Ma-ma-ma-making your mind up

If, God forbid, Terry Wogan goes good on his threat to quit Eurovision, I’d like to humbly suggest three replacements from the best bits of the blogosphere last night.

First up of the livebloggers was Matthew Hill bringing his own way with words to proceedings:

“I quite like Germany so far, despite the questionable and dubious thieving of Sugababes’ greatest harmonies. Actually I’m now convinced they’re all men? Are they men? My friend’s just chirped up with ‘they put the ‘Man’ in Germany. They have nice facial structures for men. ‘Why did you disappear’? one sings. Well I couldn’t say. Perhaps it’s because you’ve got a bonus sausage.”

Then euroblogger par excellence Nosemonkey does his bit for Anglo-European relations:

“Azerbaijan to win! Brilliantly over the top rubbish, topped off with dancers in g-strings. Result! Give them immediate EU membership to boot! Whether they want it or not!”

And just about the best of the night comes from ultra-music fan John Widdop, who really should be getting paid to do this stuff on a regular basis.

Poland – Given Poland’s excellent pedigree in integrating the culture of Western Europe, you’d expect better than this. This is sung by a bizarre experiment to create the least realistic looking women possible out of wax and clay. The song itself is a power ballad so sweeping it could span oceans, and will probably win. It also sounds oddly like the sort of B side that indie bands with singers with high voices used to peddle in the late nineties. 

Next year I’m tempted to say sod the obligatory Eurovision party and keep glued to the internet, which has outdone Terry (although sadly lacking in the Irish whimsy). And if Robin Hamman’s post is anything to go by, then that might not be such a ridiculous proposition:

“What I participated in last night would be almost totally invisible to most viewers. Most people don’t know how to find and track conversations on twitter, other social networking services or blogs. But being part of an audience community is a powerful experience for participants and a valuable brand building tool for broadcasters and other content producers.”

I would have never even thought to turn to Twitter during the show, but given the amount of Eurovision-related texts sent during the night, it makes perfect sense. It’s an immediate watercooler moment rather than one the next day.

It also shows how social media and traditional media can come together for these sort of events – and again, if, as Robin notes, you’ve got a broadcaster who’s prepared to tie all these elements together, then you’ve got an almost unforgettable user experience. Imagine – the traditional eurovision party, but with added interaction from Tweeters around the globe.

That said, even Web 20 can’t salvage the UK’s attempts to outdo itself on the sheer awfulness scale when it comes to submitting our annual crock of shite. Oh, Morrissey, where art thou when needed?

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