It has been more difficult than other Eurovision candidates and, however, the pools have rarely been so favorable for Spain. Beyond the criticism, Chanel Terrero, who is already called the “European Beyoncé”, is ready to storm Turin this Saturday night. She sings, she dances, and who knows, maybe she’ll taste victory again with her ‘SloMo’.
—What remains to be said about Chanel?
“Wow, a lot of things! A lot of things. And also, as an artist, I feel like I have a lot to discover myself because in the end I’ve always been playing a character and right now I’m being me.
Are you careful with your words?
—Would you have appreciated less media exposure?
-It is what it is. That’s me. It is true that sometimes I say: «Jolín, I give myself so much, I give myself so much, that I am so open that it is easier to hurt myself».
But it is my essence. I can not to do other thing.
—How do you remember the days after winning the Benidorm Fest?
—I remember it super bittersweet because I was happy with what we had achieved. It was a dream, crazy. But then… It was actually the day after winning Eurovision. oops! I’m focusing. To win the Benidorm Fest. Then I managed it better and said: «That’s it».
—That if the lyrics were sexist, that if there was a connection with the judge… It was one after another to try to dismantle that victory.
“I don’t know what the intention was. Everything that was said was a lie, with which I went to sleep at home, every night, with a super calm conscience. It’s true, huh!
—Is ‘Ay, Mama’ as feminist as ‘SloMo’?
-Obviously. one hundred by one hundred. It seems to me that Rigoberta’s theme is a beautiful song to femininity, to feminism. And explicit. ‘SloMo’ is exactly the same but in a different way. With another filter.
—There is a type of Eurovision follower who…
-I do not know. I have not analyzed that. I haven’t thought about the bad. I have only seen that there are people, who I do not know anything about, who have written to me, who support me, who defend me with a good non-toxic speech and the bad comments I receive are totally disproportionate to reality; I don’t see it as constructive.
—How do you get the offer to sing ‘SloMo’?
—Tony Sánchez-Ohlsson, external consultant for Eurovision, contacts me because he knows me from musicals and says that they are looking for a voice for this issue. Of course, all of a sudden… I was at home rehearsing for Nacho Cano’s musical [‘Malinche’] and suddenly I say “What? OKAY”. I never close myself to anything and less at work. I tell him: “Pass me the song to see what’s up.” And they pass it to me and I say: «This song represents me a lot. Who has been spying on me through a little hole? I auditioned for Leroy Sanchez, the composer of the theme; he liked it because he saw videos of me, dancing and everything, and they fucked me.
—This song was going to be for Jennifer Lopez.
—That’s what happens! Look, Rihanna’s ‘Umbrella’ song was going to be for Britney Spears and she said no. This happens all the time. Forever.
—How would you describe ‘SloMo’ and the staging?
—’SloMo’ is… Choreography. It’s fun. It is sensuality. It’s security in one [mismo] How would you say? It’s totally self-esteem. And it’s having a good time. Jump, enjoy. wow.
—Do you think that if you weren’t a woman, attractive, Cuban, you wouldn’t have been criticized so much?
—poof [suspira], Already. I have never thought about it, but deep in my heart and my intuition I feel that it is.
“Is there a bit of racism?”
– There is racism. I have received racist messages on Twitter by flag. Super racists. Supermisogynists. Even homophobes. Xenophobes. And calling me everything.
–Do you like the term ‘Hispano-Cuban’?
-I haven’t thought about it. I am…. I don’t know… I’m Chanel. She is already. Cuban and Spanish.
George is Digismak’s reported cum editor with 13 years of experience in Journalism