
Thomas Howarth relives the Eurovision Song Contest 2011, the biggest gathering of misguided voters since Nuremberg.
I had a dream last year, which starred hundreds of gruesome and flesh-grabbing zombies, all dragging their hollow corpses about. It wasn’t just a cheap, shallow, horror film dream – it had strong metaphorical undertones. At one point, for example, John Simm bounded into view to save a group of us from the slack-jawed cadavers. He raised the British flag, which rippled brightly against the rumbling grey sky, and the zombies gathered round it, completely distracted. I realise now that this was a subconscious metaphor for mindless patriotism. Another message came into being as I, electrified by zombie-induced panic, barged into a house, only to find the occupants unphased and watching an episode of Friends – another visual metaphor regarding the unquestioning apathy, and the televisual distractions, of the human race.
Not sure why John Simm was there though.
Anyway. It is with these notions of ideological and televisual slavery in mind that I plan to discuss Eurovision. I realise that it took place about exactly a thousand months ago, but it is a timeless tradition, and the much-improved 2012 version is on its way. So let me discuss Eurovision 2011 now.








