The results from the most important world vote held this November are now finally in: on Sunday the 24th last month, 66.4% of citizens in the Swiss city of Basel voted in a referendum to support taxpayer money being used to stage the Eurovision Song Contest 2025 there.
The primary concern of most of those 33.6% who voted against Eurovision in the ballot was that the whole thing was an egregious waste of public money: some $40m or so, which would have been blown on holding ancillary events to the main televised Song Contest, together with funding for transport and accommodation for certain favoured attendees.
Yet another, arguably far more important, concern was on the minds of many other ‘No’ voters too, however—the idea that the Contest itself had become little more than a gigantic Gay Parade held in the literal name of Satan. It appears that Contest with the slogan “United by Music” may have hit a Swiss wall.
Little Nemo, little talent
Switzerland has a long tradition of holding referenda upon important social and political topics, in the name of what they term ‘direct democracy,’ just so long as an appropriate number of signatures can be gathered demanding one. Such votes often prove hard to predict in terms of their outcome—that’s what happens when you let actual ordinary people, as opposed to a rarified semi-permanent political class, decide such things.
The Eurovision referendum was instigated by a small Christian conservative party, the Federal Democratic Union of Switzerland (EDU), gathering the requisite number of names, much to the disgust of the similarly abbreviated EBU, the European Broadcasting Union, who manage and run the Contest itself. EBU promised EDU that the $40m cost would end up more than paying for itself, facilitating, as it would, “a large number of international visitors coming to the city, spending generously while there.” They’d have to spend very generously indeed over the course of a mere long Eurovision weekend, to recoup Basel’s taxpayers their $40m.
But this was not the EDU’s chief point of objection. In a series of interviews, senior figures from the EDU said that, whilst deploring the carelessly splashed cash, their main objections were much more fundamental(ist) in nature.
Every year, Eurovision is held in the nation whose entrant won the tournament the previous year. Switzerland was host, therefore, on account of its successful 2024 entrant Nemo, an ostentatiously queer singer who has been acclaimed by activists as the first non-binary winner in Eurovision history—possibly because no such concept as ‘non-binary’ even existed until about five minutes ago. Contrary to Nemo’s pious posturings, various transvestite-type beings had actually won in the past anyway, from Israel’s Dana International in 1998 to Austrian bearded lady Conchita Wurst in 2014.
However, as Eurosodom’s queer provocations have to get worse and worse with each passing year in order to generate the necessary publicity-raising headlines amongst an increasingly rainbow-jaded public, following his own winning 2024 performance, Nemo had accepted a gift of headgear that resembled Christ’s crown of thorns, thereby implying transgenderists were being ritually crucified by an oppressive heteronormative mainstream European society. As if to prove that such people really were incredibly oppressed, remember, the great European public had immediately prior to this point just voted for Nemo to win.
Agenda-bending
Members of the Christian EDU would not have been amongst those hitting the phones to give Nemo douze points, however. Daniel Frischknecht, the EDU’s leader, released an online video condemning Eurovision in terms I personally find highly accurate: “It’s not about the music any more, and hasn’t been for decades. Instead it is more or less purely a political occasion. The contents of this occasion are [the promotion of] racism, antisemitism, satanism, blasphemy, destructive things like the third gender.” (The “racism” and “antisemitism” there referred to persistent intimidating public protests being held against Israeli entrants following the Hamas pogrom against Israel of October 7 2023.)
In other words, Eurovision had been transformed from the late 1990s onwards from a mere harmless compendium of camp Europop from the likes of Abba, Sandie Shaw, and Bucks Fizz, into a kind of prototype for the ostentatiously queer and blasphemous opening ceremony of the Paris 2024 Olympics with its notorious trans-tastic blue-hued parody of the Last Supper. From popular singing contest, the whole thing had surgically transitioned into what one Swiss political activist called an “embarrassing rainbow event”.
Another EDU board member, Philippe Karoubi, told journalists Eurovision had now become “a vector of ideological provocations, which are clearly contrary to Western Judeo-Christian values”. Politically speaking, it had degenerated into a far-left agitprop event, “an international platform that has been completely instrumentalised to promote ideologies” like gender-bending. Religiously speaking, some songs were outright satanic, “blasphemous performances” based upon “the occult”, and were “almost a public form of Black Mass.”
This assessment may initially sound hyperbolic, extreme, or merely rhetorical in nature, but Karoubi’s words were in fact a reference to Ireland’s fairly high-ranking (it finished 10th of 37 entrants in the final results-table) 2024 Eurovision entry, ‘Doomsday Blue’, by the self-declared proponent of “Ouija pop” Bambie Thug. Like Switzerland’s own Nemo, Bambie declares herself to be non-binary, performing part of her song semi-clad in transgender colours alongside a supporting coterie of freaks dressed as horned drag queen-like devils, evil anti-priests , and tattooed zombie-corpses. It was Bambie who had originally worn the crown of thorns that was later accepted by Nemo following his victory.
Unlike Nemo aping Christ, Bambie preferred to ape the Antichrist, her highly pagan performance centring upon Doctor Faustus-style props like pentagrams, Wiccan icons, and so forth. As a self-professed “queer witch” whose whole song was about magically cursing an ex-lover, one might expect no less. According to the official Eurovision rulebook, no religious references are allowed in any eligible entries—unless the religions in question are inverted anti-Christian anti-religions like Satanism, Wicca, or Queerness, evidently.
Vox populi, vox DEI?
For Samuel Kullmann, the leader of the EDU’s Eurovision referendum campaign, the fact that Bambie Thug’s openly satanic performance was allowed, but the merest hint of any Christian references in a song would be instantly disbarred under Eurovision rules, spoke of “an egregious double standard”.
He did not necessarily expect to actually win the referendum itself, merely to use it as a handy, publicity-generating vehicle for drawing this double standard to wider public notice. As Kullmann explained, the vote was called mainly “to bring an issue to political attention, to bring it onto the political agenda, even if maybe only a few people in parliament would approve it … [By such means] you are able to launch a nationwide discussion on an issue that maybe was previously ignored by politics” and professional, socially distant, politicians.
In this sense, the referendum, although lost, may actually have been a partial success. Without it, the false pretence could easily have been maintained by liberal mainstream politicians and media that Eurovision’s new overtly and aggressively pro-queer and anti-Christian DEI-type agenda, as expressed through the routines of Nemo and Bambie Thug, were utterly uncontroversial.
As it is, thanks to the vote, we can see that around 33% of Basel residents, or one in three, actually seem to find the whole thing morally or religiously objectionable (or possibly just a complete waste of public money). This may be a minority, but it is nonetheless a very sizeable minority; national European governments often win power with only around 30 percent of the vote, as has just happened with the Labour Party in the United Kingdom. The automatically assumed ruling class notion of absolute 100% approval and hegemony for their own chosen subjective values is dispelled by such clearly split votes as an arrogant delusion of pure moral hubris.
Give it a Swiss miss
Perhaps disappointed and dissenting Swiss voters might have an alternative option open to them than tuning in to Eurovision 2025 when the infernal pop-contest comes around again next year, though—they could always turn on their televisions and watch Intervision 2025 instead.
Intervision was the old Soviet Union’s alternative to Eurovision, held from the late 1960s to the early 1980s in Eastern Bloc Czechoslovakia and Poland, but which the government of Vladimir Putin has recently promised to revive, with Moscow-friendly nations like Belarus, China, Cuba, and Kazakhstan likely to be in attendance.
The move has mainly been made in order to make amends for Russia being summarily expelled from the normal Western Eurovision contest following the Kremlin’s 2022 invasion of Ukraine. However, wishing to disingenuously downplay this fact, Russian authorities have instead been painting their banishment as being very much their own decision to withdraw in the face of devilish Western perversions like the work of Bambie Thug and Nemo, decrying the “decadent” and “degrading” material routinely on display there.
Of course, this may well all be merely self-evident crude political propaganda on Putin’s behalf. But so, to be frank, is Queer Eurovision on behalf of gay-worshipping, conservatism-hating, anti-Christian Brussels.
In any case, maybe the Russians have a point that Eurovision 2025 is likely to be in some sense demonic in its planned output. I observe that, in the past, Basel—also known as Basle—always used to be pronounced as ‘Barz-il’. Today, we are now told it should really be spoken as ‘Baal’. Putin’s in-house propagandistic opponents of the Brussels Great Satan should take close note.
Swiss Referendum on Eurovision Song Contest: Disunited by Music?
Switzerland’s Nemo, winner of the Eurovision Song Contest in Malmö in 2024.
Photo: Arkland, CC BY-SA 4.0, via Wikimedia Commons
The results from the most important world vote held this November are now finally in: on Sunday the 24th last month, 66.4% of citizens in the Swiss city of Basel voted in a referendum to support taxpayer money being used to stage the Eurovision Song Contest 2025 there.
The primary concern of most of those 33.6% who voted against Eurovision in the ballot was that the whole thing was an egregious waste of public money: some $40m or so, which would have been blown on holding ancillary events to the main televised Song Contest, together with funding for transport and accommodation for certain favoured attendees.
Yet another, arguably far more important, concern was on the minds of many other ‘No’ voters too, however—the idea that the Contest itself had become little more than a gigantic Gay Parade held in the literal name of Satan. It appears that Contest with the slogan “United by Music” may have hit a Swiss wall.
Little Nemo, little talent
Switzerland has a long tradition of holding referenda upon important social and political topics, in the name of what they term ‘direct democracy,’ just so long as an appropriate number of signatures can be gathered demanding one. Such votes often prove hard to predict in terms of their outcome—that’s what happens when you let actual ordinary people, as opposed to a rarified semi-permanent political class, decide such things.
The Eurovision referendum was instigated by a small Christian conservative party, the Federal Democratic Union of Switzerland (EDU), gathering the requisite number of names, much to the disgust of the similarly abbreviated EBU, the European Broadcasting Union, who manage and run the Contest itself. EBU promised EDU that the $40m cost would end up more than paying for itself, facilitating, as it would, “a large number of international visitors coming to the city, spending generously while there.” They’d have to spend very generously indeed over the course of a mere long Eurovision weekend, to recoup Basel’s taxpayers their $40m.
But this was not the EDU’s chief point of objection. In a series of interviews, senior figures from the EDU said that, whilst deploring the carelessly splashed cash, their main objections were much more fundamental(ist) in nature.
Every year, Eurovision is held in the nation whose entrant won the tournament the previous year. Switzerland was host, therefore, on account of its successful 2024 entrant Nemo, an ostentatiously queer singer who has been acclaimed by activists as the first non-binary winner in Eurovision history—possibly because no such concept as ‘non-binary’ even existed until about five minutes ago. Contrary to Nemo’s pious posturings, various transvestite-type beings had actually won in the past anyway, from Israel’s Dana International in 1998 to Austrian bearded lady Conchita Wurst in 2014.
However, as Eurosodom’s queer provocations have to get worse and worse with each passing year in order to generate the necessary publicity-raising headlines amongst an increasingly rainbow-jaded public, following his own winning 2024 performance, Nemo had accepted a gift of headgear that resembled Christ’s crown of thorns, thereby implying transgenderists were being ritually crucified by an oppressive heteronormative mainstream European society. As if to prove that such people really were incredibly oppressed, remember, the great European public had immediately prior to this point just voted for Nemo to win.
Agenda-bending
Members of the Christian EDU would not have been amongst those hitting the phones to give Nemo douze points, however. Daniel Frischknecht, the EDU’s leader, released an online video condemning Eurovision in terms I personally find highly accurate: “It’s not about the music any more, and hasn’t been for decades. Instead it is more or less purely a political occasion. The contents of this occasion are [the promotion of] racism, antisemitism, satanism, blasphemy, destructive things like the third gender.” (The “racism” and “antisemitism” there referred to persistent intimidating public protests being held against Israeli entrants following the Hamas pogrom against Israel of October 7 2023.)
In other words, Eurovision had been transformed from the late 1990s onwards from a mere harmless compendium of camp Europop from the likes of Abba, Sandie Shaw, and Bucks Fizz, into a kind of prototype for the ostentatiously queer and blasphemous opening ceremony of the Paris 2024 Olympics with its notorious trans-tastic blue-hued parody of the Last Supper. From popular singing contest, the whole thing had surgically transitioned into what one Swiss political activist called an “embarrassing rainbow event”.
Another EDU board member, Philippe Karoubi, told journalists Eurovision had now become “a vector of ideological provocations, which are clearly contrary to Western Judeo-Christian values”. Politically speaking, it had degenerated into a far-left agitprop event, “an international platform that has been completely instrumentalised to promote ideologies” like gender-bending. Religiously speaking, some songs were outright satanic, “blasphemous performances” based upon “the occult”, and were “almost a public form of Black Mass.”
This assessment may initially sound hyperbolic, extreme, or merely rhetorical in nature, but Karoubi’s words were in fact a reference to Ireland’s fairly high-ranking (it finished 10th of 37 entrants in the final results-table) 2024 Eurovision entry, ‘Doomsday Blue’, by the self-declared proponent of “Ouija pop” Bambie Thug. Like Switzerland’s own Nemo, Bambie declares herself to be non-binary, performing part of her song semi-clad in transgender colours alongside a supporting coterie of freaks dressed as horned drag queen-like devils, evil anti-priests , and tattooed zombie-corpses. It was Bambie who had originally worn the crown of thorns that was later accepted by Nemo following his victory.
Unlike Nemo aping Christ, Bambie preferred to ape the Antichrist, her highly pagan performance centring upon Doctor Faustus-style props like pentagrams, Wiccan icons, and so forth. As a self-professed “queer witch” whose whole song was about magically cursing an ex-lover, one might expect no less. According to the official Eurovision rulebook, no religious references are allowed in any eligible entries—unless the religions in question are inverted anti-Christian anti-religions like Satanism, Wicca, or Queerness, evidently.
Vox populi, vox DEI?
For Samuel Kullmann, the leader of the EDU’s Eurovision referendum campaign, the fact that Bambie Thug’s openly satanic performance was allowed, but the merest hint of any Christian references in a song would be instantly disbarred under Eurovision rules, spoke of “an egregious double standard”.
He did not necessarily expect to actually win the referendum itself, merely to use it as a handy, publicity-generating vehicle for drawing this double standard to wider public notice. As Kullmann explained, the vote was called mainly “to bring an issue to political attention, to bring it onto the political agenda, even if maybe only a few people in parliament would approve it … [By such means] you are able to launch a nationwide discussion on an issue that maybe was previously ignored by politics” and professional, socially distant, politicians.
In this sense, the referendum, although lost, may actually have been a partial success. Without it, the false pretence could easily have been maintained by liberal mainstream politicians and media that Eurovision’s new overtly and aggressively pro-queer and anti-Christian DEI-type agenda, as expressed through the routines of Nemo and Bambie Thug, were utterly uncontroversial.
As it is, thanks to the vote, we can see that around 33% of Basel residents, or one in three, actually seem to find the whole thing morally or religiously objectionable (or possibly just a complete waste of public money). This may be a minority, but it is nonetheless a very sizeable minority; national European governments often win power with only around 30 percent of the vote, as has just happened with the Labour Party in the United Kingdom. The automatically assumed ruling class notion of absolute 100% approval and hegemony for their own chosen subjective values is dispelled by such clearly split votes as an arrogant delusion of pure moral hubris.
Give it a Swiss miss
Perhaps disappointed and dissenting Swiss voters might have an alternative option open to them than tuning in to Eurovision 2025 when the infernal pop-contest comes around again next year, though—they could always turn on their televisions and watch Intervision 2025 instead.
Intervision was the old Soviet Union’s alternative to Eurovision, held from the late 1960s to the early 1980s in Eastern Bloc Czechoslovakia and Poland, but which the government of Vladimir Putin has recently promised to revive, with Moscow-friendly nations like Belarus, China, Cuba, and Kazakhstan likely to be in attendance.
The move has mainly been made in order to make amends for Russia being summarily expelled from the normal Western Eurovision contest following the Kremlin’s 2022 invasion of Ukraine. However, wishing to disingenuously downplay this fact, Russian authorities have instead been painting their banishment as being very much their own decision to withdraw in the face of devilish Western perversions like the work of Bambie Thug and Nemo, decrying the “decadent” and “degrading” material routinely on display there.
Of course, this may well all be merely self-evident crude political propaganda on Putin’s behalf. But so, to be frank, is Queer Eurovision on behalf of gay-worshipping, conservatism-hating, anti-Christian Brussels.
In any case, maybe the Russians have a point that Eurovision 2025 is likely to be in some sense demonic in its planned output. I observe that, in the past, Basel—also known as Basle—always used to be pronounced as ‘Barz-il’. Today, we are now told it should really be spoken as ‘Baal’. Putin’s in-house propagandistic opponents of the Brussels Great Satan should take close note.
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