Ein Lied für Luxemburg 1984

Ein Lied für Luxemburg was the national selection held in Germany to select an entry for the 1984 Eurovision Song Contest.

12 songs had made the preselection round, to compete in the TV final that took place on 29 March 1984.

With 10 fictional jury members each, awarding scores using the current Eurovision system, this is what Joshua and I came up with.

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As always, you’re obviously free to share your opinions about these !



Sanna Nielsen : I’m In Love (2011)

Released on March 2, 2011

1 Devotion : HIT

Sounds like a Celine Dion track without the screaming.

2 I’m In Love : HIT

It can only be a hit. Lol

3 Part Of Me : HIT

Pleasant song to listen

4 Not Afraid To Love : HIT

This sounds a bit more like Celine Dion for the screaming but still manages to be pleasant.

5 If You Were Mine : MISS

There’s no real catch in this

6 Can’t Stop Love Tonight : HIT

This sounds very Swedish

7 Demolition Woman : MISS

Nothing exciting about it, this style doesn’t suit her at all, and thus why it also sounds so messy.

8 This Time Love Is Real : HIT

Very nice.

9 Take Me Home : HIT

Pleasant song.

10 Foolish Heart : HIT

Curious tone in this song, sounding quite different than the rest heard so far.  There’s a kind of interesting energy in it.

11 Just Like That : HIT

Great dramatic tone in it, really sounds like a movie soundtrack. Not sure if it’s wholly as pleasant on the though.

12 Paradise : HIT

Correct ending for a pretty good album in general.

This album is pretty good on the whole, and really makes us understand how the future success happened because it all appears as the natural continuity of this. What I like about this album is that it can be quite surprising in quality, especially when as a Melodifestivalen/Eurovision fervent you’d expect more songs like I’m In love, and not surprising in the wrong way.

Germany and the Eurovision – Part 1: Rough Start

by Joshua Reduch

The Eurovision Song Contest (or Grand Prix, as most Germans still call it) has had its high ups and deep lows among the german viewers in its almost 60 years old history.

In my next four articles I want to give you a closer look at the sometimes very difficult relationship between Germany and the Eurovision we all love.

Today, I will focus on the first 24 contests from 1956 to 1979:

After the Second World War, the destroyed Germany recovered itself with a successfull industry. The so called ”Wirtschaftswunder” (Economy miracle) has managed to make people more confident and happy after years full of war. But also the television broadcasters put up amazing shows to entertain. One of these was the ”Grand Prix Eurovision de la Chanson Europénne 1956” or for the ones who are not fluent in French: the first Eurovision Song Contest in 1956, held in the beautiful city of Lugano, Switzerland.


Freddy Quinn

The never seen before concept of countries sending their most talented singers who perform a song and hope to get the maximum amout of points from the juries was not an instant success.

At this time, Television was still something for upper class families and devices costed up to thousands of German Marks. A lot of money in these times.

The first german participants were Freddy Quinn and Walter A. Schwarz. While the latter did not become a star afterwards, Freddy Quinn managed to become one of the biggest singers of the 50’s and 60’s in Germany.

Germany did good in the further contests, but after none of the entries has become a big hit, that makes the Eurovision known among the german population.

That changed in 1962 when Conny Froboess sang her song „Zwei kleine Italiener“ in Luxemburg. The song about two hard-working Italian workers who miss the bright sun in their home country was an instant classic and the first ESC Song to achieve the No.1 spot on the german charts, although it only placed 6th.

So, after a No. 1 hit, Germany should have got some better placings in Eurovision? Well, unfortuneately they did not. In 1964 and 1965 Heidi Brühl and Ulla Wiesner even placed last with ”zero points”. After these failures, german Broadcaster ARD and its flagship Das Erste decided to change their selcetion procedure and selceted their acts internally. This didn’t make things better with the exception of 1968 when the beautiful norwegian Wencke Myhre placed 6th.


Katja Ebstein

But finally in 1970, a red-haired hippy girl entered the stage and sang ”Wunder gibt es immer wieder“ (Miracles keep on happening again and again). I’m talking about the wonderfull Katja Ebstein. She was the first act for Germany who placed in the Top 3, which wasn’t really hard that year, because only twelve countries competed. After the 1970 contest, she released English, Spanish, Italian and even Japanese versions of ”Wunder gibt es immer wieder”.

The broadcaster was so satisfied about her performance that they asked her to do it again in 1971. In a national final she sang six songs and again she placed third at Eurovision with ”Diese Welt” (This World). Just a few years later, she achived her biggest result in Eurovision, but I will talk about that in the next article.

Most Germans thought that the streak of great placings has now come to an end, but fortuneately they were wrong. 23 year old singer Mary Roos placed third again for the third time for Germany with her power ballad ”Nur die Liebe lässt uns leben” (Only love let us live). She also returned several years later and is known as the Grand Lady of Schlager. In 2013, she was the head of the jury in „Unser Song für Malmö“ and even announced the votes:  

Then things got a little worse again: Gitte only placed 8th, although she was a hot favorite to win, Cindy & Bert (Germany’s biggest Schlager duo ever!) placed last in 1974.

The german public was confused. Why is Germany bad at Eurovision? Germany, the country with the biggest populaton of the participating countries and the third most important music industry in the world (After US and UK). Even the Beatles started their career in Hamburg and released songs in German in their early years. What does it take to win?

And in 1976 they thought they found the answer: Les Humphries Singers! With hits like ”Mexico” and ”Mama Loo” they even performed in the USA. The thing is that this was already some years before their Eurovision performance. At the end, they placed 15th.

In a documentury about the band, german member Jürgen Drews (who is one of the biggest Party-Schlager singers in Germany and especially in Mallorca) said: ”It was a bad song. We should have done it a few years earlier. The magic was already gone.”

For the 1976 Contest ARD did something very controversial and I’m not talking about selecting internally. No, they sent a song in English! Ok, more countries did that while the language rule did not exist. English is indeed widespread in german choices today, but in 1976 this was a brave move. Silver Convention did a nice job in London and placed a respectable 8th place.

To end today’s article I will tell you something about Germany’s most loved Eurovision entry (which did not win): ”Dschinghis Khan” by the band of the same name. From the very first time the song was performed in the national final, people danced and sang along. Although it only placed fourth in Jerusalem, the song is played at every party and I have even heard it at the Public Viewing for the 2014 FIFA World Cup in my hometown.

So, Germany had a rough start in the first contests, but still they placed in the Top 3 a few times. It’s nice to see that ARD did not lose its interest in the Contest even after some painful failures.

Next time, I will focus on the Contest for 1980-1999 with Germany’s first win and the big chances after the Fall of the Berlin Wall which even affected Eurovision.

What is your favorite entry from 1956 to 1979? Let us know in the comments below!

How are Eurovision fans utopians ?

1 Because Eurovision is a Utopia

The official reason the contest was created for, is because in a torn Europe rebuilding itself, the European Broadcasting Union wanted to find “ways of bringing together the countries of the EBU around a “light entertainment programme”.” Although it was more seen as a technological experiment in live television first, the contest actually managed to bring together the countries of Europe throughout the following decades up to this day, and this, no matter how tense some periods have been during the post-war epoch.


Yugoslavia will always rock the fans

Yugoslavia which doesn’t exist anymore took part from 1961 to 1992. It only took a year for some countries that came out of the dissolution to join the contest on their
own, in 1993.

The same applies for Serbia & Montenegro, after Montenegro parted from Serbia, both taking part independently from 2007, one year after Montenegro’s proclamation of independence.

Also, in more recent times, and no matter the reactions of the public and the fans, the EBU feels free to work hard remaining the “bringing together ideas” by actions like maintaining the participation of both Russia and Ukraine despite the recent turmoil.

We thus have every single year, for decades now, arenas throughout Europe full of flags, happiness and excitement. So in the end, although the contest firstly is a mean to put technological ideas in place, it has this common thing with a utopia to be enliven by the desire to make people move forward (here technologically more than politically, or ?…)

2 Because Eurovision fans always support their country, no matter what


How many times can we win or lose ?

They always feel butterflies when they see their flag appearing to the screen announcing the big moment when the artist or the band representing them is going to take the stage (or be taken by the stage…), as if a part of themselves was going on that stage too, with their hearts beating faster than for any other contestant. The world stops spinning for a moment and they can’t hear anything but the sound coming out of the TV. I know it because I felt it every single year, and this year too actually until Lorent Idir opened his mouth and the whole feeling turned into furious anger against the impostors of producers we have in my country to work on the contest.

3 Because Eurovision is something easily taken personally for them


Looks like she knew the Kate Ryan title was hers this year

They spend their time mourning bad results, even if it’s not for their country (even especially so), even decades after (Germany 1996, Belgium 2006, United Kingdom
1968, this list is very long and we already know we can add Israel 2014…). They will always overdramatise the outcome of what in the end simply is a song contest (Yeah, I am being reckless on this one). They will always put the blame on everyone else and never on the artist/performances (politics, even when it often is a crime for them to say that Eurovision is about politics…, corruption…). This reaches such lengths that sometimes the EBU feels like they have to bind to some suggestions like in the late 2000’s, when the national juries got back after so many complaints about the qualifications of only eastern countries in 2007 and the victory of Russia in 2008. We noticed this year that after a few misfortunes like Poland (who would have ended 5th only by televoting) that those same people want to scrap the juries !

Nothing ever pleases anyone, there’s always something wrong. So about this 3rd point, I’d say that if you’re looking for a definition of fanatism, schizophrenia or hyprocrysy, or the 3 of them combined, looking at eurovision fans wouldn’t be so much of a bad idea.

4 And as a result they spend their time redoing the contest, recreating what would be the perfect contest and therefore by definition, just like utopias, can’t exist.

They’ll do it over and over again, countless times; forums and Facebook groups are full of this. When some only like to think about what it would have been like if other voting systems were in place (that is to say how would a utopia be written by someone living under different political systems), others will totally rethink the contest with the outcome of the National Finals (yeah, no capitals there would be a crime), and so many other things people can custom as they like when you know that every year, it’s in the end thousands of musical productions that are involved. That’s a DIY customisable Eurovision that a lot of fans will spend huge amounts of time with, because it can be as large and infinite as imagination; the thing you can’t take away from anyone, fan or not.

An Australian Playlist

Because our dear friends from the New World can make good music too, here is a selection of some Aussie pieces I’ve been listening quite a bit lately :

The dancing is nice in this one.

This must be the work of a reflection fetishist director.

The quiet one. 

Don’t watch this if you’re epileptic. Those who aren’t may want to get the next flight to Sydney after it. 

This guy looks way to gay for the song to be fully appreciated. So even if it’s just here, listen but don’t watch .

She’s been one of the most famous Aussie singers for years, and no she’s not competing here. 

Gayer than the gayest British band, and you know who I am referring to…

Finally, Aussie hip-hop has nothing to envy American. 










Looking back…(Semi Final 2)

by Joshua Reduch

We continue our look-back to Copenhagen with the predictions of the 2nd Semifinal:

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As you can already see, we didn’t had the same favorites as in the 1st Semi. Malta is the perfect example for this with Frederic awarding 9pts and me only giving a single point to Firelight and „Coming Home“ (It’s just not my type of music, sorry. But I love the island!)

Overall our Top 3 were Ireland with 17.5, Norway with 16.5 and Romania with 15.5 points. A interesting top 3 when you see it now.

The songs from Greece, Poland and Georgia formed our bottom 3 with 8, 7.5 and only 4 points respectively.

To our defense, I must say that our results now would be quite different, because some of the lower placed countries had great performances (f.e Austria, Switzerland and Poland) and therefore would got some more points from us.

We predicted 7 out of 10 qualifiers correct. Those countries were Malta, Norway, Austria, Finland, Belarus, Greece and Romania.

Unfortunately, we said that FYR Macedonia, Ireland and Israel would advance to the final, while Poland, Switzerland and Slovenia will find themselves in the land of tears.

In the end, 16 of 20 qualifers were correctly guessed by us, which is in my view a pretty fine result.

What do you think about our predictions? Let us know in the comments below!

Looking back…(Semi Final 1)

by Joshua Reduch

Now that the Eurovision season is over until Autumn, it’s time to see how good our Predictions were.

Before the shows started, Frederic and I guessed the qualifiers for the 1st Semifinal.

Let’s take a look:


Our Favorites in Semi 1 with 18 points each were: Sweden, Hungary and The Netherlands.

The Songs we liked the least were the ones from Moldova, Russia and Albania with 8.5, 8 and 6.5 Points each.

It’s interesting to see that we both predicted the songs from Armenia, Sweden, Russia, Azerbaijan, Ukraine, Belgium, The Netherlands, Montenegro and Hungary. And with the exception of Belgium, they all went through !

We also thought that Estonia would qualify, which surprisingly did not happen. Also the pleasant qualifications of San Marino and Iceland were not on our list.

Overall you can say that 8/10 is a good result! We did a good job, didn’t we?


One bookmark

By having a flick trough the pages of this blog, it wouldn’t take too much to understand that I have a certain interest in Swedish culture. That goes without saying the language is among the points of my interest and listening to the radio is a great thing, when you want – as well as learning the language – to learn about the culture of the country. On SverigesRadio’s P4, Sunday is the best day to get an idea of what makes the people of this Nordic country who they are through the music they’ve produced over the past century up to this day. If you share the interest I have for this culture, then you just can’t miss Da Capo, an amazing show playing Swedish songs of the 1940’s 1950’s and 1960’s every Sunday evening. In case you’ve never heard about it, you can always thank me later…