Eurovision 1975: Back to the future! (Voting classic!) | Song super cut and animated scoreboard
24.5 هزار بار بازدید -
2 سال پیش
-
An edited down version of
An edited down version of the Eurovision Song Contest 1975 from, for the first time, Stockholm, with a scoreboard using today’s technology. This all started as a lockdown project!
This edit will give a flavour of the evening (Sat 22 March, 9pm) with commentary from the BBC’s Pete Murray for the most part.
1975 certainly marks another turning point for Eurovision in my mind, but it’s confused, with contradictory trajectories! ‘Back to the future’, although anachronistic, neatly sums up what would be an important year for scoring, and for what sort of Contest it was becoming.
Firstly though, we have some familiar problems. Sveriges Radio (SR) proudly organised this Contest and shouldered the cost themselves - the big 5 system of weighted contributions had been floated, but was not applied until the following year. Perhaps SR felt they should do as DR had done to make the Scandinavian hosting record 1-1! Like with RTÉ, who were still facing budgetary constraints after their hosting in 1971, there were more than a few Swedes unhappy with this. Whereas in Dublin in protests were outside, there was more direct action against the Contest this time. As the musical director Mats Olsson describes, far-left politics stretched to trying to bully orchestra members into boycotting the show. 2 out of 70 gave in, and there was an alternative contest held on the same night in Stockholm. Why? The increasing commercialisation of music was fattening the wallets of record companies.
If you could get to the stage, which the Dutch nearly didn’t due to a taxi error, then Shlomo Artzi’s team faced a much larger and all too regular threat to their security, so much so that the delegation was in separate in hotels to the rest and were constantly minded. Right before he went on stage, there was a rumour of a threat to his life, yet he still continued. In yet another vicious threat to the stage, the left-wing ‘Red Army Faction’ terrorist organisation was reported to be planning an attack in Sweden. They did. But against the West German Embassy some months later where two hostages were shot dead and a bomb exploded. Eurovision had luckily missed a bloody televised incident and it passed off peacefully.
An anti-democratic feeling also infiltrated the UK selection although it still meant that The Shadows travelled to Stockholm - another big name or the UK, although not at their peak, they featured in a show that had some very strong entries. Again, they were poorly distributed around the running order. On first watch, I felt the whole thing was over by song 9 (bar Italy), but in time I could see value in other entries too.
Positively this show resembles so much of what would come in the future. The quirky intro, the camera panning, the innovative & fun postcards, the new scoring system would all prove enduring. The new system carefully merged the best bits of 71-73 with some of the speed of the 10-1 system. This Contest is helped by a great voting sequence, hopefully aided by a reordering board.
In the end, there were credibility questions about a song called ‘Ding-a-dong’ by artists in ‘fancy dress’ winning. Teach-In’s lack of commercial success would also become a blinking light on the dashboard of the Contest. However a record number of entrants and excellent viewing figures ensured SR’s job was done soundly - concerns for future contests, and interest in it, were hopefully in the past.
The Dutch were the first to improve on the joint win in 1969, two more of the sharers would follow in subsequent consecutive years. The Dutch - nominally at the top of the league of champions- had little idea that it would kick off for 44 years of hurt.
DESIGN AND THE BOARD
Another great logo for this Contest, although it incorporates what was the logo for SR’s television service…if you keep watching until the end of the ropey credit roll, you’ll spot it in tiny form. Add a graphic music note and bam. Really the use of 1960’s Eurostile (or Microgramma, see Behind the Scenes) does the impactful design work, and it really hammers home the point of this Contest being simultaneously forward looking and yet quite 60s. The logo seemed to make a perfect shape to do something quite modernist as well as reflect how dour the actual board was. I’ve added some functionality that allows us to see who can still be awarded votes whilst we’re grappling with performance order voting - I’ll improve in future videos.
TRANSFER NEWS
OUT: GRE. After a chaotic start in 74, GRE stayed away as TUR had arrived. The invasion of Cyprus took place between the two Contests.
BACK: FRA, MLT
IN: TUR
(17-1)+3 = 19 (New high!)
INTERVAL ACT
High arts, typical public television fare.
CREDITS
@SvenskTV for the footage
@Ulrik Daniel Frich Wiksaas for BBC commentary
Flags: countryflags.com
00:00 Intro
06:07 Song super-cut
45:38 Interval
47:42 Voting intro
43:00 The reorder board 74
1:22:00 Recap, data & reprise
This edit will give a flavour of the evening (Sat 22 March, 9pm) with commentary from the BBC’s Pete Murray for the most part.
1975 certainly marks another turning point for Eurovision in my mind, but it’s confused, with contradictory trajectories! ‘Back to the future’, although anachronistic, neatly sums up what would be an important year for scoring, and for what sort of Contest it was becoming.
Firstly though, we have some familiar problems. Sveriges Radio (SR) proudly organised this Contest and shouldered the cost themselves - the big 5 system of weighted contributions had been floated, but was not applied until the following year. Perhaps SR felt they should do as DR had done to make the Scandinavian hosting record 1-1! Like with RTÉ, who were still facing budgetary constraints after their hosting in 1971, there were more than a few Swedes unhappy with this. Whereas in Dublin in protests were outside, there was more direct action against the Contest this time. As the musical director Mats Olsson describes, far-left politics stretched to trying to bully orchestra members into boycotting the show. 2 out of 70 gave in, and there was an alternative contest held on the same night in Stockholm. Why? The increasing commercialisation of music was fattening the wallets of record companies.
If you could get to the stage, which the Dutch nearly didn’t due to a taxi error, then Shlomo Artzi’s team faced a much larger and all too regular threat to their security, so much so that the delegation was in separate in hotels to the rest and were constantly minded. Right before he went on stage, there was a rumour of a threat to his life, yet he still continued. In yet another vicious threat to the stage, the left-wing ‘Red Army Faction’ terrorist organisation was reported to be planning an attack in Sweden. They did. But against the West German Embassy some months later where two hostages were shot dead and a bomb exploded. Eurovision had luckily missed a bloody televised incident and it passed off peacefully.
An anti-democratic feeling also infiltrated the UK selection although it still meant that The Shadows travelled to Stockholm - another big name or the UK, although not at their peak, they featured in a show that had some very strong entries. Again, they were poorly distributed around the running order. On first watch, I felt the whole thing was over by song 9 (bar Italy), but in time I could see value in other entries too.
Positively this show resembles so much of what would come in the future. The quirky intro, the camera panning, the innovative & fun postcards, the new scoring system would all prove enduring. The new system carefully merged the best bits of 71-73 with some of the speed of the 10-1 system. This Contest is helped by a great voting sequence, hopefully aided by a reordering board.
In the end, there were credibility questions about a song called ‘Ding-a-dong’ by artists in ‘fancy dress’ winning. Teach-In’s lack of commercial success would also become a blinking light on the dashboard of the Contest. However a record number of entrants and excellent viewing figures ensured SR’s job was done soundly - concerns for future contests, and interest in it, were hopefully in the past.
The Dutch were the first to improve on the joint win in 1969, two more of the sharers would follow in subsequent consecutive years. The Dutch - nominally at the top of the league of champions- had little idea that it would kick off for 44 years of hurt.
DESIGN AND THE BOARD
Another great logo for this Contest, although it incorporates what was the logo for SR’s television service…if you keep watching until the end of the ropey credit roll, you’ll spot it in tiny form. Add a graphic music note and bam. Really the use of 1960’s Eurostile (or Microgramma, see Behind the Scenes) does the impactful design work, and it really hammers home the point of this Contest being simultaneously forward looking and yet quite 60s. The logo seemed to make a perfect shape to do something quite modernist as well as reflect how dour the actual board was. I’ve added some functionality that allows us to see who can still be awarded votes whilst we’re grappling with performance order voting - I’ll improve in future videos.
TRANSFER NEWS
OUT: GRE. After a chaotic start in 74, GRE stayed away as TUR had arrived. The invasion of Cyprus took place between the two Contests.
BACK: FRA, MLT
IN: TUR
(17-1)+3 = 19 (New high!)
INTERVAL ACT
High arts, typical public television fare.
CREDITS
@SvenskTV for the footage
@Ulrik Daniel Frich Wiksaas for BBC commentary
Flags: countryflags.com
00:00 Intro
06:07 Song super-cut
45:38 Interval
47:42 Voting intro
43:00 The reorder board 74
1:22:00 Recap, data & reprise
2 سال پیش
در تاریخ 1400/12/24 منتشر شده
است.
24,551
بـار بازدید شده