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MUSI 23509, SIGN 26044, TAPS 23509 / The Song Contest Spring Quarter 2020 – Tuesdays & Thursdays, 9:30–11:00 am Instructor: Philip V. Bohlman ([email protected]) Office Hours: Always available for one hour on Tuesdays and Thursday, at 3:00 pm via electronic office hour; Individual electronic appointments also available (made by email) Teaching Assistants: Eva Pensis ([email protected]) Laura Shearing Turner ([email protected]) When you want to speak with the teaching assistants, please contact them first by email so that you can find an appointment that works well for both of you. š THE SYLLABUS

Week 1

INTRODUCTION – ON THE ROAD TO THE GRAND PRIX April 7 – The Long History of the Grand Prix • Hands-on acquisition of Eurovision resources April 9 – The Eurovision Song Contest in Real Time • Reading: Phil Bohlman Eurovision blogposts (Oxford Univ. Press) – 2012–2019 Week 2

NATIONALISM AND NATIONAL IDENTITY April 14 – The Eurovision as Nationalist Fantasy and Political Struggle • Reading on Eurovision themes – from Tragaki, ed., Empire of Song: and Nation in the Eurovision Song Contest (2012) – Introduction (Fabbri) April 16 – The Eurovision Year as Ritual and Reality • Reading on Eurovision themes – from Tragaki, ed., Empire of Song: Europe and Nation in the Eurovision Song Contest (2012) – Chap. 1 (Tragaki) Week 3

LOCAL AND REGIONAL IDENTITY – FESTIVALIZING EUROPEAN NATIONALISM April 21 – Whose Eurovision Is This? • Reading Assignment – Tragaki, Empire, Chap. 2, (A. F. Bohlman and . Polychronakis) April 23 – Other Eurovisions – , , Doro, Intervision • Reading assignment: Tragaki, Empire, Chap. 4 (Plastino) • DIY Song Contest Design Assignment #1 – Place, Time, and Theme for the Student’s Own DIY Song Contest • 300–500 words, posted as a class blog • Due (posted) on April 21 Week 4

STARDOM – Eva Pensis April 28 – Winners and Losers Eurovision Song Contest – SYLLABUS w w 2

• Reading Assignment – Tragaki, Empire, Chap. 3 (Kirkegaard) April 30 – Break-through Biographies – Is There Life after Eurovision? •Reading Assignment – Tragaki, Empire, Chap. 6 (Lampropoulos) Week 5

FANDOM May 5 – The Everyday Worlds of Eurovision Fans • Reading Assignment – Tragaki, Empire, Chap. 8 (Björnberg) May 7 – DIY (Do It Yourself) Eurovision Production • Reading Assignment – Tragaki, Empire, Chap. 5 (Strand) • DIY Song Contest Design Assignment #2 – First sound-file compilation due – “Run-Up Competition” • 2–3 tracks, submitted as an file for posting on May 5 Week 6

THE EU, THE EBU, AND THE MAKING OR EUROPEAN COMMUNITIES – Laura Turner May 12 – The Political, the Apolitical, the Media, the Immediate • Reading Assignment – Tragaki, Empire, Chap. 10 (Tragaki) May 14 – Imperial Eurovision – Competitors beyond Europe’s Borders • Reading Assignment – Tragaki, Empire, Chap. 7 (Solomon) • Special student online viewing at – “Europe Shine a Light” – EBU alternative online Eurovision Song Contest – May 16, 2:00 pm CST • Week 7

THE EUROVISION SONG May 19 – The Formula • Reading assignment – Tragaki, Empire, Chap. 1 (P. V. Bohlman) May 21 – Breaking the Rules • DIY Song Contest Design Assignment #3 – The Biography of a Winning Song and Its Singer • 300–500 words, posted as a blog by May 19 Week 8

POST-EUROVISION EUROPES – ECHOES AND ALTERNATIVES May 26 – A Eurovision for Every Europe • Reading Assignment – Tragaki, Empire, Chap. 11 (Langlois) May 28 – The Eurovision Wannabe – Globalizing Talent • DIY Song Contest Design Assignment #4 – Second sound-file compilation due – The Sound of a Winning Song • 2 tracks submitted as an mp3 file, to be posted on May 26 • Each song should demonstrate some of the qualities that would make it a winner in your DIY Song Contest

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Week 9

SOUNDING THE FUTURE OF EUROPE June 2 – The Rise of the Right, Brexit, and the End of Europe as Know It • Reading Assignment – Tragaki, Empire, Chap. 9 (Teixeira & Stokes) June 4 – When Difference Makes a Difference

Week 10

• FINAL PROJECT – DIY SONG CONTEST • To be developed cumulatively from DIY design assignments • Final project due on June 11

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Final Projects – The DIY Song Contest

The final project for our Eurovision Song Contest course will be a podcast in which each student presents the Song Contest that she or he has been designing and developing throughout the quarter. themselves will be variously designed, with, however, the principle that they capture several aspects of performance. The four “DIY Song Contest Design Assignments” provide you with ways to draw together different aspects of performance, and you should treat them as they were leading toward your final project. The two sound-file assignments (2 and 4), for example, should enable you to explore repertories that you might employ for the DIY Song Contest that you design as your final project. Assignment 1 will encourage you to think about time, space, and aesthetic/cultural backdrop. Assignment 3 requires that you think about the performers and their lives outside the contest.

The Eurovision Song Contest provides you with a model for developing your DIY Song Contest. There will be some students who design a song contest that has many of the same attributes as the Eurovision, say, a Chicagovision or Asiavision Song Contest. Other students may take the alternative song contests that we explore in the course as their point of departure, say, Arab Idol or Bollywoodvision. You may draw from the repertories that are dear to your heart, or in which you have performed for many years. Finally, should your imagination run toward or fantasy contests, those too would be acceptable; you should feel to invent a tradition with your song contest. Again, we urge you to think of the four design assignments as opportunities to experiment and improvise with the concept and elements in the final podcast.

Some of you will have experience with podcasts, while others will not. Early in the course, we should explore together some of the ways in which making a podcast can be relatively straightforward, creative, and fun. Laura Turner, in particular, has helped students before with their podcasts. Canvas has quite good tools to help you as you begin to assemble materials. Your final podcast can be as long and complicated as you wish. We recommend, nonetheless, that you think about five to eight minutes.

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Class Materials

Our class materials will primarily come from three sources. Each regular class period will begin with presentation of material that introduces the themes of the day. The exact nature of the introductory material will vary from class to class, though it will be designed so that it can be circulated to the students, usually the night before, so that they can look at it before class. The introductory material may take the form of a text or some lists of audio-visual recordings to which you listen prior to class. We also conceive of the introductory material as having a long-term durability, in other words, allowing students to look it over in the course of the quarter, or review it should someone fall victim to a weak internet connection. Please make a special folder in which you keep the introductory materials.

The second source of materials will be readings that students prepare in advance of our class meetings. Most readings will be chapters in the , Empire of Song: Europe and Nation in the Eurovision Song Contest (Lanham, MD: Scarecrow, 2013), which was edited by the ethnomusicologist and Eurovision scholar, Dafni Tragaki, Professor of Anthropology at the University of Thessaloniki in . You will have electronic access to the entire book in two ways: 1) there is an e-book copy in the Regenstein ; 2) there is also an e-book is accessible through the Canvas site for the course. You will note that the chapters from Empire of Song are connected thematically rather than chronologically to the different weeks and class subjects. Many of you, however, may decide to read the entire book earlier in the quarter, and we encourage you to acquaint yourself with the Eurovision Song Contest in this way, through arguably the best single scholarly book on the Eurovision.

We also ask students to respond to each reading with some comments that will be posted on the Canvas site. Your postings will provide points of inclusion for each of you in the break-out discussion sections that occupy us during the second half of class. Your postings do not have to be extensive (and they should not be), but they should engage with some important point in the reading.

You will have access to the sound and video materials that we use for the course primarily by using the internet. We have the great fortune that it is now possible to retrieve virtually every entry in the Eurovision during its sixty-five-year history by searching for the link easily in YouTube. The simplest link will be something like: nation – Eurovision – year (for example: eurovision 2020 or armenia eurovision 2015). In most cases, you will discover links to multiple versions, ranging from the “official” version at the contest itself to the video that circulated before the competition to national run-up versions to covers by fans. Eurovision TV also provides an abundance of sound and video material for you to study and compare. Though Eurovision 2020 has been canceled, the songs that would have competed are accessible through YouTube.

Because the Eurovision Song Contest is a national and global media event, there are many other media that disseminate songs, biographies, histories, and debates over the years. There are CD and DVD compilations from every year since the . Such sources chart the “Empire of Song,” and you should explore them, especially as you think about ways to create your own DIY Song Contest.

Finally, you will soon realize that the literature and scholarship on the Eurovision Song Contest is vast and rich. The bibliography, discography, and filmography section that you find below stretches to seven , and more resources become available all the time. Please do spend time looking through these sources, discovering traditional and new , and exploring the world of Eurovision Song Contest – SYLLABUS w w 5 knowledge and serious pleasure that has grown up around the Eurovision. You will find that the resources will be helpful as you design your own DIY Song Contest, not least because the Eurovision Song Contest itself provides a lens into the ways in which modern song contests worldwide have come into being.

Organization of Individual Classes

We shall divide each class period (9:30–11:00 am CST, Tuesdays and Thursdays) into two larger parts. We devote the half-hour of Part 1 to presentation of the introductory materials for individual classes ( above). By “presentation” we mean a mixture of addressing key points and central issues for the class or week. Quite often, we shall illustrate such points and issues with a recorded example. Whereas we encourage feedback in the first half-hour, you should think of feedback as part of the break-out discussions in the second part of class.

The second part of class will last about one hour, and it will consist of discussion in the break-out groups. We shall set up the break-out groups during the first day of class. The participants in each of the three break-out groups will remain the same throughout the quarter. This smaller format of ca. eight or nine students affords you the opportunity to share ideas and discuss problems among yourselves much more effectively. The three instructors will move among the different break-out groups in the course of the quarter. You’ll get the best of each of us!

Schematically, each class period will look something like the following:

Part 1 – 9:30–10:00 am CST – Presentation of introductory materials Part 2 – 10:00–11:00 am CST – Break-out discussion groups (3) NB: There will be built-in transitions for Part 2 1) 10:00 am – ca. ten minutes to gather in the break-out groups 2) 10:50 am – ca. ten minutes to make a transition back to the entire class

Office Hours and Individual Contact with Instructors

Office hours pose special problems during this quarter of remote instruction. Both students and instructors will be occupied at many other times during each day, making availability more complicated. To respond to those problems we offer several options for individual contact with the instructors:

1) Phil Bohlman will be available electronically (Zoom, Skype, or whatever works for you) for one hour at 3:00 pm on Tuesdays and Thursdays. 2) Phil Bohlman can be contacted at other times, initiated in advance by email (see above) 3) Eva Pensis and Laura Turner are also available for appointments, but using prior email contact only.

Problem Shooting in Advance

Some of the realities of remote instruction are easier to manage than others. Here are just a few of the realities that require special vigilance.

1) Some students may live in time zones that do not allow them the same ease of morning classes in Chicago’s time zone. Eurovision Song Contest – SYLLABUS w w 6

2) Students have access to different types of , some of it more challenged by remote learning than others. 3) There are times when a student might lose contact during class time.

We hope to respond to such problems both generally and specifically. The introductory material for Part 1, the readings, and the links to sound and visual materials will mean that students can review much of the content of a class session outside of class. More specifically, students who have found some problems insurmountable should be in with the instructors so that we can seek solutions. Please know that we do not want to you behind.

Statement on Disabilities

It is the responsibility of students with disabilities and/or personal circumstances that may negatively affect their academic performance to inform the instructors and provide the required documentation from Student Disability Services as early in the term as possible, preferably before the end of week two. Without timely prior notification, it may be difficult or impossible to adjust the due dates of assignments or other projects to make other accommodations. For further information on University policies regarding disabilities, contact the office of the Dean of Students or consult the Disabilities Services web page: http://disabilities.uchicago.edu/.

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THE EUROVISION SONG CONTEST Bibliography, Discography, Filmography

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Agostini, Roberto. 2007. “The Italian Canzone and the Sanremo Festival: Change and Continuity in Italian Mainstream Pop of the 1960s.” Popular Music 26, 3: 389–408. Anderson, Benedict. 2006. Imagined Communities: Reflections on the Origin and Spread of Nationalism. Revised ed. : Verso. Applegate, Celia, and Pamela M. Potter, eds. 2002. Music and . Chicago: University of Chicago Press.

Baumgartner, Michael. 2007. “Chanson, Canzone, and Song: Switzerland’s Identity Struggle in the Eurovision Song Contest.” In Raykoff and Tobin, A Song for Europe, 37–47. Aldershot: Ashgate. Beiner, Ronald, ed. 1999. Theorizing Nationalism. Albany: State University of New York Press. Belkind, Nili. 2010. “A Message for Peace or a Tool for Oppression? Israeli Jewish-Arab Duo Achinoam Nini and ’s Representation of at Eurovision 2009.” Current Musicology 89: 7–35. Bellier, Irène, and Thomas M. Wilson, eds. 2000. The Anthropology of the : Building, Imagining and Experiencing the New Europe. Oxford: Berg. Berdahl, Daphne, Matti Bunzl, and Martha Lampland, eds. 2000. Altering States: Ethnographies of Transition in Eastern Europe and the Former Soviet Union. Ann Arbor: University of Michigan Press. Berger, Stefan, Linas Eriksonas, and Andrew Mycock, eds. 2008. Narrating the Nation: Representations in History, Media and the Arts. Oxford and New York: Berghahn. Bhabha, Homi, ed. 1990. Nation and Narration. London and New York: Routledge. Björnberg, Alf. 1992. “Musical Spectacle as Ritual: The Eurovision Song Contest.” In Antoine Hennion, ed., 1789–1989: Musique, Histoire, Démocratie, vol. 2, 373–82. Paris: Editions de la Maison des Sciences de l’Homme. Bohlman, Andrea F., and Ioannis Polychronakis. 2013. “Eurovision Everywhere: A Kaleidoscopic Vision of the Grand Prix.” In Tragaki, ed., Empire of Song, 57–77. Lanham, MD: Scarecrow. Bohlman, Andrea F., and Alexander Rehding. 2013. “Doing the European Two-Step.” In Tragaki, ed., Empire of Song, 281–97. Lanham, MD: Scarecrow. Bohlman, Philip V. 2002. : A Very Short Introduction. Oxford: Oxford University Press. (Very Short Introductions) ______. 2004a. The Music of European Nationalism: Cultural Identity and Modern History. 1st ed. Santa Barbara, Calif.: ABC–CLIO. (World Music Series) ______. 2004b. “Popular Music on the Stage of a United Europe – Southeastern Europe in the ‘Eurovision Song Contest’.” In Bruno B. Reuer, ed., Vereintes Europa – Vereinte Musik? Eurovision Song Contest – SYLLABUS w w 8

Vielfalt und soziale Dimensionen in Mittel- und Südosteuropa, pp. 27–45. : Weidler Verlag. ______. 2007. “The Politics of Power, Pleasure, and Prayer in the Eurovision Song Contest.” Musicology/Musicologia 7: 39–67. ______. 2009. “Ex Oriente Lux: Islam and the Eurovision Song Contest.” In idem and Marcello Sorce Keller, eds., Antropologia della musica nelle culture Mediterranee, 171–90. Bologna: CLUEB. ______. 2011. Focus: Music, Nationalism, and the Making of the New Europe. 2nd, rev. ed. of Bohlman 2004a. New York: Routledge. ______. 2012. “On Track to the Grand Prix: The National Eurovision Competition as National History.” In Stefan Berger, Chris Lorenz, and Billie Melman, eds., Popularizing National Pasts: 1800 to the Present, 267–87. New York: Routledge, 2012. ______. 2013a. “Tempus Edax Rerum: Time and the Making of the Eurovision Song.” In Tragaki, ed., Empire of Song, 35–56. Lanham, MD: Scarecrow. ______. 2013b. “Journey to .” In idem, Revival and Reconciliation: Sacred Music in the Making of European Modernity, 237–51. Lanham, MD: Scarecrow.

Bohlman, Philip V. – Blogposts, Oxford University Press. 2012 – Europe in Spite of Itself http://blog.oup.com/2012/06/europe-in-spite-of-itself/ 2013 – Europa borealis: Reflections on the 2013 Eurovision Song Contest Malmö (with Dafni Tragaki) http://blog.oup.com/2013/05/europa-borealis/ 2014 – “There Is Hope for Europe” – The ESC 2014 and the Return to Europe http://blog.oup.com/2014/05/eurovision-hope-for-europe/ 2015 – Tales of two Europes: Sameness and Difference at the Eurovision Song Contest http://blog.oup.com/2015/06/eurovision-song-contest-2015--two-europes/ 2016 – “We Could Build a Future Where People Are Free”: Reflections on the Eurovision Song Contest https://blog.oup.com/2016/05/eurovision-2016-reflections/ 2017 – “I Beg You To Return, To Want Me Again”: The Apolitical Politics of the Eurovision Song Contest 2017 (NB: never posted) 2018 – The Ascent of Music and the 63rd Eurovision Song Contest https://blog.oup.com/2018/07/music-eurovision-song-contest/ 2019 – “How the Eurovision Song Contest Has Been Depoliticized” https://blog.oup.com/2019/08/how-the-eurovision-song-contest-has-been-depoliticized/

Boswell, David, and Jessica Evans, eds. 1999. Representing the Nation, a Reader: Histories, Heritage, and Museums. New York: Routledge. Boyd, Malcolm. 2001. “National .” In Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians. 2nd ed. Vol. 17: 654–87. London: Macmillan. Eurovision Song Contest – SYLLABUS w w 9

Brubaker, Rogers. 1996. Nationalism Reframed: Nationhood and the National Question in the New Europe. Cambridge: Cambridge University Press. Burton, Antoinette, ed. 2003. After the Imperial Turn: Thinking with and through the Nation. Durham, N.C.: Duke University Press.

Calhoun, Craig. 1997. Nationalism. Minneapolis: University of Minnesota Press. Caplan, Richard, and John Feffer, eds. 1996. Europe’s New Nationalism: States and Minorities in Conflict. New York: Oxford University Press. Chakrabarty, Dipesh. 2000. Provincializing Europe: Postcolonial Thought and Historical Difference. Princeton, N.J.: Press. Chatterjee, Partha. 1993. The Nations and Its Fragments. Cambridge: Cambridge University Press. Christie, Clive J. 1998. Race and Nation: A Reader. London: I. B. Tauris. Cole, Jeffrey. 1998. The New in Europe. Cambridge: Cambridge University Press. Cooley, Timothy J. 2005. Making Music in the Polish Tatras: Tourists, Ethnographers, and Mountain Musicians. Bloomington: Indiana University Press. del Giudice, Louisa, and Gerald Porter, eds. 2001. Imagined States: Nationalism, Utopia, and Longing in Oral Culture. Logan, Ut.: Utah State University Press.

Eley, Geoff, and Ronald G. Suny, eds. 1996. Becoming National: A Reader. New York: Oxford University Press. Eurovision Song Contest. 2015. The History of the Song Contest 1956–2015: All the Stars, Scandals, Triumphs, Failures and Hits. [Vienna: ORF]. Eurovision Song Contest Media Handbook. 2009. : EBU. Eyck, F. Gunther. 1995. of Nations: European National Anthems and Their Authors. Westport, Conn.: Greenwood Press.

Fabbri, Franco. 2005. “Sanremo, il festival.” In L’ascolto tabù: Le musiche nello scontro globale. : Il Saggiatore. Fedderson, Jan. 2002. Ein Lied kann eine Brücke sein: Die deutsche und internationale Geschichte der Grand Prix Eurovision. : Hoffmann und Campe. Fessman, Milena, Wolfgang Nikolaus Kriegs, and Kerstin Top, eds. 1998. L’Allemagne deux points: Ein Kniefall vor dem Grand Prix. Berlin: Ullstein. Flacke, Monika, ed. 1998. Mythen der Nationen: Ein europäisches Panorama. and Berlin: Koehler & Amelang. Fricker, Karen, and Milija Gluhovic, eds. 2013. Performing the “New” Europe: Identities, Feelings and Politics in the Eurovision Song Contest. New York: Palgrave Macmillan. Fujie, Linda, ed. 1996. Revival in Europe. Special ed. of The World of Music 38 (3). Fürnkranz, Magdalena, and Ursula Hemetek, eds. 2017. Performing Sexual Identities: Nationalities on the Eurovision Stage. Vienna: Institut für Volksmusikforschung und Ethnomusikologie. (klanglese 11)

Gambaccini, Paul, et al. 1999. The Complete Eurovision Song Contest Companion 1999. Foreword by . London: Pavilion. Eurovision Song Contest – SYLLABUS w w 10

Geistlinger, Michael, ed. 1994. Dissonanzen in Europa: Der neue Nationalismus und seine Folgen. Vienna: Wilhelm Braumüller. Gellner, Ernest. 1983. Nations and Nationalism. Oxford: Blackwell. ______. 1997. Nationalism. New York: New York University Press. Gillis, John, ed. 1994. Commemorations: The Politics of National Identity. Princeton, N.J.: Princeton University Press. Graubard, Stephen R., ed. 1999. A New Europe for the Old? New Brunswick, N.J.: Transaction Publishers. Greenfield, Liah. 1992. Nationalism: Five Roads to Modernity. Cambridge, Mass.: Harvard University Press. Guss, David M. 2000. The Festive State: Race, Ethnicity and Nationalism as Cultural Performance. Berkeley: University of California Press.

Hastings, Adrian. 1997. The Construction of Nationhood: Ethnicity, Religion, and Nationalism. Cambridge: Cambridge University Press. Herzfeld, Michael. 1997. Cultural Intimacy: Social Poetics in the Nation-State. New York: Routledge. Hindrichs, Thorsten. 2007. “Chasing the ‘Magic Formula’ for Success: and the Grand Prix Eurovision de la Chanson.” In Raykoff and Tobin, eds., A Song for Europe, 49–59. Aldershot: Ashgate. Hobsbawm, Eric J. 1990. Nations and Nationalism since 1780. 2nd ed. Cambridge: Cambridge University Press.

Kennedy O’Connor, John. 2005. The Eurovision Song Contest, 50 Years: The Official History. London: Carlton . Kristeva, Julia. 1993. Nations without Nationalism. Trans. by Leon S. Roudiez. New York: Columbia University Press.

Lampropoulos, Apostolos. 2013. “Delimiting the Eurobody: Historicity, Politicization, Queerness.” In Trakagi, ed., Empire of Song, 151–72. Lanham, MD: Scarecrow. Lemish, Dafna. 2007. “Gay Brotherhood: Israeli Gay Men and the Eurovision Song Contest.” In Raykoff and Tobin, eds., A Song for Europe, 123–34. Aldershot: Ashgate. Linke, Uli. 1999. Blood and Nation: The European Aesthetics of Race. : University of Pennsylvania Press.

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k WEB BIBLIOGRAPHY

(Semi-)Official Information Hubs 1. Official Eurovision Site: http://www.eurovision.tv/ Eurovision Song Contest – SYLLABUS w w 13

2. Independent ESC news reporting: http://esctoday.com/ (e.g., www.esctime.com; www.eurovision-09.com; www.oikotimes.com) 3. BBC official site: http://www.bbc.co.uk/eurovision/ 4. is pretty good for up-to-date news 5. Eurovision Webradio: http://www.escradio.com/ 6. Large Online Community: http://www.escnation.com/

Historical Information 1. Covers galore: http://eurocovers.blogspot.com/ 2. mp3 archive: http://www.eurovisionsongs.net/index.htm 3. http://www.nul-points.net/ 4. http://www.esc-history.com/

Eurovision-esque Contests 1. Junior Eurovision: http://www.junioreurovision.tv/ 2. Eurovision Contest: http://www.eurovisiondance.tv/ 3. Vision: http://www.asiavision.tv/ 4. Sanremo: www.sanremo.rai.it 5. Sopot Festival: http://sopotfestival.onet.pl/ 6. And the myriad : http://www.realityblurred.com/realitytv/archives/international_idols/

Blogs 1. http://eurovisionexpress.blogspot.com/ 2. http://melodimen.blogspot.com/ 3. http://schlagerblog.blogspot.com/ 4. http://terminal3theeurovisionblog.blogspot.com/ 5. http://eurofivestar.blogspot.com/ 6. http://fans-of-eurovision.over-blog.com/ 7. http://eurovisionblog.wordpress.com/ 8. Philip V. Bohlman, see above. Etc. forever to infinity.

Ephemera 1. The musical: www.eurobeatthemusical.com 2. The campaign for Scotland: http://www.scotlandineurovision.eu/ 3. Another kind of cover: http://www.eurovisioncovers.co.uk/ 4. Father Ted’s spoof: http://www.youtube.com/watch?v=jzYzVMcgWhg