#tel aviv 2019 reviews

[whenitsdarkweilluminate]

Tel Aviv 2019 – Grand Final

Host: Israel Slogan: “Dare to Dream” Participants: 41 Voting method: 12-point system (50/50 system - separated) Format: 2 Semi-Finals / Grand Final = the top 10 of semi 1 & 2 + the Big 5 + host

Winner: Duncan Laurence - Arcade Country: Netherlands Points: 498 (51.9% of highest score possible) Language: English

General Overview:

I regret taking long breaks because now I have to review Tel Aviv 2019 during late 2023… but I'll just focus on the music and the show, same as when I dealt with Moscow and Baku.

Anyways, I'm nostalgic for 2019. It was the first year I felt like a real adult. It was those last moments before we entered into a parallel universe. And years ending in -9 just hit different. Pop music feels fresher; while in Eurovision context: 2009 reinstated the juries and expanded the stage, 1999 removed the orchestra and language rules, 1979 was the first contest held outside western Europe, and 1969 had 4 winners. As for 2019? It's the technology. It's a great year for staging.

It's also a very competitive top 10. Sure, “Arcade” is an obvious winner in hindsight, but Italy came close. I absolutely LOVE my top 10 as well. But the bottom half of my ranking… meh. 2019 is somehow a strong year and a weak year at the same time.

The Grand Final is EXTREMELY bloated. The opening sequence involves Netta piloting a plane that supposedly carries the 26 finalists, while Jon Ola Sand acts as the air traffic controller. Then, different groups of people set-up jeeps, vans, buoys, bicycles, drones, glow sticks, and paper lanterns to act as runway guiding lights. The plane appears to land in the arena, with a split-up LED illusion. Then Netta appears on stage with dancing flight attendants, as the “Toy” instrumental plays. This starts the Flag Parade, where one flight attendant twirls the flags, creating holograms of swirly sparks that shoot upwards; while Dana International, Ilanit, and Nadav Guedj perform. I mean, “Golden Boy” does mention Tel Aviv. This is another hype opener. There's also a montage of past hosts introducing the voting.

I found the hosts funny this year. In the final, there's Erez and Bar bantering about junk food and Madonna, Assi's romantic dinner joke, Netta flirting with Bar, “Lucy used all 20 of my votes”, and Bar surprising Erez at the voting table.

The interval is LONG. First, Conchita, Måns, Eleni, and Verka play song switcharoo. Eleni's version of “Dancing Lasha Tumbai” is a moment, but Måns made “Fuego” boring somehow. At the end, they all join Gali Atari in singing “Hallelujah”. Also lol at Assi startling Verka. Then Assi awkwardly interviews Madonna, but her telling the artists they're all winners was nice. Next, Idan Raichel Project performs “Boee”. I liked this one – it's a smooth atmosphere of cultural elements that turns into great energy. Erez interviews Quavo next. Then it's the mentalist again (UGH!) This time, he gets 3 random finalists to pick a year/song/artist. They just happen to choose 1974/“Waterloo”/ABBA. After that, Netta performs “Nana Banana”, where she's dressed in banana yellow. She sits at the head of the table, then walks across it, showing she's the star. Meanwhile, there's dancers in formal attire, who later reveal more yellow outfits. This song is pretty annoying too (“OWW!”).

FINALLY, we get to the infamous Madonna performance. The intro is cool, with the cloaked chanting monks and church bells, but Madonna's vocals are iffy during “Like a Prayer” (trap remix) and I've never seen someone take so long to walk down a staircase. Then the dancers are in gas masks during the spoken word “Dark Ballet”. Then it's the excessively auto-tuned “Future” featuring Quavo. Madonna and Quavo's dancing is cringe-y here. We aren't done though! There's still a video of Gal Gadot showcasing Tel Aviv. I swear, Israel flaunted every celebrity possible. Jean Paul Gaultier made an appearance too.

The postcards begin with a graphic of the flags in rotating triangles. Then the artists explore Israel, as the same piano notes play every time. After a moment, they press a triangle play button hologram that says “PLAY”, and they dance with a group of people, with a different instrumental for every country. At the end, they throw a triangle forward. And the arena's ceiling structure shows the flag colours in triangular lights, with a piano sequence + “WAH” sound.

Did I mention the 2019 design involves triangles??? The logo itself is a star made of 3 triangles. And the stage is a triangular platform pointing forwards, with a triangular archway overhead, and a V-shaped audience ramp. That archway disappears for many of the performances though, which is a wise decision. Tel Aviv also steals the bridges from Lisbon. And the LED screen returns, which can split into vertical turning sections.

The jury voting was very close. Italy and Russia lead early on, but eventually North Macedonia wouldn't budge from #1, until Sweden overtook on the very last country. 2nd place kept flipping too. And the Netherlands was close to winning the jury. However, it was revealed post-contest that Belarus's top 10 jury points were actually their bottom 10. Meaning North Macedonia should've won the jury. What a random jury winner. Otherwise, the map uses glitter-light country shapes. Izhar Cohen was the Israeli spokesperson, meaning all 4 Israeli winners appeared tonight. And the EBU switched to revealing the televote points in jury vote order. Oh, and Hatari upset the audience with Palestinian flags.

Malta: Michela - Chameleon

Albania: Jonida Maliqi - Ktheju tokës Of course Albania is second in the running order. I also just realized this song gives me “1944” vibes.

Czech Republic: Lake Malawi - Friend of a Friend

Germany: S!sters - Sister “I'm sorry, 0 points”. I guess 2018 was an anomaly, as Germany returns to the bottom 2. “Sister” is just a bland entry. It wants to be an epic inspirational ballad, but the composition is as inoffensive as possible and refuses to be distinct. The song starts with a music box, followed by piano dings. Then the drums march until the music box returns to pause the build-up, with cymbal shimmer transitions; then foot-taps and strikes ensue. Verse 2 adds foot-taps and light guitar after a second. Then the song peaks with heavier drums and that “SISTER... OOH WAH OOH” bit... which is a very flat climax. The bridge resumes the music box again. The drums are boring, the melody is basic, and the music box is whatever. The lyrics promote non-familial sisterhood. Indeed, S!sters aren't even real sisters. The duo urges women to support each other instead of trying to knock the competition down. The narrator sighs “I'm tired” of it. She tried to inhibit her sister but couldn't. She wouldn't share her success, saw her as an enemy, and feared her power. But she empowers her sister in the chorus, and apologizes in verse 2. The staging is basic as well. It starts dark, with the pair on opposite sides of the ramp, as they change leads. And the LED shows their sad faces singing (*eye roll*) They then meet in the middle, and yell “SISTER” at each other while amateurishly bouncing. There's also an unearned fire rain finale and they excitedly embrace at the end. Their vocal sounds emotional, but in a saccharine way.

Russia: Sergey Lazarev - Scream The bad running order slot didn't hurt this.

Denmark: Leonora - Love Is Forever

San Marino: Serhat - Say Na Na Na I can't hate on people having the time of their lives.

North Macedonia: Tamara Todevska - Proud

Sweden: John Lundvik - Too Late for Love John's charisma (and the Mamas) really elevate this.

Slovenia: Zalagasper - Sebi

Cyprus: Tamta - Replay

Netherlands: Duncan Laurence - Arcade (winner review below)

Greece: Katerine Duska - Better Love

Israel: Kobi Marimi - Home This just screams “we don't want to host again”. It's a dated song with a formal performance, and Kobi's voice is excruciating (“I AM SOMEOoOoOoONE”). I just want him to STOP. He gargles the word “bruise” too. The orchestral string intro is from the 1950s. Then a gentle piano follows, as he sounds choked up. A small, anxious running beat appears next, with a bit of guitar and snowy echoes. Then the first chorus rests after a cymbal shimmer. Meanwhile, there's 3-way split-screens of Kobi and jagged screens showing the music video. The backing choir comes out during verse 2 and they stand close to him. It's an intense visual. The instrumental stays gently anxious until the bridge, where the strings grow and the melody shifts, as Kobi walks across the bridge. The slow drums enter at the climax, with fire rain and him walking across the ramp. Plus a rising bit and a pause. The song ends gently again, and with another big gargling vocal. Kobi is an over-singing, over-emoting showman. The lyrics are about personal growth. Kobi is focused on the current moment for the rest of his life. He runs “barefoot to the mountain tops” and hugs cold water (ie. facing extreme and uncomfortable challenges). And now that he found his identity, he's coming home. He used to listen to others and waited for time to pass. It was a long, suffering journey and he's done with letting that hurt affect him. It's a nice message, but the song is too theatrical and formal to make me feel anything.

Norway: Keiino - Spirit in the Sky

United Kingdom: Michael Rice - Bigger than Us A bland and forgettable entry puts the UK in last place. John Lundvik clearly kept the better song for himself. “Bigger than Us” wants to be an epic inspirational ballad, like Germany. It's more stimulating than “Sister” at least, and it has an innocent, uplifting vibe. But it's still formulaic and predictable. The song starts with a warm, hopeful piano, as the audio skips on “me and you”. The kicks and snaps come next. Then the song suddenly slam-stops, and the “anthemic” chorus brings the percussion and distorted “oh oh oh” responses. The backing lifts the last “it's bigger!” The second chorus extends into a back-and-forth “bigger (bigger)” with the backing. The bridge quiets to a pretty piano, leading to a drum breakdown, where the choir comes on stage giving “hah-oh”s. The last chorus is elevated by strings and stage sparks. And they stand around a fiery circle. The stage starts grayscale, as Michael walks forward with smoke behind him. Then the LED lights up with outer space imagery. He also shows his vocals on “ONLY HOPE”, “WE SEEEE YEAH”, and “UUUUS”. The lyrics lack depth though. The word “bigger” is said 47 times. Michael wants the subject to hear him. He says that love is attainable between them. He offers his hand and promises he won't give up. While the chorus proclaims that their love is bigger than everything. It's a bit trite. His performance is fine, the backing choir improves things, and the chorus shift kinda works. But yeah, this is bland.

Iceland: Hatari - Hatrið mun sigra

Estonia: Victor Crone - Storm Uhh was that a camera fuck up?

Belarus: Zena - Like It Zena cannot sing. The chorus is kinda annoying too.

Azerbaijan: Chingiz - Truth The verses are better than the chorus.

France: Bilal Hassani - Roi I view France's 2017/18/19 entries as a trilogy. Madame Monsieur even helped write this one. “Requiem” and “Mercy” told unique stories, but “Roi”'s message of self-love has 0 subtly. Especially the staging. It starts with a flashlight on Bilal's face, with colourful tears and words. Then, teen ballerina Lizzy Howell walks out, twirls, and shakily pushes wrists with Bilal. Then he comforts deaf dancer Lin Ching-lan. Meanwhile, the LED shows quotes, news headlines and videos of the dancers; as well as an empty throne room. Bilal also kneels during the bridge. While at the end, they all stand together making hand-crowns, as the LED shows a child video of Bilal + “We are all Kings/Queens”. The lyrics alternate English and French frequently. Bilal asserts “I will always be [me]”. She decides her own path. He lives life despite judgement. It bothers people and they tell her how to be, but she defies it; retorting “you cannot change me boo”. The term “king” is used to empower. Verse 2 questions why they hurt for nothing. We choose many things, but not who we are, it's no one's business. Bilal projects self-love, security and confidence. And the “I'M NOT RICH...” and “know-oh-oh-oh” hooks are fine, but the chorus suffers from the plain modern drum beat. The verses follow an active piano, with fist-pounding ticks partway. The post-chorus adds some strings and fluttery metal bits. Verse 2 has some drumstick echos midway. And the bridge reduces to low vibrations.

* Bilal uses both he/him and she/her pronouns, so I alternated

Italy: Mahmood - Soldi This is so addictive. The “come va, come va, come va” and “Soldi, Soldi” repetitions are catchy AF. The handclaps get the audience involved. It sounds fresh and modern. And it changes gears so cleverly. There's an Arabic guitar that keeps reappearing, mixed with assertive foot stomps. The verses follow “dun... dun-dun” piano notes, with more stomps. There's a pause on “AH UH”. The pre-chorus piano races with smooth strings, and the vocal jumps out midway with taps. Then the sludgy bass drops with double handclaps. And the Arabic guitar cuts this off effectively. The bridge has a more cluttered sound, ending in more strings. Mahmood crams a lot of words into this, but it doesn't harm the melody. The lyrics tell a personal story with a justifiably bitter tone. It's about his deceitful father, who walked out on his family, and only cares about money. Mahmood reassures his mom he's on his way home to see him. She thought it was love. The father is breaking Ramadan and smoking a hookah, and there's a Jackie Chan reference. Upon seeing him, Mahmood sings quickly since his mind is racing. He doesn't trust him. He doesn't care to explain. He decries “you only cared about the money, as if I have any”. The father won't say the right words. Mahmood rejects his offer. And the bridge inserts an Arabic phrase that his dad used to say. The staging involves Mahmood and the dancers leaning backwards during the chorus, as the LED shows a clapping silhouette. It also shows flaming banknotes, a sad boy, translated lyrics, and his face breaking. Plus beggars' hands on the floor. The dancers have some interesting choreo as well. But yeah, I just love how the different parts work together here.

Serbia: Nevena Božović - Kruna This is pretty epic by the end of it. It's grown on me! I love the part when the strings stop.

Switzerland: Luca Hänni - She Got Me

Australia: Kate Miller-Heidke - Zero Gravity

Spain: Miki - La venda This is an insanely energetic, joyous, and fun song. It sounds like a World Cup theme. It does burn out after repeated listens (I need to catch my breath!), and it is repetitive, but those “LA VENDA YA CAYÓOOOOOOOOOOOOOO” shouts are really catchy. The celebratory trumpet intro stands out too. And there's many quick “woo” pauses for breathers. Most of the song has fast, summery guitar and drums. The verses add backing “ohhhhh” to it, while the chorus adds horns and “HEY”s. The bridge retreats into rapid claps and Spanish guitar, then escalates with drum slams and horns, leading to a hollow drum breakdown. And it repeats “Lo que ere” 12 times. The song energizes the arena, but the choreo is kinda messy. They jump and raise their arms to hype up the crowd. And they run to the bridge and ramp at the end. The stage includes a 3x2 structure of 6 rooms with hand-drawn decor, and a frozen person in each. Miki turns around and visits them. The LED shows bold colours, including paint splatters and fingerprints. There's also a moving, lit-up, mummy thing. They brace against gravity during the camera tilts. Miki holds a camera at one point. The lyrics are trying too hard to be deep though. It's about removing the “blindfold” to live happy and free. Every verse line starts with “Te”. Miki remarks “They buy you because you're for sale”. You have excess to sell. You're lost because there's a way to be. He says there's other options – love and choose yourself. You're enough without forcing it.

The Winner:

The Netherlands achieves their 5th victory, and their first in 44 years. Austria still holds the record at 48 years between 1966 & 2014. However, Spain or France could break that in the near future. The Netherlands were one of my favourite countries during the '70s, '80s, and '90s, but they dropped off in the new millennium. They didn't even qualify for 8 years in a row. But then “Birds” changed everything; and “Calm After the Storm” did even better. Since then, the Netherlands winning again felt inevitable. Duncan's win is the culmination of their revival. Switching to internal selections has worked out pretty well.

“Arcade” is probably the least controversial winner of 2014-2023. There's nothing divisive about it. Although, at the time, I wasn't feeling the studio version. I was sick of hearing songs with big loud percussion. I didn't want a OneRepublic clone winning Eurovision. But after seeing Duncan's sensitive performance, I changed my mind. I can FEEL the emotion in this song clearly. Those “AHHHHHHHHH OHHHHHHHHH”s and “ALL I KNOW”s wouldn't leave my brain either. It's catchy! There's a very noticeable verse/chorus contrast too. The song opens with a piano sequence and vocal howls, creating a cold night forest atmosphere. Then the introverted verse expresses Duncan's sadness and vulnerability, with the soft melancholic piano and lower vocal. The howls return with boops and Duncan's voice rises. Then the guitar and snaps get the pre-chorus moving. While the heavy drums slam down in the chorus, with some clicks. The second verse adds low drum booms and skips the pre-chorus. The later choruses are doubled. The bridge is a delicate moment. There's a dense drum breakdown. The last chorus adds moody strings. And the song ends where it started.

The chorus is like pounding your fists against the wall in agony because you can't take it anymore. It represents Duncan's frustration. His broken heart has unfixed cracks. He lost some pieces while returning home. He's afraid of himself. His mind feels different. He begs to be carried home. While the chorus surmises that loving this person is a losing game. The relationship was destined to fail, and he knew it (“I saw the end before it begun”), but he carried on. He was addicted. The “How many pennies in the slot?” line questions how invested his ex was, since they gave up easily. The “Small-town boy in a big arcade” line implies Duncan was out of his depth. But then he calls it quits in the bridge (“Get me off this rollercoaster”). It was a turbulent relationship. The lyrics contain several game metaphors: “lost a couple of pieces”, “pennies in the slot”, “Game Over”; but not in a corny way.

The staging keeps it simple, but still visually satisfying. Emotional ballads don't need anything extra. Duncan spends the entire performance playing a piano that's positioned sideways, while the dark blue lighting establishes the mood. It begins pitch black until the first line. Then the camera slowly zooms in as he looks down at the piano. He only really looks up during the close-ups. A blue spotlight shines on him next. Then a moon orb descends in front of him and he stares at it during the bridge. Then he throws his arms behind him as a blinding white light beams in the background. The stage has a nighttime aesthetic. It fits the song perfectly and I wouldn't change anything about it.

This became a viral TikTok hit, and the first Eurovision song to chart in America since Gina G. It's currently the most streamed Eurovision song ever on Spotify at over 1 billion plays.

Verdict: “A” Tier.

My Ranking:

Grand Final: 01. Italy: Mahmood - Soldi 02. Norway: Keiino - Spirit in the Sky 03. Switzerland: Luca Hänni - She Got Me 04. Albania: Jonida Maliqi - Ktheju tokës 05. Netherlands: Duncan Laurence - Arcade 06. Slovenia: Zalagasper - Sebi 07. Australia: Kate Miller-Heidke - Zero Gravity 08. Malta: Michela - Chameleon 09. Spain: Miki - La venda 10. Sweden: John Lundvik - Too Late for Love

11. Cyprus: Tamta - Replay 12. Azerbaijan: Chingiz - Truth 13. Serbia: Nevena Božović - Kruna 14. Greece: Katerine Duska - Better Love 15. North Macedonia: Tamara Todevska - Proud 16. France: Bilal Hassani - Roi 17. San Marino: Serhat - Say Na Na Na 18. Russia: Sergey Lazarev - Scream 19. Belarus: Zena - Like It 20. Estonia: Victor Crone - Storm 21. United Kingdom: Michael Rice - Bigger than Us 22. Germany: S!sters - Sister 23. Iceland: Hatari - Hatrið mun sigra 24. Denmark: Leonora - Love Is Forever 25. Czech Republic: Lake Malawi - Friend of a Friend 26. Israel: Kobi Marimi - Home

Full Ranking: 01. Italy: Mahmood - Soldi 02. Norway: Keiino - Spirit in the Sky 03. Switzerland: Luca Hänni - She Got Me 04. Albania: Jonida Maliqi - Ktheju tokës 05. Netherlands: Duncan Laurence - Arcade 06. Slovenia: Zalagasper - Sebi 07. Australia: Kate Miller-Heidke - Zero Gravity 08. Malta: Michela - Chameleon 09. Spain: Miki - La venda 10. Sweden: John Lundvik - Too Late for Love 11. Cyprus: Tamta - Replay 12. Romania: Ester Peony - On a Sunday 13. Belgium: Eliot - Wake Up 14. Armenia: Srbuk - Walking Out 15. Azerbaijan: Chingiz - Truth 16. Serbia: Nevena Božović - Kruna 17. Greece: Katerine Duska - Better Love 18. Hungary: Joci Pápai - Az én apám 19. Lithuania: Jurij Veklenko - Run with the Lions 20. North Macedonia: Tamara Todevska - Proud 21. France: Bilal Hassani - Roi 22. Moldova: Anna Odobescu - Stay 23. Portugal: Conan Osíris - Telemóveis 24. Austria: Pænda - Limits 25. San Marino: Serhat - Say Na Na Na 26. Russia: Sergey Lazarev - Scream 27. Belarus: Zena - Like It 28. Estonia: Victor Crone - Storm 29. Latvia: Carousel - That Night 30. United Kingdom: Michael Rice - Bigger than Us 31. Poland: Tulia - Fire of Love (Pali się) 32. Finland: Darude feat. Sebastian Rejman - Look Away 33. Ireland: Sarah McTernan - 22 34. Georgia: Oto Nemsadze - Keep On Going 35. Germany: S!sters - Sister 36. Iceland: Hatari - Hatrið mun sigra 37. Denmark: Leonora - Love Is Forever 38. Czech Republic: Lake Malawi - Friend of a Friend 39. Israel: Kobi Marimi - Home 40. Croatia: Roko - The Dream 41. Montenegro: D mol - Heaven

[everyeurovisionsong]

Sweden 2019

'Too Late For Love', performed by Jon Lundvik Composed by John Lundvik, Anderz Wrethov, and Andreas "Stone" Johansson. Lyrics by John Lundvik, Anderz Wrethov, and Andreas "Stone" Johansson.

We're here to review the songs, so I'm going to put aside the callous nature of the final split-screen voting; although I'm not going to forget it… I want my Eurovision to be a celebration, not a cruel circus).

'Too Late For Love' is a highly polished piece of R&B, taking fifth place in the Tel Aviv Contest, but I think it left a lot of potential points on the table because someone was overthinking the staging. Simply put, this is far too dark, and strips away many of the indications that this is a live performance.

The handful of audience shots are always in darkness, meaning the audience cheers feel piped in. The idea of using negative space to represent something missing is a powerful piece of cinematography if it's not blatantly obvious. It's blatantly obvious. Without those connections this looks like someone decided to play a music video instead of watching an arena performance. 

Which is a shame, because Lundvik is fabulous on camera. He knows how to connect with the audience at home, and he provided the perfect gif moment at the end of the live performance with a cheeky wink down the lens.

I come back to that word clinical. The look feels far too polished, the song feels like a tick box exercise of moments, and once the jury note is delivered  the last minute or is packed full of vocal exercises hiding as technique. I'd prefer a bit less spectacle, and I think that would have improved the whole package.

Semi Final: Points: 238. Placing: 3rd. Grand Final: Points: 334. Placing: 5th.

[sole-cuore-amore-e-droga]

Tel Aviv 2019: Straight outta Iceland to Eurovision with a plan to end capitalism... with cakes!

Meanwhile, in Iceland...

Iceland’s a peaceful nation, innit? So calm, so serene, they wouldn’t even want to squish a fly and would rather wish it a nice day if they were personified as a whole. Except that they’re actually not quite and firstly reacted rather massively negatively on the news of Israel going up for to host Eurovision 2019, even with 23,000 Icelanders signing a petition calling on the Icelandic national broadcaster to boycott the contest, and even the big Söngvakeppnin 2017 darling Daði Freyr signed it. I admire their courage but broadcasters are broadcasters and if they take proverbial decisions and later are fine with everything, I don’t see why wouldn’t try participating anyways, and THEN withdraw if there are issues with something, like last minute call from EBU to get their shit together with funding or a faulty national final contract...

Well, fuck your protests, RÚV said, and went ahead with another Söngvakeppnin edition in the works.

And boy I assume the protest was large af if only 10 entries ended up being chosen for the final cut... what was Iceland gonna do? Have 4 finalists in total? Well no, someone was gonna get a wildcard to round up the finalists in the end.

But enough about that. Out of all of those 10 acts, full of mostly okay songs, we saw a clear win for the ones and only - it's the anti-capitalist award winning techno BDSM bondage unicorn soft boy couple goals kids loving sprinkles and rainbows performance art project group Hatari that went and enjoyed their time in Tel Aviv already, with their kick-ass song, "Hatrið mun sigra".

And oh boy was it an exciting pick for Iceland. Do you remember their last year's entry? Well, this year Iceland decided to shit all over their love and peace mindset by presenting us with series of bold statements like "Life is meaningless!", "Happiness comes to an end!", "Europe will crumble!"... right after the year they were all about the choice we could make to help and to heal in different ways. Feels though as if we should have swapped the entries because with "Hatrið mun sigra"'s events coming to life, "Our Choice" sounds like an aftermath because with happiness ending, so are people's stabilities, and too many would indeed be dying in vain. And how the world is starting to learn all over again about the acceptance of one another, and all that. It truly is Ari in the streets and Hatari in the sheets. ;)

Let's take a minute to appreciate the entry itself though. It opens up with eerie buzzes, off-measure beat and a warning "huh!" shout, that leads us all into this beautiful musical kingdom. Its instrumental is badass. It's one hypnotic techno tune that could easily be used in a car commercial. Or a catwalk. Or a glorious boss fight in an 8 bit game. What makes it more unique is the vocal balance - Hatari's core force are the two cousins Matthías and Klemens, who created the band and recruited their friends to help them on tours I suppose, and now the friends are here with them in Tel Aviv. The thing that makes it somewhat eyebrow raising, despite being a damn fine techno piece, is the instant screaming of the lyrics in the verses (courtesy of Matthías) and the light angel-esque vocal sound that's kinda reminiscent of Sigur Rós's Jónsi (courtesy of Klemens). Yin-yang if you will. A subtle balance of the two, and even the Icelandic meme mother Morges pointed it out that if it were only Matthías's growls on the song or Klemens's falsetto, it would sound too much and people would be bored by it.

Other than this song being perfectly composed (even with including a god damn keychange) and making me wanna dance, there's an image tying it all together. I did say it earlier that one part of Hatari's many descriptions is BDSM and bondage. And this definitely is there on their imagery, especially on the Icelandic NF. The boxes, the choreography, the color red, the backgrounds... everything on here is life. The way Matthías gets one of the Hatari dancers by the neck at the very end of their NF performance is just... unexplainably flawless. Go watch it here.

Some might say that this whole thing is more reminiscent of AWS from last year, but this isn't quite true. AWS were simple boys with nothing much in mind for Eurovision other than to make a "typical metal show". Hatari are here with a proper message to dismantle capitalism. AWS were just fun, Hatari are both fun and condescending. AWS didn't really have all that buzz going on for themselves in the odds, Hatari are still sitting in bookies top 10 as of now. AWS didn't prepare anything shocking for the audiences other than playing really loud and the scream breakdown only coming in on the bridge of the song. Hatari is full on onto you with everything - the costumes, the words, and so on, and the screaming is already on with them verses. And Hatari have way more chances to be memorable than AWS by being completely outstanding in everything. We love bondage kings singing in Icelandic (the language's 2nd appearance in Eurovision from an Icelandic song in this decade, first time it happened in 2013). We truly do. (And so do I still love the AWS boys, don't mind me.)

So as a whole I'd like to say that I really, REALLY adore this. It's expressive, it's divisive, it's brave, it doesn't care if you hate it, it's there and it's divine. I didn't really piece my thoughts well together on this, but I will forever find a lot of nice things to say on it, after all this time, always. ♡ The whole team and the whole marketing from Iceland Music News is perfect. The song is perfect. The composition is perfect. The chorus and the chorus lyrics are love. The performance... could use some good camerawork, but still. I'm crying at how much this is beautiful. Iceland's alternative scene is banging and them finally submitting something from one of its many outskirts among all of those pop songs is a victory on its own. Love, love, love Hatari. I bow down to these great people for existing and ending up on Eurovision.

Now tell me, how are you not going to love a band that was noticed by Icethony Landtano himself? ★

And how are you not going to love a band that loves children? And cakes? If you don’t, then shame on you, really. ;p

Approval factor: no. ....... way I’m not going to approve this ;) I want more epic Iceland after that, too.

Follow-up factor: Actually, that's the best possible way of approval I've ever seen. It's a complete 180 of an entry jump that it's impossible to believe the angel Ari came before Hatari. Good job, Iceland! Keep going that good way!

Qualification factor: Well, this is a case of all or nothing, where an entry is so loudly and proudly different that you don't know exactly where is it gonna place. If AWS had some sort of struggles to qualify (they were 4 fucking points over Romania last year), so would have Hatari, but only if the televote doesn't give them enough love against the jury's hatred. But for now I'd remain extremely and utterly positive over the boys. =) The final will hear of that song about the dystopia, the power and powerlessness, the hope and hopelessness, and that if we don't remember to love, the hatred will prevail and the capitalism will overwhelm the world. (so I secretly hope for them to win too haha)

NATIONAL FINAL BONUS

Honestly, thank you RÚV for making Söngvakeppnin 2019 happen despite the petition. I love it how a band with the most shocking atmosphere won - kinda embodies the feeling of most of this nation's about what's going in Israel and Palstine. But no more on that. I'll not discuss that anymore. It's highlights time:

• At this point, who needs NF highlights if Hatari are highlights themselves. ♥ I love a token unphased contestant - the one that minds one's own business by not being overly happy - in fact, most of the things that occured to Hatari are, in their own words, "according to plan"! So they're all like, "yeah we entered and thanks to us being here, we're definitely winning this, and will definitely win Eurovision after winning that". Them drinking SodaDream in their tracksuits and not giving a single fuck about the surroundings, especially after being announced as qualifiers to the NF final, was an absolute #mood. They even were amazing on a show named 12stig (where Icelandic NF participants are talking about what will they do in the NF, what will they do if they make it to Tel Aviv after winning, etc.), with Matthías basically serving as the spokesperson for Klemens's piece of mind, and then them both doing a hand gesture,.. Communicating through one's whispers being voiced by a mastermind. Sounds like a horror movie concept.

• And no, I didn't love Hatari only - there was this one joyful great love pop song bearer finalist Tara Mobee whose song I liked. Other favourite acts include this indie blues number by a Faroese madame Kristina Skoubo, a silly pop/dance perfection by Daníel Óliver and a country-ish flavoured folk-ish pop song by Ívar Daníels. Granted they're too tame in comparison to Hatari, but they could have been other great alternatives for Eurovision! Unlike the two returning artists that competed... Hera Björk being one of them... she signed the petition against Iceland in 2019 Eurovision FFS! and yet she's here with her mind changed??

• Ari Ólafsson returning for a both winner reprise AND an epic and unexpected take on "Grande amore", one of the beloved Italian entries. Can't believe that actually became a thing but... here you go I suppose? Flawless vocals. If anyone deserves to repeat their ESC stint from Iceland, it's Ari.

• Other highlights of the final night were Yohanna reprising her 2nd placer smash hit "Is It True?" 10 years later and even doing an Icelandic "Shallow" cover with the hosts ❤ and even Selma from Jerusalem 1999 fame came on the show too, but only in the green room!

• That one time I saw Friðrik Ómar (one of the two returning artist potential contestants) wearing a Freddie Mercury shirt ❤

• This honest to God mess of a performance and honest to God mess of a song. The song was a football anthem from 00s ripoff, the guy looked like Lil Pump and sounded annoying ("BLÆ BLÆ BLÆ"), the girls were salvageable, the chorus is cute and the performance? "So how many colors and dancers do you want?" "Yes." I hated it but 'twas fun I s'pose.

• I loved laughing at certain things of Söngvakeppnin, like the random insert of all the other contestants into ads and a lot of times I had to see the recap of all the (super)finalists. That's the only non-musical highlight I have aside from postcards, sorry Eleni. ❤ Your repeat performance of "Fuego"/"Tómame" from the Spanish NF and your trashbag dresses were still sleek tho.

Think that's all I'm gonna talk about. For now I would just love to end this by saying that Hatari might be scary, but children indeed love them (a lot of Hatari support posters in the NF were held by children, some of them teens even had bondage masks lol. Besides, 2 of the main members (if you count the band’s drummer Einar alongside the main members list) have kids on their own so it's understandable). Hatari might be impudent, but it attracts some people who love crazy in Eurovision. Hatari might be too political, but they're here in Tel Aviv to raise awareness, not to outright fucking protest - they know their goddamn limits, okay?? So for now, I'd just like to wish everyone involved in Iceland's entry the best in their life and to know that they contributed to one of the best things that happened to Eurovision. Only the eternal glory to the Icelandic lords and saviours. HATRED CAN AND WILL PREVAIL, END OF.

Oh and cakes!

[justaeurovisionfan]

Georgia

*Small note before I start : this is MY PERSONAL opinion, so if you have something to say, or disagree with what I have to say, please DO NOT be rude, I am not trying to be rude or offend anyone, I am sorry if you feel otherwise. I will try to be as objective as possible in my posts. Thank you *

*yaaaaaaaaaaaaaaawn*

When this entry was released I was so excited to listen to it, because I thought Georgia couldn’t go worse than last year..but boy I was SO wrong. I couldn’t even get past the first minute of the song and I had to close it because it was just so painful to watch and listen.

After some time I decided I had to try again, and this time I managed to listen to the whole thing, but I had to skip a lot through it.

I find this entry plain and boring, I don’t like anything related to it. I read the lyrics trying to understand them, hoping that if I understand them I will appreciate the song better, but it still didn’t work for me, they just seemed random words put together that someone says.

The only thing I find okay about this entry is Oto’s voice, which nobody can’t deny it’s good, but I am afraid Eurovision it’s not just about the singer’s voice.

My overall score for Georgia is : 1

My prediction BEFORE the first Semi-Final is that : Georgia WILL NOT make it into the Grand Final.

[afeelgoodblog]

The Best News of Last Week - June 20, 2022

🏳️‍🌈 — Happy Pride Month! Let’s start this week with some great news coming from Tokyo.

1. Tokyo Passes Law to Recognize Same-Sex Partnerships

The Tokyo metropolitan government on Wednesday adopted legislation recognizing same-sex partnerships, which will extend some rights that apply to married heterosexual couples.

It also reflects changing attitudes toward the LGBT community. A poll by the Asahi newspaper last year found that 65 percent of voters nationwide supported same-sex marriage, up from 41 percent in 2015.

Japan is the only country in the G7 largest economies not to recognize same-sex marriages.

2. Extinct ‘fantastic giant tortoise’ found alive on the Galápagos Islands

Believed to be extinct for more than a century, a rare species of giant tortoise is in fact still alive.

Scientists assumed that the chelonoidis phantasticus had died out more than a century ago. The only known specimen was discovered in 1906. But in 2019, Princeton researchers discovered a lone female tortoise on the island that hinted that the species might live on. Last week, they finally proved that the two specimens are related.

3. Groundbreaking treatment for HIV/AIDS developed by research team ‘with just a single vaccine dose’

People with AIDS might soon have the option to be treated with just a single vaccine dose, according to a new study from Tel Aviv University that shows the potential impact of a new and unique AIDS/HIV treatment. The peer-reviewed study was led by Dr. Adi Barzel and PhD student Alessio Nehmad.

The goal of the research team was to genetically engineer type B white blood cells inside the body of a person with AIDS. Once modified, the blood cells would be able to secrete neutralizing antibodies against the HIV virus responsible for AIDS, eradicating it from the patient’s body.

4. Rare sun bears rescued from animal traffickers get health checkup

Heartwarming footage shows how two rare bears that were poached as cubs by animal traffickers were given a thorough health checkup.

“Sun Bears Bopha and Jamran are former victims of the illegal wildlife trade, but found their forever homes at Perth Zoo after being rescued by Free the Bears.”

5. The New York Public Library is giving away 500,000 books for free for keeps

The library is giving away 500,000 books for free to kids, teens and families at all of its branch locations in an effort to help folks build their at-home libraries “and strength the city’s ecosystem of learning,”

All you really have to do to get your hands on some copies is to show up at your neighborhood library and use your card — or sign up for one.

6. Alaska Airlines flight attendant proposes to pilot girlfriend on Pride-themed plane

Veronica Rojas, a flight attendant for Alaska Airlines, surprised her girlfriend with an unforgettable wedding proposal on a flight to Los Angeles. During the flight, Rojas got down on one knee and in true flight attendant-fashion, used the PA system to propose to Moncayo.

7. Disabled teen completes 84-mile trek of Hadrian’s Wall in wheelchair

Plucky youngster Brynn Hauxwell, 17, who has autism, ADHD, severe asthma, and fixed ankle contractures, took on the historic trail on the border between England and Scotland as part of a charity challenge.

The arduous journey saw Brynn and his team traveling around eight to nine miles a day and at times going as slow as one mile an hour. The resilient teen has raised over $13,000 for Ability Shetland, a charity that supports disabled people to unlock their full potential in all areas of life, and which also provided the mountain trike for the expedition.

. . .

That's it for this week. Until next week, You can follow me on twitter. Also, I have a newsletter :)

Subscribe here to receive a collection of wholesome news every week in your inbox :D

[eurovision-facts]

Eurovision Fact #78:

Icelandic broadcaster RÚV was fined €5,000 during the 2019 Eurovision Song Contest due to "performance art collective" Hatari holding up scarves with the Palestinian flag on them. They were cited by the EBU for violating "the competition's ban on political statements."

Grand Final act Madonna also briefly showcased the Israeli and Palestinian flags during her performance. Two dancers, one with each flag on their back, joined hands and walked off stage. This was not pre-approved during rehearsals, and only happened during the live performance. Madonna was made aware about the rules regarding the non-political nature of the contest prior to her performance. Unlike with Hatari, Madonna did not appear to face any consequences for breaking the rules of the contest.

[Sources]:

"Icelandic Broadcaster Fined for Hatari's Pro-Palestinian Protest at Eurovision," DW.com.

"Iceland's Eurovision Entry Hatari Holds Up Palestinian Flag During Contest," CNN.com.

Tel Aviv 2019 Participants: Hatari, Eurovision.tv.

"Eurovision 2019: Madonna's Performance Gets Mixed Reviews," BBC.com.

"Madonna at Eurovision in Tel Aviv: 'Never Underestimate the Power of Music'," Variety.com.

Tel Aviv 2019, Eurovision.tv.

"Iceland: RÚV Fined €5,000 For Hatari’s Protest at Eurovision 2019," Eurovoix.com.

[chicago-geniza]

you know how i have been saying just like. as instinct-intuition that stefania zahorska’s holocaust novel resurrects formal devices characteristic of interwar yiddish literature, & mentioned itzik manger specifically? well:

- zahorska remained very close with stainslaw vincenz in emigration & based the house in ‘ofiara’ on his house; he reviewed the novel for paris kultura

- vincenz, as it turns out, was friends with rokhl auerbach (!!!); they kept in touch & she wrote about his work in the tel aviv press

- rokhl auerbach also, apparently, read zahorska’s holocaust play, smocza 13, which was never staged (!!!), & cited it in a polish-language review of another play

- rokhl auerbach was married to itzik manger; itzik manger wrote several yiddish-language reviews of vincenz’s work, including his representations / discussions of jews

- tl;dr even if she didn’t read yiddish, zahorska definitely had contact with the yidishe velt (& we have that picture of her hanging out with asch at the PEN club conference too!!!)

- cannot believe i got so angry about a bunch of scholars misinterpreting a review of the dybbuk in 2019 that i ended up Here

[mostlysignssomeportents]

Big Salmon's aquaturf

Salmon farming is a catastrophe: the deep, rectangular nets full of close-packed salmon have all the problems of any feedlot: rampant pathogen spread worsened by flushing of tons of shit into the ecosystem.

Mature aquaculture operations acknowledge this: new operations build solid enclosures, siphon off the waste and sell it as a valuable byproduct. But for existing aquaculture giants, it's cheaper to go on destroying the environment and driving wild salmon to extinction.

That cost-benefit analysis holds even when you factor in the expense of smearing and terrorizing the scientists who explain how they are poisoning the oceans and endangering a food-web that stretches all the way from salmon to orcas.

The woman on the receiving end of that aquaturf smear campaign is Alexandra Morton, a scientist whose Google results are a long run of astroturfed articles accusing her of being some kind of shill for Big Nature, a thing that does not exist.

https://www.alexandramorton.ca/

Today on Canadaland, Jessebrown interviews Morton, talking about the weird, shadow-media empire that exists to make scientifically dubious claims about the safety of farmed salmon and to question Morton's sound science.

https://www.canadaland.com/podcast/364-fake-news-from-fish-farms/

Central to that campaign is Sea West News, whose founding editor, Fabian Dawson, runs a PR consultancy that develops "issue-related and fundraising campaigns and delivers measurable results for organizations like the BC Salmon Farmers Association."

https://www.fabiandawson.com/projects

As Canadaland reports, the forerunners to Sea West News were a series of Facebook posts by Dawson, including claims that Canadian environmentalists and First Nations activists were a front for a conspiracy of US monied interests.

"Money from America flows unabated to Canadian eco-activists and disparate First Nations groups to disrupt everything from sustainable salmon farms to pipelines"

Dawson reposted articles claiming protests against salmon farms were "US funded...fake-news tactics of hired protesters."

https://www.canadaland.com/salmon-farm-industry-seawestnews/

Brown adds that Dawson benefits from federal subsidies in his role an immigration reporter for the Local Journalism Initiative-backed New Canadian Media.

The harassment that Morton faces is by no means limited to online trolling. Her field research at Marine Harvest's massive farms has been dogged by crew boats with blacked-out windows registered to a consultancy called Black Cube.

https://alexandramorton.typepad.com/alexandra_morton/2018/08/

The Tel Aviv-based Black Cube are some of the blackest black-ops corporate spooks in the world - if they sound familiar, perhaps it's  because they were the ones that Harvey Weinstein hired to stalk his victims and neutralize them.

https://www.theguardian.com/film/2020/jan/30/harvey-weinstein-black-cube-new-york-times

Or maybe you're thinking of the time that the cyber-mercenaries at the NSO Group (whose tools were used to entrap Jamal Khashoggi), hired them to infiltrate the academic human rights research group Citizen Lab.

https://citizenlab.ca/2019/04/dubious-denials-scripted-spin-spyware-company-nso-group-goes-on-60-minutes/

Marine Harvest - who are involved in high-stakes ligitation with Morton and BC First Nations - admits they hired Black Cube, but insist that this is a *different* Black Cube.

Weird flex but ok.

Some of BC's salmon runs are down by 99.9%, and Morton makes a compelling - peer reviewed, scientifically sound - case that this is the result of aquaculture giants whose profits would be lessened if they contained parasites and waste from their floating feedlots.

Despite this, Brown's interview with Morton ends on a hopeful note: thanks to action from BC First Nations and the BC provincial government and courts, the noose is tightening around companies like Marine Harvest.

Morton has just published NOT ON MY WATCH, a book documenting her decades-long struggle to save the salmon and the ocean, which earned her the appelation, "the Jane Goodall of Canada."

https://www.penguinrandomhouse.ca/books/623054/not-on-my-watch-by-alexandra-morton/9780735279667

[escunited]

Tel Aviv: Watch our review of day one's rehearsals

[glitterberrysims]

MEET THE CREATOR- PART 2 The Personal Questions

I decided to split my Q&A up, so this will be more personal questions that other simmers have sent me, whereas the previous post is more to do with cc and my sims journey. Read Part One HERE. These questions have been asked by other simblrs and simstagrammers <3

Q. If you could travel anywhere, where would you go?

I think I would like to go somewhere I haven’t been yet, such as New Zealand or Australia. But then I would love to go back to Dubai again or Los Angeles. There are so many possablities. At the moment my partner and I are discussing going to Japan in a few years and going to Kyoto and Oaska. But that’s a long way off. So we will see! 

Q. Where have you travelled to?

Prepare for a list! So I have travelled to the states (I have been to Chicago, Atlanta, Florida, Seattle, Los Angeles, Austin, Dallas and San Diego.) I have also been to Vancouver and Calgary. In Europe I’ve been to Prague, Czech Republic, Germany, Poland, Spain, Gibraltar,  Portugal, Denmark, Croatia and Greece. I have also been to Saint Petersburg, Abuja (Africa), Dubai, Tel Aviv and Shanghai. Perks of the job! 

Q. When you was younger, what did you want to do?

I think for the longest time I wanted to be a vet. But then I my dog was really ill and I just remember thinking ‘I couldn’t put a dog down’, so I gave up on that. Then I wanted to be a forensic scientist- as I watched way too much NCIS and related to Abbey way too much. I still think it would of been neat if I stuck to that path. Apparently I wanted to be on stage too, my mother has too many videos of young me dancing on stage on holiday to Abba or Britney Spears. I never thought I’d become a flight attendant, as I was scared of flying up until I got the job. 

 Keep reading for more Q&As! 

Q. What would you say is your best feature? 

I would say my eyes, because that’s what I get complimented on a lot. I remember doing my flight back from Abuja and a passenger gave me a compliment letter (a document that passengers can fill out if we’ve given them great service) and he basically wrote a paragraph about my eyes being pretty.. I didn’t include this letter in my end of year review though. It was also the first thing my boyfriend’s mother commented on when I first met her. 

Q. What is your biggest fear?

Recently my biggest fear is being alone. The world is in a weird time right now and I fear losing people and being alone. I’ve already lost one person due to the pandemic and I don’t want to lose anyone else. So yeah, my biggest fear currently is being alone. 

Q. What do you regret?

There are a lot of things in life that I regret, but at the end of the day that is life. You do things you regret and it makes you stronger. My main regret was leaving my cabin crew job in January 2019, it was a job that I loved. But as many of my family tell me, I had to leave due to health issues. I had a massive pain in my ears everytime that I flew and I felt so fatigued. I also need to think on the more positive side, if I didn’t leave my job in January, I wouldn’t of met my boyfriend in the February.

I tried to create me as a flight attendant ^^ @melonsloth​ for the hat! 

Q. What is your biggest accomplishment so far? 

Learning how to make CC! That is probably a sims related one. But other than that, I think becoming a cabin crew member in a major airline is a big positive and climbing a mountain in wales. But that is is for now, hopefully the future has a few things planned for me. 

Q. What would you do differently if you could go back in time?

I think I would of accepted an offer to do another college course after my original one. I did travel and tourism at first and completed that on my target grade, but then I signed up to do sciences and turned the offer down because it meant two more years in education and I wanted some time to be me. So I wish I never turned that down. But again, my life wouldn’t of turned out this way if I did that, I probably wouldn’t of been to the amount of places that I’ve been to. Now I am looking at trying to get in to teaching if I can. 

Q. What got you into creative writing?

I have always loved writing. I like creating stories and planning them out. I have yet to actually complete one. I often think of them when I’m suppose to be sleeping and forget to write them down, so then I just forget them. I did have one the other day about a Space adventure type thing, but I don’t know enough about space to write it. Maybe a bit of research will help. 

And Finally...

Q. For someone who wants to get into the simblr community, writing a blog or making cc, what do you suggest?

For this I really do suggest being patient and don’t copy others! I also feel like you should always be nice to others and respect their opinion. If they don’t want to collab with you, then take that and don’t keep pressuring people. I’ve found it too often when I’ve said no to someone because I am too busy, to then have over 5 messages in ten minutes asking why. 

With creating CC, practise! Don’t release something that you aren’t happy with. It’s best to learn and grow. 

[eretzyisrael]

Regular readers will be aware of BBC Watch’s long-standing documentation of the BBC’s problematic portrayal of the Boycott, Divestment and Sanctions campaign (BDS). For years the corporation has reported related stories without adequately clarifying to audiences in its own words that what that campaign ultimately seeks to achieve is the end of Israel as the Jewish state.  Moreover, in August 2015, we learned that the BBC considers the provision of such crucial background information “not our role“.

In 2019 we saw that even when covering stories directly related to individual supporters of the BDS campaign, the BBC continued to avoid the obviously central issue of what the campaign they promote is actually about.

Such was the case for example in the generous BBC amplification of the story of Omar Shakir of ‘Human Rights Watch’. Descriptions of the BDS campaign were qualified using the phrase “Israel says” and suggested reading twice included a link to a previous BBC report promoting the falsehood that the BDS campaign solely relates to a “cultural boycott” of Israel.

BBC News report uncritically amplifies political NGO’s talking points

A third superficial BBC News website report on ‘Human Rights Watch’

Listeners to BBC World Service radio were inaccurately informed that the BDS campaign is “Palestinian led” and given a false portrayal of its aims.

BBC WS radio facilitates unchallenged HRW monologue – part one

The same editorial policy was also seen in BBC coverage of stories relating to two BDS supporting US Congresswomen. Although the topic of the agenda of the BDS campaign was obviously relevant to the story, audiences were not provided with a proper explanation.

BBC R4 report on antisemitism in the US uses the Livingstone Formulation

In one report BBC audiences were told that the “aim” of the BDS campaign is “to put economic pressure on the Israeli government”. In others, no effort whatsoever was made to inform audiences what the two Congresswomen actually support.

Superficial BBC reporting of Tlaib and Omar story

BBC Radio 4’s uncritical amplification of Ilhan Omar’s falsehood

BBC WS radio listeners get Ashrawi’s unchallenged propaganda

BBC audiences saw amplification of a specific boycott campaign, inadequate portrayal of the BDS campaign which did not allow readers to put a quote into context and quotes from BDS supporters who were not identified as such.

But by far the most intense campaign conducted by the BBC throughout 2019 related to the Eurovision Song Contest. Having rejected the calls of BDS supporters to boycott the event in Tel Aviv, the BBC then spent four months amplifying such campaigns, with an epilogue two months later.

BBC News Eurovision BDS report follows the usual template

BBC Radio Ulster audiences hear that ‘Israel should be wiped off the map’

BBC News website ignores counter call to boycott it repeatedly promoted

More Eurovision boycott promotion on BBC Radio 5 live

Newsbeat continues the BBC’s Eurovision framing

Context-free amplification of Eurovision boycott calls persists at BBC News

BBC gives multi-platform amplification to antisemitism

BBC’s ‘Newsbeat’ amplifies the BDS campaign yet again

Some of those reports included descriptions of the BDS campaign which were qualified using the phrase “Israel says” while others included inaccurate portrayals of the campaign as a “Palestinian led movement” which “calls on artists to avoid performing in Israel”.  None of that content clarified to audiences in the BBC’s own words that the BDS campaign is opposed to Jews having the basic human right to self-determination in their own country and that denial of Israel’s right to exist is considered – including by the UN Secretary General and according to the definition adopted by the UK government – to be a form of antisemitism.

The adoption of that partisan editorial policy – especially while providing self-conscripted amplification for the BDS campaign – clearly does not serve the interests of the BBC’s funding public but does seriously compromise the BBC’s claim to be ‘impartial’.

[jackqulenmusicblog]

So back in April / May, I got too busy with school work that eventually I wasn't able to keep up with the esc songs reviews. Eventually, I just gave up posting and kind of forgot the app haha.

Anyways, I'd like to say Tel Aviv 2019 was amazing where my favourite entry eventually went on to be the televote winner (despite the fact that juries totally have no reason).

But for now, let's look at Junior Eurovision 2019. It will be held in Gliwice, Poland following Roxie's win last year (deserved win btw)

So yeah here are my thoughts on the 19 songs:

Albania, Armenia, Australia, Belarus, France, Georgia, Ireland, Italy, Kazakhstan, Malta, North Macedonia, Poland, Portugal, Russia, Serbia, Spain, the Netherlands, Ukraine and Wales 

[allthecanadianpolitics]

Following The Tyee’s report about an ad appearing to smear NDP Leader Jagmeet Singh during a byelection, an Israeli publication visited the Tel Aviv offices of a company connected to the ad.

The company OMG Studios, whose website claims it focuses on digital media and the advertising domain, refused to comment, asking the reporter at tech publication CTECH in Israel to leave.

OMG Studios later sent a comment to CTECH that Attorney Cocktail — a celebrity clickbait website that showed Singh’s picture next to one of a mansion it falsely claimed belonged to him — was indeed a client.

The admission appears to confirm the connection suspected by the Commissioner of Canada Elections, which noticed the website Attorney Cocktail contained a link on its contact page naming OMG Studios.

Documents obtained by Blacklock’s Reporter following up on The Tyee report showed that OMG Studios changed link text on Attorney Cocktail to point to a domain on the same site, but had forgotten to modify the actual link, revealing the OMG Studio domain.

Earlier this year, The Tyee spotted the false ad on a page of the Vancouver Courier, below actual news content. The ad pointed the reader to an article on another publication named Attorney Cocktail. The only indication that the Vancouver Courier did not arrange or review such ads were the words, in tiny letters easy for the reader to miss, “Ad content provided by Taboola.”

Continue Reading.

[justaeurovisionfan]

Armenia

*Small note before I start : this is MY PERSONAL opinion, so if you have something to say, or disagree with what I have to say, please DO NOT be rude, I am not trying to be rude or offend anyone, I am sorry if you feel otherwise. I will try to be as objective as possible in my posts. Thank you *

I’m gonna start this by saying CONGRATULATIONS, ARMENIA !!!! I have no idea where this came from, but pulling Srbuk out of your sleeve was a great move ! I am absolutely loving her and “ Walking Out “.

From the first time I heard the song, I immediately vibed with it, I love every single things there is to love about it. I love the lyrics, the music, her voice, the music video, every single thing.

I like the fact that the song’s subject is one with which many people can reason, we all felt love, we all felt disappointed, sad, betrayed by love, and the song describes how that makes you feel. 

Personally, the way Srbuk performs this song makes me feel everything she feels, everything she tries to make me feel while singing, and I am loving this.

I have no doubt that with a great show, this Armenian goddess will rock the scene in Tel Aviv, and will have a great result in the Final, I am not even worrying she won’t qualify. 

My only concern is that high note from the end of the song, but I put my trust in her and hope she will manage to hit it and she’ll be amazing.

My overall score for Armenia is : 9.5

My prediction BEFORE the second Semi-Final is that : Armenia WILL make it into the Grand Final.

[weareonourowngroupproject]

Media Appearances

Since writing her first book, Miriam Katin has had her work featured in a number of exhibitions. She’s also been involved as a guest speaker to many events, primarily in New York, where she has discussed the process behind her books. Common topics include: comics, war, survival, trauma and memory. Below are just some of the events Miriam Katin has been a part of.

And Then We Draw: Translating Trauma Into Art

West Virginia University - April 10, 2019

War in Comics Exhibit

Royal Newfoundland Regiment Museum - June 8-June 30, 2018

Flying Foxes Exhibition

Undercurrent Projects - March 9-April 9, 2017

3 Panels at the Singapore Writers Festival

The Singapore Writers Festival - November 12-November 13, 2016

Graphic Details: Confessional Comics of Jewish Women

Billy Ireland Cartoon Library and Museum - March 28-July 5, 2015

Brooklyn Book Fest 2014

Brooklyn - September 21, 2014

MoCCA Arts Festival 2014

New York - April 5, 2014

The New York Comics & Picture-Story Symposium

New York - October 14, 2013

Superheroes and Schlemiels: Jewish Memory in Comic Art

Jewish Museum of Australia - 2009

Superman Und Golem

Jüdisches Museum Frankfurt - 2008

De Superman Au Chat Du Rabbin

Musee d’art et d’histoire du Judaisme Paris - October 21, 2007

Book Signing

San Diego Comic-Con - July 26, 2007

The Bible Museum, Tel Aviv Israel

Holocaust Memorial Exhibition - 2007

Hebrew Union College Museum

The Jewish Graphic Novels - 2006

Annotated Bibliography

Although other sources were more useful in terms of listing out events Miriam Katin was a part of, the article on The Rumpus provides specific details to one such event. As a guest speaker at the New York Comics Symposium, she discussed the challenges that came up during the making of her debut book, and the overall process she had. According to the article, Katin made sure not to rely solely on her fragmented memories, but researched anything she could. As the writer put it: “She stated it is part of the storyteller’s job to reinforce memories or events with facts” (Rumpus). Although her first book was a challenge, the article states that Letting it go was more difficult due to it happening “in real time”. In some ways the article also serves a review, analyzing parts of the book with Katin providing commentary on it’s creation. This can be seen when the author describes the rhythm which creates both humor and tension. Katin explained that the inspiration for some of those sequences were the characters of Thomson and Thompson, from Tintin (Rumpus).

https://therumpus.net/2013/10/the-new-york-comics-symposium-miriam-katin/

Works Cited

“And Then We Draw”. Eberly College of Arts and Sciences, West Virginia University, https://eberly.wvu.edu/news-events/events/041019and-then-we-draw-translating-trauma-into-art

Katin, Miriam. “Events”. Miriam Katin, http://www.miriamkatin.com/events/

Katz Keren, “The New York Comics Symposium: Miriam Katin”. The New York Comics & Picture-Story Symposium, The Rumpus, 4 Oct. 2013, https://therumpus.net/2013/10/the-new-york-comics-symposium-miriam-katin/

“Miriam Katin”. Drawn and Quarterly, https://www.drawnandquarterly.com/author/miriam-katin