[Nicky91]

https://eurovoix.com/2021/05/30/czec...ay-be-removed/

czech jury score might be removed


the results won't be affected though

[Nicky91]

183 million viewers in total for the final


FLOP

[Calderyon]

Originally Posted by Nicky91

183 million viewers in total for the final


FLOP

2015: 197 million
2016: 204 million
2017: 180 million
2018: 186 million
2019: 182 million
2021: 183 million

https://eurovisionworld.com/tag/viewing-figures

https://www.ebu.ch/news/2017/05/euro...illion-viewers

Not really a flop, is it?

Also those figures are the total viewership of both semifinals + the final.

[Calderyon]

Even better story:

Viewing Figures by year (All shows)

Eurovision 2021: 183 million
Eurovision 2019: 182 million
Eurovision 2018: 186 million
Eurovision 2017: 182 million
Eurovision 2016: 204 million
Eurovision 2015: 197 million
Eurovision 2014: 195 million
Eurovision 2013: 170 million

https://eurovisionworld.com/esc/here...g-contest-2021

[Black Dagger]

Originally Posted by Nicky91

183 million viewers in total for the final


FLOP

Youre actually a massive embarrassment.

[Shaun]

Ty for retweeting those Eurovision stats Lucas, I found this interesting

TLDR:

We were placed last by the following juries:
- Israel
- Croatia
- Iceland

We were voted last by the following televotes:
- Austria
- Belgium
- Bulgaria
- Czechia
- France
- Georgia
- Israel
- Italy
- Moldova
- Poland
- Portugal
- Russia
- Sweden
- Switzerland

Poland were the closest to giving us a point... we finished 11th in their jury vote

This effectively dismisses the "political voting" theory. We've not exactly got problems with Sweden, Switzerland, Italy, etc. Even Australia, the land full of our ex-pats, put us 20th in juries and 21st in the televote. We just had a bad song, performed terribly, staged boringly, surrounded by far better competition.

[Nicky91]

UK must hire Kirkorov next year


UK-Russian team up, world peace ballad

[Black Dagger]

No ta.

[user104658]

Originally Posted by Shaun

Ty for retweeting those Eurovision stats Lucas, I found this interesting

TLDR:

We were placed last by the following juries:
- Israel
- Croatia
- Iceland

We were voted last by the following televotes:
- Austria
- Belgium
- Bulgaria
- Czechia
- France
- Georgia
- Israel
- Italy
- Moldova
- Poland
- Portugal
- Russia
- Sweden
- Switzerland

Poland were the closest to giving us a point... we finished 11th in their jury vote

This effectively dismisses the "political voting" theory. We've not exactly got problems with Sweden, Switzerland, Italy, etc. Even Australia, the land full of our ex-pats, put us 20th in juries and 21st in the televote. We just had a bad song, performed terribly, staged boringly, surrounded by far better competition.

I don't understand how it's possible that people can't see how bad the UK entry was .

[UserSince2005]

Malta have no taste.

[Nicky91]

Youtube video

[Shaun]

I was curious to see if it really is as simple as "if it won't make our charts, it's a flop and we'll end up bottom" and...well...

2001: "No Dream Impossible" by Lindsay - finished 15th in Eurovision - UK singles chart position: 32
2002: "Come Back" by Jessica Garlick - finished 3rd in Eurovision - UK singles chart position: 13
2003: "Cry Baby" by Jemini - first ever nul points for us - UK singles chart position: 15 (worth noting it was... beyond awful performed live, though)
2004: "Hold Onto Our Love" by James Fox - finished 16th in Eurovision - UK singles chart position: 13
2005: "Touch My Fire" by Javine - finished 22nd in Eurovision - UK singles chart position: 18
2006: "Teenage Life" by Daz Sampson - finished 19th in Eurovision - UK singles chart position: 8 - another odd one out here, probably because this was so chavvy and UK-orientated that it was never going to succeed anywhere else
2007: "Flying the Flag (For You)" by Scooch - finished 22nd in Eurovision - UK singles chart position: #5 - the most "novelty" song we've ever sent, and had the unfortunate position of following Verka Serduchka, so I think Europe were all camped-out.
2008: "Even If" by Andy Abraham - finished last in Eurovision - UK singles chart position: 67
2009: "It's My Time" by Jade Ewen - finished 5th in Eurovision - UK Singles Chart position: 27
--------------------------------------
2010: "That Sounds Good To Me" by Josh Dubovie - finished last in Eurovision - UK singles chart position: 179
2011: "I Can" by Blue - finished 11th in Eurovision - UK Singles Chart position: 16
2012: "Love Will Set You Free" by Engelbert Humperdinck - finished 25th (1 above last) in Eurovision - UK singles chart position: 60
2013: "Believe In Me" by Bonnie Tyler - finished 19th in Eurovision - UK singles chart position: 93
2014: "Children of the Universe" by Molly - finished 17th in Eurovision - UK singles chart position: 27* - the odd one out in this list... we liked it enough to chart, but IIRC she had a bit of a disaster during the Jury performance and was out of tune?
2015: "Still in Love With You" by Electro Velvet still disgusted we even sent this - finished 24th in Eurovision - UK singles chart position: 114
2016: "You're Not Alone" by Joe and Jake - finished 24th in Eurovision - UK singles chart position: 81
2017: "Never Give Up On You" by Lucie Jones - finished 15th in Eurovision - UK singles chart position: 73
2018: "Storm" by SuRie - finished 24th in Eurovision - UK singles chart position: 50
2019: "Bigger Than Us" by Michael Rice - finished last in Eurovision - UK singles chart position: did not chart
--------------------------------------
2021: "Embers" by James Newman - finished last in Eurovision - UK singles chart position: 47 (and most of that is sympathy downloads)

So from this we can surmise... if it doesn't make our own charts, there's a good chance it's going to finish last in the competition. The 2000s saw a lot of cases of songs making our charts but flopping at Eurovision, and that's inevitably down to two factors:

1) It was far easier to chart in the 2000s than it is today. Physical sales were beginning to die, and downloads and airplay were the only way to make the charts. Streaming didn't exist for Daz Sampson, Scooch or Javine, so it only really took a couple of thousand downloads to make it as high as they did in our charts.
2) Our selection processes were usually aired on BBC One, gathering a huge amount of promotion for the singles involved. Terry Wogan and - I think? - Tess Daly would host it and it'd get pretty good viewing figures. Nowadays even if we have a voting process, it's shelved away over on BBC Four and gets around 500,000 viewers, if that.

Compare all of these occasions to our 90s successes... these songs finished top 5 in Eurovision.

1992: Michael Ball (2nd) - #20 in our charts
1993: Sonia (2nd) - #15 in our charts
1997: Katrina and the Waves (winner) - #3 in our charts
1998: Imaani (2nd) - #15 in our charts

Going back further than that is probably not worthwhile since finishing 2nd in Eurovision when there was, like, 12 countries taking part isn't that impressive

[Braden]

Ugh, I know Greece had a much better and similar song, but Javine was unfairly paid dust in 2005.

[Nicky91]

https://wiwibloggs.com/2021/06/05/th...-votes/265639/

Netherlands televoters to receive refunds after unregistered valid votes

[Nicky91]

2019: outdated ballad, pls give us a uptempo next time


2021: uptempo song, still not good enough




hypocrite eurofandom

[user104658]

Just thought I'd add to this thread that the studio recording of the winning song has actually grown on me over time

[Nicky91]

Before their momentous Eurovision victory with Zitti e Buoni, placing Italian rock back on the world stage and earning praise from Simon Le Bon and Miley Cyrus; before a baseless accusation of snorting cocaine almost veered into a full-blown diplomatic crisis; and before their post-win ping-pong tournament became a twee secondary narrative, the Italian band Mĺneskin had already raised eyebrows in Rotterdam, this year’s host city.

After a rehearsal session ended late, says the bassist, Victoria De Angelis, they were parched – but realised there was no drinking water in their hotel rooms. “We went to the hotel reception, but they said there was no water around,” De Angelis says. “So we made it into the kitchen and took some.”

Cameras caught them and the following morning the hotel contacted Mĺneskin’s management, claiming that the artists had stolen some water and needed to pay for it. “And, of course, we did that!” says De Angelis.

“Yeah, we behaved well!” interjects the guitarist, Thomas Raggi. The band members can barely keep a straight face while telling this anecdote – more reminiscent of a summer-school-abroad adventure than a song contest that reached 183 million people.

While they admit their guilt in the late-night hydration bust, they are vexed by the unproven coke-snorting allegations, which were voiced after cameras picked up Damiano David, the frontman, leaning over a table. David, who said he had been clearing up a smashed glass, later took a drug test, which came back negative. “I think that, if someone is not particularly good, there’s no reason to criticise them,” he says. “So I saw this whole thing as: ‘Oh, Mĺneskin is too good, we have to say he’s snorting.’ I know it’s not great to be so self-congratulatory, but, truth is, we performed very well and there was something they needed to discredit us.”

“Damiano barely drinks beer,” adds De Angelis.

“Yeah, he’s such a sfigato, a dork: he goes to bed at 11pm with his chamomile tea,” says Raggi.

Mĺneskin – Danish for moonlight, inspired by De Angelis’s half-Danish heritage – were established in 2015 and had a stint as buskers on the streets of Rome. They came second in the 2017 series of X Factor Italia, their swaggering rock’n’roll rather overshadowing that year’s winner. After their debut album, Il Ballo della Vita (The Dance of Life), went triple platinum in Italy, they won the 2021 edition of the Sanremo music festival, whose winner becomes the country’s Eurovision entrant.

During our conversation, they freely talk over, complete and remark on each other’s answers like Seinfeld characters, alternating between lighthearted mockery and earnest contemplation, all with artistic curiosity and refreshing candour. While they acknowledge how important Eurovision can be for musicians who do not sing in English, they say they did not grow up as fans of the contest.

“We’ve never been the biggest cult followers,” says David, explaining that, for people their age – they were all born between 1999 and 2001 – Eurovision does not have the resonance it has with older generations. After Toto Cutugno’s victory in 1990, its relevance waned in Italy to the point that, between 1998 and 2010, the country did not participate.

“What we’ve always tried to do is never set any preconceived expectations and notions upon ourselves; one could say that neither X Factor nor Sanremo is the right context for a rock band, but we avoid such a rigid mindset. Living in Italy, it’s hard to get a global audience, but, once you get the right opportunity, then the music is the one doing the talking.”

Their second album, 2021’s Teatro D’Ira: Vol 1, cemented their reputation as solid live entertainers and added a tinge of auteur ambition. The band evoke 70s rock with a dash of turn-of-the-millennium nostalgia, straddling a continuum between Led Zeppelin, Red Hot Chili Peppers and Arctic Monkeys in exquisitely tailored trousers. They recorded the album live, and in a secluded rural studio, like so many rock greats before them. “After our first album, when we were really young, we had a moment when we stopped and said: what type of band do we want to be?” David says. This soul-searching lasted for two years.

“The work does show more artistic maturity,” says Raggi, who says they stopped focusing on David’s soulful vocals and created a sense of a whole band playing: “Our artistic vision is coming into more and more sharp focus.” The drummer, Ethan Torchio, seconds Raggi, with a hint of nerdiness. “There has been an in-depth technical study of our instruments – our quality jump is due to the fact that we worked very hard towards the same goal.”

The group credits the success of Zitti e Buoni to a combination of Italian language and a mainstream sound that was easy for anglophone listeners to acclimatise to. “Zitti e Buoni is a really old song of ours,” says David. “It’s one of our first tracks in Italian and it used to be completely different – it was an acoustic ballad with just voice and guitar, but we couldn’t come up with a convincing chorus.” Then, after a few years, they revived it, thanks to a riff Raggi composed. “Pssssh! Magic happened,” says David.

The English-language anthem I Wanna Be Your Slave – which, like Zitti e Buoni, is in the UK Top 30 – was a slow-burner, too. “Damiano once sent an audio note to our group chat where he said: ‘Hey, check out this banger I came up with on the piano.’ I was hanging out with Thomas, and we said: that sounds like ****,” says De Angelis.

It took a work trip to London, during which they transferred it to the bass and applied distortion, for it to click. “My audio note was indeed bad,” David says. “But my bandmates, as artists, should have had a minimum of imagination.”

The power ballad Vent’Anni (20 Years), which starts with the disclaimer: “I am only 20, so don’t be surprised if I have a tendency for drama,” is a meditation on being true to yourself and your legacy. “Vent’Anni is another side of us: we’re young, we talk about our lived experience. There’s rage, anger, aggression, but there’s more reflective and intimate parts,” says David.

Coraline – my personal favourite – combines their signature rock with the poetic imagery of the Italian singer-songwriter tradition, a tribute to the Italian cantautori. What starts off as a description of a girl with hair “like red roses” and “copper wires” is a study of a character who is still a child but, ultimately, carries the world on her shoulders. “She wants the sea, but is afraid of water, but maybe the sea is inside of her / Each word is an axe, a cut on her back.”

Mĺneskin’s success has been framed as an oddity – in Italy and at Eurovision – because they are a rock band, rather than a pop act. Are talent shows not the realm of stiff, songbird-like performers? And is Eurovision not the arena of Abba-like bubblegum high-camp?

True, the only rock group to win Eurovision previously was the Finnish orc-cosplay band Lordi, in 2006, with the magnificent spectacle of Hard Rock Hallelujah. But rock entries have been a Eurovision staple since 1956, when Freddy Quinn presented the rock’n’roll song So Geht Das Jede Nacht. By wearing metallic-leather glam-rock-inspired unitards with slight fetish elements, designed by Etro, and by using a set that cast imposing shadows on the backdrop, Mĺneskin delighted audiences with a performance that was energetic and elegant, demonstrating that not every Eurovision entry needs to be camp to be memorable.

Plus, while English audiences are mostly unaware, there is an Italian rock tradition, from the band Premiata Forneria Marconi in the 70s to artists who have enjoyed steady mainstream success since the 80s, such as Vasco Rossi and Gianna Nannini.

In 1979, the prog-rocker turned singer-songwriter Ivano Fossati, who penned some of the most artistically refined songs for Italian divas (do yourself a favour and listen to Danza), released La Mia Banda Suona Il Rock. It is a rock song that has had a huge critical, commercial and cultural impact in Italy (and makes for a great drunken karaoke number). The lyrics praise music, specifically rock, as the conduit of universal communication: “It seeps into walls, it breaches doors and, in the end, it tells you that your soul is not dead.” Mĺneskin are in line with this ethos, straddling the line between reality and escapism. “Music is a way for us to express a full range of emotions,” says Raggi. “The stage is like your magic box, where you can do anything you want, because you’re 100% free, and you can express yourself for what you actually are.”

Mĺneskin acknowledge that their foundations lie in English-language acts, such as the aforementioned Chili Peppers and Led Zeppelin, plus REM and, in the case of Torchio, “a lot of prog rock”. Nonetheless, De Angelis highlights 80s and 90s Italian rock bands, such as Marlene ****z, whose songs combine noise rock and the Italian singer-songwriter tradition; Verdena, who draw from grunge; and the alt-rock band Afterhours. “Sure, the pop-indie-trap dominance in Italy is undeniable, but then along came Mĺneskin,” says De Angelis. “There’s a new dominance now!” David says.

They have already sold out most dates in Italian concert halls for their 2021-22 tour and are booking appearances at major European festivals, such as Rock am Ring in Germany. Rolling Stone Italia has remarked that, when singing in Italian, they risk being big fish in a small pond, while, in English, they risk being goldfish in the ocean. Nevertheless, they are clearly adapting to the new ecosystem.

https://www.theguardian.com/music/20...ly-drinks-beer

interview of TheGuardian with Maneskin

[user104658]

Originally Posted by Nicky91

https://www.theguardian.com/music/20...ly-drinks-beer

interview of TheGuardian with Maneskin

I did say I got Chili's and Led Zep vibes . Mainly the former (more "poppy" than Zeppelin).

[Nicky91]

today the start of the new season of ''eurovisionagain'' on youtube official eurovision channel

[Nicky91]

neither can i


Daddy Flo, this was Eurovision at its peak with a legend like him on that stage

i had goosebumps all over me throughout the 3 minutes


San Marino should've won, they were robbed with this masterpiece Adrenalina