The UKs rapping contestant Daz Sampson has swapped the stage for the dug out as the newly appointed Manager of Cheshire’s highest ranking amateur football team. After teams abroad, this will be first managing job in the UK.
Teenage Life’s Daz Sampson who represented the United Kingdom at the Eurovision Song Contest 2006 has returned to his roots.
Sampson started his career playing for Stockport County. Unfortunately for him, an injury cut his playing career short and instead he began to focus his attention onto music.
Daz represented the United Kingdom in 2006 with Teenage Life. After failing to impress the European audience, Daz finished the contest in 19th place. However, all was not lost as despite the rest of Europe’s thoughts, the UK liked the song so much that it reached number 8 on the national singles chart.
Following his stint on Eurovision, Sampson took part in some reality TV shows before returning to his first love, football. But now as a manager. After initially finding it difficult for people to take him seriously after his music and TV career, Sampson got a job managing a team in Poland’s third tier, then managing teams in Guam and the USA.
As the newly appointed manager of Halebank FC, Sampson has one goal: to achieve two promotions in two years to enable his team to play in the North West Counties League. As ever, Sampson exude’s confidence “I was a rank outsider when I went on Eurovision (you decide), against the lad from Blue who everyone thought would win. But I knew I was going to win and this is the same”.
In the video below, remind yourself of Daz Sampson’s Eurovision performance:
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Wyn Hoop. A very successful European basketball player, a kind of Lebron James? Nope. Known to his mother as Winfried Lüssenhop, Wyn Hoop represented Germany – or more accurately West Germany – in 1960 with the song ‘Bonne Nuit, Ma Cherie’.
Wait a cotton-picking moment, isn’t that French? Indeed it is, a French title for a German language song. It might have been early in the Song Contest’s development, but delegations were still trying to maximise their votes from the jury.
Did it work?
Well, his 11 points meant fourth place for Hoop. So he did really well. The song was a stately lullaby interspersed with trumpet and brass from the Orchestra. At over four minutes minutes, it was one of the longer songs in Eurovision – there was no three-minute rule back then – and lyrically Wyn tells his lover that that he will never forget her whilst she is asleep.
How Did He Get To London?
I presume you don’t mean by ferry. Actually, it was a bit of a shock when Hoop won in Wiesbaden. The clear favourite to win the pre-selection was Heidi Bruhl, who ended up finishing second. However, Heidi had a massive chart success with her song, ‘Wir woollen niemals auseinander geh’n’, reaching Number 1 in the German charts in May 1960, staying there for seven weeks, ending up going Gold, and rated the fifth biggest seller of the year. Bruhl herself went on to represent West Germany on the Eurovision stage in 1963.
For Hoop, the jury voted in his favour, preferring the song written by Franz Josef Breuer and Kurt Schwabach to the other nine songs in the pre-selection.
A Bit Of An Unknown Then?
Well he learnt to play the piano and the guitar in his childhood years, and formed a jazz band called The Capitellos whilst working at the Post Office in the early Fifties. It was only later on that they started to make records, and when the band split up Hoop started his solo career. However, he did release singles under different names (‘Fred Lyssen’ and ‘Fried Lussen’) until settling on Wyn Hoop. So he had some form, but was certainly not as well known as others in the pre-selection.
Wyn Hoop (archive image)
‘Bonne Nuit, Ma Cherie‘ wasn’t a big hit despite finishing fourth. But Hoop went on to further success covering American hits with German lyrics. Perhaps his biggest hit was a cover of ‘Are You Lonesome Tonight?’. He also finished fourth in the 1962 Deutschen Schlager-Festspiele, which that year was the pre-selection for the Eurovision Song Contest. As well as singing, Hoop also ventured into films, but his most significant career move was marrying the Austrian singer Andrea Horn in 1961.
For most of the rest of the Sixties and through the Seventies, the married couple performed and recorded as ‘Horn and Hoop’.
Wyn Hoop at sea
Anything Else Of Note?
Musically, how about the fact that Wyn Hoop discovered The Goombay Dance Band and so was responsible for the delightful ‘Seven Tears’?
Or how about the fact that Horn and Hoop are expert sailors and noted publishers of the sea? In 1978 they retired from the music industry and set up the Horn-Hoop-Maritim, publishing travel guides for sailors, writing a number of guides themselves about the Mediterranean.?
Wyn Hoop had a long career with Jazz bands, numerous solo hits and hits with his wife, then started a second career running for the last forty years sailing and writing travel books. And he was fourth in the Eurovision Song Contest1960.
Franka’s new single is a catchy, uplifting pop song that celebrates love and emphasize the importance of being happy and satisfied with what you already achieved in your life. Last month, she represented Croatia at the Eurovision Song Contest.
Franka’s apperance at the Eurovision Song Contest in Lisbon was a bit disappointing as she didn’t manage to qualify for the grand final. But on the other side, her personal life was one huge positive story in the last year.
After being absent from the Croatian music for about eight years she came back last year with the single S Tobom, which charted at number three in her native country. In February, Franka was announced as the Croatian entrant for Eurovision and two months ago she got engaged with Vedran Ćorluka, who is currently playing for Croatia at 2018 FIFA World Cup. Their wedding is scheduled to take place later this summer.
Franka’s new song is written by Branimir Mihaljević and Nenad Ninčević. Mihaljević also penned this year’s Croatian Eurovision entry and Ninčević wrote Kada Zaspu Anđeli – the song that represented Croatia at 2000 Eurovision Song Contest.
The video for Kao Ti I Ja was directed by Sandra Mihaljević and Igor Ivanović. It’s the same team that also was in charge of Franka’s to latest videos S Tobom and Crazy. Beautiful scenes in Kao Ti I Ja were filmed near the coastal Croatian city of Rovinj.
You can listen to Franka’s latest single in the video below:
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Severina’s new single “Tutorial” is about following your heart instead of unwritten rules from a society, which might not agree with your choice. It features a just six year old boy, and will be included on her up-coming album “Halo”.
Severinas new song is, according to herself, about people, who are listening to their hearts and fighting against the unwritten rules, which the society they live in, tries to impose on them. This fight is expressed by Severina using a fencing sword in the video for the song. Tutorial is also featuring Ljubiša Stanković, who is only 6 years-old.
Severinas latest release is written and composed by Jala Brat and Buba Corelli. The name of Jala sounds probably familiar for many Eurovision fans. He was a part of the Bosnian-Herzegovinian team at the 2016 Eurovision Song Contest in Stockholm. It’s not first time that Severina and Jala Brat work together. The Bosnian rap singer and composer has also penned as well as featured the song entitled Otrove, which since march 2017 until today nearly accomplished 71 million views on YouTube.
The video for Tutorial has been directed by Petar Pašić, who previously cooperated with Severina on several of her videos such as Otrove, Sekunde and Silikoni.
Severina represented Croatia at the 2006 Eurovision Song Contest in Athens, Greece, on May 20th 2006, finishing 12th with 56 points. Her new album is scheduled for release within a few days.
In the video below you can listen to Tutorial:
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The second year of trips out to the mysterious Île de Bezençon continues, where the time is always May, where the sun is always shining, and for thematic reasons you can only bring along eight Eurovision songs and a Song Contest luxury.
Eurovision Insight Podcast: Eurovision Castaways with Wiv Kristiansen
We’re opening up Île de Bezençon for the summer, and inviting our favourite Eurovision people to bring their best loved Eurovision related songs and stories. Our next guest for the summer of 2018 is Wiv Kristiansen of ESCXtra, who is full of stories of unsolicited doorstep singing, intense French jazz and the power of language.
Keep listening to the ESC Insight podcast as we face the summer months between season. You’ll find the show in iTunes, and a direct RSS feed is also available. We also have a regular email newsletter which you can sign up to here.
Why is there such a discrepancy in the televote and the jury vote? It’s a question asked by many after each edition of the Eurovision Song Contests (and also asked after many National Finals). Following another Eurovision first that happened in Lisbon we can add another piece of evidence to this question.
It’s also a fun opportunity to strip back the Song Contest, remove one of the senses that contributes to the experience, and take a different look at the Contest.
Eurovision Song Contest Trophy 2018 (Thomas Hanses/EBU)
“Doesn’t He Look Tired?”
But first, let’s turn briefly to one of the most notable and competitive events where TV and Radio offered different angles – the 1960 US Presidential debate between Richard Nixon and John F Kennedy.
The more experienced debater in Nixon (at that time the sitting Vice President) took on the issues of the day and strongly argued many points – mostly on foreign policy in the first debate – that many called the debate a victory for Nixon. At least those who were listening on the radio.
Sen.John F.Kennedy (l) and Vice President Richard M.Nixon from NBC studios 10/7
Thanks to his experience of political debate on radio, Nixon understood the format, knew how to measure his voice, understood how cadence and pitch could be used to make subtle points, and why he needed to be less of an attack-dog to soften his image. What he didn’t consider was how well his suit jacket blended into the background of the set, how his failure to ask for TV makeup emphases a ‘five o’clock shadow’, and the impact of his slumped physical shape.
The victory on TV, and arguably the overall victory, went to Kennedy.
Even today, when test groups are gathered to measure the difference between the TV and the Radio presentation, Nixon takes the radio while Kennedy takes the television (The Power of Television Images: The First Kennedy-Nixon Debate Revisited; James N. Druckman; The Journal of Politics; Vol. 65, No. 2 (May., 2003), pp. 559-571):
I find that television images have significant effects—they affect overall debate evaluations, prime people to rely more on personality perceptions in their evaluations, and enhance what people learn. Television images matter in politics, and may have indeed played an important role in the first Kennedy-Nixon debate.
The Euroradio Song Contest
Even though we all know what is meant when the public says ‘Eurovision’, strictly speaking Eurovision is just the transmission network that connects the member broadcasters of the EBU. This isn’t the only network maintained by the EBU, there is also Euroradio. The EBU’s members not only had the option to broadcast the Eurovision Song Contest on television, they also had the option to broadcast the Song Contest on radio (although it would still be called the Eurovision Song Contest, not the more technically accurate Euroradio Song Contest).
That also means that the rights for radio broadcast are available to passive broadcasters – an option that was taken up in the US this year by Dave Cargill (Executive Producer at Cargill Gardiner). Along with the support of the EBU, Portuguese broadcaster RTP, lead US station WJFD, and the legendary production team of Radio Six International’s Tony Currie and Leo Currie; Ewan Spence, Lisa-Jayne Lewis, and Ana Filipa Rosa took to the American airwaves with the first US radio broadcast of the Eurovision Song Contest.
You never want a blank monitor during a broadcast (image: Ewan Spence)
Which meant that this year there was an interesting option to have a group of professionals in the music and radio business the chance to sit down and listen to the Song Contest without the visuals from the Altice Arena, but with a professional commentary team guiding them through the process. Naturally we took notes…
What The Panel Thought
Like many of those listening in America, the radio panel (which may be the closest we get to an ‘American Jury’ at the Eurovision Song Contest for many years) had not been following the Song Contest in excruciating depth – they covered people who knew and listened to the Song Contest because it reminded them of their family’s home, those who were aware of the Contest in a broad sense, and some who were new to the entire concept of the Contest. In other words a relatively representative slice of the population.
Of the twenty-six songs in the Grand Final, there was a clear winner from the panel, with all bar one of the top spots going to Austria. Perhaps unsurprisingly the audio performance from the Netherlands all scored highly and was the only other country to top a panellist’s list, and was second with those who rated Austria first.
Three other songs had very strong reactions – the Czech Republic, Lithuania, and Germany. At the other end, Hungary, Serbia, and Australia picked up the ‘nul points’ from our panel.
The feedback also had some delightful questions, with my favourites including ‘When does Armenia come on’, requiring a quick nod to the semi-finals and reminding our Armenian panelist that Sevak did not qualify; and ‘what does the crowd do when waiting for the next song?’ Which is a good question…
This year thirteen EBU members broadcast the Song Contest on their radio networks, but there is no clear way to break out the votes in each country to those watching on TV, those watching on radio, and arguably those watching online through other methods such as the EBU’s YouTube channel or those preferring to watch another broadcaster (e.g. expat Swedes watching the SVT stream). Every country has one main number for the public to call in and vote on.
In terms of Eurovision winning strategies, there’s not a large enough audience tuning into the radio that would merit a specific strategy – the mix of visuals with the singing remains key to the televote – but it’s worth noting that the songs that performed well to the radio listeners also scored highly in the jury voting during the Grand Final. While juries see the EBU TV feed and can see the full package, the US panel only had the audio to judge. There is a clear trend towards the juries following a similar pattern and focusing on the singing.
At one point, each jury member voted live on screen (EBU)
When the split results come in each year, there are always questions about why certain songs have such a wide discrepancy between jury and televote scores. Part of that could be down to the difference between Friday night and Saturday night, but Eurovision’s radio presentation in the USA suggests something more fundamental.
The professional juries are putting a greater focus on what is heard over what is seen.
Do Try This At Home
Due to rights issues, Eurovision’s US radio broadcast is not available online to ‘listen again’. EBU members who broadcast the show on radio may have it available on catch-up services.
Or you could head over to the official Eurovision channel on YouTube, pick a year (here’s 2016), and minimise the window just after you hit play. Maybe go back a few years so you can’t remember the exact results, score the songs, and see if you are closer to the televote or the jury vote.