Eurovision Insight Podcast: Juke Box Jury 2011 Heat #4Written by Ewan Spence on April 8, 2011 | 7 Comments

Always great to get new voices on the Judge’s bench for Juke Box Jury, and as our examination of the 2011 songs continue it’s time to welcome, for the first time, Dermot Manning and Keith Mills to the Insight podcast.

Just be warned, the cliché of the Irish talking the hind legs off a donkey (or a Lovely Horse) is only a cliché because it’s true…

Eurovision Insight Podcast: Juke Box Jury 2011 Heat #4
With Dermot Manning and Keith Mills.

Serbia: Caroban, by Nina.
Armenia: Boom Boom, by Emmy.
Croatia: Celebrate, by Daria Kinzer.
Norway: Haba-haba, by Stella Mwangi.
Lithuania: C‘est Ma Vie, by Evalinea Sasenko.
Portugal: Luta e Alegria, by Homens da Luta.

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About The Author: Ewan Spence

British Academy (BAFTA) nominated broadcaster and writer Ewan Spence is the voice behind The Unofficial Eurovision Song Contest Podcast and one of the driving forces behind ESC Insight. Having had an online presence since 1994, he is a noted commentator around the intersection of the media, internet, technology, mobility and how it affects us all. Based in Edinburgh, Scotland, his work has appeared on the BBC, The Stage, STV, and The Times. You can follow Ewan on Twitter (@ewan) and Facebook (facebook.com/ewanspence).

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7 responses to “Eurovision Insight Podcast: Juke Box Jury 2011 Heat #4”

  1. Chris K says:

    Serbia: Caroban, by Nina. Dated, but much more interesting than everything else on this list.

    Armenia: Boom Boom, by Emmy. Horrible – only think going for this dirt is that its Armenia and people will mindlessly vote for it. I feel that its two songs mashed together badly.

    Croatia: Celebrate, by Daria Kinzer. Sale-abrate is okay, but I probably dont want to hear it again.

    Norway: Haba-haba, by Stella Mwangi.She speaks through most of the song, it ordinary, but catchy.

    Lithuania: C‘est Ma Vie, by Evalinea Sasenko. I like it, but nothing is going to happen to it. I’m hoping she wears a better dress.

    Portugal: Luta e Alegria, by Homens da Luta. Why do revolutionary songs have such chirpy to them? (View Por 77, and Gre 76) They cant sing together which isnt nice, but good for them for having the guts to bring it to Europe.

  2. Seán says:

    The EBU are to change the voting system. Announcement on Friday. There’s talk of the semi final countries voting as one block or computer voting. (EurovisionTimes)

    Any opinions?

    Great podcast by the way better songs than last week

  3. Ewan Spence says:

    Sean,

    Any major changes would have had to go through the various committees in the last few months so I doubt that at this late stage something is going to be sprung. My money is on some presentational or organisational issues, such as when the Juries have to complete their deliberations, or how the voting order is determined – maybe they’re switching away from a “random” order for the Grand Final?

  4. Seán says:

    I tend to agree everyone is talking of how difficult computer designed order is and vote merging is easy.

    But in the Irish general election RTE can go any of the 43 count centres with only a few minutes notice.

    I didn’t think about changing the show juries vote on. It would be fairer though ……….

  5. Ohi says:

    Why do you lot want everything in English?

  6. Ewan Spence says:

    Not everything, Ohi. I think the French song should stay in Corsican, and I’d switch the Albaian song back. But FYRoM is far better in English, IMO!

  7. Michael says:

    I want the Hungarian song in Hungarian, too! And I’m not a fan of the French song, but it is better in Corsican. For another example of a song that should not have been translated, try last year’s B&H, with completely nonsense English lyrics. I watched the presentation and it was a lot better in Bosnian. In 2009, Latvia went from Latvian to Russian and that lost a lot in translation. (I think it would have been worse in English, because then people would have understood that they were singing a song about a traffic jam in front of 100 million people.)

    To defend Ewan, FYROM is telling a story, and it would be nice for the bulk of the audience to understand the story. It doesn’t seem to lose anything in the translation.

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