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Analyzing the Big Five: How can they get better?

Hello Dear Readers!

As decided by you on Twitter, the first series this summer will be on the Big Five – looking at their past ten entries (only six for Italy, as it rejoined in 2011) and determining their best path for success going into 2017. I’ll be examining them in reverse alphabetical order: United Kingdom, Spain, Italy, Germany, and France.

But first, who are the Big Five, how did they get their status, and how do they *keep* their status?

Who are the Big Five?
In short: France, Germany, Italy, Spain, and the United Kingdom.

Big Five

In more detail: the Big Five are the countries (and by countries, I mean participating broadcasters – remember, Eurovision is a competition between tv broadcasters) who (1) give the most money to the EBU – without their contributions, Eurovision would simply lack the funding to exist and (2) have (historically had) the largest television audiences in Europe. Simply put, France (France 2 + 3), Germany (NDR), Italy (RAI), Spain (RTVE), and the United Kingdom (BBC) have the greatest potential for the number of viewers of ESC. More viewers equals more money generated from advertisers. It also means more potential buyers of ESC merchandise.

How did they get their status?
Imagine it’s the nineties. Yugoslavia has split up and other Communist nations are slowly starting to look towards the West. In 1993, the EBU tried having a pre-selection show to handle all the new countries that sprung up in the East. It accomplished its goal, but this was not a permanent solution. As more countries wanted to participate, 1996 brought another pre-selection show. Juries would listen to songs from every country looking to participate (except the previous year’s winner, Norway) and select the songs joining the prequalified entries in Oslo. The German entry, Planet of Blue, did not qualify. 1996 was one of the lowest watched Contests, losing lots of money for the EBU. Why? Because Germany had unprecedentedly low viewership. After a few more years without a preselection, the EBU implemented a relegation system. Needless to say, the EBU did not want to risk another situation in which a major broadcaster had low viewership, especially since Italy had decided to stop participating altogether after 1997. When setting the rules for relegation, exempted would be the four countries with the largest tv audiences and financial contributions. Therefore, Germany, France, UK, and Spain would never be relegated – and thus, the Big Four rule was introduced. When the semi-final was introduced in 2004, the Big Four rule was maintained; these four countries and the top ten from the previous year would automatically qualify for the Final. When Italy rejoined the Contest in 2011, it was determined that it should join its peers and create the Big Five.

Why do they keep their status?
In case you doubt their contributions, keep in mind how many countries don’t know from year to year if they will be able to participate due to finances. When the EBU provides money for those broadcasters, it is typically from the dues of these five countries as well as from the revenue generated from their content. For example, San Marino was able to participate in 2008 because RAI, a major stockholder in SMRTV at the time, wanted to test the waters for an Italian return. They helped fund San Marino’s 2008 debut and helped them return in 2011. This happens beyond Eurovision; as broadcasters need funds (or the waiving of dues payments) to operate – the EBU is able to provide assistance because the Big Five broadcasters provide a substantial portion of funding. The debts that caused TVR (Romania) to withdraw in 2016 and could possibly dissolve BHRT (and its subsidiary RTRS) (Bosnia & Herzegovina) were built by loans that the EBU was able to provide thanks to the Big Five broadcasters.

From a competition standpoint, it may not seem fair that these five always qualify, especially since their entries as of late (~past sixteen years) have not done too well. The fact remains, there would be no Contest without these five countries – from their financial contributions that help other European broadcasters operate, to the advertising revenues they bring to the EBU, to the audiences they provide for Eurovision and year-round programming, the Big Five are as vital today as they have ever been to the Contest.

So, why haven’t they been doing too well these past ten years? Well…it depends on the country. We’ll spend the next two weeks examining each one’s recent history, identifying potential weak spots, and giving suggestions for 2017.

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The #SanMarinoPlan: A Way Forward for Microstates

Hello Dear Readers!

The 2016 Contest brought with it a new points format. The jury and televotes would no longer be combined on the country-level, as they had been since 2009, but each would be totaled individually before being combined to achieve the final results. While this reduces the bolstering of the middle-placed songs we saw under the previous system, it puts small countries that lack the population to support a televote at a disadvantage. In 2016, Sammarinese Flag MapSan Marino, a country of just 32,500 (fewer than the nearly 38,000 that attended Eurovision in 2001), which has historically always used 100% jury votes due to its small size required a televote in order for the new system to work. The solution? Create a composite score using a selection of countries (a list which has not been revealed) that stands in as San Marino’s televote. The EBU told us that this was to be employed if any country lacked either a jury or televote. San Marino is the only one for which this procedure was used. Understandably, the Sammarinese broadcaster, SMRTV, is not satisfied with this arrangement and has supposedly created a proposal to resolve this situation. How the EBU proceeds could be an influencing factor for how other small countries to continue participation (such as Albania and Moldova, both often use 100% jury as well in the past) and for others to return (such as Luxembourg, who is starting to see renewed fan interest in returning).

While we don’t know SMRTV’s exact proposal, which I have dubbed the #SanMarinoPlan, there are three likely avenues which SMRTV will pursue.

  1. Have Digame, the televoting partner, craft a new algorithm for smaller countries.

Right now, televoting depends on a certain raw number of votes to be certified. San Marino, with its modest population, just can’t reach the necessary threshold. However, San Marino has its own area code that differentiates it from Italy (0549), so it would be very easy to determine who is calling SMRTV’s numbers from San Marino. Whatever the current algorithm is for determining a statistically strong televote could be readily modified to fit a smaller scale. What makes this proposal difficult is that, with a smaller televote threshold, San Marino opens itself up to vote manipulation – a group could sponsor a bunch of folks to cross the border and use Sammarinese cell phones to vote for a particular country.

  1. Allow San Marino to create a second jury of non-professionals to create a televote.

SMRTV could gather a selection of citizens or hold official watch parties in the City of San Marino, Dogana, Domagnano, and/or other major population centers where they can collect votes and use those for their televote. It is incredibly easy to have people attend an event and cast ballots, collect these votes, and report the final results to the EBU. The biggest challenge with this proposal would be the increased cost to SMRTV. Hosing these events would cost money and they would need to have two (one for the semi-final and one for the Grand Final) in each chosen city. SMRTV would have the added difficulty of gathering fans (the largest cities only have a few thousand residents) and volunteers, as San Marino lacks its own OGAE (though, I’d gladly attend and host an event as a member of OGAE Rest of the World – we support San Marino and all the countries without their own OGAE).

  1. Create a system in which viewers in non-participating countries can vote to create stand-in televoting scores

The easiest way to reach the threshold would be to expand those eligible to vote through creating a portal through which those with IP addresses in a nonparticipating country could vote online/through the app. This would allow the EBU to have interactivity opportunities with new markets (like the US or China) without letting them participate. Depending on the popularity of this, they can institute it as some kind of back up televoting for all the countries that may need it (by randomly dividing received votes across all the countries that need a televote stand-in). The biggest difficulty, of course, is the vulnerability to being tampered with. More than that, though, it hurts the EBU’s chances for getting Luxembourg, Turkey, and other former competitors to return, as there would now be a way for interested fans to stay engaged without those broadcasters having to participate.

San MarinoPersonally, I think option two (SMRTV hosting viewing parties across San Marino) is the best choice. It engages fans with the Contest and ensures that the televotes are coming from within the country, reflecting the will of the Sammarinese public. However, the most realistic option would be to open voting to non-participating countries. This would allow the EBU to replace any country’s televote as needed (through randomizing the received votes). Additionally, it has the added bonus of engaging fans in countries not participating in the Contest without expanding the boundaries of the ESC. Now viewers in the US, Canada, Mexico, China, South Africa, etc., would be able to engage in the Contest on the same level as Europeans (and Australians) and the ESC would not have to allow those countries to compete. Furthermore, this can be facilitated through the official ESC app and would not significantly increase the cost to the EBU or require an in-country telephone partner.

What about the reverse situation? What if a country loses its jury vote?

Currently, the only solution for the loss of a jury vote is the composite scoring process detailed above. However, this is a more acceptable solution for this situation. The reason for the jury vote is to provide the perspective of music professionals to counterbalance the televote. It would be much harder to have a reserve of jurors in the event that a jury vote is nullified. Additionally, just as the EBU cannot duplicate the jury votes to generate a televote, it cannot duplicate the televote to achieve a jury vote. Nor can the EBU just discount the 58 points, as the new system is dependent upon an equal number of points in the juries and televotes.

 

Thoughts? Comments? Do you think any of these three plans would work? Do you have a different idea for what the #SanMarinoPlan could be?

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Eurovision 2016 – Wrap Up!

Hello Dear Readers!

It has been about a month and a half since the Grand Final in Stockholm, yet, I have still been Eurovisioning every day since as best I can – I’ve become quite active on Twitter and Instagram (both @escobsession). Typically, I like to watch the full Contest a time or two more before making this wrap up. I particularly like to rewatch the Final. Unfortunately, both the official Eurovision website and the official YouTube still have this year’s Contest blocked in the US (and, as I am told, Canada). Eventually, I was able to find a decent, fan uploaded version of the Contest on YouTube, but I shouldn’t have to go through these lengths. The beauty of the Contest in the modern era is that it stretches globally. Yes, the US had its first ever live broadcast of ESC this year (on the cable network Logo, which is dedicated to broadcasting LGBTQ+ themed content, my thoughts on this in a later post this summer), why would the EBU not want to build upon this by continuing to allow access to the Contest to fans in North America beyond May? Logo does not have the Contest streaming online. This needs to be rectified. With all the fuss being made over Russia losing, people have all but ignored this issue — and the EBU is shooting itself in the foot in the very markets that into which it is trying to expand.

Both the official website and YouTube block the Contest in the US and Canada

No ESC for those in the US or Canada 😦

With that said, let’s recap some of my thoughts from this year’s Contest!

General Reactions

I already hit the historical markers in my initial post after the Final. So these are just some of my thoughts and opinions.

  • I was incredibly skeptical about the new voting system. However, I actually really like it (for the most part)! Yes, Ukraine won neither the juries nor the televote, but it did come second with both a feat that neither Australia nor Russia matched (Australia was fourth in the televote, Russia was sixth with the juries). Furthermore, it made the voting sequence that much more exciting. It went from a clear Australian victory to a nailbiter of a finish! Particularly in the arena where we could barely see the screens and the scores. We had no idea who won until Ukraine was announced as the winner. And, the most exciting move of the night, Poland’s jump from last to eighth!

    We could barely see the screens inside Globen.

    We could barely see the screens inside Globen.

  • Truly, the best song won. Russia had an amazing stage show and Australia had a powerful performance, but neither You Are the Only One nor Sound of Silence matched 1944 in originality of composition nor in lyrical strength. As such, Ukraine emerged victorious.

  • Also, it’s nice that the winning song was not entirely in English. While it mostly was, it’s still nice to know that non-English can still do well. This was further reinforced by the success of France and Austria.

  • The show’s production was great, but, once again, the Swede’s gave us an overly crowded show. Love Love Peace Peace, the highlight of the infinite interval acts for many, would have been great as during the vote entertainment. The mockmentary Nerd Nation should have been a two-parter just for the semi-finals; if you didn’t watch the first two parts, you would have been lost for the conclusion. I also would have brought the Eurovision by Numbers to the Final, since so many people were watching the Contest for the first time across the world. Lastly, I would have moved Måns to the opening act (scrap the parade of nations, or, at least, the fashion show element that made it drag out forever) and let Justin Timberlake stand alone as the Interval Act as the votes were being verified.

  • Lastly, while I agree with the winner, I am overall surprised and disappointed in most of the results otherwise. The Czech Republic, the United Kingdom, Spain, and Germany all deserved much better placings than they got. Likewise, Lithuania, Sweden, and Malta all overperformed and finished higher than they should have.

So, now that you know my general reactions, let’s move on to the Annual Eurovision Obsession Awards!

For new readers, I hand out awards every year to noteworthy entries and their performers. A few things to keep in mind 1) this is my personal opinion, 2) I look at all the entries, not just the finalists, 3) this is all in good fun and sparks from my love of the Contest. One more note — all photos that appear are mine – I took those!

Best Lyrics Award

Serbia

Winner: Serbia

“I thought that it was supposed to hurt me
I thought that it was love,
I put my hands up but I won’t surrender
Don’t need what doesn’t serve me anymore

I lick my wounds
So that I can keep on fighting”

Throughout Goodbye (Shelter) we see a singer transform from abused partner to strong woman as she realizes that she deserves more than what she is getting from her relationship. This transition is beautifully mirrored in the composition as well as the performance.

UkraineRunner-Up: Ukraine

“When strangers are coming
They come to your house
They kill you all and say
We’re not guilty, not guilty

Where is your mind? Humanity cries
You think you are gods but everyone dies
Don’t swallow my soul
Our souls”

I have talked about this song many times on this blog, so I will keep it brief: powerful song with lyrics that highlight the parallels between the past and the present.

Honorable Mention: Croatia, Bosnia & Herzegovina, Germany

The “Huh?” Award

Given to the country the most questionable, lazy, or just plain nonsensical lyrics.

IrelandWinner: Ireland

“Just touch who you wanna, kiss who you gotta
Fight like we’re winners, love like beginners
Dance like you mean it, sing like you feel it
Everything’s better standing out in the sun”

Aside from advocating sexual assault (you should NEVER touch or kiss whoever you want without consent), the lyrics are otherwise a trite mess of cliché optimism and hollow saying.

MoldovaRunner-Up: Moldova

“The sky is tumbling
It’s coming down, coming down
The wildest fire
Is burning out, out

And when our fall torn us to pieces
All of our love turned into dust
We’re the brightest falling stars”

Essentially, the main argument of the song is that the relationship is ending – so why not go out in a blaze of glory? This is not a healthy relationship goal. If things are over, just let them end. That is that.

Honorable Mention: Sweden, The Netherlands, Montenegro

Best Dressed Award

Albania

Winner: Albania

Albania dress

She almost looks like an award statue, doesn’t she? Just an utterly gorgeous dress that fits her well. Too bad the majority of the act was against a gold background so you barely saw it (I took this photo during some of the brief blue moments).

 

AustraliaRunner-Up: Australia

Australia outfit

At first, I wasn’t sure what to make of Dami Im’s dress. But it’s elegant and distinctive, much like Dami Im herself.

Honorable Mention: Estonia, The Netherlands, Slovenia, Israel

Most in Need of a Costume Change Award

So many awful outfits this year, sadly. This was probably the hardest category to choose a winner for.

Italy

Winner: Italy

Italy outfit

Sparkly, brown overalls. Need I say more? Italy got my vote for the Barbara Dex Award this year.

AzerbaijanRunner-Up: Azerbaijan

Azr outfits

So…much…gold… Honestly, what the heck are they wearing? In the music video, Samra has on this really nice black gown. This glittery, gold catsuit is just…awful. And, to make matters worse, it doesn’t even fit the tone or message of the song.

Honorable Mention: Croatia (Barbara Dex Award winner), Spain, Bosnia & Herzegovina, Hungary, Belarus, Lithuania

Best Staging Award

Russia

Winner: Russia

Russia performance

Normally, I would have the video of the performance. But thanks to the EBU, that is not possible.

Come on, was there ever any doubt? This staging was incredible! The first time we saw him walk on the screen during the First Semi-Final dress rehearsal, we all gasped. And each time, it was equally as amazing. The staging was just stunning; so much so, it inspired hoards of angry fans to complain when Russia lost.

ArmeniaRunner-Up: Armenia

Normally, I would have the video of the performance. But thanks to the EBU, that is not possible.

Normally, I would have the video of the performance. But thanks to the EBU, that is not possible.

Talk about doing a lot with a little! Armenia had a solo performer by herself on stage and created a dazzling show that seamlessly incorporated pyrotechnics, slick camera angles, quick-cutting shots, and nifty image overlaying. Who needs an LED screen when you can work magic with cameras?

Honorable Mention: Belarus, Georgia, Belgium, Spain, The Netherlands, Iceland, Ukraine

Worst Staging Award

Estonia

Winner: Estonia

Estonian perfomance

Normally, I would have the video of the performance. But thanks to the EBU, that is not possible.

Yeah, you have a sexy, Bond-esque song with a very attractive, young singer. This should have been a great stage show. Instead, we are left with this, seemingly casino-inspired act that makes Juri seem more creepy than alluring. Also, he was lost in the staging; he was this little man on this giant red stage.

MoldovaRunner-Up: Moldova

Moldova performance

Normally, I would have the video of the performance. But thanks to the EBU, that is not possible.

I am starting to feel bad with just how critical I am being with Moldova’s entry this year. Unfortunately, they took a poor song with a poor message, gave it to a singer who was a poor fit for the composition, and staged it with few visuals and a random astronaut. This is a dance number – why were there no dancers? This is a song literally called “Falling Stars” why were there no spark curtains or other pyrotechnics? Just…so many things done wrong this year, Moldova.

Honorable Mention: Slovenia, San Marino, France, Croatia

“This is DC Calling” Award: Given to the most American sounding entry. This in NO way counts as an endorsement for the US entering the Contest, an idea which I staunchly oppose.

Winner: Sweden

Sweden was deemed "a contender" in last year's series.

It feels like a hipster anthem, doesn’t it? From Frans’ look to his sarcastic tone – the song is just one big “screw you” to whoever he’s singing to. This wins the DC Calling Award because so many young people today have this kind of attitude and I could totally imagine a random American high school student saying these words.

Runner-Up: Czech Republic

It is my understanding that, to most Europeans, Americans are a religious bunch who often work their faith into everything, including our pop music. I Stand is vague in who the target of the song is, but, at least to me, it is a song about the power of faith – ironic, since the Czech Republic has the highest percentage of atheists of any nation.

Honorable Mention: Azerbaijan, Denmark, Slovenia, Israel

Pond Leaper Award

While I think each song would find a niche here in the USA, I think this song would be the most popular

ItalyWinner: Italy

This is a passionate, yet innocent, love song that is just the perfect tempo for a first dance. If No Degree of Separation made its way across the Atlantic, it would quickly ascend the list of most popular wedding songs, without a doubt.

NetherlandsRunner-Up: The Netherlands

Douwe Bob has perfectly captured the contemporary, country sound that is ever-so-popular in the US. I think that Slow Down would be considered a welcome change to the “stadium country” that has swept the genre over the past decade. This would quickly climb the country, and pop, charts.

Honorable Mention: Australia, Finland, United Kingdom, Bulgaria

The “Spirit of ABBA” Award

Given to the most stereotypical and/or traditional ESC entry

BelgiumWinner: Belgium

A happy dance tune? Check! Lyrics that make you feel good about yourself and the world? Check! Some cool choreography that you can try to mimic in your living room? Check!  Belgium checked all the right boxes to carry the spirit of schlager that typifies the Eurovision genre.

United KingdomRunner-Up: United Kingdom

A fun song about the uplifting power of friendship performed by a duo that looks like they are genuinely friends off-stage. A fun song that got the audience, both at home and in the arena, involved. That’s definitely bringing the continent, and world, together!

Honorable Mention: Finland, Spain, Croatia

Israeli Flag CountryThe “Shiri Maimon Travesty of the Year” Award

In 2005, a true work of art was entered into the ESC; Israel was represented by Shiri Maimon with the song Hasheket Shinish’Ar.  Not only did this song not win, but the winning song that year was not even worthy to be performed on the same stage as the Israeli entry.  For me, that was the biggest travesty in Eurovision history.  Each year, I hand out this award to the biggest disappointment of the Contest.

Winner: United Kingdom getting 24th place

United KingdomAfter years of dubious entries, songs that I liked, but left most of Europe cold, the BBC finally put real effort in finding the British entry. They used a public vote, got artists and songwriters that captured modern British pop music, and selected a song that was catchy, fun, contemporary, and even had two attractive boys – just for good measure. Joe & Jake (and their backing singers) gave outstanding performances for both the juries (Grand Final dress rehearsal) and the televoting public, yet still somehow finished third last. I am still miffed as to how this happened. I know Electro Velvet was devastated by their finish last year, I can only hope that Joe & Jake continue to perform together and eventually return and finish higher up the scoreboard.

RomaniaRunner-Up: Romania’s Disqualification

This is less about Romania not being able to participate (TVR should have to pay their debts, they have owned up to this fact), but the fashion in which it was done. These debts are years old. The EBU could have penalized them in December (when they paid their entry fee and the list of participants was finalized), in March (when the heads of delegations met and entries had to be formally submitted), or in May (after the Contest). But no, the EBU instead opted to discipline Romania in the most humiliating way possible. Waiting for the deadzone that is April to ensure maximum exposure of the event so that it could publicly shame Romania and TVR.

Honorable Mention: Iceland failing to qualify, Czech Republic getting 25th, Lithuania getting 9th

Final Thoughts

Eurovision_2016_Official_LogoWell, another Contest is in the books. It was utterly amazing to be there in person, though, Standing Right sucked. And I am still bitter about how much I had to pay and how long I queued to have such a subpar – particularly since it was a great financial burden. Speaking of which, going to Eurovision this year contributed to what has been my worst time financially – though, it brought something to light for me.

By my age (28), my parents were married with two kids, my eldest sibling had been married for several years, my next oldest sibling had just gotten married, and my last sibling (also older) had just gotten engaged. And then there’s me. Single. No kids. Just my education and Eurovision. Being there in Sweden, seeing the “Eurovision by Numbers” video, the “What’s Eurovision?” opening act from the second semi-final, the “Peace Peace Love Love” interval act, and having Ukraine win – a song which I loved from the start and truly thought was the best entry – it all reminded me just how much I love Eurovision and the role it plays in uniting all kinds of people.

I always say that the combination pop music, geography, and competition is what drew me to Eurovision – and that’s true – but what keeps me there is the genuine community that the Contest breeds. When else can one be connected to over 200 million other people worldwide? When else can one lose themselves in music that transcends boundaries, that is as much visual as it is auditory, and allows you to participate in the realized dreams of 42+ performing artists?

Is Eurovision perfect? No! Of course not (and I’ll be going into its various shortcomings throughout the summer in a series of blog posts), but it is awesome. Eurovision is so much more than a song contest, it’s a community – it’s the people, the culture, the forums, the traditions, the opportunities, the dreams — the connections that it makes possible between all of these things and more. Eurovision connects countries, people groups, generations, allies & enemies, strangers & friends. Attending ESC, watching it, engaging with it – it allows me to be a part of that intricate web human connection.

I don’t currently have a family of my own, but I hope to some day. And when I do, I know that Eurovision will be there – allowing me to share an integral part of myself with those I love and for them to join in my passion. Indeed, it will help us all “come together.”

File Jul 03, 4 03 34 PM

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Reaction to Russia v. Ukraine Controversy

Hello Dear Readers!

In these days following Eurovision, one of the loudest, most controversial arguments have been occurring. No, I don’t mean the ridiculous geoblocking of ESC content on the official Eurovision YouTube page in the US, Austria, and Germany along with, presumbably, other countries (which should be the main controversy). There is a very vocal contingent who believe third place Russia should have won by virtue of its top placement among televotes. People who follow the blog on Twitter (@escobsession) and/or on Reddit (Escobsession) know my stance on the issue. But, before I dive into my opinion, let’s look at both sides.

Russian Flag MapSide A: Russia is the true winner!!
Key Points:
-Russia won the televote.
-Juries intentionally sunk the Russian entry for political reasons.
-The Ukrainian song was political and a clear violation of the Contest rules.
-Furthermore, Ukraine was the beneficiary of a system that painted it as a victim and Russia as the “evil” aggressor.


Ukrainian Flag MapSide B: Ukraine won fairly!!

Key Points:
-To win, you need both, the support of the juries and the televoting. Ukraine was second with both the juries and the televoters, unlike Australia (1st in jury, 4th in televote) or Russia (1st televote, 6th juries).
-The role of the juries is to stymie diaspora voting and to ensure that high quality songs do not lose to performance-driven entries.
-The EBU has previously approved the song’s lyrics.
-ESC did nothing to perpetuate the perception that Russia was attacking Ukraine. Furthermore, Ukraine got second from the Russian public.


AustraliaMy take on the situation:

-Australia, who placed second, is being entirely ignored in this situation. Though, under the most recent system (2009-2015), Australia would have won.
-No one is really talking about the most important thing: the song! In my opinion, 1944 is an amazing song with a strong composition, an incredible performance, and fantastic lyrics. You Are the Only One is a generic song with uninspired lyrics and typical composition, but an outstanding production that was second-to-none this year (and one of the best ever).
-The time to complain about the Ukrainian lyrics was when the EBU was reviewing it and ultimately approved it to compete.

UkraineIs 1944 political? Yes, of course it is.
However, the EBU approved it to compete. Therefore, just as I have said previously about people booing Russia, the time to complain is when the EBU makes the decision to allow participation. Once an entry is allowed to compete, then we need to accept it. 1944 was allowed to compete. We must view it in this context. 1944 is artistically superior to You Are the Only One in terms of lyrics and composition. While Lazarev had the stronger production behind him, Jamala gave an incredible vocal performance.

Ukraine won because 1944 was deemed to be the strongest song in the competition under the accepted rules of this year’s Contest, as evidenced by Ukraine’s strong finish with both, the juries and the televoting. We have a winner and I will, hopefully, see you in Ukraine next year!

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