These are the SF2 qualifiers according to the Press Center

Which songs will qualify to the Grand Final from the Second Semifinal?

Soon we will find out but meanwhile let’s see what people were predicting at the Press Center just hours before the Second Semifinal 2023 kicked out:

What do you think about these predictions?  Who are you expecting to qualify?  Let us know in the comments!

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Finland: Can the Press Center “Cha Cha Cha”

Fans and viewers vibed with Cha Cha Cha durin the First Semifinal of Eurovision 2023.  But how familiar are you with the lyrics of Käärijä’s song.

We chat with some of the members at the press center and here are some of their reactions when we invited them to teach us how to “Cha Cha Cha”

Stay tuned to Eurovisionfun for more news about the Eurovision Song Contest 2023!

Eurovision 2023: Who are the favourites at the Press Center?

You know the songs performing at the Eurovision Song Contest 2023.  But who are the favourites among the people at the Press Center?

The Eurovisionfun team have a chat with some of the members covering the event and here are some of their answers:

And which are your favourites?  Let us know in the comments!


Eurovision 2023: Ten countries oppose the EBU’s decision for a closed press centre!

Several broadcasters protested against the EBU‘s decision to hold the first and second rehearsals and press conferences of the first week of the competition behind closed doors. It is to be noted that last year, for the first time, the EBU decided to close the media centre for the first technical rehearsals. However, this year in a statement informed journalists that the second rehearsals will also be held without the presence of accredited journalists, with the press centre of the competition opening one day before the first semi-final for the dress rehearsals.

This provoked a strong reaction from both fans of the contest and some of the national delegations of this year’s Eurovision.

According to exclusive information reported by Aftonbladet, a heated debate had been preceded by 30 delegations which resulted in eight competing countries sending a letter of protest to the EBU asking for this decision to be changed.

More specifically, in discussions that had taken place in mid-March between the chiefs of the 37 competing countries, but also the press officers, the problem of non-journalistic coverage of the first and second rehearsals of the entries arose. For this reason, countries such as Portugal, Malta, the Czech Republic, Switzerland, San Marino, Azerbaijan, Latvia, and Poland signed a letter of protest to the EBU’s Eurovision press officer, Dave Goodman. Belgium, and Estonia were also due to sign the letter, but when they announced their support, the letter had already been sent.

Unfair to those competing in the A’ semi-final.

The letter highlights the unfairness for those competing in the first semi-final, as the press centre does not open until the day before the semi-final. For this reason, concerns are expressed as without the press centre being open and without interviews with journalists in attendance, it would lead to most accredited journalists not being there until the opening ceremony on Sunday 7 May. Thus, the countries competing in the first semi-final have very limited time for interviews and meetings with journalists compared to those competing in the second semi-final.

Specifically, the letter states:

“We believe that this decision is not fair to the countries involved in the first semi-final.”
In previous years, we have all experienced that the vast majority of interviews have taken place in the first week, when there is more free time between rehearsals.
On 8 May, as you can imagine, the artists competing in the first semi-final will have no time to spend with the media. The schedule is very tight and they have to concentrate on their performances.”

The response from the EBU was not long in coming:

“The cost is excessive. The cost of maintaining a press centre is high and the vast majority of traditional media outlets do not
tend to reach Eurovision city only during the week of the broadcast.
The EBU took the decision to close all rehearsals to the media to protect the artists from negative comments online and allow them to complete their performances in privacy.”

In his response Dave Goodman , also highlighted the fact that the EBU allowed voluntary “meet & greet” events at off-site venues where fans and journalists could meet the artists who chose to participate in the press centre

Source: Aftonbladet

Stay tuned to EurovisionFun for more news about Eurovision 2023!

Breaking News: End of Live Streaming during the rehearsals!

The EBU regulations for accreditations in the 20th Junior Eurovision Song Contest have been posted on the Junior Eurovision official website. The EBU is making another change regarding fan media, since it basically concerns them. Live streaming, which will include images or sound from the organization’s facilities, is no longer allowed, both during rehearsals and during the live shows.

The above is a big change, since now in the live streamings many fan media provide to their followers, apart from what the screens show in the press center, it is not even allowed to hear anything from the rehearsals and the live shows In other words eurofans that mostly watch these live streamings, won’t be able to even get an audible taste of the artists’ performances in the rehearsals. This change concerns the upcoming Junior Eurovision contest, but it is very likely that it will be applied to Eurovision as well.

What is now prohibited:

  • live streaming any video/audio content including any images or sounds from Rehearsals and the Live Show (including any such images or sounds from any of the screens on the JESC’s premises) whether directly or incidentally to video/audio online platforms (including but not limited to on your own websites, YouTube, TikTok, Instagram, Facebook, Twitch, Twitter, etc) during times when Rehearsals or the Live Show are in progress;
  • publishing afterwards any such video/audio content, deliberately or inadvertently, containing content from the Rehearsals and Live Show that may have been recorded in the Press Centre Working Area or any other area in the Venue without prior written permission from the EBU;
  • directly monetizing any content related to your attendance at the Event, whether in the Press Centre or in any other part on the Venue at any time, via instant revenue streaming features such as YouTube’s Super Thanks, Tiktok’s LIVE Gifts, etc.

What do you think of this change? Tell us in the comments below!

Stay tuned to Eurovisionfun!