victory for Ukraine, full love, sidereal emptiness-Liberation

War between Ukraine and Russiacase

The Ukrainian group Kalush Orchestra won the final competition in Turin on Saturday night, a symbolic victory at the end of a long night full of musical aggregates of all genres.

Everyone hopes that Ukraine can win Eurovision, Ukraine should win Eurovision, Ukraine should win Eurovision. At the end of an unbearable suspense like a light footbath the verdict fell, Saturday night to Sunday, shortly after 1 a.m.: while the country at war was only in fourth position in the ranking with 192 points according to the vote of the jurors, behind the United Kingdom, Sweden and Spain, the public vote took him far, far ahead of the competition. At the conclusion of this 66th edition of the competition, flowing decibels and glitter from the Pala Olimpico in Turin, the Ukrainians of the Kalush Orchestra and their song. Stefania so put everyone in the post with their unbeatable total of 631 points – ahead of Briton Sam Ryder and his man in space (466 points) and the Spanish Chanel with Slo-Mo (459 points).

“Our courage has impressed the world, our music has conquered Europe”, reacted to Ukrainian President Volodymyr Zelensky on Facebook. Russia was not included in the competition a day after its attack at the end of February.

Surely there will be some who will mourn that politics mixed with art that night, and it is true that some performances are more worthy of art than this strange combo formed with the theme “Ukraine, between tradition and modernity” around in a faux-Eminem in a pink angora wool bob surrounded by a typical singer playing a typical flute (the tylynka, a flute without holes) and some fun acolytes like these two creatures covered in dreadlocks from fur or this breakdancer are obviously perfectly printed but in reality it’s just a combination.

“Political” vote, maybe, but oh! that we are grateful to the Kalush Orchestra for giving us what we expected from a Eurovision performance, namely: an aggregate of anything in Kamoulox way, three minutes to eat on fifteen racks, jump in all directions and a rotating double bass. Kay oh! that we were tired this long night of being able to endure only the excessive consumption of crisps and the bad spirit of our neighbors on the sofa.

Micro Fringe and Heart with Fingers

However, it all started with a bang, intro to the street with singing spectators wearing bluetooth headphones, neon dance, Laura Pausini’s unique medley changing the cape of each bag -the piece, shocking ending, Laura shouts into a fringe microphone (a fringe microphone!), surrounded by dancers in virtual reality goggles and red latex gloves, arm choreos, jubilation. The possibility is also that, perhaps, at some point, war is obligatory, there will be a micro-accident, a violation of the sacred rule of Eurovision “cultural competition” and non-political, a violation that can be punished … all this may promise, perhaps, a form of spice.

But our search for double meanings or any metaphors in real life is in vain. Except for the main stakeholder who dared “Please help Mariupol, help Azovstal”, we found three very small blue and yellow stickers of Icelandic neo-hippies-too-chic guitars from Systur. On the other hand, repeated calls for love: we must love each other, love is stronger, heart with fingers, flag-heart. Total love, sidereal emptiness. Just a wake-up call to the health crisis, with a Serbian compulsively washing his hands in a basin, and perhaps, pulling his hair out, sparking the heat of the decorating world: here’s a David by Michel -Angel in 3D fused, a scene. melting, there are seats that melt more …

Fire bowls and lids with pompoms

And Belgians listen like Australians listen like Swedes listen like Azerbaijanis listen like Germans, which are disposable sponges to globalized pop, a little soul, a little r & b, a little intense, vaguely realistic, innocent English, soul zero. In this sea neither too hot nor too cold, we applaud the efforts of the Ukrainians who provided last year’s competition with a few minutes of fluty madness. Thanks also to Brittany for her fire basins and her incandescent triskel, her extra eyeliner and her flash of tecktonics in the dark (darkness in the ranks too, alas, since Alvan and Ahez finished in the penultimate place, left in France once again under the table).

Many thanks to everyone who continues to keep the sequin industry alive, those who keep the bull-fighting spirit alive, even if they are Romanian. Thanks to Chanel, the Spanish singer who forgot to wear pants and who, accompanied by young men and women molded and anointed with the oil of angels, gave her vision of love to a choreography that mixes excess, threat of fertility, promise of seizure, a slap offered for a caress bought. And a hundred times thanks to Moldova for fulfilling the contract of a successful Eurovision by challenging the Ramones ’sexuality and an accordion to give birth to a cap with pompoms. The public made no mistake, Zdob şi Zdub & Advahov Brothers and their beautiful musical disgust were given the best return in the competition (from 14 to 253 points, from 20th to 7th place). Eurovision is never as good when it is a parallel world.

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