#Explaining Sanremo

[purrvaire]

amadeus che subito coglie l'opportunità di ballare con uomo... il demiurgo della comunità lgbtq

[diari0deglierrori]

Explaining il fantasanremo to someone who doesn’t go there makes you feel even more insane than you normally feel

[koschei-the-ginger]

Whatever happens in half an hour, the best and most surreal thing was that i had to explain amarello to my baby sister

[omarfor-orchestra]

Voi c'eravate quando lui e Domenico dipingevano sulla stessa tela? Io sì

[kyouka-supremacy]

bruh

[gcing-back-to-505]

ieri erano tutti vestiti di bianco, oggi di blu

[dreamings-free]

Do you know what this Sanremo thing everyone is talking about is?

haha oh anon I don’t know nearly enough to try and explain but luckily this brilliant post was on my dash earlier

[thebarontheabyss]

The new version of The Bar on the Abyss 2.0 update is coming soon!

I've finished stocking the Library of Pseudonium with stories, tales, and entries for you to devour, and now I'm moving to overhaul some of the romance scenes in the game.

In the meantime, I thought I'd share one of those entries. See you soon in the Abyss :)

Waiting for You by Albus Gauss

"Did you see the moth, my love?

It was there when we said our goodbyes. I could see you holding back your tears. You had to be strong, I understand. But I wish you hadn’t. I was so weak, and all I wanted was to hold you, to feel your warmth one last time. I longed for your tears to flow freely, to form a river that would carry me away into the unknown, into oblivion.

As you whispered your final words, I saw it in that quiet moment.

A fragile, black-winged creature. It fluttered softly between us, hovering like a silent witness to our parting. It landed on my chest, just above my heart, and in that instant, it whispered something I couldn’t quite hear, or remember. 

The following moments are hard to hold onto—like trying to catch the wind. A blur of sensation and then… seagulls. 

I woke to the sound of the ocean.

An endless beach stretched before me, an ancient town clinging to its shoreline like something plucked from an old memory. Remember our honeymoon in Sanremo? The way the sun seemed to melt into the sea, the scent of salt and warmth in the air? It was just like that, only quieter. Still, Timeless.

The sand beneath me was warm, and the breeze carried not just salt but something else… something eternal, like time itself was holding its breath. The sea shimmered in silver hues, a glow that made it almost alive. I stood up, feeling lighter than I had in years—lighter than I had ever felt in life. The pain that had gripped me for so long was gone, but with it, the weight of myself—of being alive.

It’s strange to explain. You never realize how heavy your existence is until it’s lifted away.

I followed the shoreline, letting my feet sink into the soft sand. And then, near me, I saw it fluttering again—the moth, gently gliding on the warm waves of the sea. And it spoke to me.

So, I’m in a place called Kaitz, an ‘ethereal realm.’ Not Heaven, just… a haven. We talked for a long time, and he told me so much. My mind struggles to comprehend the details, but apparently, this is the afterlife.

I followed him into a small house on the outskirts of the town, overlooking the ocean. It was a simple, quaint place, like something we might’ve stayed in during one of our seaside holidays. The walls were cracked but alive with vines of unfamiliar flowers, their blooms glowing faintly as dusk crept in. There was a feeling of anticipation in the air—like the house had been waiting for me. The moth told me I could stay here if I wanted to. I was so confused, I really should have asked him for how long. Did he mean forever?

I wandered onto the balcony, looking out over the ocean as the sunset bathed everything in gold. The horizon shimmered in a way that I can’t quite describe—like the light was bending, swirling into itself, but never fully disappearing. For a long time, I just stood there on that balcony. This place was beautiful, yet I felt… alone.

The moth—Mavet, it whispered its name—perched beside me on the railing, its wings reflecting the dying light. It didn’t speak again, just hovering for a while until the sun was gone, and so did he.

I couldn’t sleep that night. The stillness was too loud, so I went outside into the town. 

That’s when I heard the music. There was a festival, with fireworks and sky lanterns floating in the skies above us. I’ve never seen clearer skies—whole galaxies stretching and spiraling, and I swear those sky lanterns rising above us were turning into stars as they met the heavens.

The streets were lined with people, all lost in the celebration, their laughter and voices mingling with the music that filled the air. I came here feeling lost and alone, but when I saw the happiness in their eyes and the calmness in their faces… for a brief moment, I also lost myself in that feeling. And it felt so good.

I followed the parade, blending into the river of souls and meeting a group of recently deceased souls like me. They were different from me in every way—one had skin like marble, another glowed faintly as if lit from within—but somehow, we felt acquainted with one another. There was an instant camaraderie, as if we had always known each other, as if we’d met many times before, in some other life. They told me they were from different realms. I had no idea there were other realms besides ours. And yet, here we all were, walking together under a sky that seemed to stretch forever.

We walked through the winding streets, drinking and talking like old friends. They told stories of their lives, and I told them about us. About you.

At some point during the night, as the festival flowed around me, I found myself dancing to rhythm of the celebration. And then it hit me—a wave of emotion that I couldn’t hold back. The freedom of it all. The weightlessness, the sheer absence of pain, of sickness. I cried. Tears of joy. Pure, unfiltered happiness. I hadn’t felt this alive in years, Malcolm. My new friends didn’t say a word, but their hands held mine tighter as if they understood.  

I’m so sorry for being this happy without you, my love. Please forgive me.  

By the time dawn arrived, we found ourselves back on the beach. The festival had faded, and the sky was painted in shades of violet and gold. We sat there, five of us, watching the horizon, waiting for the sun to rise fully. 

When it did, I said goodbye and walked back to the little house on the cliff. The streets were quiet now, the remnants of the festival scattered across the cobblestone roads. It felt strange to be back in that empty house. But for the first time since I passed, I felt the weight of exhaustion settling into my bones.

I fell asleep quickly, and I dreamt of you.

I was lying next to you, in our bed at home. We had just bought that house, remember? We called it our forever home. Funny, isn’t it? How man plans, and the cosmos laughs.

In my dream, I reached over and held your hand, and as I did, I saw your face. You were crying in your sleep, your cheeks soaked with tears. 

I’m glad you finally cried, Malcolm. 

When I woke, I couldn’t shake the feeling of that dream. It felt so real, like I was there with you. But I woke up to an empty bed, and I can imagine you were too. I guess this is our reality from now on. 

My new friends told me about a train that comes through once a day. It drives straight into the ocean, vanishing beneath the waves, and it takes you to other places, other realms. 

They say you can visit all sorts of worlds and find places you never imagined–other afterlives, other paradises. I’m thinking of getting on that train soon, after spending a little more time here.

I want to explore, to see what’s out there. That dream… It gave me a purpose, something to do until we find each other again. I’m going to search for a place for us. A perfect place. A home where we can be together again, after your time has come. 

I will find our forever home.

And until that day comes, Malcolm, I’ll be dreaming of you. 

Here, on the endless shores of Kaitz… or somewhere else, entirely."

[adolin]

idk how to explain Sanremo to my international mutuals. it's like if eurovision had more rizz. like if the oscars were actually fun. somehow deeply culturally catholic and incredibly gay at the same time. they have a full orchestra just there vibing

[yep-ishouldbesleeping]

I'm once again here to ask those who don't know Sanremo to explain wtf

Not pictured: handcuffs

[eileen-crys]

Had a lovely experience yesterday in Milan at the press opening for Peter "Ratty" Hince's exhibition "Queen Unseen" 🥰 it's the same exhibition I visited last April in Turin and that's been touring around Italy, together with a beautiful collection of Queen memorabilia owned by Niccolò Chimenti. The same pics are in Ratty's book "Queen Uncovered" that came out last year.

What can I say, Ratty is so lovely and clearly passionate about his life and what it gave to him, at some point a journalist asked him "do you have any regrets?" And he replied "No, I think I've been lucky. And if I think about it more, I feel even more lucky!" 🥺💕

He could really talk all day about his memories and how much he loved being with Queen, and it was super sweet to see his huge effort to talk in Italian! All his respect and love for the band filled the exhibition, I could totally understand how eager he was to recall the story behind every photo and it was incredibly moving 💕💖💜💕💜💖💕 I've always loved his photos, but hearing him talking about the bond he felt with Queen and especially with John and Freddie was very special. Someone might think he's just profiting off Queen, but what I felt was that he truly just wants to share his own experience with this extraordinary band and what his passion for photography gave him. He is a great photographer, and the bond with Queen made his photos even more special imho.

He contributed to Chimenti's collection by giving him an ashtray Freddie took from the hotel in Sanremo and a microphone used by Freddie in Knebworth '86.

^ Also I almost screamed at this photo of John that is NOT in the book ahhhHHH

Here's me with Ratty, and his signature in my book 🥰 (he wrote Rachael but it's ok hahaha)

Sadly I'm awfully shy and among all the journalists dragging him around and asking him questions I couldn't really ask him anything, someone was even getting pissed that I was explaining him about the drawing I made and gave him 🙄🤦🏻‍♀️ But it's ok, I managed to give it to him and I hope he liked it 🥰

[sayitaliano]

Sanremo 2025 - the post!

Hello everyone!

Here you’ll find this year’s Sanremo’s stuff and news (I’ll be updating this post through all the week). The Festival will start on Tuesday February 11th at 8:30 pm, and end on Saturday February 15th, when the final will be broadcasted.

/ Official website / you can find loads of videos and interviews here + the latest news. You can already find the presentation videos of the songs made by the artists.

Rai’s website dedicated section (here) | youtube playlist | spotify playlist

TikTok official channel: @/sanremorai; @/sanremoesc Instagram official: @/sanremorai Twitter official: @/SanremoRAI; @/SanremoESC Facebook: festivaldisanremo

There’s gonna be the usual Dopofestival, with Alessandro Cattelan (tv host, veejay) starting right after the end of each Sanremo’s night (11th-15th Feb.) on Raiuno.

CasaSanremo- A website about Sanremo and all the artists who will take part, with more infos and interviews (also Italian places and food specialties will be shown). Follow them also on their Social Media Channels, usually they make live video/interviews/shows on FB for example.

On Sorrisi&Canzoni you will find also other infos about Sanremo and every lyrics’s explanation (ofc ask me if you need a translation)

The # on this blog is #sanremo 2025, #sanremo, #sanremo2025 you can black any of these (the first one in particular) if you want.

To watch it live:

Raiuno -> just click on the first video on the left, or here, to open the Raiuno streaming immediately (I added the whole Rai channels things in case you had troubles connecting directly and wanted to try from there). The RAI’s geoblock is usually removed for Sanremo’s week, no need to create accounts or whatsoever to enjoy Sanremo online!! Remember you can rewatch the whole event and each performance on Raiplay few minutes after it has happened and for the whole week too (after the end of Sanremo, there will be only 1mins vids of each performance avaiable).

You can also follow the whole competition on Radio2.

FESTIVAL LIS - songs and whole exhibition explained in signs language

FANTASANREMO - this year as well you can play while enjoying your Sanremo! How does it work? Every person “buys” 5 artisti and marks one of them as a captain. As in the last years, artists will have to do or say something while on stage to help you gain points (and also classification will have a say). Subscriptions open on December 27th 2024. It seems there are some new features in the game too.

I’ll try to write down some more infos/links through the week.

——-

HOST & GUESTS & Other stuff

This years’ host will still be Carlo Conti (who choose the songs taking part into this Sanremo), a TV and radio host/deejay. He already hosted for 3 years (2015-2017). He will be accompanied by a different co-host each night: Alessandro Cattelan (tv host, veejay; on day 5)

Some of the one-night guests during the week will be:

How it works:

There will be 30 singers in the ARTISTI (artists) section. There will be again 2 sections: BIG/CAMPIONI (already known artists) and NUOVE PROPOSTE (youngs). 30 artists of the BIG section were chosen by Carlo Conti, while the 4 of the NUOVE PROPOSTE are the finalists of Sanremo Giovani (held in December 2024). The winner of the BIGs competition will represent Italy at the Eurovision Song Contest (May 13-17th 2025, in Switzerland): if he/she/they won’t accept, the choice will be another artist, usually the 2nd classified or the next (the first one accepting).

This year we’re gonna listen to the 30 BIGs' songs on the first night and get a top 5 rank at the end. On the 2nd and 3rd night, we’ll get to listen to 2 of the NUOVE PROPOSTE's songs at the beginning of each night. The one with the most votes (each night) will perform in the final on day 4. On day 2 and 3, we'll also listen again to 15 BIGs' songs and get another top 5 rank. People at home can vote for both sections. On the 4th night, we'll get the winner of the NUOVE PROPOSTE between the 2 finalists. Then, there will be the usual “covers” night: the BIGs can choose any song published until December 2024, national or international, and will be accompanied by another artist. We'll get the winner of the covers' night but the rank will be a separate rank from the one of the real competition. People at home can vote for both sections again. On day 5, all the BIGs will perform again. At the beginning of the night we'll get the general top 5 rank of the past days, and at the end of the night we'll get the final standing and winner.

Day 1 - co-hosts: Prob. guests:  We’ll listen to all the 30 songs (in order of performance: ). Top5 rank:

Day 2 - co-hosts: Prob. guests: The fisrt 2 NUOVE PROPOSTE (); Winner of the evening: We’ll listen to 15 BIG () Top 5 rank:

Day 3 - co-hosts: Prob. guests:  The other 2 NUOVE PROPOSTE (); Winne rof teh evening: The remaining 15 BIG () Top 5 rank:

Day 4 - co-hosts: Prob. guests: The NUOVE PROPOSTE WINNER is: The 30 BIGs Covers’ list (in order of appearance):

Covers' rank:

Day 5 - co-hosts: Prob. guests: All the 30 BIGs will perform their songs (in order of appearance: ) and after midnight (prob. more like 1:30-2:30 am or later) we’ll know the competition’s final standings. The winner will go to the #ESC2025.

And the winner is:

Final standing:

_______ will take part at the ESC 2025! Other Awards: - Premio della critica “Mia Martini” : - Premio della sala stampa “Lucio Dalla” : - Premio miglior testo “Sergio Bardotti” : - Premio miglior composizione musicale “Giancarlo Bigazzi” :

————————

BIGs (+ lyrics):

Achille Lauro - Incoscienti giovani

Bresh - La tana del granchio

Brunori Sas - L'albero delle noci

Clara - Febbre

Coma_Cose - Cuoricini

Elodie - Dimenticarsi alle 7

Emis Killa - Demoni

Fedez - Battito

Francesca Michielin - Fango in paradiso

Francesco Gabbani - Viva la vita

Gaia - Chiamo io chiami tu

Giorgia - La cura per me

Irama - Lentamente

Joan Thiele - Eco

Lucio Corsi - Volevo essere un duro

Marcella Bella - Pelle diamante

Massimo Ranieri - Tra le mani un cuore

Modà - Non ti dimentico

Noemi - Se ti innamori muori

Olly - Balorda nostalgia

Rkomi - Il ritmo delle cose

Rocco Hunt - Mille volte ancora

Rose Villain - Fuorilegge

Sarah Toscano - Amarcord

Serena Brancale - Anema e core

Shablo con Guè, Joshua e Tormento - La mia parola

Simone Cristicchi - Quando sarai piccola

The Kolors - Tu con chi fai l'amore

Tony Effe - Damme 'na mano

Willie Peyote - Grazie ma non grazie

NUOVE PROPOSTE:

Alex Wyse - Rockstar

Maria Tomba - Goodbye (voglio good vibes)

Settembre - Vertebre

Vale LP e Lil Jolie - Dimmi tu quando sei pronto a fare l'amore

[more infos on the lyrics as on December 2024]

[all the lyrics can be found on this page]

(will edit with more updates, corrections and links as we get closer to the event)

[dandruffaromatics]

BAN ISRAEL FROM EUROVISION 2024

Let me tell what has been happening in italy lately. Last week, we had the sanremo festival, a very popular song contest, sponsored by RAI, the national broadcaster. Among other things, sanremo serves to select the italian candidate for eurovision.

A couple of participants at the festival said "stop the genocide" on stage, when possible. One of the songs has lyrics like "how is everyone saying all is normal? You bomb hospitals over imagined lines in the sand". So ofc the israeli ambassador was like "as a representative of the bombing hospitals club I feel attacked". And complained to RAI. RAI like a good lapdog sent a communication to be read on a morning news program, stating generic support to the victims of antisemitism and the victims of Oct 7. In itself a very tame statement, the contents of which we can probably all agree on. But the context makes it chilling. In the middle of a genocide perpetrated by israel againist the palestinians, RAI feels the need to "amend" the song criticizing the bombing of hospitals. And ofc, the quiet part is "genocide is justified because of october 7".

There have been several protests in front of RAI HQs in Turin and Naples. Police charged, people got hurt.

I don't think I need to give a proper retelling of Israel's crimes towards the palestinians here. Or explain the historical context which led to the October 7 attacks.

There is one thing that we can do that would at least give a signal in the right direction, and that is ban israel from the Eurovision Song Contest 2024. Right now the EBU is hiding behind a finger, saying that the competitions is between broadcasters not governements and other bs like that. Unfortunately for them, they have the recent precedent of Russia being excluded. With the right amount of pressure, the same can happen for Israel. I know that worrying about the eurovision song contest seems frivulous right now. But the events in italy are proof that israel cares about this kind of international recognition.

SO. Contact your national broadcaster, and/or the swedish broacaster (this year's host). Contact your country's candidate if they are already known. If there are protests at the broadcasters' HQ join them. Share this post and others like it.

And, should everything fail, do not watch eurovision this year.

[ravenouseyes]

No bcs non italian friends you don't understand!

At the music festival of Sanremo the singer Rosa Chemical showed up in a shirt with holes to show off his nipples (and nipple piercings) off, which gives you a bones in the contest Fantasanremo. Then near the end of the exhibition he descended into the pubblic and started twerking basically into the lap of another singer (who wasn't a contestant) Fedez, he then dragged Fedez onto the stage and felt him up while singing effectively making him part of the performance.

He then concluded the song and fully kissed Fedez (with tongue I think) in front of the public, the camera (which is owned by a conservative TV company) and Fedez's wife. He also said "Tamtam" which again gives you bonus for Fantasanremo and explained his choice as "i got invested by Love".

It's worth mentioning that all contesters receive flowers from Amadeus who is conducting the show it from the co-conductor. In this case the co-conductor for the night was Chiara Ferragni, alias Fedez's wife.

In conclusion my grandma got an heart attack

[denimbex1986]

'Irish actor Andrew Scott has become one of Netflix’s most celebrated leading men this year with his performance as the titular con man in the platform’s flagship neo-noir miniseries Ripley. Tom Ripley manoeuvres his way in the lives of Dickie Greenleaf and Marge Sherbourne, before assuming the identity of the former and working to conceal a litany of crimes from the latter.

The series is set in various locations across Italy, and so Ripley ends up speaking Italian in several scenes to carry out his theft of Greenleaf’s identity. According to Scott’s own description of the role, “About 15% of it is acting in Italian.”

His Italian-speaking dialogue includes brief and formal conversations with service workers such as the doorman of his apartment building and a bank clerk. But there are other instances in which he has to discuss things at length. For instance, one scene in which Ripley’s landlady, who believes him to be Greenleaf, notices a newspaper article showing that one of his friend’s has been found dead in a car. “Ricardo,” she calls him, before asking him to explain the situation to her.

Scott recently told Jimmy Kimmel that acting in Italian was “genuinely terrifying”, especially because in the case of Tom Ripley, “he would be good at speaking Italian.” He elaborated that the levels of duplicity involved in his character’s behaviour made the task of speaking a foreign language even harder. “I’m also an Irishman playing an American imitating another American speaking Italian,” Scott said. He added that Greenleaf “would probably be less good at speaking Italian, so the way he speaks Italian would also have to differ.”

But could Scott speak Italian anyway?

While interviewing him, Kimmel joked with Scott that no one would be able to tell the difference between the various layers of Italian and American accents he was employing. He suggested to the actor that he must have had an American teach him to speak Italian.

“I had an Italian to teach me Italian,” Scott clarified, as he’d never learnt to speak the language before taking the part. Which explains why he found that aspect of his role so scary.

Nevertheless, he pulled it, with rave reviews from Italian critics and audiences alike complimenting his performance of dialogue in their language as “perfetto”. Scott nailed his impression of an American speaking fairly decent Italian, and many viewers have commented on his accomplished accent.

He won’t have to worry about struggling to get by on future holidays to the country, then. And he’ll likely be able to give his family and friends guided tours of Atrani, Sanremo, Rome and Venice, too. Scott could have done worse than choose a role set in some of Italy’s most beautiful places.'

[beauty-and-passion]

Eurovision and the jury’s problem (but mostly the jury’s problem)

Ah, the Eurovision national juries. I love them so much. My love is so big that, since I started this tradition of writing a post about Eurovision, I’ve always included one paragraph to openly express my love for them and, not surprisingly, my love took the shape of FUCK YOU JURY.

So this year gave me the final push to do more research and finally give them the post they deserve, in which I will finally explain why they do more harm than good and are generally useless.

If that’s what you wanted to know, you can close the post now, thank you for your time. But if you want to know why I think the jury is useless, then allow me to expand more and properly explain myself.

_______________________

The jury has always been part of the show!

Yes, but now always with the same power.

Let’s do a bit of history: Eurovision started in the 50s, right after the end of WW2. TV was starting to grow stronger and with the birth of the EBU, they were searching for a TV program that could’ve involved and united all nations.

And so, an Italian journalist said: “Hey, here in Italy we have this sick song competition called Sanremo. We can make something similar, but every European country should send an artist.”. Marcel Bezençon, general manager of the EBU at the time, liked the idea and, after a few meetings, it was decided to make this music competition that will become Eurovision.

So yes, this is how Eurovision started. It’s because of Sanremo. It’s because of Italy. My country might do stupid shit, but we are still able to do something good once in a while.

The first edition counted 7 countries: Belgium, France, West Germany, Italy, Luxembourg, The Netherlands and Switzerland. Four of them will become the “Big Five”, because they are the ones that put more money into this competition. Other countries will slowly join in.

The jury was first introduced because, well, there was no possible way to call every single person who was watching the show. The TV was still in its infancy, let alone the global communications, so of course there was a jury. IT was the only way.

However, over time the televoting system was born and it started to improve. In 1997 five countries used it for the first time and from the year after all countries could use it. The jury was left in the back and used only under exceptional circumstances when televoting was not possible.

This lasted from 1997 to 2009. Then from 2010 it started the 50/50 system.

So yes, the jury has always been part of the show. But at first it was present because it was the only way to choose a winner, then it was pushed in the back, only to regain more power in the last 10 years.

But hey, you may ask: since Eurovision has been inspired by Sanremo, maybe this is how Sanremo voting system works too, right?

Nope. We are Italians, so we should make the most complicated voting system ever. Sanremo is currently articulated in five evenings and every evening has different juries and different ways to vote. I won’t go into too much detail because it’s bonkers, but I can tell you that:

1) There are multiple juries: the public, a jury made of 150 accredited representatives and the opinion poll jury. This one in particular is a group of people chosen by the national public broadcasting company RAI (which broadcasts Sanremo) out of a sample of habitual music users and selected according to criteria of age/geographical origin.

So no, the system is completely different and yes, this system is evolving too, because the opinion poll jury counted 1000 people last year, this year only 300 and who knows how many there will be in the future.

2) The final result is the sum of all three votes: 33% of the final voting is made of the representative’s jury, 33% of the opinion poll jury and 34% of the televoting. So even if by just one measly point, the televoting is the most important one out of the three.

Is this system perfect? No, it doesn’t work either and it’s fucking complicated. But at least it acknowledges that the public deserves to have more power than the juries. And there is also more than one jury, which at least allows a wider vision of things.

_______________________

The jury is here because it brings more variety!

Aww, how adorable.

I specifically searched for every single winning song from 1997 to 2023, thus including both the years without jury (1997-2008) and the ones with jury (2009-2023). I checked which is the musical genre of every winning song.

Do you want to know which genre won the most? Pop.

Do you want to know how many times a pop song won in the years without jury (including europop and latin-pop)? 9 times.

Do you want to know how many times a pop song won in the years with jury (including folk-pop, dance-pop and electro-pop)? 10 times.

Please, tell me more about the variety the jury brings. Can’t wait to hear it.

_______________________

The jury is here because it brings variety 2: Englishvision

Europe: a country with a shit ton of languages and we use always the same one for singing.

Do you want to know how many times we had a winning song that wasn’t in English from 1997 to 2023? 7 times and in two of them there were English parts.

The first three winners come from the years without jury (Dana International - "Diva", Ruslana - "Wild Dances", Marija Šerifović - "Molitva"). The others come from the years with jury and my god we had to fight tooth and nail to have them:

Jamala - "1944"

Salvador Sobral - "Amar Pelos Dois"

Måneskin - "Zitti e buoni"

Kalush Orchestra - "Stefania"

Those are people’s winners. Well, except for Jamala who no one wanted as a winner, because the public wanted Russia and the jury Australia. However, let’s leave it in for now: it’s a particular case I want to talk about later.

What I want to let you know is that, in order to have these winners, the public had to do a massive collective effort to give them enough points to overcome the jury - especially the last two. And if you know them, it’s because they are in the top 10 list of the public’s favorites.

But what if I tell you we could’ve had two more songs in their native languages on this list?

In 2015 the public’s favourite was Italy with Il Volo. An Italian song, genre classical music. It lost against Sweden’s pop song.

In 2023 the public’s massive favourite was, as you know, Finland. A Finnish song, genre hyperpop/industrial metal. It lost against Sweden’s pop song.

What a strange coincidence, isn’t it? Both times a song in a native language lost against an English pop song. Both times, the public’s favourite lost because the jury’s favourite won. Both times it was against Sweden.

Please, tell me again about the fairness of this system and how much variety it brings.

________________________

The jury is here because the eastern countries all vote for their neighbors!

Just because the western countries all hate each other’s neighbours, it’s not a valid reason to blame the eastern ones for that.

Also, hey, wasn’t that a music competition? Why should we even care about which country the winning song comes from? Shouldn’t the jury think just about the music? Please tell me more about the impartiality of the jury.

Another thing: maybe it’s just me, but I supposed everyone studied math or had a basic knowledge of how many countries are in Europe. Well, I did both for you and if we divide Europe in half, we will have more o less 21 countries on the west and 26 countries on the east (I am including Australia in the west).

In my world, 26 is a bigger number than 21. So if the east slightly wins more times than the west is, well, understandable. The probability for them to win is higher, because there are more artists from those countries and so they have more chances to bring the winning song. I don’t think it’s so difficult to understand.

Maybe the reason why the western countries win less is not because “the easterns votes for their neighbours”, but because the westerns do not take the competition seriously and send shitty songs. Why Italy rarely gets a bad position? Because we care about music and we want to send something good. Why the UK fails a lot of times? Because they don’t care enough to send a good song. They are both Big Fives and they both put money on this show: the only difference is that one cares a bit more than the other. So instead of blaming the east, maybe it’s time to start bringing more decent songs.

And this “the east wins more” is even more stupider, if you look at the countries with the highest number of victories: Ireland, Sweden, the Netherlands, the UK, Luxembourg and France.

In my world, those countries are all in the west. I know we all hate each other, but knowing when our rivals are on a map would be a good start.

Do you want to know why this stupid theory exists? It’s all because of the years without jury. It’s because in the years 2001-2008 we had this series of winners:

Estonia

Latvia

Turkey

Ukraine

Greece

Finland

Serbia

Russia

Since they are all in the east, they thought these countries were all voting for each other’s. That’s it.

I don’t know how they justified Ireland winning 3 times in a row (1992-1994) in their minds but hey, maybe that’s why I’m not a member of the EBU.

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The jury doesn’t have a favourite!

Very cute.

Do you want to know which are the countries with the most victories in the years 1997-2023? Here is a very funny list:

Israel: 2 times

1998 (no jury year) with Dana International - "Diva" (public’s favourite)

2018 (jury year) with Netta - "Toy" (public’s favourite)

Denmark: 2 times

2000 (no jury year) with Olsen Brothers - "Fly On The Wings Of Love" (public’s favourite)

2013 (jury year) with Emmelie de Forest - "Only Teardrops" (public’s favourite)

Ukraine: 3 times

2004 (no jury year) with Ruslana - "Wild Dances" (public’s favourite)

2016 (jury year) with Jamala - "1944" (not public’s favourite, but highly appreciated by the public)

2022 (jury year) with Kalush Orchestra - "Stefania" (public’s favourite)

Sweden: 4 times

1999 (no jury year) with Charlotte Nilsson - "Take Me To Your Heaven" (public’s favourite)

2012 (jury year) with Loreen - "Euphoria" (public’s favourite)

2015 (jury year) with Måns Zelmerlöw - "Heroes" (jury’s favourite)

2023 (jury year) with Loreen - "Tattoo" (jury’s favourite)

I don’t know you, but I notice two victories that made the public unhappy because both times the jury’s power overcame the public’s power. How weird it happened for the same country that won three times since the 50/50 system has been introduced.

Sure, the first victory was wanted by the public, but the other two were against the public’s will. And please allow me to repeat it again because this is what upsets me the most: both times an English pop song won instead of a song in a native language with a different musical genre.

And what makes these two victories even more undeserved, is that in general the winner has always been the public’s favourite. In 27 years the public’s favourite won 23 times and two times it was a public’s appreciated artist (Jamala, Duncan Lawrence).

The only two times public’s favourite didn’t win, it was a Swedish artist with a massive push from the jury that made it impossible to defeat it.

But hey, maybe this point is a bit unfair. After all, it’s not Sweden’s fault if they learned what the jury likes and keep sending the same kind of song to get their votes. Maybe I am just jealous: I mean, my country basically invented Eurovision and yet we’re not able to exploit this show to win all the times? Gosh, we’re useless :P

The problem is not Sweden’s cleverness. The problem is that the jury always uses the same criteria, so one country has been able to recognize and exploit them. In a democratic world with a fair competition, the organizers of said competition would say: “okay, maybe we should change the criteria all the time, so no one would be able to use them and the jury will remain impartial”. But I suppose this was a too difficult choice for the EBU.

Or maybe they just own Sweden some money, who knows. I really have no idea.

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The jury is here because otherwise people’s votes would be political!

Oh, so hilarious.

This is the list of the winning entries by jury and by the public:

Until the recent years, public and jury agreeded on the winner and when the public chose a winner, it was jury’s second choice. So if the public’s votes were political back then, the jury’s votes were political as well.

Only in the last editions jury and public started to truly diverge and unless I missed something, Israel just had a catchy song, Italy’s victory had nothing political behind, Ukraine’s victory was a massive collective justifiable effort to say “fuck you” to Russia and people just like Finland’s song more. So, again, nothing political behind.

However, there are also two very interesting cases, the only ones in which the winner was a country no one chose as favorite:

2016: public’s favourite: Russia - jury’s favourite: Australia. Winner: Ukraine

2019: public’s favourite: Norway - jury’s favourite: North Macedonia. Winner: the Netherlands

Do you want to know why the jury’s favourite of 2016 is Australia? I don’t know. What I know is that Australia joined Eurovision in 2015 and it was supposed to be just a one time thing, so they were automatically qualified for the finals. But in 2016 they joined like everyone else and had to make through the semifinals and... well, it wouldn’t be nice to send back home a country that just joined. I am not saying these two things are related, but it’s a bit of a weird coincidence, isn’t it?

Do you want to know why the jury’s favourite of 2019 is North Macedonia? I don’t know. What I know is that on June 2018 the country changed its name to the Republic of North Macedonia. And, you know, it’s nice to hear it more times, just to leave an impression on people’s minds. Again: I am not saying these two things are related, but it’s a bit of a weird coincidence, isn’t it?

Okay, let’s leave the tinfoil hat theories on the side. Do you really want to know where the “the public’s vote is too political” thing comes from? It comes from Jamala winning in 2016. Because Russia has already started with their bullshit in Crimea and Jamala’s song (despite not specifically talking about that invasion) was a reminder of that situation. And so everyone blamed the public for this victory and said that “the public was influenced by the actual political situation”. All while Jamala was second favorite of both the public AND the jury. So, again, if the public was biased, the jury is biased as well.

Actually, in her case the jury is a lot more biased than the public, because the public’s favorite was Russia! So, well, who is the political one now?

The truth is that the public is made of people and of course people will be influenced by the situation in which they live. But same goes for the jury: the jury is also influenced by the current situations, both Eurovision-related and world-related. So it’s totally unfair to blame the public for having a heart and a mind and for their will to choose a song over the other - especially when they are not influenced by the world situation (like in 2016) or when they are as it happened in 2022.

And, honestly, I’d much rather prefer people choosing a winner because of a fucking war, than a bunch of people choosing their winner for reasons that will benefit them only.

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The jury is made of experts and they give their expert opinion!

Awesome. Now explain to me how can you objectively choose the best song between a pop one, a folk one, a metal one and a rock one. Tell me which universal criteria will you apply.

Voice? But each genre requires a different kind of voice. An opera singer has a powerful voice, but growl music requires a powerful voice as well - heck, it’s even more complicated than opera, so it should be more praised than that! I mean, try growling without sounding like an idiot: it’s immensely hard. How can you decide which is better in an objective way? Do you just focus on which is more difficult to perform? But then it’s unfair to the pop singers, who also have good beautiful voices. How can you objectively choose the best?

Performance? But every genre requires a specific kind of performance. You can’t put an energetic performance on a ballad or slow dancers on a rock song. If two performance are equally beautifully ftting for their music genre, how can you decide which is objectively better?

Lyrics? But not everyone knows the lyrics of all songs and some lyrics might have multiple meanings or refer to particular aspects of the country’s culture, so you might not understand how beautiful they are. How can you choice which one is better, without knowing all these details?

Overall impression of the song? That’s not even an objective criteria, try harder.

The truth is that you CANNOT choose between different songs and different genres in a universally objective way. You will always be influenced by your own preferences and musical tastes.

Do you want to know how these criteria could’ve worked? If everyone brought the same song. Then okay, you can objectively make your choice: after all, we are talking about one genre and one song. In all other cases, this criteria makes zero sense.

And before you say “the jury needs to recognize the good singers”: people have ears. If a singer is bad, people can hear it by themselves. Polish people proved very well that they can recognize a very bad singer from an extremely good one and I doubt the entire country of Poland is made of musical experts or that everyone likes dance-pop/electro-industrial music.

Same goes for all the people around the world who praised Jann and said Blanka is terrible: I doubt they are all music experts or Polish. Maybe they just have ears.

Sure, some people have better taste than others, I don’t deny that. But considering that all humans have ears and a brain, I don’t think they need someone else to tell them that yes, this thing you like is good or no, that thing you don’t like is bad. Maybe they can understand it by themselves.

And if the problem is that the public doesn’t have a taste, then give them the means to acquire said taste. Let experts give more insights about an artist: they could explain why their voices are good or bad, why their performance works or not and why the lyrics are complex or simple. Let the public take a decision, instead of treating them like toddlers who should be spoon-fed.

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The importance of the public

What makes this 2023 victory so empty, is that it has nothing Eurovision stands for. It’s not the victory of an unknown, talented artist. It’s not a victory the majority wanted. It’s not a victory that sends a good message.

It’s the victory of mainstream and safety. It’s a victory that doesn’t look forward and doesn’t try anything new, because it prefers to rely on the same old stuff. It’s a victory of nostalgia, industries and brands.

And if it hurts so much, it’s not just because the public’s will has never been so blatantly clear about who they wanted to win, but also because after two years in which we had native languages and new genres on the top, we were really, really hoping for a switch towards something different.

I don’t blame the past artists for not trying more, the years were different. But we are in the 20s of the year 2000 now. We are more open to different people, genders, sexual orientations. We don’t have to play safe anymore, not in a world that is moving forward. We can have different winners, we can have different cultures and we can have different genres.

I really hope that this year will teach something, not just to us, but to the EBU and to Europe. If things will change, good. And despite my harsh words, I am okay if the jury stays: it has always been present, after all, even when pushed in the back. So if we have to keep it, let’s keep it.

But it’s time to give them less power. It’s time for a 30/70 or a 20/80 system. 50/50 is just not acceptable anymore.

Or, as the 2023 public’s winner said:

Thank you for your time and please, keep support your winners.

(Clips from THIS video)