The Eurovision Song Contest is an annual international song competition, first held in 1956 in Switzerland, that brings together contestants from various European countries and beyond. The contest's popularity has since skyrocketed, with over 200 million viewers tuning in each year to watch performances that showcase Europe's top musical talent and creativity. The 2023 edition of the contest will mark its 68th iteration, and is set to be held in the Spanish city of Valencia. The contest is expected to include performers, songwriters, and producers from over 40 countries, each vying for the coveted title of Eurovision Song Contest champion. While the event will be held in Valencia's Palacio de Congresos, it is set to be a national affair, with each of Spain's 17 autonomous communities involved in various aspects of the planning and production.

The Eurovision Song Contest is an annual international song competition, first held in 1956 in Switzerland, that brings together contestants from various European countries and beyond. The contest's popularity has since skyrocketed, with over 200 million viewers tuning in each year to watch performances that showcase Europe's top musical talent and creativity. The 2023 edition of the contest will mark its 68th iteration, and is set to be held in the Spanish city of Valencia. The contest is expected to include performers, songwriters, and producers from over 40 countries, each vying for the coveted title of Eurovision Song Contest champion. While the event will be held in Valencia's Palacio de Congresos, it is set to be a national affair, with each of Spain's 17 autonomous communities involved in various aspects of the planning and production.

Published annually since 2008 "The Complete & Independent Guide to the Eurovision Song Contest" contains every statistic imaginable. This new edition for 2023 has 330 pages of historical records and analysis of voting, divided into four parts: Section 1: Qualification for Eurovision for the current year. We look at each country's qualification process, whether by internal selection or by nation competition. Where a national broadcaster has held a competition to select their artist and song, we give details of how the competition was organised, the points or voting percentages given to the top 3 and a brief profile of the winning performer. We also give QR code links to the official videos. Section 2: In this section we focus on this year's Contest in Liverpool. We full details of the writers and composers of each song, followed by full voting tables for each semi-final and the final, split into public and jury voting. Then there is a round-by-round record of the scoreboard to show how each country moved up and down the leaderboard as the points are announced both for the jury points and the always exciting public televote points. Section 3: Here's where the data really gets crunched. Starting with a full year by year record of each country's entries, the section moves on to records such as most successful & least successful countries, whether internally selected artists do better than those who qualify through national competitions, winning margins, how well (and more commonly, how badly) the Big 5 perform, languages songs have been performed in and which type of act generally does best, we do a deep dive into complex statistical analysis & include data on average points received for each position in the running order since 1975, the closest & most one-sided voting relationships, how points awarded by juries differ from those given by the public, geographical and bloc voting and finally every country's voting record in every Contest - If you're curious about whether some countries always favour others, this is the section for you! Appendix: Contest Details and Voting Record. A full record of every Contest since 1956. For each year we list the artists, the songwriters & composers. Then the points awarded by each country to each performer in table format. We include the semi-final details for each year since they were introduced. A complete record of every point awarded.

Guerrilla Music: Musicking as Resistance, Defiance, and Subversion explores human initiations and responses to music as a process and product intrinsically part of our culture, history, place, time and ecological musical worlds. The contributors challenge scholarly approaches wherein music is detached from the social relationships in which it is produced, transmitted, used and judged. ‘Guerrilla’ is a trope long applied to socio-political machinations, human conflict and confrontation. Guerrilla Music provocatively explores research involving music practices, stories, communities and musickers worldwide that resist, defy and subvert by silence and non-compliance, reluctant subordination, subversive depowering, resistive counterpoint, or destructive, violent dismantling. Contexts spanning the subcultural local, glocal and universal highlight the potency, passions, actions and life worlds of music, musicians and those that become engulfed in musical maelstroms that incite change. Guerrilla Music both invigorates and advances scholarly debates about social power, colonisation and difference by exploring the social semiotics of music making and communities, identifying powerful new ways of understanding human communication, and what musicking means in the twenty-first century.

This year, the Eurovision Song Contest celebrates its 60th anniversary. On this occasion, I decided to write a book for all the Song Contest fans. The “60 years of the Eurovision Song Contest - The Ultimate Fan Book” eBook contains hundreds of facts, numerous pictures and all the most important facts describing the entire Song Contest history. From the very first edition up until now. This book gives you a fast overview of what you have always wanted to know about the show. Year by year. This is the best Eurovision Song Contest pocket guide you can always carry with you! Enjoy the show! Anna Karolina Heinrich

From the good, the bad and the downright extraordinary, the Eurovision Song Contest is more than just one night of the year, it's a celebration of all things fabulous. This handy little guide is jam-packed with a myriad of Eurovision ideas to help you get your party started and guarantee yourself a great celebration that's as weird and wonderful as the acts themselves. So, get ready for questionable outfits, hilarious sassy commentary and lots of feathers. This isn't the time to be formal or trendy - focus on flamboyance and tackiness in large doses. Lay on the cheese as thickly as you can, and you won't go far wrong!

Musical vernaculars are a rare and challenging object of study. Their sound can include everything—from local folk and popular songs to random foreign hits and fragments of classic repertoire. It is an everchanging element—eclectic, whimsical, and resistant to regularity. Based on the author’s multicultural experience, proficiency in Russian and Jewish music history, and interest in anthropology, this book explores the essential features of vernaculars. They can have varying degrees of changeability; some are quite stable, and exist in closed rural or immigrant communities (phylo-vernacular), while others are dynamic, like those of an urbanized population (onto-vernacular). These types of vernacular can turn into one another when communities migrate—that is, agricultural people move to cities, and the townspeople settle on the land. Understanding the changes in the vernacular repertoires as something natural, this book defends the value of urbanized folk music, disputing the traditional view of art-music composers of rural folk songs as only “authentic” and suitable for expressing nationalistic sentiments. The book also examines unexpected interconnections between Russian and Jewish music, both in their vernacular manifestations and the creative work of Sergei Slonimsky and Dmitry Shostakovich.