Melodifestivalen & Eurovision song contest i P4

KAJ har ignorerat det länge. Men nu börjar bastu-trion känna av att de är segertippade. Carolina Norén tar tempon på gänget på plats i Basel.

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– Man ignorerar ju länge, men den här senaste veckan har det varit helt omöjligt att förneka, säger Axel Åhman i KAJ.

Hör Kevin Holmström, Axel Åhman och Jakob Norrgård i KAJ om korven, bastun, nya reglerna och vad som är det största hotet mot dem i Eurovision Song Contest.

– Det är nog det här om vi får tillräckligt med mat, säger Axel.

Tommy Cash från Estland berätta om att ha rört upp italienarna med bidraget ”Espresso macchiato” – och om stödet till vännen Joost Klein.

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(TRANSCRIPT IN ENGLISH BELOW) Så blev Eurovision 2024 i Malmö den mest kaosartade och skandalsomsusade tävlingen någonsin i Eurovisions historia.

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Det har blivit dags för final i Eurovision Song Contest 2024 och snart kommer topplocket att gå på både artister, publik och demonstranter i Malmö.

En omdebatterad diskning skapar rubriker i stora delar av världen, flera länder hotar att hoppa av och många undrar nu om det kommer att bli en final överhuvudtaget.

Vad var det som ledde till diskningen av nederländernas Joost Klein? Hör vad som syns i den omtalade filmen backstage – och hur nära det var att det blev en helt annan vinnare om Nemo varit med utom tävlan.

I programmet hörs intervjuer med:

Martin Österdahl, Executive Supervisor EBU
Edward af Sillén, Regissör & manusförfattare
Ebba Adielsson, Exekutiv Producent SvT
Magnus Börmark, Gruppen Gåte Norge
Henric von Zweigbergk, Floormanager
Jovan Radomir, Moderator mediacenter/presskonferenser ESC
Jan-Åke Fält, Försvarsadvokat Joost Klein
Kristoffer Ståhl, målsägarbiträde EBU:s fotograf
Fredrik Jönsson, Senior Åklagare
Käärijä, artist mellanakt
Marcus & Martinus, Sveriges representanter
Linnea Deb, Joy Deb, Jimmy “Joker” Thörnfeldt – låtskrivare ”Unforgettable”, Sverige
Andreas Lundstedt, mellanakt med Alcazar
Wijnand Speelman, radiopratare 3AM Nederländerna, vän med Joost Klein
Yoav Tsafir, director Israeliska delegationen
Jonas David, musikrepporter P3, Sveriges Radio
Lotta Myrén, nyhetsreporter, Sveriges Radio
Markus Larsson, musikreporter Aftonbladet
Kris Boswell, producent Radio Sweden
Svante Stockselius, Executive Supervisor EBU 2004-2010

Även kommentarer från:

Joost Klein, Nederländerna
Jerry Heil, Ukraina
Baby Lasagna, Kroatien
Nemo, vinnare Schweiz
Olly Alexander, Storbritannien
Petra Mede, programledare

Programledare/Producent: Carolina Norén
Exekutiv Producent: David Rune

Carolina Norén
[email protected]

DAGARNA SOM SKAKADE EUROVISION DEL 2, ENGLISH TRANSLATION

“The Netherlands is stopped from taking part in tonight's dressrehearsal”

“It was completely surreal [00:16] to persuade the contestants to actually go on stage.”

“ It has never been this tense and infected.”

“The fans are furious”

Voices from the Eurovision Song Contest 2024 in Malmö. My name is Carolina [00:31] Norén and I have been the commentator for this competition on Swedish Radio since 1999. And I have never been in a year like this. Now I will continue to lift the lid and find out what really happened. Welcome to [00:45] the second and final part of The Days That Shook Eurovision.

It [01:01] is Friday, May 10. It is a bit after lunchtime. And today's dressrehearsal for the final of the Eurovision Song Contest 2024 has started. There is a tension again inside the Malmö arena. [01:15] The week has been turbulent with large demonstrations out on the streets of Malmö.

“There are a lot of Palestinian flags and a lot of people. Protests against Israel's involvement in the war in Gaza.”

And the protests have also been [01:30] noticed inside the arena with booing audiences. Now the irritated tension has also begun to be noticed backstage. Some delegations and one artist have disappeared. Dutch Joost Klein. One of the [01:45] competition's most favorite singers. He was last seen when the rehearsal started at lunchtime. He was on stage then. But now he has disappeared. No one knows where he is. Or that's not true. [02:00] There are those who know. And they have asked him not to come back to the rehearsal. What really happened?

Yes, to understand that we have to rewind the tape to Thursday evening [02:16] and semi-final two. It is half past ten on [02:30] Thursday evening. The last artist of the second semi-final has just performed. It is the Netherlands and Joost Klein. And the sound of audience indicates a secure place in the final. [02:58] Joost, who at the end of his number expresses the sorrow after he lost both of his parents as a little boy of twelve. The big sign behind him on stage reads From me to my parents [03:12].

The clothes, the blue wool suit with the extremely broad shoulders, he designed it himself. And the song, Europapa, he wrote as a letter to his father. His father, who worked with refugees. Hence [03:28] the name Europapa. And the message of a Europe without borders. But the song is also a way for him to bring his parents to life. [03:57] The number ends with Joost saying goodbye to his dead parents. It is an emotional moment. But he is also in a big hurry now. He is the last one in the competition and now he has to quickly [04:12] get up to the Green Room to be seen again by the TV cameras in the Green Room, which is located one floor up in the large arena. So Joost and his dancers have quite a long way to run. And that is when it happens [04:28]. The event that Eurovision 2024 will be strongly associated with.

They were ushered off the stage and then down and out through a door and into an area where they took off what is called the in-air, that is, the [04:42] hearing aid that they have. And it is in that area that it happens so it is right next to the stage but behind you, shall we say, out in the players' corridor simply if you think of ice hockey.

One of the first people Joost passes is floor manager Henric von Zweigbergk, the studio man [04:57] who works down by the stage. Henric doesn't notice anything special when Joost rushes past.

But he was always a bit pumped up when he came off. And now it was kind of a live broadcast so he was kind of hyped up. At the time I didn't experience him as threatening or [05:12] in any way, but that must have happened in the moment afterwards.

Something has happened in the corridors. And this is how Martin Österdahl from the EBU describes the situation that has arisen.

It is an incident that has happened in the corridors. Which is a breach [05:27] of our rules. And ultimately our values. Which is about us treating each other with respect.

What exactly the incident consists of is not given. But it is serious enough for the organizer EBU [05:42], the European Broadcasting Union, to remove Joost Klein from Friday's first final rehearsal. And then we're back where we started. On Friday's first final rehearsal and a missing Joost Klein. But Joost [05:57] Klein hasn't gone up in smoke. He's actually still in the arena and has been asked to stay in his dressingroom for further information about what's going to happen next. He still believes he'll soon be on stage and singing at [06:12] Friday's first rehearsal. So he sits and waits in his characteristic Smurf blue wool suit.

But it will be many hours before he is allowed to leave the dressingroom. It is not only the Dutch delegation [06:27] that is waiting for more information. Now everyone is wondering what is happening. Speculation is starting in the arena and online. Could this have something to do with the press conference on Thursday evening when [06:42] Joost Klein was questioning why Israeli singer Eden Golan didn´t have to answer a question from a polish journalist? The already tense atmosphere backstage is now becoming even more palpable.

Then the atmosphere started to get very tense. And [06:57] suddenly you see that some of the artists are very angry and sad and some are just like what is happening? Magnus Börmark from the Norwegian group Gåte about the confusion that now prevails. No one knew what was happening. And [07:12] people from the delegation of Joost Klein, what I see is that people are frustrated with tears in their eyes and no one quite knows what is going to happen.

The minutes pass, which soon turn into hours. But still no [07:27] news. The EBU is in crisis meetings. And the so-called incident with the Dutch singer Joost Klein is actually not the only thing that needs to be crisis-managed. Several countries are not at the flag parade because [07:42] they reacted to the Israeli delegation's large security entourage.

They had a lot of extra security people around them the whole time and no one else there had that. And it created such an aura of intimidation [07:57]. Suddenly it becomes a far cry from Love and United by Music when you see those machine guns. Magnus Börmark from the Norwegian group Gåte who also reacts to the fact that they feel like they are being filmed against their will by the Israeli [08:12] delegation.

And they also filmed a lot, just without sparing any effort. And that created excitement.

It's still stormy at Eurovision 2024. [08:27] And filming has stressed out many backstage. Especially when you don't know who's filming. Also in the arena is Finnish artist Käärijä, who came second after Loreen in Eurovision 2023 [08:42] with his song Cha -cha -cha. Käärijä has been performing in an intermission act and now [08:57] he is scheduled to return during the final as a voter for Finland.

Last year, Malmö Eurovision, for me it's a horrible experience. Because, you know, you always have to check where you're going, who's filming [09:12] or something. Because it's so political competition.

Käärijä describes how artists are on their guard backstage. How and who they are filmed by. Magnus Börmark agrees. This is the Eurovision [09:27] when the smallest thing can be perceived or exploited politically online.

I think many artists were a little careful, mainly those who were clearly pro-Palestine. They avoided being caught in a picture [09:42] at the same time as an Israeli flag, because that can be quickly twisted when it comes to the internet.

Martin Österdahl: The Eurovision Song Contest has an accessibility that no other major [09:57] event has. We are a competition of media companies, which also means that these delegations have their own media with them everywhere. This has become a huge problem.

Yoav Tsafir, director of the Israeli [10:12] delegation, says that they were not at all looking to film or disturb any other artist. [10:30]

But the EBU is still not giving any information about either the flag parade or the Netherlands' Joost Klein.

Eurovision 2024 [10:45] is really a different year for the world's largest music competition. It is clear that a lot is about a lot more than just music. Politics, absolutely, and as part of this also [11:00] the fear of being caught on camera or filmed in the wrong context. Ironically, it will soon turn out that the so-called incident as the Dutch artist has been involved in backstage is also about filming [11:15].

And now the rumor about the incident is starting to spread on site. We hear Edward af Sillén, director and screenwriter, tell us:

Everything is quite messy here because where we are right now is in our absolute most sensitive [11:31] situation. We have managed two semi-finals, we are dead tired and now we have the biggest broadcast ahead of us, the final, which is also the least rehearsed. So you are tired and focused and then I remember that there were whispers behind the scenes that something [11:45] had happened. There has been an incident.

And while the hours go by without any more information from the EBU, the development of events has now also reached the net. The people's court that we know as the internet. Here there is now imaginative speculation [12:00] about Joost Klein's absence from the rehearsal. And many are also questioning the absence of information from the EBU. We hear Magnus Börmark again.

It must be said that there was very little [12:16] good information from the EBU to the artists. And I can say that, it was both in advance and during the competition.

Martin Österdahl, EBU: We can't inform too early either. This is a sensitive issue. And it's an issue that is under investigation [12:31]. In that time that passes when the EBU or the Eurovision Song Contest don't communicate anything, a huge amount of incorrect information and conspiracy theories are being spread about what has happened and what this is due to Joost Klein no longer [12:46] being involved. And it's clear that there was an injury that was incredibly unfortunate.

Everyone is waiting. And Friday night's rehearsal is important for another reason. Because it is after this evening [13:01] that the jury groups around Europe will vote on the artists' performance.

Just before half past eight on Friday night. Almost seven hours after Joost Klein was told to stay in his dressingroom [13:16]. And only half an hour before tonight's rehearsal with a paying audience is due to start. Yes, then comes a statement from the EBU. The investigation into the incident with Joost Klein continues [13:31]. The Netherlands is banned from taking part in tonight's rehearsal in Eurovision.

“This is Ekot (news) broadcasting live”.

The news is being broadcasted. Joost Klein has been stopped from [13:46] Friday night's last dressrehearsal. Instead, a video of his performance from semi-final 2 will be shown. The person who is given the task of explaining it to the audience will be floor manager Henric von Zweigbergk.

If I remember correctly, they broadcast the performance from the night before on the big screen like [14:01]. And the audience reacts to that immediately and know that something is wrong.

“Dutch artist will not perform live on stage tonight. [14:18] “

Around the same time that there is booing in Malmö Arena over Joost Klein's absence, an EBU-employed cinematographer walks into a police station not far from Malmö Arena. She wants to file a police report [14:33] against one of the competing artists, Joost Klein.

The police officer on duty listens, determines that it is a minor offense and decides to prosecute more quickly. This is common for minor offenses [14:48] and where the person accused of the crime should not have to wait a year or so for a trial date. The police report is classified as an unlawful threat. And what gave rise to the police report is the incident that occurred backstage [15:04] with Joost Klein.

While the rehearsal continues, the Dutch delegation receives information that Joost Klein will not be allowed to perform during the rehearsal. And also that a police report [15:19] exists. Klein is now allowed to leave his dressingroom in the arena. Confused by the situation that has now arisen, they seek contact with a lawyer. Jan -Åke Fält.

I got a [15:33] call from a Dutch lawyer who called and told me that something had happened in connection with Eurovision and that there was possibly an interrogation going on and possibly the police would be involved and that they needed [15:48] some advice and help. And I went and met them to go through and hear what had happened. What was the atmosphere like with the team then? As I understood it, it was quite stressful considering that there had been an incident and there had been pressure[16:03] during the day and that the police had become interested in it.

Jan -Åke Fält goes and meets with the team. They confer for about an hour and in the meantime the police calls and want Joost Klein for questioning. An interrogation that is to be held [16:18] at midnight. And then we went to the police station we had to go in the back door because there were suspicions that this would get a lot of attention and there were suspicions that there would be journalists waiting at the police station. So we went in the back door and came [16:33] into the police justice center here in Malmö.

Is it common to come into the police station this late for this type of crime? I'm thinking in the middle of the night, it feels quite dramatic. Yes, it's exceptionally unusual. It sometimes happens when [16:48] it's about young people who need to be questioned quickly. But in a case of this dignity, it's exceptionally unusual.

It's now been three hours since tonight's final rehearsal started [17:04] in Malmö Arena. Under the cover of darkness and by going in the back door, no one notices the small group visiting the police station. And it's also deserted inside.

Very few people [17:18] work late on a Friday night. And the attitude of the police was that they just wanted to conduct an interrogation and get that part done. How did you react to the fact that there was a suspicion of unlawful threats? Yes [17:33] based on the information I received, it didn't match up at all. How did Joost react to that accusation? He denies it.

Around now, Edward av Sillén, together with the rest of the production, is starting to think about how [17:48] this might affect the final broadcast.

It's a bit of a minefield to talk about this, also because all of us behind the scenes saw things and experienced things that we know about but that we can't really talk about. I think that it's too sensitive. But [18:03] our night was probably a wait for the EBU to disqualify them or solve it in a different way. And the only thing I felt was please please please don't disqualify. Because we had a hard time with everything because [18:18] it became so political. And what we had originally thought, that we were doing it because it's fun felt so long ago now. So it was tricky.

At the artisthotel everyone is talking about this. But no one there knows exactly what has [18:33] happened. And in the media there is a lot of speculations. Tabloid newspapers are starting to dig into Joost Klein's past. [18:48] Socialmedia is filled with posts and some TV channels like British Sky News are broadcasting live like an electionnight in anticipation of the results of the EBU's investigation. The news tops most news channels. The hours [19:04] pass. Everyone is wondering. But no one gets an answer.

It's Saturday. Final day [19:18]. It's twenty pas twelve. Just under two hours before the last rehearsal before the final. The artists are ready in their stage clothes in the hotel reception to go to the arena. The delegation buses have started to drive up outside the [19:34] entrance. Then, finally, the decision will come that will send the world's media houses into a spin. [19:55] Now the EBU is officially commenting on an incident that has been on everyone's mind since Friday lunch. The incident that occurred between Joost Klein and an EBU-employed photographer backstage in connection with Thursday's second semi-final [20:10].

The decision to disqualify Klein from Saturday's final is due to the female photographer having filed a police report against the artist and the EBU believes that while this legal process is ongoing, [20:25] it is not appropriate for him to compete. That is what can be read in the press release that the EBU is now issuing. And it concludes by stating that there is zero tolerance for inappropriate behavior in the EBU workplace [20:40]. There, one should be able to feel safe and secure, and therefore Joost Klein has violated the EBU's rules.

The news also makes history. Individual countries being disqualified has only [20:55] happened once before in Eurovision history. In 2022, when Russia and Belarus were disqualified due to Russia's war of aggression against Ukraine that same year. Both citing the fact that they could no longer demonstrate free [21:10] media. Now that the Dutch artist is disqualified and it's just hours before the final, new history is being written. Something like this has never happened before. The Netherlands' [21:25] commentator Cornald Maas has an emotional outburst in front of the cameras. Cornald criticizes the decision and says I was about to say fuck the EBU [21:40]. Which actually also slips out of his mouth.

Taco Zimmerman, director of the Dutch TV company Avrotroos, one of the highest TV executives, is now holding an impromptu press conference [21:56] for the Dutch media outside the Artist Hotel and he is emphasizing again and again that the Netherlands believes that the punishment is too harsh in relation to what happened. But it is now that the stories [22:10] are starting to diverge. From the Dutch side, it is said that there was an agreement that Joost Klein would not be filmed immediately after he comes off stage. Considering that his act ends in a very emotional way. [22:25]

Jan-Åke Fält, Joost Klein's defense lawyer: There were people from the Dutch delegation and people that we later heard as witnesses who said that there had actually been an agreement that they would refrain from filming right after [22:40] Joost came off stage.

We hear EBU's Martin Österdahl. Could it be that there has been a misunderstanding?

It sounds like there is a misunderstanding. I am not aware of any such agreement. [22:55] We have been saying that all along. As far as we know, there has not been such an agreement. And the police investigation did not really have much of a role in that decision. Do we stand behind the decision? Absolutely. Could we have done things better? Yes, certainly [23:10]. Have we learned anything? Yes.

But what has happened? Which leads to a favorite artist in the world's largest music competition being reported to the police by one of the organizer's own employees? Jan -Åke Fält [23:25] gives his view on what he has learned through his client, Joost Klein.

Yes, as far as I understand it, the artist came off the stage and was to go on to some Greenroom [23:41] in a very short time where they were to be filmed and sit and wave flags. They were in a very hurry and they were the last ones out, so it was very important that they got on. When they came off the stage, they didn't really know where they were going. And there was a plan [23:56] that they would be met by a person from the delegation, but he had not been allowed in there, right behind the stage. And when the artist starts to ask where he is going, he is instead filmed and the person filming does not answer the question. Then he [24:10] asks the photographer to stop filming and makes a move to take the camera away. And there was a film that had been handed over from the photographer already in the initial stage where this is quite clearly evident. I have a hard time understanding why they didn't just [24:25] dismiss the case right away.

This film that you're referring to, what do you see in the film?

You see exactly what I told you. That the artist comes off the stage, everyone is quite excited. He asks for directions. You also see him asking the photographer to stop [24:40] filming.

And this is how the photographer's lawyer Kristoffer Ståhl describes the incident.

My client was standing and doing her work and then this artist comes off stage and all of a sudden [24:55] walks towards my client and somehow attacks her. Then how it happened is difficult to define whether it was a push or a punch. But there was some kind of physical [25:10] contact and the artist being very upset made my client very scared and feel threatened. The punch was on the camera which then flew into my client. And I have seen this film [25:25] that exists from the incident. I can say that it is not strange that a report was made.

I actually also interviewed Jan-Åke Fält, who was the artist's lawyer. And he expressed a rather opposite opinion to you, that [25:40] in the film you can clearly see how the artist asks not to be filmed. Could that matter in any way?

No, it doesn't. Because even if it is the case that you express that [25:55] you don't want to be filmed, you are not allowed to physically attack a person anyway.

Even the prosecutor who is in charge of the case, Fredrik Jönsson, who later closes the preliminary investigation, he has also seen the film.

You can't actually see that much in [26:10] this film. It is very, very short and you don't really see what is happening. You see a movement, you don't see much more than that. You can't draw any real conclusions based on [26:25] the film that was there.

The conclusions of what you see happening in the film simply differ widely. But as for the part concerning the Eurovision Song Contest, the fact remains. The Netherlands' entry with Joost [26:40] Klein is disqualified. Klein has said afterwards that he asked them to meet the photographer and try to sort out the incident.

Yes, Martin Österdahl, did the EBU never consider sorting out what happened on site instead [26:55]?

It is clear that we discussed different solutions but this was the only thing that could really be done. Isn't it a bit ironic given this extensive discussion we have had in the film, music and entertainment industry about [27:10] how people like me and my colleagues who have the influence of power must to a greater extent stand on the side of the vulnerable employee. And the paradox is that when we do so, [27:25] we are exposed to criticism like never before. And the police investigation didn't really have much of a role in that decision, this is about threatening behavior, we have zero tolerance for that.

The Netherlands is out of the competition. [27:45] But the final will go ahead. Outside the arena, the audience begins to gather as the clock approaches eight. An unusually large number of tickets have been sold for the final [27:59] to Dutch fans because Joost Klein's entry is judged in advance to have a good chance of winning. Some Dutch fans are informed of the disqualification on their way into the arena. [28:16] They are also not allowed to bring their flags in. The EBU has a flag policy that says that only the flags of the competitors are allowed.

Lotta Myhrén, a reporter for Swedish Radio, who is interviewing outside the arena, [28:31] can easily see disappointed Dutch fans in the crowd.

They were wearing the same outfit as he was, a blue jacket with very large shoulder pads, a bit like a triangle. [28:46] They thought it was completely wrong that he had been disqualified and many believe that they were robbed of the victory, that he should have won.

Even in the Netherlands, the shock is great. Wijnand Speelman is a radio presenter on the Dutch [29:01] 3FM, but also a friend of Joost Klein.

[29:19] He's full of surprises. He has always been full of surprises because he does things his own way. That's what makes him special. In the Netherlands, many believed in winning. The song was doing so well, we thought this [29:34] is our moment of fame. He's gonna win Eurovision for us, you know, so we were in a winning mood. We all felt a little bit hurt, I guess. He was banned, but we all felt banned, maybe a little bit. [29:57]

And as the final approaches, tensions are also rising outside the stadium. Because it's not just the disappointed Dutch people there. Protesters protesting against Israel's participation are heard and seen again [30:12].

“If you compare it to Thursday's big pro-Palestinian demonstration against Israel's participation...” (radionews)

The media reports intensively. Sometimes maybe a little too intensively.

There was a time, there was a demonstration right outside the stadium [30:27]. The newspaper wrote that now they are storming the stadium. Jimmy ”Joker” Thörnfeldt, one of the Swedish songwriters. Because my family had planned to go and watch this, and then it was like this. Is it really appropriate for me to send my family [30:42] there when they start storming the stadium? But I got there and when I got there, it was as calm as could be. The media can sometimes stir things up and make us very afraid when we don´t need to be afraid [30:56].

But the big threat to the final being able to take place at all is not outside the arena. Several countries are considering dropping out. But not because of the disqualification of Joost Klein, but because they feel [31:11] that they have become a pawn in a political game now that Israel is in the final and also one of the favorites. And they do not feel satisfied with the crisis meetings they have had with the EBU and are now demanding new meetings. [31:27]

We had a situation in the queue when we were going to enter the flag parade, and artists were filmed again. And we demanded to talk to the EBU right away [31:41]. because it had now gone too far. Magnus Börmark, Norway, about which countries that now are threatening not to appear on the final stage:

It was Bambi Thug and Nemo. Yolana, Portugal. [31:57] And Greece. Maybe we were those who talked the most. There were several who would have supported it. Maybe at least five, six countries. I think they would have definitely done it if we had decided to do it. [32:13] And I think several others would have joined. We in Norway, we were completely ready for it.

I hear this an hour before we go live. Ebba Adielsson. Executive producer at Sveriges Television. It was of course an unreal [32:27] feeling. So much had happened during the week. Both on stage, behind the scenes, in the city with Koran burnings, artist threatening to drop out and various demonstrations. So you started to get a little bit used to surprises. But it [32:42] was completely surreal to have to stand half an hour before we go live with the world's biggest TV program and persuade competing entries to actually go on stage. You didn't see it coming.

One hour left until the start. Will [32:57] there even be a final? Is there even a plan for if several countries now drop out? Yes, we could have carried out the production anyway. The flag parade would have looked a bit strange, but then we would have broadcast the taped rehearsals of [33:13] the artists who had not shown up in that case and they would of course have been out of the competition.

So there could have been several countries out of the competition. And a completely different winner. Because Swiss [33:27] Nemo was among those who considered dropping out. But the chaos surrounding Eurovision 2024 does not end there. While several countries are considering leaving [33:42] the competition, there will be a other dropouta. Now among those who will cast tonight's juryvotes.

Norway's Alessandra Mele withdraws and refers to the war in Gaza on her social media. Finland's Käärijä [33:57] who is friends with the Netherlands' Joost Klein also drops out and refers to how he is very sad about the disqualification. [34:15] And the Netherlands' well-known influencer and former Eurovision presenter Nicky Di Jaeger has, in consultation with the television company Avrotros, decided not to give the country's votes as a protest. [34:29] Because even though the country no longer has a representative in the final, the Dutch people will still be able to vote. But now the voting points from the Netherlands will be given from EBU's Martin Österdahl instead. A moment [34:44] that will also be written into Eurovision history.

And down in the press room, the disqualification is still a hot topic. We hear the newspaper Aftonbladet's reporter on site Markus Larsson. It's very, very infected and a lot of fuss [34:59] right now. The problem is that we don't really know what happened. The Dutch delegation says one thing and the EBU says another. But there are many conspiracy theories out there. It's just one more thing this week that makes this start to feel more and more like a competition that we just want [35:14] to be over.

It feels like everyone is very, very on their toes and nervous and stressed and irritated. Artists, delegations, the press, the fans if nothing else. The fans are a lot of them. [35:30] So furious. Kris Boswell, producer, Radio Sweden. I checked the statistics on how many people, as well as which countries, have bought tickets to the final and Holland was in third place. So there will be a lot of disappointed Dutch people there in the arena too.

Markus Larsson [35:44] again. It has never been this tense and infected before.

Sitting and working here in the press room, how have you experienced this week?

It is chaotic and it is not violently chaotic but it is chaotic. There are many such decisions, there are disqualification. There are protests against Israel. [35:59] It is Israel, Israel, Israel, Israel, Israel and everything will be about Israel all the time. This is the kind of year it is and when Israel is involved, I don't know, we will have to analyze afterwards how the EBU handled this whole situation. Should countries that are in [36:14] major wars be involved in the competition? Should countries accused of human rights violations or crimes against humanity be allowed to compete that year? I don't know. Because now it's going to be like this. This is what it's going to be like tonight. Listen now. Israel has a great [36:29] song. Easy top five. But the fact that she's on the betting now as second to win, it's not just because of the music. It's because this is going to be a vote for or against Israel. [36:46]

There are now 30 minutes left until the final. Norway's Magnus Börmark. We´ve had the last crisis meeting. And EBU expelled a person from the Israeli delegation, they have also moved the delegation out of the bubble. So [37:00] they had taken some action. Yes, it turned out a bit like that. Okay, let's go, then we'll just do the shit and then we'll just have to see how it goes.

Norwegian group Gåte decides to stay in the competition. And the other countries that also planned to drop out follow Gåtes decision. [37:15] They think that the EBU has made some efforts. Like one person in the Israeli delegation being stripped of their accreditation. And that the entire Israeli delegation is forced to move their dressingroom away from the others [37:30].

Yoav Tsafir, director of the Israeli delegation, does not share the view that they were disruptive. But they agree to move the lodge.

They came and they told us this is their decision. I told my friend, we are not going [37:45] to argue. We really were polite, we didn't do anything. But some other delegations said that they are not going to sing if we don't do it. So let's do it. I don't want to be the problem. I don't want to do problems. I didn't come to fight with anybody. We [38:00] are a friendly delegation that only come to do artistic work. And the second we heard from the EBU that people don't want to go to the stage if we won't go to another room, so we went to another room. I didn't think it was right. But I told my friends [38:15], let's not fight about it. Let's just go to another room and let the show begin.

The Israeli delegation moves from the artist bubble when the EBU asks for it. We don't want to argue. Let the show begin, says Yoav Tsafir. [38:32]

You can't say here that the Eurovision slogan United by Music characterizes the 2024 competition. But now the final will finally take place. Let the Eurovision Song Contest begin [38:47]!

The Swedish entry Unforgettable with Marcus & Martinus opens the [39:02] evening. Other memorable performances include Finnish Windows 95 -man with his scantily clad shorts number with his own designed fireworkshose. And Estonia [39:17] manages to combine folk music with rap. This with the most unusual costumedance of the evening. And Italy is always in the top battle. [39:33] And who can forget Loreen's interlude where she half-lying down bicycles through her new song. Forever.

(News) “This [40:00] is Ekot at ten. The final of the Eurovision Song Contest is in full swing in Malmö...”

And soon it will be noisy again on [40:14] the inside of the arena. We will find out how the jury groups has voted. But first, the EBU's Martin Österdahl will certify that the voting has been correctly done with the catchy words You're good to go.

Executive supervisor Martin [40:30] Österdahl. What can you tell us about the result? Good evening. So the moment of truth has arrived. I can tell you that we've checked and verified all of the results. And we're ready to start revealing the results of [40:44] the grand final result. So with that, Malin and Petra, you're good to go.

The audience boos Martin Österdahl. Something like this has never happened before in the competition.

I expected that [41:00] the EBU would be booed. The conflict in the Middle East is so incredibly divisive. Then it's the case that we hadn't foreseen this with Joost Klein. The troubled road leading up to the broadcasts [41:14] in Malmö, it was largely due to the Middle East conflict. Then the most intense end of it was the disqualification of Joost Klein. I understand that's why they booed me.

But it's not over for Martin Österdahl [41:29]. He will also deliver the votes of the Dutch jury, since their voter dropped out in protest at the disqualification of Joost Klein.

Now, for the results from the Netherlands, I turn to Martin [41:44] Österdahl. Yes, hi, we have no spokesperson contact with the Netherlands tonight, but the 12 points from the Dutch jury goes to Switzerland. Switzerland, 12 points [41:59]. La Suisse, 12 points. (booing)

I was mentally prepared for this to happen. I had my youngest daughter in the arena. I had the opportunity to meet her before and explain. She's only 11 years old. 10 years old then. And I explained [42:14] to her, like, this could happen. It's not personal. It's not dangerous. And so on. It felt good. But of course it wasn't fun. I mean, I'm just a regular human being of flesh and blood like everyone else. [42:29] And it wasn't a pleasant situation. But I was focused on the job that I had to do.

Martin did not decide on the disqualification alone. Within the EBU, many people were involved in the decision. A reference group, an executive board [42:44], managers above him. There was between 18 and 20 people involved.

Martin Österdahl: Since the executive supervisor is the person who sits and waves in the arena at one point, There is very much focusing on that function, the role and that person.

It will be [42:59] a tough evening for Martin Österdahl. But Edward af Sillén also finds the evening challenging.

I also feel that the top cap went. I think what we were trying to do was just to get to the finish line. This was a very, very tough evening for all of us. [43:14] I remember that all I wanted was to finish and go home, to be completely honest. It was a tough evening.

Eurovision week is coming to an end. Soon we will all be able to go home. After a week that has shaken Eurovision. [43:29] It has been a mess. With political statements, a police report, a historic disqualification, an upset audience and artists who towards the end of the week are almost starting to be afraid of each other. But how is it going [43:44] in the competition itself? Who will win?

“Our 12 points Switzerland! Our 12 points SWITZERLAND! [44:00] 12 points! Nemo, Switzerland!”

Nemo [44:17] from Switzerland wins. Nemo who was close to dropping out. The evening ends symbolically, however, for maybe the whole Eurovision week [44:32]. When Nemo accidentally breaks their glasstrophee on stage. Something they comment on at the press conference afterwards with the words. I broke the code and I broke the trophee, maybe the trophee can be fixed. [44:46] Maybe Eurovision needs a little bit of fixing too.

Nemo who hopes that both their glasstrophee and also the Eurovision music competition can be fixed. But the Eurovision Song Contest [45:01] 2024 is not over. The aftermath will continue long after the final has been brought home.

On the internet, it is noticeable from whatever EBU publishes on its social media, Eurovision fans [45:16] write thousands of posts with hashtag “Free Joost” or “Justice for Joost”. And in the Netherlands, people continue to support their artist after the competition. For example, church bells all over the Netherlands are asked to ring Europapa [45:31] at a certain time. This is what Wijnand Speelman, a radio host on 3FM in the Netherlands and a friend of Joost Klein, told us:

After the disqualification we felt so bad for him that [45:46] we asked the church bells, the churches in the Netherlands to ring Europapa on the same day at 12 noon. So we had a lot of church bells ringing at the same day, Europapa, through the whole of the Netherlands [46:01]. It was big news, it was a big thing in the Netherlands. Just to support him.

And this is what it sounded like when Joost Klein's song Europapa was sung by church bells in Holland.

[46:22] But Joost Klein is still under investigation by the police in Sweden for unlawful threats. And only in August, three months after the final, does prosecutor Fredrik Jönsson come with a statement, the preliminary investigation is closed [46:37].

It was a comprehensive assessment that I made based on all the information that was in the case and then it was, among other things, witness information that was available, that is, witnesses who were in Sweden. But then also the witnesses that we [46:52] heard in Holland.

Is it common that witnesses perceive the situation differently?

Yes, but it can be, especially when it is a rapid sequence of events, it can absolutely happen that different [47:07] people perceive things in different ways. It is nothing unique to this incident.

A week or so after the preliminary investigation was closed, Joost Klein will return to Sweden for the first time since Eurovision for a gig [47:22] in Uppsala.

I'm a free man!

But Joost Klein was not alone in that corridor backstage. There was also [47:37] a plaintiff, the EBU photographer. What exactly happened between them may never be completely clear. The photographers have also declined to participate in this program. But this is how lawyer [47:52] Kristoffer Ståhl tells us about how his former client is feeling today. She has had to endure an extreme amount of hatred and threats. She has been afraid for her life. She is doing well under the circumstances, moving on with her life and will hopefully [48:07] continue to be a prominent photographer.

Eurovision 2024 will be a year that will go down in history. And it has already left its mark. In late autumn 2024, the EBU will issue [48:22] a whole package of new, stricter rules. Or at least clearer rules. Filming is prohibited backstage without permission. The artists will have an area where they can be completely alone. And in addition, a person who [48:37] is responsible for the well-being of the participants will be introduced.

A competition that for a long time seemed to have more losers than winners may still be able to rise. But the core question. Will the competition that once started [48:53] to unite Europe after the Second World War manage to remain apolitical? What do those involved say?

Martin Österdahl, EBU: The bigger problem is how people and media choose [49:08] to handle the Eurovision Song Contest outside the universe that we ourselves control.

Ebba Adelsson, Sveriges Television: There have always been and will always be people who try to make politics out of their or others' participation in the Eurovision Song Contest [49:22]. And I think that is inevitable.

Magnus Börmark, Norway: No! It don´t think so.

Yoav Tsafir, Israel: Well, I hope so. And I hope that the judges will vote not in a political way.

Linnea Deb [49:37], songwriter: I'm so crazy but I think like this, let´s make a competition that is political. Everyone gets to sing exactly what they think is terrible or good. And then we'll see how it goes.

Svante Stockselius, Executive Supervisor for Eurovision from 2004 [49:52] to 2010: It is political and it is not surprising that it is because the whole world's spotlight is directed at the event. And many political profiles , from the government and presidents [50:07] and so on, try to exploit this. So the important thing is that as an organizer you make sure that it does not become a political event.

[50:22] We'll see how political the Eurovision Song Contest will be in the future. And whether there will be as much headlines around this year's competition. The countdown has begun. And one thing is as usual. I [50:37] will analyze this year's songs together with Eurovision experts Björn Kjellman and Kris Boswell. And you'll hear that in the third episode of this Eurovision special. And all the people interviewed in this program you can [50:52] hear longer interviews with in our app Sveriges Radio Play. Technicians have been Tobbe ”Sjökexet” Carlsson, Lotta Linde-Rahr and Maria Stockhaus. Executive, producer David Rune. My name is Carolina Norén [51:08].

(TRANSCRIPT IN ENGLISH BELOW) Så blev Eurovision 2024 i Malmö den mest kaosartade och skandalsomsusade tävlingen någonsin i Eurovisions historia.

Lyssna på alla avsnitt i Sveriges Radios app.

Eurovision Song Contest 2024 i Malmö. Sverige skulle åter få visa upp att vi är bäst på att arrangera Eurovision. Men det blev inte så mycket ”United by music”.

Publiken buade, artister hotade med att hoppa av och utanför arenan samlades upprörda demonstranter som protesterade mot Israels medverkan.

Följ med tillbaka till Malmö 2024 och hör de inblandades berättelser och få en inblick i vad som egentligen hände i kulisserna under världens största musiktävling, det där året när ingen pratade musik.

I programmet hörs intervjuer med:

Martin Österdahl, Executive Supervisor EBU
Edward af Sillén, Regissör & manusförfattare
Ebba Adielsson, Exekutiv Producent SvT
Magnus Börmark, Gruppen Gåte Norge
Henric von Zweigbergk, Floormanager
Jovan Radomir, Moderator mediacenter/presskonferenser ESC
Jan-Åke Fält, Försvarsadvokat Joost Klein
Kristoffer Ståhl, målsägarbiträde EBU:s fotograf
Fredrik Jönsson, Senior Åklagare
Käärijä, artist mellanakt
Marcus & Martinus, Sveriges representanter
Linnea Deb, Joy Deb, Jimmy “Joker” Thörnfeldt – låtskrivare ”Unforgettable”, Sverige
Andreas Lundstedt, mellanakt med Alcazar
Wijnand Speelman, radiopratare 3AM Nederländerna, vän med Joost Klein
Yoav Tsafir, director Israeliska delegationen
Jonas David, musikrepporter P3, Sveriges Radio
Lotta Myrén, nyhetsreporter, Sveriges Radio
Markus Larsson, musikreporter Aftonbladet
Kris Boswell, producent Radio Sweden
Svante Stockselius, Executive Supervisor EBU 2004-2010

Även kommentarer från:

Joost Klein, Nederländerna
Jerry Heil, Ukraina
Baby Lasagna, Kroatien
Nemo, vinnare Schweiz
Olly Alexander, Storbritannien
Petra Mede, programledare

Programledare/Producent: Carolina Norén
Exekutiv Producent: David Rune

Carolina Norén
[email protected]

ENGLISH TRANSLATION OF PART ONE

DAGARNA SOM SKAKADE EUROVISION PÅ ENGELSKA, DEL 1

“Eurovision Shame on you!”

“The girl from Israel is booed. It's not her fault.”

“ It became a political minefield [00:16].”

“The face of Scandinavian anti-Semitism or the neo-Nazis of Norway.”

“The Eurovision executive supervisor Martin Österdal. What can you tell us about the results?”

“ This with Joost Klein. I understand that's why [00:30] I was booed at.”

“And now I'm at Eurovision. I think it's the coolest thing ever.”

“There was a film where this is quite clearly stated”

“Families with children have been asked to move if something were to happen”

“This is a shitstorm. “

Voices from Eurovision [00:45] Song Contest 2024. My name is Carolina Norén and I have been the commentator for this competition on Swedish Radio since 1999. And I have never been involved in a year like this. I felt [01:00] that I had to sort this out. You might have thought you had already heard everything. But now we're finally going to lift the lid and find out what really happened. The secrets that haven't been revealed yet. [01:15] Follow us back to Malmö and hear the stories of those involved. Those days that shook Eurovision.

It's [01:39] Saturday, May 11, 2024.It´s time for the Eurovisionfinal. But instead of a public celebration in Malmö, there are reports of demonstrations, a large police presence and a heated atmosphere.

“The commotion [01:54] continued after the final began. There were smaller groups of protesters who went here and tried to stand and demonstrate right at the entrance to Malmö Arena.”

It's approaching seven in the evening. And people are starting to flock to Malmö Arena. But the colorful audience [02:09] with everything from families with children to Eurovision fans in silly hats gets an unexpected welcome. What they're protesting against is Israel's participation in the competition.

But here are also disappointed [02:24] Dutch people who have just learned that their artist has been disqualified. And even inside the arena, emotions are stirred. The disqualification of the Netherlands' Joost Klein has been the final straw [02:39] for many after a very turbulent week.

It's getting very tense. People were going around saying, this is a shitstorm. [02:54] And as if this is not enough, several countries are now threatening to drop out. And many are now starting to wonder if there will be any competition at all? Is this the end of the Eurovision Song Contest? [03:12]

As you can hear, you really wonder what happened here. But to understand how we ended up here, we have to go even further back in time and even further out into the world to an event that [03:26] would shake up and affect large parts of the world.

We hear Martin Österdahl, Executive Supervisor for Eurovision at the EBU.

It was probably on the morning of October 7th when the terrible [03:41] happened in the Middle East that we also understood that it was going to be difficult for us.

“And here is the lunchnews, which today is dominated by the fact that Palestinian Hamas carried out a large-scale attack on Israel during the morning.”

On the morning of [03:56] October 7, 2023, the terrorist organization Hamas carries out a violent attack on Israel. Martin Österdahl senses that the crisis in the Middle East will affect Eurovision. That [04:11] this will be a complicated and different competition.

But not even Martin Österdahl can imagine how complicated and different it will be. And Edward af Sillén, who has been assigned to direct and write the script [04:26] for the comepetition, now discovers that the assignment is suddenly completely different from what he imagined.

We were so anxious. Should we say yes, can we go into this again? So in the end, Daniel and I said, we´ll do it because it's fun. We were free that spring. It's fun to [04:41] do Eurovision. We´ll do it because it's fun. So we make a party out of it. And then the war breaks out. And that changed our work situation. That's how it is. So in the end, yes, the task became different. It became a political minefield when we just [04:57] wanted to make a fun and enjoyable program.

And a political minefield it has become. And here in the spring, many are now reacting to Israel's strong response to the October 7 attack. [05:12]

“Over a million people have fled to the border town of Rafah in Gaza and fear is spreading ahead of an expected Israeli ground offensive. “

The war is now also starting to affect the Eurovision Song Contest [05:27] . As the selections continue around Europe protests are starting to come against the contest. Voices are being raised about boycotting Eurovision because Israel is participating. The matter is not made any less complicated [05:42] by the fact that Israel in February announced the title of the song that will represent them. October Rain. A title that brings to mind the terrorist attack on October 7. How should the EBU [05:57] European Broadcasting Union react?

The organization's rules do not state that a country that is at war is not allowed to compete. This has actually happened several times before. The country [06:12] does not have to be situated in Europe either, but must be a member of the EBU. However, the country must be able to demonstrate free media, so-called public service. And the song and the number must not have political, religious [06:28] or commercial messages.

The EBU responds that they consider the song to be political with that title and demand that it be changed. After pressure from Israeli President Isaac [06:42] Herzog, the song is now changed and called Hurricane instead. The message in the song is now toned down. Some words have been changed, as has the title. [07:04] Now [07:21] the lyrics read. [07:41] In [07:57]

It is important for Israel to be in Eurovision. This is what Yoav Tsafir, director of the Israeli delegation, tells us. [08:20] Yoav tells us here that it is important for Israel to continue to show itself in international contexts. And that is why they changed the lyrics to the song.

We changed the lyrics as they demanded and we did it. [08:35] And we felt very good with the second version.

Protests continue in several countries against Israel's participation in the competition. However, unlike when Russia was excluded from Eurovision when several of the participating countries [08:50] threatened to drop out, there have been no official protests from the competing countries. However, individual artists are considering not participating.

On social media, many of the participating artists are enduring [09:05] everything from criticism to outright threats. Their participation in Eurovision is seen as a statement because Israel is in the competition and the artists not boycotting the competition. [09:24] Nemo, who later wins the entire [09:38] competition, is one of the artists who joins in a call in which the artists briefly state that through their participation in Eurovision they are not taking a political position. They are in favor of peace and the release of the Israeli [09:54] hostage.

Britain's Olly Alexander is also one of the artists who has signed on. [10:21] Olly talks about how artists support each other in advance. And also about how he experiences pressure, especially on social media. Yes, I think there's a lot of pressure on social media. For me personally, I actually came off social media. That's kind of been how [10:36] I've dealt with it in one way. It's just like not engage or not look at anything. Just for my own mental health.

And the atmosphere online is so heated that the artists need to help each other to support each other. This is what Magnus Börmark [10:51] from the Norwegian group Gåte says.

We had a group like that, some of the artists, who met a bit over video calls beforehand, where we talked about the problem, where we talked about, well, how [11:06] we were treated in our home countries. In Norway, it's very politicized. We got emails in our inbox where we were accused of being positive to infanticide in Gaza. Because we participated in Eurovision [11:22].

Swedish songwriters Linnea and Joy Deb also get comments on their social media. I noticed, above all, maybe people you know they say: just boycott this. Then [11:36] you feel like this is my job, what the hell am I supposed to do? Yes, but of course you saw many, many posts about taking a stand or not. [11:52]

Finally, the EBU is forced to go out and urge the public to stop attacking the Eurovision artists on their social media because of the war in Gaza.

Martin Österdahl: It's probably the first time, as far as I know, that we've done that. But it was necessary [12:06] and there's no place, we think, for hatred and meanness and bullying, because that's really what this is. It's like some kind of bullying.

But the fact remains. The Eurovision [12:21] 2024 music competition is about to turn into a political powderkeg, whether you like it or not. Something that even director Edward Af Sillén is now starting to notice.

Yes, I absolutely did. It also made [12:36] us question ourselves what kind of programme we want to do and why we're doing it? The climax came in January, February, when the opposition to Eurovision grew and grew and the demonstrations grew. Then we also had to ask ourselves [12:51] the question, do we want to do this? What do I stand for? Do I have to stand somewhere politically to be able to implement this program? And our solution was that we have to try to make it a nonpolitical competition. Now I'm talking about the content of the program. Of course we had problems [13:06]. Several artists dropped out for political reasons. So we had to quickly rethink and put out fires and find new ways to go. We decided then that we would do this but we would focus on what we could do, which is to spread [13:21] joy. Focus on humor, warmth, music and show. And not artists who stand hand in hand and sing about peace, for example we didn't want to go that way. And it felt like the right thing for us to do. And then it became easier for [13:36] us to see what we should do. We even managed to joke about it. We got a line in a show number in Semifinal 2 where we sang about the EBU and inserted the sentence a non-political competition of course with a twinkle in the eye. Which was to ironically [13:51] comment on the elephant in the room and the EBU allowed us to say that sentence. So that was our way of dealing with it with humor. And sometimes that's the only weapon we can use.

One of the artists who was asked to be the opening act was Alcazar. Andreas Lundstedt [14:06] remembers that they were hesitant.

We thought several times before we said yes. We weren't really sure if we wanted to do it. Because we felt that everything feels a bit uncertain and a bit unpleasant in some way. [14:21] But after we talked a lot, me and the girls in Alcazar and then we felt that music stands for love and we want to help people escape from this terrible everyday life that it can be sometimes. Just [14:36] to kind of give people a little time off from their problems.

It has been [15:17] a stormy time during the spring. The uncertainty is still great. But now it´s May. And it will be Eurovision. The artists and delegations are now starting to arrive in Malmö. The city is decorated with pastel-colored fluffy [15:32] Eurovision advertising. Despite the fluff, it is not possible to ignore all the uniformed personnel and all the emergency vehicles that are constantly on standby.

Around the artist hotel Malmö Live, the police have [15:47] set up an iron ring. And the reception is more like the passportcontrol at an airport with metal detectors and guards who search the bags. It doesn't feel like a hotel reception.

There were armed guards everywhere [16:02] so that was a feeling when I first arrived in Malmö. Well, I noticed it of course, all the security around and all the demonstrations in town. It was a very safe atmosphere.

Songwriters Joy and Linnea Deb.

So [16:17] it was hugely noticeable. It was like there was a strange cloud that lay over Malmö throughout that week. Jonas David is a music reporter at P3 but also lives in Malmö. There was a pressure in the air [16:32] that felt like a storm was approaching. So it was tense. I myself live not very far outside, but Malmö is quite compact. But as soon as you got into town and also talked to friends, especially near Folkets [16:47] Park where there were activities as well as Eurovision Village. There was an incredible amount of police presence everywhere and I think what people reacted to the most was that you saw such policemen with automatic weapons in these places [17:03]. It was something completely new. You're not used to this in Sweden.

This is how taxi driver Afshi Rabi tells it:

It went from looking forward to it to being afraid that something could happen if you [17:17] wanted to party. So now you were kind of scared instead. You shouldn't be where there are a lot of people. And things could happen.

I experienced that there was a feeling of waiting. Uncertainty. That [17:32] you didn't know what could happen. That there was a concern that it could be violent maybe. Lotta Myhren, news reporter at Sveriges Radio.

1500 police officers are on site from all over Sweden but [17:47] also on loan from Norway and Denmark. So already now those of us who are on site are starting to understand that this will not be a regular Eurovision.

It [18:03] is Sunday, May 5. It's time for the opening ceremony. Normally, the opening ceremony is held fairly publicly so that the residents of the city can get a glimpse of the artists. Nowit´time for the turquoise carpet. Yes [18:18], in Eurovision for some reason they have a turquoise carpet instead of a red carpet. This carpet is going around the cordoned off hotel. And besides the interviewing journalists, the audience consists of police and security services. Who [18:32] also patrol in the air and in boats in the canal behind the hotel. The journalists are behind the riot fence.

Israel is not attending the opening ceremony. [18:47] Singer Eden Golan and the Israeli team are at a ceremony commemorating the victims of the Holocaust. Eden Golan, who is traveling with her own security team, is also not staying at the official artist hotel.

When Magnus [19:02] Börmark and the group Gåte from Norway are going to walk on this turquoise carpet, they miss talking to an Israeli journalist.

We also had a press team that kept going ahead of us and saying go there, go there. You don't have time [19:17] to talk to everyone. And then there was an Israeli journalist that we didn't get an interview with, we moved on. There were so many other journalists we couldn't talk to on that carpet. But then it was filmed [19:33] and presented in several news channels on Israeli TV and media there. With pictures and video of me and us in the group. I remember [19:49] with headlines like The face of Scandinavian antisemitism and The neo-Nazis of Norway.

Those are pretty harsh words. How did you react to that? [20:03]

I thought it was a bit good in a way, because we had been accused of being Israel sympathizers in Norway. And then we are anti-Semites [20:18]. And neo-Nazis in Israel. So I thought that then we are in the right place. Then there is no one that can take us as a benefit for their cause. But there were some security consequences [20:33] that we had to take after that, because it is quite serious.

[20:57] The Norwegian delegation is now forced to strengthen security around its group. And it is clear that from now on everything that happens and takes place will be scrutinized not only by the media but also by the other participants [21:11] and their delegations. The slightest gesture or miss can have unimaginable consequences. And this is just the calm before the storm.

My picture is that it was towards the end of the show week [21:26] that these tensions rose behind the scenes. Before that, I only really got good reports from the delegation bubble. But then towards the end, the tension rose [21:41]. And there was tension between several delegations and it was about, among other things, filming without permission. Says Ebba Adielsson, executive producer at Sveriges Television.

[21:56] But the show must go on. It's Tuesday and curiosity and expectations are high about how Sweden as the host country and SVT as the broadcasting TV company will put on the show. Eurovision 2013 [22:11] in Malmö and 2016 in Stockholm have been considered two of the best shows delivered in this competition. And the conditions look good. Edward af Sillén is still the director and also [22:26] Petra Mede is back as one of the presenters. [22:41]

Petra Mede: The cheerleaders at Petra. Yes, it wasn't bad and it wasn't ordered. It came by itself. It's completely unbelievable. [22:57]

And inside the arena the atmosphere is at its peak. And even though we understand that many big Swedish artists have dropped out of the show this spring, there are impressive names in the intermission acts. [23:57]

Here is also Sweden's representative from 2011, Eric Saade. And now it's clear once again that this is not an ordinary Eurovision year. [24:30] And the many TV viewers have time to notice that Eric has something around his wrist. A Palestinian shawl. A clear political statement that gets a lot of attention in the media afterwards.

Edward av Sillén. [24:45] No, it was a shock for all of us in the production because we didn't know that Eric would do that. But it's his choice. And it's his decision. He didn't get any complaints. No angry conversation from us, but you have to respect an artist's ability to express themselves politically. That's how it is. [25:01]

However, this is a violation of the EBU rules. In other words, it is not allowed to present political, religious or commercial messages during a performance. This also applies to artists outside of the competition. [25:16]

The organizer has also been concerned about the Irish artist Bambi Thug making any statements before the evening. Bambi is one of the artists who strongly questioned Israel's participation during the spring. [25:30] During the rehearsal, she had written the message Freedom for Palestine on one of her legs in the medieval language Ogham and in modern letters wrote Truce on her face. However, this was removed [25:45] just in time for the broadcast. Bambi Thug gets a place in the final. They who have also received a lot of attention in advance for the stage show that brings to mind supernatural beings and demons. [26:23]

Among those ready for the finals is also the betting favorite Baby Lasagna from Croatia Rim Tagi Dim. [26:40] Ukraine's Alyona Alyona and Jerry Heil are also climbing the betting now that they have qualified for the finals with their tribute to strong women in Theresa and Maria. [27:22]

Happy finalists and also from the production side, you exhale. Or what, Edward af Sillén?

Yes, Tuesday and Wednesday and Thursday were our happy days in this work. Because we felt that we had [27:37] thought right. To focus on humor and let the program become a safe space from the drama outside the arena felt right. It was received very well. I loved working with Petra and Malin and creating [27:52] this strong female friendship that was so... It was fun, it was humor-focused. It was the good days.

The good days is what Edward Af Sillén calls the middle days of Eurovision week. But not [28:07] then either, it's actually completely uncomplicated behind the scenes. But, let's start from the beginning. Tuesday turns into Wednesday. And now it's time for 16 new countries to compete for 10 new final places [28:22]. Rehearsals start for the second semi-final. And now Israel enters the competition. Israel, which in Eurovision is considered one of the big nations with four wins under its belt. [28:37] Most recently in 2018 with Neta Barzilai who won by a landslide with the audience favorite Toy. Yoav Tsafir was already the director of the Israeli delegation at that time.

I'm in Eurovision for 10 years. I [28:52] won the Eurovision in Portugal, in Lisbon, with Toy, with Neta. So, in 2018 when we won, everybody was friendly and the atmosphere was very nice. And it wasn't the same in [29:07] Malmö. Yoav Tsafir tells about the difference in attitude in 2018 towards Eurovision 2024 in Malmö. The Israeli delegation was prepared for protests, but not for the booing [29:22] that was going to come.

We knew we'd come in a difficult year. We knew there was going to be demonstrations against Israel. But, But we came here to sing. We came here to be in an artistic competition [29:37], to do our best. We knew there would be protests. We didn't know there would be booing against us, against our artist, it was new for us.

As soon as the rehearsals start, it becomes clear that many in the audience have [29:52] decided to show their feelings about Israel's participation in the competition. There is loud booing in the arena. Something that shocks the Israeli delegation. Yoav Tsafir again. [30:42]

A shocked Israeli delegation returns to the hotel after the rehearsal on Wednesday night. However, Yoav Tsafir came up with a plan for how they would handle the booing. [30:59] I started training her by booing. We went into our dressingroom backstage and started booing her while she sang. A bit funny, a bit tragic, I know.

His plan was for singer Eden Golan to practice [31:13] in the dressingroom while the rest of the delegation booed her.

The first time she laughed, the second time she was surprised and the third time she started singing. Then she got used to the booing. [31:34]

While the Israeli delegation is practicing with booing, there are others who are thinking about how they should behave towards Israel so that it is not perceived as political. For example, Swedish songwriters Linnea Deb. [31:48]

It is customary that when you come in there and sit down, you go around to the delegations around you and wish them luck and so on. And it was like... Nobody did it to Israel. I think I, maybe someone else, went up and said good luck and [32:03] have fun tonight and stuff. But I kind of got looks at me when I did it. And I think, politics kind of doesn't belong in this competition but it's becoming clear that it does. It's so terribly sad because I don't think this girl [32:18] from Israel, it's not her fault. You can't jump on her as a person and as an artist. I actually feel sorry for her.

And this is what Jimmy “Joker” Thörnfeldt says about the tense atmosphere among the artists in the Green Room in the arena:

How do you greet them? Do you clap [32:34] your hands when they have performed or not? Should you be very happy or should you not clap your hands and say good job? And then the question is, how happy should you be so that it doesn´t seem like a political statement? [32:48] The delegation said, we’re just neutral.

I wasn’t, I really ran forward and said like “a great job” because I felt so sorry for her.

On Thursday......when Israel is going to compete, it’s also noticeable that there is a different tension out on the streets [33:03] in Malmö. Demonstrations both for and against Israel are planned.

These big demonstrations, they were actually the same people who had demonstrated every week since October 7th. [33:18] So this was a way that in the same forum the same people could also demonstrate regarding Eurovision. And what they are against is that Israel...is allowed to participate in Eurovision when Russia is not allowed to do so, a country also at [33:33] war. Lotta Myhren, reporter at Sveriges Radio.

Information about how big the demonstrations are and how many people are expected to participate in them is now delivered in the media like weather reports before an approaching storm. And [33:48] parts of the city are also being blocked off.

I also think that this is how we want it to be in a democracy, says Martin Österdal. In a well [34:03] functioning small democracy, we should be able to have our music events, our cultural events where we are as inclusive as possible. And those who have opinions against it and who don't like it should also be able to make their voices heard outside. As long as [34:18] it happens under control and as long as it is peaceful and that no one gets hurt. So actually, I think this is exactly how we really want it to be.

The competition is now noticeable in most of Malmö.

I remember one of my [34:33] close friends who told me and who lives quite close to Folkets Park and said that suddenly a drone flew outside the balcony and kind of tried, so it looked like they were looking into the apartment or something. Jonas David, P3. There [34:48] were also incredibly strange situations in traffic, like bus drivers who didn't know where to drive, so the bus traffic, it felt like it was completely still. People didn't know how to get around. There were people who just left town because they [35:03] just, we're not even going to get anywhere near this.

An unusual Eurovision week, absolutely, but this high security is not that unusual in the competition. We have seen that for many years and in different countries with snipers on the roofs [35:18], bomb searches with dogs in the arenas. Eurovision fans are actually quite used to it. But probably quite surprising and unexpected for the residents.

In Malmö, a lot of focus, especially the media, whipped up [35:34] an atmosphere, not least, with very dark headlines about security and demonstrations that often took focus away from the event. Ebba Adelsson on Sveriges Television. [35:52]

Outside the arena itself, the barriers are extensive and the police are numerous. So a lot of security, both outside and inside the arena.

In terms of security, you notice that there were a lot more police officers on site and a lot more undercover[36:06], both security guards and police. Henrik von Zweigbergk is the floor manager, that is, the studio man who is down at the stage the whole time.

When I'm on stage and talking to the audience, I usually look out at the people I'm communicating [36:21] with. Nice sign, nice clothes, great idea. I found myself several times starting to talk to someone in the audience and realizing after I've said two sentences that it's a plainclothed police officer. Like I'm standing there heckling, or not heckling, because it was more like I, how [36:36] great you're wearing a silver wig. You're in a partymood! And then just, although he doesn't want people to see him even though he's standing there in a silver wig. That made it a little funny but different.

We're going backstage. How is the situation like for the artists [36:52]? What is the atmosphere like in the artist bubble? The artist bubble is the area where artists and delegations are backstage. Marcus and Martinus. You represented Sweden. What do you say?

The atmosphere [37:06] backstage and stuff, it was as expected. There was a lot going on, there were a lot of people everywhere. So it almost felt like an airport backstage there. You see people with guns walking around there all the time and stuff. It wasn't like you thought it would be because of [37:21] security and stuff.

The Israeli delegation had to be moved around in the bubble so they were in different places every day. And they had a lot of security people. They had a lot of security people around them but with these [37:36] earplugs. Magnus Börmark from Norway says that the Israeli delegation often changes places backstage. This is for security reasons. The delegation also has its own bodyguards with earplugs. But there are more [37:52] reasons now for the atmosphere to be intensified.

Magnus Börmark: They also walked around filming, the Israeli security guards. And that created an unsafe and bad atmosphere.

What you notice [38:06] is that when Israel is about to perform, an armada of several guards appears from all possible directions. Henric von Zweigbergk. And suddenly you have someone standing next to you the whole time who is standing there in a suit [38:21] and has a shell in your ear. So you notice that.

Israel has starting number 14 of 16. The production and the hosts have a plan, how they will handle it if something were to happen before or during Eden Golan's performance [38:37].

Edward af Sillén: We made sure that the hosts were ready at the edge of the stage if it got too much or if something were to happen, we were prepared to step in and say something. A few years ago at Eurovision in some other country, the host came and spoke to the audience [38:51]. Because then there was also booing against a country that upset people politically. And then they told the audience to remember this is a music competition. The artist on stage is not responsible. He is not responsible for what you are booing. We were prepared for the possibility to do something like that but we didn't want to [39:06] do that. Because we didn't want to get into the political stuff. I felt a lot for her to be honest. But I also know that the people who boo aren't booing her. They're booing something else that we all know about. So I understand both sides. [39:24]

Yeah but it reminds me a bit of Russia 2015. Where there was this mix of boos and cheers. I was standing there in an arena like this. So on one side I had a bunch of people cheering and applauding a lot. And on the [39:38] other side a bunch of people turning their backs on the artist and booing. So you really feel like you're in the middle of this pro and against. As I feel there's a lot of emotion among the fans too.

Kris Boswell, producer at Radio Sweden, was [39:53] down in the audience during Israel's performance in semi-final two.

Semi-final two was different in that way with those reactions. Henric von Zweigbergk. I think that on the broadcast there wasn't quite as much of that. That [40:08] there was booing and that it was going on like that. And I would also like to add something about Israel for example. All the booing that came while we were talking on stage, but then when I went down and I walked around the riot fence and greeted [40:23] the audience that was the closest then I can say that almost everyone apologized. They apologized for others who had booed. Or they apologized for... Everyone was kind of really... They were just dragged into something that they really... Because this isn't... The Eurovision audience isn't really like that. And as far as I [40:38] know... As far as I can remember, Israel has never been booed. On the contrary. They have always had quite strong public support in the arena. No matter what country we've been to. So this was something completely new.

Israel is among the last to perform. And we [40:53] are now starting to get ready for a result.

“Now everyone is waiting to hear the votes from you, the audience. Because we are going to reveal the last finalists of the year. But first we [41:08] have to be sure that the voting has gone as planned. And to verify it, we will turn to the person responsible in Eurovision: Executive Supervisor Martin Österdahl. “

And we now have a valid result. [41:23] And with that, Malin and Petra. You are ”good to go”.

Our third finalist is...

The second semi-final is completed [42:31]. And it looks like it has gone without any new controversies after all. But the evening is still young. And far from over. The headaches of the EBU representatives will increase before Thursday turns [42:47] into Friday. Because after each semi-final, a press conference is held. Where the artists who have qualified for the final will be told which part of the competition they will compete in during the final. And here journalists will also have the opportunity to [43:01] ask questions. The artists sit on a podium in order of their starting number. However, Israel's Eden Golan has been given the place closest to the door by security reasons. At some point when Eden [43:16] Golan answers a question, greek Marina Satti yawns. Quite loudly and noisily. Something that she later said was not intentional. But which does not go unnoticed in the media afterwards.

SVT profile [43:31] Jovan Radomir, known among other things from the SvT program ”Good evening” and for having previously worked with Eurovision, is the moderator of the press conference.

It was a bit of a special atmosphere. It was like... People were on their toes in a different way. I can't [43:46] say that I felt... The same joy that was felt before. I don't really know why. But it was like there were slightly different phalanxes in the media center.

Had you received any special [44:01] directives then in advance?

You could definitely feel that there was something in the air. But no directives from anyone. Neither from my colleagues at SVT nor from the EBU.

The Netherlands' Joost Klein is placed next to Israel's [44:16] Eden Golan. And he has covered his head with the Dutch flag. A journalist from Poland now gets the opportunity to ask Eden Golan a question.

[44:38] That's the question. But before Eden can answer, Jovan Radomir interrupts. You don't have to answer that question if you don't want to.

Tell me why you said that?

It must have been in the back of my head. Because I remember that a similar [44:54] question came up in 2016 in Stockholm. Where they tried to somehow bring a conflict into a competition that is about music. And we sorted it out pretty quickly [45:09] at that time. And I felt somewhere that I don't think the artist is the right person to ask that question. Otherwise, you could adress that question to, for example, the Head of Delegation. Because somewhere I feel that the artists should be allowed to talk about what they [45:24] have dreamed about. And about what they were perhaps dissatisfied with during the performance. Or something completely different about the song.

Here, Dutch artist Joost Klein questions that she needn't have to answer the question. He says why [45:40] not? Why not?

What happens then? What happens then in the room?

I didn't actually understand that it was him who said it. I thought at first that it was the Head of Delegation who actually said why not. And that he wanted to answer.

Okay then you can answer it [45:54] if you want to do it. And she gave an answer there that I think was a normal answer from an artist in the Eurovision Song Contest.

“If you want to answer please.”

[46:09] I think we are all here for one reason and one reason only. And the EBU is taking all safety precautions. To make this a safe and united place for everyone. And so [46:25] I think it's safe for everyone. And we wouldn't be here otherwise.

This exchange of words where Jovan Radomir says that Eden Golan doesn't need to answer and Dutch Joost Klein questions it and says why [46:39] not - will soon get a much greater significance. And is another example of how the smallest comment can be twisted and turned. Jovan Radomir had not been given any directive to give special treatment [46:55] to any country. He wanted the questions to the artists to be about music. And Joost Klein later said that the reason he said why not, was because he thought all artists should be treated equally.

But this [47:10] becomes a breeding ground for speculation. In the media and especially in social media. Where now various theories and political conspiracy theories are being spread.

There was so much pressure on everyone. [47:24] Martin Österdal tells us. And at the entire event and not least because of the media coverage. The conflict-provoking angle that was very influential. And not least [47:39] what is happening on social media. Which is a chapter in itself. So I think it became a pressure cooker. Where the pressure kept increasing the closer we got to the final.

So with this tense [47:54] atmosphere in mind, we journalists leave the press conference. With our sights set on the final. Little do we know that what will make the biggest scandal headlines from Eurovision 2024 has happened just [48:10] before Joost Klein and the others took their places on the podium to answer the media's questions. But it has happened. And soon the bomb will explode.

[48:28] Shortly after lunch on Friday, the first rehearsal begins, which begins with a flag parade. Several countries are missing. Norway among them.

However, the Netherlands' Joost Klein is in place. In the final, [48:42] the Netherlands has starting number five. Just ahead of Israel. But at the rehearsal before the final, when Luxembourg, who are making a comeback in the competition after a 30-year pause, have just finished singing and the stage has been made ready for Joost Klein, it is [48:57] Israel that starts rehearsing instead.

The audience doesn't react at first. Many probably think there might have been a technical error or something. The Netherlands will perform later. But Joost Klein won't be back on stage [49:12]. Not later on Friday night or Saturday. Never again, in fact.

Where has he gone? And why did so many other countries disappear? Yes. [49:27] The reason for this will soon spread like wildfire on the arena floor. Because soon the big scandal will be the topic of conversation on everyone's lips. The Eurovision final has not [49:42] even had time to start. And yet it has already written itself into an unforgettable place in history.

In the next episode you will hear about the Eurovision [49:58] final. Which will be the most chaotic and scandal-ridden ever. When 26 participants suddenly turn 25. And a dozen more threaten to drop out.

“The [50:12] Dutch artist has been stopped from the Eurovision final”

”It is big news from Malmö.”

”I told my parents when I was little that I wanted to compete in Eurovision”

“It’s very, very infected and a lot of fuss right now”

“We asked the churches in the Netherlands to let their bells ring [50:27] Europapa.”

“Of course it was completely surreal to have to stand for half an hour before we go live and persuade the contestants to actually go on stage.”

“I remember all I wanted to do was finish and go home, to be completely honest.”

[50:42] And the big question. What really happened backstage with the Netherlands’ Joost Klein? Which led to the historic scandal that shook Eurovision. Hear about what can be seen in the [50:58] film from backstage.

“I mean this came out very early on. How it had happened pretty much exactly. And there was a film from the photographer.”

.Don’t miss. Part 2 of The Days That Shook [51:12] Eurovision.

Technicians have been Lotta Linde-Rahr, Tobbe “Sjökexet” Carlsson, Maria Stockhaus. Executive producer David Rune. My name is Carolina Norén. And longer interviews with everyone who were interviewed in this [51:27] documentary can be found in the Sveriges Radio Play app. Search for Melodifestivalen and Eurovision.

Martin Österdahl om hur det gick till när EBU diskade artisten Joost Klein och hur det kändes att bli utbuad av publiken i arenan.

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Martin Österdahl är Executive Supervisor för Eurovision Song Contest på EBU.

- Vi var förberedda på att EBU skulle bli utbuad på grund av konflikten i Mellanöstern och Israels deltagande. Men vi hade självklart inte förutspått diskvalificeringen av Joost Klein och jag förstår ju att det var därför man buade åt mig under finalen.

Den nederländske artisten Joost Klein blev diskad bara timmar före finalen av Eurovision Song Contest. Detta efter att EBU ansett att han brutit mot arbetsmiljöreglerna efter en incident med en fotograf backstage.

- Vi diskuterade olika lösningar, men jag tycker fortfarande att det var rätt beslut. Som chef är jag ansvarig för personalens trygghet. Däremot är jag medveten om att det var fel att det drog ut på tiden med informationen, där skedde stor skada för alla inblandade.

Martin Österdahl är också starkt kritisk till att enskilda länder och artister buas ut, som israeliska artisten Eden Golan.

- Eurovision Song Contest ska stå för acceptans, respekt och inkluderande. Därför är det fel att bua.

Vi stötte på motstånd, artister hoppade av. Vi beslöt vi oss snabbt för att det fanns bara en väg att gå; med humor!

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Eurovision Song Contest 2024 handlade mycket om politik. Regissören och manusförfattaren Edward af Sillén bestämde sig för att satsa på humor.

De första sändningarna blir en succé

- Vi kallar dem ”Våra lyckliga dagar”.

Men från den andra semifinalen på torsdagen går precis allt som kan gå fel, just fel. Nederländerna diskas, Israel och EBU buas ut och flera länder hotar bara minuter före finalsändningen att hoppa av.

- Jag minns att det enda jag tänkte på under finalkvällen var att det skulle vara över, att jag skulle få gå hem.

Bara minuter före sändning var det oklart om alla länder skulle ställa upp i finalen. Ebba Adielsson avslöjar nu vad som hänt om länder hoppat av.

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Krismötena avlöste varandra, men Ebba Adielsson, exekutiv producent på Sveriges Television berättar att de ändå hela tiden hade olika lösningar för hur Eurovisionsändningarna skulle räddas.

- Det hade inte blivit svartruta i bild, då hade vi använt det filmade materialet från genrep och artister hade fått vara med utom tävlan.

Trots alla utmaningar kan ändå Ebba Adielsson tänka sig att göra det igen om Sverige skulle vinna.

- Det hände så mycket att det kändes helt overkligt. Men ja, jag skulle kunna tänka mig att göra det igen, för det var ändå kul.

Yoav Tsafir är director för den Israeliska delegationen. De var förberedda på demonstrationer och protester, men inte att bli utbuade inne i arenan.

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- Vi blev chockade av buandet inne i arenan som började redan under repetitionerna. Jag beslöt därför att vår artist Eden Golan skulle få repetera med oss i delegationen buandes åt henne i logen, berättar Yoav Tsafir.

Yoav tror att det kanske till och med gjorde att Israel fick så höga poäng av telefonrösterna.

- Jag kan absolut tänka mig att det bidrog till att vi fick höga poäng, att Eden sjöng så bra trots buandet. Jag tror inte att TV-publiken uppskattar buande i en musiktävling.

Yoav Tsafir kommenterar också de klagomål som vissa artister framfört om att de känt sig filmade mot sin vilja av personer i den israeliska delegationen.

- Om någon känt så är jag ledsen för det. Vi är en vänlig delegation och vi kom för att sprida glädje och uppträda i en musiktävling.

Magnus Börmark från gruppen GÅTE berättar om den utsatthet som många artister kände under Eurovision Song Contest 2024.

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I Norge anklagades gruppen Gåte för att stötta Israel för att de var med i samma tävling, Eurovision Song Contest. Väl på plats när de missar att ge en intervju till israelisk media anklagades de i Israelisk media för att vara antisemiter.

Inför finalen hotar upp emot tio länder med att hoppa av, bland annat för att de nu känner att de blivit en bricka i ett politiskt spel. Blott en halvtimme före sändningen beslutar de sig ändå för att vara med. Magnus Börmark var en av talespersonerna i krismötena med EBU.

- Vi var absolut beredda att hoppa av, men sen tänkte vi ”let´s go” vi gör den här skiten) och ser vad som händer…

Joost Kleins advokat Jan-Åke Fält berättar vad man ser på fotografens film och varför han anser att ärendet borde ha lagts ner direkt.

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Jan-Åke Fält var försvarsadvokat åt nederländska artisten Joost Klein som blev diskvalificerad under Eurovision Song Contest 2024. Han har sett filmen som fanns i kameran från fotografen som polisanmälde artisten.

Jan-Åke Fält berättar också om hur han tillsammans med nederländska delegationen och Joost Klein vid midnatt på fredagen kallades till polishuset i Malmö för förhör.

- Vi fick smyga in bakvägen för att undvika att väcka uppmärksamhet. Det var helt tomt i polishuset utom de poliser som skulle förhöra min klient. Att genomföra förhör så här mitt i natten är ytterst ovanligt.