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ara-line · 2 months

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Some myth busting about Israel's Eurovision participation

Do note that I use countries here when referring to participation. The term broadcasters would be more accurate since a national broadcaster chooses the entrant and the broadcaster is a member of the European Broadcasting Union, the organization behind Eurovision. But a lot of people use the term countries instead of broadcasters, hence why I'm using that word as well.

Myth 1. "Israel isn't even in Europe"

Well, any country that's part of the European Broadcasting Union (EBU), which Israel, Azerbaijan, Armenia, and Georgia are members of, can participate. Same goes for associate members like Australia, hence why Australia is allowed to participate. Lebanon and Morocco could also participate but choose not to because of Israel. In fact, Morocco's only participation was when Israel wasn't participating in the contest, and Lebanon planned to participate but didn't because of Israel's participation. There are rumours going around that this is also the case for Tunisia and Qatar.

Myth 2. "Eurovision banned Russia but not Israel."

Not completely true. Russia was initially going to participate in the 2022 contest, but several countries protested against Russia's participation and threatened to withdraw if Russia was allowed to participate, thus leading to them being kicked out. We will come back to this point about several countries threatening to leave.

Myth 3. "A lot of the artists speaking out about Israel could actually just withdraw from the contest to make a real statement."

You do realize the EBU actually will fine countries if they withdraw too late without good reason? I'm pretty sure a lot of these countries have contracts in place for their contestants, and since the contest is set to take place in mid May, withdrawing would mean possibly being blacklisted from the music industry and losing out on more opportunities. Not for being pro Palestine, but because they backed out on a contract they signed and left the many, many people who work behind the scenes high and dry on really short notice.

Technically not a myth but worth mentioning: 4. "Israel should be kicked out because her presence is a security risk."

Where do we even begin with this? If a country like Sweden, where the contest is being hosted, isn't able to protect its contestants from terrorist attacks, they shouldn't be hosting. It's that simple. I doubt anyone would've said this if Russia was allowed to participate in 2022.

Myth 5. "Eurovision lets Israel pinkwash its crimes."

@pauvrecamille really summed up how a lot of the discourse around pinkwashing can be boiled down to "country I hate gives their gays more rights than one I like." We could talk about how the only transgender winner is from Israel herself.

And if there is a case to be made for pinkwashing in Eurovision, I would argue that it applies more to Russia and Azerbaijan than it does to Israel. At least Israelis can criticize their government and not fear being arrested.

Speaking of Azerbaijan:

Myth 6. "If even one country withdraws from the contest, then that will send a statement to the contest."

Not true. Armenia withdrew from the 2021 contest because of the war with Azerbaijan, while Azerbaijan was allowed to participate in the contest. This is even after we already know they've cheated twice in the contest, on top of the human rights violations. And we could talk about how so many were forcibly displaced because of Azerbaijan hosting the competition in 2012.

We can also talk about how Ukraine withdrew from the contest in 2015 because of Russia's invasion. Russia was still allowed to participate and went on to place second that year.

In 2008, Russia invaded Georgia and in 2009, the Georgian entry was called "We Don't Wanna Put In" which contained veiled references to Putin's invasion. Because Russia was hosting the contest that year, the EBU tried to get Georgia to change their song. Georgia refused and ended up withdrawing.

Remember what I said about several countries threatening to withdraw if Russia was allowed to participate in 2022? It took a total of 10 countries expressing their concerns about Russia's participation and three or four threatening to withdraw if Russia was allowed to actually get the EBU to reverse course on their decision. So there's that.

EDIT: Myth 7: "People wouldn't be bullying the artists for participating in the contest if the EBU kicked Israel out."

Why am I even surprised this is a talking point?

Edit: Myth 8: "Eurovision is treating Israel differently because of the whole lyrics change situation."

I've seen this on both sides, and this is not true. I've mentioned Georgia earlier, but I also want to mention Armenia's 2015 entry, originally called Don't Deny. It was changed to Face the Shadow and allowed to compete. It's reportedly about the Armenian genocide. The point is, stuff like this happens all the time. In 2021, in the midst of protests and lack of freedom, Belarus sent a pro government band with a song containing veiled lyrics threatening to subjugate the protestors. The EBU allowed them to submit another song but ultimately, Belarus was kicked out after they still failed to follow the rules.

So no, this is not out of the norm. At least from what I know. I'm more than happy to edit this section out if I have been proven wrong. God knows I've edited this post many, many times.

Final thoughts:

A lot of the people who are all high and mighty about boycotting Eurovision would absolutely not be doing that if it was Russia participating. They certainly didn't when Azerbaijan did in 2021.

A lot of the misinformation around Eurovision this year can be chalked up to antisemitism and not understanding how contracts work. I think it's also really performative and virtue signaling at best. Yes, it's true that the postcards(clips for the broadcast while preparing for the next performer) for the 2019 contest, held in Israel, where filmed in disputed territories.

Actually, let's talk about the postcards.

You see, KAN, the Israeli broadcaster, chose not to film the postcards in territories like the West Bank. And they were criticized for it by the right wing Israeli government. So there is a true fact about something bad the Israeli government did that you can criticize them for.

Now back to the topic at hand.

Yes, it's true that Israel's lyrics were changed so they could go ahead and participate this year. It's just that now, it's really difficult to have a sane conversation about Israel in general. It's difficult to have a sane conversation about antisemitism with some people. Take this post here trying to combat antisemitism only to end up having to fight Islamophobia. Put a big F in the chat for the OP of that post, yikes.

If no one got called anti LGBT when the World Cup was held in Qatar and people still watched, I don't see why people who choose to watch Eurovision this year should be called pro genocide.

Last but not least, I want to end this on a more positive note, so this year's contest is looking really good. No one's completely sure who will take the win this year, but right now the song with the most bets to win the contest is Switzerland. It's not like 2023, where we all knew who was going to win weeks before the actual contest. So I'm interested in the outcome this year. You guys are more than welcome to throw in your own opinions on this year's caliber of songs if you want.

#a lot of my fellow anti #tankies #will probably appreciate this post because of how much misinformation is going around about Eurovision and Israel this year #hence why I've tagged it as such #eurovision song contest #palestine #stop making the left look bad you donkeys #most of you don't know what you're talking about #israel #misinformation

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beauty-and-passion · 9 days

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Eurovision 2024: broken promises and one last hope

Hello.

I know this post took a bit longer than usual, but I needed some time to collect my thoughts about this year’s Eurovision.

Yes, I watched it. Why? Because it wouldn’t have been fair to the artists, who took part in this year’s competition. It’s not because of them that the show was so polarized, so they didn’t deserve to be punished for that.

Also, I needed to see how far the EBU would go. I needed to see and I needed to remember. And everyone needs to remember too. Remember this year and remember what happened, when the EBU followed its policy so strictly, it ended up making the most tense show I’ve ever watched.

I will share my thoughts and I will try my best to do it effectively. It won’t be a short post and I apologize, but I tried my best.

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Sweden: was it worth it?

We all had big expectations for this year’s show. There was Petra Mede, everyone’s favorite host. And Sweden is well known for doing great shows. This year should've been great.

The first semifinal starts and we're bombarded by greatest hits of the past. Cool for five minutes, boring after one hour.

I’m disappointed: I expected something better from Sweden, not them recycling something already done in the past. But that’s what they did by sending Loreen back to win again, so I suppose it’s fitting.

Okay, so we have Johnny Logan, Ireland’s three-time winner. Is he singing one of his songs? No, he’s singing Tattoo.

Weird choice. Why call Ireland’s three-time winner to perform a Swedish song? Why call a representative of the nation who won as many times as you and make him sing one of your songs and not one of his?

If I were to think badly, I would think this was Sweden's subtle way to impose its supremacy on Ireland. A sort of: "You're not the best anymore, I reached you and I will surpass you. You will succumb to me". But Sweden would never do something like that, wouldn’t it?

Then we have the second semifinal. And we have a song, which can be resumed as follows: “We know we stole Finland’s victory last year, but instead of admitting there is a problem with the voting system (and the entire system for that matter), we’d much rather prefer to whine, because people have been sooooo mean with us. And yes, we will keep sending the same stuff every time, because it makes us win. At the end of the day, all we want is to keep winning, so shut up and love us.”

I don’t know you, but the line between being self-aware of your flaws and openly admitting all you want is to win (all while insulting the country that almost won last year, by saying that their show would’ve been so stupid ah ah, while ours is so cool, see how cool we are?) is very thin. And even the greatest hosting country of all time can succumb to its own hubris once in a while.

Then we reach the final. Okay, the semifinals' shows were meh and left me with a bitter aftertaste, but hey, that’s the final! It must be awesome!

After two hours, I was looking at the clock, waiting for the entire thing to be over.

Did we really need a thirst song about Martin Österdahl, the most hated EBU Executive Supervisor? Was it really necessary to sexualize this man? Is it because he’s Swedish? Is it because Sweden needs to kiss the ESC’s ass even more? Or is it because the ESC really really wants to make this guy more popular, considering people hate him?

After hinting at them in every possible way for the entire week, in the end we got AI-generated ABBA. Well, shoutout to the real ABBA for not participating in this: last year they said they would’ve not taken part and they didn't. Respect.

Alcazar were the biggest surprise of the entire week, because they are a piece of my childhood and Crying at the Discoteque is still a huge bop. But heaven forbid we having fun for more than five minutes, so they were sent away immediately.

At the end of the day, my question is: was it worth it, Sweden? Was it worth winning seven times, only to celebrate with the most boring show ever?

I cannot believe I’m saying this, but I missed Portugal’s show. Yes, the show I called “torture”, because they kept spamming the entire country for days.

You know what? I’d rather watch a country constantly spam its beauties and its culture, than another greatest hit compilation. By god, you’re hosting Eurovision. That's your chance to display your country on the greatest window Europe has to offer. And you use that chance, to repeat over and over “Eurovision good” and talk about it only.

I know Eurovision is good and cool and I love the reminder... but please, give us something more, Sweden. Something you. Listening to a country say: “We don’t have anything else to offer besides Eurovision” does not make me laugh. It makes me sad. It's not that you don't have anything else to offer, Sweden: it's that you don't want to show what else you have to offer.

You have gorgeous natural places (Höga Kusten and Gotland just to name two). You have the second-longest bridge in Europe and it's fucking impressive. Your capital is full of wonderful islands - and I found out there are tours with buses that go both on the ground and in the water. How fucking cool is that?!

Do we want to talk about culture? Your coffee breaks are literally part of your lifestyle and even have a specific name. You have that great concept of lagom which a lot of people should learn too. You are full of beautiful art and funny foods - heck, there is even a Disgusting Food Museum in Malmö! And I didn't find out thanks to Eurovision, but thanks to fucking Tripadvisor.

It's just sad, you know? Don't underestimate yourself so much, Sweden. You have a ton to offer besides this show.

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The Netherlands: victim of paradoxes

Europapa was one of fan’s favorite songs and of course it was: a catchy tune, funny singer, fun and happiness for a song that was both a celebration of Europe and a touching love letter from Joost to his parents.

Of course it got people’s hearts. We all love the story of a character who comes up with a dream and wants to fulfill it. And if we can, we want to make that dream come true.

So just imagine how devastating it was, to find out Joost has been disqualified. I was minding my own business when I found out and I was shocked, so I can’t even imagine how bad his hardcore fans felt.

The first question was, of course, why. What happened? What could’ve done a man who has always wanted to attend Eurovision, to get disqualified? Not warned, not penalized. Disqualified. What did he ever do, to put in jeopardy his lifelong dream like that?

I don't know if we’ll ever find out the whole truth. All we know is that Joost asked a woman to stop filming him, she refused and kept following him, so he made a “threatening gesture” towards the camera, while not touching her.

Which gesture? No idea. Maybe he showed his middle finger, maybe he tried to lower the camera, maybe he said “fuck you and stop filming me”, maybe he tried to hit the camera. I don’t know. But in this case, I would really like to know - and not just what he did, but how the whole thing went.

If this year taught us something, is the importance of context. If Joost Klein tried to punch the camera is one thing and he should be condemned for that. But if Joost Klein tried to punch the camera after being filmed without his permission, because a woman was harassing him and following him, thus breaking the agreement that wanted him to not be filmed after stage… well, that's another thing.

Sure, he shouldn’t have reacted this way. But you can understand by yourself that snapping at someone out of the blue is one thing and snapping because you’re fed up with harassment is another thing.

Did Joost deserve some punishment? Sure. But did the person filming him without consent deserve punishment too? Of course. If you have to apply punishments, you have to do it equally, not with a double standard. So if he was disqualified, that woman should've been removed from her position too. But as far as I know, she wasn't.

Also, why didn't the EBU tell exactly what happened right from the start? Why refer to it as “an incident” and give only vague explanations? Why not mention Joost's disqualification during the Grand Final? Why did people have to find out through social media and the Grand Final happened as if nothing?

That's weird, that's not the behavior of someone who has nothing to hide. What’s the matter, EBU? Why this weird lack of communication? And why not show the footage of the incident and make everything clear? Now you’re respecting Joost’s right to not be filmed? A bit too late for that, isn’t it?

So yes, in a paradoxical turn of events, Joost Klein got his dream denied by the same show he wanted to be part of. The guy with the most European song ever, the one who stuck to the ESC motto “united by music”, the one who celebrated Europe, the one whose childhood dream was to be part of this European show, got disqualified by the same European show.

What can I say? I just hope karma will do its job for him. If he's innocent, he will get good things. If he's in the wrong, he will get his punishment.

In the meantime, you can still support him, stream his songs and check his albums. Here on YouTube you will find basically all of them, since it doesn’t seem he has a YouTube channel (yet).

And if his fans still find everything absurd and unjustifiable, don't worry: if Eurovision 2023 (and all previous ones) taught us something, is that you don’t have to be the winner, to steal people’s hearts. Sometimes, you just need one performance.

And this one stole everyone's heart.

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Also, since apparently paradoxes were not enough, it seems like European flags were banned for being political? European flags during a European show in a European country in the European continent.

Uh?!

EBU, one question: on which continent do you think you’re in? Spoiler: it’s not America.

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EBU’s biggest mistake

Let's talk a bit about the current global situation, shall we? No, you can't escape from it.

So, unless you lived under a rock until now, you know that the Israeli-Palestinian conflict has been going on for a long time and that recently it intensified again because of the new Gaza conflict. Israel pretends to not have committed war crimes, the rest of the world tells them to stop committing them, there are protests everywhere and people are ready to jump at each other’s throats to defend one country or the other.

Now, you’re the EBU. You say your show isn’t political. And that’s true: Eurovision isn’t political. Eurovision is a musical competition. It has nothing to do with politics.

But Eurovision takes place on planet Earth. And, as said, the situation on planet Earth is a bit tense right now. So you already know that, if you stick one single finger in this situation, you will get BIG reactions from the public.

So, what do you do, when Israel asks you to participate?

a) You tell Israel, very politely and very professionally, that you appreciate their application, but cannot accept them this year, because the situation is what it is and letting them in would bring chaos and potential dangers into a contest whose main foundation is being safe and non-political.

b) You let Israel in and let Palestine participate too, at least in spirit through people’s voices and decisions to mention it. This way, no one can say you’re taking sides, since you’re letting both sides participate.

c) You let Israel in and censor everything and everyone else, so not only you bring chaos inside your non-political contest, but make it even more political than ever and end up taking sides too.

Guess what EBU chose.

In order to stick to their non-political policy, EBU put blinders on and ignored the rest of the world. In order to let one country in because "Eurovision is non-political, so everyone is allowed to participate", they brought politics into their non-political show.

And no, it's not unexpected: it was obvious that, by letting Israel in, politics would've entered the competition too. This country and politics are bound tightly now, because of the current situation: of course if you let one in, the other will enter too.

And with politics, all the chaos of the current situation found its way in too. And that means EBU literally put in danger:

25 artists and their teams coming from all over Europe

the same Israeli gal and her team

all the tourists coming from all over the world to attend Eurovision

Swedish people who were living their normal lives and were suddenly surrounded by protests and chaos

the protesters who could've been involved in potential clashes

members of the police who also could've been involved in potential clashes

“But hey”, you might say, “nothing bad happened, in the end! You’re being too negative!”

Sure, thankfully nothing bad happened. But the risk was there, it was huge and it's not that "it would've been here anyway": the risk could've been completely avoided, by applying just a bit more human reasoning.

But even after politics found its way into the show, even after that, EBU could've saved the whole thing. If only one human being with a functioning brain said something like: "Okay, politics is in, even if we didn't want to. Now all we can do is let the other side of the conflict speak too, while we stay neutral".

But no, oh no. Mentioning Palestine and ceasefire means politics and our show isn't political. So let's ignore the fact that our decision to follow the policy verbatim led to politics being inside the show and let's keep applying the rules as if nothing: no one should mention politics, so Eric Saade cannot perform with the kefiah, Bambie Thug should remove their messages about ceasefire, Iolanda cannot keep her nails with Palestine's colors (seriously?!) and people's booing should be drowned with anti-booing technology.

You know, it's incredibly fascinating how EBU's stubborn decision to strictly follow the rules not only allowed politics inside the show, but led to the EBU itself taking a political stand, all while censoring every other opposition. EBU's rigid, mechanical application of the policy led to the EBU contradicting the same policy it was oh-so-religiously following. By making sure the show wasn't political, EBU applied censorship and not only made it even more political, but politically oriented towards one side of the conflict.

I don't know who the EBU members are and if they're human beings with functioning brains or just AI-generated bots, but please: stop following the rules like mindless robots and start using human reasoning in your decision-making process. And use common sense too, because if an idiot like me could foresee the consequences, you should've been able to foresee them too.

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Israel: bullying cannot buy you victory

Now, we have Israel in. And the Israeli gal and her team perfectly know that their sole presence will lead to controversy and political stands.

So, if you were in their place, what would have you done?

kept a low profile during the entire competition;

showed at least an ounce of regret for unintentionally putting everyone in danger;

bullied everyone and tried to find any possible chance to beef with the other artists;

Guess what the Israeli team chose.

During the entire competition, these people kept harassing other artists, filming them without consent, calling them names, misgendering them. They kept this arrogant behavior, as if they owned the place and all other countries were just invited to their show.

And if there’s something I hate more than arrogance, is arrogance with a side dish of bullying.

So, to all the people whining because “Martina Satti yawned while Eden was speaking and Joost hid his face”: if that’s bullying, for you, you have a great life and I envy you. I wish I was bullied like that in school. But my bullying was more like… well, calling me names, harassing me and listening/spying what I was doing without my consent.

But apparently harassing the competitors wasn’t enough, so Israel decided to harass the viewers too, by begging for votes. Yes, they begged for votes. Yes, they spammed ads all over YouTube. Yes, I got one too and it was on a Eurovision-unrelated video and it made my blood boil. Yes, they were this desperate. And yes, that’s pathetic.

Also: is this legal? Is this allowed? EBU, are we sure this is part of the rules you follow so strictly? And please, tell me: is harassment also part of those same rules?

But do not worry: in the end, karma found its way. And despite the arrogance, the harassment, the tons of money spent to beg people, none of these means was enough to grant Israel the victory they oh-so-desperately wanted.

On the contrary: in a wonderfully ironic twist, the winner was one of the artists they kept misgendering and harassing. Mmmh, delicious irony, my favorite.

So thank you Israel for wasting money all over YouTube, I hope they were a lot. Thank you to all the people who made a political vote, you really got the spirit of the show, I hope you will never watch it again. Thank you Israeli team for harassing everyone and making an already tense competition even more tense. And, most importantly, thank you EBU for bringing politics in a non-political show: great fucking job, I hope someone will get fired.

And now, let's finally talk about music. Israel's song was nothing special, just the umpteenth bland song I've listened to 200 times already. And we all know it didn't get 300+ votes because everyone was in love with it. People's taste is not so bland and boring. And the final points proved it.

(On a side note, if I were Eden, I would be offended by these votes. At least the people who voted for Loreen last year didn't do it because of Sweden, but because of her talent. This year, I doubt that the people who voted for Eden gave a shit about her talent at all)

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France: I need to make some apologies

Listen, you have to understand: we Italians know that French singers are good. We laugh, we say they’re “so French” and they keep Frenching and everything, but we know they rarely disappoint.

The problem is that France is good at the same things we’re good too. We’re both good at soccer, we’re good with food, wine, fashion. And we’re both good at singing.

So, France, remember: we might make fun of you but my god, your artists are amazing. When Slimane sang that part acapella two meters away from his microphone, I literally got shivers. He is a fucking great singer, his voice is incredible and he deserved more than 7 points.

I know French Frenching, but we should give credit when necessary:

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Estonia, Spain and basically everyone else: two words and more apologies

Estonia 20th and Spain 22nd? Super robbed. The ignominy. The audacity. They served us beautiful Estonian language and a Spanish gal with a soft voice and that's how they got rewarded? They deserve more and better and people are stupid.

Also, I don’t know what kind of beef Greeks have with Marina, but she was good and doesn’t deserve all of this hate. Also because most of the complaints I've heard about make no sense, so… uh?!

Germany: fucking finally, people gave you votes. Thank you for persevering, your song was truly nice and I liked it too.

Armenia: yes, top 10! For great, lively, wonderful Balkan rhythm! You deserve it and your country deserves love and appreciation.

Italy: I’m okay with this result. Angelina’s performance was better, compared to the one in the semi-finals (also, better costume too, the other was too revealing and too much in general). 7th place is fine.

Ireland: I know that’s not a song for everyone and okay, fine, maybe it’s nothing special either… but my god, have you seen the performance they put on? A-ma-zing. It was interesting, captivating and full of details. And the narrative is perfect too: you can see how Bambie slowly befriends the demon and ends up killing it. It was truly enjoyable to watch. So I’m glad it got 6th place, they deserve an even higher position.

Ukraine: please keep slaying, your artists are always so great and they keep proving it every goddamn time. Also, that moment when Ukraine surpassed Israel was delicious: money truly cannot buy you love and support.

The UK: seriously, why are you whining about people not giving you points? The song was okay, but nothing truly special. Still, you got 18th place! What should Norway say, instead? Poor Norway, it has all my sympathy, the song wasn't this bad.

And now, to you all: you know what to do. Follow your favorites, stream their songs, shower them with love. Eurovision is over, but these artists are not disappearing. They are still out there, making beautiful music. Go check on them.

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Croatia: “the audience will come to my concert, not the jury”

Baby Lasagna was a blessing and as Italian, I want to properly apologize for giving it 16 points total only. You deserved 24, shame on us for being stupid morons.

Croatia gave us a beautiful song, from a beautiful artist with a great message and upbeat sounds. And I’m not the only one who thinks this, because the rest of the public agrees with me. Marko gave us pure joy and entertainment in an evening that was mostly sadness, tension and boredom.

And yes, it’s sad he didn’t win… but he knew it, before Switzerland’s points have been announced. Look at his face, during the final voting: as soon as Petra said Switzerland only needed 182 points, he realized he was going to lose. You can see him understanding and accepting it. He knew Switzerland would get these points. I knew. Everybody knew.

So no, this wasn’t like last year: last year, it was a one-on-one game between Finland and Sweden and a tug-of-war between public and jury. This year, we had a lot of favorites. Marko was the favorite, but if Joost wasn’t disqualified, maybe the points would’ve been even more distributed.

But you know what? Marko actually got the best possible result you can get in Eurovision. People adore you, you become a legend and your country doesn’t have to deal with EBU’s bullshit. You get the best of both worlds and it doesn’t cost you a cent.

Also, consider that Marko accepted his 2nd place graciously and maturely, went back home and was welcomed by basically the whole Zagreb (Let3 were there too! Kings supporting a king, very fitting). And in an interview, he said something like “I don’t care about the jury points, because the jury doesn’t come to my concerts”. Which proves he is:

a mood

a king

the truth oracle

everyone’s spirit animal

the winner of the people

the coolest guy ever

So, Croatia: I understand your disappointment, the jury system REALLY needs to change. And no, you won't host Eurovision next year. But consider that you're everyone's favorite country now. And you won't have to deal with whatever shit will happen in 2025! So sit back, relax, may your tourism thrive and your quality of life be high.

And if all of you people really enjoyed Baby Lasagna, please consider he has a YouTube channel and there are two other songs, besides Rim Tim Tagi Dim. One criticizes social media and the influencer system, while the other is a piece of great life advice from the title: “Don't hate yourself, but don't love yourself too much”. Thank you, king, for being so real.

And in case you’re wondering, yes, they’re both huge bops.

Do your magic, people: subscribe to his channel, stream his songs, watch his videos, shower him with love and, most importantly, meow back.

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Switzerland: a contest that can live up to its promise

In the end Switzerland won. And it’s a good victory, you know? You might not like the song, but consider that Nemo sang pop, rap and opera, all while jumping on that rotating platform-thingy and running all over the stage. And they even bent back, while keeping a high note and rotating. I can’t even keep a high note by standing still, let alone by doing all the stuff they did.

Also, this is the first victory for a non-binary person, so great for them. And basically no one knew Nemo before Eurovision, so the show came back to its roots, by giving fame to an unknown artist.

Last but not least, in an ironic turn of events, this victory is the least political thing that happened on that stage. In the most polarized, political show ever, the winner is the quintessential neutral country. Almost poetic, in a way.

And this victory is also a huge slap in the face for the EBU: in the end, it wasn't its rigid adherence to the policy that made the show non-political, it was the jury’s vote. How the tables have turned.

But there is another reason why this victory is good after all and it’s because it’s a hopeful one. The winner isn’t famous, they didn’t harass anyone, they didn’t use money to win, they brought nothing besides their identity, a kind heart and a flag they had to sneak in because of the weird “flag rule” EBU pulled out.

And I would like to remind you that, during their victory speech, Nemo said this:

"I hope this contest can live up to its promise and continue to stand for peace and dignity for every person in this world".

I think it’s a speech that tells everything about this year’s show. This year, the contest didn’t live up to its promise: it put people in unnecessary danger, it brought tension, it made it political. EBU’s strictness led to a lot of consequences, the exact ones it tried so desperately to avoid.

As a result, no one enjoyed their time. I didn't enjoy my time. When Sunday came, I was relieved that the week was finally over and I was able to leave Eurovision behind. I didn't feel an ounce of the usual post-Eurovision nostalgia. I was just glad it was over.

And it's sad and unfair, because Eurovision isn't this. Eurovision is a perfect little window of peace and unity, away from the chaos of the world. For a few hours, three evenings a year, we can leave the real problems behind and focus on silly ones, like which country should win, which should be forever ashamed and which artist will become a legend.

This year, it wasn't like that. This year politics found its way in and wrecked everything. What was supposed to be a silly, funny, lighthearted show became so heavily politically charged, it broke under the weight.

And now that I think about it, Nemo breaking the trophy is the perfect metaphorical representation of this year's competition.

Just like that trophy, Eurovision is something frail and beautiful and mishandling can break it. And oh boy, the EBU truly mishandled it. Even if it was an accident, even if it wasn't done on purpose, the trophy is still broken. The show is broken.

But when asked about their broken trophy, Nemo didn't mourn it: Nemo gave words of hope. Maybe the broken trophy can be repaired. And maybe Eurovision can be repaired too.

How? Well, maybe by starting to learn when and how to apply rules. By using common sense and sensibility. And by checking the world outside too. If we want Eurovision to keep being that small window separated from real world problems, we can't just ignore them: we need to check them and react accordingly.

And if we have to break a rule to guarantee peace and safety, then so be it. One broken rule is not as important as safety and unity.

After all, what makes Eurovision isn't a set of rules: it's the artists, with their talents, their messages, their hopes, their voices, their dreams. They are Eurovision. They are the pull that draws everyone in. They are the reason why people are "united by music". Not because a rule orders them to, not because of the EBU: because of these artists.

Maybe the EBU can start from that. Maybe it can start by looking at the human aspect. Maybe it can start by going out and looking around. And maybe it can learn to take more care of the artists who are the foundation of the show.

And maybe, maybe, they will be able to repair Eurovision too.

See you, hopefully, next year.

#eurovision #eurovision 2024 #esc #esc 2024 #sweden #the netherlands #israel #france #croatia #switzerland #baby lasagna #nemo #the artists are eurovision #I hope people will never forget it #thank god this year is over #time to recover now

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allthegeopolitics · 14 days

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Thousands of people have protested in the Swedish city of Malmo against Israel’s participation in the Eurovision Song Contest, with Israel’s war on Gaza casting a shadow over the final of the glitzy contest. On Saturday, a large crowd of protesters gathered on the central square of the Swedish host city before marching towards the contest venue, waving Palestinian flags and shouting “Eurovision united by genocide” – a twist on the contest’s official slogan “united by music”. A protester told Al Jazeera that it was unfair that a country that is “committing genocide” was allowed to take part in the event, and he said that demonstrators were upset by the confiscation of Palestinian flags and scarves by the authorities.

#eurovision #Palestine #Israel #Genocide #Gaza

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bluewinnerangel · 9 months

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Flags of Europe Quiz with your host Louis Tomlinson

Basically every Europe show he's one way or another been wearing its flag's colors.. we don't start off strong but he's got more German shows to complete that flag and I almost gave up on this idea with Latvia and Lithuania there but now that he's literally wearing Poland's flag I had to put it together:

1. Hamburg, Germany, 29/08/2023

2. Copenhagen, Denmark, 31/08/2023

3. Oslo, Norway, 01/09/2023

4. Stockholm, Sweden, 02/09/2023

5. Helsinki, Finland, 04/09/2023

6. Tallinn, Estonia, 05/09/2023

7. Riga, Latvia, 07/09/2023

8. Kaunas, Lithuania, 08/09/2023

9. Krakow, Poland, 10/09/2023

10. Lodz, Poland, 11/09/2023 extra pic for the white shoes we tryin

10. Vienna, Austria, 13/09/2023

11. Ljubljana, 14/09/2023 +some blue on the shoes we still tryin

END, Budapest, Hungary, 15/09/2023 he broke it

twas fun

#correct me if im wrong on anything geography is my enemy

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womantichrist · 3 months

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In 1962, children's tv host Sherri Chessen sought to terminate her pregnancy after learning the sedative her husband had brought home from Europe (thalidomide) had been found to cause severe birth defects, despite being marketed as a treatment for morning sickness. It was not authorized in the US, as FDA reviewer Frances Oldham Kelsey realized there was no information on its effects on pregnancy and refused to bow to pressure.

Chessen was unable to obtain permission for an abortion in Arizona. The publicity from her case led to her requiring FBI protection and the loss of her job hosting Romper Room. She was denied a visa to Japan.

On August 7, Kelsey received the President's Award for Distinguished Federal Civilian Service from President Kennedy in recognition of her role in minimizing the damage of the drug in the US.

On August 18, Chessen's pregnancy was terminated in Sweden. She was told the fetus would not have survived.

In 2012, she recounted her story in her own words.

#somebody please give her a better quality movie than the shitty lifetime-esque one she apparently got from hbo #tumblr didn't recognize her essay as a link so i tried to summarize a little

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ask-the-hws-germanics · 8 days

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Who cooks dinner? Do you take turns?

Denmark: well its not like we live together, but when we have family dinners whoever is hosting is responsible for food!

England: It's a rotation, and it's my turn next!

~~~~one week later~~~~

England: Guys dinners ready!

Everyone: Yay!

England: I cooked!

Denmark: I'm not hungry

Austria: I ate before

Switzerland: I drink blood

Norway: my cat died

Sweden: I'm gay

Germany: I'm autistic.

Netherlands: I have to go

Belgium: I'm on a diet

Liechtenstein: I'm too young

Prussia: I'm dead

Luxembourg: My stomach hurts

Iceland with zero shits to give: I hate your food

#hws england #hws denmark #hws austria #hws switzerland #hws norway #hws sweden #hws germany #hws netherlands #hws belgium #hws liechtenstein #hws prussia #hws luxembourg #hws iceland #hetalia #germanic!family

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anonfromtheflight · 5 months

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I saw that ask about Så mycket bättre and Omar’s relationship to his mother. Since you are new to the fandom I guess you don’t know about his “sommarprat”!!

He did a Swedish radio show this summer. It’s an important part of Swedish summer, to listen to “Sommar I P1”. Famous (or not so famous) people gets to do one day each during summer. The radio show is 1,5 hour where the person talk and plays music. It’s like a one person podcast where the host gets to talk about whatever they want! Omar chose to talk about his life from a small kid in Venezuela, moving to Sweden, being part of Fo&o and getting the role as Simon. He also talks very beautifully about his mother and their relationship. He did really well!! My mother who doesn’t know who Omar is talked to me about that days very beautiful “sommar” and that she cried a bit while listening.

Since this fandom is the best!! I know someone translated it but I don’t know where you can find it but I’m sure someone else knows.

Someone mentioned it to me but I didn't know what it was about so thank you so much for the summary!!

Because this is fandom it's so amazing, I found a youtube video with its translation so I'm going to post it here in case somebody else wants it 🤭

youtube

Thank you so much for bringing it back to my attention 💜💜

#Respondiendo #Omar Rudberg #Sommarprat #gentle reminder to myself

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spacetimewithstuartgary · 1 month

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New SpaceTime out Monday....

SpaceTime 20240422 Series 27 Episode 49

Discovery of the most massive stellar black hole in our galaxy

Astronomers have identified the most massive stellar black hole yet discovered in the Milky Way galaxy.

Rewriting the evolution of white dwarf stars

Astronomers have discovered a small population of white dwarf stars that have mysteriously stopped cooling.

Development of a new bigger Cygnus Cargo ship

Engineers are developing a new updated version of the Cygnus Cargo ship for future supply missions to the International Space Station.

The Science Report

The Bureau of Meteorology has declared the El Niño weather event of 2023-24 has finally ended.

Claims drinking more than a glass of sweetened drinks daily linked to chronic kidney disease.

Scientists discover the remains of what could be the largest marine reptile ever to live.

Skeptics guide to Sweden’s paranormal phenomena archive

SpaceTime covers the latest news in astronomy & space sciences.

The show is available every Monday, Wednesday and Friday through Apple Podcasts (itunes), Stitcher, Google Podcast, Pocketcasts, SoundCloud, Bitez.com, YouTube, your favourite podcast download provider, and from www.spacetimewithstuartgary.com

SpaceTime is also broadcast through the National Science Foundation on Science Zone Radio and on both i-heart Radio and Tune-In Radio.

SpaceTime daily news blog: http://spacetimewithstuartgary.tumblr.com/

SpaceTime facebook: www.facebook.com/spacetimewithstuartgary

SpaceTime Instagram @spacetimewithstuartgary

SpaceTime twitter feed @stuartgary

SpaceTime YouTube: @SpaceTimewithStuartGary

SpaceTime -- A brief history

SpaceTime is Australia’s most popular and respected astronomy and space science news program – averaging over two million downloads every year. We’re also number five in the United States. The show reports on the latest stories and discoveries making news in astronomy, space flight, and science. SpaceTime features weekly interviews with leading Australian scientists about their research. The show began life in 1995 as ‘StarStuff’ on the Australian Broadcasting Corporation’s (ABC) NewsRadio network. Award winning investigative reporter Stuart Gary created the program during more than fifteen years as NewsRadio’s evening anchor and Science Editor. Gary’s always loved science. He studied astronomy at university and was invited to undertake a PHD in astrophysics, but instead focused on his career in journalism and radio broadcasting. He worked as an announcer and music DJ in commercial radio, before becoming a journalist and eventually joining ABC News and Current Affairs. Later, Gary became part of the team that set up ABC NewsRadio and was one of its first presenters. When asked to put his science background to use, Gary developed StarStuff which he wrote, produced and hosted, consistently achieving 9 per cent of the national Australian radio audience based on the ABC’s Nielsen ratings survey figures for the five major Australian metro markets: Sydney, Melbourne, Brisbane, Adelaide, and Perth. The StarStuff podcast was published on line by ABC Science -- achieving over 1.3 million downloads annually. However, after some 20 years, the show finally wrapped up in December 2015 following ABC funding cuts, and a redirection of available finances to increase sports and horse racing coverage. Rather than continue with the ABC, Gary resigned so that he could keep the show going independently. StarStuff was rebranded as “SpaceTime”, with the first episode being broadcast in February 2016. Over the years, SpaceTime has grown, more than doubling its former ABC audience numbers and expanding to include new segments such as the Science Report -- which provides a wrap of general science news, weekly skeptical science features, special reports looking at the latest computer and technology news, and Skywatch – which provides a monthly guide to the night skies. The show is published three times weekly (every Monday, Wednesday and Friday) and available from the United States National Science Foundation on Science Zone Radio, and through both i-heart Radio and Tune-In Radio.

#science #space #astronomy #physics #news #nasa #esa #astrophysics #spacetimewithstuartgary #starstuff #spacetime #nasa photos #jwst #hubble space telescope

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mariacallous · 2 months

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Last month, Philippe Lazzarini, the head of the United Nations Relief and Works Agency for Palestine Refugees (UNRWA), said that the agency had reached a “breaking point.” After Israel accused 12 agency personnel of involvement in the Oct. 7, 2023, Hamas attacks, 18 states announced in January that they would suspend funding to UNRWA, including its two top donors: the United States and Germany. On Saturday, the U.S. Congress barred funding to the agency through March 2025.

Although Lazzarini has dismissed 10 of the employees (the other two are dead), and the U.N. promptly launched an investigation into the allegation, most donor states have refused to resume funding until the investigation is finished. The European Commission, Sweden, and Canada have released some of their pledged funds, but the agency continues to exist “hand-to-mouth” amid the very real risk of being forced to shut its doors.

Now that Israeli Prime Minister Benjamin Netanyahu has outlined his postwar plans for the Gaza Strip, which include closing UNRWA, the agency’s future looks even more unstable. Yet to shutter UNRWA would be a betrayal of Palestinians. The agency, which provides essential services to 5.9 million Palestinian refugees, has been a stopgap for almost 75 years as the international community has failed to find a durable solution for Palestinians.

UNRWA—which I worked for between 2019 and 2022—cannot solve the root causes of Palestinians’ dispossession, but for decades, it has managed to address the symptoms. It has also become Palestinians’ only effective representative on the international stage. In the absence of a political solution, the international community owes it to Palestinians to ensure that UNRWA remains operational amid one of the worst humanitarian crises in its history.

UNRWA originated as a makeshift solution to a thorny problem. After the creation of the state of Israel in 1948 displaced around 750,000 Palestinians, the U.N. General Assembly (UNGA) passed two crucial resolutions. The first, Resolution 194, enshrined Palestinian refugees’ right to return to their homes and established the U.N. Conciliation Commission for Palestine to promote a durable solution for Palestinians. The following year, Resolution 302 set up UNRWA as a subsidiary organ of UNGA to conduct “direct relief and works programmes” that would incentivize Palestinians to settle in neighboring countries.

The fact that UNGA endorsed two such differing approaches just a year apart reflects the deadlock that diplomats faced. Months after the Conciliation Commission for Palestine was founded, it came to a dead end; the only solution acceptable to Palestinians was return—a solution that Israel would not consider. Diplomats had to come up with an alternative.

In September 1949, the U.N. sent an Economic Survey Mission to countries to which Palestinians were displaced. The mission concluded that “relief and public works” programs would “increase the practical alternatives available to refugees, and thereby encourage a more realistic view of the kind of future they want and the kind they can achieve.” The implication was clear: Palestinians should be encouraged to stay in their host countries, such as Jordan, Syria, and Lebanon.

UNRWA was thus established in 1949 with a yearlong temporary mandate to serve “persons whose normal place of residence was Palestine during the period 1 June 1946 to 15 May 1948, and who lost both home and means of livelihood as a result of the 1948 conflict.” Aid workers quickly began providing rations to 950,000 refugees, and the agency offered a modest income to the Palestinians who assisted in the delivery of relief.

Yet diplomats’ dreams of turning beneficiaries into well-integrated, self-sufficient employees soon faded. Palestinians, relegated to overcrowded camps, faced high levels of poverty, malnutrition, and disease. In any case, refugees would not give up on returning home. Nor would Arab states encourage integration within their borders. From their perspective, doing so would allow Israel to evade its responsibility to Palestinian refugees.

They also feared upsetting delicate sectarian balances. In the case of Lebanon, the 100,000 predominantly Sunni Palestinians it hosted constituted around 10 percent of the country’s population, leaving its sectarian power-sharing system based on a 1932 census dangerously out of date.

With the political avenue dead and no Palestinian state established, UNRWA soon took on a role that diplomats had not foreseen. The agency grew to become a quasi-state, delivering services that a government would normally provide. Today, UNRWA is the backbone not just of Gaza and the West Bank, but also of Palestinian refugee camps in Jordan, Lebanon, and Syria, providing education, maternal care, social work, university scholarships, camp infrastructure, and vocational training. It employs 30,000 Palestinian refugees, providing a lifeline amid economic deprivation.

Despite its outsized role, UNRWA remains strictly a relief agency, unable to fix a problem far beyond its mandate. The U.N. High Commissioner for Refugees, an agency mandated to aid every refugee population except for Palestinians, advocates for durable solutions for refugees. It defines these as integration in the host country, resettlement in a third country, or return home. But UNRWA has no power to advocate for a durable solution for Palestine refugees.

In the words of Ardi Imseis, who worked in the UNRWA’s legal division before becoming a legal scholar, UNRWA has taken “a development approach to what is a legal issue.” It provides relief and employment to people whose dispossession and exile cannot be resolved through humanitarian assistance. UNRWA’s narrow mandate means that it can never work itself out of a job: A political solution must be found first—until then, UNRWA duct-tapes over the cracks.

Although its weak mandate simply perpetuates the status quo, the agency faces regular political attacks. Those who wish to prevent Palestinians from returning often criticize UNRWA, whose existence serves as evidence of Palestinians’ protracted exile.

“Israel would like there to be an existential threat to UNRWA because they mistakenly think if you get rid of UNRWA then you suddenly get rid of the [nearly 6 million] refugees and their right to return,” former UNRWA spokesperson Chris Gunness recently told Reuters. In December 2022, when UNGA renewed UNRWA’s mandate until June 2026, 157 member states voted in favor; Israel objected; the United States, Canada, and eight other countries abstained.

UNRWA’s detractors have only ramped up the pressure in recent years. Pro-Israel pressure groups such as IMPACT-se and U.N. Watch (which has no affiliation to the U.N.) frequently release so-called research reports that resort to tactics such as filming students outside of UNRWA schools and using the children’s statements about their villages of origin in historical Palestine as evidence of alleged propaganda in the agency’s educational system. Monitoring the Facebook pages of UNRWA employees—many of whom work sporadically on day-laborer contracts and live in active conflict zones such as Gaza or Syria—also provides ample fodder for detractors.

Palestinians have also demanded more of UNRWA—namely, to push for the right to return. Yet they have no way of influencing the agency’s priorities, and in any case, UNRWA is unable to meet these demands. Because it is not a state, it cannot advocate for a political solution for Palestinians on the international stage or collect taxes and fund their strategic priorities. Its temporary relief and works mandate can only be altered by UNGA. That Palestinians haven’t lost all faith in UNRWA shows how poor their political prospects are.

UNRWA’s response to the pressures it faces on both sides is to reaffirm its neutrality. It is the only U.N. agency that has a “neutrality team,” which monitors staff conduct, vets all personnel and beneficiaries, inspects the use of its buildings, and seeks to ensure that the curricula taught in UNRWA schools cannot be perceived as biased.

My experience at UNRWA was that in practice, resources focused on neutrality can verge on the absurd given the agency’s dire financial straits. When I worked on neutrality, I was frequently challenged by my Palestinian colleagues about the millions of dollars spent on related processes—for example, quarterly inspections of schools and health clinics for graffiti that could betray any preference for a party to the conflict—while services for refugees were cut. (I reached out to UNRWA for comment but received no response.)

After a pressure group accused UNRWA of promoting jihadism in its schools, I was tasked with scanning thousands of lesson plans for words with the Arabic root j-h-d. I produced reams of talking points to explain to donors the distinction between the word mujtahid (“hard-working”) and jihad (“struggle,” but often taken to mean “holy war”). As I worked on these sorts of projects, often late into the night, it often occurred to me that the money and time poured into neutrality would better be spent on rations in Gaza and Syria.

The agency-wide obsession with neutrality is, however, understandable: Every accusation of bias can harm UNRWA’s ability to provide basic services. UNRWA frequently faces suspensions of funding after poorly evidenced attacks on the agency, followed by periods of costly reform. After then-U.S. President Donald Trump withdrew funding from the agency in 2018, citing the need for reform, it was plunged into financial crisis and experienced months in which it failed to pay staff salaries.

Palestinians thus live in constant fear of budget cuts to discretionary, voluntary assistance from donors. Indeed, UNRWA has been mired in financial crisis since its inception: Its first report to UNGA in 1952 concluded that “[r]elief cannot be indefinitely provided. This is an inescapable and significant fact, for the time is rapidly approaching when voluntary contributions for the provision of relief for the Palestine refugees will no longer be forthcoming.”

The news of UNRWA employees’ potential involvement in the Oct. 7 attacks is extremely serious. Yet given the severity of destruction in Gaza, donors’ hasty decision to suspend funds cannot be divorced from the broader politicization of UNRWA.

The irony of this is that UNRWA’s woes are of the international community’s own making. In the absence of any conciliation process—nothing has filled the gap of the ill-fated U.N. Conciliation Commission for Palestine since the 1950s—UNRWA has proven an easy target for critics from all parties to the conflict.

However, without a peace process, there is also no exit strategy from UNRWA. The international community has promoted the agency as the service provider of all relief and employer of thousands of Palestinian refugees. No humanitarian actor can fill the gap; UNRWA provides logistics, storage, and transport to other nongovernmental organizations and U.N. agencies. Moreover, if UNRWA were to close, its 30,000 personnel and their family members would soon be added to the list of aid agencies’ beneficiaries.

After refusing for decades to take Palestinian statehood seriously—15 of the states to withdraw funding have not recognized the state of Palestine—the decision now to cut UNRWA’s funding is an illogical stance as good as a death sentence. It is the international community’s duty to follow through with its humanitarian assistance until a solution to the Israeli-Palestinian conflict is achieved.

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