She was the first director of the Operación Triunfo academy, she was the representative of Spain in Eurovision in 1989, she was president of the jury of the last Benidorm Fest -and without fuss-, hostess of Un Dos Tres, actress of infinite musicals and more than 40 years on top of the scenarios. It’s Nina, who in the sixth episode of La Red Room, the Podimo podcast, talks about OT, talks about Chanel and talks about much more.
“I was commissioned to lead the OT academy because I was a person who had been on stage, had been very popular and who did not stop studying,” he tells Malbert, host of the podcast.
Nina has never spoken ill of the program that put the television spotlight on her again. Now, neither, but she does reveal that Operación Triunfo has marked her, “surely, for the worse. And they have called me from places for having a reputation for anger.”
What he is referring to is the row with Vega in which Nina completely exploded: “I have to say that what bothered me a lot about that and that’s why I set it up. You know you’re in a contest, you know you’re going to have You have to dance, you know you’re going to have to sing songs of all kinds, if you know all that for you to enter the contest. I was very fed up, every week was the same, now I know that she presented herself to be able to show herself. Now I wouldn’t get involved in those garlic, it is not worth it”.
In the podcast Nina also talks about her latest project on television as president of the jury of the second edition of the Benidorm Fest. She, the artist, claims to feel “flattered”, but she admits that “I don’t like to judge, it seems very difficult to me and more so in music”.
The singer is also not hiding about the controversy over the comb of one of her fellow jury members, Katrina Leskanich, leader of the band Katrina and the Waves: “I am very respectful and I am not going to tell it, but apparently she had a incident with the organization and that’s why she did that. She was like a weird thing and I can read that far.”
He doesn’t even hesitate to criticize the Eurovision scoring system. She is convinced that this year “we can win”, but she does not hesitate to denounce that last year too and “look at Ukraine, is it a festival of songs or what is it”.
“In the bases it says that the songs cannot be politicized, that I am not saying that music is used to vindicate, but if it is not allowed to politicize the songs, what are we doing by politicizing a musical contest in such a radical way. Because this year there are already songs on against the war, which is fine, but it cannot be done. So depending on which country we set the measuring bar and that warms me up,” he says.
According to the criteria of The Trust Project
