As I’m sure you all know by now, early bird (who never can catch that worm) Switzerland have chosen their entry for the 57th ESC in Baku – Unbreakable by Sinplus. Already the song has divided opinion into three distinct categories: “Omigodomigod. LOVE it!”; “Not bad”; and “I would rather be strapped into a La-z-boy and forced to watch Jemini perform Cry Baby in surround sound one hundred times in a row than ever listen to this again”. I’m sitting precariously in the first category right now, and am well aware that once other songs start cropping up, the comparison will send me over the edge and hurtling down into one of the others, depending on the ability of the 39 other countries to bring it.
This is an unfortunate occurrence that seems to happen most years, which makes me sad because Switzerland is one of those countries that I want to root for. Still, they have provided Eurovision viewers with some rootable (ahem) entries in the past, and that, ladies and gents, is the point of today’s TWT. I thought I would count down my top 3 Swiss songs in celebration of when they get things right – because when they do, it’s magic (although it doesn’t guarantee a ticket to the final).
#3. Moi Tout Simplement by Annie Cotton (1993)
#2. Cinéma by Paola (1980)
#1. Era Stupendo by Paolo Meneguzzi (2008)
Paolo’s failure to qualify will forever lie in my heart (jostling for a comfy space amongst the ventricles and Christos Mylordos) as my Kate Ryan moment. It was all there: stunning song, super spunky singer and eccentrically endearing choreography. Mr. Meneguzzi was even born in Lugano, where the very first Eurovision took place, which is a sign if ever I’ve seen one. But, in 13th place, he almost-just missed out. Travesty alert! Still, you have to feel a little sorrier for Macedonia, who finished the semi in 10th place, but were overlooked for qualification thanks to the jury (who, as dictated back then, got to choose any entry outside of the top 9 to go through). They picked Sweden, who had come in 12th.
Thanks to the wonders of DVD and internet, we can at least relive Paolo’s performance as often as we wish, pretending that we are doing so purely for the song and act, and not because we enjoy admiring his pleasing aesthetics…or is that just moi?