Eurovision 1969: Real Teatro, real drama | Song super cut and animated scoreboard скачать в хорошем качестве

Eurovision 1969: Real Teatro, real drama | Song super cut and animated scoreboard

An edited down version of the Eurovision Song Contest 1969 from Madrid, with a scoreboard using today’s technology. This all started as a lockdown project! This edit will give a flavour of the evening (Saturday 29 March, 10pm UK time again) with Spanish commentary from José Luis Uribarri. Eurovision viewers might have thought that the drama of a one-point win was as good as it was going to get in terms of close races, but then there was Madrid. I’ve read in some of the other published books that the political overtones of the Franco regime didn’t penetrate the show that much, although I think that misses the nature of the regime at this stage. ‘Spain is different’, the slogan of the Spanish tourist board which successfully tempted tens of millions of tourists to Spain in the 1960s and 1970s, literally features in the interval act. The opening of the Spanish economy to tourists was vital for the Franco regime, with cheaper commercial flights Europeans came flocking to soak up the sun and spend some of their money. The great thing about travel is that it welcomes other ideas in, and in 1969, with German tourists, also came colour television cameras from ARD which filmed this year’s show. The tourists sort of looked around the suppression of Spain’s citizens– politics there, was different too, you see. Franco was a shapeshifter, doing all he could to stay in power, at the expense of the Spanish people. He’d squirmed out of backing the Axis in WW2 and so survived as the fight against Communism became the focus of the West. Spain was sort of left out in the cold though, until the mid-1950s. Meanwhile, to appease the people, they were distracted with television, football and improving living standards that came from housing US bases, and important foreign investment that triggered the ‘Spanish miracle’. Although not planned, the dramatic result was almost straight out of the Franco playbook: a four-way tie which left Eurovision questioning the nature of its democracy. There’d been a tie somewhere on every scoreboard since 1957 but the EBU had no better plan than sharing the prize. Four winners looks like a democratic compromise, but it wasn’t being championed by anyone around the continent, in fact Eurovision was being laughed at. On the stage, in the newly reopened Real Teatro, a great show played out (to modern eyes anyway). Nearly a third of the entrants had already performed previously, a quarter of them would win it(!) but delegations were starting to notice that this wasn’t the high-brow song competition that started in Lugano. It was something different – more popular, both musically speaking and by viewership, but less consequential to European culture. In my opinion, as Laurita Valenzuela asked once again whether Clifford Brown was correct in there being 4 winners, she perhaps should have asked whether it was right that Italy only had 5 votes! The BBC had sent 18-year-old Lulu, a star who had a weekly BBC show like Sandie Shaw. She’d just married a BeeGee and was probably the most famous of the performers, but in a now usual tale, BBC viewers had sent the song least liked by the artist…and there were entries written by the then unknown pair of Elton John and Bernie Taupin, but the viewers went for something ‘different’. It would take another 6 years for the psycho-drama of Franco’s rule to end, but with a transition to King Juan Carlos, Spain’s democracy would form. Eurovision’s democratic transition would have to be much quicker. DESIGN AND THE BOARD If you’ve seen the design process on ko-fi, you’ll spot that I started off with a faithful recreation of the 1969 board shot…lots of sandy browns. I couldn’t get on with it, but once I started to mimic the sea blue of the far background to the left of the shot, I found something much more pleasant. The quasi-miltiaristic sandy brown was handy for low-fi black and white viewers, who needed a clear backdrop than the Real Teatro could provide, and neatly fitted in with the militaristic nature of the political background. There were plenty of problems in the operation of the real board, and there’s another full review of the original from @mrjdsworld’s blog: https://euroscoreboards.wordpress.com... I created a representation of Gabino’s statue that gently moves in from left to provide some movement. My main aim was to use Helvetica but in a slightly off-putting harsh italic. It’s not pretty, but I like that’s it’s just functional and mirrors the captions being put out by TVE. TRANSFER NEWS (source: Wiki) OUT: AUT. Supposedly as a political gesture, but also I think they were scratching their heads as to why Udo’s song didn’t win in 68. INTERVAL ACT La España diferente CREDITS Original video from TVE, BTS from @retroclips Flags: countryflags.com 00:00 Pre-Contest 01:28 Intro 04:38 Song super-cut 29:32 Interval 30:48 Voting intro 31:45 The reorder board 69 54:11 Recap, data & reprise 1:02:52 Post-Contest