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Politics overshadows successful 64th Eurovision

The 64th edition of the Eurovision Song Contest wrapped up on Saturday at Expo Tel Aviv’s Pavilion 2 (10,000-cap.), Israel, in a contest that has seen the music industry divided on political, rather than musical, issues.

The Netherlands won Eurovision 2019 with singer-songwriter Duncan Laurence’s performance of piano ballad ‘Arcade’. The Dutch artist received 492 points, followed by Italy’s Mahmood with 465 and Russia’s Sergey Lazarev with 369. The UK’s Michael Rice placed last, with a total of 16 points, for his rendition of ‘Bigger Than Us’.

“I have been so delighted with this year’s competition and we have all been very impressed with the wonderful talented artists who have taken part this year,” says Jon Ola Sand, the European Boradcating Union’s (EBU) head of live events and the executive supervisor of the Eurovision Song Contest.

“I would like to thank them for the hard work and dedication they have given us. Each artist has brought something unique to the contest and embodied what this contest is about,” adds Sand.

However, music was not the main topic of conversation surrounding Eurovision 2019. Following the win of Israeli act Netta Barzilai last year, the 2019 competition took place in Tel Aviv, sparking controversy due to the long-running Israeli-Palestinian conflict.

Despite calls to boycott the event, Madonna performed at the grand final on Saturday night. The singer opened her performance with a call for unity, declaring: “Let’s never underestimate the power of music to bring people together.”

Madonna’s rendition of her new single ‘Future’ featured two dancers who displayed Israeli and Palestinian flags on their backs, walking arm-in-arm.

“Each artist has brought something unique to the contest and embodied what this contest is about”

Icelandic act Hatari, who finished in tenth place, also displayed Palestinian flags during the contest.

The EBU states that both sets of artists violate its rules, which designate Eurovision as a “non-political event”.

The Palestinian Campaign for the Academic and Cultural Boycott of Israel denounced what it called the “fig-leaf gestures of solidarity from international artists”.

Ticket sales for this year’s Eurovision were lower than expected. According to Israeli paper Globes, between 5,000 and 7,000 foreign guests visited the country for Eurovision, including the participating artists’ delegations and journalists. Previous predictions expected the competition to attract between 20,000 and 30,000 tourists.

Local media puts the low numbers down to high hotel rates and steep ticket prices. Tickets to Saturday’s final set fans back £373 for prime seats and £252 for standard seats. Tickets for last year’s final, held at the Altice Arena in Lisbon, Portugal, cost between £31 and £262.

Calls for a boycott may have also have affected ticket sales.

“Let’s never underestimate the power of music to bring people together”

The Boycott, Divestment, Sanctions (BDS) movement, an initiative working to “pressure Israel to comply with international law”, initiated the call for a boycott of Eurovision 2019. BDS claims that more than 150,000 people responded to its call, including artists and music-related organisations.

Musicians including Pink Floyd’s Roger Waters, Wolf Alice and Brian Eno urged a boycott of the event, due to Israel’s “grave, decades-old violations of Palestinian human rights”.

The Musicians’ Union of Ireland similarly supported the boycott, calling on its members to attend protests in support of sidelining the contest.

Entertainment industry non-profit organisation, the Creative Community For Peace (CCFP), established a movement to oppose the boycott, stating that music “transcends boundaries and brings people together”.

The CCFP initiative has more than 35,000 signatories, including Sharon Osbourne, Gene Simmons and Justin Bieber manager Scooter Braun, as well as individuals from the Madison Square Garden Company, the Recording Academy/ Grammys and AEG Presents.

 


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Simmons abandons devil’s horns trademark bid

To the surprise of absolutely no one, Gene Simmons has dropped his bid to trademark the ‘devil’s horns’ gesture for use on stage.

Simmons (pictured) filed an application with the US Patent and Trademark Office (USPTO) earlier this month to register “a hand gesture with the index and small fingers extended upward and the thumb extended perpendicular” for “entertainment, namely live, performances by a musical artist.”

The Kiss frontman claimed he was the first to use the sign of the horns – which is also “I love you” in American sign language – as far back as November 1974.

However, the application has now been withdrawn after USPTO received a “letter of express abandonment” on 20 June.

Most legal experts considered his bid to trademark the gesture to have little chance of success, with the gesture most associated with the late Ronnie James Dio.

Simmons’ Gene Simmons Company has owned a total of 173 trademarks, including the ‘money bag’ symbol with a dollar sign and the phrases “$#it girls say” and “I want to marry a millionaire” for use on clothing.

 


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Gene Simmons tries to trademark devil’s horns

It’s a hand gesture familiar to metalheads across the world – but if Gene Simmons has his way, the sign of the horns could soon his trademark.

In a new application to the United States Patent and Trademark Office (USPTO), the Kiss frontman is seeking to register “a hand gesture with the index and small fingers extended upward and the thumb extended perpendicular” for “entertainment, namely live, performances by a musical artist.”

The would-be trademark is pictured below:

Gene Simmons devil's horns trademark diagram

The trademark application, serial number 87482739, was filed on 9 June and accepted on Tuesday. It is expected to be assigned to an examiner within three months of filing.

Various musicians claim to have invented the sign of the horns (or devil’s horns), with the late Ronnie James Dio usually credited for popularising the gesture.

The application says Simmons (real name Chaim Witz) has been throwing the horns since “at least as early as 14 November 1974” – a date that corresponds with Kiss’s Hotter than Hell tour – although use of the gesture by figures as diverse as John Lennon (on the Yellow Submarine cover), Black Sabbath’s Geezer Butler, Frank Zappa, George Clinton and Gautama Buddha all predate Simmons’s claim (the Buddha’s by quite some time).

 


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