How did Karel Gott become the only artist from a communist state to take part in the Eurovision Song Contest? What was Czechoslovakia’s role in the Eastern Bloc’s parallel Intervision? And why were rockers Kabát such a bad fit for the Eurovision? Ahead of next weekend’s final of the pan-European extravaganza these were some of the subjects I discussed with Vienna-based historian Dean Vuletic, author of Postwar Europe and the Eurovision Song Contest.


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