by Glen Weldon and Liz Metzger |
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5. Bulgaria, “Bangaranga,” by DARA
What can I say? I’m a fan-garanga. Now, yes: At about the one-minute mark, there’s a bridge (“I’m an angel/I’m a demon/I’m a psycho/For no reason”) that can’t help but remind you of Schitt’s Creek’s “A Little Bit Alexis” (“I’m a Lamborghini/I’m a Hollywood star”). And if you think that isn’t purely, cheekily intentional, you are very much not the target market for this insanely catchy bop. The juries will hate its repetitive qualities, but the public will embrace its deep, profound, abiding grooviness.
4. Cyprus, “JALLA,” by Antigoni
This selection is classic, old-school Eurovision, slotting neatly into the “Hey, you know what feels good? Dancing. Ethnically.” category, and what’s gonna be wrong with an expression of cultural joy? “Jalla” is Cypriot for “more,” and despite some iffy vocals in the lead-up to the contest, Antigoni has the goods to deliver on that simple promise. So, you know: Opa!
3. Denmark, “Før Vi Går Hjem,” by Søren Torpegaard Lund
“Før vi går hjem” means “Before we go home,” and the song is a paean to finding someone on the dancefloor, connecting with them on a level both spiritually profound and hella horny, and wishing the night will never end.
The song’s a slow build, and how well it does Saturday will have a lot to do with how well Søren lands that one soaring note at about the 2:20 mark. The sexy staging will help, inasmuch it reads as a coming-out narrative – 1. Søren watches longingly from the outside as hot people dance in a glass box; 2. Søren manages to climb into said box, and 3. Søren and his fellow hot people spill out of the box together, dancing ecstatically.
2. Sweden, “My System,” by FELICIA
Sweden are the ultimate pros at Eurovision. They’re the perennial frontrunners, the default overdogs, the Yankees. So it’s odd that they’ve decided to go with an EDM banger this year, which may well find its way into the hearts, and hips, of the viewing public but is certain to alienate the juries, who are, as a group, the very fuddiest of duddies.
But Felicia’s a performer who’s generated a lot of goodwill among ESC fans, and I, too, find myself helpless before this performance: “‘Cause now you’re in my head/My heart/My body parts.” Yep. That about sums it up nicely, song.
1. Finland, “Liekinheitin,” by Linda Lampenius x Pete Parkkonen
Pete Parkkonen is a popstar, Linda Lampenius is a world-renowned classical violinist. On Saturday, he’ll be doing the singing, and she’ll be doing the fiddling. Live. Which turns out to be a big deal.
Historically, Eurovision doesn’t permit instruments to be played live, but the Finnish delegation made the case that Lampenius’ violin acts, in this song, as her voice. And the Powers That Be bought it. Some rules were made to be broken.
And speaking of rules: You know who rules? Linda Lampenius, who at 56 would become the oldest Eurovision winner in history, if things work out that way. There’s a bit at the end of the song where she stomps down the stage in thigh-high boots toward Parkkonen’s flaming confessional booth (just go with it) while sawing away at the violin. It is iconic, it is powerful, it is Eurovision distilled to its glitterbomb essence, and will get the crowd on its feet.
Lyrically, though, there’s not much new here — just the go-to ESC imagery of love as flames. (The singer complains that his lover burns hot and cold, that she ignores him when she’s with her friends, that she’s a liekinheitin, or flamethrower.) (Which technically only burns hot, not hot and cold, but let it go.)
No, this song is all about the build, and that fierce runway stomp downstage is only the penultimate phase of it all. The performance concludes with the singer and the violinist in worshipful tableau as Parkkonen busts out a note that soars up through his multi-octave range, attaining escape velocity as it does so. It’s as close to a sure thing as the ESC’s had in years.
See y’all next year in Helsinki. |
Suzanne Hanover/Universal Pictures |
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| It’s always a good idea to watch the comedy classic Bridesmaids, which just turned 15. Kristen Wiig and Rose Byrne are deliciously selfish and hilarious as dueling bridesmaids vying for the attention of the bride, Maya Rudolph. On my most recent watch I was surprised by how it touches on class, money and gendered expectations. As someone newly inundated with perpetual wedding season, this movie still feels fresh, hilarious, gross and endlessly rewatchable. Bridesmaids is available to rent. – Producer Liz Metzger |
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Every week on the show, we talk about some other things out in the world that have been giving us joy lately. Here they are: |
Monica Castillo: Reading The Power Broker by Robert Caro
Jordan Crucchiola: Margo’s Got Money Troubles on Apple TV
Glen Weldon: Legends on Netflix |
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