ESC 2015 in Austria - all the news

[Franco]

I think it's actually a good quintet, maybe the best jury since our comeback

It lacks a musician/songwriter/singer. Instead, there are too many journalists (1 would have sufficed) and a stylist(?!?).
Last year's jury was better IMHO.

 

[tuorem]

If the winners are commercially successful, the contest itself is more relevant than it is, if the winners are ignored in real life. The televoters often vote for songs that they wouldn't really want to listen to in real life for various reasons, like the staging, the country of origin etc.

The question is if Eurovision should be an annual one-time event without much connection to the real world or if the winners are supposed to be popular outside the contest too. The latter would mean a legitimate song contest, the former would rather be the annual freak show and extravaganza that Eurovision is in the minds of many people.

We've had this conversation some time ago, I think the EBU has the same opinion as you about the contest and the juries' comeback was partly meant to tone down the craziness of the contest to make it look like a more respectable contest. However, this "let's find a commercial hit in Eurovision" is a vain wish, I mean how many winning entries got significant success outside their own countries? I think Running Scared was pretty much what one would expect from a manufactured hit, yet it didn't break the charts. On the contrary, apart from Euphoria (and Satellite maybe), I fail to see a winner that a non-esc fan would listen to in real life

I think we should merely consider the word "hit" as a quality song, nothing more. I would prefer a good but daring song to win over a standard song that's more likely to blend in the sea of mediocrity one gets to hear everyday on radios and TVs. The contest will never be really relevant regarding everyday mainstream music, but most radios aren't relevant when it comes to good music either, so... the juries should go for originality and quality, imo that's what makes the contest interesting. A top 10 full of safe songs that have no other purpose than to be "out there", no thanks.

 

[DanielLuis]

We've had this conversation some time ago, I think the EBU has the same opinion as you about the contest and the juries' comeback was partly meant to tone down the craziness of the contest to make it look like a more respectable contest. However, this "let's find a commercial hit in Eurovision" is a vain wish, I mean how many winning entries got significant success outside their own countries? I think Running Scared was pretty much what one would expect from a manufactured hit, yet it didn't break the charts. On the contrary, apart from Euphoria (and Satellite maybe), I fail to see a winner that a non-esc fan would listen to in real life

I think we should merely consider the word "hit" as a quality song, nothing more. I would prefer a good but daring song to win over a standard song that's more likely to blend in the sea of mediocrity one gets to hear everyday on radios and TVs. The contest will never be really relevant regarding everyday mainstream music, but most radios aren't relevant when it comes to good music either, so... the juries should go for originality and quality, imo that's what makes the contest interesting. A top 10 full of safe songs that have no other purpose than to be "out there", no thanks.

I think in the last years every winner had some chart success, the only one that didn't was "Running scared"

 

[tuorem]

I think in the last years every winner had some chart success, the only one that didn't was "Running scared"

You may be right, but it's not that level of success that would make the contest more relevant internationally or whatever. Even these songs don't chart/play in all the countries that take part. Eurovision is not a "hit factory" and it doesn't need to be.

 

[Chorizo]

In the last ten years (counting Eurovision style ), Lordi, Lena and Loreen (an L seems to help) have had reasonable commercial success after winning. Norway and Denmark won with typical Eurovision songs that don't work that well outside the contest and therefore their commercial success was moderate. Azerbaijan and Austria won with typical Eurovision ballads that also don't work that well outside the contest and Conchita didn't win because of the song alone anyway. The Common Linnets enjoyed commercial success in 2014, though. (probably because of the L)

The winning songs from Serbia and Russia have no mainstream appeal at all. A ballad sung in Serbian and a cheesefest with a heavy Russian accent couldn't possibly have been a commercial success in Europe but that was before the juries were introduced anyway.

After the introduction of the juries, only Azerbaijan won with a total commercial flop and that song won with a rather small margin in a year in which the 12 points were spread all over Europe. (They should have called themselves "L & Nikki".)

I think this year Australia, Slovenia and possibly Estonia and Sweden could be commercially successful, if they win.

So it's possible to have commercially successful winners and it's certainly reasonable to strive for it. More winners like Lordi, Lena and Loreen in recent years would have been beneficial for the contest outside the Eurovision bubble and their songs don't sound alike at all.

 

[GermanBango]

In the last ten years (counting Eurovision style ), Lordi, Lena and Loreen (an L seems to help) have had reasonable commercial success after winning. Norway and Denmark won with typical Eurovision songs that don't work that well outside the contest and therefore their commercial success was moderate. Azerbaijan and Austria won with typical Eurovision ballads that also don't work that well outside the contest and Conchita didn't win because of the song alone anyway. The Common Linnets enjoyed commercial success in 2014, though. (probably because of the L)

The winning songs from Serbia and Russia have no mainstream appeal at all. A ballad sung in Serbian and a cheesefest with a heavy Russian accent couldn't possibly have been a commercial success in Europe but that was before the juries were introduced anyway.

After the introduction of the juries, only Azerbaijan won with a total commercial flop and that song won with a rather small margin in a year in which the 12 points were spread all over Europe. (They should have called themselves "L & Nikki".)

I think this year Australia, Slovenia and possibly Estonia and Sweden could be commercially successful, if they win.

So it's possible to have commercially successful winners and it's certainly reasonable to strive for it. More winners like Lordi, Lena and Loreen in recent years would have been beneficial for the contest outside the Eurovision bubble and their songs don't sound alike at all.

You mean Luy Sebastian, Laraaya, Lina Born u. Lig Rästa or Låns Zelmerlöw? I guess we'll see.

by the way ... Only 9 days till rehearsal-kick-off ... TIME IS FLYING I can already smell the "post-Eurovision-depression" ...

 

[marty]

we learned last year that the commercial success is not predictable. nobody would have thought that the common linnets will have the biggest commercial success.

i think this year only slovenia and italy have the potential for short time chart positions in a higher number of countries. still i think that slovenia will win this year. but that can change when the rehearsals start.

 

[Sim]

You mean Luy Sebastian, Laraaya, Lina Born u. Lig Rästa or Låns Zelmerlöw? I guess we'll see.

by the way ... Only 9 days till rehearsal-kick-off ... TIME IS FLYING I can already smell the "post-Eurovision-depression" ...

I don't wanna think about that yet xlol

 

[Krishoes]

It lacks a musician/songwriter/singer. Instead, there are too many journalists (1 would have sufficed) and a stylist(?!?).
Last year's jury was better IMHO.

Two members of the last year's jury (the chairperson and the journalist) had ridiculed the Eurovision in the past, so according to me has been a really bad choice to have such people in the jury. The same thing happened other years, expecially in 2013 when maybe 4 of 5 members have been offensive and critics against Eurovision before. It seems that this year no one of them is/has been "anti-Eurovision", for this reason I found this the best jury we had.

However, Nicolò Cerioni is not a simple generic "stylist", he was the stylist of Emma, so he perfectly knows what Eurovision is and he's a big fan of the contest. And above all, he's one of the most famous music video director of these years (he worked with Jovanotti, Laura Pausini, Franco Battiato etc.).

Maybe it lacks a musician/songwriter/singer, I can't say you're wrong on this point.

 

[tuorem]

In the last ten years (counting Eurovision style ), Lordi, Lena and Loreen (an L seems to help) have had reasonable commercial success after winning. Norway and Denmark won with typical Eurovision songs that don't work that well outside the contest and therefore their commercial success was moderate. Azerbaijan and Austria won with typical Eurovision ballads that also don't work that well outside the contest and Conchita didn't win because of the song alone anyway. The Common Linnets enjoyed commercial success in 2014, though. (probably because of the L)

The winning songs from Serbia and Russia have no mainstream appeal at all. A ballad sung in Serbian and a cheesefest with a heavy Russian accent couldn't possibly have been a commercial success in Europe but that was before the juries were introduced anyway.

After the introduction of the juries, only Azerbaijan won with a total commercial flop and that song won with a rather small margin in a year in which the 12 points were spread all over Europe. (They should have called themselves "L & Nikki".)

I think this year Australia, Slovenia and possibly Estonia and Sweden could be commercially successful, if they win.

So it's possible to have commercially successful winners and it's certainly reasonable to strive for it. More winners like Lordi, Lena and Loreen in recent years would have been beneficial for the contest outside the Eurovision bubble and their songs don't sound alike at all.

Indeed Lena and Loreen's victories helped the contest become more current-Western-sounding. However, the thing that bothers me is that looking for commercial hits means automatically excluding lots of music types straightaway: no jazz, no opera, no rap, no Eastern European-sounding songs, etc. and English only of course.

Considering the rather modest success of past winners, I don't think it's worth going for that route. Eurovision is fake one way or another: let the countries send what they truly have on their local markets = you end up with no commercial hits since it's not "mainstream" enough, it's considered too Eurovision because that's where most of us get to hear this kind of songs. On the contrary, encourage countries to send songs that have no connection whatsoever to their music scene = you may have a couple of potential hits.

As much as I like how Eurovision has become more serious and stuff, I don't want to end up with a lineup of songs that are interchangeable because there's no clue about where it comes from. The question is: what is the contest for nowadays? Promote European diversity in music OR try to get recognition and fit in a box by borrowing an identity that's not ours?

We're not a USA ersatz, and I'd say thank lord that's not case.

Anyway, I'm revealing too much about myself right now so I'm gonna stop there.

 

[popavapeur]

[MENTION=14099]marty[/MENTION] i don't know for you, in Austria but even if i didn't thought that the common linnets could do very well cause it's eurovision, it's not a surprise that they topped in the charts. Because in the charts here, most of the top ten is this kind of slow country ballad or guitar-solo scout guy singing. That's the results after the overdose of up tempo stuff who came in 2012, people want these more "natural" "authentic" stuff (till they have an overdose and bring back the pop stuff, again and again).

[MENTION=9195]tuorem[/MENTION] you again! i don't think we should -now- look at the "authentic" market because… it does not exist anymore? or even for something who came from the country (let's talk about France and the variété française, N'oubliez pas is that kind of music) it's not even popular in the country. With social media and internet, people can take some inspirations and i'm looking at the esc performers in a way like "what is their colors" "what is their inspiration" from their home country to foreign influence. it's going to be hard to find something more traditional (or local) as the boundaries had been broken with internet (but i agree that when the russian, american inspired pop music is sung in russian, A million voices is strangely in english). imho the "local" thing had to be found in the host country, it's literally a postcard a chance to show how they are over there (but not the AZ kind, way too much).

 

[tuorem]

lol [MENTION=14282]popavapeur[/MENTION] we're having double conversation, aren't we?

When I talked about local market, I meant music that is actually currently produced in the country in real life. It doesn't have to be traditional music or something, but it must reflect what people in a certain country like and listen to at that time. You gave France as an example and that's perfect. See? Variété française does not sell anymore in my country, yet some people thought it was a good idea to take part with "N'oubliez pas". Why send this? Why suddenly be out of touch with our current music scene? Because there is a general belief that we can only achieve a decent result with this type of song, which is false.

And this applies to all countries that think only a niche can make them successful.

 

[GermanBango]

Any ideas on when the technical rehearsals kick-off?

 

[Franco]

Two members of the last year's jury (the chairperson and the journalist) had ridiculed the Eurovision in the past, so according to me has been a really bad choice to have such people in the jury. The same thing happened other years, expecially in 2013 when maybe 4 of 5 members have been offensive and critics against Eurovision before.

Did they? I take that back, then. I knew about Dondoni (such a shame that he was appointed juror 2 years ago!) but I was not aware of the others.

However, Nicolò Cerioni is not a simple generic "stylist", he was the stylist of Emma, so he perfectly knows what Eurovision is and he's a big fan of the contest. And above all, he's one of the most famous music video director of these years (he worked with Jovanotti, Laura Pausini, Franco Battiato etc.).

Yes, I've seen that he has worked with many big artists. I still think that a sylist doesn't have the right expertise to be a jury member. Maybe, if the the jury was made of 20 people, a stylist could be a nice addition to judge the staging, but with only 5 members I think it's a waste.

 

[GWTW1939]

[MENTION=9195]tuorem[/MENTION]

 

[popavapeur]

I meant music that is actually currently produced in the country in real life.You gave France as an example and that's perfect. See? Variété française does not sell anymore in my country, yet some people thought it was a good idea to take part with "N'oubliez pas". Why send this? Why suddenly be out of touch with our current music scene? Because there is a general belief that we can only achieve a decent result with this type of song, which is false.

We do haha. I do think that n'oubliez pas is a bad choice. Variété française doesn't sell anymore as it used to be before, so i don't know why they keep sending this. it's not even accurate right now. (the first song in that kind of music is 20th in the charts from a very popular artist, that's.. kind of bad, no?) Moustache, even if it ended last was far more representative of the new music scene, pretty dynamic in France but if it was in english we couldn't be able to say that's French cause there's nothing typical just inspired by foreign stuff (and i thought it was great).
Btw i'd like to see something coming like an up tempo thing (like greece likes to bring) and you swap Greek instruments by more western stuff (Accordéon haha? even Bretagne sound-a-like instrument) it would so weird and awesome at the same time. Let's send a mail to France TV

 

[tuorem]

We do haha. I do think that n'oubliez pas is a bad choice. Variété française doesn't sell anymore as it used to be before, so i don't know why they keep sending this. it's not even accurate right now. (the first song in that kind of music is 20th in the charts from a very popular artist, that's.. kind of bad, no?) Moustache, even if it ended last was far more representative of the new music scene, pretty dynamic in France but if it was in english we couldn't be able to say that's French cause there's nothing typical just inspired by foreign stuff (and i thought it was great).
Btw i'd like to see something coming like an up tempo thing (like greece likes to bring) and you swap Greek instruments by more western stuff (Accordéon haha? even Bretagne sound-a-like instrument) it would so weird and awesome at the same time. Let's send a mail to France TV

We could do so much better than this tbh, it's about time to send something thrilling. Moustache was a mistake because it sounded and looked like a mess, same thing with Anggun in 2012 when our delegation told us they knew what they were doing We should have had a pop song with choreography this year though, but because of the First World War Centenary, we got what we've got now :? France TV does not want to win, but would it be too much to ask for an actual good song? And indeed an Breton-inspired act would be great.

 

[anselm]

Any ideas on when the technical rehearsals kick-off?

They kicked off 5 days ago

 

[GermanBango]

They kicked off 5 days ago

and no videos yet? Sad

 

[anselm]

and no videos yet? Sad

Nope ;_; ESC2015CP also said no photos allowed at the moment... I hope we'll get something on Monday