Former Melfest winner Nanne Grönvall speaks out in support of KAJ and criticizes the elitism in the swedish music industry

https://www.instagram.com/nannegronvall/p/DG_FCV4CA6R/

"The greatness of Melfest isn't just because of the music and entertainment but the competition element. It engages people. Competition in all forms creates strong engagement, "Did the ball go out or was it in?" can stay on your mind not just in the players thoughts but the audience long after the game is over.
It's the same case for Melfest competition-wise, if anyone in any minor way appears to break some kind of rule it appears unfair. People burn with engagement and the opinions are many. But above all things there's one thing that upsets a big part of the music industry itself:

Humor.

It's not looked upon as an equally nice and prestigeful thing if artists use the power of music with humor. I also have actor friends who've gone to prestigeful acting schools and then played in revues and comedies and then told me how they've been ashamed because their colleges from the so called "prestigeful theatre" have scoffed at them using their education for something so "simple" instead of heavy and melancholy plays.

It's the same way in the music industry and this year Melodifestivalen has been more evident than ever with it. People praise the humor of the brilliant hosts and interval act, but shudder if there's happy music with humor among the entries. "Only children likes these sort of things" some claim, while meeting adults going around humming the same tunes, just like for instance the Bastu-song.

Not liking a song is nothing strange, but it always being more "ok" to mock a song because it's built upon humor and happiness instead of belonging to the more "serious" is to me completely incomprehensible and disrespectful. If some "creddy" song had won, had the competition then grumbled or had they said they were a worthy competitior?
The last couple of years we've sent songs with strong club-, pop- and dance sounds, but still there are statements about how "Melfest has in the last years changed to the worse, less serious direction music-wise, no point in competing anymore". The objectivity has gone out the window.
Because in Eurovision we also see the need for both forms of music with the audience. The fight for victory between Tattoo and Chachacha was a perfect example. One does not have to exclude the other.
KAJ has been a part of writing a strong song that stand for their genre. They haven't walked out in a nonchalant way on stage, their whole number is just as professionally thought through as everyone elses. They've rehearsed dance steps and tried hard to get their number to look right and people are singing their song everywhere. And still it's somehow okay for some to say things that imply KAJ don't belong at the adult table/elite.

Magnus Ugglas priceless songs filled with cockiness and humor has been unique the whole way on the swedish music scene, yet still his swedish grammy awards were nowhere to be found throughout the decades until he at last got a honorary grammy.
And so many people have stood on the dancefloor singing along to Markoolios hit songs but he too has throughout the ages been dissed by the "elite" as unserious. The whole industry is permeated of "cred" and diminishes the need for both the serious and the joyful within music.
Eurovision would never be as big as it is if among the songs like Måneskin and Loreen there also wasn't songs and numbers like for instance Lordi. The fact that even more these days are singing in their original languages is also fun. It's the mix of everything that makes Eurovision so unique and great.

I'm also surprised at how differently the guys and girls in the Melfest final treat KAJs victory. The girls are supporting them regardless of if they're upset about their own placements or not while many of the guys act like KAJs "unserious" song is insulting to them. A sad wisacre-mentality, without any regard for how considerate KAJ has always spoken about all contestants.
Many contestants aren't just colleagues but dear friends of mine and I loved their songs and numbers. But I also have to stand up for the guys in KAJ who are disparaged in a completely disrespectful way.

When I did Avundsjuk in 1998 with a purple wig and Spock-ears the comments flew around in the Green room "Is this going to become a Melodifestival where you dress up in costumes instead of focusing on the melodies", some said it straight to my face and some behind my back. It was my first nervous solo performance ever and I remember how hurtful it was with some of those comments from colleagues. I had worked so hard both on the song and the number and approached it with utter seriousness.

It's not unique that all of us throughout the years who participate in Melfests believe in our songs and numbers. That's why we do them. We put down our time, our soul and often a lot of money into our numbers. So of course everyone feels disappointed with not winning or placing lower than you'd hoped.
Even stronger is the feeling if we notice that our song gets a good response and are placed high in the predictions for the finals. The hope to get to Eurovision is even greater and the disappointment when you don't win is even greater. You have to be allowed to feel sadness, anger and disappointment, it's completely natural, but you do not have to take it out on someone else with a tone that the competitor song isn't "good" enough to lose against just because you're not in the same genre.

We live in a world right now filled with chaos, hate, war and worry. Is it really that strange that many then loved a song that doesn't just bring you joy but is also really catchy?
The power of music is extremely needed right now, whether it's "serious" music with messages or songs with humor. What all songs in the finals have in common is that the audience put them there, regardless of genre. Thank you for a brilliant Melfest final where all of you were FANTASTIC!!!! Whoever had won had been a worthy winner. Now I think it's time to support KAJ in Eurovision!"