This week saw <a href="https://eurovision.tv/story/eurovision-2025-visuals-stage-and-ticketing-info-revealed">the launch of the Basel 2025 branding</a>. While the Eurovision Song Contest has an overall look, each host city and year carries their own look reflecting the city, the country, and the values of the Contest. Artur Deyneuve is leading the team for Basel. ESC Insight&#8217;s Ewan Spence sat down with Artur following the launch to find out more about this year&#8217;s identity.
They talk about several topics, including&#8230;
<ul>
<li>How Artur became the Art Director for Basel 2025.</li>
<li>The inspiration behind the logo and the story it tells.</li>
<li>The controversial choice of font.</li>
</ul>
<h2>Selected Quotes From The Interview</h2>
<h3>The Eureka Moment&#8230;</h3>
&#8220;It was around August. There was a day that I was working super late, I was having one of those days of creative deep dives.  You are just there, on the internet, looking around. Is an idea going to come? At some point, I was surfing on the web and came across this meme. &#8230; and the moment I saw this meme of two years coming together to shape a heart, I felt goosebumps over my body. I felt a little bit of &#8216;boop!&#8217; in my stomach and I was like &#8216;yeah, this is it, there is no other story&#8217;.&#8221;
<h3>The Controversial Font Choice&#8230;</h3>
&#8220;We looked into Liverpool; a nice typeface, all caps, san serif, nice. We looked at last year, and oh, all caps and serif are included as well. All caps&#8230; looks like everyone likes to shout at us. This typography is just shouting in my face.
&#8220;Because we have our creative approach and our creative idea; we are here to listen and to chat, we don&#8217;t want to shout. That&#8217;s why we went to that typeface. We use a serif typeface because serif is more connected to storytelling, to chat, to calming down. And not having a big typeface shouting in my face.&#8221;
<h3>The Heart Of Eurovision&#8230;</h3>
&#8220;If you ask someone &#8216;Why do you buy a pair of socks with a swoosh,&#8217; &#8216;Why do you buy a pair of socks with the Adidas logo there? &#8216; it&#8217;s because they are buying a brand. You don&#8217;t try to tell people what Adidas is; you just put the logo on. And it is the same with Eurovision.
&#8220;It&#8217;s so big, so strong, and for so many fans, this is what they want. It&#8217;s Eurovision, and that&#8217;s the Eurovision logo, and that&#8217;s the Eurovision heart. You have to love this; if you don&#8217;t love this, you&#8217;re not a Eurovision fan.&#8221;
<blockquote>Eurovision Chat Over Coffee, Basel 2025 Art Director Artur Deyneuve
Ewan Spence sits down with Artur Deyneuve to talk about the visual design of Basel 2025, the Swiss Grid, half tone images, why Helvetica is not the chosen font, and more&#8230;</blockquote>
Discover more about the Eurovision Song Contest and follow its journey to Basel by listening to the ESC Insight podcasts. <a href="https://itunes.apple.com/podcast/the-unofficial-eurovision/id369754923">You’ll find the show on iTunes</a>, <a href="https://www.google.com/podcasts?feed=aHR0cDovL3d3dy5lc2NpbnNpZ2h0LmNvbS9jYXRlZ29yeS9wb2RjYXN0L2ZlZWQv">Google Podcasts</a>, and <a href="https://open.spotify.com/show/4uNBt1qiXXi1qMxk58HNHe">Spotify</a>. <a href="https://escinsight.com/category/podcast/feed/">A direct RSS feed is available</a>. We also have a regular email newsletter, <a href="https://escinsight.com/tour-the-site/the-esc-insight-email-newsletter/">which you can sign up for here</a>.
The post <a rel="nofollow" href="https://escinsight.com/2024/12/18/eurovision-chat-over-coffee-basel-2025-art-director-artur-deyneuve/">Eurovision Chat Over Coffee, Basel 2025 Art Director Artur Deyneuve</a> appeared first on <a rel="nofollow" href="https://escinsight.com">ESC Insight - Home of the Unofficial Eurovision Song Contest Podcast</a>.

<description>&lt;p&gt;Ewan Spence sits down with Artur Deyneuve to talk about the visual design of Basel 2025, the Swiss Grid, half tone images, why Helvetica is not the chosen font, and more, in the latest ESC Insight Chat Over Coffee podcast.&lt;/p&gt;
&lt;p&gt;The post &lt;a rel="nofollow" href="https://escinsight.com/2024/12/18/eurovision-chat-over-coffee-basel-2025-art-director-artur-deyneuve/"&gt;Eurovision Chat Over Coffee, Basel 2025 Art Director Artur Deyneuve&lt;/a&gt; appeared first on &lt;a rel="nofollow" href="https://escinsight.com"&gt;ESC Insight - Home of the Unofficial Eurovision Song Contest Podcast&lt;/a&gt;.&lt;/p&gt;
</description>

The Passion Of Eurovision 2025's Art Design

This week saw the launch of the Basel 2025 branding. While the Eurovision Song Contest has an overall look, each host city and year carries their own look reflecting the city, the country, and the values of the Contest. Artur Deyneuve is leading the team for Basel. ESC Insight's Ewan Spence sat down with Artur following the launch to find more out about this year's identity. 
 
They talk about several topics, including... 
* How Artur became the Art Director for Basel 2025. 
* The inspiration behind the logo and the story it tells. 
* The controversial choice of font. 
 
Ewan Spence and the ESC Insight team bring you the latest news from the world of the Eurovision Song Contest.

Eurovision Chat Over Coffee, Basel 2025 Art Director Artur Deyneuve

<h2>Content Warning</h2>
This podcast episode includes discussions of violence, and mentions of sexual violence and rape.
<h2>Welcome To Eurovision Wars</h2>
Eurovision Wars is a series of podcasts exploring geopolitical themes as they emerged on the Eurovision Song Contest stage. You can listen to Seasons 1 and 2 <a href="https://open.spotify.com/show/54g8SpIFc1ZX0Btb9rIRo3?si=72dba2fad9f8470d">in full on Spotify</a>, covering such topics as the Russia-Ukraine War, and the long-running dispute between Azerbaijan and Armenia. For Season 3, the podcast moves to its new home at ESC Insight, and will focus on the many controversies of Eurovision 2024. In particular, hosts Phil Doré and Ana Oppenheim will attempt to contextualise the fierce rows over the Israeli entry for Malmö 2024.
In episode three, we look at Ireland&#8217;s entry to the Contest and the intensely outspoken Bambi Thug. From their formative years discovering themselves and their artistry, through RTE&#8217;s Eurosong selection, and to the pressures of Malmö, how did Bambi Thug use the stage of the Song Contest to amplify their message, and how did others want that stage to be used?
<h2>Our Principles Of Discussion</h2>
Before we go on, a quick reminder of the principles we are holding to in this series. Discussing Israel and Palestine is inevitably difficult and polarising, so in episode one, we introduced three ground rules to frame our podcasts.
Be willing to keep more than one thought in your head.
It can be true that the founding of the state of Israel was in response to centuries of antisemitism and the horrors of the Holocaust, and also that its founding was marked by massacres and forced displacement of the local Arab population. Likewise, it can be true that Israelis have a right not to be victims of Hamas terrorism, and Palestinians have a right not to be bombed by Israeli warplanes. These are not contradictory.
Explanation is not justification.
When we say that decades of oppression against the Palestinians contributed to October 7th, that is not to justify the atrocities of that day. Likewise, in describing those atrocities, this does not render the mass destruction inflicted by Israel on Gaza acceptable.
 If one side in a conflict commits a war crime, that doesn&#8217;t mean the other side gets a free war crime.
Because, unbelievably, that point still has to be made.
<div id="attachment_219597" style="width: 650px" class="wp-caption aligncenter"><img fetchpriority="high" decoding="async" aria-describedby="caption-attachment-219597" class="size-full wp-image-219597" src="https://escinsight.com/wp-content/uploads/2024/01/malmo_2024_eurovision_stage.jpg" alt="Eurovision stage concept for Malmo 2024 (EBU / SVT)" width="640" height="360" srcset="https://escinsight.com/wp-content/uploads/2024/01/malmo_2024_eurovision_stage.jpg 640w, https://escinsight.com/wp-content/uploads/2024/01/malmo_2024_eurovision_stage-300x169.jpg 300w, https://escinsight.com/wp-content/uploads/2024/01/malmo_2024_eurovision_stage-444x250.jpg 444w, https://escinsight.com/wp-content/uploads/2024/01/malmo_2024_eurovision_stage-600x338.jpg 600w, https://escinsight.com/wp-content/uploads/2024/01/malmo_2024_eurovision_stage-450x253.jpg 450w" sizes="(max-width: 640px) 100vw, 640px" />Eurovision stage concept for Malmo 2024 (EBU / SVT)</div>
If we are to fully understand how the Eurovision Song Contest became so controversial in 2024, then this inevitably leads to difficult conversations. But these are conversations we absolutely need to have as a community.
<a href="https://escinsight.com/category/podcast/eurovision-wars/">You can find previous Eurovision Wars episodes on ESC Insight here</a>.
The post <a rel="nofollow" href="https://escinsight.com/2024/11/27/esc-insight-presents-eurovision-wars-the-malmo-boycott-and-the-irish-witch/">ESC Insight Presents&#8230;..Eurovision Wars: The Malmö Boycott And The Irish Witch</a> appeared first on <a rel="nofollow" href="https://escinsight.com">ESC Insight - Home of the Unofficial Eurovision Song Contest Podcast</a>.

<description>&lt;p&gt;Join Phil Doré and Ana Oppenheim as they explore the controversy and the politics that impacted Bambi Thug, Ireland, and all the artists at the Eurovision Song Contest in 2024, arguably the most controversial season in the Song Contest's history.&lt;/p&gt;
&lt;p&gt;The post &lt;a rel="nofollow" href="https://escinsight.com/2024/11/27/esc-insight-presents-eurovision-wars-the-malmo-boycott-and-the-irish-witch/"&gt;ESC Insight Presents&amp;#8230;..Eurovision Wars: The Malmö Boycott And The Irish Witch&lt;/a&gt; appeared first on &lt;a rel="nofollow" href="https://escinsight.com"&gt;ESC Insight - Home of the Unofficial Eurovision Song Contest Podcast&lt;/a&gt;.&lt;/p&gt;
</description>

Exploring the geopolitical themes in the lead up to the Eurovision Song Contest 2024.

Eurovision Wars is a series of podcasts exploring geopolitical themes as they emerged on the Eurovision Song Contest stage. 
 
In episode three, we look at Ireland's entry to the Contest and the intensely outspoken Bambi Thug. From their formative years discovering themselves and their artistry, through RTE's Eurosong selection, and to the pressures of Malmö, how did Bambi Thug use the stage of the Song Contest to amplify their message, and how did others want that stage to be used? 
 
Hosted by Phil More, with Ana Oppeheim. 
 
Phil Dore and the ESC Insight team bring you the latest news from the world of the Eurovision Song Contest. Join us at www.escinsight.com.

ESC Insight Presents…..Eurovision Wars: The Malmö Boycott And The Irish Witch

Welcome to the latest episode of the Eurovision Masterpiece Collection. There&#8217;s more to our favourite singers than their Song Contest entries, so join David Horton as he highlights some of the best music away from the Eurovision stage. In our latest musical moment, David&#8217;s audience picks out three favourites from Eurovision legend Loreen.
Loreen first came to the attention of the Swedish public during the first season of Sweden&#8217;s version of Pop Idol  (Idol 2024). She finished fourth, with a single released the following year. That led to her working in various presenting and production roles in Swedish television before entering Melodifestivalen 2011 with &#8216;My Heart Is Refusing Me&#8216; reaching the Second Chance round.
2024 was the year of Euphoria. Winning Melodifestivalen, winning Eurovision, and charting across Europe (including a Top 3 in the UK charts, the highest of any non-UK entry since Johnny Logan&#8217;s second Eurovision-winning song &#8216;Hold Me Now&#8216;). As we now know, that wasn&#8217;t the only record of Logan&#8217;s that Loreen would challenge.
With more Melodifestivalen entries, chart hits, and albums in the catalogue, which of Loreen&#8217;s songs would you add to the Masterpiece Collection?
<blockquote>Eurovision Masterpiece Collection: Loreen
David Horton presents three classic Loreen tracks chosen by the audience.</blockquote>
Stay on top of all the Eurovision discussions as the season begins by listening to the ESC Insight podcasts. <a href="https://itunes.apple.com/podcast/the-unofficial-eurovision/id369754923">You’ll find the show on iTunes</a>, <a href="https://www.google.com/podcasts?feed=aHR0cDovL3d3dy5lc2NpbnNpZ2h0LmNvbS9jYXRlZ29yeS9wb2RjYXN0L2ZlZWQv">Google Podcasts</a>, and <a href="https://open.spotify.com/show/4uNBt1qiXXi1qMxk58HNHe">Spotify</a>. <a href="https://escinsight.com/category/podcast/feed/">A direct RSS feed is available</a>. And you can listen to more Eurovision music each Sunday night with David online at <a href="http://www.thedavidhortonshow.co.uk/">thedavidhortonshow.co.uk</a>,
The post <a rel="nofollow" href="https://escinsight.com/2024/11/12/esc-insight-presets-eurovision-masterpiece-collection-loreen/">ESC Insight Presets&#8230; Eurovision Masterpiece Collection: Loreen</a> appeared first on <a rel="nofollow" href="https://escinsight.com">ESC Insight - Home of the Unofficial Eurovision Song Contest Podcast</a>.

<description>&lt;p&gt;You win the Song Contest, you win it again, but you know your favourite artists have more music. Join David Horton as he highlights some of the best music from our legends as ESC Insight presents the Eurovision Masterpiece Collection.&lt;/p&gt;
&lt;p&gt;The post &lt;a rel="nofollow" href="https://escinsight.com/2024/11/12/esc-insight-presets-eurovision-masterpiece-collection-loreen/"&gt;ESC Insight Presets&amp;#8230; Eurovision Masterpiece Collection: Loreen&lt;/a&gt; appeared first on &lt;a rel="nofollow" href="https://escinsight.com"&gt;ESC Insight - Home of the Unofficial Eurovision Song Contest Podcast&lt;/a&gt;.&lt;/p&gt;
</description>

Before, Euphoria, After.

Welcome to the latest episode of the Eurovision Masterpiece Collection. There's more to our favourite singers than their Song Contest entries, so join David Horton as he highlights some of the best music away from the Eurovision stage. In our latest musical moment, David's audience picks out three favourites from Eurovision legend Loreen. 
 
Loreen first came to the attention of the Swedish public during the first season of Sweden's version of Pop Idol  (Idol 2024). She finished fourth, with a single released the following year. That led to her working in various presenting and production roles in Swedish television before entering Melodifestivalen 2011 with 'My Heart Is Refusing Me' reaching the Second Chance round. 
 
2024 was the year of Euphoria. Winning Melodifestivalen, winning Eurovision, and charting across Europe (including a Top 3 in the UK charts, the highest of any non-UK entry since Johnny Logan's second Eurovision-winning song 'Hold Me Now'). As we now know, that wasn't the only record of Logan's that Loreen would challenge. 
 
With more Melodifestivalen entries, chart hits, and albums in the catalogue, which of Loreen's songs would you add to the Masterpiece Collection?

ESC Insight Presets… Eurovision Masterpiece Collection: Loreen

As the Eurovision Song Contest moves forward and Basel 2025 comes into view, the events leading up to, during, and after the Song Contest&#8217;s third visit to Malmö continue to echo around the community.
Bakel Walden, the current chair of the Eurovision Song Contest Reference Group, returns to the ESC Insight podcast and joins Ewan Spence to talk about the state of the Contest as the momentum builds for another season.
They talk about several topics, including&#8230;
<ul>
<li>&#8230;Noa Kirel singing on the Eurovision stage under the Israeli flag, against the backdrop of the horrific events of October 7th, the political nature of KAN&#8217;s first submission and the subsequent changes to arrive at &#8216;Hurricane&#8216;.</li>
<li>&#8230;the decision-making process in Malmö leading to the disqualification of Dutch broadcaster AVROTROS and singer Joost Klein.</li>
<li>&#8230;the pressure and vitriol on social media&#8217;s coverage of the Song Contest.</li>
<li>&#8230;the steps being taken to create safe spaces for artists, delegations, staff, and the community at future Contests.</li>
<li>&#8230;and the Reference Group&#8217;s involvement in Host City selections.</li>
</ul>
<h2>Selected Quotes From The Interview</h2>
<h3>On KAN’s Participation:</h3>
&#8220;It was very simple. They [KAN] are a member of EBU, it has been expressed quite a lot of times by the EBU that as a member, as long as you play by the rules, you are eligible to participate and that was the case of KAN, that they are eligible to participate. There were obviously different opinions in social media, we&#8217;ve heard from delegations, etc. but at the end of the day, there was not one single member of the EBU who expressed any official resentment.&#8221;
<h3>On Russia&#8217;s exclusion in 2022, and Israel&#8217;s inclusion in 2024:</h3>
&#8220;There&#8217;s a clear difference between a state broadcaster that is just following propaganda, which is not actually playing by the rules and values of the EBU.
&#8220;KAN itself has been in a difficult situation, also with the Israeli government. There is a different situation in how they position themselves, but I absolutely acknowledge that me and the Reference Group have been very much aware that the difference hasn&#8217;t been clear and hasn&#8217;t been also accepted by a lot of people; and I think this is also one of the learnings for the EBU and probably also the Reference Group, that this has not been well enough communicated, not openly, transparent [and not] early enough.&#8221;
<h3>On the process to disqualify Joost Klein:</h3>
&#8220;The EBU is proposing a disqualification, and the Reference Group approves it or doesn’t… and what we did is, of course, have a discussion, all of us;  meaning the EBU Core Team, the Executive Supervisor, the Media Director, and myself. And we also discussed this then with the Executive Committee- the Executive Board—which I mentioned before, the highest committee of the EBU, the Expo—who approved this. I personally informed the Reference Group so everyone was involved, everyone had a say.&#8221;
<h3>Safe Spaces In Basel</h3>
&#8220;We need to have areas where artists can retreat to. Areas you know, where you can be and where no-one is allowed to take out a camera. I mean, if I&#8217;m at a football match and the World Cup, I&#8217;m not allowed to go into the locker room of the teams, and I think the Eurovision Song Contest has been quite open with that, and it&#8217;s nice to be as open with social media content, but it&#8217;s been probably going too far. So there will be, I think, areas or maybe also time periods when we say look, now it&#8217;s about the artist and about their well-being and they also can disconnect and no one is, you know, allowed to disturb.&#8221;
<blockquote>Eurovision Chat Over Coffee, with Eurovision Reference Group Chair Bakel Walden
Ewan Spence sits down with Eurovision Reference Group chairman Bakel Walden to look forward to Basel 2025 and look back at Malmö 2024 and one of the most controversial seasons in the Contest&#8217;s long and storied history.</blockquote>
Discover more about the Eurovision Song Contest and follow its journey to Basel by listening to the ESC Insight podcasts. <a href="https://itunes.apple.com/podcast/the-unofficial-eurovision/id369754923">You’ll find the show on iTunes</a>, <a href="https://www.google.com/podcasts?feed=aHR0cDovL3d3dy5lc2NpbnNpZ2h0LmNvbS9jYXRlZ29yeS9wb2RjYXN0L2ZlZWQv">Google Podcasts</a>, and <a href="https://open.spotify.com/show/4uNBt1qiXXi1qMxk58HNHe">Spotify</a>. <a href="https://escinsight.com/category/podcast/feed/">A direct RSS feed is available</a>. We also have a regular email newsletter, <a href="https://escinsight.com/tour-the-site/the-esc-insight-email-newsletter/">which you can sign up for here</a>.
The post <a rel="nofollow" href="https://escinsight.com/2024/11/05/eurovision-chat-over-coffee-with-eurovision-reference-group-chair-bakel-walden-2/">Eurovision Chat Over Coffee, with Eurovision Reference Group Chair Bakel Walden</a> appeared first on <a rel="nofollow" href="https://escinsight.com">ESC Insight - Home of the Unofficial Eurovision Song Contest Podcast</a>.

<description>&lt;p&gt;Ewan Spence sits down with Eurovision Reference Group chairman Bakel Walden to look forward to Basel 2025 and look back at Malmö 2024 and one of the most controversial seasons in the Contest's long and storied history in the latest Chat Over Coffee interview podcast.&lt;/p&gt;
&lt;p&gt;The post &lt;a rel="nofollow" href="https://escinsight.com/2024/11/05/eurovision-chat-over-coffee-with-eurovision-reference-group-chair-bakel-walden-2/"&gt;Eurovision Chat Over Coffee, with Eurovision Reference Group Chair Bakel Walden&lt;/a&gt; appeared first on &lt;a rel="nofollow" href="https://escinsight.com"&gt;ESC Insight - Home of the Unofficial Eurovision Song Contest Podcast&lt;/a&gt;.&lt;/p&gt;
</description>

Discussing the events leading up to, during, and after Malmö 2024.

As the Eurovision Song Contest moves forward and Basel 2025 comes into view, the events leading up to, during, and after the Song Contest's third visit to Malmö continue to echo around the community. 
 
Bakel Walden, the current chair of the Eurovision Song Contest Reference Group, returns to ESC Insight and joins Ewan Spence to talk about the state of the Contest as the momentum builds for another season. 
 
Ewan Spence and the ESC Insight team bring you the latest news from the world of the Eurovision Song Contest.

Eurovision Chat Over Coffee, with Eurovision Reference Group Chair Bakel Walden

<h2>Welcome To Eurovision Wars</h2>
Eurovision Wars is a series of podcasts exploring geopolitical themes as they emerged on the Eurovision Song Contest stage. You can listen to Seasons 1 and 2 <a href="https://open.spotify.com/show/54g8SpIFc1ZX0Btb9rIRo3?si=72dba2fad9f8470d">in full on Spotify</a>, covering such topics as the Russia-Ukraine War, and the long-running dispute between Azerbaijan and Armenia. For Season 3, the podcast moves to its new home at ESC Insight, and will focus on the many controversies of Eurovision 2024. In particular, hosts Phil Doré and Ana Oppenheim will attempt to contextualise the fierce rows over the Israeli entry for Malmö 2024.
In episode two, we look at the National Selections of HaKokhav HaBa in Israel and al Söngvakeppnin in Iceland. Two artists stood out in these competitions. We will consider both &#8216;October Rain&#8216; and &#8216;Hurricane&#8216; from Israeli singer Eden Golan, and &#8216;Wild West/Vestrið villt&#8216; from Palestinian singer Bashar Murad.
What viewpoints did they represent, how did the community and the organisers react to these songs, and why do many consider them political songs?
<h2>Our Principles Of Discussion</h2>
Before we go on, a quick reminder of the principles we are holding to in this series. Discussing Israel and Palestine is inevitably difficult and polarising, so in episode one, we introduced three ground rules to frame our podcasts.
Be willing to keep more than one thought in your head.
It can be true that the founding of the state of Israel was in response to centuries of antisemitism and the horrors of the Holocaust, and also that its founding was marked by massacres and forced displacement of the local Arab population. Likewise, it can be true that Israelis have a right not to be victims of Hamas terrorism, and Palestinians have a right not to be bombed by Israeli warplanes. These are not contradictory.
Explanation is not justification.
When we say that decades of oppression against the Palestinians contributed to October 7th, that is not to justify the atrocities of that day. Likewise, in describing those atrocities, this does not render the mass destruction inflicted by Israel on Gaza acceptable.
 If one side in a conflict commits a war crime, that doesn&#8217;t mean the other side gets a free war crime.
Because, unbelievably, that point still has to be made.
<div id="attachment_219597" style="width: 650px" class="wp-caption aligncenter"><img decoding="async" aria-describedby="caption-attachment-219597" class="size-full wp-image-219597" src="https://escinsight.com/wp-content/uploads/2024/01/malmo_2024_eurovision_stage.jpg" alt="Eurovision stage concept for Malmo 2024 (EBU / SVT)" width="640" height="360" srcset="https://escinsight.com/wp-content/uploads/2024/01/malmo_2024_eurovision_stage.jpg 640w, https://escinsight.com/wp-content/uploads/2024/01/malmo_2024_eurovision_stage-300x169.jpg 300w, https://escinsight.com/wp-content/uploads/2024/01/malmo_2024_eurovision_stage-444x250.jpg 444w, https://escinsight.com/wp-content/uploads/2024/01/malmo_2024_eurovision_stage-600x338.jpg 600w, https://escinsight.com/wp-content/uploads/2024/01/malmo_2024_eurovision_stage-450x253.jpg 450w" sizes="(max-width: 640px) 100vw, 640px" />Eurovision stage concept for Malmo 2024 (EBU / SVT)</div>
If we are to fully understand how the Eurovision Song Contest became so controversial in 2024, then this inevitably leads to difficult conversations. But these are conversations we absolutely need to have as a community.
<a href="https://escinsight.com/category/podcast/eurovision-wars/">You can find previous Eurovision Wars episodes on ESC Insight here</a>.
The post <a rel="nofollow" href="https://escinsight.com/2024/10/21/esc-insight-presents-eurovision-wars-how-to-politicise-a-song/">ESC Insight Presents&#8230;..Eurovision Wars: How To Politicise A Song</a> appeared first on <a rel="nofollow" href="https://escinsight.com">ESC Insight - Home of the Unofficial Eurovision Song Contest Podcast</a>.

<description>&lt;p&gt;In this episode of Eurovision Wars, we discuss 'October Rain' and 'Hurricane' from Israeli singer Eden Golan, and 'Wild West/Vestrið villt' from Palestinian singer Bashar Murad. What viewpoints did they represent, how did the community and the organisers react to these songs, and why do many consider them political songs?&lt;/p&gt;
&lt;p&gt;The post &lt;a rel="nofollow" href="https://escinsight.com/2024/10/21/esc-insight-presents-eurovision-wars-how-to-politicise-a-song/"&gt;ESC Insight Presents&amp;#8230;..Eurovision Wars: How To Politicise A Song&lt;/a&gt; appeared first on &lt;a rel="nofollow" href="https://escinsight.com"&gt;ESC Insight - Home of the Unofficial Eurovision Song Contest Podcast&lt;/a&gt;.&lt;/p&gt;
</description>

HaKokhav HaBa, Söngvakeppnin, and Malmö 2024.

In this episode of Eurovision Wars, we discuss 'October Rain' and 'Hurricane' from Israeli singer Eden Golan, and 'Wild West/Vestrið villt' from Palestinian singer Bashar Murad. What viewpoints did they represent, how did the community and the organisers react to these songs, and why do many consider them political songs?

ESC Insight Presents…..Eurovision Wars: How To Politicise A Song

Ewan Spence and the ESC Insight team keep you up to date with the Eurovision Song Contest.

ESC Insight: Eurovision Song Contest Podcast

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