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Lydie Jean-Dit-Pannel et Gauthier Tassart
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Euroflop [fr]

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1It is 1979 in Jerusalem. The 24th Eurovision Song Contest has just ended and the Belgian singer Micha Marah is furious. Her song “Hey Nana” was ranked eighteenth and finished last, tied with Austria. However Micha had warned the Belgian committee: she would have preferred to sing another song called “How it goes”, but might as well make the little Manneken pee in a violin.

2A controversy on the choice of the song to which is added a last place: all Belgium is in commotion. It will be necessary to increase the pressure the following year.

3A big contest is launched, national stars rush to apply for the honor of representing the kingdom. The dashing Bruno Brel, nephew of the great Jacques, and holder of a motocross champion title, was at the top of the list. In the end, the experts chose a trio of modern youngsters: Telex.

4Michel Moers, Dan Lacksman and Marc Moulin went to The Hague (Holland) in 1980 to deliver their song soberly entitled “Euro-vision”.

5At the end of their performance, there is a short pause before the audience starts to applaud politely and briefly. It’s a flop.

6It must be said that this is the first time we hear a song about the competition, but also the first time we see on a popular stage a band playing a synthetic ritornello with, notably, the huge Moog modular synthesizer instead of an orchestra.

7With this slightly mocking song, the three scoundrels have a secret goal: to finish last. Alas, following a handling error, the Portuguese jury gives them ten points, ten points! This error will make the trio from across the border of Belgium finish seventeenth out of nineteen. Here too it was a failure, our Belgian Kraftwerk, as they are called, even managed to do better than poor Micha the year before, who had to console herself that evening with a good pint of Jup’.



Euro-vision by Gauthier Tassart and Lydie Jean-Dit-Pannel, 3’40, 2021.

“Euro-vision” is a song by the artists Lydie Jean-Dit-Pannel and Gauthier Tassart, which takes part of the issue 10 of the French journal Transposition, Musique et sciences sociales entitled “Flops in music”, edited by Sarah Benhaïm and Lambert Dousson.

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Lydie Jean-Dit-Pannel et Gauthier Tassart, « Euroflop »Transposition [En ligne], 10 | 2022, mis en ligne le 29 juin 2022, consulté le 28 septembre 2023. URL : ; DOI :

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Lydie Jean-Dit-Pannel

Lydie Jean-Dit-Pannel has been questioning the image for more than 25 years through long term projects. Lonely adventurer, wounded lover and surviving warrior, Psyché has imposed herself as Lydie’s artistic alter-ego. Through this pensive ancient heroine, in the wake of the figure of the Monarque butterfly whose body the artist adorns with a tattoo during each of her travels, Lydie declaims through her works – photographs, videos, performances, installations and texts – her disappointment with a humanity that is running to its loss. She travels the world to draw up a report on the wounds inflicted on the Earth. The peregrinations of this scorned heroine, who realizes the synthesis of the romantic ideal and punk disillusionment, thus sensitize to the precariousness of a world now on borrowed time. In recent years she has concentrated her work on walking. She lives and works in Malakoff and teaches at the École nationale supérieure d’art de Dijon.

Gauthier Tassart

Gauthier Tassart works with sound and image. He prefers group exhibitions and collaborative projects. For 10 years he has been leading a unique improvised music project with students from the Villa Arson, L’Orchestre Inharmonique de Nice, and has worked with Lee Ranaldo, Etienne Jaumet, Lionel Fernandez and Charlemagne Palestine. He is part of the group I Apologize with Jean-Luc Verna and collaborates on Culte des Bannis with Arnaud Labelle-Rojoux. He lives and works between Malakoff and Nice where he teaches at the Villa Arson.
Since an “Atomic Mix” created as a duo in 2016, Lydie and Gauthier have not stopped developing common projects, including the “Birds Mix” during which, like the lyre bird that sings about the deforestation of its natural habitat by imitating the noise of chainsaws, they try to re-enchant the world, armed with an electro set-up and their phonography of birdsong.

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