But her moment of glory, the one dreamed of by that young woman who acted for the first time on television with a huge number as a result of hard work, was muddied again by the cries of “Rigoberta, Rigoberta” from the public present who did not have the delicacy to respect the plethoric moment of the protagonist of the night. This time there were no boos or whistles, as for example, Manel Navarro suffered in 2017, but there was a snub that no fanaticism or predilection for another candidate can justify.
The Benidorm Fest has meant the rebirth of the Eurovision feeling in Spain. Never having a preselection away from OT aroused so much interest and enthusiasm. RTVE’s renovation plan had borne fruit and that test bench that was the Benidorm Fest has brought with it a resounding success in its first test. Renowned artists have enthusiastically joined the project, some of the songs occupy the highest positions on the lists and Eurovision once again fuels gatherings, tweets and hallway meetings. But it seems that denigrating or reviling our candidate remains unchanged over time.
Chanel has been the victim (or the culprit for some) of having eliminated a media favourite like Rigoberta Bandini and a bet boosted especially by a Spanish region like Tanxugueiras. And since Chanel has won, moreover, being first in the jury, the anger is even greater. The tweets claiming the supposed โtongoโ fill the Twitter timeline and the messages of a macho tone flourish on the walls of some people who minutes before were rejoicing at the feminist message of โAy, mamaโ. Is Chanel a mere diva (in a derogatory sense) surrounded by hunks? How dare she sings an urban pop song in 2022? Should we give value to her spectacular staging and choreography when we have Rigoberta’s ‘tit’ and Tanxugueiras’ bare-chested dancers?
Chanel has limited itself to presenting a current and well-executed proposal, starring a professional whose voice and body did not tremble when she acted for the first time in front of a camera. The style is very commercial and the European public had welcomed it after the first semi-final. Why then should we revile her proposal in front of the others? Those who kick that Chanel was top3 in the three votes that decided the winner are forgotten. She was third in the televote, yes, like Robin Bengtsson at the 2017 Melodifestivalen. Did anyone oppose her triumph? And she was the favourite of a hotly contested jury in her decisions. Does anyone remember that Salvador Sobral went to Eurovision thanks to the support of the jury in the Portuguese final?
Chanel has won with the rules set for the Benidorm Fest from the beginning and her triumph is legitimate at all times. It can be understood that the high quality of the proposals presented and the media interest that this Benidorm Fest has taken open a healthy debate about the voting system and the suitability of one or another candidacy. But that should never muddy the chosen proposal, which is the one that will be submitted to the European verdict in May. Chanel has done an outstanding job, she wins a good candidacy (practically closed for Eurovision) and only in three months, it will be seen if she is capable of restoring the lost brilliance of Spain in this festival. And those who roar for her triumph will have to content themselves with going to the street of weeping.
1 comment
Comments are closed.