I’ll admit I had no intention of posting a preview blog about the final. I was just content with watching the performers and playing ‘armchair judge’ for my own leisure. Besides I intended for my detailed blog of the ESC to be my only blog about it.
However that all changed last night as I was on Youtube and the ESC channel watching video after video of the night’s semi-final performances. Hey, when the show’s on live at noon your time, that’s your resort. That all changed after I added comment after comment with many of the videos. And that’s what inspired me to do this preview of the final for the 2016 Eurovision Song Contest.
For this preview, I’ve decided to post my opinions about the performances in the semi-finals. I will be judging the performances of both the competitors from the semis as well as those from Sweden and the Big 5 whom I will call ‘automatics’ because they automatically have their berths in the Final and their performances in the semis are simply a dress rehearsal for the Finals.
I felt it best that I place my judgements mostly on their semi-final performances. A lot of people have based their judgements from the song’s official music video released on YouTube months before the Contest. The videos are very telling in terms of how well each song will do however I feel the performances in the semis are more telling as it gives a good sense what their live show will be and even how together they are as a performer. Sure the semi won’t tell it all but it will tell it most. I do feel that the song is the key thing to base a judgement on. No matter how big of a show you put on, the song and its content is unavoidable. However I will consider showmanship as a performer will still have to make the song entertaining and eyecatching. Simply put, I will give top kudos to those performances who deliver best.
I will also start with my first section where I give opinions of the performances that have qualified for the final. I will then give my personal picks for who I would give the biggest point to if I were a jury. Note I will not be making predictions like I normally do. I will be giving my preferences and opinions. I’m not familiar with the music tastes of most European countries nor am I familiar with jury tastes. So here goes:
- Hungary: Freddie ‘Pioneer’ – Very good song with a very dramatic opening. Freddie has very good vocals in singing the song. The song is far from boring. It will catch your ears. A deserving finalist.
- Croatia: Nina Kraljic ‘Lighthouse‘ – Nina came to Stockholm in hopes of breaking Croatia’s bad-luck spell of missing out in the finals since 2009. She did exactly that. As for her performance, you’ll think her outfit at the beginning is ridiculous but that’s part of adding drama or theatrics to the song. I’m cool with that as long as it’s done right. Her performance was very good and deserving of her final berth.
- Netherlands: Douwe Bob ‘Slow Down‘ – This is one of my delights of the night. I’m impressed to see how the Dutch know how to do bluesy rock or rockabilly. The Dutch did it before in 2014 with ‘Calm After The Storm‘ and they do it again here. Best song of the evening that delivers as a great alternative after so many techno numbers. Stage show is minimal but it works for the song instead of against it. I ranked it my 3rd place of this semi.
- Armenia: Iveta Mukuchyan ‘LoveWave‘ – It’s not the best of the night but it’s still good and a deserving finalist. Very good song with good vocals. I felt the stage show was a bit iffy. Otherwise very deserving nonetheless.
- Russia: Sergei Lazarev ‘You Are The Only One‘ – What can I say? For me that was the show of the first semi and my #1 pick for that night. It didn’t have the same song quality the Netherlands had but still an entertaining song with the most entertaining stage show of the evening. Definitely an eye-catcher and it will not surprise me if this song is a top contender for the win on Saturday.
- Czech Republic: Gabriela Guncikova ‘I Stand‘ – Not exactly a song that stands out too much. Nevertheless Gabriela did sing it well and perform it well on stage. what it lacks in catchiness, it makes up for in its consistency and professionalism. A very deserving finalist. Especially since this is the first time in five tries a Czech performer qualifies for the final. Great job!
- Cyprus: Minus One ‘Alter Ego‘ – You’d think with this being Cyprus, it would be ethnopop, right? Actually this is a hard rock song high in energy. I could even feel the energy of the song while watching it. Great song and great performance which was one of my favorites of the night. I feel it should do strong on Saturday.
- Austria: Zoe ‘Loin d’Ici‘ – This was my surprise of the night. I like it when a song goes beyond my expectations. At first you’d think a number too sweet would come off as saccharine to you. However this is one ‘sweet’ song that actually did everything right and even charmed me. Excellent stage show that tried mimicking what was in her video. However if anyone had doubts about her song while watching her video before the Semi, I think her performance in the semi increased her chances of winning. It was better than the video. I consider this my 2nd place of the semi.
- Azerbaijan: Samra ‘Miracle‘ – Once again a case of an Azerbaijani singer performing a song written by Swedes. This is one of only two semifinalists whom I did not have on my list of my ten ‘finals picks.’ The song was good but I’ve seen better performances by Azerbaijani acts in past ESCs. I think 2013’s ‘Hold Me‘ is their best ever. Also the back-up dancers did a real tacky job of dancing. That’s all I can describe about it. Their dancing was tacky. Nevertheless Samra was dressed well and she did sing her song very well despite t not being much of a song. I just feel it didn’t deserve to be in the semis.
- Malta: Ira Losco ‘Walk On Water‘ – Once again a case of a stageshow that was hard to swallow thanks to backup dancing. Ira did her song very well. However the dancer on stage just plain came off as ridiculous and irritating. It actually turned me off the song. This is the other finalist from the first semi that I felt didn’t deserve it.
- Latvia: Justs ‘Heartbeat‘ – The biggest thing about the song is its arresting instrumentation. The stage graphics fit the song very well and Justs delivers the song in style and with the right moves you’d expect from a male pop singer. Justs does it solo without backup singers or backup dancers and does it with style. I ranked it the best performance of this semi because it grabs your attention from the very start and won’t let go.
- Poland: Michal Szpak ‘Color Of Your Life‘ – This is a good ballad delivered very well from Michal. Its style really stands out. Michal delivered it very professionally despite missing a note near the first chorus. The biggest glitch I feel has to be the vintage military jacket he wears on stage. I don’t think it fit the performance that well. Especially since Justs that was on just before him came on stage with a leather jacket. Backup violinists and stage graphics blended well with the performance.
- Israel: Hovi Star ‘Made Of Stars‘ – This is an excellent ballad delivered very well with excellent singing from Hovi. I almost thought he was doing a cover of an Adele song. The stage graphics added excellently to the song. However the two dancers on the spinning hoop had me questioning whether they were worth it or not? Do they add or subtract? Because Hovi delivers well in a no nonsense performance.
- Serbia: Sanja Vucic ZAA ‘Goodbye‘ – It’s both a ‘Balkan Ballad’ and a power ballad. Excellent vocals full of emotion and a set up back-up singers that add to the drama and power. Might bring back memories to some of 2007 winner ‘Molitva’ but it holds its own. The male backup dancer didn’t add but he didn’t subtract from the performance either. If there’s one weakness, it’s her stiff black dress. Overall an excellent package and I rank it second-best of this semifinal.
- Lithuania: Donny Montell ‘I’ve Been Waiting For This Night‘ – A powerful song with a lot of energy and Donny knows how to deliver it vocally. However I didn’t like how he added Michael Jackson-like dance moves to his performance. I feel it did not fit the song at all. Maybe the front flip near the end helped but the dancing didn’t. This is one of two from this semi that qualified for the final that didn’t make my personal Top 10.
- Australia: Dami Im ‘Sound Of Silence‘ – A very powerful ballad delivered excellent by Dani. I also have no problem with the dress since it was meant to fit the song. However I’m not too happy about some of the stage choices she was given such as sitting on that platform until after the second chorus. She does walk around after that and deliver the song well but I don’t think she was given enough movement.
- Bulgaria: Poli Genova ‘If Love Was A Crime‘ – Many people felt Poli was robbed of a finals berth five years ago with ‘Na Inat‘ but she finally gets it here. I’ll admit this is not that much of an attention-grabber of a song. Nor were a few of her dance moves the best. Nevertheless Poli delivered the song well and gave it its energy and made it enjoyable to hear. It’s very good for the most part.
- Ukraine: Jamala ‘1944‘ – This is the first song at the ESC with Crimean Tatar lyrics. This is probably the most political song at this Contest. She has a song with a message and she delivers it with emotion in the song. The wailing at the end of the song is a big plus and especially shows off her vocal abilities. However political songs are touchy grounds at the ESC. They welcome it as long as it’s subtle. I feel this is deserving of its finals berth.
- Georgia: Nika Kocharov and Young Georgian Lolitaz ‘Midnight Gold‘ – The number starts with a lot of potential with some exciting rock instrumentation and fitting stage graphics. However it goes downhill when the singer delivers vocals with notes that don’t seem to fit the song. I don’t know if he did it for creative purposes but his choices don’t really fit at all. Can’t complain about the instrumentation as it’s the best part. However this is the second qualifier to the final from this semi that I felt didn’t deserve it. Actually I ranked it second-to-last of this semi.
- Belgium : Laura Tesoro ‘What’s The Pressure‘ – At last! A song that makes you wanna get down! Laura delivers a funky, feel-good energetic number that delivers all the best qualities of a pop number including vocals, dancing and even trying to get the crowd involved. I ranked this the third-best of this semi.
- France: Amir ‘J’ai Cherche‘ – Good song, has a lot of energy, very good singing, but it comes across as rather boring. I don’t know what it is but when I saw Amir perform, I felt like there was something missing. I don’t know how this will fare on Saturday.
- Spain: Barei ‘Say Yay!‘ – Now this is one number I feel will go far. A very good song that is full of energy and has good potential of being catchy. Also she performs excellently on stage. She dances like she’s in control and delivers the song as she should. I question her dress, especially with the 03 on it. However I feel she will be great on Saturday night.
- Sweden: Frans ‘If I Were Sorry‘ – Sweden has one of the best success records at Eurovision. This number however is very questionable. Frans delivered a boring performance where the background tries to make the song interesting by flashing key words. He does sing the song well but his accent is too thick to comprehend some of the lyrics. I think he might score well in the popular vote because of his teen idol status but I don’t think he’ll score well with the judges.
- Germany: Jamie-Lee ‘Ghost‘ – I have to say a good song and Jamie-Lee is a very good singer. However her outfit was too over the top. I’m cool with a weird outfit done for theatrical purposes such as Nina Kraljic’s outfit during the opening of ‘Spotlight’ but that was too ridiculous like Alice In Wonderland went through a flower garden. The backup singers had on sensible clothes and the trees that shot laser beams worked good but that outfit is dumb and works against her performance. However the outfit will make her win the Barbara Dex award.
- United Kingdom: Joe & Jake ‘You’re Not Alone‘ – I have to say it’s a very good song with a very good performance. The two sing the song very well and add to the young energy of the song. It’s hard to find something to dislike about this number, especially since it’s very low in gimmicks. I think the one cheesy thing was probably the jumping near the end. One thing we have to keep in mind is that ‘no nonsense’ performances like these are great but they face the obstacle of winning attention from both televoters and the juries. Nevertheless I do wish the best for both of them. Especially since the UK used to have quite a Eurovision legacy and the 21st century has been very unkind to them with only two Top 10 finishes.
- Italy: Francesca Michielin ‘No Degree Of Separation‘ – Italy rarely disappoints. They’ve mostly delivered some top notch performances to the Contest over the years, even in the last few years. And this year’s entry is a delight too. 21 year-old Francesca Michielin is already a seasoned pro. You’ll notice it as she sings the song consistently and with feeling. Adding the feeling to the song is a big plus. A big minus to the song however is all those stage props and stage graphics. I don’t know if they were trying to reflect a theme or emulate the music video but I feel it went too far and they were distracting from the song. This could work against her performance which holds its own without all the added stuff.
So those are my thoughts for the qualifiers. As for the ‘also-rans’:
Semi-Final 1: I know I said Malta and Azerbaijan didn’t deserve to be in the final. In their place should be Iceland and Moldova. They did their performance better. Finland’s Sandhja was good but came off as flat. That’s not good especially when you’re first up. Greece must have forgotten the golden rule of rap acts at Eurovision: rap acts go nowhere, even if it’s mixed with ethnopop. It’s a shame because I usually like the Greek numbers. San Marino’s Serhat had a style but I didn’t see it as enough to qualify for the final. Estonia came off as ridiculous in his stage antics and his voice. Montenegro’s number sounded like a mashed-up song and Bosnia’s on-stage theatrics made me wonder if it was really necessary for the song.
Semi-Final 2: If I were to trade Georgia and Lithuania from the finals, I’d put in Ireland and Macedonia. Ireland was full of energy and delivered well. Macedonia was also excellent, especially in her vocal range. Switzerland had a good song but it all fell apart with all the on-stage props and moves she was given. Belarus had potential but I thought the face stripes were dumb. Slovenia was good but the singer delivered awkward stage poses that worked against her. The Danish vocal trio came across as rather boring. Norway delivered a song that alternate from one tempo and mood of the verses to a different tempo and completely different mood in the chorus. It didn’t really mix well. And Albania had good potential but I feel her chances were marred by lousy backup singers.
Overall I have to say this is a mostly good set of performers for this Contest. There is a bit of the eccentric in some elements but it’s nothing compared to the ‘freak shows’ of five years ago or even ten years ago. I think the freakiest moments will come from Germany and Italy. I guess the country’s are now getting the message that doing something super-eccentric or super-gimmicky doesn’t pay. I didn’t notice too many off-key moments and those that did recovered well.
Like I said, I don’t know enough about European music tastes to make predictions. So instead I’m giving my personal Top 10. Eurovision style, of course:
- Poland, 1 point.
- Australia, 2 points.
- Spain, 3 points.
- Cyprus, 4 points.
- Netherlands, 5 points.
- Belgium, 6 points.
- Serbia, 7 points.
- Austria, 8 points.
- Latvia, 10 points.
- And my personal 12 points goes to…Russia!
So there’s my summary of the 2016 Eurovision finalists and their semifinal performances. I’m glad I don’t have to be a jury member because it’s a headache ranking them. Mind you anything can change on Saturday. They may go off key or something may malfunction or the energy that was there in the semi may not be there in the final. Even things like performance order can play a factor. How ironic how Belgium who ended the second semifinal will open the final? Ending the final will be Armenia. Whatever the situation, I wish all the performers the best and the winning performer’s country to get ready to host next year!
On May 24, 1956 a song contest was started in Lugano, Switzerland that would eventually become a major entertainment event in Europe and even attract major interest around the world over the years. It was called the Eurovision Song Contest Grand Prix back then. Now the Eurovision Song Contest heads into 60 years of showcasing music and song and is bigger than ever.
THE START OF SOMETHING BIG
The Eurovision Song Contest (ESC) is the brainchild of the European Broadcasting Union (EBU), a union of all the national broadcast associations from around Europe. It was in the early 1950’s. Europe was a divided war-torn continent struggling to rebuild itself and struggling to heal international relations that had only worsened due to the fighting of World War II that had ended in 1945.
In 1951, the Italian city of Sanremo started a music festival to help revitalize the city’s economy and the image of the city of Sanremo. The festival which was titled Festival della Canzone Italiana, or the Italian Song Festival, was held in January that year in the Sanremo Casino and was a hit.
The contest attracted the attention of the EBU and it inspired them of their own idea. They hoped for this Contest to unite the European nations through art and song. At a meeting of the EBU broadcasters in Monaco in 1955, the idea of a pan-European music festival was brought to the table. The Sanremo festival and its format served as the base for how this contest would be held. The following year on May 24, 1956, the first ever Eurovision Song Contest was held.
THE FIRST CONTEST
The very first Eurovision Song Contest was held at the Teatro Kursall in Lugano, Switzerland. The contest was only one hour and forty minutes long. The contest was broadcast both on television and radio since most people didn’t yet own a television set. Only solo performers were allowed to perform and songs were not to exceed three and a half minutes in length. There were fourteen songs performed by a total of twelve acts from seven different countries: Belgium, France, Germany, Italy, Luxembourg, the Netherlands and Switzerland. Austria, Denmark and the UK planned to perform but missed the submission deadline.
All participating countries fielded two songs performed with only Luxembourg and Switzerland having the same singer sing both songs. An orchestra for the whole contest was fielded but each country would have their own conductor conducting. Voting was done by two jury members from each participating country in secret ballot. In the end, 32 year-old Swiss singer Lys Assia won the contest for her song ‘Refrain.’ Along with her prizes, Lys was to perform her winning song at the end of the contest.
The first Contest was however marred by controversy. First, the fact the winner was decided by secret ballot. Second was the fact that the two members of Luxembourg’s jury who were to vote didn’t make it to Lugano. Both members of the Swiss jury were allowed to give a second vote. In fact no one knows what the official results of the contest are to this day. The EBU knew they had to make changes for the next contest if it were to continue.
THE SECOND CONTEST SETS THE STAGE
As I mentioned, the Contest had to iron out some things if it wanted to go further. One thing that wasn’t ironed out back then was the host nation. It was planned in the future that each competing nation would have their chance at hosting. However the increasing number of countries would make that concept an impossibility. Germany who finished second at last year’s contest was allowed to host the 1957 contest in Frankfurt.
This time there were ten nations competing with all seven nations from the previous year returning and Austria, UK and Denmark meeting the deadline this time. As in the previous year, there was an orchestra which was to be conducted by a conductor from each country. This time there was to be only one performance per country. There was no time limit of songs and the contest was open to duets. Denmark would field the first-ever duet in the Contest’s history.
In response to the voting controversy from the previous year, this year would start a judging format that would still exist to this day. This time the juries stayed in their home country and watched the competition from television and they were not allowed to vote for their own country. One voting aspect for this Contest and the four following was the juries were all given a total of ten points to divide among the performers whom they felt worthy. Only two performers from last year’s contest–the Netherlands’ Corry Brokken and last year’s winner Lys Assia– returned. Brokken won the contest but the big news was of the kiss of the Danish duo who performed: it lasted 13 seconds.
However it’s not to say this contest experienced issues. There was the issue of the time length of the songs. The Italian song was 5:09 minutes in length and the UK entry wasn’t even two minutes. Further Eurovision contests would permit for a song of a maximum length of three minutes.
THE CONTEST GROWS OVER TIME
In 1958, the contest was held in Hilversum, Netherlands. This would be a Eurovision tradition as the nation of the Contest winner would host the following year’s contest: a tradition rarely broken. Lys Assia and Corry Brokken were back. For the record, past champions are allowed to perform again and there’s no limit to how many Eurovisions they can participate. The contest was won by a French singer but it was the song that finished third– Domenico Modugno’s Volare— that would win the world over. Already the first hit generated from the Contest.
The contest would grow over the next ten years from ten countries in 1958 to eighteen in 1966. Yugoslavia debuted in 1961 and would become the only nation of the former Eastern Bloc to participate in the Contest during the years of the Cold War. The Contest was known for being out of tune with the common tastes of the record-buying public. While the times were embracing rock ‘n roll and Beatlemania, most songs in the Contest were in fact big band-style songs and the winners up to 1964 were all ballads. The first non-ballad to win was Luxembourg performer France Gall’s ‘Poupee de Cire, Poupee de Son’ which sounded like the popular go-go music of the 1960’s. However there would be a major problem in 1969 when four songs shared the top score and thus four winners were declared. Five countries boycotted the following year and the EBU knew it had to revamp the scoring process in time for the 1970 Contest.
1971 allowed for groups up to six to perform.1973 saw the first non-European country to enter performers: Israel. It would not be the last but it would be the most consistent, appearing a total of 41 times and winning three times. 1974 saw the performance of ABBA and ‘Waterloo’ which would launch the band into stardom and would even considered by most to be the best Eurovision Song Contest ever. 1975 would see the one-to-twelve points scoring system that would stick ever since. Before the 1976 contest, there would be protests in Sweden over how commercial the contest became. Sweden withdrew that year as a result.
1980 would see Morocco enter for the first and only time. Over the years the Contest would grow in terms of nations being broadcast to although participating nations were the only ones allows to field juries for voting. The Contest would also see more numbers include dancing in their performances as dance had a key factor in the UK’s Bucks Fizz winning in 1981 for ‘Making You Mind Up.’ Also from that winning performance was the rip of the female singers’ skirts to reveal a miniskirt. That would lead to more onstage gimmicks and more sexually provocative performances over time. The Contest would even introduce the world to a Canadian diva competing for Switzerland in 1998 by the name of Celine Dion and even won with the song ‘Ne Partez Pas Sans Moi.’ The 80’s would also see the Contest’s first and only two-time winner with Ireland’s Johnny Logan: in 1980 with ‘What’s Another Year’ and in 1987 with ‘Hold Me Now.’
1990 would pave the way for the post-Cold war era of Europe and would also change the ESC as a result. 1990 was known for featuring a lot of politically-focused songs with the fall of Communism being a top song topic. The winner was ‘Insieme:1992,’ an Italian song about the upcoming European Union. The changes of Europe were first evident in 1993 when three nations of the former Yugoslavia entered the contest for the first time. However they would be the three winners of a pre-qualifying round of seven ‘newcoming’ nations to the ESC: all former members of the Eastern Bloc. That was another difficulty for the contest: dealing with new nations who wanted to participate. 1994 saw the seven lowest-placing countries from 1993 not invited the following year and allowing for seven debuting countries all from the former Eastern Bloc. 1996 tried to solve things by having an audio-only pre-qualifying contest to reduce the 29 submissions to a manageable 23 performers.
1997 saw the introduction of televoting but only five of the 25 participating countries used televoting to decide the winners. The number would grow to 22 out of 25 in 1998. 1998 would also have the first ever transsexual, Israel’s Dana International, to perform. She even won with her song ‘Diva.’ 1999 would see the departure of the orchestra and the arrival of pre-recorded music. However pre-recorded vocals were not allowed and are still not allowed.
The maximum number of countries was always a frustration with the EBU. Due to the break-up of the USSR, the fall of the iron curtain and Yugoslavia’s republics going their separate ways, more nations wanted to compete at the contest and that would lead the EBU to make rules to put a limit on having a manageable number of countries performing on the night. That would be seen unfair in many people’s eyes. Then 2004 saw the debut of a Semi-Final for the Contest. 2008 would see the current format of two semi-finals and a Grant Final for the Contest. 2015 would feature the debut of the first non-European invitee since Morocco in 1980: Australia.
This year the contest will have 42 competing nations including Australia returning. The contest will be held in the Globe Theatre of Stockholm, Sweden; host country of last year’s winner Mans Zelmerlow who won for ‘Heroes.’ 42 countries will perform. There were to be 43 but Romania was disallowed because of unpaid debts owing to the EBU. 36 of the countries will compete in the semi-finals. The host nation and the Big Five countries (UK, Spain, France, Italy and Germany) are to bypass the semis as they qualify for the final. However they are to perform in the semis as a ‘dress rehearsal’ and they are allowed to vote on the other semi finalists who are contending for Finals berths.
RULES, RULES, RULES
It never fails. When you have a performance contest, you have rules that go along with it. Here’s a brief guide to some of the rules of the Contest. And I’ll try to make it brief.
When the contest started, a performer could sing in whatever language they wanted. In 1966, it was declared performers can only perform in their native language. The restriction was lifted in 1973 but returned for 1977 as songs sung in English from Austria and Finland at the 1976 Contest delivered sexually-suggestive lyrics. The restriction was kept intact from 1977 to 1998. However regional dialects and even rare languages native to the country–like Switzerland’s 1989 entry which was sung in Romansh– were permitted. 1999 saw a return to singing in whatever language the performer chooses to perform. There have even been entries in past Contests which consisted completely of imaginary languages.
Since 1999, all but one winner have been sung either partially or completely in English. It’s very common for a performer to sing their song in the national song contest in the native language but sing their song in English at the Eurovision Contest. Thirty-nine of the 42 songs in the Contest this year will either be partially or completely sung in English. Only three songs will be sung completely in another language and an additional three songs will mix English lyrics with lyrics of another language. The one song with a regional language is Ukraine as Jamala’s ‘1944’ will be sung both in English and Crimean Tatar.
It’s pretty obvious most of the performers at the ESC are citizens of the country they represent. However it’s not set in stone. There have been many times certain countries would field a singer or songwriters from other countries. The best example is Luxembourg. In its 37 appearances from 1956 to 1993, only four singers were actual citizens of Luxembourg. In fact all five singers who won the ESC for Luxembourg were in fact citizens of other countries: four from France and one from Greece. And Monaco’s winning entry from 1971 consisted of the lead singer, backup singers, songwriter and conductor all French citizens. In fact lead singer Severine only ever set foot in Monaco only once just weeks before the Contest when she performed her song live before Prince Ranier.
It’s still happening in modern times. There have been three times when a Canadian singer sang for Switzerland including a then-20 year-old Celine Dion back in 1988. Azerbaijan always fields singers that are citizens of their country but hires Swedish songwriters to write winning songs. Ir’s paid off as Azerbaijan has had five Top 5 finishes including a win in 2011.
Although this is a European Contest, there have been countries outside of Europe who have participated. Israel is the most notable with 38 appearances and even winning three times. Morocco participated only once in 1980. Australia was invited last year and they were invited again this year.
Ever hear the saying “Never work with animals or children?” I’ve never known of a Eurovision act with a live animal involved but I’ve learned about children. There have been times when children performed as backup singers or even as a performer and the EBU didn’t have a problem with that. However the problem first started when 13 year-old Belgian singer Sandra Kim won the contest with ‘J’aime la Vie.’ The problem was she passed herself off as fifteen in the song. But it would be the 1989 Contest that would cause chagrin among the EBU as France’s entry was an 11 year-old girl and Israel’s entered duo consisted of a 12 year-old boy. The EBU made a rule for the following year that performers on stage must be 16 years of age in the Eurovision year, including dancers and backup singers. Performers under 16 would have to wait until 2003 for the Junior Eurovision Song Contest to begin to have their day in the sun.
There’s no specific guidelines for what topics the songs should be about. For those who’ve seen the contest, anything seems to go. There have been topics that are universal like love and peace, topics that are regional like war or triumph among past genocide, topics that are sexual in nature, topics that are political, topics that are humorous and even topics that are either ridiculous or sent in an eccentric manner. Anything goes, almost. The only time I’ve heard of a song disqualified for its content was back in 2009 when Georgia entered ‘We Don’t Wanna Put In.’ Many felt it referenced Russia’s Vladimir Putin especially since Georgia was part of the victorious Orange Revolution years earlier. The fact that the ESC was being held in Moscow that year made things that more complicated. There was one case in 2012 when the act for San Marino was to perform ‘The Facebook Song’ but couldn’t because it interfered with the Contest’s product placement rules. The song would be retitled ‘The Social Network Song.’
The Performance and Performers In A Nutshell:
There are some unbasic rules when it comes to submitting a country’s performer and/or performance. Some countries hold their own national song contest to determine the national entrant for the ESC that year and some have a board that picks the performer and the song. Most likely they are a citizen of the country but they don’t have to be. Past performers are allowed to return again, even if they’re a past winner, but Johnny Logan the only two-time winner as a performer.
Then there are the basic rules. The song must be no longer than three minutes in length. The limit of on-stage performers varies over the years but the current limit is six performers on stage at once, including dancers. Up until 1999, the song was to be orchestrated even if musicians were added along. Live music, even by artists performing on stage, has been banned since 2004. Vocals are all to be done live with no lip-syncing. The biggest thing however is that the song is to be completely original. No cover songs are allowed and no sampling of other records are allowed either, not even in rap entries. Recorded versions of the song are allowed to be released before the Contest or even the national contest but a release before September 1st of the year before the Contest would disqualify them. These eligibility rules have led to a number of entries in the past being disqualified.
Voting The Winner:
As the rules of the Contest are ever changing, so are the rules in declaring the winner. Starting with the topic of who decides the winner, the secret-ballot from the first Contest caused friction. Then from 1957 to 1962, it was ten member juries who viewed the Contest from their home country and called in their results. 1963 brought it to a twenty-member jury but was reduced back to ten from 1964 to 1970. Then from 1971 to 1973, there were juries of only two that were present at the actual contest to give points to the winners. In 1974, the format returned to juries staying at home to decide and call in the results. The number of jury members started at 11 but eventually rose to sixteen.
In 1996, it was noted how out of sync the ESC juries were with the record-buying public in terms of deciding winners. In 1997, televoting where viewers called in their favorites was introduced but used as an experiment given to five of the 25 countries at the Contest that year. In 1998, it was expanded to all countries except those that had weak telephone systems. 2001 and 2002 allowed the country’s respective broadcasting association to decide between televoting or a jury decision. The Contests from 2004 and 2008 were exclusively televoting. From 2009 to 2015, televoting and jury results were combined into a single score per country with the televoting result taking precedence if there was a tie. In 2015, it was the juries that took precedence.
Deciding the winners is harder to explain than the points system for the songs. From 1957 to 1961, juries were given a total of 10 points to divide among the performances they liked best. In 1962, juries gave 1 point for 3rd place, 2 for second or 3 for 1st. From 1964 to 1966, it was a point for 3rd, three points for 2nd and five points for third. 1967 marked the return of 10 points to divide however 1970 saw an introduction of tie-breaking rules after the four-way tie in 1969 which led to many countries respond by boycotting. From 1971 to 1973, the juries gave anywhere from 2 to 10 points per song. 1974 was a return to 10 points to divide.
However it was the 1975 Contest that would introduce a scoring format that has stuck since. Each country would rank their Top 10 but of course would not vote for their own country. The country they rank 10th would get one point, 9th would get two points, and so on until 8 points for 3rd place. The country they ranked second would be awarded 10 points and the country they ranked #1 would get 12 points. Since then, twelve points or douze points would be synonymous with Eurovision.
For This Year:
This year’s Contest will be held in the Ericsson Globe Arena in Stockholm, Sweden. They were awarded the Contest upon the win of Mans Zelmerlow for his song ‘Heroes.’ In a rare turn of events, Zelmerlow will co-host the Contest with Petra Mede. Not that often the reigning champion co-hosts. It seems right that Sweden hosts as they have one of the biggest Eurovision legacies with a total of six wins. Only Ireland has won more with seven.
The Contest will be broadcast to 50 countries and can be viewed on LiveStream through the website eurovision.tv. The USA will have live broadcast of the final for the first time ever: on Cable channel Logo-TV. Draws were held months ago to decide who competes in the two semi-finals. The officials allocated the draw for geographical means to keep ‘neighbor voting,’ which I will reflect on later, down to a minimum. Most countries will have citizens of their own country as performers but Switzerland will again have a Canadian as a performer: Vancouverite Rykka with ‘The Last Of Our Kind.’ Romania wasn’t the only country to experience friction before this year’s Contest. Germany had to replace its entry because it soon came to light their originally entered performer had been vocal in the past of extreme right-wing views.
There’s the interval acts too: performances taking place while viewers place their televotes. Zelmerlow will perform his winning song from last year ‘Heroes’ during the interval of the first Semifinal held on Tuesday the 10th, the interval act for the second Semi on Thursday will be a dance ensemble and the interval act for Saturday’s Final will be Justin Timberlake performing ‘Can’t Stop The Feeling’ from the movie Trolls. Interesting note is Timberlake co-wrote and co-produced the song with two Swedish songwriters: Shellback and Max Martin.
Also something new for this year’s Contest. You know how there’s always confusion with the 50/50 system of televoting and jury voting on which overrides in the case of ties. Well, introduces for the first time this year countries will deliver two sets of scores. Now both televoting and juries from each country will give their own separate one to twelve points. This should take away from the confusion and make the contest more even.
I’ll admit I like seeing the Contest. I was lucky to see it live on LiveStream in 2013 and 2014. I live in Canada and none of the networks will be showing the contest live. I will be too busy to watch any of the Contest live thanks to my work schedule and music rehearsal.
I can understand of the Contest’s greatness. It’s the world’s most watched non-sporting event with a wide array of performers of various countries performing their song to win over the rest of Europe. It’s excellent that it helped launch the careers of Celine Dion, ABBA, Bucks Fizz and Ruslana as well as a stepping stone for Julio Iglesias and Nana Mouskouri. It’s also been the stage for established acts like Toto Cutogno, Cliff Richard, Lulu and Engelbert Humperdinck. It has also unleashed some classic songs like ‘Poupee de Cire, Poupee de Son,’ ‘Waterloo,’ ‘Making Your Mind Up,’ ‘Volare,’ ‘Love Is Blue (l’Amour Est Bleu),’ ‘Save All Your Kisses For Me,’ and ‘Euphoria.’
However I won’t deny the drawbacks of the Contest. I will admit there are some idiotic performances that rely too much on getting their gimmick to propel them to the win. In fact I hope I don’t sound bigoted but I strongly believe the wins of Israel’s Dana International in 1998 and Austria’s Conchita Wurst in 2014 were because of the hype of both being transgender. I’ll admit there are some songs and performances too eccentric to be real. I will also admit that often the winners are out of sync with the current trends in music. Even with the inclusion of televoting starting in 1997, the winning songs still don’t sound that current. I can even remember while teenpop ruled the late 90’s, early-2000’s worldwide and even in Europe, 1999’s winner was a schlager song from Sweden , 2000’s was a folksy rock song from Denmark and 2001’s was a calypso number from Estonia. Speaking of televoting, I will admit that even though countries can’t vote for their own performers, that hasn’t stopped them from giving top votes to performers from neighboring countries. Yeah, ‘neighbor voting’ has definitely been an issue with the Contest lately and has even questioned the credibility of televoting. I will admit there have been times I felt the song that came in second place was often better than the winning song. I will admit the Contest can propel the winning song to hit status internationally but not always. I will also admit that sometimes the Contest can end up being the peak of a performer’s career in most cases. I really learned a lot from the 2013 BBC show ‘How To Win Eurovision’ that was a show that showed all the idiocy that happens with the ESC but still showed why it was still important for the UK to get back on top. For the record, the UK’s fifth and last win was in 1997, their 23rd and last Top 3 finish was in 2002 and had all three of their last-place finishes in this 21st century. Yes, their legacy of five wins and 15 second-places is definitely a thing of the past.
I will admit to the negative but I still believe it is an enjoyable show to see. I won’t deny some acts try to gimmick their way to the win. However there have been many times even in the era of televoting that the less-gimmicky songs like 2007’s ‘Molitva’ and 2010’s ‘Satellite’ have gone on to win. Even 2012’s ‘Euphoria,’ which some people compare to David Guetta’s ‘Titanium,’ could not only win but burn up the dance floors worldwide too. I myself welcome gimmicks but only as long as they’re not stupid, not too weird and not too distracting from the song itself or could even boost the song. Hey, 2006’s winner ‘Hard Rock Hallelujah’ had a gimmick that made the song. I still like seeing it on YouTube. Basically the Contest was to focus on the song. More often than not, it is the song that rises to the top. Even last year’s winner ‘Heroes’ was a song with a good message with a stage performance from Zelmerlow with an interactive backdrop that worked with his movements and help make for a stage show that helped him win. Actually the Contest is less eccentric than it was seven years ago. I guess those no-nonsense songs that won are sending a message.
The Eurovision Song Contest was originally created in 1956 to bridge gaps in Europe that was healing after World War II. 60 years later, Europe is more unified and there’s less international animosity than ever. I don’t know if the Contest actually achieved all that in its 60 years but it does make for one entertaining show!
I’ll admit the Vancouver Film Festival ended on October 9th and the VIFF repeats ended October 15th. I was hoping to get most of my reviews done soon but many things happened, like an illness and other tasks of my own I was preoccupied. So you will be getting the last five of my VIFF reviews soon. In the meantime, here’s the latest: for the Korean film The Classified File.
In 1978 in Busan, a young girl to a wealthy family named Eun-Joo is kidnapped. Her abductor demands ransom money. The law enforcement team becomes frustrated as time goes on as there’s no further contact from the kidnapper over two weeks nor any more additional clues. Police assume she’s dead but the family refuse to believe so.
Eun-Joo’s mother turns to renowned fortune teller Kim Joong-San for reassurance. He tells her she’s fine but they will need the help of detective Gong Gil-Yong. Gong is reluctant to take on the case and even more reluctant to consult with the fortune teller but he agrees to take it on. Days go by as he has to wire conversations between Eun-Joo’s family and the abductor. There are even times they have to team up with the police force in Seoul but they face a reluctance from them feeling that this too is a hopeless case.
After four weeks Gong starts developing a sense that maybe Kim’s predictions are helping and could actually help to find Eun-Joo. However time is still moving on and they still don’t have Eun-Joo as the abductor continues to taunt them. Then they get a break. It leads to an exciting end of the story and an ending to the movie that wasn’t expected.
This is another example of foreign movie making. Here it’s a story of a crime drama based from evens almost four decades ago. It keeps one intrigued: a story about an abduction and it continues over a long period of time with consistent taunts from the abductor and wrong leads. The story does have an interesting element where a spiritual guide is ‘hired’ to help solve the crime. I’m sure there have been movies before about spiritual people who try to predict or sense where the victim is or where the criminal is. However very rarely is it a case when a real-life situation is depicted. I’m normally one who doesn’t believe in psychic powers but when I see all this on screen, and I know this is based on true events, I’m tempted to believe in it.
I will say that most films about using sorcery or psychic powers to solve a crime often come off as corny. This one didn’t. It did things right in showing the fortune teller’s purpose without the story becoming idiotic. It also kept the family of Eun-Joo in the story as it added to the drama and gave it a human sense. However the biggest glitch in the movie was the ending. I felt for a crime story full of drama, it ended too soft and mushy. I know it was to show the friendship between the fortune teller and the detective that occurs at the end but still I felt it became mush in the end.
Kwak Kyung-Taek did a good job as a director and co-writer. He’s one director with a big reputation in South Korea creating a lot of popular films. This should add to his resume. However I don’t see it getting too much release elsewhere. Kim Yoon-Seok did a good job as Gong despite not having a spectacular role. Yoo hae-Jin was also good as Kim and even stole a few scenes. The actors playing the family of Eun-Joo were also good. The role of the villain however was underdeveloped.
I will admit that I had expectations on this film. I read in the VIFF guide about how the politics of the time were included in the film. I was anticipated it would represent the politics of the time the same way Nameless Gangster did. It wasn’t to representative. Maybe I shouldn’t have placed that expectation on it.
There are many foreign films that made their international debut at the VIFF. The South Korean crime thriller The Classified File was one of them. It was a good, albeit imperfect, drama.
I was watching the latest React video on Youtube from the Fine Bros’ various React shows: Teens React To Hot Problems. Actually first I paused the video after ten seconds so I can hear Hot Problems for myself. As I was listening to the intro of that video which will soon hit 30 million views, I noticed that the number of dislikes was more than 90% of the likes. That had me wondering. Then I heard it for myself. It was so dreadful I had enough after two minutes. I could not blame the teens that were irritated with it. Then the song grew on me: I actually liked it because of how awful it was. I’m sure I’m not alone, but why does this happen?
I’ll admit there are times when our society is charmed by things that are downright awful. Possibly the reason why we have a term called ‘guilty pleasure’. I’m sure it has existed since the beginning of time. We should remember that there was such thing as B-movies when movies started coming out. Some of the best of the worst came either during the 30’s or the 50’s. It was movies people loved because of its awfulness. I’m sure B-movies continued in the 60’s but who remembers those?
Then came the 70’s. This was the decade when awful really started to take off. B-movies became ‘cult films’ with all sorts of blood, gore, exploitation and purposely-bad acting. There was also the raunchy Rocky Horror Picture Show: a musical where the house of Frankenstein meets the sexual revolution that made no real sense. TV also had its variety of bad taste to offer too. Remember the $1.98 Beauty Show and The Gong Show? Yeah, I especially remember the latter. Even now I love watching clips of old Gong Show acts on Youtube. It’s my guilty pleasure.
Awful had a bit of a lull in the 80’s or 90’s but there was the occasional hit that was loved for its awfulness, like the infantile man/boy Pee-Wee Herman or the sitcom Married With Children. Those who saw Married With Children would remember it for its awful episodes, awfully acted superstock-like characters and very off writing as much as it was for its raunchiness. Nevertheless it was all those factors why people loved it. On the opposite side, there was Saved By The Bell: a Disney Channel show that found its way on NBC in 1989. Its lame writings, characters and over-the-top cutesy scenarios were eaten up by young teens and preteens and help pave the way for many fluffy sugar-coated Disney Channel shows that have become phenomenons in the past 7 years.
However it seems like in the 21st Century, bad taste and awful have aimed to become either legendary or competitive, or both. It seems like in a multimedia world we live in that has so much to offer, one has to stand out above the rest. That even includes performances of bad and terrible. And it’s produced some legends too along the way. I don’t know the first 21st Century instance of bad being catchy but I assume it’s the 2003 movie The Room. It’s so bad it earned its own Rocky Horror like following. The difference being Rocky Horror was basically bad acting and bad writing done professionally. The Room is just completely amateurish from the acting to the writing to the stunts to the cinematography. I can’t see a single trace of professionalism in it. Nevertheless it was The Room’s pathetic awfulness that garnered its cult following.
2004 would see the temporary stardom of non-singer William Hung; the right no-talent at the right time. He arrived right while the nation was so fixated on American Idol shelling out the next big thing in pop music with contestants groomed and dressed to perfection and voices pitch perfect. Hung didn’t have the look at all and he sounded dreadful with his version of Ricky Martin’s She Bangs. But his horrid audition was catchy enough for him to garner a fan following including the release of a disc tiled Inspiration and numerous talk show appearances. Weird how a singer could become so famous for their awfulness and imperfections. Today William is out of music altogether and now works for the LA County Sherriff’s Department.
Then along came this thing called Youtube in 2005. Youtube went from being a channel that simply showed home movies to also changing the fame game. People could become famous for simply saying things like “Leave Britney alone,” or “Charlie bit my finger.” It was a place musicians can play their own music which would pave the way for the popularity of Chocolate Rain. It was also where a teenager could become hugely famous for a hyperactive 6 year-old character named Fred.
Youtube was also seen as a domain for professional skilled musicians to show their stuff and hopefully get their big break. It worked for launching the careers of recent teen phenoms like Justin Bieber and Cody Simpson. It also allowed a 13 year-old girl named Rebecca Black perform a song called Friday. Tailor-made by an amateur music producer with a $5000 promise to her parents it would make her a star, it was done with cheesy lyrics, Rebecca Black singing either monotoned, nasally or to auto-tune, and the producer rapping. The song was placed on Youtube back in February of 2011 and has received 31,000,000 hits so far and 810,000 ‘thumbs’: almost 80% are dislikes. It worked to propel Rebecca to fame but the kind of fame with a lot of ridicule. Yet its awfulness also started a huge following with a lot of satire videos to follow. A lot of people will admit the awfulness was catchy. Even Lady Gaga thinks Rebecca Black is a genius.
Now 2012 brings a new chapter to awful entertainment and yes, it’s courtesy of Youtube. Two California high school girls going by the name of Double Take recorded a song entitled Hot Problems about the problems girls that are labeled ‘hot’ go through and had the video placed on the OldBaileyProductions channel on April 15th. Since then the song has gone viral to the point it has already received 12,000,000 hits. The reactions are mostly negative as the song has received over 520,000 dislikes and not even 40,000 likes. It even has many people comparing the song to Friday in terms of its awfulness. It has cheesy lyrics and the singing of the two girls sound like they don’t have a hint of skill or unison. Yes, it too has had its own spoof videos too. Some are even calling it the ‘worst song ever’. Didn’t they say the same thing about Friday last year?
All parties involved in this have responded to the feedback from the song. OldBaileyProductions responded saying they have nothing to do with the song and that they created the video as a favor for a sibling of a friend. The two girls of Double Take, Drew Garrett and Lauren Willey, also responded to the feedback to their ‘masterpiece of maladroit’. They admit they were not good singers and that they were just simply ‘talk-singing’. They also said they made the video to simply have something funny for their friends and didn’t mean anything from it. Hey, at least they’re not desperate for fame the way Rebecca Black and her parents were. Also unlike Rebecca Black, they’re brushing all negative criticism aside. They are heading to college with career plans for real careers but they do admit that they’re ‘open’ to careers as songwriters. Also they admit they don’t consider themselves ‘hot’.
Nevertheless it’s a surprise how another awful song or awful act gets a following. I’m sure that in this Youtube world, there will be more to come. Who knows? Maybe next year we might have a new ‘worst song ever’. You gotta love this planet.
“’Hot Problems’ Dubbed Worst Song Of The Year.” ABC News.go.com. 2012. ABC News. 20 April 2012. <http://abcnews.go.com/blogs/entertainment/2012/04/hot-problems-dubbed-worst-song-of-the-year/>