Hello Dear Readers and Happy Eurovision Week!
Once again, I have created notes for y’all’s various Eurovision parties. This way you do not have to answer the same questions, over and over again.
First, we have the Notes! This includes a brief history of the Contest, a summary of the major rules, information about this year’s event, and what to expect from the show. Also, new this year, I have included brief summaries of each song.
Second, we have the traditional country profiles! A brief rundown of a country’s history, this year’s entry, and a little bit about the performing artist. All in alphabetical order (by country).
Enjoy!! I’m going to try to update them so you can have Grand Final versions.
Hello Dear Readers!
Eurovision continues is reaching a wider audience than ever before! I’d thought it would be a good idea to create a quick reference post for newbies to the Contest. Here are the top ten things you need to know in order to understand and enjoy Eurovision.
1. The Contest began in 1956 in order to bring together war-torn Europe. Starting with just seven countries, the Contest has exploded as Europe welcomed new countries. There are a total of 42 countries involved in ESC 2017, spanning the continent and beyond.
2. The participating countries are randomly split in half based on their voting history and must compete in one of either two semi-finals. Ten songs qualify from each semi-final and meet the automatic qualifiers in the Grand Final.
3. The automatic qualifiers are the host country, which is the defending champion, and the Big Five. These are the countries with the five largest television audiences in Europe and pay the most to the EBU (the organization that runs Eurovision). These countries are: France, Spain, Italy, Germany, and the United Kingdom.
4. The competitors are broadcasting companies (typically government-run) that select a representative to fly the flag. Countries can choose their entries any way they like. Some opt for a competition in which artists compete with songs, some choose an artist and song internally, and some do a combination of these things.
5. Songs can be in any language, but most choose English (or partially English) to broaden their entry’s appeal. Songs cannot have offensive, overtly sexual, political, or overtly religious lyrics. All lyrics can be found, in English and French, on the official website: eurovision.tv.
6. All performers (singers, backing singers, and dancers) must be at least 16 on the day of their first night of competition. No animals are allowed on stage. All music must be provided by backing track, but all singing must be done live. Songs must be no longer than three minutes.
7. Voting results are a 50/50 combination of professional juries and public vote (televoting). Each country provides a jury of five music professionals; they watch the second dress rehearsal (the evening before the televised show) and cast their votes then. Televoting occurs during the televised show during a fifteen minute window after the last song is performed.
8. Every competing country, regardless if they qualified for the Grand Final, vote for the winner. The results of the jury are revealed, country by country. The televoting is then revealed in ascending order, from least points to most points.
9. The winning song has the honor of being reprised at the end of the show. The winning artist gets a crystal trophy shaped liked a microphone. The winning composers and lyricists receive plaques. The winning broadcaster and country get to host the Contest the following year.
10. The Eurovision Song Contest is for EVERYONE. Despite the stereotypes, Eurovision is enjoyed by all kinds of people across the world and has the goal of uniting us ALL through music for one week a year.
Craving for more information about Eurovision? Check out my ESC Notes that give a look at the history, rules, and notable quirks about the Contest. They were written with a particular eye towards those new to the Contest.
Want more information specific to ESC 2017? My country profiles will satiate your appetite as they cover information for each competing nation – their history and the background of their competing artists.
Wondering how you can hear great hits from Eurovision’s past? I have assembled playlists capturing different elements of Eurovision. This includes an Eurovision for Beginners playlist with twenty of the most influencial and historically important entries of all time.
Last year during the Second Semi-Final, two great productions were made wherein hosts Petra Mede and Måns Zelmerlöw explain the Contest in fun ways.
Hyvää Paivää – hei rakas lukijat!
And Hello Dear Readers!
There’s been an uptick in readers from Finland — kiitos että luit! And thanks to all of you for reading, regardless of where you are from!
Last year, we looked at race at the ESC and I expressed my pleasure that we were seeing more and more minorities as lead performers, particularly folks of African and East Asian descent. This year, there continues to be some racial diversity, but not as much as there should be in my opinion. This year, Norway is represented by a Sami woman – Agnete. This is awesome and would be akin to a member of a Cherokee tribe representing the US or an Aboriginal singer representing Australia (which happened somewhat when DR had Australian pop star Jessica Mauboy perform during the interval act of the second semi-final in 2014). Native peoples are an integral part of a nation’s history, particularly in looking back at how these people groups were often mistreated, disenfranchised, and systematically destroyed. Having a first-nation person representing a country shows that steps, perhaps small – perhaps big, have been made and are continuing to be made to heal past wounds.
Australia is also being represented by a minority. While Im was born in South Korea, she spent the majority of her life Down Under, as her family moved to Australia when she was a child. Im has received backlash since she was named Australia’s performer. Much how many non-white performers and soccer players (read: footballers) representing European nations must deal with, from opponents and their own countrymen. While we celebrate the Contest’s ability to be inclusive of LGBTQ+ persons (particularly gay men), we must not overlook the very real racism that still exists. Does this mean that every contestant needs to be non-white, no. Of course not. Does this mean that hosts need to do the same mindless pandering to racial minorities as they do to gay men? Again, of course not (if anything, there should be less pandering). But it does mean that when race-based issues around the Contest occur, they need the same attention and discourse that comes when an LGBTQ+ issue arises. Likewise, fan culture needs to promote and encourage racial diversity (actually, fan culture does a pretty good job of forcing any non-white, unattractive non-gay man into the realms of invisibility, but that is a conversation for another time) and call out people when they are not. This includes not just around skin color, but ethnicity, national origin, and religion as well.
One country that has historically done a good job at bringing diverse performers to the Eurovision stage is France. They have been represented by persons and languages from across the French realm, including Corsica, Haiti, Congo, and Tahiti. This year, Amir takes the stage for his native France. His ethnic background is rather diverse, as his roots tie back to Morocco, Tunisia, and Spain as well as being ethnically Jewish and spending half of his life in Israel. Sandhja from Finland also has a multi-ethnic background, as her father is Finnish and her mother is Indo-Guyanan. Sandhja has often said that her identities, and the communities that they give her access to, inspire her music and performance.
So, once again, why do we care diversity, particularly ethnic and racial diversity, at the Contest? Because the ESC is for EVERYONE. Just like how gay male fans get excited when an openly gay performer competes (such as Hovi Star from Israel), how excited would the many more number of Europeans who are non-white be for ethnic minority performers? Those who feel like they belong to the broader community are more likely to contribute and otherwise actively participate in the community. Furthermore, when someone feels systematically excluded, it can lead to lowered psychological and physical well-being for individuals who feel marginalized. Additionally, these are the people who are most likely to violently strike out against society. We see this in the US with mass shootings, we see this throughout Europe with riots and the rise of neo-Nazi groups, and we see this in the Middle East with groups like DAESH/ISIS that specifically recruit those who are made to feel like outsiders and radicalize them to the point of striking out against those that ostracized them. Clearly, incorporating more minorities as performers won’t prevent or stop groups like ISIS, but it will make it harder for them to recruit.
And, you know, help the Eurovision Song Contest work towards its mission to unite Europe, if only for one night.
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Correction: Article has been updated to correct the spelling of Jessica Mauboy’s name and correcting the name Australia uses for its First Nations people. Eurovision Obsession apologizes for the error.
Hello Dear Readers!
So, I realized that I did not address the voting change to the ESC announced in February and, figuring that I want to help you make the Contest easier for others to understand, I thought that I would give a handy explanation of the changes.
What is NOT changing:
- The results will still be 50% voting and 50% juries. (Semi-final qualifiers and the winner are decided by combining the results of televoting – the votes of those viewing at home – and professional juries)
- Final jury results will still be determined by combining the the full rankings of each juror and awarding points to the top ten.
- Countries will still call in their votes in a predetermined order based on the results of the juries.
- Televoting – via phones and SMS – will still be collected in a 15 minute interval during the show and will determine fifty percent of the final scores’ value.
What IS changing:
- Instead of combining the a country’s jury votes and televoting, they will remain separate. This means that, effectively, each country is handing out points twice: to the top ten countries in the jury’s ranking AND the top ten countries in the televoting.
- The points being announced by each country will be purely from the juries. This is being done for several reasons.
- It means that the interval act can be shorter because the jury votes can be read while the televotes are calculated, cutting down the length of the show in hopes of returning it to the appropriated three hour running time.
- Since 2011, an algorithm (or formula) for determining the order of how countries gave their votes has been in place based on the results of the juries. This algorithm is designed to give the voting sequence maximum suspense and excitement.
- The televoting from all the countries will be combined and revealed en masse after the jury votes are given. They will be given in ascending order, so the country with the fewest points will be read first all the way through the country receiving the most points.
- This makes the voting sequence more exciting because we’ll see countries fall back down the scoreboard only to rise back up.
- This makes it much harder to predict the winner before voting is over.
- There will now be twice as many points available, essentially setting up all the old point total records to be shattered. This year, with 42 participants, there will be a total of 4,872 points available (as compared to only 2,494 last year under the previous system).
The biggest issue that people dislike is that the juries’ votes are being read as opposed to the televoting public’s votes. But, as mentioned above, the jury votes are already collected, so having them be the ones read for each country makes more sense from a practical, time-saving point of view.
The bigger question is what happens when either jury or televoting results are unavailable? We all know that some countries rely 100% on jury votes for assigning points (such as San Marino, which lacks the infrastructure to collect televotes). Others are forced to do this if there are irregularities found with their televoting (such as Moldova which often has issues getting enough people to televote). Conversely, some jury results are disqualified when their results appear to be suspect (as has happened with Azerbaijan and Macedonia in previous years). The new voting procedure indicates that an assortment of countries will be used to create a stand-in score for the missing points. How this amalgam score will be calculated, in terms of how stand-in countries will be determined and how many there will be, has yet to be revealed.
Additionally, information about tie-break procedures has yet to be released (as far as I know). Previously, in breaking a tie, the country with the higher total number of countries voting for it would be higher, after that, it was the country with more 12s, then 10s, etc. all the way down to 1s. For semi-finals, if there was still a tie at this point, the one performing earlier in the running order would move through. For the Grand Final, a tie would be declared. Under the new system, would the total number of countries be counted for each jury and televoting, or just total overall? When doing the countbacks (counting the number of 12s, 10s, 8s, etc.), is it by televoting or juries – or both? Will there be a new level added before a tie is declared (or we turn to the producer-determined running order, in the case of semi-finals) that gives the nod to the country with a higher televoting score? or jury score? This needs to be cleared up and publicized BEFORE the Contest. Time is running out EBU.
Overall, this is not a change to be afraid of. If you’re concerned or want to dive into the numbers, I point you to ESC Insight, were they break down the effects of the new system using numbers from past Contests. I look forward to seeing how the voting sequence will look this year!
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