Cheryl Baker, the iconic singer from Bucks Fizz, has recently defended the increasingly risqué performances at the Eurovision Song Contest, which she believes add to the event's unique charm. With a career that blossomed when she won the contest in 1981, Baker has kept a keen eye on the evolving spectacle that Eurovision has become. She remarked that the competition's bold and often provocative visuals are now an ingrained part of the event's identity.
Reflecting on recent performances, which included daring acts such as Malta’s last-minute title change from "Serving Kant" due to its provocative connotations and Finland's bold choice of latex hot pants, Baker acknowledged that while some acts might push the boundaries too far, the overall aesthetic is simply a facet of contemporary entertainment. "It is a bit smutty, but life's a bit smutty now, isn’t it?" she commented, highlighting how societal norms have shifted over the years. She nostalgically contrasted today’s performances to her own group’s iconic skirt-rip moment, which marked a turning point in Eurovision history. What was once considered shocking has now become standard fare.
Baker's fond recollection of her performance underscores a significant transformation in Eurovision's visual language. In her view, engaging elements, such as the striking visuals and extravagant costumes, are essential for captivating modern audiences. As she shared, “You can have the best singer and the best song, but you’ve got to have that something that makes everyone think, wow, I want to see that again.” This speaks to the heart of what she believes keeps Eurovision relevant—its ability to surprise and entertain.
The singer presented a more critical stance in 2013 when she expressed disappointment regarding accusations of voting irregularities in the contest. Such issues, she argued, detract from the festival's celebratory nature. “It turns a joyous occasion into something sordid,” she lamented, advocating for transparency and integrity to uphold the contest's legacy.
In recent discussions, Baker has also celebrated the inclusivity of the competition. Calling Eurovision a “big woke fest,” she commended the event for its ability to transcend cultural and political barriers. Her comments came amid controversies regarding UK entrant Mae Muller, whom she defended, encouraging a focus on the positivity of participation rather than the surrounding criticism.
As Eurovision 2025 approaches, excitement is palpable not just for the performances but also for the potential surprise appearances. Rumours swirl around the possibility of Celine Dion performing, adding another layer to the anticipation. The event remains a vibrant tapestry of cultural showcase and entertainment, drawing viewers who relish both the talent and the spectacle.
Given Baker's long history with the contest, her insights reveal much about Eurovision's evolving identity. Despite the controversies and changing norms, her enduring love for the competition reinforces its status as a cultural institution, where extravagance and joy reign supreme. As she noted, “It’s always going to be that colourful, that extreme, that fabulous and joyous.” For fans and participants alike, this year’s Eurovison promises to uphold that tradition as it continues to entertain audiences around the world.
Reference Map
- Paragraph 1: 1, 4
- Paragraph 2: 1, 4
- Paragraph 3: 3, 4
- Paragraph 4: 3, 5
- Paragraph 5: 1, 4
- Paragraph 6: 1, 3
- Paragraph 7: 1, 5
- Paragraph 8: 1, 6
- Paragraph 9: 1, 6
- Paragraph 10: 1, 2, 7
Source: Noah Wire Services