1966 was in many way a defining year in the history of Eurovision. The year before, a modern pop song had won for the first time and now quite a few countries decided to hop on that same train. Among them a group of countries that had previously sent in traditional, old-fashioned and clean-cut entries: Finland, Portugal, Switzerland... and Belgium.
(Amusing, then, that the great pop nation in Europe - the United Kingdom - would not join the pop squad until a year later, in 1967.)
The Belgian entry was not only more lively and youthful than their previous attempts, it was also unusual in the way that French speaking Wallonia was represented by a Flemish singer (performing in French, although she also recorded her entry in Dutch as "Een beetje suiker").
The most enchanting (pun intended) lyrics, possibly inspired by pop classic "Love Potion no 9", were also regarded by many as a breath of fresh air.
Given the usual Belgian track record in Eurovision, a fourth place is not to be sniffed at. Tonia would later almost come back to Eurovision after placing second in the 1973 German final, before her career faded in the early 80's.
Tonia - Un peu de poivre, un peu de sel (Belgium 1966)
Friday, September 30, 2011
Thursday, September 29, 2011
Song Of The Day: Portugal 2005
In 2005, news were scarce concerning Portugal's entry. There had been no announcement for any public national final, but it had been made clear that the winner of Operação Triunfo would not represent Portugal in Kyiv.
In the end an internal selection was made, and the song "Amar" was presented to the audience at a rather late stage.
Performed by temporary duo 2B - consisting of Luciana Abreu and Rui Drumond (both of talent show fame) - it sounded a lot more modern than anything Portugal had sent into competition for many years. Catchy, driven by drum beats and with a chorus in English that was easy to sing along with, it looked like the Portuguese entry could stand a chance of qualification.
2B - Amar (Portugal 2005 preview)
In Kyiv, however, the whole thing fell to pieces with a real let-down of a presentation where a busy dance routine got in the way of the singing. Also, the duet seemed to lack in balance between Luciana and Rui.
Despite scoring no less than three 12-pointers, "Amar" ended in 17th place and did not qualify for the final.
But now everything was pointing in the right direction. Even Portugal could shake up a pop song if needed.
And Rui Drumond is not a bad performer at all. He'd be very welcome back to Eurovision with a more polished performance and a number that allows him more personal space.
2B - Amar (Portugal 2005)
In the end an internal selection was made, and the song "Amar" was presented to the audience at a rather late stage.
Performed by temporary duo 2B - consisting of Luciana Abreu and Rui Drumond (both of talent show fame) - it sounded a lot more modern than anything Portugal had sent into competition for many years. Catchy, driven by drum beats and with a chorus in English that was easy to sing along with, it looked like the Portuguese entry could stand a chance of qualification.
2B - Amar (Portugal 2005 preview)
In Kyiv, however, the whole thing fell to pieces with a real let-down of a presentation where a busy dance routine got in the way of the singing. Also, the duet seemed to lack in balance between Luciana and Rui.
Despite scoring no less than three 12-pointers, "Amar" ended in 17th place and did not qualify for the final.
But now everything was pointing in the right direction. Even Portugal could shake up a pop song if needed.
And Rui Drumond is not a bad performer at all. He'd be very welcome back to Eurovision with a more polished performance and a number that allows him more personal space.
2B - Amar (Portugal 2005)
A Life In The Margin
Through the history of the Eurovision Song Contest, it has in no way been easy to find yourself in the outskirts of the competing body. In the outskirts of the Eurovision mainstream.
When you find yourself a bit on the outside, it can be hard to pick up the current trends. It can be hard to translate these trends into something the others will appreciate.
Actually, you run a great risk of sending in something you yourself find cool, fun and entertaining, only to find everyone else thinks it's ridiculous.
Through the years, these countries have been the ones also in the physical margin. The ones way out on the edge. Like Yugoslavia. Or Finland. Norway. Portugal. Turkey.
And Austria.
The Austrian case is more surprising than the others. Austria is culturally in central Europe and very much a part of the German cultural sphere. Not that Germany ever was the proudest nation in the contest, but still.
Austria often got a bit introvert, admittedly, but even when they tried to be hip and happening it never took off for them.
Like in 1983, when they sent in a cute little song, complete with a dance routine and everything you could ask for. Here we go, said Austria. Hmmm, said Europe, and responded with a luke warm ninth place out of twenty songs.
It is not easy to lead a life in the margin and not feel appreciated. I hope now that Austria came back after four years away, they will feel more appreciated than before.
Westend - Hurricane (Austria 1983)
When you find yourself a bit on the outside, it can be hard to pick up the current trends. It can be hard to translate these trends into something the others will appreciate.
Actually, you run a great risk of sending in something you yourself find cool, fun and entertaining, only to find everyone else thinks it's ridiculous.
Through the years, these countries have been the ones also in the physical margin. The ones way out on the edge. Like Yugoslavia. Or Finland. Norway. Portugal. Turkey.
And Austria.
The Austrian case is more surprising than the others. Austria is culturally in central Europe and very much a part of the German cultural sphere. Not that Germany ever was the proudest nation in the contest, but still.
Austria often got a bit introvert, admittedly, but even when they tried to be hip and happening it never took off for them.
Like in 1983, when they sent in a cute little song, complete with a dance routine and everything you could ask for. Here we go, said Austria. Hmmm, said Europe, and responded with a luke warm ninth place out of twenty songs.
It is not easy to lead a life in the margin and not feel appreciated. I hope now that Austria came back after four years away, they will feel more appreciated than before.
Westend - Hurricane (Austria 1983)
Tuesday, September 20, 2011
Song Of The Day: Germany 1984
You can ask singers what would be the ideal way of warming up for an event like the Eurovision Song Contest and you would get very different answers. Some might want peace and quiet, some might like time with their vocal coach, some might need to sleep extra much, some might need to excercise to get the surplus energy out of the system.
However, I doubt very much that anyone's favourite way of spending the day leading up to Eurovision having your love life falling apart in a very public way, receiving very bad personal news in a matter of hours before the live show.
That is what happened to Mary Roos at her ESC comeback, twelve years after scoring a third place in 1972.
Suddenly, the well crafted lyrics - dealing with how to survive a painful separation with your dignity in tact - came a little bit too close and on the night Mary's voice came close to cracking a few times.
The juries probably thought it was a shame that she didn't sing as well as in rehearsals, leaving her in an insultingly pale shared 13th place. For me, the sudden emotion makes the performance even better, even braver, even more gripping.
Today, Mary is still a very loved singer in Germany. She deserves every single drop of love she can get.
Mary Roos - Aufrecht geh'n (Germany 1984)
However, I doubt very much that anyone's favourite way of spending the day leading up to Eurovision having your love life falling apart in a very public way, receiving very bad personal news in a matter of hours before the live show.
That is what happened to Mary Roos at her ESC comeback, twelve years after scoring a third place in 1972.
Suddenly, the well crafted lyrics - dealing with how to survive a painful separation with your dignity in tact - came a little bit too close and on the night Mary's voice came close to cracking a few times.
The juries probably thought it was a shame that she didn't sing as well as in rehearsals, leaving her in an insultingly pale shared 13th place. For me, the sudden emotion makes the performance even better, even braver, even more gripping.
Today, Mary is still a very loved singer in Germany. She deserves every single drop of love she can get.
Mary Roos - Aufrecht geh'n (Germany 1984)
ESC Rejects: Slovenia 2004
Slovenia is one of my personal darlings in Eurovision. Despite their almost perpetual problem of getting their acts together on stage. Not to mention their inability to select the best entry out of their national line-up.
Like in 2004, when they had funny and flirtatious Natalija Verboten with a catchy little pop song, complete with choreography and all.
What the Slovenians couldn't know in advance was how different this one would have sounded compared to most other things a couple of months later in Istanbul. What anyone who ever heard about ears as a concept should be able to hear is how much better it is than Platin.
Platin was the clean-cut slow-disco duo that won the ticket in the end, with a song so harmless it would make a hedgehog on valium look like a rageing beast in comparison. The musical equivalent of a black hole. A void disguised as a love duet.
How anyone could think for a second that it would be a sensible choice for the ESC is beyond me.
Natalija and her song are most divisive (lots of people love it, lots of people loathe it) but it would surely not have left the televoters anywhere near as indifferent as Platin did.
Natalija Verboten - Cry On My Shoulder (Slovenia NF 2004)
Like in 2004, when they had funny and flirtatious Natalija Verboten with a catchy little pop song, complete with choreography and all.
What the Slovenians couldn't know in advance was how different this one would have sounded compared to most other things a couple of months later in Istanbul. What anyone who ever heard about ears as a concept should be able to hear is how much better it is than Platin.
Platin was the clean-cut slow-disco duo that won the ticket in the end, with a song so harmless it would make a hedgehog on valium look like a rageing beast in comparison. The musical equivalent of a black hole. A void disguised as a love duet.
How anyone could think for a second that it would be a sensible choice for the ESC is beyond me.
Natalija and her song are most divisive (lots of people love it, lots of people loathe it) but it would surely not have left the televoters anywhere near as indifferent as Platin did.
Natalija Verboten - Cry On My Shoulder (Slovenia NF 2004)
Monday, September 19, 2011
Song Of The Day: Turkey 1981
Many people have, through the years, sung songs about life and love being much like a merry-go-round. In that sense, this song is nothing unusual.
During the late 70's and early 80's, many countries contributed disco songs with disco strings for Eurovision. Nothing unusal there either.
The disco songs were often performed by a goodlooking woman, which is also the case here.
What makes this one stand out is that pretty Aysegül have been paired up with three men that don't stike me as typical disco regulars in any way. (Not that they can't handle the choreography. Looks can decieve.)
Also, most disco hits were depending heavily on some kind of hook or catchy chorus. This song has nothing of the kind. It is pleasant and trots along, but it is not the kind of merry-go-round that will leave you breathless and exhausted.
So the juries went for a much more energetic ride called Bucks Fizz and left the disco Turks in second last place with only nine points.
Modern Folk Trio & Aysegül - Dönme dolap (Turkey 1981)
During the late 70's and early 80's, many countries contributed disco songs with disco strings for Eurovision. Nothing unusal there either.
The disco songs were often performed by a goodlooking woman, which is also the case here.
What makes this one stand out is that pretty Aysegül have been paired up with three men that don't stike me as typical disco regulars in any way. (Not that they can't handle the choreography. Looks can decieve.)
Also, most disco hits were depending heavily on some kind of hook or catchy chorus. This song has nothing of the kind. It is pleasant and trots along, but it is not the kind of merry-go-round that will leave you breathless and exhausted.
So the juries went for a much more energetic ride called Bucks Fizz and left the disco Turks in second last place with only nine points.
Modern Folk Trio & Aysegül - Dönme dolap (Turkey 1981)
Sunday, September 18, 2011
Song Of The Day: Belgium 1983
Belgium has never been a particularly strong eurovision contender, regardless of language, regardless what part of the country had selected the song.
Wallonia has scored a number of top five placings including a victory, while Flanders never scored better than a sixth place.
When seeing an entry like the 1983 Flemish offering, then you sort of understand why.
It was selected by a panel of experts, and the final verdict enraged the audience to the point that it was almost impossible to run the winner's reprise due to all the booing.
If you think I am going to say it deserved to crash and burn like it did in Munich, then you don't know me too well. I find this brave, experimental, punky and radical. Refreshing, different. Complete with the shortest set of lyrics ever heard at the ESC until then.
In short, a find this to be a brave and interesting little masterpiece with frenetic drums and horns.
I'm just saying I sort of understand how it failed to score much with the juries.
Pas de Deux - Rendez-vous (Belgium 1983)
Wallonia has scored a number of top five placings including a victory, while Flanders never scored better than a sixth place.
When seeing an entry like the 1983 Flemish offering, then you sort of understand why.
It was selected by a panel of experts, and the final verdict enraged the audience to the point that it was almost impossible to run the winner's reprise due to all the booing.
If you think I am going to say it deserved to crash and burn like it did in Munich, then you don't know me too well. I find this brave, experimental, punky and radical. Refreshing, different. Complete with the shortest set of lyrics ever heard at the ESC until then.
In short, a find this to be a brave and interesting little masterpiece with frenetic drums and horns.
I'm just saying I sort of understand how it failed to score much with the juries.
Pas de Deux - Rendez-vous (Belgium 1983)
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