strobe light that blindly illuminates the stage with its frolicking flash makes it difficult for everyone to enjoy pop music.
Today, singers are usually accompanied by male and female dancers, spinning half-naked on stage and pretending to be enjoying their dance routine around the lead singer. Singers, especially those representing Western European countries, appear to be half-naked on stage, wearing provocative costumes and increasing their chances of winning naked.
The songs are not always arrogant, and the performances are often ominous, using sneaky and sneaky words. It’s a mystery why producers think of the stylish divergence-like performance of the best pop music offered in the lucrative music market.
In Australia, Eurovision is broadcast by Special Broadcasting Service (SBS). The SBS hosts for this year’s event were Joel Creasey and Myf Warhurst (as they did last year). Their contribution was in line with the decadence depicted on the stage. By using stilt language and making nonsensical comments, their hosting was vulgar.
In the first semi-final aired on May 13th in a replay, Creecy wore shorts in a neckless chemise. He seemed to come from a soccer match where a brutal and capable opponent decisively beat the team. Warhurst was also not dressed so well for the occasion. In between the performances, they interviewed singers and dancers, and the conversation was surprisingly dry and meaningless. In the second semi-final, Creasey wore a little coat and tie, but the interview remained disastrously ridiculous.
This year Australia was represented by Sheldon Riley, who played the final, but his ballad “not the same” couldn’t impress voters. He appeared on stage with a crystal mask and wore white clothes that didn’t fit his body.
Eurovision should be a non-political music event. But before and during the contest, there was an enthusiastic expectation that Ukraine would win.
Some wonder if the highly acclaimed song benefited from unjustified benefits or was based on the unique nature of the song because of the country’s fierce resistance to Putin’s invasion.
In fact, before the final, Ukrainian President Volodymyr Zelensky said in a video message that he hopes the Karsh Orchestra will win. “Vote for Kalush Orchestra, Europe. Cheer for your fellow compatriots! Cheer for Ukraine!” He said.
The contest has come a long way since the first edition, when Swiss singer Lys Assia won her song “Refrain” in 1956. In that contest, only seven countries participated in the first event in Lugano, Switzerland, so two songs were allowed in all countries.
But now, in its 66th year, the competition in Turin, Italy, accurately reflects the decadence that was prevalent in the West and eroded civilization, which has made a significant contribution to stability and prosperity since World War II. doing. Indeed, based on this year’s performance, it is fair to argue that the Eurovision Song Contest is rarely seen as a civilized influence celebrating the modern world of pop music.
But a huge number of people are still watching the show, waiting in vain for the contest to play its promised role in serving the industry that promotes pop music excellence.
The views expressed in this article are those of the author and do not necessarily reflect the views of The Epoch Times.