Home  Attitudes & Opinions The Tragedy of A Song For Europe |
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The Tragedy of A Song For Europe |
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Wednesday, 05 March 2003 |
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When I took over the contest in the middle 90's, I wanted to make it a platform for breaking hits, at least, and establishing artistes, at best. Why waste all that TV exposure, I thought. Well, I got two results. Genuine hits (like Love City Groove and, in my opinion, the perfect Eurovision entry, 'Just a Little Bit' - which sold millions and was the first Song for Europe in ages to become a U.S. Top Ten smash) and the UK winning the contest in l997 with 'Love Shine A Light'. But I also proved that TV plus music could mean profits - for both the TV company(in ratings) and label (in sales). The Record of the Year concept borrowed heavily from a Song for Europe (new TV faces, phone votes by the public) and so, rapidly, did Pop Stars, pop Idol, Fame Academy and all the others. But the music industry steadfastedly refused to join in, except for JOHN KENNEDY (Pop Stars) and SIMON COWELL(Pop Idol). They made millions for their corporations but the labels ignored it. Now - without me (and I remind you that I'm locked up for crimes I did not commit) it's back to awful, neo-70's pop in A Song for Europe. The TV executives have grabbed back the event. The question I want answered is - WHY? Why have the publishers allowed this? Why aren't labels shop windowing their new talent and their real potential hits? Do we - as an industry - really not care about millions of viewers and possible future sales or stars? Why do we persist in ignoring this area of exposure whilst begging for lesser slots like a play on The Box ? Please, someone explain this. It's beyond me - and very, very sad. Jonathan King
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