Eurovision 2019 🇮🇱 new season of an old monopoly?
Fotis Konstantopoulos (Greece)
EDITORIAL – Upon the occasion of the hysteric “happy new Eurovision year” over the web and social media, as September 1st marks the date as of which any released song is eligible to participate in Eurovision (as if not, EBU will not allow it ie. Ukraine 2016, Belarus 2018 and more…) I wanted to share a though about this new … season. I would like to start with an emphatic way that this is just a thought and not an accusation to anyone or any situation.
I have the impression that we are welcoming a ew season to celebrate an old regime, an old monopoly. This comes to my mind in both television and participation fields.
In terms of television I think that the announcement mad already that KAN/IPBC will consult SVT over Eurovision 2019 indicates that Bjorkman, SVT and the usual known companies behind the construction and the logistics of the event will be hired and involved.
I hope Israel will to follow this path. Of course those companies are capable of giving anyway Eurovision 2019 something we never saw before from Israel.
But in any case, with any company involved, 2019 Eurovision will be better no matter what, from those of 1979 and 1999. If those companies though involved, that great show will simply remain “great” and never ‘unique”. Same stage ideas, same logistics, same graphics, same scenery, same scoreboards, same low thirds. I wonder (and not only for Israel), isn’t anyone else in Europe designing stages than Florian?
Isn’t there any other company than OSRAM for lighting the stage? Isn’t there any other company than the one of Ola Melzig, constructing stages? Is Europe that far back in technology that only Swedish companies and Austria designers can save the world of Eurovision?
In terms of sponsorship I am almost sure we will see VISA and OSRAM highlighted as international sponsors and a local Israeli company as national sponsor. I am surprised that in such a huge international event with more than 55% in TV rates in all countries (in the final) and with almost 200 million viewers aboard how come Coca Cola, Apple, Mc Donalds, Nike, Adidas etc never got interested to participate?
In terms of participation now. Yes, new season, new singers, new songs will come out as of today until mid March. But do we have a real new blood in Eurovision? Once again we will see Kempe, G:son, Ralph Siegel, Kirkorov, Kontopoulos, Boris, Doron, Alex Panayi, Aminata and Panik Records as the composers off various countries. For example it is almost impossible to have a Belarusian final without Janet with a song by Ylva & Linda.
The signers of course will be almost new to us but somehow they will be chosen by this old status of composers’ world. I guess if I was a composer (God forbids) and wanted to have the hope to see my song on an international stage like Eurovision, I am really doomed.
In sum, all those mentioned before are not meant to cause accusations. After all Ralph Siegel, Rolf Lovland, Johnny Logan, Stefan Raab, Yiorgos Theofanous and more, ruled in the Eurovision of the 80s and the 90s. All I am wondering with this editorial is simply this: “are we indeed celebrating a new Eurovision season?”