Tag Archives: vocal harmonies

Cookie Fonster Picks Apart Eurovision 1971 Again: A Duet That Slowly Won Me Over

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Intro Post

< 1970 Review | 1971 Review | 1972 Review >

Introduction

There are some Eurovision years I’m passionate about and am looking forward to reviewing again. But before I reach them, I need to get through some of the contest’s dullest years, such as Eurovision 1971. I remember it not being a terrible year, just one with no songs I’m passionate about. This year was the first of seven to be hosted in Ireland; it took place at the Gaitey Theatre and was hosted by Bernadette Ní Ghallchóir. This production was a huge undertaking for RTÉ at the time, but the Irish have always known how to put on a good Eurovision show.

All the countries that skipped 1969 or 1970—Austria, Finland, Norway, Portugal, and Sweden—returned this year, and the island country of Malta made their debut, though they weren’t successful in their first few years. This made for a total of 18 participating countries. The winner was Monaco for the first and only time, then in second place came Spain and Germany in third. The newcomer Malta landed at the bottom both this year and the next year, which discouraged them from further participation for the next two decades.

I’ll paste my description of the voting system from round 1: This contest completely redid the voting system, presumably to appease the countries that were mad about the four-way tie two years ago. This time, every country had a pair of jury members (older and younger than 25 years respectively), who each gave songs 1 to 5 points, and the points were all added up so that every country got no less than 34 points. I think that’s a cumbersome system with the obvious hole that a country could vote others low so that they’d comparatively score higher, but somehow it was in place for three years in a row. Plus, rating anything numerically is dumb because number ratings mean different things to different people. I’m also not a fan of this voting system because it means far fewer juries decide how many points each song gets, but I get why it was done: to make the voting more transparent and assuage the unhappy countries. It was temporary anyway.

The show opens with an opening film of a man riding a horse-drawn carriage through the streets of Ireland and welcoming the guests to the Gaitey Theatre. It’s a tiny venue with a capacity of only 1145 seats, which I suppose was the best Ireland had at the time. Then the presenter introduces the show in Irish, French, and English, and the songs kick off. I love the pattern of the hosts introducing the show in Irish each time the show came to Ireland, and I hope it continues should Ireland win again. When speaking English, Bernadette sounded like she was trying to hide her Irish accent, but it slipped through a fair amount anyway. This year had postcards similar to last year: once more tours of each participating country. This time, the producers didn’t cheat and film four different postcards in Paris.

Last time I said I watched the contest with Austrian commentary, but it seems in retrospect it was a mix of Austrian and German. The YouTube upload I used this time is listed as having entirely German commentary, and I’ll trust that.

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Cookie Fonster Explores Eurovision 1961 Again: An Undercover Gay Anthem and a Few Other Gems

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Intro Post

< 1960 Review | 1961 Review | 1962 Review >

Introduction

Although the Netherlands didn’t want to host again two years after their last time hosting, France was willing to do so just two years after hosting in 1959. The now defunct broadcaster RTF brought Eurovision to the same location as two years ago, the Palais des Festivals et des Congrès in Cannes, and brought back Jacqueline Joubert as the presenter.

Three countries made their Eurovision debuts this year: Spain, Finland, and Yugoslavia. This gave the contest a nice, even 16 countries, so it was the first Eurovision year with more entries than 1956. Spain would start a perfect attendance streak that continues to this day, beaten only by the UK who has participated every year since 1959. Luxembourg earned their first victory with a song that we now know is about a gay relationship, the UK came second with a joyful duet, and Switzerland came third with an old-timey waltz.

The intro makes it clear this show is something of a rehash of the 1959 contest: once again we get an outdoor look at the Palais with flags on top, this time sixteen of them from l’Allemagne to la Yougoslavie. And once again we have Jacqueline introducing all the contests, but this time they start off positioned on a little building on stage, then they exit the stage one by one. Jacqueline says the name of each country, then each contestant says their own name into the microphone, presumably so that the host would avoid any pronunciation mistakes. The Allisons from the UK are the only duo here; they start off on opposite sides of the stage, then they approach the microphone together. John says “The Allisons”, then the two of them say their own names.

The scoreboard design is pretty similar to 1959, except it uses a cute handwriting font this time, and there are more countries so the scoreboard is way too tall to fit in a 4:3 aspect ratio. This means I have to brace myself for lots of annoying scoreboard zoom-ins.

This contest has been archived with French, Dutch, and British commentary. I watched with British commentary last time, so this time I’ll watch with French commentary. That way, the host won’t be talked over so much. The commentator Robert Beauvais said he served as the commentator for all of French-speaking Europe—not just France, but also Luxembourg, Monaco, and the francophone parts of Belgium and Switzerland, which is unusual and seems unique to this year.

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Cookie Fonster Re-Critiques Eurovision 1959: The First Winner I Agree With

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Intro Post

< 1958 Review | 1959 Review | 1960 Review >

Introduction

Since France won Eurovision 1958, they were given the first choice to host the 1959 contest, which they did in the Palais des Festivals et des Congrès in the southern coastal city of Cannes. RTF, a broadcaster that hasn’t existed since 1964, put on the most ambitious Eurovision show to this point, and the first one that truly manages to wow me. It’s also the first to feature an opening film: we see guests entering the Palais, then the camera pans up to show the flags of all 11 participant countries in French alphabetical order, starting with l’Allemagne and ending with la Suisse. The UK came back to the contest after skipping 1958 and hasn’t missed a year since. Monaco made their debut as well, but Luxembourg for whatever reason skipped this year.

The show starts with an orchestra playing the Eurovision theme song “Te Deum”, then through a revolving door enters the fabulous host, Jacqueline Joubert. She’s a very charming presenter with excellent diction, so much better than the last two. There are so many nice touches in France’s hosting, like the glamorous orchestral music that plays when Jacqueline shows us the scoreboard, or her saying “good evening, [country]” in each country’s language when the contestants are introduced. The part where all the contestants are introduced is pretty awesome because they’re each revealed on one of three rotating platforms. This introduction scene was long before my birth, yet it amazes me even 66 years later. The intro of the contest was neither too long nor too short—seven minutes was a perfect length.

As with 1958, the only commentary of this show that’s ever been archived is that of the host nation, this time the French commentary. Luckily I’m pretty good at understanding French, so long as it’s not spoken with too much slang.

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Cookie Fonster’s Verdicts on Eurovision 2022 (Final): The Year of Moody Guitar Songs

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Intro Post

< 2022 Semifinals | 2022 Final | 2023 Semifinals >

I woke up early to finish this post because it’s nice to get this out of the way before my work day starts. After this post, I only have four left till I finish this project! Thanks to all my commenters for sticking around all this time. And don’t worry, I have a few bonus posts in mind once I finish 2024.

Introduction

Because the winner last time was a Big Five country, the grand final of Eurovision 2022 featured 25 countries instead of the usual 26. These countries all competed for the prize in Turin, Italy, and due to the Russian invasion of Ukraine, many fans saw it as a foregone conclusion that Ukraine would win, and that’s indeed what happened. They overwhelmingly won the televote with the second native-language winner in a row. The jury winner was the United Kingdom who got, after so many years of terrible results, a jaw-dropping second place. Their best ever result since 1998! Spain achieved a just as amazing third place, their best ever result since 1995, meaning that two Big Five countries had their redemption arcs this year. In fact, I was originally going to call this post “The British Redemption Arc” before I chose a title reflective of the other songs this year.

After a bunch of opening acts I don’t care much about, we finally have a flag parade as it should be: all the contestants walk on the stage waving their flags! I love seeing each of them carry their flags in a different way with a different style: some go big, some go modest, some mix in rainbow or transgender flags. I also love seeing the United Kingdom, for once, getting some of the biggest cheers in the crowd. I’m still not a big fan of these hosts, but I do love Laura Pausini’s sparkly blue suit. Maybe I just have a thing for sparkly clothes, and I never unlocked this taste till I watched Eurovision?

The postcards feature a drone robot named Leo (introduced in the opening film of semifinal 1) showing the viewers a tour of Italy, with images of the contestants projected onto the buildings. I’m not a big fan of these postcards because they show too much of Italy (lovely country though; it’s a tourist destination for good reason) and not enough of the contestants. One of many ways the production doesn’t live up to 2021.

I watched the grand final with British commentary, done by Eurovision veteran Graham Norton. I find that the more years someone has commentated Eurovision, the more entertaining their commentary gets.

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