Eurovision – the Showpiece of Decadent and Profane Entertainment
A cursory watching of the Eurovision Song Contest has brought to light the fact that this contemporary “entertainment” event is nothing more than a display of talentless performances promoting political agenda, sexualisation by the wearing of revealing clothing or heavy makeup, and of course, how can we forget, pushing the LGBTIQA+ ideology down our throats all in the name of so-called “entertainment”.
Research tells us that the Eurovision Song Contest began way back in 1956 as a technical experiment in television broadcasting to an international audience. It was hosted in the Swiss-Italian lakeside city of Lugano, and seven nations took part: the Netherlands, Switzerland, Belgium, Germany, France, Luxembourg, and Italy.
Today, contestants come from across the world, with 37 different countries taking part this year; reduced to 26 for the final, including Australia.
Wholesome Beginnings
Many watched with eager enthusiasm in those early years when it was a popular, albeit uneventful, with anodyne songs and down-to-earth contestants, all dressed in evening wear and shiny shoes.
Who can forget ABBA? No other Eurovision winner has come close to matching the success of ABBA, who, since winning the contest in 1974, have sold 385 million records and become one of the most successful bands of all time.
Overall, the word “virtuous” comes to mind, and, until recently, that’s been pretty much what Eurovision was all about. A jolly and undemanding evening, showcasing European solidarity. Genuine non-biased entertainment.
Sex and Spiritism
Fast-forward to 2024, and a rather different picture emerges, with the majority of competitors seeming scantily clad and rather “raunchy” – admiringly described by the BBC as “magical and moving and weird”. There’s the usual menu of meaningless love songs, but we are now subjected to performances that go way beyond.
The UK entry, unbelievably set in a “post-apocalyptic boxing gym, aboard a spaceship hurtling towards earth”, has a support group of exclusively male dancers, who energetically gyrate around singer Olly Alexander, making the performance a highly sexualised celebration and promotion of gay love.
Then we had Ireland’s ideologically driven entry. Performed by a non-binary singer with the unlikely name of Bambie Thug – described in the publicity as a ‘goth gremlin goblin witch’ – it features what’s been labelled a candlelit séance.
Till ordered to remove them, Bambie also had the words ‘Ceasefire’ and ‘Free Palestine’ written across face and body in Ogham, an ancient Irish alphabet. One may conclude, given the occult tone of the whole, that Bambie Thug was attempting to cast a spell.
Israel vs Ireland
Politicised
The event this year was a far cry from Eurovision’s original vision of an apolitical and wholesome songfest that would transcend political differences and draw the nations together. And the whole sorry affair has, without question, been made infinitely worse this year by the protests of pro-Palestinian supporters, demanding Israel be removed because of the continuing conflict in Gaza.
Nevermind the fact this was a murderous conflict started by Hamas – which could be ended overnight, if the terrorist group would only return the hostages and agree to cease hostilities; pro-Palestinian demonstrators have been unremitting in their call for Israel to be barred.
The sad truth is that the Eurovision event is now a showpiece and mouthpiece of our fractured, decadent, and increasingly pagan society, all cloaked in glitz, glamour, and sequins. It is now just a vehicle for interest groups to pound home their political message, whether that be sexual libertarianism, good old-fashioned anarchy, or the promotion of political socialism.
Mums and Dads have had enough of the misplaced attempts to rebrand world culture and score political and ideological points in the guise of entertainment, and instead hoping to find traditional entertainment with music and having a good time.
Many households will if not already, withdraw their viewing support for Eurovision. God willing, Eurovision is heading to obscurity. Dum spiro spero.
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Image courtesy of Wikimedia Commons: Eurovision 2014.
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Totally disgusted with the contest, but I remember ‘Puppet on a String’. Evil sums it up for me.
I concur with your observations, Greg. As a Eurovision enthusiast, I still perceive a ray of hope shining through the darkness. One might suggest that the Australian “jury” — our “musical elite” — could be disconnected from the juries of other nations and the Australian public who rose early to cast their televote. Notably, the Australian jury was the sole jury among participating countries to award Ireland’s “entry” the maximum score of 12 points — in contrast to its 6th place in the overall jury vote across all countries, as per Wikipedia. Although Ireland did receive some backing from the Australian televote, it was Israel’s poignant song that secured the top spot with 12 points from the Australian public televote, ultimately ranking 5th overall due to the second highest combined televote from all participating countries, in stark contrast to receiving zero points from the Australian jury.
Depraved RUBBISH! A sign of the evil times we live in.
Yes a lot of it is but you cannot just “write it off” as a whole.