Drawing from the wealth of academic literature about Eurovision written over the last two decades, this book consolidates and recognizes Eurovision's relevance in academia by analysing its contribution to different fields of study The book brings together leading Eurovision scholars from across disciplines and from across the globe to reflect on the intersection between their academic fields of study and the Eurovision Song Contest by answering the question: What has Eurovision contributed to academia? The book also draws from fields rarely associated with Eurovision, such as Law, Business and Research Methodologies, to demonstrate the song contest's broad utility in research, pedagogy and in practice Given its interdisciplinary approach, this volume will be of interest to scholars and students working in cultural, media, and communication studies, as well as those interested in the intersections of culture, media, nationalism, education, pedagogy, and history

Postwar Europe and the Eurovision Song Contest examines how the Eurovision Song Contest has reflected and become intertwined with the history of postwar Europe from a political perspective. Established in 1956, the Eurovision Song Contest is the world's largest popular music event and one of the most popular television programmes in Europe, currently attracting a global audience of around 200 million people. Eurovision is often mocked as cultural kitsch because of its over-the-top performances and frivolous song lyrics. Yet there is no cultural medium that connects Europeans more than popular music, the development of which has always been tied to cultural, economic, political, social and technological change - making Eurovision the ideal tool to explain the history of Europe in the last sixty years. This book uses Eurovision as a vehicle to address topics ranging from the Cold War, liberal democracy and communism to nationalism, European integration, economic prosperity and human rights. It analyses these subjects through their cultural, political and social relationships with Eurovision entries as expressed through lyrics and music, as well as by examining public debates that have accompanied the selection of the entries and the organisation of the contest itself. Postwar Europe and the Eurovision Song Contest also considers how states have used Eurovision to define their identities in a European context, be it to assert their national distinctiveness, highlight political issues or affirm their Europeanism or Euroscepticism in the context of European integration. Based on original sources, including hitherto unpublished archival documents from international broadcasting organisations, this is a novel historical study of interest to anyone keen to know more about the postwar history of Europe and its cultural history in particular.

Postwar Europe and the Eurovision Song Contest examines how the Eurovision Song Contest has reflected and become intertwined with the history of postwar Europe from a political perspective. Established in 1956, the Eurovision Song Contest is the world's largest popular music event and one of the most popular television programmes in Europe, currently attracting a global audience of around 200 million people. Eurovision is often mocked as cultural kitsch because of its over-the-top performances and frivolous song lyrics. Yet there is no cultural medium that connects Europeans more than popular music, the development of which has always been tied to cultural, economic, political, social and technological change - making Eurovision the ideal tool to explain the history of Europe in the last sixty years. This book uses Eurovision as a vehicle to address topics ranging from the Cold War, liberal democracy and communism to nationalism, European integration, economic prosperity and human rights. It analyses these subjects through their cultural, political and social relationships with Eurovision entries as expressed through lyrics and music, as well as by examining public debates that have accompanied the selection of the entries and the organisation of the contest itself. Postwar Europe and the Eurovision Song Contest also considers how states have used Eurovision to define their identities in a European context, be it to assert their national distinctiveness, highlight political issues or affirm their Europeanism or Euroscepticism in the context of European integration. Based on original sources, including hitherto unpublished archival documents from international broadcasting organisations, this is a novel historical study of interest to anyone keen to know more about the postwar history of Europe and its cultural history in particular.

Youth and Rock in the Soviet Bloc explores the rise of youth as consumers of popular culture and the globalization of popular music in Russia and Eastern Europe. This collection of essays challenges assumptions that Communist leaders and Western-influenced youth cultures were inimically hostile to one another. While initially banning Western cultural trends like jazz and rock-and-roll, Communist leaders accommodated elements of rock and pop music to develop their own socialist popular music. They promoted organized forms of leisure to turn young people away from excesses of style perceived to be Western. Popular song and officially sponsored rock and pop bands formed a socialist beat that young people listened and danced to. Young people attracted to the music and subcultures of the capitalist West still shared the values and behaviors of their peers in Communist youth organizations. Despite problems providing youth with consumer goods, leaders of Soviet bloc states fostered a socialist alternative to the modernity the capitalist West promised. Underground rock musicians thus shared assumptions about culture that Communist leaders had instilled. Still, competing with influences from the capitalist West had its limits. State-sponsored rock festivals and rock bands encouraged a spirit of rebellion among young people. Official perceptions of what constituted culture limited options for accommodating rock and pop music and Western youth cultures. Youth countercultures that originated in the capitalist West, like hippies and punks, challenged the legitimacy of Communist youth organizations and their sponsors. Government media and police organs wound up creating oppositional identities among youth gangs. Failing to provide enough Western cultural goods to provincial cities helped fuel resentment over the Soviet Union's capital, Moscow, and encourage support for breakaway nationalist movements that led to the Soviet Union's collapse in 1991. Despite the Cold War, in both the Soviet bloc and in the capitalist West, political elites responded to perceived threats posed by youth cultures and music in similar manners. Young people participated in a global youth culture while expressing their own local views of the world.

Youth and Rock in the Soviet Bloc explores the rise of youth as consumers of popular culture and the globalization of popular music in Russia and Eastern Europe. This collection of essays challenges assumptions that Communist leaders and Western-influenced youth cultures were inimically hostile to one another. While initially banning Western cultural trends like jazz and rock-and-roll, Communist leaders accommodated elements of rock and pop music to develop their own socialist popular music. They promoted organized forms of leisure to turn young people away from excesses of style perceived to be Western. Popular song and officially sponsored rock and pop bands formed a socialist beat that young people listened and danced to. Young people attracted to the music and subcultures of the capitalist West still shared the values and behaviors of their peers in Communist youth organizations. Despite problems providing youth with consumer goods, leaders of Soviet bloc states fostered a socialist alternative to the modernity the capitalist West promised. Underground rock musicians thus shared assumptions about culture that Communist leaders had instilled. Still, competing with influences from the capitalist West had its limits. State-sponsored rock festivals and rock bands encouraged a spirit of rebellion among young people. Official perceptions of what constituted culture limited options for accommodating rock and pop music and Western youth cultures. Youth countercultures that originated in the capitalist West, like hippies and punks, challenged the legitimacy of Communist youth organizations and their sponsors. Government media and police organs wound up creating oppositional identities among youth gangs. Failing to provide enough Western cultural goods to provincial cities helped fuel resentment over the Soviet Union's capital, Moscow, and encourage support for breakaway nationalist movements that led to the Soviet Union's collapse in 1991. Despite the Cold War, in both the Soviet bloc and in the capitalist West, political elites responded to perceived threats posed by youth cultures and music in similar manners. Young people participated in a global youth culture while expressing their own local views of the world.