In this article the author examines one of the most emblematic presentations of variety music, the reputedly kitsch Eurovision song contest. Based on an observation survey on the French fan club of Eurovision, he considers the over-representation of male homosexuals among the members. By focusing on the analysis of fans' social trajectory, he proposes an explanation for their keen interest in the contest and thus shows the limits of culturalist interpretations in which the taste for kitsch is purported to be one of the key elements in homosexuals' lifestyle.