Some performances in national finals are infamous. We all remember Tara from Karma fighting a losing battle against bronchitis live on stage in 2003, and that bit in the 1990 Austrian Final where the woman passes out. But there's some things in Eurovision history that, for some reason, nobody ever thought to tell us about.
Take Bizek Emi in the Hungarian Final in 2005. She sits at the piano and sings a perfectly inoffensive, if slightly dull ditty about being past the halfway-point or something. And for years we all assumed that was it.
Because somehow, nobody ever bothered to tell us that when she comes to the front of the stage to take her bow following the performance, she slips and falls flat on her face, the poor love.
It's the kind of thing you can't help but watch twenty times in a row. Go on, I challenge you not to.
This is what we watch Eurovision for. More please.
Tuesday, 4 December 2012
Monday, 3 December 2012
Missed opportunities: Paula Seling - Step Back
He slides the CD into the player, links into the track and Bucharest hears 'Step Back' for the very first time.
And that's that, perhaps one of the most famous missed opportunities in recent Eurovision history. Paula Seling is instantly disqualified from the Romanian Final, the producers being incredibly strict about the rules, particularly the 1st January cut-off as it was back then. For one man's error and the want of waiting just a few hours, Romanian TV loses one of its first real contenders.
The incident is notorious in fan circles. Whether the story really went down as described is debateable and probably unverifiable. Whether it would have won what was likely a deeply rigged national final is equally uncertain. And as for its chances at Eurovision, it would have had to compete against Alsou and Ines for the Britney-votes – a tough fight in 2000.
Of course, we will never know. It's still a damn good little pop song though.
Tuesday, 22 May 2012
Eurovision 2012 Semi 1 - predicting and wishing
Less than two hours to go until the first semi-final, and I've been predicting. But first, here's the 10 countries I want to make the final on Saturday:
Of course, these are just my wishes, though some of them are tied to my predictions, as there's some I really need to come true if I'm to make any money in my bets! This year, as well as general bets - the most money is on Belgium in various forms - I've also put £1 on each of the ten songs I predict as my qualifiers. Afterwards, I'll come back here and let you know how much money I ended up, and we'll see if I made a profit on my £10!
IcelandIt was a close-run thing, and Jedward just missed out because of their annoying and frankly rude fans, who've made me wish for the Irish song to crash out humiliatingly tonight.
Greece
Latvia
Albania
Romania
Belgium
Cyprus
Denmark
Hungary
Moldova
Of course, these are just my wishes, though some of them are tied to my predictions, as there's some I really need to come true if I'm to make any money in my bets! This year, as well as general bets - the most money is on Belgium in various forms - I've also put £1 on each of the ten songs I predict as my qualifiers. Afterwards, I'll come back here and let you know how much money I ended up, and we'll see if I made a profit on my £10!
IcelandThat's it! Agree? Disagree? Either way, have a lot of fun tonight!
Greece
Romania
Belgium
Cyprus
Denmark
Russia
Austria
Moldova
Ireland
Tuesday, 15 May 2012
Why I feel sorry for Valentina Monetta
You know, there's a lot of reasons to feel bad for this perky 37-year-old (I know!) from San Marino. First and foremost, she has to stand and sing 'Facebook The Social Network Song (Uh Oh Uh Oh Oh)' on a stage in front of millions of people. The poor girl also has to spend a lot of time with Ralph Siegel. It doesn't seem like a fun experience for anyone.
It's bad enough that a talented jazz singer has been shoe-horned into a song completely unsuitabed to her. It's a song for a 17-year old girl, though Monetta pulls off a pretty convincing impression of one in the video and in her performance. But it's the way that the campaign has seemingly overtaken her entire existence that makes me feel sorry for her.
Of course, all promotional campaigns involve creating an image for an artist, dictating where they go and who they talk to. But Monetta's has been taken to the next level. Even before the song was unveiled, a personal Facebook account had been set up in her name and started friending Eurovision fans and over the past few months has posted as if it were Valentina herself behind it. And throughout her promotional campaign, she's worn variations on the same clothes (always white and light blue, to reflect her country's flag) and always has to be pictured at a moment's notice on flights and in foreign cities allegedly 'on Facebook' or making friends.
We know nothing about her personally outside of 'The Social Network Song'. All of her interviews are about how much she loves to use Facebook and how cool social networking and the internet are, and nothing about her as a person (oh, except she loves kitesurfing, of all things!). Valentina Monetta just does not seem to exist outside of this song.
It's almost like this Valentina Monetta who we've got to know over the last few months and been friended by on Facebook is nothing but a character created by Siegel and the Sammarinese delegation to sell this song. It's as if 'Valentina Monetta' is just a creation in the way that Silvia Night was just a creation. But in this case, while she's just playing a role, there is a real person with a real career behind it, who is going to lose out.
But the reason I feel most sorry for her is that all of this effort is likely to be for about 8 points next Tuesday, and an early flight back to San Marino, and back down to earth to a bump, with nothing to show for it except for lots of blue clothes and a Facebook profile full of friends she doesn't even like.
She's Lolly for the 21st century.
It's bad enough that a talented jazz singer has been shoe-horned into a song completely unsuitabed to her. It's a song for a 17-year old girl, though Monetta pulls off a pretty convincing impression of one in the video and in her performance. But it's the way that the campaign has seemingly overtaken her entire existence that makes me feel sorry for her.
Of course, all promotional campaigns involve creating an image for an artist, dictating where they go and who they talk to. But Monetta's has been taken to the next level. Even before the song was unveiled, a personal Facebook account had been set up in her name and started friending Eurovision fans and over the past few months has posted as if it were Valentina herself behind it. And throughout her promotional campaign, she's worn variations on the same clothes (always white and light blue, to reflect her country's flag) and always has to be pictured at a moment's notice on flights and in foreign cities allegedly 'on Facebook' or making friends.
We know nothing about her personally outside of 'The Social Network Song'. All of her interviews are about how much she loves to use Facebook and how cool social networking and the internet are, and nothing about her as a person (oh, except she loves kitesurfing, of all things!). Valentina Monetta just does not seem to exist outside of this song.
It's almost like this Valentina Monetta who we've got to know over the last few months and been friended by on Facebook is nothing but a character created by Siegel and the Sammarinese delegation to sell this song. It's as if 'Valentina Monetta' is just a creation in the way that Silvia Night was just a creation. But in this case, while she's just playing a role, there is a real person with a real career behind it, who is going to lose out.
But the reason I feel most sorry for her is that all of this effort is likely to be for about 8 points next Tuesday, and an early flight back to San Marino, and back down to earth to a bump, with nothing to show for it except for lots of blue clothes and a Facebook profile full of friends she doesn't even like.
She's Lolly for the 21st century.
Saturday, 12 May 2012
Eurovision 2012 interviews
Almost two weeks ago now, I visited the London Eurovision Party as accredited press and took the opportunity to interview several of this year's performers.
As press, you always want to keep your cool and appear professional, but the one artist I was absolutely desperate to meet was Kaliopi from Macedonia. I'm a big fan of hers and have been for many years. After hanging around while she was in massive demand early in the day, I eventually managed to grab her right after her soundcheck. It's always a concern when you meet your idols, in case they don't live up to your impression of them, but I had nothing to worry about. Kaliopi was absolutely lovely and hugged and kissed me after the interview when I confessed what a big fan I am.
And she was a delight to interview too, and was shocked at how knowledgeable I was about her career (as well as a little humourously put out that I reminded her how old she was!). It was such a pleasure to meet her, and you can read my interview with her for ESC Nation here.
After having achieved my main goal for the day, I set about grabbing as many more interviews as I could. I'd made contact with Andrej Hofer, the Slovenian press representative, earlier, and he'd promised me an interview with Eva Boto, but she'd been snapped up by Channel 4 and the BBC. He came to find me immediately after my hugs and kisses from Kaliopi, and hustled me into the toilets where I finally got my interview with Eva. You can read that, as well as my chat with 2005 representative Omar Naber, here.
Filipa Sousa from Portugal wasn't very in demand compared to many other performers, as spent much of the afternoon sitting chatting to her parents, who'd she'd flown across to have a brief holiday with in London. I perched on a couch next to them, and her interview is here.
Finally, I ventured into the press scrum upstairs, where at least four acts were sitting with fan and professional journalists queueing up and trying to hold their ground to get their five minutes in. Compact Disco from Hungary headed off very suddenly, but I did manage to sidle my way on to Anggun's table, and did a very quick interview with her too, which you can read here.
The final performer who was hanging around was Sabina Babayeva, who was very sought after by the TV stations present, and I was warned that they were eager for a story on Azerbaijan's human rights record. With a large crowd waiting to get to talk to her, and finding myself at the back of the queue, I bade a hasty retreat. I wasn't able to stay for the party in the evening, where all the acts sang their songs and other hits, before fans and performers danced the night away to Eurovision music until the early hours.
As press, you always want to keep your cool and appear professional, but the one artist I was absolutely desperate to meet was Kaliopi from Macedonia. I'm a big fan of hers and have been for many years. After hanging around while she was in massive demand early in the day, I eventually managed to grab her right after her soundcheck. It's always a concern when you meet your idols, in case they don't live up to your impression of them, but I had nothing to worry about. Kaliopi was absolutely lovely and hugged and kissed me after the interview when I confessed what a big fan I am.
And she was a delight to interview too, and was shocked at how knowledgeable I was about her career (as well as a little humourously put out that I reminded her how old she was!). It was such a pleasure to meet her, and you can read my interview with her for ESC Nation here.
After having achieved my main goal for the day, I set about grabbing as many more interviews as I could. I'd made contact with Andrej Hofer, the Slovenian press representative, earlier, and he'd promised me an interview with Eva Boto, but she'd been snapped up by Channel 4 and the BBC. He came to find me immediately after my hugs and kisses from Kaliopi, and hustled me into the toilets where I finally got my interview with Eva. You can read that, as well as my chat with 2005 representative Omar Naber, here.
Filipa Sousa from Portugal wasn't very in demand compared to many other performers, as spent much of the afternoon sitting chatting to her parents, who'd she'd flown across to have a brief holiday with in London. I perched on a couch next to them, and her interview is here.
Finally, I ventured into the press scrum upstairs, where at least four acts were sitting with fan and professional journalists queueing up and trying to hold their ground to get their five minutes in. Compact Disco from Hungary headed off very suddenly, but I did manage to sidle my way on to Anggun's table, and did a very quick interview with her too, which you can read here.
The final performer who was hanging around was Sabina Babayeva, who was very sought after by the TV stations present, and I was warned that they were eager for a story on Azerbaijan's human rights record. With a large crowd waiting to get to talk to her, and finding myself at the back of the queue, I bade a hasty retreat. I wasn't able to stay for the party in the evening, where all the acts sang their songs and other hits, before fans and performers danced the night away to Eurovision music until the early hours.
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