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Notes from the Press Centre… Day Nine Written by on May 20, 2015 | 1 Comment

For the most people, the broadcast of the first semi-final marks the kick-off of the annual Eurovision experience. Conversely, after over a week of following the artists in Vienna, finally arriving at this point almost feels like the beginning of the end. The daily cycle of rehearsals, press conferences and parties can put you in a sort of mental limbo – you spend an inordinate amount of time analysing the stakes, but there’s a long time to wait before there’s any real pay-off.

Today is the day though, and as excited as I am to discover which ten artists will progress from the first semi final, I’m also filled with just a touch of sadness for the ones who aren’t going to make the cut. It’s been a long road for a lot of these performers, some of whom first recorded their songs a year ago or more. Even the artists I’m not musically fond of have really impressed me with their attitudes and dedication to putting on the best possible show for their country and all of Europe. It must be tremendously disheartening to walk so far down that road and not reach the finish line.

To take my mind off such somber thoughts – and to refresh myself before the main show – I opt to take the day away from the press centre and enjoy a bit of tourism. After a morning stroll around the ridiculously attractive MuseumsQuartier (Museum Quarter), I head over to the official Eurovision Village, where visiting fans and faintly bemused locals are treated to a carnival atmosphere of contest-related delights, including merchandise stores, performances by various Eurovision-related artists past and present, and a screening of this year’s Junior Eurovision Song Contest.

Many of the countries involved in this year’s contest – and a few that aren’t – have also taken the opportunity to set up publicity booths for their local tourist hotspots. There’s a pleasingly multicultural vibe in which Slovenian accordion players mix with scantily-clad (and surely rather cold) Spanish models and Armenian folk musicians.

Eurovision Village 2015

The Eurovision Village 2015
Photo: Wein.gv.at

A team from VisitBritain are taking the opportunity to specifically promote the United Kingdom as a great LGBT holiday destination. Campaign Managers Craig Blyth and Paul Barnes are enthusiastic about shining a light on all areas of the UK rather than just London, and hope that this trial visit will translate into a regular presence for their organisation at future contests.

They’re putting on a variety of quintessentially British promotions to bring in the punters – today they’ve borrowed the official waxwork of Queen frontman Freddie Mercury from Madame Tussauds – and are working closely with the British Ambassador to Austria in order to take full advantage of this fairly unique promotional opportunity. It’s a nice reminder that you don’t need to be hosting the contest to find creative and pro-active ways to engage with it. Which for a UK-based initiative is probably just as well…

As show time draws nearer, it’s back to the press centre for the official EBU/ORF press conference – featuring Jon Ola Sand and Sietse Bakker from the EBU and Alexander Wrabetz and Edgar Böhm from ORF. The ORF team detail the extensive planning that went into putting the contest together, and once again highlight their pride at providing the first officially certified ‘Green Eurovision’.

The meat of the press conference belongs to Jon Ola Sand, who touches on three perennial Eurovision hot-button issues, Voting, booing and press accreditation. On the first subject, he stresses the EBU’s commitment to fairness and transparency, and confirms that voting for the previous day’s jury final passed without incident. (One of the nations voting in the first semi final – Georgia – had their jury votes declared invalid last year).

Jon Ola Sand

Jon Ola Sand & Edgar Böhm field questions during the EBU/ORF press conference.
Photo: Eurovision.tv

On booing, Sand talks about how upsetting the experience was for the young Russian duo the previous year, and states that he considers it very much against the apolitical remit of Eurovision. Strong crowd reactions have long been a feature at Eurovision, but there’s a definite sense that the hugely polarising issue of Russia’s continued participation in this contest goes beyond the more pantomime booing we expect when – say – Greece hands 12 points to Cyprus, or Montenegro delivers top marks to Serbia.

The subject of accreditation is obviously one that’s close to the hearts of many people in this particular room. The EBU tends to do a good job at facilitating a mutually beneficial relationship with the fan press, but Sand speaks frankly about the fact that the accreditation process needs to be under constant scrutiny for the event to remain sustainable for organisers and journalists. On an entirely unrelated note, if you’ve enjoyed my writing during this Eurovision season and wish to express any positive feedback, contact details for EBU officials are just a Google search away…

The Press Conference over, it’s time to race into the arena for the big show. I’ll save analysis of the semi final itself to others, suffice to say that there were few huge surprises, although it’s a shame an obvious highlight like Finland was scalped in favour of so very many ballads.

I always think it’s a little bit cruel that the eliminated artists never get any media time after the show – although perhaps a lot of them prefer to slink off and lick their wounds in private. The ten qualifiers are paraded into the press centre to draw their all-important performance slots (just first or second half in these producer-led days, but still considered vitally important even if the practical difference between being placed 13th and 16th seems somewhat questionable) and answer some questions.

Polina Gagarina | Russia

Polina Gagarina from Russia faced a tough question about LGBT rights during the post-Semi One press conference.
Photo: Derek Sillerud

Most of the newly crowned finalists are given little more than the opportunity to gush about how happy they feel, although Russia face their first genuinely prickly moment when a journo asks Polina a pointed question about LGBT rights in her home country. Regardless of your opinion on her decision to represent Russia with this particular song, it’s a very difficult of a question for someone in her position to have to answer, and she navigates it about as well as could probably be expected – winning rapturous applause as she tearfully declares that her song is about love. Is it a coincidence that this is the first time she’s had an opportunity to speak without an interpreter?

The other qualifiers are treated more gently,with the biggest reactions reserved for fan favourites Serbia and Estonia. The ever-charming Bojana Stamenov emotionally declares herself speechless at the warm reaction she received from the crowd, while the Estonian couple just seem relieved to have – so far – lived up to their considerable pre-contest hype.

With the performance slots assigned – via the time-honoured tradition of the artists sticking their hands into a big glass bowl and hoping for the best – all that remains is for all of the contestants to celebrate or commiserate with a sizeable drink or three down at the Euroclub. I might just see about joining them…

About The Author: John Lucas

A writer and content marketing professional with a passion for getting lost in strange cities and a strange fascination with micro states, John has been with ESC Insight since 2015 and has also had his writing featured in publications including The Guardian, Popjustice and So So Gay. Tweetable @JLucas86.

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One response to “Notes from the Press Centre… Day Nine”

  1. Fatima says:

    Good luck with the VisitBritain initiative if this time next year we’re in Sochi of Kazan or Cheboksary or Irkutsk

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