Gäst Hos Hagge (1985)

with Hagge Geigert (H), Agnetha Fältskog (A) and others...

translation by Mattias Olsson

Part 1:

[applause]

H: Thank you very much. Hi and welcome, and this is not just any day in our little history here. It is our 50th show and now with the 50th running we must have a world famous guest and we have saved her for just this particular day: Agnetha Fältskog, welcome!

[A enters, applause, H hugs A]

H: You feel welcome now, don't you?

A: The warmth, yes...

H: And that is much because many of the people sitting here are your fans from all over Scandinavia.

A: Is that so?

H: Yes, it is really so.

A: Ok, great!

H: And we have recieved so much mail from people asking to... [A looks at H's hat which has the text Agnetha Fältskog on it] Yes, it's to your honor, this. Written it myself.

A: The 'h' is also there now.

H: Oh, yes. We can spell! Well, they have written here and asked to get to be on the show. We can't have room enough for 10,000 people, but we have 100 here. And surely many are your fans since many years back. I though we should go down and say hello to three girls sitting here who I have got to know just before you came here. One is from Skåne.

A: All right.

H: And her name is Petra.

A: Yes, I know about her.

H: You know her?

A: Yes. Should we jump down, or...?

H: Yes.

A: Hello.

Petra: Hello.

H: And in her lap she has three books, only, with her, full of Agnetha Fältskog, right?

P: Yes, that's right.

H: How much have you collected?

P: This is not everything, it's just three files. This is only the Swedish, so that...

H: What is so great about her, then?

P: Well, I think that for being so natural, and to get so far being so natural... There is no "air and graces". Many are into that. And I think... think you are so natural.

H to A: What have you payed her? Huh?

[laughter]

A: I didn't even know she'd be here!

H to P: That was well put.

A: Yes it really was...

H to P: You like Agnetha.

P: Yes I do.

A: I also know about Petra since she has written so many letters, and we have our birthday on the same day.

H to P: How old are you?

P: 17

H to P: 17... And here you have only three files about her...

H to two Danish girls: And you are from Denmark.

girls: Yes

H: Kopenhagen.

girl 1: Yes.

H: And you?

girl 2: Jylland.

H: Well, welcome!

g1: Thank you.

H: Do they watch Swedish TV in Denmark?

g2: Yes.

H: Is it better than the Danish?

g2: I think so.

H: You think so... Why do you like Agnetha so much?

g1: Well, it is like...

H: You say it it Danish.

g1: Ok.

A: We will understand.

g1: That's good. First of all she seems so natural, like Petra says, and the love she has for other people. I think that is very important, and her love for her children and other children in the world. I value that high.

H to all three: Is there something you would like to know about her that you didn't know before?

A: Oh! I don't think so...

P: Well... What size of shoes do you wear?

A: 37!

H: All right, 37, now everyone knows that.

A: The same as my daughter.

H: Ok, Nothing more you want to know? Good that you wanted to come here to the 50th show. It's called "halv fjers", isn't it?

g2: Yes.

H: Yes, in Danish. Hils Danmark!

g1: Welcome to one of our shows!

H: Thank you very much. Give my best to all of Denmark except Helsingör.

[Hagge might not be as welcome in Denmark today after he commented the Danish queen's public smoking. Hagge has smoked for the biggest part of his life and has had to pay the price of poor health; he thought that public smoking by a person who is supposed to be a role model for the people is wrong. Result: an understandable Danish outcry.]

---

H: It was nice meeting them, wasn't it?

A: Yes, it was very nice.

H: What if we were to fill the studio with your fans, we would have to use the Scandinavium! [a big indoor arena in Göteborg]

A: It's that bad?

H: Yes, that is how good it is! Do you have a stage-fright?

A: Do I ever!

H: You do?

A: Yes. It's in sane, really...

H: I'm like that too, so I'm shaking like this...

A: Yes, but I do that too!

H: What should we do about this?

A: Yuch, it's horrible. I think I have had nightmares about this for six months...

H: No... About this?

A: Yes.

H: But please... I have only had nightmares since yesterday.

Part 2:

H: Well, we'll get through this, right?

A: Yes, I think so. I hope so anyway. Let me get some water...

H: Now you made a nice entrance. You don't always do that; you fall onto the stage... Was that in London?

A: Yes I have.

H: You fell in...

A: Yes.

H: Why?

A: Not fell in; fell out, you could say. It was a live broadcast and I was shown to my position a little too late and had very high heels and was supposed to go behind a curtain. During rehersals it was ok but on the air I was in a bit more of a hurry because they did not direct me to my place properly and then I took a step too far backwards, behind the curtain, and there was nothing. I fell like a rock and lay like a V, like this. That was no fun.

H: Could you show me how you were laying?

A: Like this! [Agnetha shows with her arm] And then I heard my name and couldn't get up. And then there came a friendly guy and pushed on me, like this. [Agnetha gesturing again]

H: Live on TV.

A: Yes, it was awful to lie there and hear my name be called and not be able to go in.

H: Well, at least you made it this time. There are some of these milestones in your life, your short life. If I say 1950, how would you react to that?

A: Well, I was born then.

H: Yes, you were actually born then.

A: It's so good because it's so even. It's easy to keep track of how old I am.

H: 5th of April. If I say 1955, what...?

A: Then I was five. [audience laughs]

H: What happened then? Something happened I hope won't happen today.

A: Ouch, so what did I do then?

H: You were standing on a table on the electricity company's party in Jönköping and dropped your trousers. [audience laughs]

A: Yes, I actually did!

H: Yes you did... Do you still remember today?

A: No, I can't remember but I've been told about it so many times, especially by my mother, so I actually remember feeling the rubber-band letting go but then I don't remember any more. I was wearing one of tese really short skirts then, and suddenly my trousers were down here. [Are they perhaps talking underwear?]

H: It was no conscious thing you did to get attention...

A: Oh no... It wasn't.

H: What about -67, to jump a little; it's a nice year, for you. What happened then?

A: Mmmm... Then I was 17. You mean a song on Svensktoppen. [the radio chart] I recorded my songs then, but-68, you could say, it hit Svensktoppen; when I was 18. So since then I've been in the business.

H: You could say it was your... You composed songs! It wasn't very usual for...

A: Yes, I did that since I was 5-6 years old.

H: ...girls did that in those days. How did you do when you were composing, were you sitting by the piano or singing into a tape recorder or...?

A: No, I got a piano from my parents and started composing at once. Before that I had gone up to the neighbour living above and could use their piano. I had such a great need to write.

H: But if you are in Jönköping, writing songs, nobody should care about that, on record companies and such, I mean...

A: No, that was luck.I was working with a dancing orchestra called Bernt Engharts, and Bernt Enghart himself knew Lille Gerhard who then worked for Cup which was a small record company. And he took a liking to this tape we sent up.

H: Yes, you were on Svensktoppen all the time, it was huge!

A: Yes, it was great getting there...

H: And in -68 you moved to Stockholm. You were one of those telephone operators in Jönköping before, right?

A: Mmm.

H: So what did you do in Stockholm? You can't just go to Stockholm...

A: In Jönköping I worked as a phone operator or a car firm at the same time as I was singing with a dance orchestra. That was too much for me, so one day I fainted at the car firm and was simply exhausted. The my mother told me: "Now you have to make a choice here! You can either keep singing, or go on with the dance orchestra…" No! Keep on being a phone operator… And for me that was no hard choice. I wanted to sing, so I left that firm.

H: Yes, you are so… you are so… Well, we have a picture here, by the way, of this orchestra. What's it called? Eng…

A: Enghart. Yuck…

H: We will show it here, eventually.

A: Yes, it's not to them I say "yuck", it's to myself.

H: An old picture. That's how you looked back then; just as beautiful as now.

Part 3:

H: Listen, we have... You are immensely famous all over the world and know all the conductors and arrangers and these people who play music. You must have tremendous demands, on accompaniment and so on.

A: Yes, I have great demands regarding everything...

H: We have a poor conductor here. This Curt-Eric Holmqvist. He has gone through this, what is it, music university. Or if he was the caretaker, I don't know...

CE: I don't know if I left any impressions or not.

H: Ran through the academy. I don't know: if there is to be some of that singing here, do you think he could cope?

A: The question is if I can cope.

H: I thought he could try playing for you a little bit. Come stand over here and we'll see if you can let him pass. Stand here somewhere, so you can see him.

[Curt-Eric plays very off key and pace]

H: There must be something wrong with the piano, mustn't there?

A: Yes, I would think so. No, we can't have this!

H: The reason I did this was to make you tell the viewers how difficult it is to play off key.

A: Well, occasionally you do it...

H: Yes, but kind of on purpose; everyone thinks it's easy, but it is terribly difficult. In order to be able to play off key like that you have to be able to play awfully right, don't you think?

A: Yes, I'm sure you are right. I haven't tried it that much.

H: Viktor Borges, for example. He plays a lot and has fun with music and that is thanks to him being a trained concert pianist, they tell me.

A: Right.

H: Let's see, where were we. Did I tell you I love you? [laughter]

A: No, I haven't heard that before!

H: I didn't tell you that before. Then I check that on my list. [laughter]

A: You tell me that just like that?

H: I tell everyone! Some buy it too, you know.

A: Well, I did.

H: But this time I really meant it, for once.

A: How fortunate.

H: Speaking of which... In 1970 you got married.

A: I did so, yes.

H: In Verum.

A: Mmm.

H: Wolf in Verum...

A: Why... or what...?

H: Yes, why do you get married in... That's in Skåne, right?

A: Why Verum. Well, we went around looking at different places.

H: Different churches?

A: Yes, different churches. And then we found a beautiful church there.

H: So, was that what made you decide? Most beautiful church?

A: Yes, and surroundings and such.

H: Well, that is romantic.

A: Yes.

H: You first met, you and Björn, on TV actually.

A: Yes, we were about to make a memorial show about Jules Sylvain, and there Björn was solo singer, picked from Hootenanny Singers. And I was a solo singer (too).

H: Yes, and do you know what we have? We have... And he fell so much in love with you because you love to fly. [audience laughs at this well-known fact...]

A: Was that why?

H: Sure. Oh yes. I want her, he said, because she loves to fly. We have the evidence to prove it!

A: You do?

H: Indeed.

A: Aha, now I know exactly what it is!

H: You think you know what it is. Now we'll see. Now we will play something here you did in Malmö at this very time when you met.

A: How nice!

H: Yes. It is a film from a TV-show that...

[Agnetha sings "Nu skall vi opp opp opp" (old schlager song) in a video with her among some SAAB Draken fighter planes and pilots:]

"Now we're going up up up, up on the peak of dawning love.

Come come come just with me, and don't blame any if if if.

Sure you're in love love love, if you have something to tell me you have me here here here.

Yours yours yours, I want to be and become, if you just will be mine mine mine.

The road to paradise is boring and long, but you'll see that up there above the clouds, the sky is never like here.

There it is blue blue blue, forever and always, oh come let us go go go.

Up up up, up on the dawning love's swindling top top top top top la laaa..."

[applause]

A: Mmm... that's what can happen.

H: It's like that when you like to fly.

A: Yes, I'm sure I did then.

H: You sang just as well when that thing was lowered... (the hood of the plane)

A: Yes, it sounded the same.

H: Just as good, that is. We have more film from your career here. Some milestones. You have made a great success here in Göteborg, in Scandinavium, in Jesus Christ Superstar as Maria Magdalena. Would you enjoy seeing... How long ago is it?

A: I find it difficult remembering those years...

H: Yes, years. It's the 70s, the beginning of the 70s, right?

A: 71-72, I'd think.

H: At least you got splendid reviews, I remember that.

A: How great!

H: And then you sang Maria Magdalena's song. We have that on tape here, if you'd like to see.

A: I'd love to.

[Video from Jesus Christ Superstar (Vart skall min kärlek föra?):]

"Where will my love lead me, say what can I do.

Can I reach his heart then.

When he saw me all was changed

I'm no longer..."

[somewhat abrupt ending]

Part 4:

A: Embarrassing...

H: Well... I guess you wonder what table this is coming in here, eh?

A: No no, an onion!

H: Yes, I have a little surprise here.

A: Half an onion...

H: The thing is, Frida was here and she was a master at cooking and all that. And I thought we should ask if you can do anything. To make it really difficult I thought you should first peel ... chop this onion. There is some gauze bandage as well. At the same time, Agnetha, and this will be your big challenge in life, I thought you would get to sing one of your own songs which I think suits...

A: At the same time as I cut the onion?

H: Yes, one I think suits so well chopping onions to. It's called "Jag skulle..."

A: "...äga miljoner..."

H: "...om tårar var guld."

A: He could make you do anything, that man!

[Curt-Eric playing the piano, Agnetha chopping and singing]

A: I'll only do one fourth.

* * *

H: -74 was this thing in Brighton. We talked a lot about that with Frida and the whole Swedish people knows about this. You won with "Waterloo" and all that. There sort of is a life before, during and after ABBA in a way.

A: Yes, there is.

H: And before ABBA it was this Agnetha who composed and appeared on Svensktoppen and all. And I thought ... I have asked Dr Holmqvist, our conductor here - he is PhD, honorary doctor in this show - to (he got that [the title] for a certain fee) to play some songs and see what you remember. I have some lyrics here, if the worst would happen, which we have picked out.These Agnetha... "Jag var så kär", that was you first song, right?

A: Yes, that I recorded.

[Curt Eric playing the piano]

A: I'm supposed to sing too... "Säg kan du förlåta..." [Agnetha sings "Jag var så kär"]

H: You are so sweet!

A: Ouch, do I sound that bad?

H: You are so fine! Did I tell you that? Oh, how great. I told you I love you, didn't I?

A: Mmm.

H: Then I'll mark that done.

A: For the second time.

H: And what is this?

[piano, Agnetha singning "Utan dej"]

A: ...and so on.

H: You are so in love all the time. You are in love with everyone!

A: Yes, well... No, I'm not in love with everyone.

H: But you sing. Every word...

A: Yes, but it was like that, you see. That is, I have made both music and lyrics for these myself .

H: Yes, and in love everywhere; in every verse.

A: Yes, it was like that all the time.

H: And what is this? "En sång och en saga" it says.

A: Yuck. I don't think anyone has heard that one.

C-E: Should we take something more modern?

H: Yes, what happened later, Curt-Eric?

C-E: A lot happened later, but should we take something of the more recent?

A: Yes, you play on.

H: Well, you have done some...

A: It was so long ago I sang in Swedish.

C-E: One, two, three, four...

[piano, Agnetha singing "The Heat Is On"]

H: I've heard that one!

A: You heard it?

H: Yes!

A: But it sounded better then, right?

H: I'm positive I heard it...

C-E: One, two, three, four...

[piano, Agnetha singing "I Won't Let You Go"]

H: Everyone in this studio knows it except me, what is it called?

A: I won't let you go.

H: And that is something new.

A: Yes. That one I wrote the music for myself, and the lyrics are written by Eric Stewart.

H: Oh, you are so good.

A: But aren't I!

H: Yes, really! I'm impressed.

A: It's very much fun writing music, although it's difficult when you do it. But it's great when it turns out well.

H: Yes, and get someone to record it and...

A: Yeees...

H: A lot of problems! I tried once. Noone wanted to. This ABBA time, we can't get away from it. It must be... We could put that away [the microphone] ...must have been an incredible experience in life. To get to sit in the future and tell your grandchildren about ABBA's tours; it must be outstanding.

A: The ten years of ABBA.

H: You did a lot of flying then.

A: Mm. Oh yes.

H: How did you manage then?

A: Sure, it has gone really well, but we have been to so many places around the world, then mostly on the job, and that is a pity. But I have been flying all these years and it has gone well.

H: Didn't you happen to get into a thunder-storm once that scared you?

A: Yes, that was awful. Then you had to get used to how it felt to die, feels to die.

H: You mean that?

A: Yes.

H: So, how was it?

A: Well, we entered.... It's a long story; it might not be possible to retell precisely.

H: No, but it was a thunder of long duration...

A: Yes, it was a real crisis we went through. We were flying in a small plane and all the big planes were sent back to New York since they weren't allowed to land, and we did not have enough fuel to return, so we flew in a small plane and it just went like this all the time [making waves with her arm] and you couldn't see anything at all.

H: And since then you are...?

A: Well, it was not only that incident. I have never liked flying. Sometimes I have to fly, and then I do it. I flew a couple of weeks ago, from Germany to Stockholm. I don't like flying, but in the time I think it's a very exciting thing. When I manage to get into a plane and fly I think it's very entertaining to sit there in the front, in the cockpit and experience the landing and all that. Fun... but it's exciting to see how it is done. And then it's easier, because you can see ahead; you can see the runway, how it's done, that they work all the time, what they have to go by. And if you sit in there as a passenger you only see to the side and don't know what is going on! And that is a lot.

Part 5:

A: I feel very safe when I'm driving a car, because then I have total control. I can steer away, I think, even if I know...

H: You have a driving-licence?

A: I have a licence. I have it with me here. [indicating right pant pocket] I have had it since -68. I feel very safe when rid in a car, especially if I myself am driving. But that's just it: I want total control, and you think you are, and feel, safer on the road than up in the air. I feel that way.

H: There are a lot of people out on the roads who shouldn't have a licence too. We will get to that soon, by the way. I have an idea about that so I'm glad you mentioned this.

These concerts you did were marvellous. I Australia ... there were hundred thousands of people. A great deal must have happened. Have I dreamt that you were attacked by beetles somewhere in...

A: No, we were.

H: It's true.

A: We've been through quite a lot of things over the years.

H: Did you get along when you were touring the world like that. It's four people.

A: It occurred!

H: But four people who are to live together and travel together and work together; it must be very difficult.

A: Yes, it is very hard because it creates strain. before concerts, and this whole life you live when you're on a tour is very straining, tiresome and demanding. You long for home and so on.

H: Which was the biggest hit ABBA had during its entire...

A: The very biggest?

H: The very biggest.

A: Hard to tell.

H: Don't you know that? Aren't there records of the number of sold records?

A: I haven't looked into that.

H: So you haven't. What should we think, Curt-Eric?

A: I would think Dancing Queen.

CE: Dancing Queen!

H: Yes, Dancing Queen. It almost has to be.

A: Yes.

CE: Not that I have the evidence to prove it, but...

A: I think it was too.

H: But there is no point in playing and doing that one now. You know that one.

A: Nope, forgotten that one.

H: Forgotten that one... [laughter]

But this is amazing, but when I read about you and look at TV-interviews and such, 25 % is about your sexy behind.

A: You say?

H: But this is for sure, it's no joke! You know it yourself, right?

A: Never understood that.

H: No... Journalists in Australia and America, they come in and ask: oh, she has such a good-looking behind.

A: Oh, but God.

H: Yes. How does it feel to be asked something as stupid as that? I would never ask anything like that. [laughter] It's nothing to be ashamed about!

A: You see what I have to go through!

H: We won't talk more about that, but you know it.

After ABBA many think that now Agnetha Fältskog has stopped working and performing and such and... But that's all wrong, I've discovered, because you've done a great deal! You have made two albums that required a lot of work, big successes. The first one has been sold, I've learned, 1.2 million. Only in Sweden 360 000. The second one has just been released, or a couple of months ago. So far it has sold about 100 000 only in Sweden. [Eyes of A Woman peaked at #2 in Sweden]

A: Great!

H: Yes, eh...

A: I'm very happy about that.

H: Yes, for only because you're not on stage people think you have stopped as an artist, but you haven't.

A: No. It might happen because you have had such a great period, and reached almost as far as you can get with a group, that it is easy to think that you can lay off and things. But to sit with my arms crossed and not doing anything is not quite my style. I like working and I enjoy trying new things and taking on challenges.

H: Raskenstam, of course. We were almost forgetting about Raskenstam.

A: Yes that is another... That's what I mean: it's fun exploring a new side of yourself.

H: For there you actually did a serious role.

A: Yes, and the first one. I was really nervous when I was about to do it, because I knew, and I told Gunnar as well, that I don't know if I master this. But we have done things with ABBA and I am used to the stage and all that.

H: How was he to work with, Gunnar Hellström?

A: Very good! God, was he good.

H: He's used to a great tempo?

A: Yes, he's an experienced director. And I felt that already when I got the manuscript. I have been asked before if I wanted to do certain roles and it hasn't felt right. It hasn't been the right thing to do. And I'm rather careful with what I choose to do.

H: We are about to show, you see... We have been lent something here from Gunnar which isn't in the film. Which is NOT in the film.

A: No?

H: A piece thrown away. You know there is something called "waste", right? When you are filming and you throw away things you can't use.

A: Then I know what it is.

H: You know what it is? We will show it here now. It's when you and Raskenstam are about to crawl into bed here. Somehow. I think, or...?

[Clippings from the making of Raskenstam is shown:]

-#-

GH: I'm going mad! No wait, go on.

-#-

A: You are very alike

-#-

A: You are very alike

-#-

A: You are very alike

GH: What should we call him?

-#-

A: You are very alike

GH: Yes, what should we call him?

A: You decide, he looks so much like you...

GH [hysterical]: Oh my God!

-#-

GH: Not to pinch the child now, there. Please begin.

-#-

A: Isn't he lovely.

GH: Yes, put him in the briefcase over there.

-#-

GH: Go over and put him in ... the armchair! And lie down.

A: Shall I do that?

GH: Yes, do that. And then he says... [laughter] Shouldn't you remove your hat?!

Part 6:

H: This is the first time you’ve seen someone go to bed in a film, with that hat on… Many might wonder what became of that scene, and we have found that too; searched out from the film itself. How that scene turned out when finished, because this wasn’t very useful.

A: Nope.

H: Well, actually they might as well have used it. This is what it looks like:

[From the final production of Raskenstam:]

A: You are very alike.

GH: So what should we call him?

A: You decide, he looks so much like you.

GH: You think?

A: But everyone says he has my eyes. Isn’t he adorable…

GH: Indeed, a fine boy he is.

[Back to the studio:]

A: I had a great time doing that.

H: The briefcase…

A: Right. Gunnar was so tiredthis day, and he just giggled all the time.

H: Now I thought you would seat yourself on this bar stool. You have brought your driving licence, haven’t you?

A: Yes, here in my pocket.

H: Come on now. I happen to imagine that hal of the people driving around out on the roads…

A: [a sound of mild disapproval]

H: They shouldn’t have a driving licence.

A: Should I show it to you too?

H: Yes. Keep it. For now.

A: And it’s brand new as well.

H: We will find out if you can keep your licence, Agnetha. I have the authorities here in the studio, so… We will see what happens here now. [Hagge has a number of traffic signs in his hands.] What I am doing is to propose that…

A: The answers are on the back! […of the road signs Hagge intends to ask about]

H: That is so I will know. What is this? What might this be? [Hagge shows a yellow, triangular sign with red border, tip pointing down.]

A: Let crossing traffic have precendence.

H: You knew that?!

A: Yes, I saw that. But I knew it as well.

H: You knew that. Now we shall not reveal any more. And what is this? [Yellow, triangular sign, red border, tip pointing up, a vertical black bar in the middle.]

A: Mmm… Crossi… no, could it be…

H: You can’t do any whispering here, people!

A: Well, it is…

H: That is wrong, I can tell you.

A: Before the railroad…

H: No, no, that is wrong.

A: Look out!

H: Look out, well that goes for all of them.

A: I’m actually not quite sure of that one.

H: It is ”other danger”.

A: Other danger, I see.

H: That’s right.

A: Well, now I know!

H: Carola thought it was Bert Karlsson. [Carola being a big star in Sweden; took part in Eurovision Song Contest in -83 and -91. Bert Karlsson is the manager of her first record company.] So, what is this? [Circular yellow sign, red border, a red lorry and a black car in the middle.]

A: Red car can not overtake black car. [with a giggle] No, overtaking is forbidden; on that road.

H: But what is forbidden?

A: Overtaking.

H: Yes, but with what?

A: With a lorry.

H: But that is correct!

A: Yes.

H: That’s extraordinary. All right, what about this? [Square blue sign, white border, a red arrow pointing down next to a white arrow pointing up in the middle.]

A: Well, you have to keep to the right…

H: We do that in Sweden.

A: No, but it is meeting traffic suddenly after having been a one-way street or something like that.

H: ”Something like that!”

A: No but yes… not…

H: This is not working at all, this thing.

A: Observe the meeting traffic.

H: Yes, but you should always do that. That is why you drive on the right side of the road.

A: Well… No, I really don’t know then.

H: Now, what do we say?

A: Give me another chance! I really don’t know.

H: This is not working. It means: precedence relative to meeting vehicle.

A: Oh yes, that’s what it is!

H: What about this. You have to shape up now! [Circular yellow sign with red border and a red bar, tilted 45 degrees, crossing the sign.]

A: No parking allowed.

H: Is it? Where do you live?

A: Major road. I’m worthless at that.

H: But you can’t be!

A: But I was good once.

H: There is no sign like this.

A: But it’s just me… it’s all blank, you see.

H: No, but there is no sign like this.

A: Let me see what it says! [Agnetha looks at the back of the sign.] But it says nothing!

H: No, there is no sign like this! You should know that too.

A: See! That’s why I didn’t know. I had never seen it before.

[Hagge holds up his next sign: a rectangular yellow one with three red bars on top of each other, all tilted 45 degrees (or pi/4 for the rad people…).]

A: Railroad crossing.

H: Yes, but…

A: Look out!

H: We look up. We look up to you, but what does this mean?

A: Well, it is three … three railroad crossings! No, but it’s a warning of a railroad crossing. Then, the next time you see one of those there is only two [red bars], then there is one, and then there is the railroad.

H: So what does it mean? How far is it at that time? Take this instance.

A: The less of these decorations, the more you should look out.

H: Oh, that’s clever. But how far is it when you see one of these with three [bars].

A: Eh… 3 m!

H: Then you really have to look out! 250 m. Now I have two theoretical questions as well: Are you supposed to use warning indicators when towing?

A: Yes.

H: No!

A: Why not?

H: I don’t know that, but it is a no.

A: I see.

H: Which is the highest allowed speed when towing, if you tow a friend having… That is, it is not a tow truck.

A: 30 [km/h].

H: 20, you’re wrong. Police! Come. This is constable Carlén at the Göteborg police.

P: Yes, I will take this [the licence].

H: What do we say about this?

A: So, I can’t keep it.

P: No, I don’t think it was very good.

H: It’s hopeless, right?

P: Yes.

A: And I thought it was so nce coming to Göteborg.

H: Yes, thought! Don’t we have lovely and pleasant policemen [in this case a woman] here in Göteborg?

A: Oh yes, lovely…

H: We do, don’t we.

A: They look nice.

H: Now, if you see mrs Fältskog driving, call… it will be the Lidingö police, right?

A: Yes, that is the closest.

H: You now have no licence.

Part 7:

H: All right, Agnetha, let’s see: what shall we talk about now. Jönköping. There, you are either Christian or a huge sinner, right?

A: Mmm. Well, I don’t know if that is the case, but…

H: Do you come from either of these environments?

A: I have it pretty close to me.

H: Which one?

A: I have relatives who are religious.

H: In a free church, yes.

A: Yes.

H: So you have taken some impression of that in your…

A: Yes, I’m not religious myself, but I’m a seeker, you could say.

H: Say your evening prayer sometimes?

A: Yes I do, sometimes.

H: And it helps?

A: I think so.

H: Because you have had some cirises in life, privately.

A: Just like everyone else.

H: Just like everyone else. Divorces and… Well, only one. Are you alone now?

A: How private are we going to get? [Hagge singing: ”Är du ensam…” (”Are you lonesome…”)]

H: That is none of my business.

A: I think he is sent out from some tabloid here. Are you?

H: Possibly bored out, but you are psychicly stong so you have managed all this. There has been a lot of writing and rubbish.

A: Yes, it has been.

H: Tabloids…

A: A great lot of speculations and things.

H: You have more or less been portrayed as a fragile little girl from Jönköping, who can’t take care of herself.

A: Yes, that is how it has been, and it has really been the exact opposite.

H: If thoey only knew…

A: I’m very strong.

H: I know! And you know what you are doing and…

A: I would hope so!

H: And have a very determined opinion about most things, and are a bit stubborn too, right?

A: Yes I am.

H: Because everyone around you I talk to, say: she is a great girl! Intelligent, dedicated, talented and knows very much.

A: That is probably true. Probably!

H: Well put by me!

A: Yes.

H: But I mean it too, really. So I think it’s really unfair, what has been written so many times. Oh! I’m forgetting everything here, now, but I was planning to launch you on an entirely new career. Now I remember. We can’t forget about this. As Scandinav… as Europe’s Liberace!

A: Wow.

H: You know who he is, don’t you?

A: Yes.

H: Liberace, that’s the man playing the piano, having played the grand piano and wears such beautiful clothes.

A: I know that.

H: Now I will put you to really hard tests here.

A: No!

H: Here you go, see. I have picked out here, by Joseph Haydn…

A: At least it’s better than cutting onion!

H: …”Scarsino”. We won’t peel any onions to that. This is quite difficult, and I have asked Curt-Eric who says it’s now for certain she will be able to pull this off, because you need to have done this a couple of times. And firt now, we have to put on Liberace’s…

A: Nooo…

H: You have to look like him too. We will use a special blouse here, and some things. If you can’t pull this off now, noone has to…

A: I’m sure it will be fine.

H: You think so??

A: Indeed!

H: Do you need these rings? [the studio man offers Hagge some rings]

A: No, I already have that.

H: She already has, no we won’t use those.

A: Should I play this? [looking at the music sheet]

H: Yes, we thought so. Be our guest!

A: Let’s try it then. Ok, have you got your tissues? Here we go. [Agnetha does a decent job playing Haydn, followed by applause]

H: Yes, that is good!

A: It was good?

H: Bravo!

A: I was so nervous!

H: All right, I think at least everyone who cheats on the piano knows how difficult this is. You can play.

A: Yes, I have been plaing from sheets for… I have taken lessons for ten or 15 years.

H: Aha. You have two children! How old are they now?

A: 12 and seven years.

H: Are they musically talented too?

A: Yes very, but one is more interested than the other.

H: How do they experience this, having a world famous mother?

A: They play it pretty cool, they do. They are not particularly impressed, but at the same time they are beginning to understand what it is about. We talk very much about the ABBA time and things.

H: You are a real home-hen, aren’t you? [Hagge adds a word the Swedish vocabulary…]

A: I like being at home. I like it at home.

H: The children go before the carrer now?

A: I think it is good if you can try to combine. Both making records, being at home with the children and making film. I think it is possible to combine too. It has worked out so far, so…

H: No more tours?

A: I haven’t decided, but it will probably be the last thing I will take on!

H: You’ll have to go by train then…

A: I have tried different means of transportation, and there are several options.

H: It’s cheaper: you are from Småland. You are from Småland, remember that! [A well known fact (?) is that all people from Småland hold on to their money!]

A: But I’m not that cheap.

H: You are cheap?

A: No, I’m generous.

H: You are generous?

A: Yes.

H: People from Småland aren’t cheap… But economical.

A: Yes, I guess they are.

H: How was it Big Bengt put it when he was here: ”You shalln’t have any expenses, just income”. Is that possible…

A: Just as long as one has a goal… in life.

Part 8:

H: Have you never thought about leaving Sweden?

A: The thought has been there, but I think it would be very difficult for me to leave this country.

H: Many would be sorry if you did, for example Kjell-Olof Feldt. [laughter from the audience; Kjell-Olof Feldt was at this time the minister of finances]

A: Precisely.

H: You have to be one of Sweden’s biggest tax payers.

A: Yes, I am a major tax payer; I know I am.

H: Isn’t it then tempting to do like Björn Borg, Stenmark and Björn and Frida and…

A: Well. It isn’t like they moved from the country just because of that. There may be other reasons as well. It’s a sensitive question.

H: Yes of course there are. For many people it’s still tempting to…

A: I can only answer for myself, and I have no plans of that right now. But I can’t swear that I’ll be staying in this country forever. But it would be difficult for me to leave it because of my roots here, and family and friends and everything.

H: You are 35 years old.

A: Yes.

H: Have stopped smoking.

A: Yes.

H: How long ago?

A: Two years.

H: Congratulations!

A: Thank you.

H: You should do this too! [said to the audience, which answers with applause]

A: Yes really! It isn’t that hard.

H: What?

A: It isn’t that hard.

H: Well… You are of that faithful kind, aren’t you?

A: Faithful? Yes…

H: Are you jealous?

A: Yes, I am. I think it’s natural to be. In a relationship, if you like someone, it’s quite natural. It’s weird if you’re not, I think.

H: You think so.

A: Yes.

H: This thing, being beautiful and rich and world famous, it has to mean problems. Because, I mean, if you go out somewhere, and a guy asks you to dance with him, you think ”is it because I’m beautiful or is it because I’m famous or what is it”. Is that how you feel?

A: No, this about being beautiful, I’ve never been able to take, you know. Unfortunately.

H: Do you think I’m repetivite?

A: Yes, a tad! No, but I think: it’s not like that. You should see me in the morning!

H: Yes please, I’d love to. [storm of laughter]

A: No, it’s very much about make-up; if you wash your hair, if you blow it up and put on make-up and so on.

H: No, it’s not! You are so fine, even with no make-up, I think.

A: You think so?

H: Yes.

A: That’s kind!

H: Of course, I haven’t seen you in the morning. Yet. But I’m sure of it. Now, how does he look, this prince, riding in on a white horse and parking on Lidingö? How should he be? Should he be like Curt-Eric, or like me, or like the producer here, or the studio host, or… Can you give some…

A: Yes I can.

H: Tell now!

A: He should be fairly tall.

H: Thank you!

A: And he should have been a little in this business, preferably having put up shows and things.

H: Wohoho! No, how good!

A: And his name should begin with an H.

H: No! Let’s stop. Do you know what this is?

A: A bit aged…

H: Really… Carola [Häggkvist-Sögaard] gave me this.

A: Aha.

H: What will I get from you, one might wonder.

A: Nothing.

H: Cheap Smålänning! [people from Småland (Swedish province) are ”economic”; a scientificly confirmed fact…?]

A: Nothing right now. Later.

H: Nothing. Maybe later. Now we’ll end this show. I have a little surprise for you here, if I can find it. I have no order, you see. Right. When you were a little girl, you sang a song called ”En sommar med dig” [A Summer With You], which you father - his name is Ingvar, right? - wrote.

A: Yes, he wrote the lyrics.

H: The lyrics, not the music.

A: No, I wrote that.

H: You wrote that, right.

A: I think…

H: And we thought we would… It’s nice to end a show with you singing your father’s… I’ll tell you that we had even thought of bringing him here - Ingvar - but his throat went completely sore when he found out he was coming here to sing a duet with you.

A: Yes, I can understand that.

H: So he couldn’t even speak. So we brought him anyway.

A (obviously not paying attention): A shy family. But hey! I was supposed to remind you of something too.

H: That I love you, yes. I’ve said that now. Now, here comes you father!

A: Oh no!

H: Oh yes!

A: No.

H: Yes, there!

[Agnetha’s father enters, singing:]

I: Sometimes when winter is long and difficult, we still know that winds of spring will follow, caressing you cheek, and then all feels brighter. And at once we sense, when everything is born again, that something big is about to happen. At once all changes and is quite different. See for yourself what nature can give.

[När vintern är lång och besvärlig ibland, så vet vi ju ändå, att vårvindar följer som smeker din hand, och allt känns ljusare då. Och genast vi anar när allt väcks på nytt, att något stort ska ske. Med ens allt förändras och blir som förbytt, se själv vad naturen kan ge.]

A+I: A summer day, a summer night, this year will have summer with you. With warm winds, sun and sea, and brightly blye Forget-me-not. Take all of summer’s flower glory, you can have it from me. Because all on this earth I have wanted, is a summer, a summer with you.

[En sommardag, en sommarkväll, i år blir det sommarn med dej. Med ljumma vindar, sol och hav, och ljusblå Förgätmigej. Ta hela sommarns blomsterprakt, du får den utav mej. Ty allt uppå jorden som jag önskat mej, är en sommar, en sommar med dej.]

[applause]

A: I didn’t know about this! Come, come. What a surprise! I was taken aback. This is just like ”This Is Your Life” [”Här är ditt liv” was a show which presented the whole life of the guest].

H: That’s right! This was your life.

A: Yes, it was fantastic.

H: Come now, Ingvar.

A: What dressing room have you been in?

I: Over here.

A: So was I.

H: We have hidden him here in a basement somewhere. We had great trouble smuggling him insinde the building without…

A: Yes, I can understand that!

H: He has a sore throat as you can see.

I: Uuuuhh… My chest hurts so.

H: Have you seen anything of the show from behind the set?

I: I have seen all of it in a monitor.

H: Do you think it presents a good picture of her?

A: Yes, she is good, both like this and otherwise.

H: She is a good daughter as well?

I: Yes, one of the best I’ve had.

A: I thank you for that!

H: Well, Agnetha, now it’s over. And now I will give you a gift from me. You are afraid of flying, so I called…

A: I already have that one.

H: …a doctor. Rikard Fuchs. He has written a book just for you: ”Of Course I Can Fly”. Here you go.

A: I already have it!

H: You have? Well, here’s another one. Here you go. And you will be getting flowers too! Ingvar! You work for the electricity company in Jönköping, don’t you?

I: Energy, it is these days.

H: Energy and electricity. Here you go, this is for you. [Ingvar gets a not very electric lamp] Thank you Agnetha!

END