Eurovision Song Contest

Subterms

    More stories

    • 88 Shares129 Views

      in Music

      Israel’s Eurovision Entrant Faces Down Her Critics

      by

      Campaigners have unsuccessfully urged the Eurovision Song Contest to ban Eden Golan because of her country’s war in Gaza. “I won’t let anything break me,” she said.Taking part in the Eurovision Song Contest is nerve-racking, even when the audience welcomes you to the stage.For one singer at this year’s contest, it will likely be a particularly anxious experience. When Eden Golan, 20, performs representing Israel at the second semifinal on Thursday, a significant portion of the audience will not be cheering for her. In fact, many people don’t want her country to be at Eurovision at all.For months, pro-Palestinian groups and some Eurovision fans have been trying in vain to get the contest’s organizers, the European Broadcasting Union, to ban Golan from taking part at this year’s event in Malmo, Sweden, because of Israel’s war in Gaza.Those protests were particularly vocal after the title of Golan’s entry was announced in February: “October Rain,” an apparent reference to last year’s Hamas attacks, in which Israeli officials say about 1,200 people were killed and 240 taken hostage. The European Broadcasting Union objected that the title and some of the song’s lyrics were overly political, and asked Israel to change them. Golan tweaked the song, which is now called “Hurricane.”Golan with members of her team at a recording studio in Tel Aviv last month.Amit Elkayam for The New York TimesEurovision’s organizers have always insisted that the contest is no place for politics, and this year is clamping down on slogans and symbols that could stir up dissent. Bambie Thug, representing Ireland, said at a news conference on Tuesday that, after a dress rehearsal, officials had demanded that the singer remove pro-Palestinian slogans from an outfit.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 125 Shares109 Views

      in Music

      Conchita Wurst, a Eurovision Star, on the Past 10 Years

      by

      Since winning the Eurovision Song Contest in 2014, the bearded drag queen has been celebrated and condemned. For her creator, Tom Neuwirth, it has been a journey.Looking back at the last decade, Tom Neuwirth is amazed by how far his 2014 Eurovision win as the drag queen Conchita Wurst has reverberated.“I think this moment, the win, happened to all of us,” Neuwirth said in a recent interview at his team’s offices in Vienna. Dressed in pink corduroys, a black hoodie and white sneakers, he was charming and sweet, jokey one second and quietly reflective the next. “People will tell me where they were and how their life took a turn from then on,” he said. “There are always big stories and emotions.”That May, 10 years ago, 195 million people watched Conchita Wurst belt out the power ballad “Rise Like a Phoenix,” representing Austria in the finale of the Eurovision Song Contest. The annual show is Europe’s longest-running talent competition, in which singers representing their countries perform for a huge TV audience that votes for its favorite act.This year’s Eurovision final takes place in Malmo, Sweden, on Saturday. The event, which has been referred to “the queer Olympics” or “gay Christmas,” has long been popular with L.G.B.T.Q. people. By 2014, the competition had already seen a number of gay, lesbian and bisexual participants, as well as several drag acts, and a trans winner as early as 1998.Yet none of those performers received as explosive a reception as Conchita Wurst, whose victory arrived amid widespread advancements in L.G.B.T.Q. rights in Western Europe that included a wave of legalization for same-sex marriage. The singer became a worldwide symbol of the divisions between liberals and conservatives, with some calling her performance a high-profile victory for queer representation, and others seeing it as a sign of the degradation of traditional Western values.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 150 Shares99 Views

      in Music

      Eurovision Fans Are Hungry for News. These Superfans Are Here to Help.

      by

      A cottage industry of blogs and social media accounts, run by Eurovision obsessives in their spare time, satisfies a seemingly endless demand.Magnus Bormark, a longtime rock guitarist in Norway, said his band had gotten used to releasing music with little publicity. So nothing prepared him for the onslaught of attention since the band, Gåte, was selected to represent Norway at this year’s Eurovision Song Contest.The phones have not stopped ringing, Bormark said — not just with calls from reporters from mainstream media outlets, but also from the independent bloggers, YouTubers and podcast hosts who provide Eurovision superfans with nonstop coverage of Eurovision gossip, backstage drama and news about the contest.Casual Eurovision observers may tune in once a year to watch the competition, in which acts representing 37 countries compete in the world’s most watched cultural event. But for true fans, Eurovision is a year-round celebration of pop music, and since the winner is decided by viewer votes as well as juries of music industry professionals, fan media hype can help boost those artists’ profiles.The rise of websites and social media accounts dedicated to Eurovision news follows a broader trend in media, where nontraditional media organizations, like fan sites, podcasts, newsletters, new video formats and publications dedicated to niche interests, are expanding in size and influence.Members of the band Gåte, representing Norway at this year’s song contest, have been surprised by the attention they have received from Eurovision fans.Per Ole Hagen/Redferns, via Getty ImagesA report published last year by the Reuters Institute for the Study of Journalism found that TikTok, Instagram and Snapchat users paid more attention to social media personalities, influencers and celebrities than journalists when it came to news.“Someone can sit in their bedroom, being passionate about Eurovision, but suddenly they have 40,000 followers,” Bormark said.One of the most followed Eurovision news sites, Wiwibloggs, was founded by William Lee Adams, a Vietnamese American journalist who works for the BBC.“The fan media is sort of covering this year round, breathlessly, because they recognize that it’s an underserved topic,” said Adams, whose site’s YouTube channel got more than 20 million view last year. “This is the World Cup of music, this is the Olympics on steroids, and it deserves attention.”A lot has changed since Adams founded the site 15 years ago. At the Eurovision Song Contest in Baku, Azerbaijan in 2012, Adams said he and a friend, dressed in hot pink pants and tight white shirts, were among a small number people in the media room who were not representing traditional outlets.“Things kind of snowballed from there,” he said. Today, Wiwibloggs has a volunteer staff of more than 40 writers, editors, videographers and graphic designers from 30 countries.As a Eurovison blogger, Lucas has attended the competition many times.Alyssa Schukar for The New York TimesThis year, about 300 members of the fan media, representing nearly 200 publications, social media channels and podcasts, are registered to cover the Eurovision finals in Malmo, Sweden. Another 200 fan journalists have access to the competition’s online media room, according to the European Broadcasting Union or E.B.U., which oversees the event. That’s in addition to the more than 750 journalists from traditional media outlets expected to attend, including one reporter from The New York Times.Alesia Lucas, a Eurovision commentator from the Washington, D.C., area, said she started a YouTube channel in 2015 as a way to find with other people who were passionate about Eurovision — not easy for an American. As her audience has grown, so has the role of bloggers in setting the tone of conversations about the artists, she said.“We start banging the drum earlier than even the E.B.U. to start getting Eurovision back into the zeitgeist and highlight the moments that are notable,” said Lucas, who uses the name Alesia Michelle for her YouTube channel. She records content at 6 a.m., before her daughter wakes up, and edits video after she’s finished her day job of handling communications for a labor union.The Eurovision commentator Gabe Milne produces videos for his YouTube channel when he’s not at his day job at London City Hall. “Often I’ll do eight or nine hours there, come home, and then spend six or seven hours of research, getting everything ready,” he said. Compared to past years, “you’re seeing a lot more professional-style content,” he said.Lucas records content at 6 a.m., before her daughter wakes up, and edits video after she’s finished her day job of handling communications for a labor union. Alyssa Schukar for The New York TimesYet fan media has mostly stayed away from a topic that mainstream media outlets have covered extensively: a campaign to exclude Israel from the competition because of the mounting civilian death toll in Gaza.“We’re not journalists,” said Tom Davitt, an Irish physical therapist who records Eurovision YouTube videos on evenings and weekends. “We’re not even amateur journalists, we’re just amateur content creators, so wading into this kind of stuff — we’re just not trained for it.”While reporters from mainstream media outlets tend to be impartial observers of the competition, many fan media are not aiming for neutrality. When USA Today hired a dedicated Taylor Swift reporter who was also a self-proclaimed Swiftie, it raised questions: Is it possible for a fan to maintain objectivity? Would someone who is not a fan understand the subject well enough to cover it?Charlie Beckett, the head of a think tank focused on journalism at the London School of Economics, said objectivity was not the goal in Eurovision.“The whole point of Eurovision is that you’re incredibly biased according to your nationality and which singer you like,” Beckett said. The growing numbers of fan media sites reflected the growth in hype around Eurovision, even nearly 70 years after its first edition. “It seems to ride out any kind of fashion reversal,” he said.Lucas, from the D.C. area, said that while mainstream media outlets report on Eurovision as a circus, it was now more mainstream than people credit. “Yeah, it’s camp, a little bit,” she said, “but you can’t tell me that Katy Perry’s halftime show was not camp either.” More

    • 138 Shares169 Views

      in Music

      Palestinian Flags Fly at Protests Worldwide. They Won’t Be at Eurovision.

      by

      The organizers of the glitzy singing contest said that attendees would be allowed to wave only the flags of participating nations — including Israel’s.Protesters are waving Palestinian flags on American college campuses and in cities around the world to put pressure on Israel to end the war in the Gaza Strip. But there is one place where that symbol will be absent next week: inside the Eurovision Song Contest.Attendees at this year’s event in Malmo, Sweden, which starts on Tuesday, will not be allowed to bring Palestinian flags or wave banners with slogans about the war between Israel and Hamas, a spokesperson for the European Broadcasting Union, which organizes the contest, said on Thursday.Ticket buyers at this year’s Eurovision Song Contest are allowed to bring and display only flags representing the 37 participating countries, the spokesperson said in an email. That includes Israel. The only exceptions are rainbow and pride flags representing L.G.B.T.Q. people, the spokesperson added.Eurovision has long billed itself as an apolitical contest. The spokesperson said although the flags policy was reviewed every year, it had not changed since the last edition, held in Liverpool, England. But the rule has upset some Eurovision fans who for months have been calling for the event’s organizers to ban Israel from taking part because of its military campaign in Gaza.Inga Straumland, an Icelandic fan, called the decision to disallow Palestinian flags “appalling” and said in an interview that the move was “a strong limit on freedom of expression,” especially given that the flag of Israel, a Eurovision contestant, would be present.Although Israel is not in Europe, the country is eligible to compete because its broadcaster is a member of the European Broadcasting Union. The country has won Eurovision four times since first entering in 1973.This year, the 20-year-old singer Eden Golan will represent Israel with the song “Hurricane.” Until European Broadcasting Officials intervened, its original title was “October Rain,” and Eurovision fans have widely interpreted it as a statement about Israeli grief after the Oct. 7 Hamas-led attacks that Israeli officials say killed about 1,200 people.The Eurovision Song Contest is the world’s most watched cultural event. Last year, over 56 million viewers tuned into the competition final live on television, with some 7.6 million more watching on YouTube.Since Eurovision began in 1956, the European Broadcasting Union has banned political statements from the stage, insisting the contest should unify countries rather than dividing them. But this year it has struggled to stop the war in Gaza from making its presence felt.In the months after Israel began its military campaign in Gaza, thousands of musicians and fans from countries including Iceland, Ireland and Sweden signed petitions urging Eurovision’s organizers to ban Israel from the event over the high rate of civilian deaths and the widespread destruction in the occupied territory, where the United Nations says the population is now on the brink of famine.The campaigners say that Eurovision’s ban on Russia participating after its 2022 invasion of Ukraine set a precedent. But Eurovision’s organizers reject the comparison. “We understand the concerns and deeply held views around the current conflict in the Middle East,” the broadcasting union said in a statement in January. Still, it added, Eurovision is “not a contest between governments.”In a more recent statement on its website, the broadcasting union said it would not clamp down on pro-Palestinian demonstrations outside the arena during this year’s finals. The union “is a firm advocate for freedom of speech,” the statement said, adding: “We understand that people may wish to make their voices heard and support the right of those who wish to demonstrate peacefully.”Dean Vuletic, an author of a book on Eurovision’s political history, said in a telephone interview that its organizers had clamped down on flags in 2016, in part to prevent the display of the symbols of terrorist groups like the Islamic State. They also banned flags from disputed territories and those promoting separatist causes — much to the annoyance of fans from Kosovo and Catalonia. Even the European Union’s flag, which was previously allowed, is now not permitted, Vuletic added.Some fans said they accepted the policy. Sophia Ahlin, the chair of a Swedish Eurovision fan club, said in a text message that “it’s nothing unusual” to allow only flags from participating nations.But others said the contest’s decision had turned them off. Straumland, the Icelandic fan, said she would not be watching this year’s event because of Israel’s involvement, even though Eurovision was “the biggest source of happiness in my life along with my son.” Instead, she said, she would be going to an alternative party, where drag and burlesque acts would cover old Eurovision hits.And, she added, she would be taking a Palestinian flag. More

    • 88 Shares149 Views

      in Music

      Israel’s Proposed Eurovision Entry Causes a Storm

      by

      A song called “October Rain” might simply be a ballad about dreary fall weather. But in the charged atmosphere following the Hamas-led attacks on Israel of Oct. 7, the title could also signal a lament about that tragedy, or a rallying call to stand firm against terrorism.This week, the meaning of “October Rain” — a song that very few people have heard — became a contested question when newspapers in Israel reported that a song with that name had been chosen to represent the country in this year’s Eurovision Song Contest.Although initial reports gave few details of the song, they sparked a furor on social media. Some Eurovision fans complained that the track was clearly referring to Oct. 7 and should not be allowed in the nonpolitical event in which pop stars, representing countries, compete against each other each May.Since Eurovision began in 1956, the European Broadcasting Union, which organizes the contest, has forbidden songs that make political statements, insisting that the competition should unify, rather than divide. Every year, the union vets proposed lyrics to ensure they do not undermine that principle. Although Israel is not in Europe, its broadcaster is a member of the European Broadcasting Union, making the country eligible to compete in Eurovision.On Wednesday, the news division of Kan, Israel’s public broadcaster, reported that the organization had begun discussions with the European Broadcasting Union over the suitability of “October Rain.” If the union refused to approve the track, the report speculated, Israel would not submit an alternative and would therefore be barred from the contest.Miki Zohar, the country’s culture minister, said in a post on X on Wednesday that it would be “scandalous” if the song wasn’t allowed to compete.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 113 Shares189 Views

      in Music

      Israel Chooses a Eurovision Act as Boycott Campaigns Swirl

      by

      Eden Golan will represent the country in May, in a contest that looks set to be overshadowed by the war in Gaza.The singing contest’s glitzy lights and glittering dresses were supposed to be a respite after another depressing, hostage-filled news day on Israeli TV.Yet a somber mood hung over the finale of “Rising Star,” the show that selects Israel’s representative for the Eurovision Song Contest, as it pitted four young pop singers against one another on Tuesday night.This year’s winner, Eden Golan, 20, dedicated her performance of “I Don’t Want to Miss a Thing” by Aerosmith to the more than 100 Israeli hostages still held in Gaza. “We won’t truly be OK until everyone returns home,” she said.As the victor, Golan will travel to Malmo, Sweden, in May to represent her country in Eurovision, a high-camp spectacle watched by tens of millions and decided, in part, by a public vote. It is not an obvious proxy for war. But as the civilian death toll in Gaza has mounted, there have been growing calls for Israel to be banned from this year’s event.Several prominent, artist-led campaigns argue that recent decisions to exclude Russia and Belarus set a precedent, and that Israel should be banned for human-rights violations. Eurovision officials reject those comparisons, but when Golan performs in Malmo, it seems certain that many voters will be thinking about more than just her singing.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 150 Shares119 Views

      in Music

      Sara Tavares, Portuguese Singer Who Prized Her African Roots, Dies at 45

      by

      She drew on rhythms from across the African diaspora and sang in Portuguese, English, Cape Verdean Criolo and Angolan slang.Sara Tavares, a Portuguese songwriter, singer and guitarist with a gentle voice and an ear for global pop, died on Nov. 19 in Lisbon. She was 45.Her label, Sony Portugal, announced the death, in a hospital, on social media. She had been diagnosed with a brain tumor in 2009.Ms. Tavares began her career in the pop mainstream, singing R&B-influenced songs in Portuguese and English. But as she found her own style, she came to embrace her African roots.Her parents were from Cape Verde, a nation of islands off the coast of Senegal, and Ms. Tavares increasingly drew on rhythms from across the African diaspora: Cape Verdean morna, funaná and coladeira, Brazilian samba and bossa nova, and Angolan semba, as well as funk and salsa.She often defined rhythmic fusions with her own intricate guitar picking, and she sang in Portuguese, English, Cape Verdean Creole (known as Criolo) and Angolan slang. In “Balancê,” the title song of her 2005 album and one of her biggest hits, she sang in Portuguese about wanting to share “A new dance/A mix of semba with samba, mambo with rumba.”Sara Alexandra Lima Tavares was born on Feb. 1, 1978, in Lisbon; her parents had moved to Portugal from Cape Verde earlier in the decade. She grew up admiring American singers like Aretha Franklin, Stevie Wonder and Donny Hathaway; learned English; and delved into gospel music.At 16, she won a nationally televised contest, “Chuva de Estrelas,” singing the Whitney Houston hit “One Moment in Time.” She went on to represent Portugal at the 1994 Eurovision Song Contest.Her debut EP, “Sara Tavares & Shout,” released in 1996, emulated American pop-R&B and featured a gospel choir called Shout. Her 1999 album, “Mi Ma Bo” (“You and Me”), was produced by the Paris-based Congolese songwriter Lokua Kanza and dipped into an international assortment of styles. It was certified gold in Portugal.Ms. Tavares fully came into her own with the albums she released in the 2000s, which she produced or co-produced herself: “Balancê” in 2005, “Xinti” (“Feel It”) in 2009 and — after a hiatus following her diagnosis with a brain tumor — “Fitxadu” in 2017, which was nominated for a Latin Grammy Award. (“Fixtadu” is Criolo for the Portuguese “fechado,” which means closed.) Intricate, transparent and seemingly effortless, carried by acoustic guitars and percussion, her songs offered yearning introspection, thoughts about love and socially conscious admonitions.Ms. Tavares in performance in Lisbon in 2018 with the Brazilian hip-hop artists Emicida, left, and Rael.Jose Sena Goulao/Epa-Efe/Rex, via Shutterstock In an interview promoting the release of “Balancê,” she said: “When I walk around with my friends, it’s a very, very interesting community. We speak Portuguese slang, Angolan slang, some words in Cape Verdean Criolo, and of course some English. In Criolo there are already English and French words. This is because slaves from all over the world had to communicate and didn’t speak the same languages.”She added: “I want to be a part of a movement like the African Americans were, like the African Brazilians were. Instead of doing the music of their ancestors, they have created this musical identity of their own. And it is now respected. It is considered whole and authentic and genuine. It will be a long time before the people from my generation do not have to choose between being African or European. I think you shouldn’t have to choose.”Between her own albums, Ms. Tavares collaborated widely, recording with the Angolan electronic group Buraka Som Sistema and the Portuguese rapper and singer Slow J, among others. Her last release, in September, was “Kurtidu,” a single that used electric guitars and programmed beats. Her voice stayed friendly and airborne on every track she sang, sailing above borders.Information on survivors was not immediately available.Ms. Tavares received online tributes from the presidents of both Portugal and Cape Verde, where she had won Cabo Verde Music Awards for best female voice in 2011 and for “Fitxadu” in 2018.President José Maria Neves of Cape Verde said on Facebook:“Sara Tavares, through her voice, her smile, her glance, was able to plant peace, friendship and brotherhood among Cape Verdeans, and also between Cape Verdeans and the world.” He added, “Your light will illuminate the path that still lies with us, in this land that temporarily welcomes us.” More

    • 113 Shares179 Views

      in Music

      Russia Puts Jamala, Popular Ukrainian Singer, on Wanted List

      by

      Jamala, the song contest’s 2016 champion, had been a prominent advocate for Crimea’s Tatar population. The region was annexed from Ukraine by Russia in 2014.Russia has added a popular Ukrainian singer who won the Eurovision song contest seven years ago to its wanted list, as Moscow expands its efforts to target cultural figures who have been critical of its invasion of Ukraine.The singer, known professionally as Jamala, appeared in the Russian Interior Ministry’s wanted database under the name Susana A. Dzhamaladinova. Her name appeared to have been added to the list in October but was publicized in the Russian media on Monday.The listing did not specify the accusations against her, but according to Zona Media, a Russian news website, Jamala, 40, has been accused by the authorities of spreading false information about the Russian Army’s activities.The action is likely to have little more than symbolic impact for the singer, who lives in Ukraine. Jamala, who is currently in Australia, reacted to the news by posting a picture of herself in front of the Sydney Opera House on Instagram with a face-palm emoji superimposed.The Ukrainian singer is of Crimean Tatar origin, and she has been a prominent advocate of the Tatar people who are native to the Crimean Peninsula but who were deported in large numbers when the region was part of the Soviet Union. Russia annexed Crimea from Ukraine in 2014 after a popular uprising ousted a Russia-leaning president in the Ukrainian capital, Kyiv.Jamala won the Eurovision song contest in 2016 with a song dedicated to the Crimean Tatars who were deported in the 1940s after they were accused of cooperating with Nazi Germany. Her ancestors were deported to Central Asia, where she was born.“No matter where I am, the first priority for me is to remind that foreigners came to my house to kill and mutilate life, to destroy and rewrite my culture,” Jamala told President Volodymyr Zelensky of Ukraine in Nov. 2022. “It happened in 1944, and then in 2014, and now again,” she said. “Now everyone in Ukraine understands that this can happen to anyone, if evil is not stopped and brought to justice for crime.”Ukraine has been using Crimean Tatar heritage to counterbalance Russian cultural domination of the region, which became part of the Russian empire after it was conquered in the 18th century. In 1954, the peninsula was transferred from Russian to Ukrainian authority within the Soviet Union.The targeting of Jamala appears to be part of a campaign by Moscow to silence activists who refuse to accept its rule of Crimea and who oppose the war against Ukraine — both within Russia and beyond its borders.According to Izvestia, a Russian newspaper, more than 30 Ukrainian artists had been banned from entering Russia as of April 2022.At least a dozen popular Russian artists who publicly condemned the invasion of Ukraine were declared “foreign agents,” a term that stigmatized them as being on the payroll of foreign governments. Many other artists were prohibited from performing in the country.Russia has also stepped up efforts to create its own popular-music market, after being essentially shut out of the European one — including the Eurovision contest — after the invasion of Ukraine in February 2022.Last week, Olga B. Lyubimova, Russia’s culture minister, announced the creation of the country’s own popular song contest, called Intervision, according to Interfax, a Russian news agency. It will share its name with the communist equivalent to the Eurovision song contest during the Soviet era. More