Twenty-four countries have rehearsed in Malmö and - perhaps due to the low amount of real action on location as yet - quite a few big words are getting thrown around already about who could be the surprise winner in the end.
That's all good and adds to the fun. But it's still very early days. We know nothing.
The reason for us knowing nothing is of course the nifty invention of the semi finals. Ever since they came in to place, early predictions have been even more of a shot in the dark than they used to be.
The semi finals are like a major earthquake, figuratively speaking. Once they are over, the whole landscape will have changed and everything will look differently.
Some songs, looking strong in their semi finals, will inevitably have their feathers ruffled. They might make it to the final but will no longer be regarded favourites.
Some other songs might very narrowly scrape into the top ten of their respective semi finals but will, placed in their new environment, gain new energy and find themselves with a whole new potential.
Every year we find songs who are named potential winners during early rehearsals that, once the semis are over and done with, find themselves further down the scoreboard.
So keep predicting, keep celebrating and keep criticising. It makes the wait for the tv-shows so much easier to take. But final predictions made before May 17th are pretty feather-weight.
Wednesday, May 8, 2013
Absent friend: Morocco
Only once did an entry from Morocco grace the Eurovision stage: in 1980, Samira Bensaïd sang about peace, love and understanding in Arabic and was rewarded seven points and a second last place.
Samira Bensaïd - Bitaqat hub (Morocco 1980)
Many things have been said about this one-off participation: that Morocco took the opportunity to participate a year when Israel sent no representative, that it was the Moroccan king that decided for his country to withdraw after the poor showing in The Hague.
What we do know is that the singer moved to Egypt and went on to achieve significant stardom all over the Arab world under the name Samira Said. Not only an admired singer, she has also promoted HIV/AIDS awareness as well as inter-religious understanding and co-operation.
In these times when the muslim countries of northern Africa undergo radical changes in many areas of society, I think it could be a good idea for them to turn their eyes towards Eurovision again.
Of course there are many more urgent, truly important matters for them to deal with. But out of the unimportant matters I think ESC participation could be an important factor, for many reasons.
It wouldn't be a bad thing if these countries felt close to Europe and it wouldn't be a bad thing if they felt Europe took an interest back and embraced their presence. They would have a chance to show their culture, their performers and their mere presence on the most popular tv show in Europe and they would be an active part of this important cultural manifestation.
It would also be a good opportunity for these countries to meet Israel in a friendly competition, shake hands and realise it is nothing dangerous about singing a song in the same song contest as Israel.
Lebanon pulled out of the 2005 Eurovision Song Contest because they could "not guarantee" that they would show the Israeli entry in their broadcast. This is where the EBU could step in, actively invite the tv companies of northern Africa and the Middle East and help build bridges. A small but not important step, if so.
I'm sure Samira Said would agree that this would be a good thing. Make it happen!
Aline Lahoud - Quand tout s'enfuit (Lebanon 2005 withdrawn)
Samira Bensaïd - Bitaqat hub (Morocco 1980)
Many things have been said about this one-off participation: that Morocco took the opportunity to participate a year when Israel sent no representative, that it was the Moroccan king that decided for his country to withdraw after the poor showing in The Hague.
What we do know is that the singer moved to Egypt and went on to achieve significant stardom all over the Arab world under the name Samira Said. Not only an admired singer, she has also promoted HIV/AIDS awareness as well as inter-religious understanding and co-operation.
In these times when the muslim countries of northern Africa undergo radical changes in many areas of society, I think it could be a good idea for them to turn their eyes towards Eurovision again.
Of course there are many more urgent, truly important matters for them to deal with. But out of the unimportant matters I think ESC participation could be an important factor, for many reasons.
It wouldn't be a bad thing if these countries felt close to Europe and it wouldn't be a bad thing if they felt Europe took an interest back and embraced their presence. They would have a chance to show their culture, their performers and their mere presence on the most popular tv show in Europe and they would be an active part of this important cultural manifestation.
It would also be a good opportunity for these countries to meet Israel in a friendly competition, shake hands and realise it is nothing dangerous about singing a song in the same song contest as Israel.
Lebanon pulled out of the 2005 Eurovision Song Contest because they could "not guarantee" that they would show the Israeli entry in their broadcast. This is where the EBU could step in, actively invite the tv companies of northern Africa and the Middle East and help build bridges. A small but not important step, if so.
I'm sure Samira Said would agree that this would be a good thing. Make it happen!
Aline Lahoud - Quand tout s'enfuit (Lebanon 2005 withdrawn)
Tuesday, May 7, 2013
Semi 1: if I had to pick ten finalists now...
In one week from now, we will have the first semi final coming live from Malmö and by then I promise to make some sort of rather credible prediction what I really think will happen on the night.
But let's play a game now.
It's over a month since I started reviewing the songs, and I lived with them every since then. Some went up my list, some went down.
I haven't watched any footage from the Malmö rehearsals but I did read the odd review of what goes on and as usual opinions vary immensely as to who can sing and whose performance is good. Business as usual.
But I will select ten finalists now. It is not my final list, you will have that on Tuesday 14th. But if the final was held now and I had to predict, these are the ten songs that would make it to the final.
ESTONIA
Beautiful and endearing, very well sung and genuine on top of that. Clearly the best one of the classical female ballads in this semi, and the juries should prefer this to both Russia and Cyprus.
CROATIA
The competent piece of folklore that will appeal to a certain section of the audience. It will be completely overlooked in most predictions but will probably pick some solid average points in addition to the odd top mark.
DENMARK
People loves a drum, a tin whistle and a fragile elf caught in a wind machine. Denmark is a very obvious qualifier.
RUSSIA
There is probably no way around this insincere ballad monster. I think it will have less supporters than we expect - it will struggle to win most western juries over - and might end up with a surprisingly low score in the final.
UKRAINE
There seems to be a whole flock of question marks surrounding this live performance, but I don't worry much. Ukrainian entries are good even when they are bad and this year they are good. Surely a finalist.
NETHERLANDS
The quality grower of the year. It could perhaps struggle a bit in the semi but could very well be the Suus of the year in the final. A firm jury favourite. I'm not worried. Yet.
MONTENEGRO
Seems to have been impressive during the first rehearsals. This kind of song is very easy to mess up on stage, which makes it stressful and unaccessible for the viewers. If they avoid that, they will steal Slovenia's modern points and be a "surprise" qualifier.
MOLDOVA
Just like Ukraine, Moldova has this strange ability to make their songs work. This could be a tight race and the Moldovans could find themselves on tenth place in this semi. But a place in the final is not to be sniffed at.
IRELAND
Easy, straight-forward, contemporary with a charming young man who is easy on the eye. He's the first of his kind in this semi and the viewers will most probably reward that.
BELGIUM
Exactly the same formula as Ireland. Perhaps these boys are also both a bit wobbly and lacking a bit of experience and confidence. It can also work to their advantage and make them grow stronger. There will be points enough for both of them.
Then there are lots of possible scenarios. Cyprus could break through to the voters thanks to its favourable spot in the running order and take Estonia's place in the final. Montenegro will fall apart in the live show or the song will prove too demanding despite the elaborate stage appearance - then it opens up for Slovenia or perhaps Austria. And Serbia could very well whip up enough interest around the continent to narrowly enter the top ten and kick Moldova or somebody out.
I will ponder all these options for yet another week and on Thursday I will play this very game with the songs of the second semi.
And what are your ten finalists right now? Feel free to tell me in a comment.
But let's play a game now.
It's over a month since I started reviewing the songs, and I lived with them every since then. Some went up my list, some went down.
I haven't watched any footage from the Malmö rehearsals but I did read the odd review of what goes on and as usual opinions vary immensely as to who can sing and whose performance is good. Business as usual.
But I will select ten finalists now. It is not my final list, you will have that on Tuesday 14th. But if the final was held now and I had to predict, these are the ten songs that would make it to the final.
ESTONIA
Beautiful and endearing, very well sung and genuine on top of that. Clearly the best one of the classical female ballads in this semi, and the juries should prefer this to both Russia and Cyprus.
CROATIA
The competent piece of folklore that will appeal to a certain section of the audience. It will be completely overlooked in most predictions but will probably pick some solid average points in addition to the odd top mark.
DENMARK
People loves a drum, a tin whistle and a fragile elf caught in a wind machine. Denmark is a very obvious qualifier.
RUSSIA
There is probably no way around this insincere ballad monster. I think it will have less supporters than we expect - it will struggle to win most western juries over - and might end up with a surprisingly low score in the final.
UKRAINE
There seems to be a whole flock of question marks surrounding this live performance, but I don't worry much. Ukrainian entries are good even when they are bad and this year they are good. Surely a finalist.
NETHERLANDS
The quality grower of the year. It could perhaps struggle a bit in the semi but could very well be the Suus of the year in the final. A firm jury favourite. I'm not worried. Yet.
MONTENEGRO
Seems to have been impressive during the first rehearsals. This kind of song is very easy to mess up on stage, which makes it stressful and unaccessible for the viewers. If they avoid that, they will steal Slovenia's modern points and be a "surprise" qualifier.
MOLDOVA
Just like Ukraine, Moldova has this strange ability to make their songs work. This could be a tight race and the Moldovans could find themselves on tenth place in this semi. But a place in the final is not to be sniffed at.
IRELAND
Easy, straight-forward, contemporary with a charming young man who is easy on the eye. He's the first of his kind in this semi and the viewers will most probably reward that.
BELGIUM
Exactly the same formula as Ireland. Perhaps these boys are also both a bit wobbly and lacking a bit of experience and confidence. It can also work to their advantage and make them grow stronger. There will be points enough for both of them.
Then there are lots of possible scenarios. Cyprus could break through to the voters thanks to its favourable spot in the running order and take Estonia's place in the final. Montenegro will fall apart in the live show or the song will prove too demanding despite the elaborate stage appearance - then it opens up for Slovenia or perhaps Austria. And Serbia could very well whip up enough interest around the continent to narrowly enter the top ten and kick Moldova or somebody out.
I will ponder all these options for yet another week and on Thursday I will play this very game with the songs of the second semi.
And what are your ten finalists right now? Feel free to tell me in a comment.
Preview clip: Bosnia-Herzegovina 1993
In the ever-smiling glamourous world of television entertainment, the debut entry of Bosnia-Herzegovina arrived like a punch in the stomach. While everyone else chose their stage outfits and perfected their dance routines, the Bosnian delegation risked their lives to travel to Millstreet.
At the airport they were shot at while boarding the plane and even before that, they had put their lives at stake filming a preview from Sarajevo under siege.
Fazla - Sva bol svijeta (Bosnia-Herzegovina 1993)
There had been traces of reality making its way into eurovision also before this: there had been songs about the fear of nuclear war, about pollution of the planet, about the Cyprus conflict. But suddenly it all became very tangible during these three minutes that the Bosnian preview lasted.
Fazla had won a national final held in studio with sub-zero temperature in the partially destroyed tv-house of Sarajevo. They had to film their preview after sunset, so that the snipers in the surrounding mountains wouldn't spot them so easily. They had to borrow petrol from the army to run a spare aggregate for the cameras to work.
"To survive, we need food also for our souls" said Bosnian head of delegation Ismeta Krvavac in response to why they put so much effort into participating at eurovision during such troubled times.
In Millstreet, Fazla sang well but came across as a bit cold, serious and static. The urgent feeling of reality that had been very present in the preview got a bit lost and Bosnia-Herzegovina had to content themselves with a 16th place and twenty-seven points, twelve of which came from Turkey.
Fazla - Sva bol svijeta (Bosnia-Herzegovina 1993)
At the airport they were shot at while boarding the plane and even before that, they had put their lives at stake filming a preview from Sarajevo under siege.
Fazla - Sva bol svijeta (Bosnia-Herzegovina 1993)
There had been traces of reality making its way into eurovision also before this: there had been songs about the fear of nuclear war, about pollution of the planet, about the Cyprus conflict. But suddenly it all became very tangible during these three minutes that the Bosnian preview lasted.
Fazla had won a national final held in studio with sub-zero temperature in the partially destroyed tv-house of Sarajevo. They had to film their preview after sunset, so that the snipers in the surrounding mountains wouldn't spot them so easily. They had to borrow petrol from the army to run a spare aggregate for the cameras to work.
"To survive, we need food also for our souls" said Bosnian head of delegation Ismeta Krvavac in response to why they put so much effort into participating at eurovision during such troubled times.
In Millstreet, Fazla sang well but came across as a bit cold, serious and static. The urgent feeling of reality that had been very present in the preview got a bit lost and Bosnia-Herzegovina had to content themselves with a 16th place and twenty-seven points, twelve of which came from Turkey.
Fazla - Sva bol svijeta (Bosnia-Herzegovina 1993)
Absent friend: Bosnia-Herzegovina
It has only been twenty years since they made their debut as an independent country, but yet Bosnia-Herzegovina feels like an old friend indeed. Possibly because of the incredible transformation they went through in front of our very eyes.
They started out as a war-torn country - a small miracle in itself that they managed to take part during the civil war - that impressed people by their sheer presence and perhaps gained the occasional sympathy vote.
Fazla - Sva bol svijeta (Bosnia-Herzegovina 1993)
Then peace came. The country had a change of flag and constitution and set out to re-invent themselves. After a few confused years where ambitious national finals ended in tactical (political) voting and not particularly user-friendly winners, Bosnian television started selecting most of their entries internally. A very good move, indeed.
Deen - In The Disco (Bosnia-Herzegovina 2004)
Suddenly, Bosnia-Herzegovina turned into one of the bravest pupils of the entire class. A chrysalis-to-butterfly that set new artistic standards and often challenged the idea of what the perfect eurovision entry should look and sound like.
Many of their entries were more like short pieces of conceptual art rather than typical pop songs, often conveying some sort of message at some level. The often quite reserved grand public let themselves be amused and Bosnia never missed a final since the implementation of the semi finals.
Laka - Pokušaj (Bosnia-Herzegovina 2008)
Then suddenly, like a flash of lightning out of a clear blue sky, there were news from Sarajevo that Bosnia would not take part in Malmö. So, what are the reasons for this?
Lack of money was the official reason. The Bosnian delegations have been travelling light lately with very few people apart from the participants, but curiously enough the local broadcaster declined several offers from various parties willing to sponsor the participation.
Lack of enthusiasm could be another factor. Rumours have it that Bosnian tv had to struggle finding acts that were willing to do the ESC and that would at the same time match the high artistic standards they had set for themselves. The withdrawal could be a warning shot for the local artists - unless they contribute there will be no participation.
Then again, I can't shake the political suspicion I've felt at the back of my head. The Bosnian withdraval was announced at the same time as Turkish one and explained with equally vague reasons. Is Bosnia absent to back up the Turkish absence? And will the Bosnians be back even if Turkey stays out?
This is just a thought. I have no evidence in this case. I'm just thinking out loud. If anyone knows better, please enlighten me. Feel free to discuss this matter in a comment.
Regardless, I hope there will be a change of tune in Sarajevo soon. I think Bosnia-Herzegovina should be winning and hosting instead of withdrawing. And that's my final word.
Hari Mata Hari - Lejla (Bosnia-Herzegovina 2006)
They started out as a war-torn country - a small miracle in itself that they managed to take part during the civil war - that impressed people by their sheer presence and perhaps gained the occasional sympathy vote.
Fazla - Sva bol svijeta (Bosnia-Herzegovina 1993)
Then peace came. The country had a change of flag and constitution and set out to re-invent themselves. After a few confused years where ambitious national finals ended in tactical (political) voting and not particularly user-friendly winners, Bosnian television started selecting most of their entries internally. A very good move, indeed.
Deen - In The Disco (Bosnia-Herzegovina 2004)
Suddenly, Bosnia-Herzegovina turned into one of the bravest pupils of the entire class. A chrysalis-to-butterfly that set new artistic standards and often challenged the idea of what the perfect eurovision entry should look and sound like.
Many of their entries were more like short pieces of conceptual art rather than typical pop songs, often conveying some sort of message at some level. The often quite reserved grand public let themselves be amused and Bosnia never missed a final since the implementation of the semi finals.
Laka - Pokušaj (Bosnia-Herzegovina 2008)
Then suddenly, like a flash of lightning out of a clear blue sky, there were news from Sarajevo that Bosnia would not take part in Malmö. So, what are the reasons for this?
Lack of money was the official reason. The Bosnian delegations have been travelling light lately with very few people apart from the participants, but curiously enough the local broadcaster declined several offers from various parties willing to sponsor the participation.
Lack of enthusiasm could be another factor. Rumours have it that Bosnian tv had to struggle finding acts that were willing to do the ESC and that would at the same time match the high artistic standards they had set for themselves. The withdrawal could be a warning shot for the local artists - unless they contribute there will be no participation.
Then again, I can't shake the political suspicion I've felt at the back of my head. The Bosnian withdraval was announced at the same time as Turkish one and explained with equally vague reasons. Is Bosnia absent to back up the Turkish absence? And will the Bosnians be back even if Turkey stays out?
This is just a thought. I have no evidence in this case. I'm just thinking out loud. If anyone knows better, please enlighten me. Feel free to discuss this matter in a comment.
Regardless, I hope there will be a change of tune in Sarajevo soon. I think Bosnia-Herzegovina should be winning and hosting instead of withdrawing. And that's my final word.
Hari Mata Hari - Lejla (Bosnia-Herzegovina 2006)
Monday, May 6, 2013
Absent friend: Portugal
Eurovision 2013 is shaping up to be quite a good year with a solid selection of songs, perhaps not the strongest edition ever but more than acceptable.
Too bad then that there are several good friends from the past who decided, for various reasons, to give the Malmö party a miss. I thought I'd lend some of them a thought, at least. To show them they are not forgotten.
Portugal being absent isn't really a big shock, there were indications already last year that the budget of RTP might not allow any kind of excesses. As far as I can understand, they plan on being back as soon as the figures have improved.
Portugal has the less than flattering distinction of being the country with the biggest number of participations and no victory - but they have had some really good entries through the years.
Anabela - A cidade até ser dia (Portugal 1993)
Already from an early age I had an ear and an eye out for the underdogs of the contest, the countries whose songs stood out but kept scoring poorly, and was happy whenever they did a bit better than expected. I was cheering when Anabela got two top marks during the voting, but still would have wanted this very sweet song to do even better.
But regarless what the Portuguese opted for, the juries remained unimpressed. Ballads got thumbs down as well as this truly bang-up-to-date pop number from Dora.
Dora - Não sejas mau p'ra mim (Portugal 1986)
Well, whatever the Portuguese say or do, the remain the only country to date to ever enter a piece of revolutionary socialist disco. That must be worth something.
Os Amigos - Portugal no coração (Portugal 1977)
During the days of the Portuguese dictatorship, the local musicians and intellectuals gladly made use of this naive and innocent song contest in order to whip up some controversy and - if possible - protest about the regime without the censorship picking up too much of it.
Maybe it didn't result in fantastic scores or high placings, but it created some really original and engaging songs, most of which really should have done better.
Simone de Oliveira - Desfolhada portuguesa (Portugal 1969)
These are just a few of my personal favourites - I could easily have added at least ten more - and I really hope Portugal soon will burst back into the ESC in top form. I know they have it in them - it was only three years ago that they contributed a masterpiece like this.
And typically for Portugal it should have scored much better.
Filipa Azevedo - Hà dias assim (Portugal 2010)
Too bad then that there are several good friends from the past who decided, for various reasons, to give the Malmö party a miss. I thought I'd lend some of them a thought, at least. To show them they are not forgotten.
Portugal being absent isn't really a big shock, there were indications already last year that the budget of RTP might not allow any kind of excesses. As far as I can understand, they plan on being back as soon as the figures have improved.
Portugal has the less than flattering distinction of being the country with the biggest number of participations and no victory - but they have had some really good entries through the years.
Anabela - A cidade até ser dia (Portugal 1993)
Already from an early age I had an ear and an eye out for the underdogs of the contest, the countries whose songs stood out but kept scoring poorly, and was happy whenever they did a bit better than expected. I was cheering when Anabela got two top marks during the voting, but still would have wanted this very sweet song to do even better.
But regarless what the Portuguese opted for, the juries remained unimpressed. Ballads got thumbs down as well as this truly bang-up-to-date pop number from Dora.
Dora - Não sejas mau p'ra mim (Portugal 1986)
Well, whatever the Portuguese say or do, the remain the only country to date to ever enter a piece of revolutionary socialist disco. That must be worth something.
Os Amigos - Portugal no coração (Portugal 1977)
During the days of the Portuguese dictatorship, the local musicians and intellectuals gladly made use of this naive and innocent song contest in order to whip up some controversy and - if possible - protest about the regime without the censorship picking up too much of it.
Maybe it didn't result in fantastic scores or high placings, but it created some really original and engaging songs, most of which really should have done better.
Simone de Oliveira - Desfolhada portuguesa (Portugal 1969)
These are just a few of my personal favourites - I could easily have added at least ten more - and I really hope Portugal soon will burst back into the ESC in top form. I know they have it in them - it was only three years ago that they contributed a masterpiece like this.
And typically for Portugal it should have scored much better.
Filipa Azevedo - Hà dias assim (Portugal 2010)
Sunday, May 5, 2013
Preview clip: Croatia 1997
If Russia 1994 was an example of how to top everyone's expectations, then this is the close to perfect example of how to do the opposite of just that.
In the late 90's, Croatia was seen as an emerging nation in Eurovision - they sent in professional, well-produced and interesting little songs and seemed not to carry the burden of eurovision formula. Whatever they liked they sent in, regardless if it was a eurosong or not.
So the entire net-based fan community (consisting of precious few people back then) went into a buzz when HRT decided to send their local Spice Girls to Dublin in 1997.
The preview clip showed exactly what these girls were about: happy, happening, fashionable and upbeat, and as they swirled their way through life in sharp colours and a fast pace they also showed that their song was a fresh and lively pop number, more in tune with the current charts than the ballad-fest that the ESC had turned into.
E.N.I - Probudi me (Croatia 1997 preview)
Whatever happened on the way to Dublin might never be known to the rest of the world, but on the night of the final these confident girls were reduced to a bunch of shaky newcomers. Their live voices - strong and convincing in the national final - sounded weak and faint and the girl power never quite made it through the tv screens.
The Croatian entry crashed and burned in a pale 17th place and suddenly many of the online fans had a very brusque change of mind. Suddenly, nobody had ever believed in this song. Suddenly, nobody had never even really liked it. Odd, given how it resided very high in all prediction charts before the contest.
Fans can be fickle and this is the entry that made me fully realise this. But it still it is a bouncy, cheerful little piece of bubblegum pop. Very much a child of its time, but still charming.
Like a Spice Girls cover in Croatian. I could think of worse things.
E.N.I - Probudi me (Croatia 1997)
In the late 90's, Croatia was seen as an emerging nation in Eurovision - they sent in professional, well-produced and interesting little songs and seemed not to carry the burden of eurovision formula. Whatever they liked they sent in, regardless if it was a eurosong or not.
So the entire net-based fan community (consisting of precious few people back then) went into a buzz when HRT decided to send their local Spice Girls to Dublin in 1997.
The preview clip showed exactly what these girls were about: happy, happening, fashionable and upbeat, and as they swirled their way through life in sharp colours and a fast pace they also showed that their song was a fresh and lively pop number, more in tune with the current charts than the ballad-fest that the ESC had turned into.
E.N.I - Probudi me (Croatia 1997 preview)
Whatever happened on the way to Dublin might never be known to the rest of the world, but on the night of the final these confident girls were reduced to a bunch of shaky newcomers. Their live voices - strong and convincing in the national final - sounded weak and faint and the girl power never quite made it through the tv screens.
The Croatian entry crashed and burned in a pale 17th place and suddenly many of the online fans had a very brusque change of mind. Suddenly, nobody had ever believed in this song. Suddenly, nobody had never even really liked it. Odd, given how it resided very high in all prediction charts before the contest.
Fans can be fickle and this is the entry that made me fully realise this. But it still it is a bouncy, cheerful little piece of bubblegum pop. Very much a child of its time, but still charming.
Like a Spice Girls cover in Croatian. I could think of worse things.
E.N.I - Probudi me (Croatia 1997)
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