TransEuropa

Watching this year’s Eurovision Song Contest, I couldn’t help but wonder, how much sex is before our eyes in each and every act. Somehow, anyone judging the quality of the melody or the perfection of the choreography will not separate the sexual connotation that emanates act after act.
Historically a contest of long dresses, boring hairdos and mixed rhythms, cheeky became sexy which in turn became explicit.
I will explain with some of this year’s entries…

Take Spain, for example. The four-piece boy band D’Nash, minced around the stage, jumping up and down, slowly releasing their shirts to unravel some toned flesh. Erotic, visual and easy. Their deep look into the camera was the icing on the cake. Hand me a cigarette…

After Dana International’s victory in 1998, the contest has become somewhat a polysexual rendezvous, where grannies, daddies and trannies take to the stage and fly the flag of their country. Unfortunately, every year there are at least 3 countries taking their chances by repeating what others have done. Three costume change, wigs, fans, fireworks, you name it. I am glad no one has remembered to bring animals on stage.
This year was rich in cross-dressing acts, like Ukraine and Denmark. Sweden brought us the hybrid category: cross-dressing executive a la Eddie Izzard. It’s Transeurope before our eyes, indeed…

And finally you have the beauty of the female form. Just like in a beauty pageant, you see small skirts, tights, sun-kissed glow… and then you have Serbia’s Marija Serifovic. This year’s winning entry, with a well-paced ballad, was not what you would call a “beautiful woman”, but it conquered votes across Europe.

So, how much of the voting is political, and how much is based on sexual attraction to the performers? How much is actually based on musical quality, and how much is random?
One thing is certain, the delight on the eye has outlawed the harmony of the sound… If not, judge for yourself!

The winner, Serbia's Marija Serifovic