The pattern has always been that the initial listening of the songs in March is generally unfavourable, but then the fanz immerse themselves in it all for two months, firmly attaching a personality disorder to an artist and/or song - and develop a type of Stockholm Syndrome with the majority of entries; for example someone with low self-confidence might start to say: SABA - SAND is the greatest entry I have ever heard!
As May rehearsals approach, we learn which countries are using magic beeping light boxes in their performances and this sends any objectivity firmly flying out of the window; the Sarah Bonnici - Loop performance contains dancing? Could this win the televote? Which stadiums could host in Malta?
The week of the contest arrives and the irrational love affair is in full swing, made more erotic by fans now having formed rival factions and fighting with each other. Friends and family of the contest start to consume the media, with the majority of their opinions angrily dismissed - fans forgetting their own ‘dog egg’ speeches when they first heard these songs in March.
All of this culminates in the voting reveal, which is the only known remedy to bring the Eurofan back to life - a sobering slap in the face that their psychosis went too far. Neither SABA - SAND or Sarah Bonnici - Loop are played, or heard from, again.
[celine dion] and that’s the way it is! [/celine dion]