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WorldVision 63 - Beiszendmizu, Tödlichebujoku - Rise Above

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Todlichebujoku
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Posts: 4979
Founded: Feb 24, 2012
Civil Rights Lovefest

WorldVision 63 - Beiszendmizu, Tödlichebujoku - Rise Above

Postby Todlichebujoku » Tue Mar 06, 2018 1:29 pm

OOC Thread - Host Bid
Image


Image

Autumn in the arctic. What a wonderful time of year in Beiszendmizu, with seabirds calling on the cool ocean breeze, the last hurrahs of tundra flowers blooming in drifts outside the city. Fishing boats cruise by, hauling catches to sell and store over the winter. The sun dips below the horizon for greater and greater lengths of time, the constant sun and twilight past. And so the Yáákupo lights up with the darkening evening, filling up with WorldVision fans from a multitude of nations. As the first fans file in, eager to experience the regular music show from so many different cultures, a violinist in a breezy white dress stands on the stage, backed by singers and various instrumentalists. She gives a quick nod to the few audience members already seated, and begins.


Image

Samaara Reiher - Taploukkimaa
(Hanine - Arabia)

Samaara begins with a traditional tune, joyously playing the climaxes and taking her time in the pauses. During the drum break, she whirls about the stage, her dress billowing about her before returning to center stage.

Samaara Reiher - Palata
(Divanessa - Azad)

The accent lighting takes on a more sinister aspect, despite the rest of the dome being fully lit for entering audience member. Samaara smiles ominously as the first electronic notes echo through the stadium, before joining in with her violin. As the drum beat kicks in, she begins grooving to it, before whirling up one of the flanking stage prows. On the opposing stage prow, what appears to be her shadow can be seen, projected onto mist. They seem to duel throughout the performance

Samaara Reiher ft. Arijana Kovac - Higher
(Lindsey Stirling ft. Raja Kumari - Mirage)

The accent lighting returns to a friendlier tone as Samaara stands on the outer center stage, alone at first but then joined Arijana Kovacs, who walks down the stage to join Samaara as the main melody kicks in. Upon seeing her, the Izmeduans in the audience collectively die while screaming in joy, a strange new emotion and cause of death for them. Meanwhile, the two performers smile and nod to each other as they begin, dancing their way up the opposite sides of the stage prows before initiating a sort of friendly mock duel, and finally together down the center aisle as the song ends. They both bow and make their exit.


Image
Armor & Kai Unruh ft. Beiszendmizu University Orchestra - Uudestisüntünüt (Reborn)
(KSHMR & The Golden Army - Game of Thrones Remix)

The lights turn down, ending the general hubbub of the audience. The orchestral pit is raised, lit by spotlights as the orchestra begins to play the contest theme, with a harpist in a luscious red dress prominently visible. The background wall depicts a sunrise over a coast not unlike that of Beiszendmizu, dull and red at first but soon becoming a plethora of pinks, oranges, and purples, with a choir in the back becoming visible as well. As the orchestral melody climaxes, gold and white light fills the stage and the rest of the Yáákupo, with sweet summer incense beginning to spice up the air. Just after the first climax, the orchestrals turn down while an electronic note turns up, as an eclipse begins to occur over the sun. When the beat drops, sparks blast outwards along the sides of the stage, along with a cold stiff breeze that is somehow palpable to the audiences watching at home. The stage and arena are otherwise pitch black, lit only by the spotlights and stage accent lighting that flicker and strobe to the beat. When the music slows down once more, the stars beyond the eclipse become visible, with twinkling lights shining down from the Yáákupo's ceiling and both the choir and orchestra lit from below by a ethereal white light. The harpist is then illuminated by a single golden spotlight, along with the choir. When the electronic blasts interrupt them, rows of spotlights shine down and move in steps toward the stage from opposite sides of the stage, though the harpist is still illuminated herself. The spotlights flicker and quiver intensely as the music builds, then rapidly sweep out over the audience as the beat drops once more, with all other illumination cut and replaced by flickering flashes of light that do so with the beat. As the music ends, the lights cut out, and the stage is entirely dark for about 30 seconds before the opening act begins.

Image
Punasilmáinen - On Falcon Wings
(Coldplay - Every Teardrop Is A Waterfall)


The eclipse falls away from the sun on the background wall as the music begins, but as the view zooms in it is revealed that the eclipse was from a planet, and the audience gets to experience another sunrise, this time with shimmering clouds and the silhouettes of forests and birds. Reino Bachmeier, the lead singer, is revealed to be on the center outer stage, while the rest of the band is on the center stage. Reino is already apparently full of energy
Let's watch the sun rise up
The falcons kiss the dawn
Let's breathe in endless beauty with the morning light
Now we can reach new heights
Now we can push right on
Now we can dance, unceasing, it's been far too long

He bumps his fist on his heart as flowers bloom across the stage and floral colors shine through the accent lighting
And you can't stop this love
All this love tonight
You and I are beautiful and so is life
Let's take a moment here
Fear can disappear
And we will be alright

The view focuses on Pihla Protz on the electric guitar as the screens depict time lapses of partly cloudy skies and blooming plants
Let's kick this music on
Let's smash these walls back down
Let's feel the warmth of sunlight on our hearts of stone
Breathe the love back into all the hurt inside
Let's go hold each other, and feel safe alive

The back wall darkens as an animation of a frozen gray heart is warmed by golden light
So what if no one cares, so what you're not pretty, so what about the past that you just can't unsee
Because we're here and breathing, we can rise tonight
Music is our light

The stage is awash with golden light Reino runs down the center stage steps and along the audience
And we'll sing,
a-a-all night,
And I know
In the dark before dawn, we'll find our own sunlight

The golden light fades to sky blue, and animations of seeds growing into a forest play on the background wall, which then consolidates into one view that zooms out and over the resulting forest. Wings are then seen on the edges of the view. Reino heads back to the stage and steps up to one of the prows, reaching out
So we'll soar,
O-over
Dry seeds grow into a rainforest
And we can rise on falcon wings
Upon falcon wings
Oh
Rise on falcon wings
Oh
Upon falcon wings

The ambient lighting tones down a bit as spotlights sweep out from the stage over the audience. Reino is on one knee
And we can touch, touch the sky
So let's sing, tonight

He jumps up, bouncing on the stage, lost in the moment and exploding with energy
Let's rise on fa-a-a-a-alcon wings
On fa-a-a-a-alcon wings

White pyros rain down along the back wall as mist covers the stage and overflows into the audience
We can rise,
We can rise,
We can rise upon falcon wings

We can rise,
We can rise,
We can rise upon falcon wings

We can rise,
We can rise,
We can rise upon falcon wings

The stage lights fade, with only Reino and the rest of Punasilmáinen lit from behind, then the lights go out



when the lights return to normal, Gabiya Yamaguči is standing on the outer stage.

"Wow, what a stunning performance from Punasilmáinen, and an equally mind-blowing one from our very own Beiszendmizu University Orchestra, thanks to Armor and Kai Unruh that wonderful theme! Give em all another round of applause!"

the audience applauds, and as they do so, Henrik Lang joins her. Any Izmeduan fans that had arrived since Arijana Kovac's performance also die in elation

He speaks. "Hello everyone, and welcome to the 63rd WorldVision Song Contest here in Beiszendmizu, Tödlichebujoku. We've got a good number of acts lined up today, waiting for your vote!"
"So let's cut to the chase. WORLDVISION, ARE YOU READY????"

the audience shouts, "YES"

Henrik cuts in. "Hm, couldn't quite catch you there..."

the audience screams, "YES!!!!!!!"

Gabiya looks a bit blown away. "Whew there! SO..." she starts, shooting a quick glance at Henrik.
Together, they shout, "Let the contest begin!"
Last edited by Todlichebujoku on Sat Mar 17, 2018 11:25 pm, edited 9 times in total.
早晨!ToBu for short.
[violet] wrote:You are my go-to nation for long names.
Oct 16 2018- Indo States wrote:YOU'RE FALSE TOBU
Apr 21 2020- Llalta wrote:omg tobu you’ve literally given me asthma with ur art

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Todlichebujoku
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Posts: 4979
Founded: Feb 24, 2012
Civil Rights Lovefest

Postby Todlichebujoku » Tue Mar 06, 2018 1:29 pm

Last edited by Todlichebujoku on Mon Mar 26, 2018 5:52 pm, edited 27 times in total.
早晨!ToBu for short.
[violet] wrote:You are my go-to nation for long names.
Oct 16 2018- Indo States wrote:YOU'RE FALSE TOBU
Apr 21 2020- Llalta wrote:omg tobu you’ve literally given me asthma with ur art

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Talvezout
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Posts: 5381
Founded: Oct 05, 2014
Civil Rights Lovefest

Postby Talvezout » Tue Mar 06, 2018 3:11 pm

01 - TALVEZOUT
LORENZO - TÚ CORAZÓN
(Tune is "De Plata" by Rosalía



BACKSTORY + ARTIST

The song is inspired by the flamenco songs Lorenzo grew up with during her childhood. The lyrics are based on a traditional South Talvezian folk ballad, "Thymoménos I Gynaíka" that is about an abused and mistreated wife taking revenge on her husband; "Tú Corazón" is a flamenco nuevo update of the ballad.

Lorenzo is one of Talvezout's premier artists of the recent century. Her music is a blend of pop, folk, and traditional influences; her latest album, "Cuando Yo..." is heavily indebted to traditional Talvezian folk music. Lorenzo has performed on the Worldvision stage multiple times, representing her homeland of Está Lloviendo once and representing Talvezout several times; her highest placing has been 2nd place. She aims to hopefully keep Talvezout's top ten streak going.
While I
While I
While I am crying
I tell you:
With your hands
With your words of sorrow
You have hurt my heart

And if these words
That you have given me
Have hurt so much
Does your heart really live?
For the pain you give me, it hurts so much
I have been stung, and I cannot feel
While your heart is still living




The song would start suddenly, with Lorenzo, a flamenco guitarist, and a male dancer on stage. The flamenco guitarist would be standing off to the side, which Lorenzo and the dancer standing center stage. Lorenzo would be clad in a rather striking red dress, while her backing dancer would be in a similar vest and pants. There would be no special effects or lights in the song; the online lighting is a single overhead spotlight illuminating Lorenzo and her cohort. While Lorenzo was singing, her male companion would start feeling her up. Lorenzo would take the abuse, as the male companion would basically strip the dress off her by the end of this part of the song, leaving her just in a simple black shirt and pants.

Mientras yo
Mientras yo me
Yo me llora
Te dijo un encargo:
Con tus manos
Tus palabras, de dolorosos
Ha me doliste mi corazón


Lorenzo would push the male dancer off her, and they would start a dance routine similar to fighing. She would rip off the best on him, revealing a black shirt underneath. As she would start singing again, she and dancer would continue fighting again. She would grab part of the dress and start using it like a rope, while sparring with the dancer. At the end of the song, she would grab the male dancer and restrain him with the dress part, bringing him down as the song ended and the lighting faded.

Ay si estés palabras
Que te dame
Ha dolorido mucho
Tú corazón, ¿que vive?
Por el dolor me das, duele mucho
Le me hirió, y no puedo sentir
Cuando tú corazón estás viviendo


The lighting would come back on at the end of the song. Lorenzo, the dancer, and the guitarist would all be holding hands, before waving to the crowd and leaving the stage.
Last edited by Talvezout on Thu Mar 08, 2018 10:32 am, edited 2 times in total.
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talveziobiblio.org.tz


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Vartugia
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Posts: 255
Founded: Nov 12, 2015
Iron Fist Consumerists

Postby Vartugia » Wed Mar 07, 2018 12:52 am

02.Vartugia

Filler-Man and Dick Arms- "A Point For Us Cost 69 Million US Dollar For You, So Stop Giving Us Votes!




With communism failing harder than the Berlin Wall felt, they become capitalists for their epic quest of getting either null points or wining. That was the natural choice as they saw the real Rick Leg (not the discount Dick Arms) getting rich by selling varguian monster eggs.



The two guys are dressed with gold-dresses and they also have a gold top hats.
We have money
We a....

They get interrupted by some random guy who enters the stage, telling them that they have lost all of their money due to a crash in stock of vartugian giant monster eggs. He chased them off the stage, calling them “broke (slur)”. The audience is like “What the fuck are Vartugia doing with this shit?!? Why can’t they just fucking send a normal, not fucking earraped and not a fucking joke entry?!?”.

Lets quietly move to the next county to perform.
Last edited by Vartugia on Wed Mar 07, 2018 2:11 am, edited 1 time in total.
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You are reading this signature, didn't you? If so, then have a nice day, and may whatever you believe in bless you.


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Hiklarmangia
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Posts: 27
Founded: Mar 20, 2016
Ex-Nation

Postby Hiklarmangia » Wed Mar 07, 2018 12:53 am

03. TheIndipententDarkmanianState of Hiklarmangia (Or TIDS Hiklarmangia/ just Hiklarmangia)

Slavie- "What The Fuck Are Slavie Singing?!?




Sëan "Slavie" Skölder are a “fan-favorite” when It comes to WHF with his classic hits ""Give Us All Your Points!" and "Send Nudes!(The ultimate song that is so good, we are already the winner of this contest has begun, so you don’t need to waste money for a World Hit Festival that next year goes to a poor country that uses effort for their song and is more serious than our little song that has a title that is long as f*ck because we are more special than the rest, because it's motherfucking Slavie who is here bragging about him being freaking sexy . We f*cking won this sh*t!)" (Actual title) and "”Ass, Ass, Ass”.

He had rolled in “white powder”. He has been in jail in Britionsea and now he`s banned. He has twerked in front of a camera in a thong. Now he takes his biggest enemy, Bigger World Hit Festival.


Slavie was nervous for this was much bigger than WHF. To calm down, he decided to drink glass after glass after glass of darkmanian wine. He accidently gets too drunk.
He stands alone, but not sober. He struggles to stands up. The music begins to play.
I am *(Error 404. English not found)* … With meeeeeeeeeeeeeeeeeeeeeeeee…

He, being drunk keeps the note for THREE GODAMN HOURS!!!!!!!!


...eeeeeeeeeeeeeeeeeeeeeeeeee.

He ends his long tune. As he is about to continue his song, the producer of the show enters the stage to tell him that he has reached the limit and has to let other compete. He allowed to do it but adds his short, famed, booty shaking™.

He leaves the stage so the rest can sing.
Last edited by Hiklarmangia on Wed Mar 07, 2018 2:14 am, edited 2 times in total.
This is a puppet for Darkmania.

This is mostly only used for joke RP with"of the best English that is of perfect". If I accidentally use this instead of my main, then blame Canada.

In-Character, Forum-Only Name is TIDS Hiklarmangia. (The Indipendenent Darkmanian State)

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Nekoni
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Posts: 893
Founded: Jan 29, 2013
New York Times Democracy

Postby Nekoni » Wed Mar 07, 2018 4:51 am

Entry No.4: NEKONI
Looking Through Your Window
The Echoing

Based on: Traumfrau by And One

The Echoing are a three-piece Electronic Body Music group from Varea, forming in 1994. Stalwarts of the underground capital electronic scene, their music is by their own admission back-to-basics, a flashback to the early 80s where electronic music was taking its first brave steps. The electronic musicians of the period were pioneers in creating a darker sound in response to the popular disco-infused pop that was mainstream at the time, and it has always been The Echoing's mission statement to bring that nostalgic time to the audiences today. It's worked, too. On their ninth album already, this admittedly niche group is something of an outlier in the Nekoni music scene, and that makes them the perfect choice for the WorldVision.

Image
The Echoing are:
Valteri Florien - Lead Singer, bass synth
Alessandro d'Acosta - Main synths
Yanni Macscarello - Electronic drums

Valteri Florien, 2017
Image



All three band members are wearing black shirts with white piping, skinny white ties and black trousers. Yanni, the drummer is on a plinth raised at the back of the stage, the drums being the classic Simmons hexagonal electric drums with Alessandro to the left side, surrounded by all manner of early-80s synthesizers. Valteri, the singer, is in the centre, inside a 5m glass cube, Roland bass synth slung over his shoulder.

As the song begins, a disembodied voice (Valteri's through a vocoder) calls out "When the mask slips, will you still be the same?" and the song begins.

The stage is monochrome, with the backing lighting being mostly white, with black wireframe overlay projecting on the walls of the cube. As the drums break in, the floor of the cube starts rotating, with Valteri motionless, head down, playing bass synth until his vocals begin, at which point the floor stops rotating, leaving him facing the front, staring at the camera. He has contact lenses to give his eyes a frightening all-white effect.

Ten years since I last left
Wondering how well you've kept
Sleeping on friend's sofas
weeks since a warm meal
I hope you're worse off than me

As his sings the first part of the voice, he plays the bass, as the cube slowly opens, and he walks out. He walks to the left, just in front of Alessandro, as the lighting changes to a lighter ice blue.

You've lived a much better life
Since you went under the knife
Out went 'girl next door' and in came 'porn career'
Do you still recall me, dear?

Now outside the cube, the cube projects the all-white silhouette of a woman, the subject of the song. As he says the line "under the knife", the silhouette splits into multiple pieces by straight lines, and a pink silhouette wearing a white mask climbs out. During the rest of the verse, she seductively goes on all fours and crawls catlike towards the side of the cube that Alessandro is standing, looking each other eye-to-eye.

I'm looking through your window
At the man I used to be (the man I used to be)
Whoever's there I don't know
Although he looks like me

At this point, Valteri has dropped the bass synth on the floor, and is on his knees at the edge of the cube, with his hand on the surface. At the same time, the silhouette is in a mirror image of him, in the same position, as a purple silhouette (the man he used to be), appears from the right side, and coaxes her away from Valteri by kissing her neck.

You may have your life
Maybe it feels right
But time will end your sideshow

As he sings this, the purple silhouette has sprouted devil horns, and has bitten the female silhouette on the neck. As she falls lifeless to the ground, he continues singing.

Until then I'll lie low
And keep looking through your window

Valteri has picked up the bass again and continues playing throughout this short instrumental section.

Years will deflower you
Scratch to reveal the truth
Fame is like a bomb fuse
and when time runs out
The happy times shall die, no doubt

At this part, the cube has slowly opened out from the sides to reveal a ten metre long transparent glass surface to project images onto. On there, the pink silhouette staggers up to her feet, as her mask shatters like glass on the line "scratch". During the next line, the cube starts glowing white, with the woman in pink moving, panicked, like the walls are closing in. Upon the line "time runs out", the white immediately fades, and the silhouette disperses like a swarm of butterflies.

And you'll be looking through your window
At the girl you used to be (the girl you used to be)
Back when the dream was right now
A distant memory

The butterflies assimilate on the far right of the screen to another female in silhouette, this time one in blue, a lot more 'ragged' than the others. She crouches, and places her hands on a white border in the middle of the display. Her own window. On the other side, the same scene from the first chorus takes place, with the pink girl and purple man, however, their is no 'bad ending'. It continues as Valteri walks around the cube, ending up on the left, behind the girl.

You had your whole life
In half of the lifetime
The zeitgeist stops the sideshow

You'll be looking through your window

The girl in blue looks up from her slumped position at Valteri, expecting some kind of forgiving warmth. He gives her a cold, vacant stare back, and she turns around to watch through the window again.

We'll be looking through your window
(at the people we used to be)
(at the people we used to be)

We had our whole lives
In half of the lifetime
The zeitgeist stopped the sideshow

Valteri, as he sings with his bass synth, walks behind the cube, as the girl throws her arms against the window in despair.

We'll be looking through your window

As the final beats take place, the cube flashes white, and when the song ends, Valteri has disappeared completely, all remaining is the girl in blue, her arms still against the window pane.
Last edited by Nekoni on Mon Mar 19, 2018 12:47 pm, edited 6 times in total.
Eurovision apologist, International Broadcast Alliance founding member

Debuted in 26, currently entered 29 times

Wins: 2 (70, 92)
Podiums: 3 (70, 80, 92)
Top 10s: 12 (46, 63, 64, 70, 71, 73, 75, 78, 80, 90, 92, 94)
Hostings: 3 (64, 80, 94)

Former Scuderia Fuoco e Ghiacchi, now Polaris Racing Team
WGPC 13 Drivers & Constructors Champion
7-time Grand Prix Host
Renowned* Track Designer

*by himself

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The Federation of Kendor
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Posts: 4586
Founded: Dec 08, 2015
Ex-Nation

Postby The Federation of Kendor » Wed Mar 07, 2018 5:25 am

05 - Kendor


Reserved
My Dispatch
North Korean Russia wrote:"I am God! You are powerless against me! I am so awesome that when I play basketball I always get four points per shot!" -Kim Jong-Putin.

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Besen
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Posts: 330
Founded: Mar 01, 2018
Ex-Nation

Slot 06 // Besen \\ ERICA

Postby Besen » Wed Mar 07, 2018 9:00 am

06 - Besen

Erica - Rules for a Broken Heart

To The Tune of: How to be a Heartbreaker - Marina and the Diamonds

Image of Erica: Image


Image of the Staging



Backstory of Erica's selection and song.
Erica was selected by BSS as a debutant in Worldvision early in February.
Erica Rodman Herinese (age 22) is a Besenian girl from the small village of Hüneta, whom grew up in a family of music (her father is the famous Opera singer Richard Herinese). She entered "Ne Veren do Besein (The Voice of Besen)" early in 2016, where she found minor fame- coming 2nd. She released a few singles and an album "Anaternis (Attitude)" which reached No.4 on the Besenian charts. She won the 'Album of the Year' award at the BN Awards in the capital Lipa, which brought her mainstream fame with the public. BSS noticed her during the summer of 2017, when they were thinking about their options for a debut in the contest.They approached her early in January 2018, when they decided that she would be the best advocate for Besen in their debut contest. She accepted with little reluctance and began writing her song that month. The song is produced by her mother, who did DJ mixing jobs around Morlake, and came out of retirement to produce the song. It is written by Erica herself, whom claimed is based on a previous relationship that she had where the boy shattered her heart into pieces and the staging is also based around how she couldn't trust anybody after it happened. She toured around Besen, promoting the song and the music video to build hype for it. Everything was already thought out before BSS' official application. BSS has opted for an internal selection for WV64.



--------------------------------------------------------------------------------------------------------------


Erica appears from the back of the stage in a bright pink dress that has sparkling sequins and a bright blue jacket. The lighting is a dark purple one that is acting as a spotlight for her. She has 4 male backing dancers (acting as "boytoys"), in nude clothing. The LED screen in the back shows a heart being cut in half through the middle. Her makeup is done in a dramatic, sensual manner and her hair is slicked back. The boys are staring at her, as the camera shifts to them briefly.

Oh, this is the first one
It's that you need to bring the fun
Gotta get up and run
Before you jump the gun


The camera zooms into her face as she expresses a look of misery. As she is singing the rules softly she is leaning on "boytoy one" and with a purple marker she is drawing a cross on his stomach. She then pushed him to the floor violently, as the purple lights become more intense and dark. She roughs up her hair, rather brashley and hops along to her next cue. Her arms are highlighted by the camera as she pulls up the sleeves of her jacket. The LED screen shows the final lyric of the first verse.

Time for number two
You musn't let 'im get you
You just gotta stay true
Or he'll come for you, you


Flashes of pink lights explode from the LED screen at the back, along with a projection of a hologram on the screen- showing Erica performing the song. She pulls off her jacket slowly (as the camera shots close in) and throws it into the audience, who scream and desperately attempt to grab it. With "boytoy two" she draws a unhappy face on his arm and begins to run to the front of the stage for the chorus. The camera shifts to a wide shot, and the pyrotechnics rise up from the firepit inside the stage.

Some boys are born as persuaders
To take your heart and just break it
Kick him out and just say it, say it
I ha-a-ate you


Erica breaks out into a simple dance routine with the two boys, performing turns and sensual movements.They grab her and twist her in the air, as she 'struggles to break free'. A wide shot reveals the rather complex routine that Erica and her dancers are performing. Smoke ejects from the side and again fire rises- as an attempt to up the "WOW factor".

They aren't much more than babies
They'll love you, then they'll make you crazy
Free yourself and just be you, be you
We ha-a-ate you
I mean, I think I do
Ohh, oh oh, oh, oh oh, oh oh x2


As the smoke fades, Erica angrily stomps to "boytoy three', she pulls out the marker and draws a torn heart on his neck (it's rather odd that she is able to draw so well...) A spotlight follows her around the stage as she jogs about, signalling the camera to come closer. Her movements seem to be quite stiff but Erica isn't supposed to be a excellent dancer.

And then we have number three
Gotta get off your knees
Make him wanna leave
And then turn so sweet, sweet


On the last boy, she writes with the marker "Karma's a bitch". The camera runs out of the shot, as an attempt to remove the "bitch" word from people's screens. Dangerously, Erica wanders off to the far left edge of the stage, trying to get the audience to sing along to the song. Giving up, she goes back to dancing with her backup.

Oh, it's number four
Tell him that he's a bore
Turn your back and close the door
He'll be begging on the floor, floor


The second chorus leaves the stage exploding in pink lights and sparkling LED screens. The four boys fall to the floor as pyro effects burst from the front of the stage. The camera cuts to a wide shot again, and Erica serves facial expressions. Because of the limited space due to the highly intense dancing, Erica squeezes her way past and leans up against the LED screen.

What the LED looks like.
Some boys are born as persuaders
To take your heart and just break it
Kick him out and just say it, say it
I ha-a-ate you


Ditching the back-rubbing of the LED screen, Erica breaks out again into a more complex dance routine, when two female dancers join her in the choreography. The dancers also supply backing vocals for the chorus. The male dancers are now physically drained and seem to drag their feet to the women and bow down on their knees.

They aren't much more than babies
They'll love you, then they'll make you crazy
Free yourself and just be you, be you
We ha-a-ate you
I mean, I think I do
Ohh, oh oh, oh, oh oh, oh oh x2


For the sombre part of the song, Erica and her backing dancers collapse on the floor and so does the lights and LED- to leave a single spotlight on Erica on the floor. The camera shot is above her, showing the her lying on the ground (broken, if you will). The pain is seen on her face as you see a tear drop down her cheek (must be an emotional connection or something).

Pearls, we choose to be our own escape
'Cause girls don''t need, we don't need our minds to ache
It's true, that it's better to trained
Can't be forced to make all those mistakes



The guitar strums in the instrumental bring Erica and her dancers to rise to their feet, swaying left to right. The pink lighting comes back and the pyro effects burst up from the front twice again. Back on the LED screen, appears Erica's face, now smiling. The sparkly effects shown now are amplified for the climax.

Some boys are born as persuaders
To take your heart and just break it
Kick him out and just say it, say it
I ha-a-ate you
They aren't much more than babies
They'll love you, then they'll make you crazy
Free yourself and just be you, be you
We ha-a-ate you
I mean, I think I do
Ohh, oh oh, oh, oh oh, oh oh x2


In the last vocals of the finishing chorus, Erica walks down to the edge of the stage and reaches out to touch the audience, belting out random notes in a stunt to impress the juries. Her face shows real determination, and in the final notes, a small grin appears on her face.

Lets hope that Erica will bring Besen a wonderful result in their debut in the contest.
Last edited by Besen on Wed May 16, 2018 8:40 am, edited 19 times in total.

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Normandy and Picardy
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Postby Normandy and Picardy » Wed Mar 07, 2018 10:04 am

7 - Normandy and Picardy
Marinne Arlenne - Promises
Tune: (Susanne Sundfør - Delirious)




It had been a long time since NNN had even considered WorldVision when they met for the annual planning meeting at the beginning of the year, and it had been even longer since the idea had been at all feasible. To be quite honest, the idea still wasn't feasible. The glory days, it seemed, were as good as dead, and WorldVision would - in Normandy and Picardy at least - fade into the background of television history beyond the few fanatics who still dealt with awful online connections and general disruption to try and keep track of the musical funfest. But, there was a problem. NNN were trying to organise their plan for what was going to be broadcast when over the next year, and noticed a rather large hole in the programming on NNN2, one of the broadcaster's 5 TV channels (alongside NNN1, NNN3, NNN5 and NNN Kids). Much scratching of heads was had as they tried to figure out what to do, before they turned to the dusty cabinet in the corner of the NNN boardroom. The dusty cabinet contained a selection of whatever it is you get for winning WorldVision, presumably trophies of some description and hopefully nothing perishable, for the sake of the NNN boardroom if nothing else. But, anyway, I digress. So, they turned to the cabinet, and to the 3 trophies inside it, and the cogs began turning in their heads.

'No, don't be stupid,' was the general attitude around the office at first, and they all laughed at their ridiculousness. The channel was already suffering the effects of Normandy and Picardy's economic downturn and the decrease in funding, and it'd surely be more cost efficient to fill it with the news or something. However, the newsreaders said they'd want more money, and they couldn't be doing with that, and relatively speaking the entry fee for WorldVision wasn't that bad. And so, a plan was hatched. NN2 would fill the gap with hit NN3 show "The Fun Show" (a sort of surreal comedy programme), and NN3 would get WorldVision. That way, it would be hidden away mostly so they didn't have to go to too much of an effort, but the weirdos fans would still find it. That way seemed best, and so Normandy and Picardy began to plot their return to the contest.

The next question was the most obvious one; what the hell were they going to send? That problem was solved by copying everyone else, and what had worked in the past. So, a national final it was to be, but of course it had to be as cheap as possible whilst still filling 5 hours because it is a Normand television programme, and that is sort of how it works (well, that might be an exaggeration but nevermind). So, they began talking to their various contacts in the music industry, and under the leadership of the new Head of Delegation Gerard Marien, things began to slowly sputter into life again. And so, A Song for the World came into being, and was to be broadcast on NNN5, the channel for cultural and fancy stuff, and even more hidden NNN3. Even still, enough people watched it for NNN to be happy, and they even managed to get several countries to vote in the national final. Not that it particularly mattered, because the International jury favourite - Sara with Silent Waters - only came 5th. It seemed both the Normand jury and the public had different ideas; although it was close, Marinne Arlenne just managed to beat Marionette with Border by 6pts, and thus became the Normand entry to the 63rd WorldVision Song Contest. The response from the wider community has been rather muted.

Marinne is a 30 year old musician from Caen, the capital of Normandy and Picardy and its cosmipolitan heart. She has honed her skills in the musical industry through a series of top 10 albums (her most recent, 'Framed', reaching number one) , which have recieved critical acclaim and won her 5 awards over the last 3 years at the Normand National Music Awards; she has won Best Album twice, Best Single once, Best Female Musician once and Best Breakthrough once as well. Her earliest music is a lot more pop-y, but as this song shows she has experimented with a more elcectronic, synth-based sound, and it is this that she has built on. This entry fits perfectly into her repetoire, being a song about the fickleness of human life and the inevitably of death; cheery, I know. (Of course, people read all sorts of meanings into things, and you are free to read whatever you like in this, but the explanation given is Marinne's own). The question is, how will it transfer to the stage in Beiszendmizu? Have NNN bothered with the staging? Will Marinne deliver the goods? And, most importantly, how will Normandy and Picardy do on their return? Well, let's see...




The stage was pitch black. Not a single light, not even from the audience, could be seen in the arena at all. Then, it began. As the low hum o the song began a single faint spotlight slowly began to shine down on one of the stage prows (the one on the left, not that anyone could tell), where a cloaked figure completely in black was strewn across the floor. As the music began to build up, the figure looked up, but had no face; instead, there was a black void which melted into the cloaks that the person was wearing. The camera slowly zoomed in on the figure, turning around as it did so, and a small red trail began to fall down its face. The LED screen beneath it, previously black like everything, began to show a sort of whirlwind seemingly made of ash and debris, with traces of colour breaking through the cold, monochrome scheme that had been used so far, and increasing in intensity.

The figure began to writhe around in pain, holding a new position with each note played on the bass line that was introduced. Suddenly, the figure holds still as a deathly white hand grabs its shoulder; the camera pans up to show Marinne, her face pure white like her hand protruding out of the deafening darkness. She looked down on the figure, as if in pity, and began to sing. The LED floor beneath her feet, again ghostly white and bare, appeared hard and lifeless, an image also now shown below the figure. The light still remained dim but obviously Marinne was now lit, in a veil-like dark robe, her pale extremities juxtaposing with this quite distinctly. Of course, the paleness wasn't gharish, just enough to suggest she was pushing the border between life and death.

These promises, they mean nothing
When there’s a gun pointing at your head
No innocence
Oh, not a word
You know they’ll say anything


As the first verse finished, Marinne suddenly pushed the figure onto the floor and the entire camera feed went blank for a second, and when the camera feed returned and Marinne began to sing the second verse, she was walking away from the left prow (from our view) towards the main stage area, leaving the trail of destruction behind as she eerily moved forwards. The background screen showed embers flickering in the night air, more suggesting destruction than a nice open fire in the woods. The lights, pure white and still relatively dim, began slowly moving around the stage, which was covered in a very thin layer of smoke (so that the LED floor below could still be seen, but enough to add to the shadowy feel).

So pick your spot
And hope you’re safe
When this war arrives there’s no escape
Just hand yourself over to fate
You'll end up dead soon anyway


Marinne reached the central stage, where the spotlights rapidly whisked across the stage, whilst the embers slowly began to build the pattern of a heart. Marinne reached forwards to the camera which panned around her, a little wind machine work blowing around her veil as she pointed towards the odd gap in the centre of the stage (the hearth, they called it, although it was certainly dead right now) as she sung 'Step into the void'. The camera, whilst sticking close to the stage, panned around to show the heart in the embers, which - as Marinne sung - was torn in two at the end of the chorus (?), before dissipating.

Nothing to gain
No ground to claim
Step into the void
Your feelings destroyed
Just promise now to cross your heart
And the darkness will tear it apart


What light there was in the arena seemed to be sucked back in by the void again, and as the last part of the chorus thingy was sung by Marinne, the camera focused on her face, which was being lit by a light that faded on and off, so that she appeared to appear and reappear from the darkness, whilst the background appeared to do the same thing, a growing circle of white fillinf up the darkness. All the while the smoke machine was working overtime, creating a deep ocean which Marinne was surrounded by.

Just promise not to go
Promise, and now you’re gone


The camera zoomed out a bit but still remained focused on Marinne, who was now light by an array of lights shining on her, creating a bond of white and dark bands which Marinne almost appeared to be woven through, kind of like this, although the bands where thicker than this. Behind her, the LED crystal thingies began to light up, creating a similar pattern of light and dark, but like with the opening whirlwind on the LED floor specks of colour - mostly like the embers that were on the background which now had returned to those same embers - also appeared fleetingly. Once again, the wind machine was certainly on active duty as Marinne moved around as she sung.

These silent words
Whispers of joy
Won’t ever break down the walls of pain
Feel yourself die
As you vow to live
And the light approaches with a grin


Whilst a single spotlight remained on Marinne, the other lights again began to appear randomly around the stage, showing a series of black figures like those at the beginning standing in a series of directions, completely still. They were like pillars rising out of the wispy sea beneath them, as Marinne eerily began to move around the stage, moving around each of the figures in turn, reaching out to them and generally twisting and turning. Despite this, they did not flinch. Not once. The camera focused on Marinne once more as this bit ended, but she faced off in a different direction, showing just her face turned away from the camera.

Nothing to gain
No ground to claim
Step into the void
Your feelings destroyed
Just promise now to cross your heart
And the darkness will tear it apart


She appeared to reach out into the darkness once again as she continued to sing, her hair and her costume being blown ever so slighlty around and the smoke wisping around her legs. As she sung, the camera panned around to show her face. However, it was out of focus, as behind her the figures began to emerge from the darkness, forming a semi circle around her, staring straight forward in the same direction. One figure, revealed by a strategically placed highlight to be the one from the beginning, as shown by the red trickle down across the otherwise blank space where a face should be, placed his hand on Marinne's shoulder, just as she had done with it. She turned around, almost appealing to recoil in horror, and the figures moved to surround her and began to reach out to her as she had done.

Just promise not to go
Promise, and now you’re gone
Just promise not to go
Promise, and now you’re gone

Just promise not to go
Promise, and now you’re gone
Just promise not to go
Promise, and now you’re gone


Marinne began to move back towards the outer central stage, the black figures dancing around her as she moved across through the smoke. The background now began to show a clock face, slowly melting like in one of those Dali paintings, and the hands slowly ticking towards twelve. Behind it, as it melted away, a general hazy night sky emerged, again with embers occasionally appearing, with the stars appearing cold and distant. As the verse ended, the camera cut suddenly, to show the figures behind Marinne, but Marinne herself had dissapeared.

These promises, they mean nothing
When you’ve got an audience with time
A cold cup of tea
A shaking of hands
And you’re whisked away from where you stand


Marinne reappeared on the stage steps, layed on her back across several stairs with the smoke whisping around her, reaching up towards the stage where the figures stood, lit by a number of higlights behind them to make them stand out in the haze and the smoke. The background LED crystals began to show scenes of general death and destruction, with refugees, images of war and general wanton destruction, all rapidly appearing and sinking back into the general background. The camera was aligned at an angle to show Marinne and the LED crystal rod thingies, and the figures who walked away, disappearing slowly as if fading into the background. The camera lifted up from Marinne who was being engulfed in the smoke, as she appeared to reach as if trying to escape although not particularly writhing, and not looking floundered, to show an image of a coffin, lowered in the ground but not yet covered in the soil, and the closing violin notes accompanied people beginning to throw soil on the coffin, whilst the image slowly faded into nothing.

Nowhere to run
Nowhere to hide
Step into the light
Running from the fight
Promise yourself that you’ll be alright
Oh, you’ll have just killed yourself again

Nothing to gain
No ground to claim
Step into the void
Your feelings destroyed
Promise yourself that you’ll be alright
You’ll learn that promises don’t count


And that was it, the song was done. How would Marinne do? Only time could tell...
Last edited by Normandy and Picardy on Fri Mar 09, 2018 2:20 pm, edited 10 times in total.
Northern French Names but with a general Western Med vibe, welcome to N&P

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Ekoz
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Founded: Feb 24, 2006
Ex-Nation

8 | Ekoz | Ludvig Ingarsson - Lost, Unfound.

Postby Ekoz » Thu Mar 08, 2018 6:53 am

Koniksgrand Eköses
The Great Kingdom of Ekoz
Ekoz in the WorldVision Song Contest

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Antahbrantahstan
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Posts: 430
Founded: May 29, 2014
New York Times Democracy

Postby Antahbrantahstan » Thu Mar 08, 2018 6:54 am

9. ANTAHBRANTAHSTAN

TBA-Memories

Tune: Francesca Michielin-Nessun grado di separazione
m & l: TBA, Eliana Karim, Karl Soovik, Ina Saar



WIP!
Last edited by Antahbrantahstan on Thu Mar 08, 2018 6:55 am, edited 1 time in total.
Farhana Nariswari Wisandana | Audrey Vanessa Susilo | Yasinta Aurellia | Lulu Zaharani Krisna Widodo | Ritassya Wellgreat Waynands

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Esta Lloviendo
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Founded: Mar 02, 2015
Ex-Nation

Postby Esta Lloviendo » Thu Mar 08, 2018 10:41 am

10. ESTA LLOVIENDO
PAUL JEZ - SIN PALABRAS

(Tune is "Amar Pelos Dois" by Salvador Sobral).


Aunque todos nos odian nuestro amor
No puede esperar para separar 
Antes de ti, estuve nada 
Y cantó una canción sin esperanza

Pero allí llegaste, y mi mundo fue destruido 
Para mi corazón rompí en un millones cosas 
Volviste sin un voz, y sin palabras 
Nadie puede ser el mismo de tu

Y cuando llegaste, mi mundo fue en colores
No puedo decir nada, para te describir
Y contigo, me quedo sin estés palabras 
Con solo tú, estoy feliz con solo tú

Y cada roce, mi corazón crece más
Llena de pasión y amor, para nuestros 
Para estás la solo cosa me necesito
Y cuando contigo, estoy sin palabras

Even if they all hate our love
It cannot even hope to separate us
Before you, I was nothing
And I sang a song without hope

But there you came, and my world was destroyed
For my heart broke into a thousand things
I was left without voice, and without words
No one can be the same as you

And when you arrived, my world was in color
I could not say nothing, to describe you
And with you, I am without words
When I'm with you, I am happy with you

And with each touch, my heart grows more
Full of passion and love for us
For you are the only thing I need
And when I'm with you, I am without words
Puppet of Talvezout.

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Vartugia
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Founded: Nov 12, 2015
Iron Fist Consumerists

Postby Vartugia » Fri Mar 09, 2018 6:43 am

-Reserved "Löv`s totaly not biased commentary"-
Puppet of Darkmania


You are reading this signature, didn't you? If so, then have a nice day, and may whatever you believe in bless you.


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Togonistan
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Benevolent Dictatorship

Postby Togonistan » Sun Mar 11, 2018 2:28 am

11. Togonistan

Lea Tuitama - ''Tualale''
Tune: SaRaha - ''Kizunguzungu''


Image
Lea on her latest album's cover art


Lea Tuitama is a 31-year old singer from Tidriana, Togonistan. She won the latest edition of Togonifest (Togonistani national final) by receiving 32% of total votes.

Having been active on the scene for more than 10 years, Lea is known for being one of the more traditional type of artists. While she is singing pop songs, her music tends to have that certain Togoni vibe to it and ofter borrows elements from the traditional Togoni music. For WorldVision 63, she wrote a song titled ''Tualale'' which is a name given to traditional celebrations happening only on a very special occasion. ''Tualale is a party song. It's when you see that very special friend of yours you haven't seen for a very long time and you arrange a big Tualale for him... or her,'' Lea commented on the backstory of her song. Lea wrote the lyrics of the song herself, while the music was composed by Tahafa Talagi.

Performance:

Kaua e mataku ka tae ki te wa takahi - don't be shy when it's time to party
i tenei po - just tonight
Takahi - party
Whai na ngahau - have fun
takahi quini ahau - i'm a party queen
tahi waiata - singing together


The stage was dark. As the music started playing, background screens showed a quick animation of a sunrise. With the sun rising, stage started to light up more and more.

Kaua e mataku ka tae ki te wa takahi


Eventually, stage lit up and Lea was seen sitting on an interesting-looking throne that was placed on top of a block of 2.5m high portable wooden stairs, which were place in the middle of the stage. Standing on the either side of her were two female dancers, both of them slowly waving giant tree leaves (just like servants during the old times would create wind for their queen). Both of the women were dressed in native Togoni outfits like this, while Lea was wearing the same outfit that can be seen on the cover art of her latest album. Lea was also wearing a head microphone and as the camera showed a close-up shot of her, she started singing.

Follow me, you follow me
let me show you the way

Follow me, you follow me
may we be led astray

Baby go with the flow
as I got something to show
i tenei po
i tenei po


Lea stood up from her throne and started walking down the stairs, with her two servants following. Camera zoomed out a bit so the whole thing was seen perfectly. While singing, Lea was doing some hand gestures while her servants kept waving tree leaves. Eventually, they made their way down to the stage, where Lea stopped and did a little hand gesture of raising her index finger up and bending it towards her, as if she was inviting people to come with her.

Takahi all night long,
Takahi all night long
Whai na ngahau
takahi quini ahau
tahi waiata
tahi waiata

Baby where do you go
why do you go away
now watch and see


Lea started walking around on the stage, putting her arms wide open every now and then. Her two sidekicks followed her all the time and synchronized their moves with Lea.

We having Tualale yeh eh
tonight, you be guest at my
Tualale

We having Tualale yeh eh
tonight, you be guest at my
Tualale


Camera moved away from Lea and showed one of the back corners of the stage, where three female backing vocals were seen. They were dressed in same outfits as the dancers, and next to them was a young topless man playing a timpani drum. The camera zoomed up on the man, who smiled to the camera and did a little eyebrow movement, before taking another view and showing the stage in all of it's glory. Stage lighting was all colorful and fit with the catchy rhythm of the song. Meanwhile, Lea and her two dancers were standing on the edge of the stage while doing some hula dance moves.

We having, we having
we having Tualale eh

We having, we having
we having Tualale eh

We having Tualale heh
tonight, you be guest at my
Tualale


Lea started walking around the stage again while singing and doing hand gestures. Meanwhile, her dancers slowly back away and left the field of view for a moment while the camera kept following Lea.

Come with me, come with me,
you can have a good time

Don't run away when you can stay
celebrate with my tribe

Baby go with the flow
as I got something to show
i tenei po
i tenei po


Suddenly, her dancers arrived again, this time both of them were carrying trays made of banyan leaves. The trays were filled with fruits and berries of all kind. They followed Lea as she was walking around on the stage, singing.

Takahi all night long,
Takahi all night long
Whai na ngahau
takahi quini ahau
tahi waiata
tahi waiata

Baby why do you go
why do you go away
when you can stay


Camera showed the stage from a distance. Lea stopped for a moment and stood in place, before she started moving again, taking a direction towards the drum guy.

We having Tualale yeh eh
tonight, you be guest at my
Tualale

We having Tualale yeh eh
tonight, you be guest at my
Tualale

We having, we having
we having Tualale eh

We having, we having
we having Tualale eh

We having Tualale heh
tonight, you be guest at my
Tualale


Lea made her way to the drummer and slid her arm around his neck. They looked at each other for a moment with a smile on their faces, before she let go and moved away from him, walking towards the audience instead.

Kaua e mataku ka tae ki te wa takahi

Kaua e mataku ka tae ki te wa takahi


Lea started waving her fist above her head as the backing vocals were shouting out the lyrics. When they got tho the ''Allez!'' part, Lea put her arms wide open for a moment.

Come on!
Come on! Come on!
Come on! Come on! Come on! Allez!


Camera zoomed up on Lea, who had made her way to the stage steps leading into the audience. She smiled and sung her lyrics.

We having Tualale yeh eh
tonight, you be guest at my
Tualale


Suddenly, a golden rain started falling down on the stage. Lea made her way down the stage steps into the audience. She was walking around in the middle of the audience, who were going wild and started cheering while some of them tried to reach out and touch Lea. Her dancers, still carrying the trays with them, started offering the snacks to some of the people in the audience. The camera followed Lea all the time as she was singing the last lines with a smile on her face.

We having Tualale yeh eh
tonight, you be guest at my
Tualale

We having Tualale yeh eh
tonight, you be guest at my
Tualale

We having, we having
we having Tualale eh

We having, we having
we having Tualale eh

We having Tualale heh
tonight, you be guest at my
Tualale


Lea raised her right arm up and smiled into the camera, with audience around her cheering and waving their flags. She turned around and sent some blow kisses for them, before shouting out: ''Thank you my lovely people! Thank you Beiszendmizu! Party on! Woo!''
Last edited by Togonistan on Fri Mar 16, 2018 4:47 am, edited 4 times in total.

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Todlichebujoku
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Posts: 4979
Founded: Feb 24, 2012
Civil Rights Lovefest

Postby Todlichebujoku » Mon Mar 12, 2018 12:15 am

12. _Tödlichebujoku_





At this point, time skips were a relatively normal thing in Tödlichebujoku. In fact, TÖBUK had planned its latest Sinun Valintasi to coincide with WV63, a contest that seers had predicted to be auspicious, partially due to 63 being 36 reversed, with WV36 being the last time the nation hosted (and also won). Clearly, then, TÖBUK was looking for a strong entry, and built the national final around the strongest entries. While some juries were unimpressed, with the Kalosian jury preferring the sound of clucking chickens to most of the finalists, a clear top couple of songs emerged, and Albrecht Coelho's "Paišão" won the tiebreak round. The song has been well-received by both Tödlichebujoki critics and WorldVision fans, and is expected to do better than the nation's previous entry, "A Mayfly's Life" by Mortiz Kneller and Venla Almeida.
Albrecht Coelho grew up in the Setabenéfika, a historic neighborhood of Sterblichengokai. His family was fairly well-to-do, managing to stay away from the poverty and violence that had been a problem in other Lagoa inner-city neighborhoods at the time. Still, Albrecht was exposed to the street culture and the struggle to survive and rise above the harsh reality of poverty all too pervasive in the otherwise prosperous region. One style of music inspirational to Albrecht was "torreséu", a style of music that focuses on finding the joy in life, arising from the need to find joy and fulfillment in a hopeless world. This style specifically inspired his song "Paišão", with its theme of finding a passion that strengthens a relationship despite flaws on both sides. Albrecht's track was produced by up-and-coming producer Karina Vilar, and the two tossed the track over to TÖBUK for the kicks, not really believing the broadcaster's statement about opening up the contest to showcase more Lagoesa music (in the footsteps of SterGo100). To their surprise, the track ended up on Sinun Valintasi, and continued on from there. A bit surprised to find himself on the international stage, especially one in chilly Beiszendmizu, Albrecht has nonetheless been touring the nation hyping up crowds with his mixtapes and unreleased records. Will he receive a similar reception on the Beiszendmizu stage?

The lights dim soon after Togonistan's Lea Tuitama makes her exit. Albrecht knocks a drink back with his dancer Fabiano, takes a deep breath, and heads to the stage. The two smile flirtatiously at each other in the darkness before stepping on the stage.

The stage's edge glimmer blue, with all else dark. Faint white ripples flicker across the entire stage as the music begins, and Albrecht is revealed as he begins. Wearing a sleeveless leather jacket on bare skin, along with slim white jeans and white low cut shoes, he is lit from his right side, with the spikes behind him glimmering white. He gazes seductively toward the camera view, then smoothly dances and glides over to the outer center stage as he sings the first verse, with extremely smooth and well-practiced footwork
Translation
Don't tell me you're preso na superstição
Don't tell me you're stuck in superstition

Even if we're like a mystery from someone's view
Dê um passo lonje da trepidação
Take a step away from trepidation

Let's light up this fire, let everyone know we're two

With the last line, the dancer Fabiano appears on one of the prows, and joins Albrecht on the outer stage. With a black snapback, white v-neck T-shirt, black leather pants and black high tops, he's Albrecht's opposite yet also clearly similar. With each beat, bursts of light appear on the background wall in a line
We live for each other, love one another, fight for each other, die for the other's life
Cry with each other, hold one another, won't be apart for a day

The two lock themselves together while circling each other, such that Albrecht is singing over the dancer's shoulder. When the chorus begins, Fabiano is flung back off, whirling in a circle around Albrecht before coming face to face again.
Paišão, vočêe eu somos perfeição
Passion, you and I, we are perfection

Taking it all the way, oh
Nada vai nos parar
Nothing will stop us

Paišão, keimando komo fogo
Passion, burning like fire

I'll never be away, oh
Nothing will bring us down

Four backing dancers appear on the inner stage behind Albrecht and Fabiano, all clad in gray. They windmill in various styles as two rows of spotlights shine onto the center of the stage (when viewed from the audience in front, they appear like a "V" with the point on the stage). The lights flicker with the music, rather like a marquee in effect. The LED stage edges similar light up and flash in time to the beat
Paišão, paišão
Nothing will bring us down
Paišão,paišão, paišão

The lights mellow out once again and the backing dancers retreat into the darkness beyond the stage. All attention is back on Albrecht and Fabiano, who gaze into each other's eyes. On the second line, the background wall depicts a lightning strike, which then zooms out into a lightning storm, echoed in the quick flashes of the stage's edges. The lightning bolts from the lightning storm then remain on the screen, becoming cracks in two parts of a broken plate reassembled, the cracks repaired with metallic golden paste among the original patterns of the pottery
Tell me you're crazy and I'll go insane too
I'll be the lightning that sparks up your perfect storm
We might not be perfect but why would we try to
We're beautiful broken and melding together in perfect form

The camera focuses on Albrecht and Fabiano, who are touching palms solemnly, as if each were swearing an oath
We live for each other, love one another, fight for each other, die for the other's life
Cry with each other, hold one another, won't be apart for a day

The ambient lights and screen graphics fade out, and the two performers freeze for a breath. The two turn toward the audience just as Albrecht begins the chorus and begins to head down the steps toward the audience and engaging with Fabiano in some synchronized moves
Paišão, vočêe eu somos perfeição
Passion, you and I, we are perfection

Taking it all the way, oh
Nada vai nos parar
Nothing will stop us

Paišão, keimando komo fogo
Passion, burning like fire

I'll never be away, oh
Nothing will bring us down

The stage attains a fiery orange glow as animated flames play throughout it. The bboy group returns from backstage and splits up, one on each prow and two on the outer stage, with the spotlights in a similar parallel formation (V-when-viewed-straight-on) as before. The lights and effects all die down until there is just a spotlight on the two performers, with some orange accent lighting smoldering in the background. Albrecht stands back-to-back with Fabiano, facing the audience as he begins the next stanza, the two sinking to the floor. Albrecht seems almost like he doesn't believe his own words, before the two turn toward each other once more and pull each other up as Albrecht's voice gains strength and confidence
Paišão, together we are perfeição
Passion, together we are perfection

Oh, nothing will bring us down, no
Paišão
Passion

Sim, sim, yoo
Yes, yes, oh yes

Paišão
Passion

Sim, yoo
Yes, oh yes

Paišão
Passion

Nothing will bring us down

The stage erupts back into life, a spectacle of fiery oranges, windmilling dancers, and sweeping spotlights as Albrecht and Fabiano race back up to the outer stage,
having as much fun as they can along the way.

Paišão, vočêe eu somos perfeição
Passion, you and I, we are perfection

Taking it all the way, oh
Nada vai nos parar
Nothing will stop us

Paišão, keimando komo fogo
Passion, burning like fire

I'll never be away, oh
Nothing will bring us down

As the music pauses, all activity freezes for a split second, with the camera zooming in on Albrecht, who takes a breath and winks
Sim
Yeah

The stage flashes right back into brilliant light immediately after. Suddenly, ethereal fire surrounds the two central performers (note: unlike some other cultures, in Tödlichebujoku hell is considered to be icy cold, and people being on fire symbolizes love and vitality), and soon magical faux-fire envelops the stage[, with some golden pyros falling in the back
Paišão
Passion

Paišão
Passion

Nada vai nos parar
Nothing will stop us

Paišão
Passion

Never, be, away..
Paišão
Passion

Nothing will bring us down

Everyone and everything freeze in movement, even the flames, before all light blinks out into darkness

Albrecht nods, shouting "Obrigado a todos! Kiitos kaikille!" before leaving the stage, chatting and joking with Fabiano.
Last edited by Todlichebujoku on Mon Mar 19, 2018 1:11 am, edited 7 times in total.

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Kalosia
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Posts: 3167
Founded: Jan 09, 2013
Democratic Socialists

Postby Kalosia » Wed Mar 14, 2018 12:43 pm

13
Kalosia
Angels — Alia M
performed in English to the tune of Strangers — Sigrid


Natalia diMateu, real name Alia M, joins a list of sings who have represented Kalosia both at the World Hit Festival and the WorldVision Song Contest. In particular, she follows the footsteps of Leona, Paola Amadin, and Nawra, becoming only the 4th artist to do so since Kalosia's debut in both competitions a little over 6 years ago.

The 19-year old had won the 29th Festival dele Melodie Kalosiane and thus represented Kalosia in the World Hit Festival in Britonisea with the song "Volandu" (Flying). Despite becoming a fan favourite, she only finished 6th (a mid-table placing). However, this wouldn't be the last time she would grace TV screens across the multiverse.

RTVK later announced Alia M as their entrant for the 63rd WorldVision Song Contest in Tödlichebujoku. Having won Festival dele Melodie Kalosiane and having been chosen to represent Kalosia at WorldVision, it is perhaps no surprise that her rise to fame was attributed to a cover video that went viral — not just of any song, but of Tu Sej... by Marianna, which won the 11th edition of the national final but went on, instead of the World Hit Festival, to WorldVision 40 in Ekoz. And this all happened over the span of a year. Perhaps few would ever be able to top off these impressive feats at such a young age.

Joining her onstage in Beiszendmizu are 3 backing singers, who will be featured minimally thanks to the camera angles used in the performance. The background screen, meanwhile, will be used minimally as well.
As the song began, one could notice that the colors on the screen were rather muted — yes, a filter was laid on the camera output that reduced the amount of contrast, creating some sort of dream-like vibe. Lights were shining from the back of the stage, turning into a silhouette the stage spikes and, between them, Alia.
Laying in the shadows
They’re unidentified
Waiting as the wind blows
But no one’s asking why

If they fall
World comes to a halt
Who will be there to call?

We can’t lay in shadows
Together we’ll rise and become

In the background there was a white rippling circle appearing from behind Alia, expanding quickly to the beat, and the lights also flashed quickly to the beat. This next part is the only usage of the LED screen throughout the entire entry.
Angels
Truthful defenders
And when the silence is good
And our lives understood
The light is within us
Yes, it’s you and I

The front lights finally shined, revealing Alia M. She was wearing what appeared to be a sleeveless white catsuit with a white cape (basically an outfit like this but all-white).
In the next part, the strobe lights go crazy to the beat, and Alia takes a few steps forward and made body movements to the rhythm.
Angels
Truthful defenders
And when the silence is good
And our lives understood
The light is within us
Yes, it’s you and I

Alia then stood there, while a wind machine from the right side of the stage blew in her direction, while the camera made dynamic, moving angles to build tension.
Rivals under fire
They do not have the sight
Although we are higher
We can’t run from the fight

If we fall
World comes to a halt
Who will be there to call?

We can’t lay in shadows
Together we rise and become

Alia makes the same movements as previously, ditto the strobe and background lights. The wind machine from her side stops blowing, but one from the front is turned on.
Angels
Truthful defenders
And when the silence is good
And our lives understood
The light is within us
Yes, it’s you and I

When you think that it’ll come to an end
You need to believe if you don’t wanna pretend, wooh
All you gotta do is to hold my hand
And we’ll become legends in the place where we stand

When you think that it’ll come to an end
You need to believe if you don’t wanna pretend, wooh
All you gotta do is to hold my hand
And we’ll become legends in the place where we stand

The wind machine from the right blows in her direction again, while the camera makes the same dynamic angles but shoots with half the frames per second, giving the impression of slow-mo.
You and I, you and I, you and I, you and I, you and I, you and I
Can’t lay in the shadows

You and I, you and I, you and I, you and I, you and I, you and I
Can’t wait as the wind blows

Back to normal for the camera now, but in the first two lines of the next part the strobe lights flash to the beat, albeit being a bit more dimmer. Afterwards comes a few big flashes, appearing to come in waves from the background screen, but in the last line everything is pitch black for a second.
We’re angels
Truthful defenders
And when the silence is good
And our lives understood
The light is within us
Yes, it’s you and I

Everything is now in full motion — Alia dancing, strobe lights flashing energetically, wind machine from the front.
Angels
Truthful defenders
And when the silence is good
And our lives understood
The light is within us
Yes, it’s you and I

When you think that it’ll come to an end
You need to believe if you don’t wanna pretend, wooh
All you gotta do is to hold my hand
And we’ll become legends in the place where we stand

When you think that it’ll come to an end
You need to believe if you don’t wanna pretend, wooh
All you gotta do is to hold my hand
And we’ll become legends in the place where we stand

Now Alia's voice separates from that of the backing singers, who sing the words in brackets. She opts to hold a few notes instead.
Angels (When you think that it’ll come to an end, you need to believe if you don’t wanna pretend, wooh)
Truthful defenders (All you gotta do is to hold my hand, and we’ll become legends in the place where we stand)
And when the silence is good (When you think that it’ll come to an end)
And our lives understood (You need to believe if you don’t wanna pretend, wooh)
The light is within us (All you gotta do is to hold my hand)

And in the next line everything suddenly comes to an abrupt end, making the venue dark save for a light on Alia.
Yes, it’s you and I

The audience goes wild, cheering very enthusiastically for Alia. "Thank you!" Alia says, before leaving the stage for the next entrant to perform.
Last edited by Kalosia on Sun Mar 18, 2018 7:46 pm, edited 1 time in total.

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Estogium
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Posts: 513
Founded: Apr 27, 2015
Ex-Nation

14 | Estogium | Viv Rumie - "Forgotten"

Postby Estogium » Wed Mar 14, 2018 12:53 pm

#14 ESTOGIUM
Viv Rumie - "Forgotten"
Tune : Sabina Ddumba - "I Cry"
Language: English
Duration: 3:42


Estogium returns to WorldVision Song Contest after placing 5th in the 62nd edition in Talvezout. The nation is hoping to replicate a top five placing at this edition, the 30th anniversary since Estogium first participated.

Estogium is celebrating it's 30th anniversary since the country - as North Britonisea - joined the WorldVision Song Contest. We are also celebrating the 23rd entry to have been sent to the WorldVision Song Contest from Estogium and the honour is given to Viv Rumie, who will sing her song "Forgotten" in the wonderfully named, Beiszendmizu, located in the nation, Tödlichebujoku. In the recent past, Estogium took a break from the 60st WorldVision Song Contest, after Estogium's woeful attempts at being in the top 5 again. Apart from the last two editions, the last time Estogium reached in to the Top 5 was in Kyvivre, Britonisea when Karjohan Katejan represented Estogium and came 5th place with 72 points. However, since then, the placings for Estogium has gone down before it hit rock bottom in WorldVision 58, placing 17th - the worst since WorldVision 49 (9 editions since Estogium placed 19th place). The nation sent Ellie Morgent to WorldVision 59, hoping to get back up in the rankings. Ellie Morgent placed 2nd in the WorldVision Song Contest in WorldVision 48 and so RVC thought her success could be replicated again. Whilst it was not, it was the best result since 53rd WorldVision Song Contest (6 editions since Estogium placed 6th). Since Estogium has returned, in Togonistan and Talvezout, Estogium has placed 3rd place and 5th place respectively, which is thanks to the new approach by RVC, with their main goal to finally win and eventually host WorldVision in Estogium.




Fire was burning as the stage turned dark after the performance from Kalosia. Amongst the fire, a figure came in to sight, walking closer and closer to the end of the stage. It was Viv, who stopped in front of the audience and started to sing. She looked frozen, not moving at all. The only lights in the arena came from a spotlight focusing on her and the fire.

You think that you got rid of me?
All those many years ago, we split and we left on bad terms.
Never heard from me again,
I was hiding away, I felt so small in this wide world.

Finding the surface,
Finding where I'm meant to be
I am finding home, I'm finding my home.


She then got up from the floor and a man came from behind her and held on to her by putting his hand across her stomach. From what we could see, he did not have anything on top but was quite oiled. On the bottom half, he was wearing thai fisherman-esque black trousers . She turned her head on the other side of the direction of where the man's hand was facing towards. The chorus then came and as it did, the camera slowly moved back, moving past the flames.

Shouting loud,
I'm laying down my mark so you don't forget me.
I won't be forgotten
You can try,
To forgot me but always I'm there in your mind,
I won't be forgotten.


A group of these topless men then came on to the stage alongside the one that was already there. Viv Rumie broke free from the one she was holding on to and ran forward away from them. In the background, the men were doing tableaux, almost recreating someone trying to "surface". An example of a tableau the topless men did involved one of the men being lifted in to the air by two other men - but two more were trying to bring him down. Then then transitioned in to another tableau of another man holding out towards Viv, but the four others held him back.

I don't have time to play your games,
I have moved on from you, don't you think I've returned for you.
I have returned for my own sake, I needed to find solace,
And it is here where I would find that, yeah...

Finding the surface,
Finding where I'm meant to be
I am finding home, I'm finding my home.


Viv Rumie carried on singing where she was, on the floor near a pot of fire. The camera slowly moved from behind the bottom and slowly above, with the flames passing by her face. The camera then went over her as the group of men, in slow motion, moved forwards towards Viv Rumie. By the end of the upcoming chorus, she was 'captured' by the men.

Shouting loud,
I'm laying down my mark so you don't forget me.
I won't be forgotten
You can try,
To forgot me but always I'm there in your mind,
I won't be forgotten.
(ohhhh, ohhh, you try)
(ohhhh, ohhh, forgotten, forgotten)


Fire came from every corner of the stage as the group of men carried her down the stage steps right in front of the stage and put her down. She sang the last bit of the bridge section on the floor, looking down at it before looking up to meet a camera which zoomed out.

Out from nowhere I've returned,
Take back what I've earnt,
Take back what's be taken from me.


The men in the back danced along with the beat, moving side to side - almost as though they were exaggeratedly doing a soldier march on the spot. The moved their heads from the left to the side every two beats - with the camera shots changing every two beats also. The two furthest men hit on the drums they were wearing around their bodies.

Shouting loud,
I'm laying down my mark so you don't forget me.
I won't be forgotten
You can try,
To forgot me but always I'm there in your mind,
I won't be forgotten.
(ohhhh, ohhh, you try, you try)
(ohhhh, ohhh, forgotten, you try)
Shouting loud,
I'm laying down my mark so you don't forget me.
I won't be forgotten


The men then walked off the stage one by one, ultimately leaving Viv on the stage by herself. The audience cheered and she got up. Viv Rumie twirled and bowed before blowing a kiss to the audience, "Thank you, everybody - I appreciate the hospitality!" Viv Rumie then ran off the stage in happiness.
Last edited by Estogium on Sun Mar 18, 2018 2:19 pm, edited 1 time in total.

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Mister X
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Posts: 1294
Founded: Sep 25, 2013
Left-Leaning College State

Postby Mister X » Fri Mar 16, 2018 10:34 pm

15 MISTER X

Filius Deorum - "Finally"
Tune: Cece Peniston - "Finally"



Image


Filius Deorum is back to defend the WorldVision title which he so memorably won in WV62, even if he can't pronounce the city of the 63rd WorldVision Song Contest. "I can't believe I was the 62nd winner of the mental handicap that is the WorldVision Song Contest," he told MRX Television, "and naturally, I feel like I should defend my crown, rather than just quit WorldVision altogether as I know some people told me I ought to have done. WorldVision gave me my break all those years ago, I can't turn my back on it now." Why is this song so... meta? "Well, my last two entries in WV57 and WV62 were quite dark and eery, in many ways we want to revert to type, because "Finally" is about that feel-good factor, you know? It shows us that you can do whatever you want if you put your mind to it. As we say in Mister X: cogito, ergo svm. And as the chorus goes, finally, we tasted victory." Filius feels as though his victory was for all Mister Xians who have put up with WorldVision in search of a win for well over 30 editions now, and therefore his victory felt a relief as much as a delight to the tens of millions of Mister Xians.




As Estogium left the stage, Filius, the reigning champion, walked out onto the stage to huge acclaim. Although the VisionFans didn't think much of the song, Filius' reputation preceded his song. His only hope was to knock the song out of the park if he wanted to make it two on the trot. One comment left on the music video described this song as "generic Mister Xian rubbish, I don't think they want to win again; nul points". Well, if nothing else, Filius is hoping to get more than a big politically-correct plus-size zero.

The beat kicked in as the back wall lit up in light purples, blues, and yellows. A disco ball was slowly lowered from the ceiling as Filius, in a juxtaposing formal suit, opened proceedings by "dancing" (in inverted commas) with no great purpose or choreography, like a low-budget solo act at a karaoke night. Because of the lack of traditional performance space (whatever happened to a good old square stage?!) there was something of an overflow of people for a stage far too small and not ideally shaped to handle it. Careful not to impale himself to death on the spikes standing around him, violin players, similarly suited and booted, stood either side of the back wall. Filius sang at the very top of his vocal range. A camera from a high, 45-degreed angle, panned from the back of the hall to the front, followed by a pan from the audience's right to the audience's left.

Victory, victory, victory, yeah

Finally, we tasted victory
And it is oh so sweet, a feeling you can't beat


Filius turned to his left and looked down a camera which gradually tightened the shot on him until it was in close-up of his face.

Many times we tried to win WorldVision
Sometimes we did come close and it was our mission
To win this contest to love and to laugh
But thankfully we never, we never came last


White light gradually increased, showing the audience in more light than before, as another wide panning shot occurred as Filius, with a beaming smile, sung towards the audience.

Finally, we won the show!
I'm thankful for the international voting, you know!
If you only knew the way I feel about you,
I'd thank every voter, oh, woah, woah!


Dancers appeared on the left and the right but below Filius in terms of the height differences on a stage that even multiverse-renowned choereographer, Craig Rebel Snorewood, found difficult to work with. The men were dressed in pink rhinstone shirts, open down to the waist, and the women dressed in red short dresses with many sequins on them. Spotlights from all angles shone gently at the disco ball, and all of a sudden it was as though WorldVision in 1991 was being redone. Each woman paired up with a man, and they danced the salsa, each couple in perfect unison with the others. Meanwhile, Filius, above the dancers, appeared to orchestrate the whole thing with his voice, as though he were a magical singing person. A flash of white light occurred on the first beat of each chorus as the camera continued to take different pans from different positions and heights.

Finally, we tasted victory
And it is oh so sweet, a feeling you can't beat
Finally, we tasted victory
And it is oh so sweet, a feeling you can't beat
Finally, we tasted victory
And it is oh so sweet, a feeling you can't beat
Finally, we tasted victory
And it is oh so sweet, a feeling you can't beat


The salsa dancers all crouched down as the cameras resumed to close-ups of Filius, this time from the left of the stage. This time, however, after two lines of the next verse, there was another pan, from the audience's left to right, followed by two "Dutch angle" (the camera titled at 45 degrees) shots of the violinists on each side of the stage, each lasting one line of their own, before for the final two lines of the verse, resuming a front-on close-up of Filius.

And oh so many times, we didn't do well
Yeah, sure, we had some top tens, but very few podiums
Last time, we turned around, and found the formula
For spokespersons to give us all their twelves and ones


With a worrying degree of familiarity, white light gradually increased as another wide panning shot (but in reverse this time so as to try to differentiate it from the first pre-chorus) occurred as Filius, with a beaming smile, sung towards the audience again.

Finally, we won the show!
I'm thankful for the international voting, you know!
If you only knew the way I feel about you,
I'd thank every voter, oh, woah, woah!


The dancers all sprung up and resumed their salsas as the spotlights shone gently at the disco ball again. This time, the camera focused on the dancers and the violinists; during the chorus, Filius was only ever shown from behind. This is Mister X learning from their mistakes; choruses have been described as too repetitive in the past regarding staging (although admittedly there's not a lot one can do about it, considering a chorus is actually a chorus).

Finally, we tasted victory
And it is oh so sweet, a feeling you can't beat
Finally, we tasted victory
And it is oh so sweet, a feeling you can't beat
Finally, we tasted victory
And it is oh so sweet, a feeling you can't beat
Finally, we tasted victory
And it is oh so sweet, a feeling you can't beat


The dancers kept dancing as the main attraction himself, Filius, got into the high notes, leaning backwards with every ounce of passion and drama injected into his voice. The camera shots were static for once as audiences around the multiverse watched in amazement as Filius yelled his high, long notes. As he got into the low notes, the camera focused on the dancers who went into lifts during the dance breaks.

Finally!
Woah!
Finally! Yeah, yeah, oh oh,
Victory, victory, victory, yeah

Victory, victory, victory, yeah
Victory, victory, victory, yeah
Victory, victory, victory, yeah
Victory, victory, victory, yeah


For the last pre-chorus and chorus, Filius joined the dancers and another female dancer, dressed in the same way except in gold, joined Filius from off stage. Impressively, Filius danced and sang simultaneously, leading the dance troupe with the cameras all focused on him. Yes, Filius Deorum also dances the salsa. Who knew? Is there anything that man can't do?

Finally, we won the show!
I'm thankful for the international voting, you know!
If you only knew the way I feel about you,
I'd thank every voter, oh, woah, woah!

Finally, we tasted victory
And it is oh so sweet, a feeling you can't beat
Finally, we tasted victory
And it is oh so sweet, a feeling you can't beat


The screen, audio, and lights, gently faded to black as Filius repeated the chorus ad infinitum, as though the performance was being faded out, merely to stop Filius et al from continuing all night. Once the audio had been faded down to non-existent, the camera quickly faded back in so that Filius could thank the rapturous audience here in "Bezz zen dee mee su", as he put it, and that concluded his defence of the WorldVision crown - his fate was no longer in his hands.




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Mercedini
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Posts: 1223
Founded: Mar 05, 2016
Civil Rights Lovefest

Postby Mercedini » Sat Mar 17, 2018 8:10 am

16 Image Mercedini #MRC

Leanne Cantrelli - Forever In Love
Tune: Loren Allred - Never Enough

Image

Mercedini have returned to the WorldVision Song Contest following a two edition absence from the competition, and have marked their return with a seasoned veteran and a well known face to many nations who have participated in both WorldVision and the World Hit Festival. After Helena Malakhina represented the nation with the first ever song in Shebyazyk and finished in a respectable 5th place for not only the nations, but for the semi-autonomous region that Malakhina was representing. Now, the nation in blue and black have come back with a different flavour than what is normally expected.

Leanne Cantrelli, previously a runner up in the World Hit Festival and a top ten performer at a previous WorldVision will represent Mercedini for the second time with her song 'Forever In Love', widely considered to be a power ballad, which will hopefully mark a successful return to the contest for Mercedini and it's host broadcaster ENM. Details about the staging have slowly been revealed to the Mercedinian public with stage directors quoted as using the songs minimalism and power when deciding where to go on the stage in Beiszendmizu. Only time will tell whether Cantrelli can bring home a first ever WorldVision trophy in Todlichebujoku.


The song begins with the stage bathed in a matte white light with the LED portions of the stage displaying a white silky curtain flowing elegantly in a soft breeze. The audience in front of the stage is completely dark, focusing all of the viewer's attention onto the stage and the people standing on it. The stage floor is covered in a thick blanket of fog which sits undisturbed on the floor before falling off of the stage in the fashion of a ghostly waterfall. The stage is completely bare save for a man sitting on a grand piano and is accompanied by three young blonde women playing different members of a string set. Leanne stands at the very back of the stage as she tentatively walks forward to sing the first verse of the song.

The atmosphere in the air
Here in peace, we lay
Don’t say it’s just pretend
When my enemies’ beating me
Yeah, you drown them out
We can beat them anywhere


White beams of light begin to protrude from the phallic-looking stage as the song's drumbeats begin to kick in. An elevated camera flies in from the side of the stage and catches the eye of Leanne who turns to sing towards the audience at home, before turning back to the audience in front of her. The camera then switches to the central camera in the arena, she balls her hand delicately into a fist as the camera zooms into the fist and fades out as the first chorus begins in the song.

Safe and sound
Things that others can’t see
Let my conscience surround you


A slightly elevated camera flies in front of Leanna as she walks tentatively towards the front of the stage, with her silky nightgown-style dress flows in the faint breeze on stage. Most members of the audience are waving their phone lights from side to side which is captured by the camera at the back of the stage which is moving toward Leanne before she turns to face the camera, with her back to the audience. A wind machine is turned on which blows the carpet of smoke on the stage floor away from the performer to reveal a bright white stage floor. The elevated camera then reutrns in front of Leanne who sings into the camera before the first part of the chorus ends and the camera flies up and out into the audience to reveal more and more of the stage and the audience in front of it.

When my heart won’t beat and it flatlines
It won’t define how I feel and that’s why I’ll
Forever be in love
Forever be in love
Powers of worlds where there’s no middle
My hands are yours to hold and I will
Forever be in love
Forever be in love
May we?


Four lights flick up in time with each of the piano notes on each side of the stage as the camera continues to take in more and more of the arena. Leanne has her hand on her chest to control her voice as she belts out the notes for everyone to hear. The camera switches to the main camera which is fixed on Leanne as she transitions from the first to the second half of the chorus. She offeres her hand to the camera before placing her hand over her chest to control the notes she is singing. The elevated camera returns and Leanne sings into that, before white beams of light converge on her before the song's intensity increases for the next part of the chorus.

Forever and ever
Forever and ever
Forever, may we?
May we?


The elevated camera then moves up and out to show more and more of the arena she is singing in, giving the viewers at home a sense of scale of the arena she is singing in. Thousands and thousands of people all transfixed onto one person on stage, with Leanne having million of people supporting her back at home. The pressure doesn't seem to phase her though, as the seems relaxed as she sings the note of her three and a bit minute song. Quick shots of the pianists and the string section are shown before eventually returning back to Leanne who is solely focused on the emotion of the song.

Forever in love
Forever in love
Forever in love
May we?
May we?
May we?


Leanne now walks down the short walkway at the front of the stage as the second chorus immediately begins after the first. She opens her free arm out wide to open herself up to the audience as she is singing. A camera in the middle of the audience sweeps round from right to left, keeping Leanne fixed in the centre of the screen as heads and coloured flags fly past in front of the stage. The lights fly up one again in time with the notes of the piano. A wind machine is turned on which removes the smoke covering the stage floor to reveal a flowing metallic aesthetic visual on the floor, with the colour slightly darker compared to the flowing white which is shown on the screen. Leanne keels over to force the note out of herself for the final line of the first part of the chorus.

When my heart won’t beat and it flatlines
It won’t define how I feel and that’s why I’ll
Forever be in love
Forever be in love
Powers of worlds where there’s no middle
My hands are yours to hold and I will
Forever be in love
Forever be in love


She stands back up stronger than ever as light pulses from the stage with the instrumental adding a further notch of intensity to not only to the song, but to the performance as well. Leanne walks back to the main portion of the stage as a camera makes it's way onto the stage to track her as she walks back. The instrumentalists on stage continue to play as the main vocalists smiles to the pianist as she walks past him, prompting a wry smile from the man as he continues to play on stage.

May we?
Forever and ever
Forever and ever
Forever, may we?
May we?


The notes continue to fly effortlessly out of the Mercedinian's mouth as the stage and it's contents are consumed by white light in the performance. The flowing white curtains on the LED screen open to reveal a dark starry night with twinkling stars illuminating the screen momentarily before being overcome by the darkness and fading away. As this happens, a shower of sparks begins to fall down at the very back of the stage, illuminating the stage in a warm yellow glow from the sparks which rain down behind all of the performers. Leanne walks over to the piano to begin her final preparations for the end of the song. She stands in front of the piano as she belts out one final long note to leave with the audience, the juries and the people at home.

Forever in love
Forever and ever
Forever in love
Forever and ever
Forever in love
May we?
May we?
MAY WE?


Leanne smiles into the central camera to finish her performance with a single line, softly spoken to juxtapose the vocal bombardment the viewers have had for the past three minutes. The camera shot is positioned to ensure all five people on stage are seen in the final shot of the performance, Leanne finishes singing and places her microphone by her side, behind her is the pianist who finishes playing and closes the cover of the grand piano, and behind both of them are the three members of the string section who stand up, all of them smile into the camera to give a polished end to the Mercedinian entrant.

May we?


Leanne gives a huge sigh of relief as she completes her performance, she smiles and waves to the audience who cheer and wave their flags with enthusiasm. "Grazije Beizu, Grazije Tobu!" she blows one final kiss to the crowd before a wide shot of the arena is shown and the transition is shown for the next performing nation.
.................................................................................................................................
Novapax Founder • Host Portfolio • Trophy Cabinet
World CupBest: Group Stage ('77, '81, '82, '83)
Cup of HarmonyBest: Champion ('72)
U21 World CupBest: 3rd Place ('43)
U18 World CupBest: Champion ('4)
Independents CupBest: Champion ('5)
WC of HockeyBest: 2nd Place ('37)
WJHCBest: Champion ('13)
WorldVision
Best Placing: 1st (Lipa '72)Most Points: 108 pts (Lipa '72)

World Hit Festival
Best Placing: 1st ('34 & '36)Most Pts: 34 pts (Mousiki '31)
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Adab
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Founded: May 28, 2014
Democratic Socialists

Postby Adab » Sun Mar 18, 2018 1:14 am

17. ADAB
Kinan al-Salaman - "Little Mona"
Tune: Bob Dylan - Pretty Saro
Language: English
Image
Al-Salaman performing recently at The Tonight Show with Akbar Wong


Background
Kinan al-Salaman, through patience and persistence, by virtue of his musical accomplishments and business connections, had now become a powerful and respected figure in the Adabian music industry, a famous singer and at the same time a rising entrepreneur, something which the aspiring singer would never have dared to dream of when he stepped to the WorldVision stage for the first time, twenty editions ago. Undoubtedly the most popular and respected musician of his generation - nay, one of the most popular public figures of his time - al-Salaman had had no trouble attracting supporters from all over the country, many of whom were attracted to that mixture of persistence, authenticity, musicianship, patriotism, and philanthropy, even as he waded his way through various trials in his life: family disputes, troubles with the authority and the imperial family, and a brush with death, to name a few. Along the way he had accumulated wealth and influence beyond even his greatest dreams.

Though he kept quiet about it, publicly at least, word had been circulating for some time that al-Salaman had had enough of it all; after twenty editions, the singer had burned out on WorldVision. The tamest rumors claimed that al-Salaman would finally retire from the competition and leave the spotlight to a younger act, preferably one signed to Al-Salaman Records, while he himself would marry and settle down, something which he neglected to do even as he approached the age of forty. Others stated that al-Salaman would stop singing and focus on running the Al-Salaman Group, of which the record company was an integral part; after all, the singer did admit in an interview some time ago that he had found a taste of entrepreneurship and would like to "step back from the glitter, from it all." The most outlandish rumors had it that al-Salaman would retire from public life altogether and retreat to his beloved mansion, the Alwalid, for a life of religious contemplation.

Having receded for a while, the rumors came back roaring when al-Salaman uncharacteristically took no less than eight days to confirm his participation in the latest WorldVision edition, even after the Emperor and several industry insiders confirmed that he would, indeed, return to that hallowed stage. The Daily Bird claimed that al-Salaman had actually announced his intention to leave WorldVision to the Emperor and later almost came to blows with the Emperor's envoy, who was sent to the Alwalid to inform al-Salaman that the Emperor was insisting on his participation, even if only for one last time, as a matter of national pride; al-Salaman swiftly denied the news. Once he confirmed his participation, al-Salaman spent the following weeks avoiding persistent rumors that this would be his final hurrah on the WorldVision stage. "I will admit that my enthusiasm for making music and everything associated with it - the promotion, the interviews, the concerts - has risen and faltered like the waves from time to time. In the end, though, in my soul I know I really want to make some music," he said in a press conference a day before flying off to Beiszendmizu, "and make sure I have something good with me going on the stage."

The performance
Kinan al-Salaman solemnly made his way onto the stage towards the microphone that had been set up at the front, wearing a plain silver shirt and dark blue jeans, and clutching his acoustic guitar. There would be no drama, no decorations, no special effects, no outlandish props and costumes, no backing musicians whatsoever. This was al-Salaman's time and his time alone. Reports that he had abandoned plans for a grand, larger-than-life performance in favor of a simpler one were shot down by the singer's representatives; whatever way the performance turned out to be, al-Salaman had always planned it that way.

The shouts and cheers had already begun even before al-Salaman entered the stage. A handful of his countrymen in the audience were in tears, others overcome with joy especially at the sight of their idol. Almost everyone cheered and applauded him, even those who were not typically enthusiastic at the prospect of yet another al-Salaman performance. The singer stopped just behind the center of the stage and, standing there quietly with a smile, took in this show of affection for a few long seconds, as above him the lights dimmed just a little bit. Then he strolled over to the microphone.

"I would like to thank all of you here for your continuing love and support. After all, a singer can only perform so much on the same stage and on the same event before the audience tires of him, and the singer of the audience. Yet that has not happened in our case. I have not tired of you and you have not tired of me. Perhaps you have not tired of me, for that is what I see, and I thank you for that. This one, this song that I am about to sing here, is... a quiet one, something that reflects my mood. I ask you to bear with me, but if you don't intend to then I will not force you. After all, the greatest joy of being at a musical performance is that... pleasure that comes from listening to whatever is being performed. If you do not enjoy it then it will only be torture. So, without further ado, this is my song."

Down in the lone cold plain
Where the wise dwell in their tents
And the old sheep rest in bliss
The wind not to disturb

Goodbye little Mona
Do have a safe travel
Count the stars that come in your way
When the night falls

The children, they won't have it
Nothing we can do
They want one fine brick house
What can a tent do?

We cannot tie her down
With dreams and wonderful tales
But all the pleasures of the city
That I understand not

If I were but a young man
I'd ride down there as well
But now it's all so distant
Wonders of technology

Now I'm sitting with my herd
Where the wind now has calmed
And I think of my little Mona
Wherever she is


"Thank you," al-Salaman said solemnly, almost tunelessly as the audience clapped and cheered. With a faint smile, he slowly turned his back and walked off the stage. Not another word was said.
Male, 23, Indonesian

Major partner in free association with Faraby (that's my puppet/secondary nation IRL).

Factbook

Impossible is just a big word thrown around by small men who find it easier to live in the world they've been given than to explore the power they have to change it. Impossible is not a fact. It's an opinion. Impossible is not a declaration. It's a dare. Impossible is potential. Impossible is temporary. Impossible is nothing.
-Muhammad Ali

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Britonisea
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Inoffensive Centrist Democracy

18 | Britonisea | Frida Grover - "Pyro (Fire)"

Postby Britonisea » Sun Mar 18, 2018 2:53 am

#18 BRITONISEA
Frida Grover- "Pyro (Fire)"
Tune : TAYANNA - "Леля"
Music: G. Autriche & Frida Grover, Lyrics: Frida Grover, Sanna




Image
Frida Grover: Ready to put on a very fiery performance in Beiszendmizu, Tödlichebujoku!


ORIGINAL BITC POST;
Just now, it has been announced by BITC that Frida Grover will be representing Britonisea at the 63rd WorldVision Song Contest with the song "Pyro" which is Britonish for "fire". This is only the second time that Britonisea will be sending a song fully in Britonish, with the first time being "Na Farar", a song which was sung by Sanna during the 56th WorldVision Song Contest. "Na Farar" became one of Britonisea's most successful entries, coming 5th place with 86 points - a huge achievement for the nation.

Frida is expected to sing her song for the first time during morning news this week on BITC, and will be singing in one of the emissions of Vha Mehldohivestoile 2018.


Frida Grover is a 22 year old singer from Alshkan, Britonisea - which the border city between Estogium and Britonisea. Frida Grover was selected as apart of an internal national selection, which is when an un-televised competition takes place in an arena, and those within the audience decide who is going to go on to represent Britonisea at the contest. It is usually done to save money or to keep staging ideas secret as those participating are not officially released. A music video is released a week or so after the internal national selection.

Frida Grover won over the people in the arena for her upbeat number, and despite it not being in English, she appealed to more than half of the audience. Growing up, she was never the sort to confidentially perform the way that she did, but as she grew to have a passion of music, she went on to take Performance in university which prepares singers to perform in front of live audiences, whether that be on television or not etc. Here is where she gained the confidence to properly perform, and as she only graduated last year, she decided to put that in to practise by going for one of the biggest music contests in the business - the WorldVision Song Contest!

Frida recently performed her song in her home town, Alshkan at Vha Mehlodhivestoile 2018, and while there were changes (especially since it was a BVC show it was on), this staging was inspired by that one.

READING PHONETICALLY

Ahhhhh-Ahhh
Tam leh-veh boo mah-self o-pet
Ken na-cy coh-poh vees-eh

Zy cy fro veh pea-row spy-roo
Vavs too-das bee-saowze deh ee masc
Fyo-lah-teh mwan vhan i reel masc

You-ee-ess ves ten-deek beh-gre
You-ee-ess ves see har-reen, oh
Tell ee mish-tak vhav cree-yeh

oooo-oooo Re-jese aows you-ee-ess tess con-mroo
oooo-oooo die des-ee-o tay-is be-ah ger
oooo-oooo hah-so i wao de ez-tab-ee-you
oooo-oooo Geh-ri-bun-you-ay tay-is way eas

Pea-row, pea-row
Pea-roo sesh ly-stig ma corv
Vah-teh mount-er-roo ray-peed
Na-cy zen-oh vah-ran

(Oh, Ah Ooh-ooh)
Pea-row, pea-row
Pea-roo sesh ly-stig ma corv
Vah-teh mount-er-roo ray-peed
Na-cy zen-oh vah-ran
Na-cy coh-poh vees

Osv - rall-oo vee-vess pen-see-yah
Vhav nay-is-ton oo-ten al-vos
ke? bee-saowze nay-is-ton stee-rer
yoo-ee-ess yoaw die cree-yar sens

Sie tea-yo vhe pie-row spy-roo
oe nas-sie ig-nore-oh vos viss
ee mish-tak vhav cree-yeah!

oooo-oooo Re-jese aows you-ee-ess tess con-mroo
oooo-oooo die des-ee-o tay-is be-ah ger
oooo-oooo hah-so i wao de ez-tab-ee-you
oooo-oooo Geh-ri-bun-you-ay tay-is way eas

Pea-row, pea-row
Pea-roo sesh ly-stig ma corv
Vah-teh mount-er-roo ray-peed
Na-cy zen-oh vah-ran

(Oh, Ah Ooh-ooh)
Pea-row, pea-row
Pea-roo sesh ly-stig ma corv
Vah-teh mount-er-roo ray-peed
Na-cy zen-oh vah-ran
Na-cy coh-poh vees

Pea-row, pea-row
Pea-roo sesh ly-stig ma corv
Vah-teh mount-er-roo ray-peed
Na-cy zen-oh vah-ran

(Oh, Ah Ooh-ooh)
Pea-row, pea-row
Pea-roo sesh ly-stig ma corv
Vah-teh mount-er-roo ray-peed
Na-cy zen-oh vah-ran
Na-cy coh-poh vees


It was finally her time to shine. As the act from Adab went off of the stage, there was around 1 minute to set up the Britonish act before the audience would cheer them in and the lights go up. As soon as the stage went dark, Frida ran on to the great Todlichebujoki stage with all of the 16,000 people watching her as she quickly gets in to position. Five Todlichebujoki stage-persons bought on these large LED boards that was shipped in from Britonisea to Beiszendmizu and will be very crucial to the performance. The boards were placed in a hexagon, with one of the sides not having a board (because a hexagon has six sides but there are five boards) and this opening was towards the audience. Each board was around a metre away from her so there was space in between each of the boards. Frida Grover stood in the middle of the boards wearing this mustard dancing dress fixing her hair, rubbing her teeth with her tongue making sure that there isn't any lipstick on her teeth or anything. The postcard for Britonisea finished, and the huge roar from the audience filled the whole stadium. Britonisea's flag and name was displayed around the arena before the stage turned in to pitch darkness. Each of the LED boards lit up in a similar mustard colour as the colour she was wearing while everything else was off. Standing sidewards, holding the microphone in to her mouth, she was ready to sing the first bit to her song.

Ahhhh-hhh!
Tam levé bu maself opet
Ken nacy copo - visé


After singing the introduction to the song, she looked at the camera - which was placed in the space where the sixth board (if there was one) would be as she sung, "visé". Frida turned her body quickly, dropping her microphone of the floor and exposing the mic she had strapped to her face. In the transition between the introduction and the start of the first verse, each of the LED boards suddenly moved from the hexagonal positions in to a line as she moved herself out of the shape. The mustard colour moved from the boards straight to the back wall. She stayed in position, slightly bending her knees and clicking her fingers along with the music. She was singing as though she was telling the audience something quietly, really making that contact with each member of the WorldVision fans sitting on the front row.

Zy cy fro vhe pyro spireux
Vhav's tudas beçause de i masc
Fjolater - moins vhan i real masc

Uies ves tendique begre
Uies ves si harine, oh!
Tel i mischtak vhav creé


There was a slight a slight wind coming towards her, blowing her hair behind her - perfect for the sass she was giving the camera. After singing, "real masc", two female dancers came running out from each stage prow to where Frida was standing (centre stage). She then did a little shake of her body as she carried on singing the verse. The camera slowly moving outwards as the verse went on.

The LED boards, which were off for most of that first verse, then turned back on after the first verse and in to the very catchy pre-chorus. Each time the (oooo-oooo) was being sung by the off stage backing singers, the camera would quickly zoom in to each of the LED boards (from left to right, excluding the middle one which Frida was standing in front of). When that part was being sung, faces of the backing singers would show up on the screens with a face of being surprised before turning to the their left (or the audience's right since that is where the next board the camera was going to was positioned). As Frida sung her bit though, the camera would quickly cut to her speaking directly in to - speaking to the people at home, watching from the comfort of their sofas.

(Oooo-ooo) Rejiese aus - uies tes conmreux
(Oooo-ooo) Dy desio teis bia ger
(Oooo-ooo) Haco i wau de eztabieux
(Oooo-ooo) Gehribanuei teis wei eis


After the final (oooo-oooo), the camera cut back to Frida Grover for the third time, but instead of going back to the boards, the camera lingered on her face for a few more seconds than usual before quickly zooming outwards in to the audience, exposing the fact that two more dancers had joined Frida Grover on the stage (so in total, there are two dancers standing on each side of her, in front of each of the LED boards). Singing that "teis wei eis" with power and pride, she leant over as the adrenaline got to her. During this, the LED boards were just flashing some beige, orange, red and pink in a cycle adding to the stage which wasn't as complex as Britonish productions in the past.

She quickly stood back up, realising that this was only the first chorus of the song and she needed to preserve her energy for the rest of the song. She slowly moved forwards, stepping in to the centre outer stage (yes, BITC too wishes the staging was a bit less complex). The dancers moved with her as she commenced forwards towards the audience. The LED boards also moved along with her, getting closer to each other as they moved each inch forward. The LED boards, before Frida stopped were all next to each other without a gap between them.

(Ay!)
Pyro, Pyro
Pyreux setsh laistigh ma corghv
V'hater mountereux raypd
Nacy xeno v'arán


Pyro, Pyro
Pyreux setsh laistigh ma sel
V'hater mountereux raypd
Nacy xeno v'arán
Nacy copo vise


On the LED screens behind her, was a silhouette of Frida Grover dancing crazily, and as the chorus went on, more and more silhouettes appeared on the screens. The women who joined the stage with her followed behind her and copied Frida's actions going in to the next verse of the song. Frida Grover crazily flicked her hair about as she crazily made her way down the steps of the stage. The stage then turned to a mix of purple and gold with the LED screens flashing silver and red. She then stood in one position and started to grind along with the song which had grown in texture. The women soon followed behind her, and in a line, all did the same expression.

Os'v reallu vives pensia
Vhav neiston uten alvos
Qe? Beçause neiston stirer
Uies iao dy crear sens.

Cy tio vhe pyro spireux
Oe nacy ignoro vhos vise
I mischtak vhav creé!


She then flung her hand in to the air and high-kneed her way further down the stage steps. There was a camera shot of the audience, away from the things that were happening on the stage - and during this time, the LED screens were quickly moved down to where Frida was standing on the steps. She were all dancing with power and fierceness as her backing singers challenged her. Suddenly there was focus on two people at each of the stage prows. The two people at either prow had trumpets or some other brass instruments of some kind. The lights went crazy during the pre-chorus, and the camerawork reflected that, focusing on Frida once before zooming in on the audience, before spinning around in circles.

(Oooo-ooo) Rejiese aus - uies tes conmreux
(Oooo-ooo) Dy desio teis bia ger
(Oooo-ooo) Haco i wau de eztabieux
(Oooo-ooo) Gehribanuei teis wei eis


The screen, for the people at home, then split in two with one part of the screen people one of the men on the end blowing his trumpet, and the other side of the screen being the man on the other side blowing a trumpet. Both cameras zoomed out slightly before viewing the beautiful Frida shaking her body all about the stage. There was then two pictures of Frida Grover, flinging her hair around and around. The audience were going crazy for the most energetic performance ever sent by Britonisea.

Before the chorus came up, both camera zoomed out and then faded to white as the two pictures were joined together. Another camera then zoomed quickly back in, spinning slightly to the right as Frida and all the people danced on the stage in unison. The LED boards showed pictures of the dancers looking to their left again, this time with the background flickering different colours. The fans were turned to the next level to make it really obvious they were on.

Pyro, Pyro
Pyreux setsh laistigh ma corghv
V'hater mountereux raypd
Nacy xeno v'arán


(Oooh-Ahhh!)
Pyro, Pyro
Pyreux setsh laistigh ma corghv
V'hater mountereux raypd
Nacy xeno v'arán

(Oooh) Nacy copo vise


For the first time in the song, which has been pretty fast pace since the start of the song, everything slowed down and the texture of the song was stripped back. To follow suit, the staging also did so too. In front of the five boards, which was in an arrow shape (facing towards the audience) stood a person. The two men were at the furthest back boards (and the most to the end of the stage) while the three women - which included Frida who stood in the middle at the front - stood in front of the rest of the boards. As the trumpet sounding instrument came in, the stage went dark with the only source of light coming from the boards which lit up in to red with blackish swirls on there symbolising the smoke caused by the fire. Flashing lights from the from of the stage begun, which made this seem as though they were at a fashion shoot, and so the dancers followed suit by posing in certain positions every so seconds. Meanwhile Frida stood still in front of her board, with the projection of fire on what she was wearing re-appearing. The camera slowly zoomed in on Frida, with the men son coming out of the shot, followed by the women. Frida's board changed to a silhouette of someone that looked like her.

Frida then came back in with a large ad-lib, before the camera quickly zoomed out, and dancers high-knee running to the front of the stage - with Frida also following them as they reached her.

Pyro, Pyro
Pyreux setsh laistigh ma corghv
V'hater mountereux raypd
Nacy xeno v'arán, arán, arán - ah!

Pyro, Pyro
Pyreux setsh laistigh ma corghv
V'hater mountereux raypd
Nacy xeno v'arán,
Nacy copo vise - visé!


The camera kept on coming back and forth, zooming over the audience. As Frida sang "v'arán, arán, arán" the woman got down on to the floor and started to swing her head back and forth. She then got up on one knee, exposing her whole leg and held that fierce and strong pose for a few seconds before getting back up and running to the other side of the stage. The stage behind her exploded in to gold, purple and silver, and so did the lighting. The camera did not calm down either, zooming from one person to another - coming from behind the performers and then from afar. A shower of pyrotechnics fell at the back of the stage as the camera quickly panned out.

Pyro, Pyro!
Pyreux setsh laistigh ma corghv
V'hater mountereux raypd
Nacy xeno v'arán


(No, No, Ahh no!!)
Pyro, Pyro
(Ooo-ahhh!) Pyreux setsh laistigh ma corghv
(Ooo-ahhh!) V'hater mountereux raypd
Nacy xeno v'arán!


Frida Grover then crossed her legs and did a bow as she sung the last part of the chorus. The audience came in with a huge roar as she stood back up. "Thank you, everybody - thank you Todlichebujoku." she screamed in to her strap on microphone before running off the stage for the next act. BITC has gone big with this production, and so they are hoping that they are successful with it.

ENGLISH LYRICS
These are the official English lyrics. Themes and Ideas have been kept, but there may be a few grammatical differences to make the song make sense in the English language.

Ahhh
I am left by myself again
I cannot cope no more

So, I can feel the fire growing,
It is all because of a man,
Wait - less than a real man.

He was tender to begin with,
He was so kind, benevolent
Such a mistake that I made.

Ooo-ooo Watch out - he is coming
Ooo-ooo I do not want you to be next
Ooo-ooo He has a certain way of talking
Ooo-ooo He will brainwash you like me

Fire, Fire
Burning deep within my heart
The hatred is building up,
I can't control the pain.

Fire, Fire
Burning deep within my heart
The hatred is building up,
I can't control the pain.
I can't cope anymore.

It is really funny to think
That were his victims.
Why? Because we are stronger...
It doesn't make any sense.

I can feeling the fire growing,
And I can't ignore this anymore.
A mistake that I made!!

Ooo-ooo Watch out - he is coming
Ooo-ooo I do not want you to be next
Ooo-ooo He has a certain way of talking
Ooo-ooo He will brainwash you like me

Fire, Fire
Burning deep within my heart
The hatred is building up,
I can't control the pain.

Fire, Fire
Burning deep within my heart
The hatred is building up,
I can't control the pain.
I can't cope anymore.

Instrumentals

Fire, Fire
Burning deep within my heart
The hatred is building up,
I can't control the pain, pain, pain.

Fire, Fire
Burning deep within my heart
The hatred is building up,
I can't control the pain.
I can't cope anymore - no more!

Fire, Fire
Burning deep within my heart
The hatred is building up,
I can't control the pain.

Fire, Fire
Burning deep within my heart
The hatred is building up,
I can't control the pain.
Last edited by Britonisea on Sun Mar 18, 2018 12:26 pm, edited 2 times in total.

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Balkvla Islands
Spokesperson
 
Posts: 163
Founded: Mar 23, 2017
Left-wing Utopia

Postby Balkvla Islands » Mon Mar 19, 2018 3:47 am

#19 Balkvla Islands
Pikestaff Ridge - "So Far Away..."



The stage is dark aside from the band being illuminated in dark blue light as the song began. The background screen showed black-white close-up images of what appeared to be flowers.

Everyday when I think of you I want to die, being treated as a kid
Now I know that despite what you said, you won't be there
The world continues on, leaving me behind
Now I know that despite what you said, you won't be there


'Cause I pleased and pleased you until I passed out exhausted
But you never seemed happy
'Cause you just don't care


Is it sad that you are so far away?
Is it sad that I can't be there, so far away?


The stage suddenly lit up in intense strobe lights as the band played and head-banged to the music.

I'm not getting younger with each new day
My time on the love train runs short
Now I know that you are correct, I'm still in love with you


I pleased and pleased you until I passed out exhausted
But you never seemed happy 'cause you just don't care


Is it sad that you are so far away?
Is it sad that I can't be there, so far away?
I can try to go out and look for you, but that's just wrong
You're just sad that I can't be there, so far away


I pleased and pleased you until I passed out exhausted
But you never seemed happy 'cause you just don't care


Is it sad that you are so far away?
Is it sad that I can't be there, so far away?
I can try to go out and look for you, but that's just wrong
You're just sad that I can't be there, so far away


You're just sad that I can't be there, so far away
You're just sad that I can't be there, so far away
You're just sad that I can't be there, so far away
You're just sad that I can't be there, so far away
Last edited by Balkvla Islands on Mon Mar 19, 2018 9:14 am, edited 1 time in total.
WorldVision 55: 17th
WorldVision 56: 22nd
WorldVision 57: 17th
WorldVision 58: 12th
WorldVision 59: 15th

User avatar
Izmedu
Ambassador
 
Posts: 1545
Founded: Sep 09, 2014
Left-wing Utopia

Postby Izmedu » Mon Mar 19, 2018 4:10 am

20. IZMEDU
Sara Novak & Juraj Gundic - Don't Let Go

Tune: Lea Castel & Slimane - Abimee

“You find some, you lose some... I learned that not just in the music business, but in life, where I thought I could rely on people unconditionally. It turns out that all the negative lessons I learned were true. Even then, you learn to patch up, trust again, but you do it knowing to be more careful.” - Sara Novak

“The greatest failure I could've ever imagined in my life was knowing that you loved someone, but your entire body, your entire situation, and something even like money... You couldn't provide. You couldn't keep them because you know that if they stayed with you, you'd be hurting them and their chances at a good life.” - Juraj Gundic

The pressure was on Sara Novak & Juraj Gundic as they were waiting for their performance slot in the Yáákupo's green room. They knew of the pressure as Izmedu's sudden comeback entry following the disaster period that their sponsoring channel went through as well as the pressure of now having to follow up on the Izmeduan winner from two editions ago. Despite the emotions they labored to make the entry happen and especially the high pressure cooker that was the first Izmepisma to be held since WV60 and unfavorable comparisons to “A Way Out,” Sara & Juraj knew that the odds were stacked against them. Eerily fitting, that kind of stacked odds character was the type of personae that they had experienced in their personal lives, and more specifically, their respective romantic losses after both artists had taken on a career in the grueling Izmeduan music business.

Sara Novak was the primary driver of “Don't Let Go.” She was a 25 year old singer hailing from Mousiki, having moved to Vodiznad when she was 17 to start a career in the English language pop sector in Izmedu. While her career was normally situated as a series of sudden jumpstarts, pauses, and as well as attempts to record an EP that ultimately went fruitless, what Sara had found relief in her time in the music industry was a special someone she had met when she was 21. While Sara was expected to write material pertaining to the Izmeduan atmosphere (primarily emotional female-led ballads), she had found love through someone wholly disconnected from the Izmeduan music industry. She had fallen in love with a Hesskin immigrant who was once served in their army. The relationship proved to be a lifesaver for Sara as he was her only hold on a reality outside of being trapped in the myopia of label wars.

As Sara would reflect later in her career, you win some, you lose some. It was precisely that she had gotten so busy that caused heartbreak to happen. Her Hesskin lover had gotten so stressed with Sara's absence and the fact that she wasn't providing a steady romantic life had caused him to get frustrated. Ultimately, two years in their relationship and one year of cohabitation later, Sara found herself suddenly single. He had left her alone in her apartment, with no note, no sense of resolution, and after a final argument that had unconsciously let Sara know that any long term relationship was impossible.

Juraj Gundic had gone through similar circumstances, albeit under subtly different circumstances. He was a 32 year old singer hailing from Sastavak, but would base himself there versus moving to a city like Vodiznad, Mousiki, or even Posony where most singers/people in the arts would base their work. His entrance to the music industry was marked with even more uncertainty than Sara's path. In his case, he started to make inroads by working as a session and background singer from the age of 24, when his original life path (initially wanting to be an educator) proved to be impractical due to being dismissed from his Master's program in education. Thus, Juraj turned to singing, what he once considered a hobby, as a way to find a purpose in his life. Along the way, he had met an Izmeduan pilot whom he engaged in a once long-term relationship that lasted for 5 years, to the point where he even got engaged at the age of 28. However, Juraj's life was unstable, often marked with unreliable income, with Juraj not being there, and an often tumultuous relationship with the external world that Juraj knew he couldn't expose to the pilot. Thus, only a month into the engagement, Juraj broke up with the pilot, knowing that he could not provide a humane happiness with his fiance.

It is through these two eerily similar, yet subtly different experiences, is where Sara & Juraj connected with each other enough to be able to conduct a collaboration to help re-jumpstart their flagging careers. Sara intended to just go it on her own despite finding Juraj to be a pleasant colleague. However, both artists revealed to each other a knack for songwriting, and ultimately, their chance meeting in a studio coincided with RTI's call for Izmepisma songs. Thus, “Don't Let Go” started as a therapy session for both singers; both of them confessing their greatest fears and inadequacies about their future in the Izmeduan music industry and to a larger point, their anxieties about moving forward in life in general. Sara was the one to have come up with the song's main hook and concept, ultimately yearning for someone not to let go of. Juraj proposed the storytelling aspect, wanting to make it clear that their duet was two broken hearts coming together, not necessarily coming together with a new romance.

The writing process went fairly smoothly in part due to Sara & Juraj utilizing the creative process as a therapy for both of them. Sara outlined her regret at not being present enough for her signficant other, while Juraj contemplated his existence as a singer and wondered if he should keep chasing the dream of being a pop star, knowing just how monstrous and apathetic he got in his 20s. Despite being in love at one point, Juraj feared that he himself was so blindly dedicated to his career that he thought he was relegated into the industry with no chance to expand his life portfolio. Sara then hatched an idea through their panic. Ultimately, “Don't Let Go” would be their first and last attempt at Izmeduan stardom. If the song were to flop, Sara & Juraj would make an early retirement from the Izmeduan industry.

Considering where they were right now, that didn't come to pass. As Izmedu's performance slot was finally up, both singers shared a tight hug with each other. This was their moment of truth, their one shot to see if months of therapeutic writing would yield further reward than a national final victory.


The stage lights billowed down to the center in the Yáákupo at the start of the Izmeduan entry, buttressed by a crowd cheer that would quiet down at Izmedu's return after a sudden hiatus by RTI. After a few seconds, the camera view faded and the stage would flash a haunting white at the start of the instrumental, marked by a haunting male vocal with forlorn piano notes. The stage was lit up, with the camera starting at the left stage prom, roaming around the stage until it landed on a silhouette of Sara. The singer herself was standing at the opposite stage prom facing away from the audience. The camera was right on time as it approached her, a smaller white flash overcoming the stage indicating that the vocals would start. She trapped the camera in its sights, beginning to walk towards it as it moved backwards and she started singing...

Sitting alone in emptiness
A lonely, broken home
Your memory still lingers
Long after you've left this life
To find someone better
Someone stronger
Instead of the battered mess
That you escaped from
And now, I only wept


The lights in the Yáákupo would flash between a red and white in time to the beats as Sara quickly sang the first verse, her voice a bit low and hushed as she established the song's narrative. The camera view alternated between long and close shots, her forlorn gaze catching the camera and with the long shots emphasizing the relative emptiness of the stage. Midway through the verse, she'd stand at the platform directly at center stage, through which a silhouette of another person, a man, would appear on the stage floor walking away from her which was caught by a brief cut to a bird's eye view. The crystals and the back screen behind her showed a background of a mirror beginning to crack, of which behind those cracks, was a reflection of Sara's exhausted face.

Is there a way to save this?
To turn back the clock?
Before we were broken?


At the calm pre-chorus, the camera focused on closer shots of Sara as the camera made a brief revolution around her. The lights would remain at a steady white as she sang these three questions to the audience, her hands reaching out to the camera. By the third line, the view had switched to one of the cameras roaming around the audience, her face a look of resignation as she held one hand to her chest, looking onwards as if accepting her fate even though she had wished for times past.

I ran away from the storm
Hoping to find at least relief
Cause the chaos I shoulder
Was too much for my heart to bear
I ran away to find someone
Maybe a mutual pained soul
Someone who I can lean on
And plead for them to don't let go


A blur effect was placed on the camera at the start of the dramatic chorus, with Sara making her most passionate movements as behind her, her face went through a timelapse of conflicting and sorrowful emotions. The crystals and lights on the stage would flash mostly red as the camera then focused on close-up views mid-way through the chorus, with her delivering the lines with such emotion that it almost looked like she was about keel over. By the second half of the chorus, Sara was clutching her chest as the stage floor on the central platform was on the verge of 'cracking,' the floor screens showing that she was standing on metaphorical shaky ground. At the end of the chorus, the camera ended with a direct frontal view of her, her hands reaching out as if she was attempting to hug someone. The spotlight on then quickly faded, as she would walk over to the left stage prow.

Tried to pick up the pieces
Of this broken life I led
Knowing that it hurt you
That we couldn't survive
I struggled to provide
To keep our love safe
Do I have enough to give?
When hard times fell on us
You left to save yourself


The lights in the Yáákupo would return to a gentle white as the camera faded to a view of Juraj's hand in the darkness, before swiftly moving to reveal that he was standing right at the back wall. The back screen had strategically then put up a moving graphic of a gray walkway, with an outline of a person walking away from Juraj as he sang the second verse. His face was sorrowful throughout as he gripped the microphone, his brand of sorrow and more contemplative than Sara's overt expressiveness. By the fourth line, the person that was walking away from him in the graphic had faded from view and he would quickly be making his way on to center stage. Behind him, the graphic had quickly disintegrated into a broken glass, which had grown more and more cracked as Juraj sang the lyrics, with the camera view close-up on him for the latter half of the verse. The ending of the verse saw Juraj unleash an emotional belt, the lights shining white as he sang 'you left to save yourself' up to the heavens, almost letting his real inner demons out into the open.

Is there a way to save this?
To turn back the clock?
Before we were broken?


This pre-chorus would mark the first time that Sara & Juraj would be singing together visibly, with Sara providing harmony earlier but remained unseen. Two dim spotlights on both would now be shone as they walked towards each other as they sang the brief pre-chorus. The image of cracked glass would still remain on the screens, even stretching over to the stage floor and for a moment, looking as if the entire stage was about to break due to a strategic long shot at the end of the pre-chorus.

I ran away from the storm
Hoping to find at least relief
Cause the chaos I shoulder
Was too much for my heart to bear
I ran away to find someone
Maybe a mutual pained soul
Someone who I can lean on
And plead for them to don't let go


The Yáákupo's lights flashed various colors of red as the cracked glass began to disintegrate around Sara & Juraj at the commencement of the song's chorus. The camera focused on close shots of both them, circling around them and pausing at opportune moments as they sang this chorus to each other, making close physical contact while also looking at the audience. Behind them, silhouettes of Sara & Juraj would appear on the screens, with abstract images of them being broken apart by stranger silhouettes. A close eye towards the screens saw Sara angrily swiping away at other figures in unison to her walking away towards the screen, her body breaking as it paved way for Juraj's figure at the second half of the chorus. His abstract figure would then be seen carrying a figurative weight of the world as represented by an undefinable mass on his hands, of which the ending of the chorus would prove to be the moment where Juraj's figure on the screen couldn't handle the load of what he was carrying, and at the end, would 'snap' right at the chorus' end.

At the instrumental interlude, the stage would pulse with the instrumental notes that were played, with the screens reflecting the sound. As the camera circled around the stage, making an almost cinematic-like swoop around, Sara & Juraj could be seen gripping each other in a tight hug, before engaging in small choreography where both would begin to step in front of each other, reaching out for the person they've lost before ending on opposite sides of each other, the camera at the end of the interlude catching both singers staring up into the ceiling.

We heard each other's cries
As our connection
In each other we heal


For this brief bridge, the lights softened to a darker white as the camera focused squarely on Sara as she sang. Juraj was right behind her, his head down. Right at the final line, Sara would passionately belt it out, unleashing far stronger notes in comparison to the studio-recorded version as the camera would then briefly cut to a long view of the stage, a brighter white then settling in throughout the Yáákupo.

I ran away from the storm
Hoping to find at least relief
Cause the chaos I shoulder
Was too much for my heart to bear
I ran away to find someone
Maybe a mutual pained soul
Someone who I can lean on
And plead for them to don't let go


For this chorus, the lighting and set-up was far more intimate, with Juraj leading the way for much of the chorus. The camera focused on him as his hands reached out towards the audience at home, the spotlight on him intensifying at each and every line. The broken glass from earlier appeared on the stage once more, a long shot intensifying the fragile world that both Sara & Juraj that were living in. The more Juraj sang, the more it looked like the world was about to crack in a disturbing explosion, especially even becoming more precarious as Sara joined in. At the end of chorus and in preparation for the final reprise, the lights intensified as the entirety of the stage became white, turning the cracks into a multitude of jagged black lines.

I ran away from the storm
Hoping to find at least relief
Cause the chaos I shoulder
Was too much for my heart to bear
I ran away to find someone
Maybe a mutual pained soul
Someone who I can lean on
And plead for them to don't let go


This final reprise of the chorus was presented in the same intensity as the earlier chorus, the instrumentation in full force as the damaged 'cracks' began to slowly repair themselves by slowly falling apart. The cracks began to grow until they were no more, disappearing after every lyric as Sara & Juraj passionately sang this chorus, now truly holding onto each and other and singing together as the answer to the loneliness and pain they faced in the past. They had one hand held to each other as the glass cracks disappeared, the stage turning slowly into darkness as the cracks enclosed on where they were. By the end of the chorus, it would be an instrumental that would close out the entry, the same kind of interlude from earlier that had Sara & Juraj perform a choreographed dance that would cause the cracks on the floor to disappear. The final moment of the song would see both of them encased in a hug, their spotlights disappearing as soon as the song ended.

At the Izmeduan entry's end, Sara & Juraj were still locked in a tight hug, and pulled back after a bit. They were shocked at the crowd cheer, grateful for the reaction.

“Thank you!” Sara shouted, with her & Juraj walking backstage, finding a sense of closure.
THE DEMOCRATIC REPUBLIC OF IZMEDU
WorldVision Song Contest - World Hit Festival

User avatar
Missus X
Spokesperson
 
Posts: 179
Founded: Jun 02, 2014
Right-wing Utopia

Postby Missus X » Mon Mar 19, 2018 11:00 am

21 MISSUS X

Rick Leg - "12 Points"
Tune: Jessica Anderson - "Party Voice"




Rick Leg is back at the WorldVision Song Contest, to the despair of many, and consequently no one is expecting much with this semi-serious song. Rick is dressed in a silver jumpsuit which is really tight-fitting and is joined on stage by people (it's impossible to know their gender for a reason you'll read about in a minute) similarly-clothed, but with giant disco balls on their heads which they can somehow see out of. They stand all around Rick as the lights fade up in time with the music.

12 points is the magic number in the WorldVision Song Con-on-test
12 points can win you the song, win you the song, win you the song contest
12 points is something we always to win
12 points, 12 points, yeah
12 points, 12 points, 12 points, baby


The disco balls move their arms up and down from the elbow oppositely, so one arm is facing up and one is facing down, and the arms keep changing from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down.

12 pointe pour Rick Leg, baby
12 points for Ricky
XII pvnctores
12 pointe pour Rick Leg, baby
12 points for Ricky
XII pvnctores
12 points are all that I want
12 points are all that I'll get
XII pvnctores
12 pointe pour Rick Leg, baby
12 points for Ricky
XII pvnctores


The disco ballers move towards Rick in the middle.

12 points is the magic number in the WorldVision Song Con-on-test
12 points can win you the song, win you the song, win you the song contest
12 points is something we always to win
12 points, 12 points, yeah
12 points, 12 points, 12 points, baby


The disco balls move their arms up and down from the elbow oppositely, so one arm is facing up and one is facing down, and the arms keep changing from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down.

12 pointe pour Rick Leg, baby
12 points for Ricky
XII pvnctores
12 pointe pour Rick Leg, baby
12 points for Ricky
XII pvnctores
12 points are all that I want
12 points are all that I'll get
XII pvnctores
12 pointe pour Rick Leg, baby
12 points for Ricky
XII pvnctores


Rick Leg moves towards the front of the stage.

12 points, t-t-t-t
12 points
12 points
12 points
12 points, t-t-t-t
12 points
12 points
12 points


Rick stage-dives into the audience.

12 pointe pour Rick Leg, baby
12 points for Ricky
XII pvnctores
12 pointe pour Rick Leg, baby
12 points for Ricky
XII pvnctores


Rick gets back up on the stage and screams the high notes as the balls move their arms up and down from the elbow oppositely, so one arm is facing up and one is facing down, and the arms keep changing from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down and then from down to up and then from up to down.

12 points are all that I want
12 points are all that I'll get
XII pvnctores
12 pointe pour Rick Leg, baby
12 points for Ricky
XII pvnctores

12 pointe pour Rick Leg, baby
12 points for Ricky
XII pvnctores


French: "douze" (dooze)
Latin: "dvodecim" (doo-oh-deck-imm)






User avatar
Cleaca
Secretary
 
Posts: 36
Founded: May 27, 2017
Ex-Nation

Postby Cleaca » Mon Mar 19, 2018 11:15 am

22. Cleaca

Abigail Apikaira - ''Mother''
Tune: t.A.T.u. - ''All The Things She Said''


Image
Cleaca is back aboard the WorldVision train with Abigail Apikaira singing her song ''Mother''


CBC had announced that Abigail Apikaira, one of Cleacan representatives at JWHF4, is going to represent the nation in Tödlichebujoku. As it has become a tradition, CBC is always trying to promote smaller, less-known artists with native Cleacan roots by sending them to represent the nation at international competitions. For Apikaira, CBC had planned a long way to put up the most spectacular performance ever achieved by the small nation. Jason Tarudo, Cleacan representative at WVSC 61 was hired to write a song for her. However, things don't always go as planned and due to issues happening in Abigail Apikaira's family, the plan was cancelled.

CBC had not heard of Apikaira for a long period of time, they tried to contact her but without any success. It felt as if she had gone like a candle in the wind. CBC had two options left - either find another artist or forfeit the contest. However, just a few weeks before the show was supposed to start in ToBu, Apikaira showed up and shared the dramatic events and reason of her disappearance. As it turned out, Apikaira's mother had been sick with cancer for quite some time (without Apikaira being aware of it) and had passed away. Everyone at CBC were very understanding and ready to announce the withdrawing from WVSC 63. It is said that the Executive of CBC was already dialing a number to let the Tödlichebujoki broadcaster know about their withdrawal, when Abigail had suddenly rushed to the phone and hung up. Without saying anything, Apikaira had taken out a paper with lyrics written on it. It was her song, titled ''Mother'' and inspired by the recent family events. Everyone at CBC headquarters had gone quiet as they read the lyrics and nod quietly. There they had it.


Performance:

Stage is dark. In the middle of the stage, there is a black cube, with a big 3m x 5m LCD screen placed right behind it. Smoke starts slowly coming out from under the cube as the music starts playing. Camera focuses on the cube alone while Abigail's two female backing vocalists start singing.

Everything you said, everything you said
It's in my memory, in my memory
In my memory
Everything you said, everything you said
It's in my memory, in my memory
In my memory
I just can't let go


A quiet ''puff'' can be heard as the smoke intensifies for a moment and covers the cube completely, just to fade away the very next moment and reveal Abigail Apikaira sitting on top of it. She is wearing this outfit with her hair dyed dark gray and set loose. She has her head lowered and her hands can be seen shaking a bit as she holds her mic to her mouth and starts singing.

I been living in past, I am feeling harassed
Been thinking, can't help, how you must have felt
There's so many things I thought never end
And so many words I didn't listen
I keep asking myself, wondering how
You kept a smile on my face, and never made me feel down
And wherever you're now, I want you to know
You always live on, inside of my heart
You always live on, inside of my heart


Lights at the arena start flashing furiously as Abigail gets off her platform and stands in front of the screen.

Everything you said, everything you said
It's in my memory, in my memory
In my memory
Everything you said, everything you said
It's in my memory, in my memory
Everything you said
I just can't let go
I just can't let go

Everything you said
Everything you said
Everything you said
Everything you said
Everything you said
Everything you said
Everything you said


Some shadows start moving around on the LCD screen. Abigail synchronizes her moves with the background and starts dodging the shadows as if they were trying to catch her (imagine Iceland 2016 staging). She keeps doing it until the instrumental part ends, after which she gets down on her knees. She slowly puts the mic up to her mouth again as the camera zooms up on her. Background shows a white pigeon on black background waving her wings next to abigail.

And I'm all messed up, feeling lonely and lost
They say I gotta go on, but I miss you so much
And even tho I know, you can now be free,
I feel that you're somehow still looking after me
There is some time when we all got to go
But I'm feeling sorry that you never grew old
I can try to pretend, I can try to forget
You always live on, inside of my heart


The bird flies away from the screen and Abigail stands up, lights start flashing again as she stands in front of the blank screen with some smoke rising behind her.

Everything you said, everything you said
It's in my memory, in my memory
In my memory
Everything you said, everything you said
It's in my memory, in my memory
Everything you said
I just can't let go
I just can't let go

Everything you said
Everything you said
Everything you said
Everything you said
Everything you said
Everything you said
Everything you said
Everything you said
Everything you said
Everything you said
Everything you said


By the time she's donw with the bridge, smoke has faded out once again. Abigail turn herself so the audience sees her from her right side. On the screen, a white shadow representing a young woman in a long dress appears. Abigail slowly puts her palm out, with the woman doing the same. Eventually, their palms are touching as the woman slowly starts to raise higher and higher. Abigail is looking at the woman with tears starting to appear in her eyes.

Mother look at me now
Tell me, what I've become?
How I'll go on without you?
Mother look at me now
I know, life will go on!
Thank you for all you did!


Woman flies away from the screen, which starts showing a moving tunnel tube effect. Abigail still has her palm stretched out as she turn herself to face the audience. She closes her eyes and, visibly fighting with tears, sings the last parts of her song.

Everything you said, everything you said
It's in my memory, in my memory
In my memory
Everything you said, everything you said
It's in my memory, in my memory
Everything you said
I just can't let go
I just can't let go


Abigail falls down on her knees and lowers her head. Stage gets completely dark with only Abigail being seen in a single spotlight. Her backing vocals quietly sing the last lyrics as the music fades out.

Everything you said
Everything you said
Everything you said
Everything you said
Everything you said
Everything you said
Everything you said


The final spotlights goes out as well and everyone in the arena are left in a complete dark. Audience starts applauding and cheering and the lights get turned on again. Abigail covers her mouth with her left palm and looks at the audience. She needs to take a moment before managing to say into the microphone: ''Thank you everyone! Thank you!''

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