Franka celebrates love in her new song “Kao Ti I Ja”

Franka celebrates love in her new song “Kao Ti I Ja”


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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29th June 2018 in Releases. Tags: Branimir Mihaljević, Franka, Franka Batelic, Kao ti i ja, Nenad Ninčević Countries: Croatia
Source: Narodni.hr

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Tutorial: Severina serves guide on how to live your life on new single

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In the video below you can listen to Tutorial:

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Nixon Vs Kennedy: Unlocking The Eurovision Song Contest Through The Radio

Nixon Vs Kennedy: Unlocking The Eurovision Song Contest Through The Radio

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)

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

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 RevisitedJames 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)

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.

Categories: ESC Insight


Way Too Fast is the new single from Brendan Murray

Way Too Fast is the new single from Brendan Murray

Brendan Murray

Brendan Murray wrote his new single himself. Sometimes things goes too fast, that’s what the Irish 2017 Eurovision participant sings about in this track just released.

Brendan Murray represented Ireland in the Eurovision Song Contest in 2017 with his song, Dying To Try. Unfortunately, he did not qualify. “I’m disappointed, but life is full of knocks so I’m going to take it on the chin and move on,” said Brendan Murray after learning Ireland’s result after the voting.

Well, he certainly did take it on the chin and moved on, for now, he has released a new single, Way Too Fast, along with a music video, recorded by Robert Grace, who also produced the song.

Way Too Fast, as the title of the song suggests, is about a relationship that is happening too fast. The song is accompanied by Brendan’s skills on the guitar.

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Categories: Eurovisionary


Eurovision 2017 logo wins award in Cannes

Eurovision 2017 logo wins award in Cannes

Celebrate Diversity slogan and logo 2017

The logo for the 2017 Eurovision Song Contest has won the bronze award for branding at the Cannes Lions International Festival of Creativity. This is the second big award the logo won.

Banda.agency and Republique received the bronze award “Cannes Lions” in the Lions Design nomination for their logo and branding of the Eurovision Song Contest 2017.

The Cannes Lions International Festival of Creativity is considered the largest gathering of the advertising and creative communications industry. The seven-day festival, incorporating the awarding of the Lions awards, is held yearly at the Palais des Festivals et des Congrès in Cannes, France.

“This is a very joyful feeling. Straight delight. This is a very important project for us. We put a lot of energy into it and love it very much. In the process, many people joined their efforts to make it, and I’m glad that they all received a well-deserved reward for their talents”, Pavel Vrzheshch told ain.ua.

The theme for the 2017 contest was Celebrate Diversity. Banda agency and  Republique designed a logo which was based around a traditional Ukrainian bead necklace called Namysto. This is a protective amulet and a symbol of beauty and health. It is made up of many different beads, each with its own design and individuality.

The design also won the red dot award in August of last year.

More than 180 million people watched the Eurovision Song Contest 2017 which was broadcast in 42 countries.

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