Cookie Fonster Re-Discusses Eurovision 1960: Storytelling Songs at the Start and End

Intro Post

< 1959 Review | 1960 Review | 1961 Review >

Introduction

This is where the grayscale years start getting repetitive, but since I’m still unemployed and have way too much free time, I’ll prod on. Though it’s possible that if I get a new job soon, I’ll pause round 2 of my Eurovision blog.

Although the Netherlands won Eurovision 1959, their broadcaster NTS declined to host 1960, probably because they were short on money. So instead, the runner-up nation the United Kingdom had the honor of hosting. The BBC hosted Eurovision for the first of nine times, in London for the first of four times, and presented by Catherine “Katie” Boyle for the first of four times. She holds the record of presenting the most Eurovision contests, followed by Petra Mede three times and Jacqueline Joubert twice. Katie Boyle speaks in perfect Received Pronunciation, an accent that comes off as laughably posh today, but back then was seen as prestigious and educated.

Luxembourg returned to Eurovision this year after skipping 1959, and Norway made their debut, so this contest has a total of 13 participating countries.

To open the show, Katie Boyle introduces every contestant by saying “good evening, (country)” in English and each country’s national language, then “welcome, (contestant)”. The introduction isn’t quite as glamorous as what France did last year, but I like watching each contestant introduced one by one anyway. It’s a shame Eurovision didn’t start doing that consistently until 2013.

This contest has two countries’ commentary archived: the Norwegian commentary by Erik Diesen, and the British commentary by David Jacobs. Last time I watched the NRK commentary because that was the only archive I was aware of; this time I’ll watch the BBC commentary. David Jacobs is a confident, entertaining commentator whose commentating style is extremely British, and I mean that in a good way. He said the stage is “a blaze of blue, red, and gold”, which sounds absolutely lovely and makes me wish we could’ve seen this contest in color.

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Cookie Fonster Reviews Festival da Canção 2025: The Angry Rock Song Should’ve Won

Introduction

Now comes the third and last national final for me to review this year: Festival da Canção 2025, a three-week competition to determine which song will represent Portugal in Eurovision 2025. Festival da Canção, FdC for short, is one of the oldest Eurovision national finals, having begun in 1964. It’s as big of a deal to the Portuguese as the Sanremo Festival is to the Italians, or Melodifestivalen to the Swedes. I won’t go into the full history of FdC here, but just know that even though it’s a long-running tradition in Portugal, after years of sending songs that no one really cared about, the contest was completely reinvented in 2017, and that’s how FdC as we know it today began.

This national selection consists of two semifinals (February 22, March 1) and a final on March 8. The semifinals consist of ten songs each, then six from each make it to the grand final. This means I have 20 songs in total to review: 19 fully in Portuguese, and just one in English.

I didn’t watch the semifinals live and instead watched them starting on March 2, right after I finished my review of the German national final. I wanted to start watch the final live, but I was so absolutely amazed at the song that won Melodifestivalen that I couldn’t watch FdC right afterwards, plus I had other shit to do. So instead, I started watching the final on a day I was sick, March 11, then finished it on another sick day three days later.

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