Turin 22: musical contest and costume party

The festival of Eurovision 2022held in Turin, sought itself out in the visual feminization of the male (with no correlate in the masculinization of women) and a well-synchronized orgy of special effects, electronic music, untimely ballads and costumes stolen from dystopian films.

The event was not a thing for artists but for light and sound engineers. Nor was it distorted because carnival and solidarity with Ukraine neglected the content of a musical competition. At least in terms of monitoring, which interested more than 200 million viewers in Europe.

Spain also signed up for the rebirth of a festival that had deflated. We were compensated for the third place of “SloMo” (the song defended by chanell and its atomic fishnet dancers on their shaved atomic breasts), the highest of the last 27 editions. Well, the people of Madrid thanked him yesterday afternoon, when Chanel made the unexpected appearance of her isidril of her in the Plaza Mayor.

The festival found itself in the feminization of the macho and a special effects visual orgy dressed in dystopian movie costumes.

What was I going to. With an unprecedented audience record in our country (peaks of 60% during the voting), the night-early morning from Sunday to Monday offered us the minute and result of the post-pandemic Europe willing to do anything in order not to get bored.

It reminded me of Javier Cid’s character (“You will call on a Sunday afternoon”) who unloads thousands of sheets of Kafka’s “Metamorphosis”as a celebratory confetti, on a massive gathering of Catholics around the Pope of Rome.

The Eurovision thing was something like that, like the mischief of some cross-border genius between carnival and what amounts to a televised music festival. A provocative aesthetic (I refuse to describe it as futuristic) that unsettles those of us who knew the lame Manteca, got drunk with the socialist sweep of ’82 and discovered Marisol in all her splendor when she appeared on the cover of Interviú.

I can’t get an athlete out of my head in a feminine peplum stiletto on top and gray morning suit pants underneath

You understand the distances that separate us from absurd aesthetics that seem conceived by an undiagnosed genius after a night of substances that are not sold in legal pharmacyas the Social Security said.

I can’t get out of my mind an athlete with a feminine pebbled negligee on top and gray morning suit pants underneath, a King Africa with the air of a miner without a wheelbarrow, the firm equestrian haunches of our Chanel, the virility of a dancer with charms odalisque “Arabian Nights” or the silver hardware on some performer’s ears.

This is the futuristic aesthetic that some talk about to define these stagings where what is seen distracts you from what is heard in a supposedly musical event?

Making the Ukrainian song the winner, out of solidarity, was not the best way to send a message of support to the country outraged by Putin

A separate chapter deserves the subordination of the musical merits to the message of support for the Ukraine outraged by Putin. It was not the way to do it as thousands of Europeans did by voting for the Kalush orchestra from the sofa at home. Out of sentimentality, not because “Stefania” seemed to them the best of the contest.

Solidarity raised his song to make it a winner. And that was, in my opinion, a misappropriation of the just and necessary solidarity with the Ukrainian people which, on the other hand, is already taking place at a European and Spanish level, without this meaning suddenly discovering that in Ukraine the better music, better football is played, or the best books are written.

Someone has said that banning Dostoevsky would not be the best retaliation against Putin. TRUE. Nor would it be acceptable to award the next Nobel Prize for literature to a Ukrainian writer, just out of solidarity with the suffering of a people gripped by the Russian military machine.

The festival of Eurovision 2022held in Turin, sought itself out in the visual feminization of the male (with no correlate in the masculinization of women) and a well-synchronized orgy of special effects, electronic music, untimely ballads and costumes stolen from dystopian films.

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Turin 22: musical contest and costume party