Balkan Beats 35 – Intercultural Dialogue
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Karaoke Catalog Updated On: 20/12/2018 Sing Online on Entire Catalog
Karaoke catalog Updated on: 20/12/2018 Sing online on www.karafun.com Entire catalog TOP 50 Tennessee Whiskey - Chris Stapleton Perfect - Ed Sheeran Grandma Got Run Over By A Reindeer - Elmo & All I Want For Christmas Is You - Mariah Carey Summer Nights - Grease Crazy - Patsy Cline Bohemian Rhapsody - Queen Feliz Navidad - José Feliciano Have Yourself A Merry Little Christmas - Michael Sweet Caroline - Neil Diamond Folsom Prison Blues - Johnny Cash Killing me Softly - The Fugees Don't Stop Believing - Journey Ring Of Fire - Johnny Cash Zombie - The Cranberries Baby, It's Cold Outside - Dean Martin Dancing Queen - ABBA Fly Me To The Moon - Frank Sinatra Rockin' Around The Christmas Tree - Brenda Lee Girl Crush - Little Big Town Livin' On A Prayer - Bon Jovi White Christmas - Bing Crosby Piano Man - Billy Joel Jackson - Johnny Cash Jingle Bell Rock - Bobby Helms Can't Help Falling In Love - Elvis Presley Baby It's Cold Outside - Idina Menzel Friends In Low Places - Garth Brooks Let It Go - Idina Menzel I Wanna Dance With Somebody - Whitney Houston Last Christmas - Wham! Let It Snow! Let It Snow! Let It Snow! - Dean Martin You're A Mean One, Mr. Grinch - Thurl Ravenscroft Uptown Funk - Bruno Mars Africa - Toto Rudolph The Red-Nosed Reindeer - Alan Jackson Shallow - A Star is Born My Way - Frank Sinatra I Will Survive - Gloria Gaynor The Christmas Song - Nat King Cole Wannabe - Spice Girls It's Beginning To Look A Lot Like Christmas - Dean Take Me Home, Country Roads - John Denver Please Come Home For Christmas - The Eagles Wagon Wheel - -
Lesbian Camp 02/07
SQS Bespectacular and over the top. On the genealogy of lesbian camp 02/07 Annamari Vänskä 66 In May 2007, the foundations of the queer Eurovision world seemed to shake once again as Serbia’s representative, Queer Mirror: Perspectives Marija Šerifović inspired people all over Europe vote for her and her song “Molitva”, “Prayer”. The song was praised, the singer, daughter of a famous Serbian singer, was hailed, and the whole song contest was by many seen in a new light: removed from its flamboyantly campy gay aesthetics which seems to have become one of the main signifiers of the whole contest in recent decades. As the contest had al- ready lost the Danish drag performer DQ in the semi finals, the victory of Serbia’s subtle hymn-like invocation placed the whole contest in a much more serious ballpark. With “Molitva” the contest seemed to shrug off its prominent gay appeal restoring the contest to its roots, to the idea of a Grand Prix of European Song, where the aim has been Marija Šerifović’s performance was said to lack camp and restore the to find the best European pop song in a contest between contest to its roots, to the idea of a Grand Prix of European Song. different European nations. The serious singer posed in masculine attire: tuxedo, white riosity was appeased: not only was Šerifović identified as shirt, loosely hanging bow tie and white sneakers, and was a lesbian but also as a Romany person.1 Šerifović seemed surrounded by a chorus of five femininely coded women. -
Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 74- 24,425 WEHRLE, Albert James, 1945- TENSIONS in the POETRY of F
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Gender and Geopolitics in the Eurovision Song Contest Introduction
Gender and Geopolitics in the Eurovision Song Contest Introduction Catherine Baker Lecturer, University of Hull [email protected] http://www.suedosteuropa.uni-graz.at/cse/en/baker Contemporary Southeastern Europe, 2015, 2(1), 74-93 Contemporary Southeastern Europe is an online, peer-reviewed, multidisciplinary journal that publishes original, scholarly, and policy-oriented research on issues relevant to societies in Southeastern Europe. For more information, please contact us at [email protected] or visit our website at www.contemporarysee.org Introduction: Gender and Geopolitics in the Eurovision Song Contest Catherine Baker* Introduction From the vantage point of the early 1990s, when the end of the Cold War not only inspired the discourses of many Eurovision performances but created opportunities for the map of Eurovision participation itself to significantly expand in a short space of time, neither the scale of the contemporary Eurovision Song Contest (ESC) nor the extent to which a field of “Eurovision research” has developed in cultural studies and its related disciplines would have been recognisable. In 1993, when former Warsaw Pact states began to participate in Eurovision for the first time and Yugoslav successor states started to compete in their own right, the contest remained a one-night-per- year theatrical presentation staged in venues that accommodated, at most, a couple of thousand spectators and with points awarded by expert juries from each participating country. Between 1998 and 2004, Eurovision’s organisers, the European Broadcasting Union (EBU), and the national broadcasters responsible for hosting each edition of the contest expanded it into an ever grander spectacle: hosted in arenas before live audiences of 10,000 or more, with (from 2004) a semi-final system enabling every eligible country and broadcaster to participate each year, and with (between 1998 and 2008) points awarded almost entirely on the basis of telephone voting by audiences in each participating state. -
The Ukrainian Weekly, 2017
INSIDE: l WFUWO at U.N. Commission on the Status of Women – page 5 l Vitaly Portnikov: sober voice in post-Maidan Ukraine – page 8 l Our community: Miami, Boston, Philadelphia – page 14 THEPublished U by theKRAINIAN Ukrainian National Association Inc., a fraternal W non-profit associationEEKLY Vol. LXXXV No. 21 THE UKRAINIAN WEEKLY SUNDAY, MAY 21, 2017 $2.00 Portugal wins Eurovision Song Contest, Poroshenko lauds closer ties with EU, Ukraine touts contest as great success admits ‘there’s much left to be done’ KYIV – Portugal was the top vote-getter inspired by the Soviet authorities’ mass in the 2017 Eurovision Song Contest, the deportation of Crimean Tatars to Central annual festival traditionally watched by a Asia in that year. The Crimean Tatar singer television audience of an estimated 200 returned to the contest this year, singing her million people. Some 4 million people new song “I Believe in U” as an interval act watched the contest’s grand final, breaking during the grand final on May 13. previous records, according to the official President Petro Poroshenko met with website of Eurovision 2017. organizers and hosts of the European Singer Salvador Sobral was declared the music contest and congratulated them on winner early on May 14 in the Ukrainian the successful completion of the contest. capital of Kyiv, giving Portugal its first victory “My sincere congratulations to you all. since it initially entered the contest in 1964. Eurovision 2017 was organized at a very The winner was determined by a combina- high level. This is the result of a very effi- tion of points awarded by national juries and cient coordination and interaction of your voting by telephone and text message from and our team,” he said. -
Eurovision Karaoke
1 Eurovision Karaoke ALBANÍA ASERBAÍDJAN ALB 06 Zjarr e ftohtë AZE 08 Day after day ALB 07 Hear My Plea AZE 09 Always ALB 10 It's All About You AZE 14 Start The Fire ALB 12 Suus AZE 15 Hour of the Wolf ALB 13 Identitet AZE 16 Miracle ALB 14 Hersi - One Night's Anger ALB 15 I’m Alive AUSTURRÍKI ALB 16 Fairytale AUT 89 Nur ein Lied ANDORRA AUT 90 Keine Mauern mehr AUT 04 Du bist AND 07 Salvem el món AUT 07 Get a life - get alive AUT 11 The Secret Is Love ARMENÍA AUT 12 Woki Mit Deim Popo AUT 13 Shine ARM 07 Anytime you need AUT 14 Conchita Wurst- Rise Like a Phoenix ARM 08 Qele Qele AUT 15 I Am Yours ARM 09 Nor Par (Jan Jan) AUT 16 Loin d’Ici ARM 10 Apricot Stone ARM 11 Boom Boom ÁSTRALÍA ARM 13 Lonely Planet AUS 15 Tonight Again ARM 14 Aram Mp3- Not Alone AUS 16 Sound of Silence ARM 15 Face the Shadow ARM 16 LoveWave 2 Eurovision Karaoke BELGÍA UKI 10 That Sounds Good To Me UKI 11 I Can BEL 86 J'aime la vie UKI 12 Love Will Set You Free BEL 87 Soldiers of love UKI 13 Believe in Me BEL 89 Door de wind UKI 14 Molly- Children of the Universe BEL 98 Dis oui UKI 15 Still in Love with You BEL 06 Je t'adore UKI 16 You’re Not Alone BEL 12 Would You? BEL 15 Rhythm Inside BÚLGARÍA BEL 16 What’s the Pressure BUL 05 Lorraine BOSNÍA OG HERSEGÓVÍNA BUL 07 Water BUL 12 Love Unlimited BOS 99 Putnici BUL 13 Samo Shampioni BOS 06 Lejla BUL 16 If Love Was a Crime BOS 07 Rijeka bez imena BOS 08 D Pokušaj DUET VERSION DANMÖRK BOS 08 S Pokušaj BOS 11 Love In Rewind DEN 97 Stemmen i mit liv BOS 12 Korake Ti Znam DEN 00 Fly on the wings of love BOS 16 Ljubav Je DEN 06 Twist of love DEN 07 Drama queen BRETLAND DEN 10 New Tomorrow DEN 12 Should've Known Better UKI 83 I'm never giving up DEN 13 Only Teardrops UKI 96 Ooh aah.. -
The Role of Music in European Integration Discourses on Intellectual Europe
The Role of Music in European Integration Discourses on Intellectual Europe ALLEA ALLEuropean A cademies Published on behalf of ALLEA Series Editor: Günter Stock, President of ALLEA Volume 2 The Role of Music in European Integration Conciliating Eurocentrism and Multiculturalism Edited by Albrecht Riethmüller ISBN 978-3-11-047752-8 e-ISBN (PDF) 978-3-11-047959-1 e-ISBN (EPUB) 978-3-11-047755-9 ISSN 2364-1398 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover: www.tagul.com Typesetting: Konvertus, Haarlem Printing: CPI books GmbH, Leck ♾ Printed on acid free paper Printed in Germany www.degruyter.com Foreword by the Series Editor There is a debate on the future of Europe that is currently in progress, and with it comes a perceived scepticism and lack of commitment towards the idea of European integration that increasingly manifests itself in politics, the media, culture and society. The question, however, remains as to what extent this report- ed scepticism truly reflects people’s opinions and feelings about Europe. We all consider it normal to cross borders within Europe, often while using the same money, as well as to take part in exchange programmes, invest in enterprises across Europe and appeal to European institutions if national regulations, for example, do not meet our expectations. -
Eurovision Karaoke
1 Eurovision Karaoke Eurovision Karaoke 2 Eurovision Karaoke ALBANÍA AUS 14 Conchita Wurst- Rise Like a Phoenix ALB 07 Hear My Plea BELGÍA ALB 10 It's All About You BEL 06 Je t'adore ALB 12 Suus BEL 12 Would You? ALB 13 Identitet BEL 86 J'aime la vie ALB 14 Hersi - One Night's Anger BEL 87 Soldiers of love BEL 89 Door de wind BEL 98 Dis oui ARMENÍA ARM 07 Anytime you need BOSNÍA OG HERSEGÓVÍNA ARM 08 Qele Qele BOS 99 Putnici ARM 09 Nor Par (Jan Jan) BOS 06 Lejla ARM 10 Apricot Stone BOS 07 Rijeka bez imena ARM 11 Boom Boom ARM 13 Lonely Planet ARM 14 Aram Mp3- Not Alone BOS 11 Love In Rewind BOS 12 Korake Ti Znam ASERBAÍDSJAN AZE 08 Day after day BRETLAND AZE 09 Always UKI 83 I'm never giving up AZE 14 Start The Fire UKI 96 Ooh aah... just a little bit UKI 04 Hold onto our love AUSTURRÍKI UKI 07 Flying the flag (for you) AUS 89 Nur ein Lied UKI 10 That Sounds Good To Me AUS 90 Keine Mauern mehr UKI 11 I Can AUS 04 Du bist UKI 12 Love Will Set You Free AUS 07 Get a life - get alive UKI 13 Believe in Me AUS 11 The Secret Is Love UKI 14 Molly- Children of the Universe AUS 12 Woki Mit Deim Popo AUS 13 Shine 3 Eurovision Karaoke BÚLGARÍA FIN 13 Marry Me BUL 05 Lorraine FIN 84 Hengaillaan BUL 07 Water BUL 12 Love Unlimited FRAKKLAND BUL 13 Samo Shampioni FRA 69 Un jour, un enfant DANMÖRK FRA 93 Mama Corsica DEN 97 Stemmen i mit liv DEN 00 Fly on the wings of love FRA 03 Monts et merveilles DEN 06 Twist of love DEN 07 Drama queen DEN 10 New Tomorrow FRA 09 Et S'il Fallait Le Faire DEN 12 Should've Known Better FRA 11 Sognu DEN 13 Only Teardrops -
Amar Pelos Dois
APANHADOS NA REDE AMAR peLOS DOIS ÓSCAR FELGUEIRAS Universidade do Porto Este ano, pela primeira vez, Portugal venceu o Festival da Eurovisão da [email protected] Canção graças à música “Amar pelos Dois” de Salvador Sobral, a qual ob- teve um total de 758 pontos. Até que ponto é que esta votação poderá comparar-se com a de vencedores anteriores? Festival Eurovisão existe desde 1956 e conta com a volvendo sistemas de votação significativamente diferen- Oparticipação portuguesa desde 1964. Devido à sua tes. Basta dizer que se o resultado final da votação deste grande popularidade, é possível encontrar-se na Internet ano tivesse sido calculado com base nas regras em vigor várias análises comparativas entre os resultados da vota- em 2015, então Portugal teria obtido 417 pontos num má- ção de canções vencedoras de diferentes anos. Uma des- ximo de 492, o que lhe daria uma percentagem de 84,76%! tas1 exibe um ranking comparativo de todos os vencedores Isto colocaria a canção de Portugal em 2017 na liderança desde 1975 com a percentagem de votos obtidos relativa- destacada deste ranking. mente ao máximo possível. Na tabela 1, apresentam-se os Para se perceber um pouco melhor a influência do sis- primeiros 10. tema de votação na ordenação final das canções, observe- A prestação de Portugal em 2017 surge num honroso -se o que aconteceu em 2016. A cantora Jamala venceu 8.º lugar. No entanto, esta posição é bastante distorcida pela Ucrânia, mas a Austrália teria vencido caso estivesse devido ao facto de ser estabelecida uma comparação en- em vigor o sistema de votação de 20152. -
KT 15-5-2017.Qxp Layout 1
SUBSCRIPTION MONDAY, MAY 15, 2017 SHABAN 19, 1438 AH www.kuwaittimes.net ‘Dean of Saudi North Korea Portugal’s Hamilton journalism’ fires missile big-hearted wins thrilling Sudairi that lands in crooner wins Spanish passes away5 sea near7 Russia Eurovision38 Grand18 Prix 200,000 victims hit by Min 28º Max 41º High Tide global cyber attack 03:18 & 13:35 Low Tide Businesses brace for new week as ransomware threat lingers 08:20 & 21:12 40 PAGES NO: 17228 150 FILS LONDON: The unprecedented global cyber attack has hit more than 200,000 victims in scores of countries, Europol said yesterday, warning that the situation could escalate when people return to work. An international manhunt was well under way for the plotters behind the world’s biggest-ever computer ransom assault. The indiscrimi- nate attack, which began Friday, struck banks, hospitals and government agencies in more than 150 countries, exploiting known vulnerabilities in old Microsoft com- puter operating systems. US package delivery giant FedEx, European car facto- ries, Spanish telecoms giant Telefonica, Britain’s health service and Germany’s Deutsche Bahn rail network were among those hit. Europol executive director Rob Wainwright said the situation could worsen today as workers return to their offices after the weekend and log on. “We’ve never seen anything like this,” the head of the European Union’s policing agency told Britain’s ITV televi- sion, calling its reach “unprecedented”. “The latest count is over 200,000 victims in at least 150 countries. Many of those victims will be businesses, including large corporations. We’re in the face of an esca- lating threat. -
Eurovision Song Contest 1970Er Jahre
Alle 1. Platzierten in der ESC-Geschichte Eurovision Song Contest 1950er Jahre Jahr Austragungsort Gewinner 1956 Lugano, Schweiz Lys Assia, Schweiz Song:„Refrain“ 1957 Frankfurt, Corry Brokken, Deutschland Niederlande Song: „Net als toen“ 1958 Hilversum, André Claveau, Niederlande Frankreich Song: „Dors, mon amour“ 1959 Cannes, Frankreich Teddy Scholten, Niederlande Song: „Een beetje“ Eurovision Song Contest 1960er Jahre Jahr Austragungsort Gewinner 1960 London, Jacqueline Boyer, Großbritannien Frankreich Song: „Tom Pillibi“ 1961 Cannes, Frankreich Jean Claude Pascal, Luxemburg Song: „Nous les amoureux“ 1962 Luxemburg, Isabelle Aubert, Luxemburg Frankreich Song: „Un premier amour“ 1963 London, Grethe & Jorgen Großbritannien Ingmann, Dänemark Song: „Dansevise“ 1964 Kopenhagen, Gigliola Cinquetti, Dänemark Italien Song: „Non ho l’eta (per amarti)“ 1965 Neapel, Italien France Gall, Luxemburg Song: „Poupée de circe, poupée de son“ 1966 Luxemburg, Udo Jürgens, Luxemburg Österreich Song: „Merci Chérie“ 1967 Wien, Österreich Sandie Shaw, Großbritannien Song: „Puppet On A String“ 1968 London, Massiel, Spanien Großbritannien Song: „ La La La“ 1969 Madrid, Spanien Lenny Kuhr, Niederlande Song: „Vivo cantando“ Eurovision Song Contest 1970er Jahre Jahr Austragungsort Gewinner 1970 Amsterdam, Dana, Irland Niederlande „All Kinds Od Everything“ 1971 Dublin, Irland Séverine, Monaco Song: „Un banc, u narbe, un rue“ 1972 Edinburgh, Vicky Leandros, Großbritannien Luxemburg Song: „Après toi“ 1973 Luxemburg, Anne-Marie David, Luxemburg Luxemburg Song: Tu te -
For the Homeland: Transnational Diasporic Nationalism and the Eurovision Song Contest
FOR THE HOMELAND: TRANSNATIONAL DIASPORIC NATIONALISM AND THE EUROVISION SONG CONTEST SLAVIŠA MIJATOVIĆ A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN GEOGRAPHY YORK UNIVERSITY TORONTO, CANADA December 2014 © Slaviša Mijatović, 2014 Abstract This project examines the extent to which the Eurovision Song Contest can effectively perpetuate discourses of national identity and belonging for diasporic communities. This is done through a detailed performance analysis of former Yugoslav countries’ participations in the contest, along with in-depth interviews with diasporic people from the former Yugoslavia in Malmö, Sweden. The analysis of national symbolism in the performances shows how national representations can be useful for the promotion of the state in a reputational sense, while engaging a short-term sense of national pride and nationalism for the audiences. More importantly, the interviews with the former Yugoslav diaspora affirm Eurovision’s capacity for the long-term promotion of the ‘idea of Europe’ and European diversities as an asset, in spite of the history of conflict within the Yugoslav communities. This makes the contest especially relevant in a time of rising right-wing ideologies based on nationalism, xenophobia and racism. Key words: diaspora, former Yugoslavia, Eurovision Song Contest, music, nationalism, Sweden, transnationalism ii Acknowledgements Any project is fundamentally a piece of team work and my project has been no different. I would like to thank a number of people and organisations for their faith in me and the support they have given me: William Jenkins, my supervisor. For his guidance and support over the past two years, and pushing me to follow my desired research and never settling for less.