We sent out one of our writers to report back on the festivities...
The press tent of Tel Aviv’s Eurovision is abuzz prior to the start of the semifinals. International news teams with high-end gear are on a single-minded mission: to capture the essence of this year's competition. Coming from far reaching corners of Europe, one can hear diverse languages left and right, see an abundance of national flags, and even taste the diversity: a latte machine prints each country’s Eurovision representative right into the foamed milk.
But amidst the film crews and telescopic lenses is the changing face of Eurovision coverage represented, simply, by low-tech selfie sticks. And not just for selfies! An essential tool in the modern day Eurovision Vlogger’s toolkit is, it seems, the live stream: providing 24/7 live content through various social media sites, and even during the event itself. In addition to selfie sticks, there are hundreds of laptops with makeshift studio setups, providing coverage and analysis to fans back home. Because why watch the actual Eurovision when you can watch someone talk about Eurovision?
Elie Bleier
One press table, front and center, is filled to the brim with reporters and an ongoing live-stream. Founded ten years ago, Wiwibloggs is an independent, international and perhaps the most influential dedicated Eurovision blog. But perhaps ‘perhaps’ is an understatement. While most media organizations were allotted five press passes, they finagled 22 through connections with other media outlets outsourcing coverage to them. And with over 80+ contributors all over the world, from Australia to the US and even Venezuela, while other reporters just show up for the main show, they live and breathe Eurovision year round. Their 80k YouTube and Facebook followers, of which many are presumably tuned in live, are testament to this.
For Wiwibloggs, with great power comes great responsibility. “We don’t do drama” Sebastian Diaz of Australia proclaims, “We keep it strictly factual.” Another Wiwiblogg-er, Etienne Waïotte of France, chimed in: “We’re like the AP or Reuters for Eurovision”. But unlike the AP or Reuters, once the contest, ends the reporting ends. For a bit. “Of course, there’s PED - Post Eurovision Depression,” Etienne explains, “but September 1st is kind of like our new year, when artists start submitting their songs that are performed during national selection, which we cover from January till May.” Unsurprisingly, Wiwibloggs is intertwined in this process. “Unlike most of the blogs that reach out to artists, artists reach out to us for our professional opinion,” Etienne stresses, “not to brag or anything. Strictly factual.”
Alesia Michelle
Across the room, one Vlogger is traveling with her own personal lighting system which funnels the room’s attention. Alesia Michelle, a “Creator” dedicated solely to reporting on Eurovision, has flown in, not from Europe, but from Washington DC. “It’s my first time in this region of the world and I love it,” she exclaims. “In the US, Eurovision’s popularity is slowly growing, though sadly it’s not being broadcast this year. Sure, it had terrible ratings, but what did they expect without promoting it?!” For reporters like Alesia and Wiwibloggs, their proximity to the event, not just as reporters but as hardcore fans, gives them insights others miss out on. “Listen,” Alesia says, “they have to change the judging. It’s currently a 50-50 split between the jury and televote. They should either get rid of the jury or pull down the percentage. Because the jury is where the fishy stuff happens, like collusions between countries.”
As we chat, Aleisa was busy finishing a tweet storm and prepping for her live stream. Her personal lighting system illuminates her well-primed face before her followers. This professionalism stands out from others who either walk aimlessly filming whatever lay in their camera’s way or reporters who, live on camera, sit silently texting on their cells as fans chat amongst themselves. When asked about the prevalence of live streaming, Alesia sneers. “Yeah, they are all doing it. But you should look at their live numbers...”
Elie Bleier
As the event draws near, tension rises. Falafel is snarfed, last cigarettes are smoked, and chairs slowly form around the center of the room. Suddenly, a wave of claps. Eyes and cell phones all point in one direction. Even the streamers’ focus, while still live, is pulled from their webcams. All attention is on the screen where an famous Israeli belts out those infamous notes:
Ree, ree, ouch, ouch, ouch, la
He's a baka-mhm-bak-mhm-bakbak-bak-
Baka-mhm-bak-mhm-bakbak
I'm not your...