#Sigal Shachmon

[eurovision-revisited]

Jerusalem 1999

Oooooh, dusky! We've come to Jerusalem as the sun sets, Shabbat ends, and the festivities can begin!

Welcome to the International Conference Centre in Jerusalem, last host of the Eurovision Song Contest in 1979. First impressions are that it's still bright and vaguely purple - like Birmingham. There's a Toshiba sponsored scoreboard mounted on a poop deck, high above the main stage to the right - like Birmingham. There's a cheering crowd with flags and signs situated to the front of the audience - like Birmingham.

But what's this? Where's the orchestra? It's gone. No more conductors in humorous costumes doing their bow! All competitors must now supply a backing track and won't have live orchestral backing. Looking down the list of entrants, and another shock. Most of them are singing in English. Half the songs are in English with another two partly in English - the EBU have lifted the language rule again. Countries can sing in any language they like, and that language would appear to be English.

This year's voting, like last year's, is 100% televote where available. This time there are four countries unable to provide the technology, but everyone else is going to the phones and the public. There's also an intermission. Our hosts entertain us with a little song on stage while those countries that have broadcasters that wish to, can run ads in the middle of the contest. It's difficult to call this an innovation, but the push for broadcasters to reap some reward for devoting channel time and the resources to select and send an act every year, is increasing.

So many changes! One thing the EBU are sticking to however is their statistically complex relegation system. This year's victims are Finland, Greece, Switzerland, Hungary, North Macedonia, Romania and Slovakia. That list is getting long... Returning are Austria, Bosnia & Herzegovina, Denmark and Iceland with Lithuania are back for the first time since their debut in 1994.

After bravely plumping for the televoting revolution, the EBU are pressing the accelerator hard to the floor in 1999 and introducing a whole boatload of new changes to aim solidly for relevance in a music industry that had been moving on without Eurovision for years. Bye-bye ballads!

Another little change is that for the first time there are three presenters. Dafna Dekel (who sang Israel's 1992 entry), Sigal Shachmon (presenter, dancer and model) and a little out of place, Yigal Ravid (radio and television presenter, and current affairs report)

[mariacallous]

Dafna Dekel & Sigal Shachmon (Eurovision 1999) - L'Chaim ( To Life )

[whenitsdarkweilluminate]

Jerusalem 1999

Host: Israel Participants: 23 Voting method: 12-point system (19 televotes / 4 juries) Format: Relegation – the 16 highest average scores between 1994-1998 + the host + the 6 relegated in '98 incl. Lithuania Winner: Charlotte Nilsson - Take Me to Your Heaven Country: Sweden Language: English Points: 163 (61.7% of highest score possible)

General Overview: Israel gets to stage the final Eurovision Song Contest of the decade / century / millennium. Coincidentally, they seem to do this every 20 years (they also close out the 1970's and the 2010's). This year, Eurovision reverts to a small auditorium, the same one used in 1979. A strange and regressive decision indeed. Incidentally, every subsequent contest in the 21st century has been held in a larger capacity arena. 1999 is the year that pop music overtakes the contest. If 1998 is the finale of the old-fashioned era, then 1999 is the premiere of the (early) modern one. This is partially because the Israeli broadcaster IBA dropped the in-house orchestra for budgetary reasons. It had been a staple of the contest since 1956. The orchestra was replaced with backing tracks, which allowed for a more diverse range of production. This became a permanent change for future contests – a decision that upsets Eurovision purists to this day. The language restriction rule was also abandoned in 1999. Indeed, 12/23 of this year's entries are entirely in English. Consequently, Ireland, the UK, and Malta no longer hold an advantage due to the widespread fluency of English, as all three countries miss the top 10. Along with the recent switch to televoting, these three format changes drastically altered the face of Eurovision. But they were necessary to modernize the contest. The presenters this year are Dafna Dekel (who represented Israel in '92), Yigal Ravid and Sigal Shachmon. Their presentation style appears sloppy and forced. They even pause the contest midway through to raise a toast (a segment that goes on too long). Meanwhile, the stage design is similar to the one from 1979 – a flat, serviceable layout that features a giant, eye-catching sculpture in the background. Israel put a lot of effort into the postcards. Each one focuses on a different Biblical painting. Said paintings become animated. The postcards then transition into live action "skits" that focus on an object from the painting. They're meant to be comical but they're also corny (and downright bizarre at times). Elsewhere, the interval act is well-choreographed – it's essentially a pre-recorded music video starring Dana International. Latvia and Hungary declined to participate in '99, which allowed Portugal to avoid relegation. The vote reveal isn't as chaotic as 1998, but the point difference between Iceland and Sweden was extremely close until the last two countries (Bosnia and Estonia) were called. Bosnia ultimately gave their 12 points to Sweden and 0 to Iceland, which sealed the deal. The '99 contest ends with a message of unity: all the artists from the 23 participating countries join Charlotte on stage during her reprisal. Afterwards, the entire group sings “Hallelujah” together as a tribute to the victims of the Balkan War.

Lithuania: Aistė - Strazdas Lithuania's first appearance in 5 years, following their nul points debut in '94. “Strazdas” establishes nature imagery and an inspirational vibe despite containing very few lyrics. The folksy instrumentation chronicles the journey of overcoming one's nerves. I like how the song gradually builds. The climax creeps up on you. While Aistė's squawky vocals and the usage of the Samogitian dialect complete the mental picture of a chilly forest. Her voice adds character, but it's also the biggest drawback. It's grating. Belgium: Vanessa Chinitor - Like the Wind Another New Age track here. The Belgian entry is indeed “like the wind”, where both the instrumentation and Vanessa's vocal tone gently float in the breeze. The melody is carefree and lively enough. The “running on... endlessly...” line is the best hook, especially with the echoes. It's a simplistic song, where she mirrors the freedom of the wind. The “like the wind...” part falls a little flat, though. But the backing track is atmospheric thanks to a swooshing sound. Spain: Lydia - No quiero escuchar Spain finishes dead last with one point. To be fair, it's a bland song and the melody is too passive. Lydia's ugly rainbow dress is more memorable. In the song, she suspects her lover is cheating, so she rejects his excuses. The lyrics express a defiant attitude but it's not matched in the performance or the arrangement. The execution opts for misery instead. I'm not a fan of Lydia's voice either. Croatia: Doris Dragović - Marija Magdalena JAM! The “ah ah ah ah ah” chants are so haunting and the stomping Eurodance beat is so dominant. The two styles really complement each other. They combine to create a powerful song that overtakes you. Meanwhile Doris exerts gusto into her performance. It's unfortunate, however, that Croatia cheated to create those chants – the backing track contains pre-recorded vocals. Which is obvious since there's only one backing singer on stage, who couldn't possibly produce that effect on their own. Croatia were subsequently penalized in the relegation formula for future contests. Actually the staging in general is poorly planned. Doris's positioning is odd. Fun facts: this isn't Doris's first time on the Eurovision stage (Yugoslavia 1986), nor is it the first entry to reference the Biblical figure Mary Magdalene (Austria 1993). United Kingdom: Precious - Say It Again So the UK decided to jump on the 90s R&B girl group trend. “Say It Again” sounds like an American chart hit from the time. The acoustic guitar, the drum kicks, and the record scratches are very 1999. It is a polished, mainstream, summery R&B/pop song, where the narrator needs simple reassurance of their lover's feelings. The chorus hooks are strong, namely the “say it again – say it” and the “lying next to me” parts. The key change is effective and the choreo is adequate. But the overall structure is too “safe” and lacks ambition. It never soars to the next level. Slovenia: Darja Švajger - For a Thousand Years Darja returns from 1995. This time she sings the hell out of this theatrical/orchestral ballad. “For a Thousand Years” is reminiscent of Disney movies, complete with vocal gymnastics. It's a grandiose showtune. The choruses are satisfyingly climactic, though. The lyrics, meanwhile, are a snapshot of Darja's feelings while she's with her lover. Turkey: Tuğba Önal & Grup Mistik - Dön Artık Turkey submits another traditional entry, which I always appreciate. This one is driven by an energetic beat. While the back-and-forth exchange in the chorus creates a catchy melody. It's a clever succession of phonetic syllables, but the harmonizing is too ugly to make it work. The pre-chorus is the best part. Norway: Stig Van Eijk - Living My Life Without You This falls into the “so bad it's good” category for me. The instrumental reeks of 90s Max Martin pop. That's usually a good thing, but Stig delivers one of the worst vocal performances in Eurovision history. It's tragic. The backing singers carry the chorus. The song itself is as basic and generic as it gets. Literally a Backstreet Boys reject. And Stig's outfit choice is hilarious. That said, at least he delivers some charisma on stage. Denmark: Trine Jepsen & Michael Teschl - This Time I Mean It Here's another song whose production channels 90s Max Martin! The Danish entry is on the slower, romantic side though; in the vein of “As Long As You Love Me” by the Backstreet Boys. The song attempts to be a relaxing, sugary duet, where two exes give it another try. But it's just... “blah”, and Michael's goofy body language annoys me. France: Nayah - Je veux donner ma voix This entry would have sent France into the relegation zone if the “Big 4” hadn't come into existence next year. “Je veux” is a thundering French ballad, where Nayah wishes to give everything, even her life, to bring peace. Most notably though, she extends the final note for 10 whole seconds. The chorus is melodic enough, but “Je veux” is too heavy in tone and the presentation is too histrionic. The song ties to be an important anthem, but it doesn't connect. Netherlands: Marlayne - One Good Reason Netherlands supplies a catchy, sunshiny, effortless pop song. In the lyrics, Marlayne reassures her lover that she's committed to, and confident in, their relationship. She sings it well, and she expresses delightful expressions on stage. The pre-chorus stands out. And the backing singers reinforce and elevate the chorus well. I'm a sucker for purely feelgood entries, and this is brimming with positivity. Poland: Mietek Szcześniak - Przytul mnie mocno Zzzzz. Poland's ballad contains no refrain or hooks; instead it steadily builds to a climax. But it's such a dull experience and it lacks a melody to latch onto. I instantly forget how it goes. The lyrics are poetic, though, where Mietek is grateful for his partner. Iceland: Selma - All Out of Luck 1999 is the closest Iceland has ever come to winning Eurovision (although 2020 might have been their year under normal circumstances). They were the runner-up in 2009 as well, but the margin was significantly wider. “All Out Of Luck” is a disco-influenced 90s pop song, where Selma encourages people to adopt a positive outlook on life. The tone is bright, the chorus is highly impactful, and Selma sings with empathy. The whole song flows effortlessly. The fast-paced production is energetic while ejecting a variety of sounds. The verse/chorus contrast is excellent. Plus the staging might be the best of the night – it involves a brisk choreo routine featuring two dudes in trench coats. Cyprus: Marlain - Tha'nai Erotas Cyprus receives 2 points despite being a hot favourite. The running order slot, along with the lacklustre choreography, might explain that. But I find that Marlain's vocal melody doesn't match the hi-NRG Eurodance beat. The pacing of the two components seems out of sync. It's too choppy and messy, and it sounds like two different songs. The club beat is still euphoric though, and it's refreshing for Eurovision. And I like how the song starts as a piano ballad to set up the “drop”. But I don't think this song works at all. Sweden: Charlotte Nilsson - Take Me to Your Heaven (winner review below) Portugal: Rui Bandeira - Como tudo começou The definition of forgettable and inoffensive background music. “Como” is a breezy 1970s soft rock song, but it struggles to hold my attention for 3 minutes. Not even Rui letting loose during the guitar solo is enough. This song is just one big pile of nothing. Lyrically, Rui regrets hurting his ex. Ireland: The Mullans - When You Need Me This is an unremarkable, bland, lifeless snoozefest. The empty staging does not help either. Nor the annoying vocals. In the song, the narrator realizes they were emotionally distant, but they promise to be supportive from now on. I can appreciate the message, but meh. It's a tedious experience. Austria: Bobbie Singer - Reflection A cute, bubbly, dreamy slice of pop/rock. “Reflection” breathes a sugary sweet charm that reminds me of Sixpence None The Richer. Bobbie's effervescent stage presence boosts the appeal too. The song might be basic (hence why it's not in my top 10), but the hooks are decent. Israel: Eden - Yom Huledet (Happy Birthday) This is the fourth consecutive year where the host entry lands in the top 5. “Happy Birthday” is corny and lyrically straightforward, and the dance beat is generic, but the choreography is slickly designed. There's so much movement despite the boyband mostly standing in one spot. They are charming AF, while conveying the joyous nature of birthdays. The song is still average, but the live performance salvages it. The bridge/transition into the key change is great, though. Malta: Times Three - Believe 'n Peace “Believe 'n Peace” breaks Malta's their top 10 streak, which began upon their return in '91. Understandable as this is so... amateur. The harmonies are all over the place, the lyrics are empty, the chorus is really repetitive (especially towards the end), and the trio appear awkward on stage. Germany: Sürpriz - Reise nach Jerusalem – Kudüs'e seyahat This is Germany's best result between Wind and Lena. Ironic, since Corinna May was originally selected this year but her song was disqualified. “Journey To Jerusalem” effectively illustrates travelling to the religious capital to find unity and peace. Notably, the lyrics casually rotate between four languages: German, Turkish, English, and Hebrew. The “Eastern” instrumentation is enchanting. The clap-a-long marching rhythm is infectious. The collective melody in the chorus is immediate. And the ensemble projects encouraging energy on stage. Bosnia & Herzegovina: Dino & Béatrice - Putnici Bosnia's first top 10 placing. It only took six attempts. Similar to Germany, Hari Mata Hari were originally selected for 1999, but their song was disqualified. Also, Bosnia has now switched to their current flag. “Putnici” is an unconventional duet – Dino raps the verses in Bosnian, the duet delivers the pop chorus in French, and the instrumentation is traditional folk. But these elements mesh and flow smoothly. It's an intriguing “ethnic” entry. I like the succession of syllables and the violin responses in the chorus. The artists' stage presence is natural too. Lyrically, “Putnici” is about embracing a deterministic viewpoint. Estonia: Evelin Samuel & Camille - Diamond of Night There's a wondrous nature-y atmosphere in the Estonian entry, where the singer explains how the celestial bodies guide her. “Diamond of Night” captures an aura of triumphant finality. It's an appropriate closer. The song builds nicely, and the percussion establishes a momentous pacing. The Winner: Sweden scores their 4th victory, setting the stage for their dominance in the 21st century. Across the next 20 contests, Sweden will attain 11 top five placings, 0 relegations, and only one semi-final non-qualifier. Crazy. Only Russia can rival those stats in that time period. Italy and Turkey as well, but they've each had long absences. Also noteworthy, Melodifestivalen switched to the 50/50 system for their voting in 1999. Though contestants were still required to perform in Swedish until 2002... even though the artists translated their songs to English for the Eurovision stage. Bizarre, I know. There was significant ABBA revival in 1999. The Mamma Mia musical debuted, the BRIT Awards opened with an ABBA tribute, A*Teens became a thing, and Charlotte Nilsson (later Perrelli) won Eurovision with an ABBA-inspired melody. Incidentally, this lead to multiple Schlager-pop songs winning Melodifestivalen in the next decade. But more on that in future write-ups. “Take Me To Your Heaven” is definitely a catchy song. The pre-chorus leaps out effectively. The choir elevates the hooks (“love you till the end of time” and “when my nights are cold and lonely” being two notable examples). The key change is seamless. And it's easy to get lost in the chorus melody. It naturally flows in a buoyant manner. It's a well-crafted, unabashed pop song. And Charlotte pulls off a great performance. So why don't I love this? Well, I find it too... camp? Cheesy? Tacky? On-the-nose? It's never quite clicked with me. Verdict: “B” Tier.  My Ranking: 01. Croatia: Doris Dragović - Marija Magdalena 02. Germany: Sürpriz - Reise nach Jerusalem – Kudüs'e seyahat 03. Iceland: Selma - All Out of Luck 04. Bosnia & Herzegovina: Dino & Béatrice - Putnici 05. United Kingdom: Precious - Say It Again 06. Netherlands: Marlayne - One Good Reason 07. Estonia: Evelin Samuel & Camille - Diamond of Night 08. Sweden: Charlotte Nilsson - Take Me to Your Heaven 09. Slovenia: Darja Švajger - For a Thousand Years 10. Belgium: Vanessa Chinitor - Like the Wind 11. Lithuania: Aistė - Strazdas 12. Israel: Eden - Yom Huledet (Happy Birthday) 13. Austria: Bobbie Singer - Reflection 14. Norway: Stig Van Eijk - Living My Life Without You 15. Turkey: Tuğba Önal & Grup Mistik - Dön Artık 16. Cyprus: Marlain - Tha'nai Erotas 17. France: Nayah - Je veux donner ma voix 18. Spain: Lydia - No quiero escuchar 19. Denmark: Trine Jepsen & Michael Teschl - This Time I Mean It 20. Poland: Mietek Szcześniak - Przytul mnie mocno 21. Ireland: The Mullans - When You Need Me 22. Portugal: Rui Bandeira - Como tudo começou 23. Malta: Times Three - Believe 'n Peace