Eurovision Song Contest Winner JJ Wants Israel Banned From 2026 Competition
The winner of the 2025 Eurovision Song Contest is speaking out against the war in Gaza and Israel's inclusion in the global music event. JJ, who won the competition May 17, said in an interview published Thursday (May 22) that he would like to see Israel banned from next year's contest.
'It is very disappointing to see Israel still participating in the contest,' the singer told Spanish publication El Pais, according to Reuters. 'I would like the next Eurovision to be held in Vienna and without Israel.'
More from Billboard
JJ of Austria Wins Eurovision 2025 With 'Wasted Love'
SZA Says She's 'Actually So Shocked' by the 'Bullying' Megan Thee Stallion Is Facing in Tory Lanez Shooting Case
Karol G Lands First No. 1 on Hot Latin Pop Songs Chart With 'Milagros'
Billboard has reached out to Eurovision Song Contest for comment.
The global songwriting competition bills itself as 'a non-political event,' with its rules noting that participating broadcasters are expected to take any necessary steps to ensure that their delegations and teams 'safeguard the interests and the integrity of the ESC and to make sure that the ESC shall in no case be politicized and/or instrumentalized and/or otherwise brought into disrepute in any way.'
JJ — a classically trained countertenor — won this year's event with his song 'Wasted Love,' which combines opera with techno. The artist born Johannes Pietsch is Austria's first winner since drag queen Conchita Wurst won in 2014.
Snagging second place was Yuval Raphael of Israel, who earned the runner-up position with her 'New Day Will Rise' anthem and also won the viewers' votes in the finale. (When jury votes were taken into consideration, they put JJ in the No. 1 spot.) According to the Associated Press, while Raphael had much public support in the form of voting, she faced pro-Palestinian protests that called for Israel's ouster from the competition over the Israel-Hamas war. The current war started on Oct. 7, 2023, when Hamas attacked several locations in Israel, including the Nova Music Festival near Gaza — which Raphael survived — killing about 1,200 people and taking more than 250 hostage. Since then, the Israeli government's military campaign has killed more than 53,000 Palestinians in Gaza, Reuters reports.
Raphael coming in second prompted some countries — including Spain, Ireland, Belgium and Iceland — to question the voting, with some requesting an audit, the BBC reported on Wednesday (May 21). Organizers have since said that the votes were independently verified.
In his El Pais interview, JJ also said that the vote-counting system needs to change to better improve transparency, Reuters reported.
'It is important to emphasize that the voting operation for the Eurovision Song Contest is the most advanced in the world and each country's result is checked and verified by a huge team of people to exclude any suspicious or irregular voting patterns,' ESC's director Martin Green said in response to the questioning of the vote counts, according to the BBC. 'An independent compliance monitor reviews both jury and public vote data to ensure we have a valid result. … Our voting partner Once has confirmed that a valid vote was recorded in all countries participating in this year's Grand Final and in the Rest of the World.'
The Eurovision Song Contest 2026 is set to be held in Vienna, Austria.
Best of Billboard
Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1
Janet Jackson's Biggest Billboard Hot 100 Hits
H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Newsweek
17 minutes ago
- Newsweek
X Services Down? Reports of Service Disruption Surge
Amanda M. Castro is a Newsweek Live Blog Editor based in New York. Her focus is reporting on U.S. politics, breaking news, consumer topics, and entertainment. She specializes in delivering in-depth news and live blog reporting and has experience covering U.S. presidential debates, awards shows, and more. Amanda joined Newsweek in 2024 from the The U.S. Sun and is a graduate of the University of New Haven. You can get in touch with Amanda by emailing Languages: English, Spanish
Yahoo
2 hours ago
- Yahoo
ECAM Forum Coordinator Alberto Valverde on an Expanded Second Edition: ‘The Winning Teams From Cannes Are Also in Madrid'
After last year's golden blueprint which set the roadmap for coming years, the second ECAM Forum Co-Production Market, unspooling June 10-13 in Madrid, will drive deeper into its international reach and industry talks as part of its mandate to strengthen the ties between the Spanish talents and its blooming industry with the rest of the world. Lured by upbeat industry buzz from the first edition and Spain's sustained film-TV golden age, industry players and projects are almost twice as many this year to bid for a spot at the industry platform spearheaded by Madrid's prestigious ECAM film school. More from Variety 'To the North's' Mihai Mincan Talks ECAM Forum Bound Coming-of-Age Mystery 'Milk Teeth,' Sound Designed by Oscar-Winner Nicolas Becker (EXCLUSIVE) Madrid's ECAM Forum Ups International Scope With 23 Feature Projects for Second Edition Bertrand Bonello to Be Honored at Madrid's Second ECAM Forum Co-Pro Showcase (EXCLUSIVE) More than 700 accredited delegates ,compared to 400+ in 2024, are expected to fill the halls of its Matadero and Cineteca Madrid venues; 70 international guests, vs. 50 in 2024, will sample 47 films in development and post-production, as well as shorts and series in development. Among 15 programming reps from Toronto, Locarno, Rotterdam, Thessaloniki, London to Marrakech fests are first-time attendees Christian Jeune from the Cannes Film Festival and the Berlinale's Michael Stuetz. On the sales front, the dozen registered companies range from Le Pacte, Goodfellas, Co-Production Office, Film Boutique and Charades to Spain's art-film specialist Bendita Film Sales. At press time, all titles were available for pick up including the next bets by hot talents Mihai Mincan ('To the North') and Francisca Alegría ('The Cow Who Sang a Song into the Future') and the anticipated debuts by Nadine Luque, Claudia Estrada Tarascó and Irati Gorostidi Agirretxe. Highlights of this year's beefed-up program of talks and industry events include a masterclass with French auteur Bertrand Bonello, a presentation of the Göteborg Film Festival's industry reference Nostradamus report by Johanna Koljonen, conversations with top Spanish writers, poets and philosophers over The State of Things and Finde, a first industry meeting on financing, investment for indie producers co-organized by Madrid Audiovisual Cluster. To consolidate ECAM's international ties, new partnerships were sealed this year with Conecta Fiction & Entertainment, which runs a week later in Cuenca, near Madrid, and with ACAU and Proimagenes Colombia, the film-TV state agencies in Uruguay and Colombia. ECAM Forum closes Friday June 13 with an awards ceremony. In this interview, ECAM Forum coordinator Alberto Valverde unpacks his 2025 program. How does it feel to stage ECAM Forum a few weeks after a stellar year for Spanish films and co-productions in Cannes? It was an exceptional year for Spanish cinema. Having two filmmakers [Oliver Laxe and Carla Simón] in main competition, a spot usually taken by Pedro Almodovar, was historical. Their respective films 'Sirât' and 'Romería' are international co-productions that illustrate the reason why we exist. Indeed last year the two producers of 'Sirât'– Andrea Queralt and Xavi Font – came to ECAM to present a new project in the middle of shooting their film in Morocco. Xavi submitted Álvaro Pulpeiro's 'Petróleo' at the Films to Come and Andrea came with Silvina Schnicer's 'La Quinta' for The Last Push. Then Elástica's María Zamora, producer of Romería, was here as well. The winning teams from Cannes are also here. In recent years we've witnessed how the Spanish audiovisual industry has morphed and internationalized, with established and new talent working at home and globally. Before launching ECAM Forum, we've been in constant dialogue with all these Spanish players and talent, precisely to connect them to the world and foster new collaborations. Last year you had an almost clean sweep with seven out of eight works in progress going on to premiere at A festivals. That was quite a coup… Yes, we are over the moon. We want to consolidate our works in progress as a relevant space to discover gems for the year ahead, and those results help a lot. It was rewarding talking to the teams behind the works in progress and knowing it was key for them to secure certain premieres and selections that literally were signed during ECAM Forum. Last year's Last Push titles included very different films, from the fragile ones like the winning documentary 'Gods of Stone' to the more solid ones like 'Los Tortuga'('The Exiles') that both ended having nice premieres [respectively in Rotterdam and Toronto] and reached world audiences, literally the number one objective of our work. Could you reiterate what made your 2024 inaugural event a blueprint for the editions to come and outline the key novelties this year? One of the best things last year was to get the feedback from international guests who were dazzled by the quality of the projects. Then on the Spanish side, professionals were equally impressed by the top names in the international delegation. This year the list of international delegates will be even stronger, for instance with the presence of Christian Jeune from Cannes and Michael Stuetz from the Berlinale. The challenge for the first five editions is perhaps to be coherent with the size of our event, the type of projects and professionals invited. We want to maintain the same high quality, attention and care that goes into the selection and overall organisation. Then obviously as this is the second year, we're expanding a bit the scope of our activities, partnerships and ambitions. The event is growing but we still want it to be sustainable for the next editions. How many delegates will attend this year from how many territories? The numbers reflect the increased interest in our event. This year we have 730 accredited professionals, versus around 400 in 2024. It's been an exponential growth from last year. Then we had about 50 international guests in 2024 and this year we're hosting 70 people. From Spain, we're inviting around the same number, about 70 key decision-makers. So we have about 140 invited guests for the meetings. Countries represented (between 18-20) span from Spain to Canada, U.S., France, Romania, Estonia and Latin America. It was perhaps unintentional – based on the projects selected – but we will have a strong European and Latin American presence this year. With a more ambitious program, what type of budget do you have and can you comment on the significance of your new institutional partnerships? I won't detail our specific budget but it hasn't changed drastically. Our main key partners are the same: ECAM Foundation Comunidad de Madrid. Then Matadero, Film Madrid, Madrid Film Office, Cineteca, the rights collection agency Dama and AC/E, the international promotional body of Spanish cinema, are other partners. We're continuing our collaboration with Filmin, Rotterdam, Series Mania and have new strategic partnerships with Conecta Fiction & Entertainment and the key audiovisual agencies ACAU in Uruguay and Proimagenes in Colombia. For the ECAM school and Foundation, facilitating those collaborations are just natural to exchange talent and create a bridge between Europe and Latin America. We hope to announce new partnerships this fall. This year you've opened your Pitch sessions to international projects. What extra challenges did you meet in your selection process? Our main goal is to promote Spanish cinema internationally and attract international talent to work with Spain. We understand that presenting a selection, and making exciting international talents coexist with promising Spanish projects is a better way to promote their films. It's great to have Spain's Maria Herrera, Alba Esquinas and Elena Molina with Maryam Tafakory [from Iran], Francisca Alegría [from Chile] or Mihai Mincan [from Romania]. Opening to international projects was a challenge as we tried to attract distinctive voices and talents but we did! We are extremely happy with the selection and could easily have picked another 15 projects that couldn't make the cut. We had to make some difficult decisions. I'd like to add that in the short section, last year we had only six national projects. This year we have 11 projects – six from our own training program and five international shorts through new partnerships with Chile Shorts, Bogo Shorts in Colombia, La Femis in France, DISFF in Greece, and FAMU in the Czech Republic. How would you define the 2025 feature length slate in terms of themes, unique auteur-viewpoint and diversity? The selection covers a rich variety of narrative and aesthetic approaches, with a presence of comedies, genre and science fiction approaches, documentaries, and classic fiction works. The projects demonstrate a passion for challenging the boundaries of genres and storytelling, a strong commitment to creative risk and authorship. We love to see a lot of first and second films with super strong visions, that are backed by producers with certain experience, both national and international. I genuinely think it's a super exciting slate with new voices to discover. It is also a more diverse selection when it comes to representation both in the narrative and creators themselves, so, yes, it's a step forward. Something quite remarkable when we look at the Films to Come, is the fact that the 15 projects came out of three different selection processes, and when we ended up with the final list, we realised all were directed by women (with one co-direction). Could you comment on your industry talks and high-brow cycle of conversations? The industry talks targeting the 700+ accredited professionals, focus on the challenges in the audiovisual industry right now, and many sessions offer practical tools and tips, about financing, co-production promotion. Our goal is to strengthen Spanish cinema and we're happy to bring top speakers from Spain and the rest of the world. We're also glad to present the Nostradamus report to our audience, straight after Cannes. The report is key to look at where we're going, how each sector in the industry is integrating the challenges, both within and outside the sector. Then the three Conversations about The State of Things [in Spanish language] is a particularly beautiful strand that we've designed over several months with my colleague Brais Romero and Luis E. Parés from Cineteca Matadero. We tried to map out important topics that touch us as individuals, not only in the industry but as a society, via inspirational talks with filmmakers, writers, poets, musicians, philosophers. It's a beautiful mix of strong voices in Spain. We look forward to hearing their take our world today, the value of creating images. Then one angle to be tackled is nostalgia and its danger. The comfort and inherent creative laziness that goes with sticking to formulas, well know concepts – be it in literature or will be interesting also to hear Bertrand Bonello who masterfully has been avoiding nostalgia, its comfort and safety in his work. Another novelty this year is the new FINDE industry meeting about Financing, Investment and Independent Filmmaking, co-organised with Madrid Audiovisual Cluster. Could you summarise what it's about? This is an extension of ECAM's educational curriculum. We wanted to offer practical tools to hone the skills of our emerging talent in financing. We see producers surrounded by great talent and yet struggling to finance their projects. So hopefully this will be an illuminating session. We've designed this initiative with French producer based in Madrid Sophie Erbs and Teresa Azcona, director of Madrid Audiovisual Cluster. We see this is a pilot year and we will evaluate afterwards the program's formula. On a personal level, how does it feel to run the hottest new Spanish co-pro market? It feels soooo good. Last year, we had a blank canvas which needed to be painted. We didn't know if it would be abstract, or not. This year, we reaped the good seeds from the first edition, and our team is stronger. The whole is even more coherent because we had more time to design our program. But our focus is still to have a great time through a very friendly, focused professional event, with a high standard of projects and guests. Best of Variety What's Coming to Netflix in June 2025 New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts?
Yahoo
3 hours ago
- Yahoo
French Open 2025: Carlos Alcaraz dominates Tommy Paul in straight sets in quarterfinal match
Carlos Alcaraz did not give Tommy Paul room to breathe as he cruised to victory at the French Open quarterfinals on Tuesday. The Spanish star dominated Paul, 6-0, 6-1, 6-5, to advance to the semifinals on Friday. The pair met at Philippe-Chatrier in a clash of the No. 2 and No. 12-seed contenders. In the end, Alcaraz proved too much for Paul, who has shown incredible resilience at Roland Garros this year. Advertisement Alcaraz came out guns blazing and established a dominant 5-0 lead in the opening set. The early onslaught foreshadowed what was to come as he flawlessly took the first frame, 6-0. Paul struck first in the second set after going scoreless in the first. However, it was short-lived as Alcaraz quickly turned the American's 1-0 lead into a 6-1 turnaround. When the time came to finish the job, Alcaraz did not take his foot off the pedal and stuck the nail in the coffin. Paul put up a great fight in the third but fell short of containing the well-composed Alcaraz. Just as in the second set, Paul opened the scoring and established a 2-1 lead before they went neck and neck. The pair went 4-4 before Alcaraz put the match to rest. This breaking news story will be updated.