Checkers

High five to the Vigilance,

"Enjoying The Google Plus On This Single Post....

http://thesecretoftheuniversechoice.blogspot.com/2014/05/the-stream-within-line-to-circle.html ~

One Hundred Twenty Thousand" On March 4th this Year of 2015 the Hell of a Great,

so in the Celebration I Posted on the Fourth of Three Twenty Fifteen,

http://thesecretoftheuniversechoice.blogspot.com/2015/03/enjoying-google-plus-on-this-single.html,

than I watched.

The gallant Number of google plus jumped to a Whooper Number 143k,

Wow but on that Piece in the Puzzle of Another experience,

I watched.

Now Today the Same Post of The Original Post is 105k,

still in the Fantastic founding of a learn to Know,

whom Has read did Like on Their personal I.D. to Catch,

at that Rate of the Pace Keepers I simple State.

Truth be Known that the skating breadth of Gaslighting Parades,

first the Bam, second the Stick, third the Bic,

a lighter for the Shag to proof the Sample rag by Magazine to Sped,

so Watch!!

The certain Unattainable computer format that either dumps or grasps the fountain of sync,

in this it is a Recognition of control to Patience brought by sound at the Prime,

for the Pencil to the pen of the Paddock as the Stile in the Freeze at the cold Chills.

Goose~Goose~Duct the tape of the Y in the U of the Tube as Also not in Addition but Tagged,

to touch the handle Skype to the V in that is the Serenity of a sling Show,

pendulum with a Ticket to the Vast in divide is style that Speaks to say that its a Dial.

Knot Begging The Question At Pleased is The Answered,

Karen A. Placek

16 followers|817,084 view

The Stream Within The Line To Circle Infinity S pined

Labels: Google James Blunt

    

 

Sent from the Source to show of a Course,

the trip was exhausting to lend a great strength,

ignored for the difference of exposing the brink,

the locks were not broken the key was the drink.

Bottomed to low in amply so known,

to look for the reason of such exposed bone,

the marrow of streaming from what is not shown,

for in the Past lending the loan became droned.

Example to present the careful consider,

that many have spoken and been laid in the hither,

to seek with the silent approach of just lot,

the park was a stay for the watch beget Talk.

Round in a global quiet of walk,

in only the Mind of the third it was shock,

the counter did nothing but wrote without blocks,

in more of the said it showed only sped.

No fear became reading the written in do,

a bit of strange spooking but followed on true,

the weight of the baster in now buttered bread,

such countenance enamored the County of fed.

Questions of morning to statements of learned,

the Moon answered best in the evening of rest,

formed to protect the signal of vest,

the conduit received without any test.

The education not had included arrears,

so naturally being the grip of the years,

ridden with grace to ensure a good race,

the dreams became wishes that reality did face.

Griffin in Nature a Unicorn of Case,

the lives in the lived performance of shive,

the letters did add extremely to fast,

the answer was given in question did ask.

No note to the former 'cause I did not know,

and I love to question to hear the voice show,

the lips as the move tell in a do,

is this the truth of the real of due.

Backed up to corner the Wild was seen,

approach with out doubt but oddly it's proud,

as if the known stature was pleased with the tree,

the roots were so deep it almost said neat.

No potting for field the hoe aired it well,

the rows were the crops of stanza's in lots,

a disc of the preambled watered the gear,

the heard made the set of the zero in gear.

The spin of the circle in line of a steer,

made counting infinite to absolute lear,

great thinking advised than came the near,

the times Versed Bahut and the Ve pointed clear,

to the U of the A in the E of the key.

Posted 19th May 2014 by Karen A. Placek

Labels: Google James Blunt

  

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Congratulations Mr. Reiten: Like Coffee!!

Lib at Large: Larkspur poet finds belated success with provocative ‘Transient Sex’

Larkspur resident Brent Reiten says he was stunned when his book of poetry, “Transient Sex,” failed to sell when he self-published it in 1989. “I was totally humiliated, perplexed, and finally, I just gave up,” he says. (Alan Dep/Marin Independent Journal) 

By Paul Liberatore, Marin Independent Journal

POSTED: 03/09/15, 7:51 PM PDT | UPDATED: 2 HRS AGO

1 COMMENT

A copy of “Transient Sex,” Brent Reiten’s book of poetry, rests on the writer’s kitchen table Thursday in Larkspur. After decades of obscurity, the book is getting interest from publishers in several countries. (Alan Dep/Marin Independent Journal) 

Sex sells. Just not always right away.

A case in point: In 1989, Brent Reiten, a Marin County house painter with poetic ambitions, wrote and self-published “Transient Sex,” a collection of poems about his libidinous fantasy trysts with famous people, women and men — “Sex with Stevie Nicks,” “Sex with Meryl Streep,” “Sex with George Bush,” “Sex with Sylvester Stallone.” You get the idea.

He had every reason to believe that this clever conceit was so provocative, so tapped into the Zeitgeist of the late ’80s with its equal doses of celebrity, sensuality and humor, that the 2,000 paperback copies he had printed would practically sell themselves, making him a hot new star in the literary galaxy.

“I want to be in People magazine, Playboy, and on the ‘Barbara Walters Special,’” the then 36-year-old poet announced in the book’s preface.

The fact that none of that happened has been a major disappointment of his life. “Transient Sex” made a brief splash (The San Francisco Review of Books called it “evocative ... rich ... illuminating”) before sinking from sight. In 1993, it was included in an anthology, “A New Geography of Poets.” But that’s about it.

Twenty-five years later, most of the copies are still in cardboard boxes stashed in the storeroom of the writer’s Larkspur apartment. With his dreams shattered, Reiten was so emotionally devastated that he retreated inside himself, partly blaming his own fear of success for his book’s failure. In any case, he’s hardly written a word since.

“I was totally humiliated, perplexed, and, finally, I just gave up,” the ruddy 62-year-old poet said one recent afternoon, sipping a Stella Artois at the kitchen table of his Spartan upstairs flat. “I was let down big time. It made me become almost like a recluse. It was very sad.”

But then, all these years later, something completely random and slightly miraculous has happened to shake him out of his hermit-like existence. A hip young writer named Jason Tesauro discovered a copy of “Transient Sex” among the tattered paperbacks and pulp novels on a sagging shelf in a thrift store in Charlottesville, Va.

Pleasantly surprised to find the 40 poems “clever and consistently rewarding,” Tesauro wrote an essay that was recently published in Poetry magazine, one of the world’s leading monthly poetry journals. It’s headlined “Sex with Brent Reiten: How an obscure 1980s collection might be poetry’s best one-night stand.” In the piece, Tesauro calls Reiten “the best poet you’ve never heard of.”

Since then, orders for “Transient Sex” have poured in from Australia, India, Europe, all over the U.S. A Dutch publisher is planning a translation in the Netherlands. And McSweeney’s, the San Francisco-based nonprofit publisher founded by Dave Eggers, has shown an interest in the collection, as have publishers on the East Coast and in London.

“To be witness to this resurrection of a wonderful writer fills our hearts with joy,” says Richard Lang, an old friend of Reiten’s who’s selling copies of “Transient Sex” at Electric Works, his San Francisco gallery, fine art press and bookstore.

“None of the poems are really about sex,” Lang says. “More than anything they’re about the relationship we have with celebrity. Brent is a working man’s poet, bringing the esoteric down to earth. He was writing in the vernacular long before Billy Collins stepped onto the stage.”

For example, his poem, “Sex with Genevieve Bujold,” ends by combining his post-coital fantasy life with his real one. “I was the producer of my own tragic scene/She was off to be a star again/I was off to paint the Wagner’s house — Monterey Gray with dark blue trim.”

FINDING HIS VOICE

A college dropout, Reiten became what he calls “a serious apprentice in poetry” when he was living in Los Angeles in his 20s, inspired by Jack Kerouac and the Beats.

“Being a lost soul, it was a common thing for people my age back then to be enamored with that gang,” he says.

After moving to Marin in 1981, he found his own voice through the example set by contemporary poets such as Edward Field, Paul Zimmer and Ron Koertge.

“They had humor in their poems,” he says. “Oftentimes in a dark, self-deprecating way.”

Reiten was living in Fairfax when the poems in “Transient Sex” came to him in two bursts of creativity fueled by Ecstasy, or MDMA, a drug that’s both a stimulant and a hallucinogen, sort of a cross between methamphetamine and mescaline.

The book’s black and white cover photo, taken by Jay Daniel in downtown San Francisco, shows Reiten looking over his shoulder at his then girlfriend, Toni Bernbaum. Wearing a little black dress, high heels and sexy sheer stockings, she’s sitting on a low wall, lighting a cigarette, her legs crossed seductively. He dedicated the book to her, thanking her for helping him fine-tune the poems after they came to him in that initial ecstatic rush.

“It was just me and Toni then,” he remembers. “We were playing with poems for months. We didn’t have a real baby, but the poems were what we called our baby.”

‘A VERY BAD SCENE’

Two years after the book came out, Reiten was trying to recapture the lightning in the bottle that produced “Transient Sex,” turning once again to MDMA for inspiration. But, unlike the first time, the drug failed him.

“It got me into big trouble,” he recalls. “I was trying to get another poetry roll going, which meant ingesting Ecstasy. It got to the point where I was taking lethal amounts, dangerous amounts. But, in my mind, I thought this is what I had to do to get to the next place in poetry. It was a very bad scene.”

Reiten had been making a living as an independent painting contractor. When it became obvious that he could no longer function on his own, he was hired by his friend, Andy Giddings, to work for Giddings’ San Geronimo-based color and design company.

“He knew I was in big trouble and had to get out of it,” Reiten says, crediting Giddings and his wife, fine art painter Judy North, for becoming his surrogate family and helping him get his head straight, a return to normalcy that took five years.

Over the past couple of decades, he’s lived quietly by himself, working during the day and listening to CDs by Texas singer-songwriters like Townes Van Zandt and Guy Clark at night. He hasn’t gone out to restaurants, or movies, or parties, limiting his social life to occasional dinners with relatives on holidays.

He’d worn out his old electric typewriter, and didn’t have a computer, so he had no email.

The only writing he’d done was to constantly tinker and tighten the poems in “Transient Sex.” Reiten was so far out of the mainstream that part of Tesauro’s article in Poetry magazine is about the detective work it took to track him down.

Spurred by this sudden revival of interest in him and his work, he bought his first laptop computer a month ago and is learning how to use it.

“I’ve got to convert to that world,” he says. “It’s up to me.”

On a personal level, he hadn’t spoken to his former lover, Toni Bernbaum, for a dozen years. She’d moved away since they’d broken up. As fate would have it, on the day of this interview, she’d called him, saying she wanted to see him again during a weekend visit to Marin.

“I’m so excited about what’s happening with ‘Transient Sex,’” she says in a phone message, a delighted lilt in her voice. “You’re becoming famous.”

European Broadcasting Union Union Européenne de Radio-télévision

Eurovision Song Contest

The Eurovision Song Contest (French: Concours Eurovision de la chanson), often shortened to ESC, Eurovision, or EuroSong, is an annual song competition held primarily among the member countries of the European Broadcasting Union (EBU) since 1956.

Each member country submits a song to be performed on live television and radio and then casts votes for the other countries' songs to determine the most popular song in the competition. The contest has been broadcast every year since its inauguration in 1956 and is one of the longest-running television programmes in the world. It is also one of the most watched non-sporting events in the world, with audience figures having been quoted in recent years as anything between 100 million and 600 million internationally. Eurovision has also been broadcast outside Europe to such places as Argentina, Australia, Brazil, Brunei, Canada, China, Colombia, Egypt, India, Indonesia, Japan, Jordan, Malaysia, Mexico, New Zealand, Philippines, Singapore, South Korea, South Africa, Suriname, Taiwan, Thailand, the United States, Uruguay, Venezuela and Vietnam, although these countries do not compete. Since 2000, the contest has also been broadcast over the Internet, via the Eurovision website.

Winning the Eurovision Song Contest provides an opportunity for the winning artists to capitalise on the surrounding publicity and further their careers. Artists whose international careers were directly launched into the spotlight following their participation at Eurovision include: Italian Domenico Modugno, who came third with the song "Nel blu dipinto di blu" ("In the sky, painted blue", popularly known as "Volare") in 1958; ABBA, who won the contest for Sweden in 1974 with "Waterloo"; Céline Dion, who won for Switzerland in 1988 with the French-language song "Ne partez pas sans moi" ("Don't leave without me"); the Spaniard Julio Iglesias, who has sold over 300 million records worldwide; and Bucks Fizz, who won in 1981 for the United Kingdom with "Making Your Mind Up". The current winner is Conchita Wurst of Austria, who won the 2014 contest in Copenhagen, Denmark with "Rise Like a Phoenix".

In the 1950s, as a war-torn Europe rebuilt itself, the European Broadcasting Union (EBU)—based in Switzerland—set up an ad hoc committee to search for ways of bringing together the countries of the EBU around a "light entertainment programme". At a committee meeting held in Monaco in January 1955, director general of Swiss television and committee chairman Marcel Bezençon conceived the idea of an international song contest where countries would participate in one television programme, to be transmitted simultaneously to all countries of the union. The competition was based upon the existing Sanremo Music Festival held in Italy, and was seen as a technological experiment in live television, as in those days it was a very ambitious project to join many countries together in a wide-area international network. Satellite television did not exist, and the Eurovision Network comprised a terrestrial microwave network. The concept, then known as "Eurovision Grand Prix", was approved by the EBU General Assembly in a meeting held in Rome on 19 October 1955 and it was decided that the first contest would take place in spring 1956 in Lugano, Switzerland. The name "Eurovision" was first used in relation to the EBU's network by British journalist George Campey in the London Evening Standard in 1951.

The first contest was held in the town of Lugano, Switzerland, on 24 May 1956. Seven countries participated—each submitting two songs, for a total of 14. This was the only contest in which more than one song per country was performed: since 1957 all contests have allowed one entry per country. The 1956 contest was won by the host nation, Switzerland.

The programme was first known as the "Eurovision Grand Prix" (in English). This "Grand Prix" name was adopted by Denmark, Norway and the Francophone countries, with the French designation being "Le Grand-Prix Eurovision de la Chanson Européenne". The "Grand Prix" has since been dropped and replaced with "Concours" (contest) in French, but not in Danish or Norwegian. The Eurovision Network is used to carry many news and sports programmes internationally, among other specialised events organised by the EBU. However, in the minds of the public, the name "Eurovision" is most closely associated with the Song Contest.

The format of the contest has changed over the years, though the basic tenets have always been thus: participant countries submit songs, which are performed live in a television programme transmitted across the Eurovision Network by the EBU simultaneously to all countries. A "country" as a participant is represented by one television broadcaster from that country: typically, but not always, that country's national public broadcasting organisation. The programme is hosted by one of the participant countries, and the transmission is sent from the auditorium in the host city. During this programme, after all the songs have been performed, the countries then proceed to cast votes for the other countries' songs: nations are not allowed to vote for their own song. At the end of the programme, the winner is declared as the song with the most points. The winner receives, simply, the prestige of having won—although it is usual for a trophy to be awarded to the winning songwriters, and the winning country is invited to host the event the following year.

The programme is invariably opened by one or more presenters, welcoming viewers to the show. Most host countries choose to capitalise on the opportunity afforded them by hosting a programme with such a wide-ranging international audience, and it is common to see the presentation interspersed with video footage of scenes from the host nation, as if advertising for tourism.[citation needed] Between the songs and the announcement of the voting, an interval act is performed. These acts can be any form of entertainment imaginable. Interval entertainment has included such acts as the Wombles (1974) and the first international presentation of Riverdance (1994).

As national broadcasters join and leave the Eurovision feed transmitted by the EBU, the EBU/Eurovision network logo ident (not to be confused with the song contest logo) is displayed. The accompanying theme music (used on other Eurovision broadcasts) is the prelude to Marc-Antoine Charpentier's Te Deum. Originally the same logo was used for both the Eurovision network and European Broadcasting Union, however they now have two different logos; when the ident is transmitted it is the Eurovision network logo that appears.

The Eurovision Song Contest final is traditionally held on a Saturday evening in May, at 19:00 UTC (15:00 EDT, 20:00 BST/IST, or 21:00 CEST). Usually one Saturday in May is chosen, although the contest has been held on a Thursday (in 1956) and as early as March (in 1979).

Eligible participants include primarily Active Members (as opposed to Associate Members) of the EBU. Active members are those who are located in states that fall within the European Broadcasting Area, or are member states of the Council of Europe.[24]

The European Broadcasting Area is defined by the International Telecommunication Union:

The "European Broadcasting Area" is bounded on the west by the western boundary of Region 1, on the east by the meridian 40° East of Greenwich and on the south by the parallel 30° North so as to include the northern part of Saudi Arabia and that part of those countries bordering the Mediterranean within these limits. In addition, Armenia, Azerbaijan, Georgia and those parts of the territories of Iraq, Jordan, Syrian Arab Republic, Turkey and Ukraine lying outside the above limits are included in the European Broadcasting Area.

The western boundary of Region 1 is defined by a line running from the North Pole along meridian 10° West of Greenwich to its intersection with parallel 72° North; thence by great circle arc to the intersection of meridian 50° West and parallel 40° North; thence by great circle arc to the intersection of meridian 20° West and parallel 10° South; thence along meridian 20° West to the South Pole.

Active members include broadcasting organisations whose transmissions are made available to at least 98% of households in their own country which are equipped to receive such transmissions.

If an EBU Active Member wishes to participate, they must fulfil conditions as laid down by the rules of the contest (of which a separate copy is drafted annually). As of 2014, this includes the necessity to have broadcast the previous year's programme within their country, and paid the EBU a participation fee in advance of the deadline specified in the rules of the contest for the year in which they wish to participate.

Eligibility to participate is not determined by geographic inclusion within the continent of Europe, despite the "Euro" in "Eurovision" – nor does it have any relation to the European Union. Several countries geographically outside the boundaries of Europe have competed: Israel and Cyprus in Western Asia (Cyprus is a member of the Council of Europe and a member state of the European Union), since 1973 and 1981 respectively; Australia in the Australian continent, in 2015 and Morocco, in North Africa, in the 1980 competitionalone. In addition, several transcontinental countries with only part of their territory in Europe have competed: Turkey, since 1975; Russia, since 1994; Armenia, since 2006;Georgia, since 2007; and Azerbaijan, which made its first appearance in the 2008 edition.

Participation since 1956:

  Entered at least once

  Never entered, although eligible to do so

  Entry intended, but later withdrew

Cities that have hosted the Eurovision Song Contest.

Fifty-two countries have participated at least once. These are listed here alongside the year in which they made their début:

Most of the expense of the contest is covered by commercial sponsors and contributions from the other participating nations. The contest is considered to be a unique opportunity for promoting the host country as a tourist destination. In the summer of 2005, Ukraine abolished its normal visa requirement for visitors from the EU to coincide with its hosting of the event.

Preparations for the event start a matter of weeks after the host wins in the previous year, and confirms to the EBU that they intend to—and have the capacity to—host the event.[citation needed] A host city is chosen—often a national or regional capital city—and a suitable concert venue is identified. The two largest concert venues were Parken in Copenhagen (which held approximately 38,000 people when Denmark hosted in 2001) and the Esprit Arena in Düsseldorf (which held approximately 36,500 people when Germany hosted in 2011). The smallest town to have been hosts was Millstreet in County Cork, Ireland, in 1993. The village had a population of 1,500—although the Green Glens Arena venue could hold up to 8,000 people.

The hotel and press facilities in the vicinity are always a consideration when choosing a host city and venue. In Kiev 2005, hotel rooms were scarce as the contest organisers asked the Ukrainian government to put a block on bookings they did not control themselves through official delegation allocations or tour packages: this led to many people's hotel bookings being cancelled.

After the first two contests were hosted by Switzerland and Germany, it was decided that henceforth the winning country would host the contest the next year. The winner of the 1957 Contest was the Netherlands, and Dutch television accepted the responsibility of hosting in 1958. In all but five of the years since this rule has been in place, the winning country has hosted the show the following year. The exceptions are:

• 1960—hosted by the BBC in London when the Netherlands declined due to expense. The UK was chosen to host because it had come second in 1959.
• 1963—hosted by the BBC in London when France declined due to expense. Although the UK had only come fourth in 1962, Monaco and Luxembourg (who came second and third) had also declined.
• 1972—hosted by the BBC in Edinburgh when Monaco was unable to provide a suitable venue: Monegasque television invited the BBC to take over due to its previous experience.
• 1974—hosted by the BBC in Brighton when Luxembourg declined due to expense. The BBC was becoming known as the host by default, if the winning country declined.
• 1980—hosted by the NOS in The Hague when Israel declined due to expense, having staged the 1979 event in Jerusalem, and the fact that the date chosen for the contest (19 April) was Israel's Remembrance Day that year. The Dutch offered to host the contest after several other broadcasters (including the BBC) were unwilling to do so.^[36] The reluctance of those national broadcasters to stage the contest were due to already having hosted the event during the past couple of years, in addition to the expense involved.

Since 1981, all contests have been held in the country which won the previous year.

The current generic logo was introduced for the 2004 Eurovision Song Contest in Turkey, to create a consistent visual identity. The host country's flag appears in the heart of the generic logo. Each year of the contest, the host country creates a sub-theme which is usually accompanied and expressed with a sub-logo and slogan. The theme and slogan are announced by the EBU and the host country's national broadcaster.

The generic logo was revamped in 2014, ten years after the first generic logo was created. The revamped logo was conducted by lead designer Cornelis Jacobs and his team of Cityzen Agency. The logo will be used for the first time in the 2015 Eurovision Song Contest, the 60th anniversary of the contest.

Since the 2002 contest, slogans (or themes) have been introduced in the show (2009 being the only exception). The slogan is decided by the host broadcaster and based on the slogan, the theme and the visual design are developed.

Year	Host city	Slogan
2002	Tallinn	"A Modern Fairytale"
2003	Riga	"Magical Rendezvous"
2004	Istanbul	"Under The Same Sky"
2005	Kiev	"Awakening"
2006	Athens	"Feel The Rhythm!"
2007	Helsinki	"True Fantasy"
2008	Belgrade	"Confluence Of Sound"
2010	Oslo	"Share The Moment!"
2011	Düsseldorf	"Feel Your Heart Beat!"
2012	Baku	"Light Your Fire!"
2013	Malmö	"We Are One"
2014	Copenhagen	"#JoinUs"
2015	Vienna	"Building Bridges"

The term "Eurovision Week" is used to refer to the week during which the Contest takes place. As it is a live show, the Eurovision Song Contest requires the performers to have perfected their acts in rehearsals in order for the programme to run smoothly. In addition to rehearsals in their home countries, every participant is given the opportunity to rehearse on the stage in the Eurovision auditorium. These rehearsals are held during the course of several days before the Saturday show, and consequently the delegations arrive in the host city many days before the event. Journalists and fans are also present during the preceding days, and so the events of Eurovision last a lot longer than a few hours of television. A number of officially accredited hotels are selected for the delegations to stay in, and shuttle-bus services are used to transport the performers and accompanying people to and from the contest venue.

Each participating broadcaster nominates a Head of Delegation, whose job it is to coordinate the movements of the delegate members, and who acts as that country's representative to the EBU in the host city. Members of the delegations include performers, lyricists, composers, official press officers and—in the years where songs were performed with a live orchestra—a conductor. Also present if desired is a commentator: each broadcaster may supply their own commentary for their TV and/or radio feed, to be broadcast in each country. The commentators are given dedicated commentary booths situated around the back of the arena behind the audience.

Other Interesting Information

In the first contest in 1956, there was a recommended time limit of 3½ minutes per song.  In 1957, despite protests, the Italian song was 5:09 minutes in duration. This led to a stricter time limit of 3 minutes precisely. Since the three-minute time limit was adopted in 1960, some artists have had songs longer than three minutes, which must be edited down to 3 minutes, though some songs exceed that time by a few seconds. Many of the entries also have longer versions (including different languages) for commercial release, and since the 1990s, some are released in additional remixed versions.

The EBU impose no restrictions on the nationalities of the performers or songwriters. Individual broadcasters are, however, permitted to impose their own restrictions at their discretion.

From 1957 to 1970 (in 1956 there was no restriction at all) only soloists and duos were allowed on stage. From 1963, a chorus of up to three people was permitted. Since 1971, a maximum of six performers have been permitted on the stage.

The performance and/or lyrics of a song "must not bring the Contest into disrepute". No lyrics, speeches, gestures of a political or similar nature are permitted. No unacceptable language is allowed, neither are commercial messages.

From 1990 onwards, all people on stage must be at least 16 years of age.

Each performance may consist of a maximum of six people on stage. No live animals.

Each artist may perform for only one country per year.

The music and text must not have been published or performed before 1 September of the year before the contest is held. Many countries also have the additional rule that the song shall never have been performed before the relevant national Eurovision Contest. Covers, reworked or sampled versions of older songs are not allowed.

Rules

Further information: Rules of the Eurovision Song Contest

Numerous detailed rules must be observed by the participating nations: a new version is produced each year. For instance the rules specify various deadlines, including the date by which all the participating broadcasters must submit the final recorded version of their song to the EBU. The rules also cover sponsorship agreements and rights of broadcasters to re-transmit the show. The most notable rules which affect the format and presentation of the contest have changed over the years, and are highlighted here.

§Live music

All vocals must be sung live: no voices are permitted on backing tracks. In 1999, the Croatian song featured sounds on their backing track which sounded suspiciously like human voices. The Croatian delegation stated that there were no human voices, but only digitally synthesised sounds which replicated vocals. The EBU nevertheless decided that they had broken the spirit of the rules, and docked them 33% of their points total that year for the purpose of calculating their five-year points average for future qualification.

From 1956 until 1998, the host country was required to provide a live orchestra. Prior to 1973, all music had to be played by the host orchestra. From 1973 onwards, pre-recorded backing tracks were permitted—although the host country was still obliged to provide a live orchestra in order to give participants a choice. If a backing track was used, then all the instruments heard on the track were required to be present on the stage. In 1997 this requirement was dropped.

In 1999 the requirement for a live orchestra was abolished: it was left as an optional contribution. The host that year, Israel's IBA, decided not to use an orchestra in order to save expenses, and thus 1999 was the first year when all the songs were played as pre-recorded backing tracks (in conjunction with live vocals).

§Language  Languages in the Eurovision Song Contest

Each submission must have vocals; purely instrumental music has never been allowed. Originally, competitors were required to sing in their own national language, but this rule has been changed several times over the years. From 1956 until 1965, there was no rule restricting the languages in which the songs could be sung. In 1966 a rule was imposed stating that the songs must be performed in one of the official languages of the country participating, after Sweden presented its 1965 entry in English.

The language restriction continued until 1973, when performers were again allowed to sing in any language they wished. Several winners in the mid-1970s took advantage of this: performers from non-English-speaking countries sang in English, including ABBA in 1974.

In 1977, the EBU decided to revert to the national language restriction. However, special dispensation was given to Germany and Belgium as their national selections had already taken place; both countries' entries were in English.

In 1999 the rule was changed to allow the choice of language once more. Belgium entered the 2003 Contest with "Sanomi", a song sung in a constructed language,finishing in second place. In 2006 the Dutch entry, "Amambanda", was sung partly in English and partly in an artificial language. In 2008 the Belgian entry, "O Julissi", was sung in an artificial language. In 2011 the Norwegian entry, "Haba Haba", which was sung in English and Swahili, was the first song to be sung in an African language, apart from Arabic.