Because it exposes a point of view, the soppiest, most lovey-dovey song may be construed as “political” (Kremlin fails to feel the love as Ukrainian ‘propaganda’ song wins Eurovision prize, 16 May), even, say, Sing Little Birdie, 1959’s UK Eurovision Song Contest entry, emoted by Pearl Carr and Teddy Johnson. Indeed, its lyrical subtext might be interpreted, arguably, as concerning what Sartre wrote about the Soviet intervention in Hungary in 1956 and what Camus thought he meant.
Alan Clayson
Author, Beat Merchants
• In view of Russian protests over the winning Ukrainian entry, can we look forward to a spot of diplomatic shirtiness from the Élysée Palace to have Waterloo struck from the list of winners?
Peter Doyle
Exeter, Devon
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