Eurovision Excitement Mounts

We have the first ever Eurovision entries from San Marino and Azerbaijan this time round.

Here’s San Marino, with “Complice” by Miodio:

Here’s Azerbaijan, with “Day after day” by Elnur Hüseynov:

Be aware that it’s possible that neither of these songs will get beyond this week’s semi-final stage.

I asked my friend Dan, who is an expert on (i) political philosophy concerning the rectification of historic injustice and (ii) pop music, and he reckons that Cliff Richard is the victim of historic injustice, having been cheated by Spanish fascists out of the 1968 Eurovision title that was rightfully his. I’m still not altogether clear who owes what, if anything, to whom. I was rather hoping we might blame Ruth Kelly, owing to her Opus Dei connections, but some people around me seem to think that’s a bit too tangential, all things considered.

13 thoughts on “Eurovision Excitement Mounts”

  1. I was rather hoping we might blame Ruth Kelly, owing to her Opus Dei connections, but some people around me seem to think that’s a bit too tangential, all things considered.

    It would be hard, in all fairness, to blame Ruth Kelly for the outcome of the 1968 Eurovision Song Contest, since she wouldn’t be born for another month.

  2. I’m not sure fairness was a major concern in my deliberation on this question, though I agree that it tends to loom quite large in the imaginations of those who profess to be experts in the so-called rectification of so-called historic so-called injustice.

  3. Is this a general theory concerning members of Opus Dei, or only concerning Ruth Kelly? I have the great good fortune to count an open member as a classmate, and I’d be more than happy to ask her (without further explanation) whether she’s partly responsible for an historic injustice committed against Sir Cliff.

  4. I don’t see why Chris shouldn’t blame Ruth Kelly if he wants to. Blaming Ruth Kelly for things is good for the soul.

    Can anybody remember what was the outcome when the writers of the Spanish song (La la la) on that occasion and the Kinks sued each other for plagiarising the tune (In the Kinks’ case is was used for a sub-standard “Dave Davis solo” outing called “Death of a Clown)? If the Kinks were deemed to have written it first, do they share responsibility for Sir Cliff’s misfortune?

  5. I’d love to pin it on Ruth Kelly too, but it’s tricky. In my view, to have a contemporary rectificatory duty, one needs either to a) be benefiting from historic injustice, b) be in possession of property historically misappropriated, or c) be a member of a community responsible for an ongoing failure to rectify injustice. If we assume that Ruth Kelly doesn’t have the ’68 trophy stashed under her bed in Bolton West, then a contemporary claim would have to come under (c). And for the right identity conditions to be satisfied, Opus Dei would have to be some kind of sinister, elitist, holy-grail-stealing international crypto-fascist sect, as opposed to a rather charming aspirational movement encouraging sanctity in everyday life and kindness to animals.

    I’m a bit worried about rectifying musical injustices. Even if we manage to get God Save the Queen to number 1, there’s a danger someone will try to take the 1999 Best Newcomers Brit away from Belle & Sebastian and give it to Steps.

  6. I got Josephine to explain the Eurovision song contest to me this evening, and this makes MUCH more sense than it would have an hour ago. Not totally transparent, mind you, but I’m getting there.

    Apparently I must now go put “My Lovely Horse Eurovision” into the youtube search engine.

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