Runner-up: Russia 2000

The 90's weren't really a golden age for Russia at Eurovision. Not because their entries were bad - Youddiph and Alla Pugacheva were brilliant - but because nobody took them really seriously and they didn't seem to be able to play the game.

Especially not when in 1999, reportedly, Russia had to sit out since none of the two broadcasters taking turns to provide the entry had read the rule than any country wishing to take part in one year had to carry a live broadcast of the contest before. None of the channels had shown the 1998 contest and Russia found itself ineligible.

It was time for Russia to step up and show they could be modern, relevant, accessible, hip and a real contender in pop culture. They decide the right person to do this would be an emerging starlet named Alsou. She was only 16, but very up-and-coming and was given a song by international songwriters.

Not only did Alsou go down a storm in Stockholm, her presence would also mean a lot for the future of Eurovision in Russia. Her entry soon became the best selling single of all time in Russia, later knocked off its throne by another Alsou track where she sang in duet with Enrique Iglesias.

Nine years later, Alsou would make a dignified comeback to the ESC spotlight as a warm, charming and most competent host of the 2009 final hosted in Moscow.

A deserved 2nd place?
Absolutely. Pushing things forward in a most positive way, it also helped establishing a much more positive idea about Russia among the people watching the contest. A positive image that unfortunately has been largely shattered in recent times.



Alsou - Solo (Russia 2000)

Nobody's favourite but mine, part 5

While making this series it seems one country pops up more often than most and that is Austria. I would perhaps not go as far as naming them my favourite country in Eurovision but few others have done so much for the diversity of the contest and few others have been so constantly ignored or misunderstood as the Austrians.

I often find myself liking Austrian entries more than most people do - at least judging from the not always too impressive scores they gather during the voting sequences - so because of that and in honour of their magnificent Conchita Wurst, who takes to the stage tonight, this is a special edition focusing fully on Austrian entries. And I had to make them ten instead of five…



The Milestones - Falter im Wind (Austria 1972)

So let's start from the top with my all time favourite Austrian entry. The Milestones were the second pop group ever to enter the eurovision stage and added an interesting touch to a contest formerly reserved for solo singers or love duets. The song is also highly personable with a long melodic build-up - and a hook that is played on a flute rather than sung - and when the chorus finally kicks in it is short and snappy and a surprisingly fulfilling climax. Douze points at any given time.



Karel Gott - Tausend Fenster (Austria 1968)

Austria was never afraid to speak their minds or make statements in this apolitical song contest and already in early 1968 they decided to lend their spotlight to neighbour country Czechoslovakia and the slowly nascent Prague spring. Winner Udo Jürgens composed an urban lament, about the loneliness of modern man, for Czechoslovakia's own Sinatra Karel Gott. For some reason, he only scored two points and Udo Jürgens famously stormed out of the green room mid-voting.



The Rounder Girls - All For You (Austria 2000)

ORF in Vienna were never afraid to make statements about Austrian matters either. At least that must have been one of the contributing factors that they chose - at the height of the controversies surrounding Jörg Haider, giving Austria a bad name around Europe - these soul babes to represent them in Stockholm. Unfortunately they didn't quite nail the live performance in the end but this is such a lively, happy and bouncy number all the same.



Westend - Hurricane (Austria 1983)

Austrians can't just yodel, they can also dress in red and yellow and dance in a group. Most of the Westend members - with the notable exception of Gary Lux - aren't really all that impressive singers but do parts nicely and with the aid of that dancing girl they manage to work up quite a storm before the song is over. This one was always one of my big favourites from 1983. Catchy and fun.



Marianne Mendt - Musik (Austria 1971)

If the host broadcaster went through all that trouble to assemble an orchestra for the occasion you could just as well use it to the fullest. I doubt there is a single instrument that isn't put to use in this massive arrangement and Marianne can't be accused of holding back her vocal abilities either. Extra plus for singing in dialect, that always goes down well at Eurovision. Well, it doesn't but it should.



Schmetterlinge - Boom Boom Boomerang (Austria 1977)

There just is no way around this one. Deeply political and deeply engaged and still devilishly entertaining. I doubt no protest song was ever as fun as this one, virtually mocking the record industry in general and the Eurovision Song Contest in particular. The group also scared the living daylights out of the BBC producers as they had interrupted a live show on Austrian television the week before the London final and made a political statement instead of singing. Being part of both this as well as The Milestones also qualifies Beatrix Neundlinger as a Eurovision Goddess in my book.



Wilfried - Lisa Mona Lisa (Austria 1988)

People I know, good friends of mine, would argue this is the archetype of a nul-pointer, that it has every ingredient of a perfect recipe for disaster. I see what they mean but I must disagree. Perhaps this one would have been better off performed by someone else, but I find a depth and an emotion here. Something the juries apparently didn't. Blaming the defeat on politics was not a brilliant move either, but Wilfried is hardly the only zero-scorer to mess up like that.



Bettina Soriat - One Step (Austria 1997)

At first I must admit to finding this pretty hopeless and doomed but at some point I took a long hard look at the live performance and realised what a professional that Soriat woman is. The amount of punch and energy she manages to squeeze into these three minutes is truly impressive.



Blue Danube - Du bist Musik (Austria 1980)

Austrian television was never afraid to be deadly serious and send in poignant entries that actually mean something. But then they could get really tired of that and go for something like this instead: a big fluffy piece of nonsense with five people randomly namedropping famous composers and musical terminology all over the place just to make sure that somebody somewhere understands something. It is perfectly ridiculous but also really rather catchy. Group member Marty Brem would be back again already the next year with the sweet but confusingly staged Wenn Du da bist, featured already in Part 3 of this series.



Anita - Einfach weg (Austria 1984)

This could be a crash course in how to take a perfectly good song, rip it to shreds and crush every single chance it might have had of impressing anyone. If you just listen to it with your eyes closed you'll hear what a good song it is. Then you open your eyes to find that the woman who sings about being strong and independent and gone before you know it is a polite little flower in a pink dress, a sweet hairdo and not a drop of attitude anywhere. Add the dance orchestra background musicians and the stiff backing vocalists - again Gary Lux, not at his finest hour - and your song is doomed. Despite a very clear last place - 21 points behind Yugoslavia placed second last - it was a big hit on home ground and is still seen as a bit of a classic. Made for radio, so to speak.

Well, isn't that a lovely outfit?

Ever since I was a very young Tobson, I've been totally fascinated by this Eurovision Song Contest in so many different ways. It seems I'm never running out of new angles that make me love this show even more.

I like it for the uniting factor - one of few things that brings all of Europe together for a mutual activity. I like it for the music, obviously. Few things cheer me up like a good eurovision entry. And I love it for the positive political dimension, how it brings people closer and showcases new ideas and thoughts even to corners of the world where the governments would prefer as little enlightenment as possible.

But I also love the show elements, of course. And I'm never averse to a great outfit. So here - for your entertainment as you wait for this year's extravaganza to take off - I collected a non-exhaustive list of favourite outfits through the years.



Anne Karine Strøm - Mata Hari (Norway 1976)

What could be better than a little bit of gold? The correct answer must be: a whole lot of gold, preferably from head to toe. If you can match it with the biggest sunglasses you could possibly wear before your neck goes snap, then it's all for the better. Wonderful Anne Karine entered eurovision history as the only solo performer to end in last place twice - a complete disgrace.



Linda - No goodbyes (Netherlands 2000)

Must be so awkward when you check your calendar and realised you double booked and have to perform at Eurovision that very day you promised to go camping with your dancers? Linda went for a creative solution and decided to hit two birds with one stone and do both things at the same time. The best "look-what-I-hid-under-my-dress"-effect ever.



Youddiph - Vechni strannik (Russia 1994)

I love this creative red dress that allows the singer to change her appearance completely several times throughout her performance only by making some simple, tasteful movements. Understated, elegant and sophisticated.



Rita - Shara barechovot (Israel 1990)

I must admit to being a lover of colour and I think the smart black dress is just about the most boring option anyone could come up with on a eurovision stage. Black is safe and uncreative and I think the large audience watching you deserve more of an effort than that. But then there are the little black numbers you just can't refuse. Rita looks absolutely stunning and captivating. Mind you, she could probably wrap a towel or an old circus tent around her and still look stunning, but she really works this one to perfection. 18th place? Well done, juries.



Salomé - Vivo cantando (Spain 1969)

I never had the chance to ask her in person, but I am assuming that Salomé shares my point of view that  a stage outfit is something you design and craft specifically, not something you go out and buy in a shop. I'd like to see the shop selling this particular piece. Full of tassels and tiny stones - to weigh the tassels down and give them a life of their own - it weighs five kilos and would probably not qualify as a comfortable garment on any occasion. And that sort of makes it perfect for the stage.

Be brave, Danes!

Dear Denmark,

you are just about to select your entry for this year's Eurovision Song Contest. I must say you have done really well for the last few years, being last year's winner and this year's host country and all, so you hardly need any advice from anyone like me.

But still, I'd like to share some thoughts with you before your final starts. You see, you have meant so much for me through the years. Already as a very young fan, I singled out Denmark as one of the countries I liked almost without exception.

This was in the happy 80's where - admittedly - there was a distinct taste of plastic to most of your entries, but in the 80's we loved plastic. I loved you for it. I still do.

Lately, however. Last ten years or so. I don't know how to put this in a kind way, but as I consider us very close friends it is my duty to say it anyway, so here goes. Lately, your songs haven't meant a lot to me. They are nice and polished. Often catchy. Often pretty inoffensive too.

I wouldn't mind seeing a bit more of an edge, Denmark. Some real emotion. I'd like to see you go out on stage, pull a face, do something unexpected and run the risk of not being liked. I know you'd like to, I know you have it in you.

I know you have it in you, because many songs in your national finals through the years tell me that you do. Here are two examples - from the extravagantly fabulous Sanne Gottlieb - to inspire you, to convince you it can be done and show you that I am truly a friend and nothing else.

A friend who takes the liberty of expecting a little bit more from you.



Sanne Gottlieb - Uden dig (Denmark NF 2000)



Sanne Gottlieb - Tog jeg fejl? (Denmark NF 2001)

Absent friend: Turkey

When I was child and fell in love with this weird, wild and wonderful contest I quickly realised it was truly those weird and wild things that made the whole thing wonderful.

So how could I not love the Turkish entries? They didn't sound like anyone else, they didn't look like anyone else. Not even their flag looked like the others - so colourful, so stylish. They hardly ever scored any substantial amount of points, but that was less important.

Their whole joie de vivre attacked me and walked hand in hand with me through Euroland. How I loved the Turkish entries.



Seyyal Taner & Grup Lokomotif - Sarkim sevgi üstüne (Turkey 1987)

Ten years ago, Turkey took a radical turn and re-invented themselves in the ESC. Superstar Sertab Erener seduced the entire continent and the eternal loser blossomed into a success story. Cinderella got her prince and would never turn back again.



Sertab Erener - Everyway That I Can (Turkey 2003)

Since then most Turkish entries ended in the top ten, four of which even made the top four. Most impressive. Then suddenly - without a word of warning - Turkish tv decided to pull out of the competition, giving some really dodgy and sketchy excuses about the rules being unfair and them not wanting to be a part of this.

At first, I thought there was a hurt ego somewhere in the middle of this story. Turkey is a fast-growing economy that seeks financial and political influence in its region, and I thought maybe they would want to be treated like royalty also at the ESC. Why would they want to find themselves below the likes of France, Germany or Spain in this contest?

But then I spoke to some Turkish friends - good, intelligent and perceptive people - who suggested more sinister reasons for their country's absence.

Despite being a secular country, the current Turkish government has a mildly Islamist agenda. Knowing this, you can note that the country has not sent any female representative since 2009 despite that particular female gaining a good result.

My friends suspect that phasing out women was the first step, phasing out western cultural from the state television would be the next. I'm not saying this is the one and only truth, but this what my friends suggested and it got me thinking. If this is the case, we would probably have to wait quite a long time until we see another Turkish entry in this competition.

So in order to how my say in this matter, I decided to phase in a number of feisty and fabulous females made in Turkey. They rock. May they be back soon.



Ajda Pekkan - Petr'oil (Turkey 1980)



Klips ve Onlar - Halley (Turkey 1986)



Pan - Bana Bana (Turkey 1989)



Şebnem Paker - Dinle (Turkey 1997)



Pinar Ayhan & S.O.S - Yorgunum anla (Turkey 2000)



Sibel Tüzün - Süperstar (Turkey 2006)

PS! Just to be crystal clear - if anyone is in doubt - this is not a text against neither Turkey nor TRT. I hope for them to be back. And if anyone can add anything to this discussion - please leave a comment. DS.

Estonia - I Love You

When Estonia debuted in Eurovision, I (and most of my fellow countrymen in Sweden) mainly thought of them as a financially poor country that we sent massive amounts of charity. Geographically close but culturally distant.

Maybe their first attempt didn't change much in how most Swedes percieved them, but Silvi Vrait stroke a chord with me and a very special relationship developed between me and Estonian eurosongs. A relationship that would, in its own little way, change my life radically.

Silvi sang her heart out but only scored a mere two points, but she and her song are fantastic in my book.



Silvi Vrait - Nagu merelaine (Estonia 1994)

Two years later, Estonia would be back with a new conviction and I was to see my first Eurovision live in Oslo. My Estonian neighbour in Västerås hand-painted an Estonian flag for me as my favourite was "Kaelakee hääl", the remarkably catchy little duet about placing your voice inside a necklace so somebody can carry it with him/her into the world.




Ivo Linna & Maarja - Kaelakee hääl (Estonia 1996 preview)

In Jerusalem in 1999, I thought it could be time for the first Estonian victory - I predicted that had it been the turn of a ballad, it had to be Evelin Samuel to take the title. I was not entirely wrong - she got sixth place and was the best placed ballad on the night.



Evelin Samuel & Camille - Diamond Of Night (Estonia 1999 preview)

The life-changing thing, then? When Estonia finally won and hosted the contest in 2002, I made friends with the Finnish delegation which, in addition to many other things, lead to me changing countries and moving to Finland.

So I have many reasons to love Estonia. Producing a pop star like Ines is just one of them.



Ines - Once In A Lifetime (Estonia 2000)

Israel 2012: did Izabo's song leak before Time?

A modern problem is that songs with an embargo keep leaking out before they are due to be heard. No less than three entries have leaked for this week's Swedish semi and a couple of days ago a song, claimed to be the 2012 Israeli entry, was made available on YouTube.

It seems to be the right group, it seems to be the right title, but there has been no statement from Israeli television - none that I am aware of anyway.

So, if it is the right song, it sounds like this.



Izabo - Time (Israel 2012)

I, for one, hope this is the right one. Funky, funny, bold and daring. Like the illigimate love child of Kaveret/Poogy and Ping Pong.



Kaveret (Poogy) - Natati la khaiai (Israel 1974)



Ping Pong - Sameach (Israel 2000)

Israel is often at its best when being a bit controversial. Izabo clearly seems to be a good way to go. I won't promise it is a sure qualifyer, but it is an entry to be proud of.

ESC reject: Gina de Wit

Gina de Wit had her first real break when she won the 1986 Soundmixshow - the Dutch tv format where people try to sing like famous performers. Gina sang like Linda Ronstadt and convinced the juries she was the best in the running.

She then had a stab at establishing herself in her own right, she took part in several Dutch national finals for Eurovision and also wrote one of the songs for Ruth Jacott's private national final in 1993.

In 1996, she was one of five acts in the (not too star-packed) Dutch final and this time she managed to get really close to victory. In the end Maxine & Franklin Brown were stronger, but I have a tingling little feeling that Gina's song could have been quite a good choice as well.



Gina de Wit - De wereld is van jou (Netherlands 1996 national final)

She tried again four years later and would, for certain, have made a lousier choice for Stockholm. That year turned out to be a very strong, contemporary and dynamic line-up where this kind of old-fashioned ballad had been bound for the bottom placings.

But at least she was the first person to ever sing a song in Frisian language in a Dutch final and that must be worth something as well.



Gina de Wit - Hjir is it begin (Netherlands 2000 national final)

Tobson's Winners: 1996 - 2000

And then, unexpectedly, the contest started gaining in popularity again. Entries started finding their way back into the charts, more people watched, and Eurovision suddenly seemed capable of launching careers again.

Behind the scenes, this should have not been a greater surprise to anyone as some EBU members, Germany above all, decided to have a final stab at the old event before abandoning it for good.

We will never know how close it was that the ESC was discontinued in the mid 90's. 1995 would have been a logical last year - celebrate the 40th anniversary and then let the old ship sink.

But the ESC was destined to go on. And now the only way was up.

1996 - Estonia



Maarja-Liis Ilus & Ivo Linna - Kaelakee hääl (Estonia 1996)

It was very exciting times, when a small ex-Soviet republic with no reputation in the world and rather a different language suddenly found itself one of the top favourites for victory.

It didn't win, but it beat the big hot favourite, Gina G from the UK, and it was recorded in a few cover versions around the continent. All in all a very pleasant little package, most sympathetic and very easy to like.

And I'm still hoping for Maarja's grand retun to the Eurovision stage, to better her fifth place.

Real winner:
Eimear Quinn - The Voice (Ireland)


1997 - Iceland



Paul Oscar - Minn hinsti dans (Iceland 1997)

1997 is not only a very strong year. It was like waking up from a long sleep - after so many years of slowly collapsing, the ESC came on like a flash out of the dark.

Suddenly there were pop song, modern rhythms, thought-through stage acts, songs with hit potential... And the epitome of this new world was the entry of Iceland. Modern, provocative and knocked out over a white leather sofa.

Pretty tame compared to many of the acts that were to follow, but back in the day Paul Oscar walked in like a one-man-version of the French revolution. Even if I love many of the entries of 1997 with a deep passion, nothing quite sums up the esprit of the year like this number.

Also, far too much for the juries, but embraced by the televoters. The next year, the juries would be gone. Not a minute too soon.

Real winner:
Katrina & The Waves - Love Shine A Light


1998 - Croatia



Danijela - Neka mi ne svane (Croatia 1998)

1998 saw the grand exit of the juries - and the grand introduction of televoting. That, plus the relative success of some more television-friendly performances the year before, lead to a line-up including quite a few really strong songs.

Some things proved too difficult for the televoters to grasp on a first listening: the beautiful Slovakia waltz, the Polish pop and the Leonard Cohen-esque debut entry of FYR Macedonia, for instance.

The winner was the only credible choice, though. The only way to go. A colourful performer with an evident chorus, set to hit the charts. Maybe the UK could have pulled the same thing off, possibly Dutch Edsilia could have achieved something.

But the one for me is Danijela and her mega-chorus, dramatic verse and huge key change. One of the few songs that can make me see the point of having the orchestra, which was about to vanish as well.

Real winner:
Dana International - Diva (Israel)


1999 - Estonia



Evelin Samuel & Camille - Diamond Of Night

At the time, I favoured the likes of Cyprus and Croatia, with Selma from Iceland as my sky-high favourite. Unfortunately, the Cypriot chick couldn't carry her tune, and Selma's song aged badly.

Croatia is still a real party song, but it is the Estonian ballad that really does it for me. Sweet, enchanting and spellbindning.

By far, my favourite violin through eurovision history.

Real winner:
Charlotte Nilsson - Take Me To Your Heaven (Sweden)


2000 - Turkey



Pinar Ayhan & The SOS - Yorgunum anla (Turkey 2000)

I must admit that Sweden's victory in 1999 didn't enthuse me - it was something old-fashioned at a time when eurovision needed modern and forward.

But Sweden gave us forward and modern in 2000, when playing host, offering the real start of the ESC the way we see it today. Modern, fast-moving, progressive. And, as a lucky break, most countries played ball and sent in great entries.

Russia, Estonia and Latvia all fulfilled the youthful pop vibe, Denmark the more mature pop vibe and most of the others provided entertainment value aplenty.

But the quirky tune from Turkey is my song. A song to belt out in the shower or dance along to on the tram as it plays in your headphones. A song to love.

In a world that was fair, Pinar Ayhan would be a super star. But Turkey still had some way to go before they would conquer the ESC.

Real winner:
Olsen Brother - Fly On The Wings Of Love