#but nothing will keep me from the esc and my gf

[betweenblackberrybranches]

Its be one of those days..

I am in so much pain. But atleast i have the strawberry. Oh now i wish the strawberry had a heating pack or something

I am straight up not having a good time

[raycyel]

That post about edgy OCs got me thinking about OC development over time and now I wanna talk about it without clogging their tags with unrelated shit so here we go. Its also an excuse for me to put some OC info in one spot to be able to find it again later (;

Edgy OCs are really fun to make and I have nothing against them for sure, but there’s something really nice and personal about taking a previously edgy OC and making them not edgy anymore. Not through character development but through like retconning and redesigning them.

Hadley is my longest running and main OC despite the fact that I never write or draw her lol. I’ve had her since 6th grade, so around 10 years (yeowch that number hurts). My friend was writing a avatar x divergent esc young adult original story (as one does in 6th grade if you’re not busy writing minecraft fanfic like I was) and she asked me to make a character. Basic plot was that some people had element powers and were being hunted down for them because they were “dangerous”. I made Hadley as a shadow wielder, and as is standard with these kinds of stories, her parents were dead and she was on the run and life was shit for her.

My friend eventually stopped writing that story. I now had Hadley back to do whatever the fuck I wanted with her. My other friend had also made a character for this story named Georgie and we had our two OCs date (this is how you test the waters if you’re both creatives btw because she is now my gf lol). She already had a different universe for Georgie, so I decided to put Hadley there and rework her a bit. In this universe, Georgie and her family are witches who go around and take care of paranormal stuff. Now Hadley became an unwilling test subject by a big bad company that turned her into this weird shadow monster thing.

Still edgy but in a different way. I was in highschool when I came up with that story.

I’m now a year away from graduating college. In my time I have been casually thinking about Hadley in the background. Not drawing or writing anything, but just thinking. Now I’m really having fun with her.

She’s 1/4 shadow creature on her mom’s side, so shes lived with them her entire life. There was an old abandoned log cabin in the woods that she lives in. She has a garden and a well outside, the cabin itself is in very good shape. She knows the woods like the back of her hand and knows trespassers aren’t welcome, so she tries to keep people out by warning them. She is 100% used to people never listening to her and disappearing into the woods to never come out. With every disappearance, the shadow creatures leave her with new gifts that look familiar. She’s silly, goofy, pretty laid back, kinda smug, but a bit unsettling and unhinged (she was raised by big creatures who kill people that trespass into their territory, a bit of weird is to be expected).

She meets Georgie in the same way she meets everyone else. Georgie came out to investigate rumors of people going missing, belongings being taken, and strange creatures around the edges of towns. While Georgie wanders, Hadley appears out of nowhere and gives her same cryptic warning “these here forests are dangerous, don’t go wandering around in ‘em. I’d leave while you still can,” with that same off-putting, sly smile she always delivers her warnings with. It has a rehearsed feeling to it, like she’s said these exact words to hundreds of people (she has). Georgie is especially interested in this interaction because she knows shes in the middle of dangerous shadow creature territory, yet here is this person completely unharmed and acting like she owns the place (she basically does).

Georgie starts asking questions because this kind of stuff is her job, she’s pretty used to the weirdness. Hadley keeps giving vague answers with that same air of casualty even as the sun starts to set. Eventually she says "Well, its late enough to where if you leave now, you wont get out of here in time," no explanation for what that means, "You can either go off on your own or come with me." Its an offer no one else has ever gotten because no one stayed around her long enough for her to offer it. Intrigued and seeing this as her best lead into her investigation, Georgie agrees.

They head back to Hadley’s quaint, well kept cabin, something that sticks out horribly in the middle of the of a forest with such a lethal history. At some point Georgie asks “If this area is so dangerous, how come you live out here?” Hadley barks out a laugh, her mouth opening far enough to reveal a glimpse of fangs larger and sharper than what any standard human should have for the first time. “Unlike everyone else, I’ve been out here for a very long time. I know what I’m doing.” She drops the topic.

Georgie eventually convinces Hadley to join her in her family’s witch business. Hadley ends up being a chaotic addition to the roster due to her having a semi-personal relationship with a lot of other mystical/supernatural groups. If the shadow creatures interacted with any other groups, she did as well. They’ll be trying to do an investigation and Hadley starts picking arguments with them because of some old feud or other thing (e.g. Hadley can realistically do the moonknight comic “Dracula, you bastard, you owe me money“ thing. That’s what inspired this part because its funny).

To summarize all that, shes got a family and is happy now where she never was before.

tldr: There’s something so personal about an OC changing with you as you grow up. Something something a piece of yourself is in everything you create and sometimes they help you see how much you’ve changed. Making edgy characters is fun and all, but for me and Hadley, her becoming less edgy is a reminder of how I don’t hate my life as much as I used to. Hadley is getting better and so am I :D

[betweenthetimeandsound]

Three Minutes to Eternity: My ESC 250 (#160-151)

(Author's note: Sorry about it being a couple of days late--I wanted to rest a bit--which I will do again because we hit the top 150--and had to download quite a bit for the gifs. Please enjoy this bunch, though!)

#160: Dihaj -- Skeletons (Azerbaijan 2017)

“When we hook up it’s fantasy We’re just like alchemy I’ve never been so ready”

I completely neglected Skeletons during the contest, as I didn't listen to it beforehand and didn't watch songs 12-17 when watching the grand final live. Along with "Grab the Moment" that year, it sandwiched a horrendous stretch of songs in #13-16.

Despite this, I listened to it a lot afterwards. It’s equal parts intriguing and mysterious, especially with the almost-nonsensical lyrics with interesting images. I always imagined a concept film in which the main character meets a potential love interest in a night club, only to go too far and almost kill him.

The atmosphere the staging created was a bit strange, in that it incorporates masks and a world inside a school chalkboard. For each of these aspects, Skeletons is my favorite Azeri entry ever—it stands out in a unique way because of its eccentricity.

Personal ranking: 5th/42 Actual ranking: 14th/26 GF in Kyiv

#159: Tommy Seebach -- Disco Tango (Denmark 1979)

“Hun er en stjerne på et dansegulv Slår John Travolta i en rock ‘n’ roll På diskoteket ta’r hun kegler, og der ka’ man se Dem stå i kø og skæve, hver gang hun gør sin entré”

“She’s a star on a dance floor Beats John Travolta in a rock ‘n’ roll At the disco she’s scoring, and there you see Them queue up with an eye on her, every time she enters”

Disco and tango are two genres you don’t expect to work together, despite them being so fun to dance to. Despite this, Tommy Seebach makes it sound natural. There’s a bit of adjustment needed when listening to it, but it’s equally flirty and groovy all at once, as one gets to know the many quirks of the song.

The live performance definitely elevates it--not only with Debbie Cameron's enthusiasm (she would come back two years later with Tommy in a bigger part), but also because of the orchestration. The mix with strings and castanets in the chorus was definitely the best part and gets me shaking.

It’s different for Denmark, but definitely a song you should put in a disco (*clap clap*) from time to time!

Personal ranking: 3rd/19 Actual ranking: 6th/19 in Jerusalem

#158: Poli Genova -- If Love (Were) a Crime (Bulgaria 2016)

“Unafraid, never fade When it’s dark we illuminate”

Bulgaria’s comeback after a two-year hiatus sees them with a hyper energetic pop song with an uplifting message. While it seems like a simple one at first, the diverse Eurovision community can embrace it for its openness and determination. The great production upholds this gem, and the lighting on stage adds to it, especially in the end.

Poli definitely makes this song come to life with her vocals and her upbeat personality, making it shine even more! (And I did like her costume--not something for everyday-wear, but definitely one fitting the song and a bit avant--garde too). Compared to her first entry, which fights against those who put her down in a pop-rock way, she delivers with fun.

And they got their first qualification in nine years and a start to a nice run of entries as a result.

Personal ranking: 5th/42 Actual ranking: 4th/42 GF in Stockholm

#157: Athena -- For Real (Turkey 2004)

“All I know is you don’t want to be part of the crowd Realise yourself You say it but don’t feel it, what you sayin’ has no meanin’ Don’t hide your soul”

For their host entry, Turkey brings upon Athena, a ska-punk (and former metalcore) band with this bouncy song. And it’s such a great one—filled with energy and fun. A bit different from what we expect from Turkey, but it shows what their music industry could bring.

It's lively and fun, with Gokhan leading the charge with his presence. At times, he shouts more than he sings and it seems like he didn't dress up for a more formal event. That said, there's still a lot of charm in "For Real's" performance, ranging from the sharks in the background to the "Hi mom!" and the peace jacket. It comes along in an eccentric package, and makes for a solid predecessor to their rock-based entries four years later.

And it definitely hints at being oneself, which celebrates individuality in a fun way.

(Plus, that's the reason why my top three in 2004 isn't the actual top three. Haha)

Personal ranking: 3rd/36 Actual ranking: 4th/24 in Istanbul

#156: Katarína Hasprová - Modlitba (Slovakia 1998)

“Láska kráčam údolím sĺz A len ty môžeš zmierniť môj žiaľ Túžim sa dotknúť tvojich pier, tvojich rúk Prosím vráť sa mi, nevzdaj sa nás”

“Love, I am walking the valley of tears Only you can get me out of misery I long to touch your hands, your lips Please, come back, do not give up”

A comment on the interwebs suggested anybody who has Horehronie as their favorite Slovak entry has never listened to this. I could understand why people would gravitate towards the former, but this stands out more for me (and not just because of the religious title).

The introduction reminds me of “Kiss From a Rose”, which here, is less meant to be about plagiarism and more about the 1990s feel of it. Musically, it takes the same medieval elements from other 1990s entries, but it tells a different story, one about trying to fix a relationship on the rocks. It builds well, going from an otherwise delicate ballad to something more explosive when one gets into the chorus. The orchestration really helps it too!

Modlitba got six points from Croatia...and then nothing else. It's still a shame it did so poorly, but as a potential nul-pointer too? Sad.

Personal ranking: 4th/25 Actual ranking: 21st/25 in Birmingham

#155: Melovin -- Under the Ladder (Ukraine 2018)

“Nothing but your will sets you on fire Fire lasts forever...”

The song that inspired a fervor from Melovin’s fans, including me! While I’m not as enthusiastic as them, I still love this song—it's pulsating and intense, with quite interesting lyrics about getting up again(with some enunciation issues). There was a point where the song got a musical revamp, and I feared it would make the song worse, but fortunately it kept the whole thing intact with a few production changes.

Melovin proves he's a talented showman, and seeing the stairs go aflame made me smile (even though I preferred the effect more on his Vidbir performance; the flaming LEDs really helped there). Good thing the televote swooped in, because last place in the jury vote feels really wrong (though it could be because of said pronunciation).

Plus he has some good post-Eurovision songs—check them out! My favorite is З тобою, зі мною, і годі.

Personal ranking: 6th/43 Actual ranking: 17th/26 GF in Lisbon

#154: Joci Papai -- Origo (Hungary 2017)

“Be kell csuknod a szemed Úgy láthatsz meg engemet Hogy meghódítsd a szívem Ismerned kell lelkemet”

“You need to close your eyes So you can see me To conquer my heart You have to know my soul”

While Az en apam (#240) touches me more than Origo, one can’t deny this is the more creative song. It combines not only Romani influences, but also a dark pop foreground which allows them to shine.

In addition, the lyrics are absolutely masterful—they are rooted in Joci’s story and packs a punch in the message. It's tells of a relationship with someone who doesn't accept him for who he is (cursing her forever as a result), along with how Joci grew up and used music as a weapon for himself and his people. He's a compelling storyteller, and you can tell he sings it from the soul.

Combined with a compelling rap and a neat violin instrumental, you get a completely unique experience.

Personal ranking: 4th/42 Actual ranking: 8th/26 GF in Kyiv

#153: Blanche -- City Lights (Belgium 2017)

“All alone in the danger zone Are you ready to take my hand?”

Blanche had quite the journey in Eurovision--first her song gets released, and immediately becomes a contender. Then she has problems performing in shows and during rehearsals, at which the odds star dropping like flies. Then her semi-final performance was notably wobbly, but she still qualifies and places fourth.

Despite the staging errors (I would've personally have made the lighting gold rather than natural-colored), it was fully deserved and I think it was better than the eventual top three.

The vibe of this song reminds me of walking down the streets of Tokyo, because of the visuals involved. Everything is in a rush, but one's not sure There’s also tension, because of the dark electronic sound that dominates it. Despite Blanche’s nervousness on stage, it worked well with the song—it amplified the sensation of walking down a wire and wondering if the relationship will work. A startling entry from Belgium and one that really strikes at modernity.

Personal ranking: 3rd/42 Actual ranking: 4th/26 GF in Kyiv

#152: Frances Ruffelle -- We Will Be Free (Lonely Symphony) (United Kingdom 1994)

“Welcome to the land Where all our dreams are planned And fighting is a thing to do...”

The first of the UK’s attempts to modernize the contest in the 1990s, it’s a cool, funky song with interestingly-written lyrics. Someone compared the chorus to a protest slogan for social justice movement, but the rest of the song discusses a complex relationship. The opening lines are a highlight in particular, and everything flows fantastically.

A few bits of the live-performance went out of hand, like with the orchestration and Frances’ vocals, explained by how she was bopping up and down and was told that she needed to keep that down. As a result, she couldn't focus on her vocals and they turned out a bit sharp at times.

That said, she had a pretty dress and charming look about her. And while it placed in the top ten, I think it should've done better.

Personal ranking: 4th/25 Actual ranking: 10th/25 in Dublin

#151: Sebalter -- Hunter of Stars (Switzerland 2014)

"I state my heart has been well trained I’m gonna be your candidate I am the hunter and you are the prey Tonight I’m gonna eat you up"

This word-salad of a song makes it quite hard to choose a good lyric, as it has a bunch of nice lines but almost no meaning to them. Reading them again, it seems like one is trying to get his affections to like him, to no avail, unfortunately.

But beyond that, we get a fun and wholesome song, which features a prominent banjo and even a violin solo! From the opening melody I can't help but smile, or even whistle along at points (everytime the latter synchronizes, I feel a bit of accomplishment). It's a bit more folksy than what the contest oriented on the time (slickly produced pop with a bit of dubstep), which makes it even more special.

Finally, we have Sebalter himself, who really carries his own song! Not only is he quite good-looking, but also very charismatic and knows how to have a good time. While Swiss entries have become better known since then, you can't replicate Hunter of Stars; it's too special!

Personal ranking: 5th/37 Actual ranking: 13th/26 GF in Copenhagen

[betweenthetimeandsound]

Three Minutes to Eternity: My ESC 250 (#110-101)

(Also known as, the last set of songs before my top 100! Afterward, the write-ups will expand, and each song will have their own gif set of varying sizes. So less songs will appear in each section)

#110: Ani Lorak -- Shady Lady (Ukraine 2008)

“I've just turned one more page I belong to the stage Baby, don't call me baby”

Surprisingly, for such a beloved song, I didn't really get it at first. I came off of one listening believing it was just another pop song. It took a few watches of Ani's performance for everything to fall into place.

There’s so much sass in Shady Lady; the production to the lyrics click together to tell of a woman who not only leaves her lover, but seeks to become even greater than them. The mix of drum machine and strings add to this thumping dance number; I never fail in getting endeared with those head nods.

Ani sells with gusto, and the use of light boxes are incredible. She becomes an absolute superstar on stage, and has equal parts presence and vocals. No wonder a lot of people though this deserved to win.

Personal ranking: 4th/43 Actual ranking: 2nd/25 GF in Belgrade

#109: Knez -- Adio (Montenegro 2015)

“Još te ne dam maglama sa planina Još te ne dam vodama iz dubina A ti kažeš pusti me, živ mi bio Zaboravu predaj me, sad adio”

“I still don’t give you to the mists of the mountains I still don’t give you to the depths of the water And you ask me to let you go, forever To let you sink into oblivion and say goodbye”

The most recent of Zeljko’s compositions stands just as solid on its own, with its own melancholic string intro and beautiful soundscape. From the opening notes, you know of the story that is to come, which the lyrics painfully convey through beautiful images of rosemary, flowers, the sea and sky.

Not only that, but the build is absolutely graceful, with the key changes working effectively to build to a tragic crescendo. The staging plays well with this, going from a serene night to a bright red dawn. Despite the energy given out through the clapping and the eagle dance, Knez and his backing vocalists still convey the pain of leaving.

And if you look closely, you can find his daughter, Kszenija, amongst them. Six years later she would end up representing Serbia in this year's contest, albeit going "Loco loco" with her bandmates!

Personal ranking: 5th/40 Actual ranking: 13th/27 GF in Vienna

#108: Aliona Moon -- O mie (Moldova 2013)

“Între soare și ploi se nasc mii de culori Dar noi vedem doar nori”

“Between sun and rain, thousands of colours are born But we only see clouds”

Moldova is usually known for their wacky, fun performances, but O mie shows they could slow down a bit without losing their quirks. Even the songwriter, Pasha Peferny, takes a hard turn from his cute 2012 entry, Lautar (which you should still check out, by the way!)

The beautiful lyrics really stand out, which show equal parts whimsy and light. I like the use of colors and nature to convey the ambiguity and loss at the end of a relationship. While meant to be sent in English, it's good they went for Romanian in the end--it's a beautiful language, and we have a dirth of good Romanian-language songs in Eurovision (please, more of them!).

While the staging was a bit messy at times, especially with multiple dancers helping Aliona in telling, the song still shines through with Aliona’s sweet vocals and beautiful melody. Also, it took a while for me to note how her glowing dress arose at the bridge, haha.

Personal ranking: 4th/39 Actual ranking: =11th/26 GF in Malmo

#107: Nina Sublatti -- Warrior (Georgia 2015)

“I’m a warrior, isolated World gonna get up and see!”

While the lyrics are a bit simplistic (especially with the random , Warrior is badassery personified. The instrumentation (refined in Sweden) amplifies the intensity of the song and its message; the opening drums gives way to a dark pop soundscape with equal parts starkness and power.

Nina maintains a resolute stance--not only in the studio cut, but also in the live performance. The dark costuming transforms her into a modern-day warrior of sorts, and the LED imagery enhances the intensity. Notably, the GF performance featured a malfunctioning smoke machine; the smoke obscured NIna and we couldn't see her for a few shots. Doesn't take away from the rest of the performance, which shows her in a much clearer light.

Also, she did mention the song was dedicated to the Georgian people--not only to become strong women, but also against the Russian occupation in the north. Intriguing political message, my friend.

Personal ranking: 4th/40 Actual ranking: 11th/27 GF in Vienna

#106: Loïc Nottet - Rhythm Inside (Belgium 2015)

“Be you enemy or lover? We are put here to discover...”

(One minor thing about this is how Loic kind of reminds me of Julian Quintart from Abnormal Summit--not only because of their backgrounds, but how the former is dressed. haha)

Rhythm Inside is very cool, albeit timed art pop piece really showed Belgium’s strengths in the mid 2010s. The song is minimalistic and slick, with an ambiguous message detailing the processes of life. While really cool, sometimes it can rub me off because of how cold it can become. Art pop is great, but it has to engage too.

The performance is just as refined, if a bit odd, and Loic announces himself to Europe with his skills in music and choreography. He and his backing vocalists create a pointed performance which is equally minimalist and yet fills up the stage. Very modern and cool.

Beyond the contest, Loic has had a good music career, and I've actually followed a few of his songs. Check out 29 especially; the way he sings it is so heartwrenching.

Personal ranking: 3rd/40 Actual ranking: 4th/27 GF in Vienna

#105: Pernilla Karlsson -- När Jag Blundar (Finland 2012)

“Som en sjö utan vatten, som en lykta utan ljus Ett liv utan färger, det är inte du Nå’n man ser då man blundar, som en ängel framför Nå’n som hjälper en och flyga då man glömt hur man gör”

“Like a sea without water, like a lantern without light A life without colours – that’s not you Someone you see when you close your eyes, like an angel before you Someone who helps you to fly when you’ve forgotten how to”

Nar jag blundar is notable for being the only song sung in Swedish since the language rule was dropped (because Finland has a Swedish-speaking minority there). It's a pity because Swedish is a beautiful language to sing in, with its accents and how it flows in music.

Beyond that, Pernilla’s song for her mother is so tender, with poetic lyrics and a sweet charm about it. The images used in there, assuring how her mother is so special and how she's the best, really touches my heart (hi mom, I love you!) and adds a sense of innocence in it.

The staging also adds to the grace; despite Pernilla's initial hesitation, it grows into a beautiful package with a nice orange-turquoise contrast and a pretty use of the wind machine in the first chorus. While I do understand how it might have not stood out, it's definitely one of the least deserved NQs of all-time.

(Also, Finland was the only Nordic to NQ that year?! That's a shame...)

Personal ranking: 3rd/42 Actual ranking: DNQ -- 12th in the first semi-final in Baku

#104: Hadise -- Dum Tek Tek (Turkey 2009)

"Angel, I wake up And live my dreams endlessly"

Definitely one of the more notable ethno-bops in the late 2000s, Dum Tek Tek is known for its simple structure, but good use of drums and guitar really lift this piece up. It's a bit more produced than what was offered earlier in the decade, but still holds its own.

The frequent "dum tek tek" in the refrain is quite curious; for a while I thought it actually meant something, but it turned out to be a heartbeat. Still a fun way to put it, though!

The staging is quite well done; I liked the choreography and how Hadise played with the camera. However, her backing vocalists had to help her quite a bit in the singing, because she fell ill during contest week and it showed in the vocals. The fourth place might be a bit over-the-top, but it's still enjoyable.

Personal ranking: 7th/42 Actual ranking: 4th/25 GF in Moscow

#103: Paula Seling & Ovi - Playing With Fire (Romania 2010)

“You and I could try to stop – uh boy, till you drop If we get together now, we'll burn this place down!”

A (tapping at the top of the piano): You certainly look nice tonight. B: Thanks; but I got the skirt from a friend and I need to make sure nothing spills on it.

(At that moment, A twirls around and puts his hand on B's shoulder. She stiffens before relaxing and places her fingers gingerly on A's wrist. A sudden beat)

B: I thought I told you that I needed to keep the skirt clean! A: Then why did you want to dress up like that tonight? (Beat) B: Well I wanted to go out later to a bar? A: In this climate? (sighs) B: Don't tell me you have something else in mind...

If Eurovision decides to do a jukebox musical, then Playing with Fire has to be one of the main songs in it. There's so much tension between the duo; one could make a bunch of plot points ranging from illicit affairs to a first crush and everything else in between. And then it all explodes.

On stage, the chemistry between Paula and Ovi is absolutely infectious. This adds to this dramatic bop, with flirtatious lyrics that are simultaneously fun and witty; they tease and shout at the same time. The instrumentation is dramatic (though it took me a while to appreciate the transition between the verses and the chorus), and I love the piano motif that persists throughout. Paula’s high note is fantastic; it can pierce through the transparent piano and through the stage itself. Such a dynamic duo!

Personal ranking: 3rd/39 Actual ranking: 3rd/25 GF in Oslo

#102: Koza Mostra feat. Agathon Iakovidis -- Alcohol is Free (Greece 2013)

“Μεσοπέλαγα φανάρι Ρε μας πήρανε χαμπάρι Ποιος το πήγε το σπιτάκι μου μακριά, μακριά;”

“There’s a lantern in the middle of the sea Dude, we were found out Who took my little house far away, far away?”

If you remember my commentary under Opa! (#207), the Greek economic crisis impacted the country significantly. At the time of this entry, there were different negotiations about how to handle Greece's debt; when that fell through, it looked like Greece was going to leave the European Union. By the time the 2013 contest ended, the Greek public TV station, ERT, shut down for two years.

Alcohol is Free tries to describe this chaos through a number of metaphors, ranging from mermaids to whisky and everything else in between. The exclamation mark to Greece’s golden era not only has silly lyrics, but also mixes their usual ethnic sound (with rebetiko) with ska to create a very vibrant concoction. It’s a definite spark of energy whether it’s just to brighten up a day or running around with actual alcohol! (though this blog does not condone underage drinking, driving under the influence, or pressuring people to drink alcohol. Be responsible.)

Personal ranking: 3rd/39 Actual ranking: 6th/26 GF in Malmo

#101: Anouk -- Birds (Netherlands 2013)

“If being myself is what I do wrong, then I don’t want to be right...”

When Anouk volunteered as tribute to represent the Netherlands, she was coming off after eight years of non-qualifications and with quite a bit of pressure. Birds was a little bit different from her regular discography (which I should really do a deep-dive on), and people thought it wouldn't work. Well, here's why it did.

The lyric is very hard-hitting, in terms of substance and how dark it is. I don't know exactly what Birds discusses about, but it ranges from just another relationship to suicide. I’m particularly intrigued by the dark nature of this song; the harp flourishes really toe the line in dreaminess--is it a dream, or a nightmare? However, I find it a bit cold sometimes.

Thanks to her experience, Anouk sells this really well on stage, with her soft, relaxed composure and the bird graphics creating a calm atmosphere. The flag-waving, which is a deriment towards other songs (including one coming up in the top 100), actually works towards keeping that serene nature, despite the dark undertones. And the bridge gives me all the chills; I can't help but sing along to that part.

The result? The Netherlands' first qualification and a route through which, after six years, they finally won again.

Personal ranking: 2nd/39 Actual ranking: 9th/26 GF in Malmo

[betweenthetimeandsound]

Three Minutes to Eternity: My ESC 250 (#150-141)

#150: Francesco Gabbani -- Occidentali's Karma (Italy 2017)

"Soci onorari al gruppo dei selfisti anonimi L’intelligenza è démodé Risposte facili, dilemmi inutili"

"Honorary members of Selfie Addicts Anonymous Intelligence is out of fashion Easy answers, pointless dilemmas"

I remember how hyped Occidentali's Karma was before the contest--it racked up views like a wind machine, and it looked like everything was going in its favor. And for good reason.

Even within the title (because it uses English possessives, rather than in Italian, Occidentali's Karma satirizes those in the West who romanticize or even appropriates East Asian culture and/or philosophy. Rereading the translation, it's curious because Covid-19 increased anti-Asian sentiment to the point of violence across the world. But there were so many good references.

Along with an upbeat tempo, the question going into rehearsals was where Italy was going to host the contest the following year. (It's not as hyped as Fur Alle, see #227 to see how that turned out and why their other entry was better) Unfortunately, that was not meant to be, as a combination of the three-minute cut (which is why I attached the Sanremo performance instead), Francesco's progressive tiredness with performing the song, and the staging sunk it from the top five completely. For some reason, the latter didn't bother me as much, though I could see why people would see it as more gimmicky in the end.

And with Italy's other entries in the future, it doesn't seem like it holds up as well. But the "Namaste, ale!" part doesn't fail to amplify a crowd.

Personal ranking: 2nd/42 Actual ranking: 6th/26 GF in Kyiv

#149: Youddiph -- Vechny Strannik (Russia 1994)

“Вечный странник, я твоя судьба, Знаю, помнишь обо мне Ты всегда в пути, но для тебя Яркий свет в моём окне,”

“Eternal wanderer, I'm your destiny, I know, you will remember me You are always on the way, but there is always A bright light for you in my window”

A bit eccentric from Russia, but it makes for a worthy debut, part of a three-song stretch of them towards the end. I like how the lyrics told a story about the two separated lovers, and they are really poetic!

But I sometimes get lost with the more relaxed verses against the explosive chorus. The former reminds me of an instrumental to beat poetry; I would sometime mimic "Poetry by Gary" there, whereas the latter feels like something that would be in other ballads during the time. It took multiple listens to reconcile the two; the orchestration really helps.

Youddiph switches between the two forms, well, going from , and the scarlet multi-functional dress is a highlight. Which way did she wear it is your favorite?

Personal ranking: 3rd/25 Actual ranking: 9th/25 in Dublin

#148: Mocededes -- Eres tú (Spain 1973)

“Como mi poema, eres tú, eres tú, Como una guitarra en la noche, Todo mi horizonte, eres tú, eres tú, Así, así, eres tú,”

“Like my poem, you are, you are, Like a guitar in the night My whole horizon, you are, you are Like that, like that, you are”

The lyrics are so pure—telling a loved one that they remind them of all the good things in life, all sung really well by a really professional choir. It touched me the first time I listened to it, and found it really sweet even after multiple listens. The instrumentation adds to that feeling, which makes it unsurprising that it has become a well-beloved classic even to this day.

Curiously, when they released the single internationally, they had the Spanish-version on the A-side and the English one on the B-side. The radio stations prefered to play the former, which led to it garnering fame across the Americas and Europe. It was even #9 on the US Billboard 100 at one point, making it one of the few non-English songs to do so well there. And it's been covered over and over again.

In addition, it still holds Spain's highest point total at Eurovision, with 125 points. And that's after multiple voting system changes and an increase of countries participating. Then again, that's its power!

Personal ranking: 4th/17 Actual ranking: 2nd/17 in Luxembourg

#147: Dulce Pontes -- Lusitana paixão (Portugal 1991)

“Mmm... fado, só quando a saudade vem, Arrancar do meu passado um grande amor...”

“Mmm... fado, just when the longing comes, Pulling a great love back from my past”

For the record, this is not a fado song, but rather a song discussing about the singer’s relationship with the genre in a standard early 1990s ballad. However, Dulce would go on to become one of Portugal's most famous fado singers, especially with the track Canção do Mar.

This doesn't mean that Lusitana paixao is anyway inferior, though!

As a result, the songs calming, but the lyrics indicate some yearning to convey the pain. The chorus is a bit weaker than the verses (despite being the rare example of "major-verse/minor-chorus"), but the orchestration in them, combined with Dulce’s vocals, makes it shine.

Personal ranking: 6th/22 Actual ranking: 8th/22 in Rome

#146: Conchita Wurst -- Rise Like a Phoenix (Austria 2014)

"You know I will rise like a phoenix But you’re my flame"

(Maybe I should've had Lusitana Paixao at #146 to keep up the Eurovision 1991 references, right? #allora)

If there's anything noticeable in Rise Like a Phoenix, it's how resilient and fierce it is, while establishing a sense of glamour.

It starts off with an orchestral intro, and the first verse is quiet, before it starts blooming further and further through the song. The lyrics have a sense of bite about them--the narrator is hurt, but they will use their pain to become even stronger. And the staging helps with the concept; through the use of lighting, we get to see Conchita more, from the silhouette in the beginning to her full form by the end of the song, decked in gold and fully assured.

Rise Like a Phoenix was one of the first Eurovision songs I listened beyond the 2016-7 timeframe (or at least, one of the first that I liked enough to draw some fanart). The whole piece doesn't get lost in a soundtrack (a lot of comments talk about how it could fit in a James Bond movie), and it holds itself firm and dignified. And while I'm not part of the LGBTQ+ community, I could understand somewhat why something like this is important.

And it's absolutely glamorous.

Personal ranking: =3rd/37 Actual ranking: 1st/26 GF in Copenhagen

#145: The Common Linnets -- Calm After the Storm (the Netherlands 2014)

“I just wanna know if staying is better than goodbye...”

Both Rise Like a Phoenix and Calm After the Storm weren't seen as contenders before rehearsals, as the former "leaned on a gimmick" and the latter wasn't "stereotypically Eurovision" enough and too low-key. It took a couple of great stagings; whereas "Rise Like a Phoenix" plays with fire and revealing who one is, "Calm After the Storm deals with the melancholy and tension after a relationship, and does so fantastically. (cries in 2018)

The following lyric is a pretty hard-hitting one from an otherwise serene-sounding song. The story in it also deals with this stasis; while "calm after the storm” implies a return back to normal, the lyrics also indicate an ambiguity towards the state of this broken ship. (Looking over it, I still can't believe how clever the title is) The fallout creates an emptiness, and sometimes the silence is louder than any shouting. It’s definitely worth a listen, and I don’t listen to country often!

(On whether Calm after the Storm would've made the better winner, I'm not sure. I can agree it's the more thoughtful song and would've opened the doors to more genres, but Rise Like a Phoenix had just as much of an impact. Of the winner-runner-up pairs of the 2010s, this is the one I'm down the middle about. Both are so good...)

Personal ranking: =3rd/37 Actual ranking: 2nd/26 GF in Copenhagen

#144: Dino Merlin -- Love in Rewind (Bosnia and Herzegovina 2011)

“One to a hundred, multiplied by you, It all looks great, it all looks cool, Healthy children go to school, My daughter's in love, my son loves too..."

If you ask most Eurovision fans on what's their favorite Bosnian entry is, it usually comes down to one of three options. Love in Rewind is the most recent of them, but still has its charms. (Don't worry, you'll find out what the other two are in due time...)

A happy song which relishes on the beauty of life, Love in Rewind has the narrator appreciate the little things in life, despite the minor-key(?) tone throughout. Dino conveys this cheery feeling well, and the people on stage definitely add to this familial scene, from the chorus to Maya's piano playing and everything else in between. It's really enough to give you those warm feelings inside. (And if you don't, what kind of person are you?!)

For a song which performed second in the final, Love in Rewind also did quite well, with a solid sixth place! Though in an average year like 2011, it deserved the win.

P.S: What did the juries not see in this song?

Personal ranking: 1st/43 Actual ranking: 6th/25 GF in Dusseldorf

#143: Cliff Richard -- Power to All Our Friends (United Kingdom 1973)

“Power to the boys who played rock 'n' roll And made my life so sweet And to the girls I knew before And those I've yet to meet”

It's funny I'm writing this now, because the most recent #Eurovisionagain was 1968, which featured the hit "Congratulations" and it losing Eurovision by one point, haha.

Cliff Richard’s second entry is a bit less remembered than his first, but I think it’s quite better. From the rock and roll vibes of this one to the celebratory lyrics, it brings a spark of joy and modernity to the 1973 contest. Speaking of modernity, Power to All Our Friends was the first song to use some playbacked elements--the orchestral drummers are doing nothing in the background during the chorus. Though the orchestra did help with emphasizing the grandness of this song.

Cliff’s dancing, on the other hand, hasn’t changed and still remains very awkward. He also stayed in the bathroom when the voting came along, and then Spain was now one of two countries which beat him. I'm kind of surprised that he never had a grudge against the country.

Personal and actual ranking: 3rd/17 in Luxembourg

#142: Rollo and King -- Never Ever Let You Go (Denmark 2001)

“I’ll never ever be the same since you left me lonely So please come back to me again”

Isn't this wholesome? From the opening harmonica solo, one can expect a really happy and warm song. Rollo and King deliver the joy in spades, and Signe's arrival in the second verse made the whole crowd at Parken cheer. What a moment.

I love how the duo's voices work and the lyrical content of the song (though sometimes I'm a bit confused about if the narrator changed or not...). It's very sunny and cute, which makes it shine at the end of the lineup. While it doesn't have the same "movie-ending" feel as In a Moment Like This (#164), it still does the job well. The ukelele parts also bring a bit of spice to it; "I even really liked "I Don't Feel Hate" from this year because of its similarities with their riff!

I actually like this more than "Fly on the Wings of Love", though they both share this comfy, acoustic vibe. But that's what Denmark does best in the contest--bubbly cute songs, and Never Ever Let You go is the best of them. (But don't worry, there's still more Danish songs to come!)

Personal ranking: 3rd/23 Actual ranking: 2nd/23 in Copenhagen

#141: Sergey Lazarev -- You are the Only One (Russia 2016)

“Won’t ever give up ’cause you’re still somewhere out there Nothing or no one’s gonna keep us apart”

The top three of 2016 all had something compelling about them, which made them shine from the bunch. They had songs of different genres, but the performances make them stand out from the rest of the crowd, with highly capable singers.

You are the Only One pops out right away with the opening bell, and follows through a dramatic arc about finding the one. While there are questions about how ”dated” the song is, the production is quite awesome and adds to the drama. I always imagine a cool music video where one traverses across the city and trying to find someone for comfort. It would make a very fitting soundtrack.

And Sergey is a great performer, handling the evolved wall staging with ease. There were some angles that made it give the fact away to the viewer, but seeing Sergey sing and climb and announce that someone was the "only one" wowed everyone, including me.

No wonder I listened to this so many times when I started following Eurovision!

Personal ranking: 4th/42 Actual ranking: 3rd/26 GF in Stockholm

[betweenthetimeandsound]

Three Minutes to Eternity: My ESC 250 (#190-181)

#190: Kaliopi -- Crno i Belo (North Macedonia 2012)

“Отвори душа признај ми, Што сме сега јас и ти, Пола мое во тебе, А пола твое спие во мене,”

“Open your soul and admit to me, What we are now, you and me Half of me is in you And half of you is sleeping in me”

Kaliopi was supposed to be (North) Macedonia's first entrant in the 1996 with the song Samo Ti, but an audio-only pre-qualifying round ended up preventing her from doing so. Whereas Samo ti is a calming, R&B influenced song, Crno i belo is an alternative rock song which takes a number of twists.

Crno I Belo starts slowly, but it really picks up from the second verse onwards as it transforms into a rock song. There’s a sense of confrontation with the lyrics, which the music also tries to convey. And I don’t need to say much about Kaliopi’s vocals—a bit harsh, but awesome. And that scream is nothing but penetrating.

Personal ranking: 4th/42 Actual ranking: 13th/26 GF in Baku

#189: Måns Zelmerlöw - Heroes (Sweden 2015)

"Now go sing it like a hummingbird The greatest anthem ever heard"

I know there was a bit of flack of Sweden's most recent win, because they won primarily because of the jury (they were third in the televote). Compared to "Grand Amore", which comfortably won the televote but only gotten sixth with the juries, which was a pretty bad mismatch.

In addition, compared to the other fan-favorites of the class of 2015, Heroes is a more mainstream-sounding pop song, with influences from "Lovers from the Sun" and the highly produced Swedish-pop scene. But when I listen to it, it's very engaging and surprisingly danceable, with a great message of strength and togetherness. And the staging was quite slick and creative (with a bunch of influence on some of those from the following year)

So while Heroes is not my personal favorite of 2015, it's still a compelling and awesome pop song. Six years later, it's holds up fantastically.

Personal ranking: 7th/40 Actual ranking: 1st/27 GF in Vienna

#188: Elitsa Todorova & Stoyan Yankoulov -- Water (Bulgaria 2007)

"Море, Митра пее на реката Митре ле, ий… Митре ле"

"Lo, Mitra sings by the river Oh Mitra, eeh.. oh Mitra"

I have the strange impression that Bulgaria has a trance music scene we don't know of. From Elitsa and Stoyan's two appearances to the lyrics of Stanga being taken from a Bulgarian folk song, it's something that was not in focus in the rest of the world.

That said, Bulgaria's only qualifying song prior to 2016 is an experience to behold. While the lyrics are simply about Mitra meeting a lad riding a horse, the soundscape feels like you're in the surreal place yourself. You are in a rush against time, but you're also on a journey towards...somewhere.

Both the music and drumming really amplify the experience; seeing Elitsa and Stoyan drum together was a highlight for me. And while there are questions about Elitsa's vocals, including a point where she goes off-key, she still provides the necessary tone for this intriguing song.

Personal ranking: 4th/42 Actual ranking: 5th/24 GF in Helsinki

#187: Tose Proeski -- Life (North Macedonia 2004)

“Life is a book and you gotta read it Life is a story and you gotta tell it Life is a song and you gotta sing it You've got to know how to live it.”

For some curious reason, I prefer the English-version of this song to the Macedonian language one. Whereas this one, performed from Eurovision, focuses on the angst of existence and the importance of making the most of it, "Angel si ti" is an ode towards a lover who lines his streets with roses and even turns back time.

That's one of the things which work here that really shouldn’t. The mid-2000s sound, the lyrics, and the sheer angst of it. But for some reason, I really enjoy it. Tose (RIP) sings this really well, and it feels like a song out of a musical, in a scene where the protagonist cannot decide what they want to do with their life. It's awesome and I love this lots (and please, put this in a hypothetical Eurovision jukebox musical--there's so much plot potential!)

Personal ranking: 6th/36 Actual ranking: 14th/24 GF in Istanbul

#186: Lisa Andreas -- Stronger Every Minute (Cyprus 2004)

“My love grows stronger every minute And it won’t ever die You must believe I’ll always be there For you, all my life”

Greece and Cyprus are basically sisters in the contest--you can almost always expect them to give votes to each other considering the circumstances. However, their combined quality frequently varies, as well as results. 2004 was their best results year, though not necessarily their best in terms of songs (you'll get that later, towards the end)

At fifth place, Stronger Every Minute shared the best Cypriot entry ever with two other entries (one of which is #239, another coming soon) until 2018. This time, it comes in the form of a delicate love song, performed so tenderly and serenely by Lisa. Despite her looks making her look older than sixteen, she conveys a sense of innocence, helped by the glockenspiel and the acoustic guitar throughout.

I love how sincere she sings this “love letter”, as one blogger put it--I hope everyone can feel a love like this! A pure oasis in the flash and chaos of the 100% televote era.

Personal ranking: 5th/36 Actual ranking: =5th/24 GF (with Sweden) in Istanbul

#185: Paloma San Basilio -- La fiesta terminó (Spain 1985)

“La fiesta terminó Ya no hay más que niebla entre tú y yo ¿Para qué echar más leña arder Si el fuego se ha apagado ya?”

“The party’s over There’s only a fog between you and me Why throwing more wood to burn When the fire is already dull?"

Juan Carlos Calderon and Paloma San Basilio are really well known in their fields --the former is a noted songwriter who already wrote one of the biggest hits in Latin America, whereas the latter is a noted singer and theater actress who would win a Latin Grammy and play Evita.

Together, they have this really nice power ballad, albeit one with a bit of melancholy in it. The lyrics are the strong part of this piece, telling of a relationship that has come to an end using the party as a metaphor for it. It works very well, especially with Paloma's warm voice and the way she emotes the song through her hand gestures.

The resulting package is quite sad, yet very, very beautiful. Unfortunately, it didn't get the result it deserved (which maybe because of that backing vocalist picking at his nose...).

Personal ranking: 2nd/19 Actual ranking: 14th/19 in Gothenburg

#184: Sakis Rouvas -- Shake It (Greece 2004)

“I would trade my life for a night with you Driven by desire”

(Yes, this is already the third song from 2004 to appear in this section. haha. The first two that appeared here are fighting for my fifth, whereas the top four here is the exact same top four of that year.)

The first of the Greek Golden Era, we get Sakis Rouvas in all his glory. This was a hit when it was first released, and it at one point was the highest selling single of all-time in Greece. And as of 2021, it's still the highest-scoring Greek entry, despite them winning the following year.

While his regular discography doesn’t usually feature Greek elements, as he's better known for popularizing pop and rock influences in Greek music, I still think the bouzouki riffs do a good job here adding to this bop (the composer is Nikos Terzis--remember this name).

It's a dancefloor banger which I keep on repeat, and it seems that people across the continent have done so too! Especially those from Turkey. The performance is also quite fun, albeit with some...curious choreography (e.g. 1:42-1:46). That said, we also get some of Sakis' athleticism, thanks to him doing track when he was younger.

Personal ranking: 4th/36 Actual ranking: 3rd/24 GF in Istanbul

#183: Claude Lombard -- Quand tu Reviendras (Belgium 1968)

"Passent les semaines, se traînent les jours Et moi, j’attends ton retour En filant la laine dans mes beaux atours En bordant ma peine de doux fils d’amour"

"Weeks passing by, the days are lingering And I’m waiting for your return Spinning the wool in my beautiful finery Embroidering my pain in soft threads of love"

A couple of commenters compared to a Kate Bush song, and I think it comes down to Claude’s voice, which is very ethereal. However, Claude's voice has some depth, which, in comparison to Kate Bush's earlier work, is a bit more mature.

As for the song, it’s very folkloric but tragic, in which she yearns for the day her lover comes back. The use of strings helps in that it establishes a medieval ambience to it, but the overall feeling is still timeless. It’s almost as if one is caught into the story and wept along with her.

I especially love this because it stood out amongst the class of 1968--while most of the other songs has a happy-go-lucky vibe, Quand tu Reviendras goes in the opposite direction. Same with my runner-up.

Personal ranking: 1st/17 Actual ranking: =7th/17 (with Monaco and Yugoslavia) in London

#182: Doris Dragović - Marija Magdalena (Croatia 1999)

Maria Magdalena, gib mir deine Macht Für immer und nicht nur für eine Nacht

“Svjedok mi Bog, srca mi mog, Ova žena zna, da ti pripada sva...”

“As God is my witness, I swear by my heart, That this woman knows, she belongs to you entirely...”

(The first few lyrics were from the first Maria Magdalena from Austria, haha. Just wanted to mess with you. :) )

The second Marija Magdalena is a beloved entry in the fandom, and for good reason! It hasn’t aged since 1999, which shone amongst the relatively dull field with its mix of ethnic and dance music. Lyrically, it focuses on a love that redeems the narrator, hence the imagery related to Marija Magdalena (yay, religious imagery and redemption!). I think it works efficiently, and Doris performs well on stage with her powerful vocals and diva-like presence. Arguably, it's argued that it was the best song of 1999.

The only problem I have is with the backing vocals on the instrumental. The delegation cheated, and that’s the end of it. I’m still wondering why people would put this as their favorite of 1999 otherwise; even with the new rule about allowing them on the track. It puts me on edge on what would've happened had they won.

Beautiful song, but cheaters don't prosper in my book.

Personal ranking: 3rd/23 Actual ranking: 4th/23 in Jerusalem

#181: Evelin Samuel & Camille - Diamond of Night (Estonia 1999)

“Diamond of night, burning so bright Guide me my silvery new sign”

The last Eurovision song of the twentieth century is filled with mystical imagery, atmospheric instrumentation, and a beautiful violin solo. The whole thing reminds me of a fairytale, with a cool soundscape, though sometimes I feel like something is lacking in it (especially because it resembles some entries from the 1996 contest; I was thinking of I evighet when writing this)

The lyrics are especially pertinent for Evelin Samuel (the singer), who tried to get to Eurovision throughout the entire 1990s. She was about to go as one half of the Estonian duo from 1996, when she suddenly got a tour in Japan, which was then canceled. She managed to become a backing vocalist in 1997, and finally got her chance here. Seeing her sing "now i can say it's my time" is very touching, even if her eyes seem to be bulging out!

In the end, it's a peaceful and serene song, with hope for the new millenium. However, considering what the first song of Eurovision 2000 would be, little did one know it won't always start on the right foot...

Personal ranking: 2nd/23 Actual ranking: 6th/23 in Jerusalem