NATION

PASSWORD

THE 79TH WORLDVISION SONG CONTEST - PHODA, TALVEZOUT

Where nations come together and discuss matters of varying degrees of importance. [In character]
User avatar
Talvezout
Senator
 
Posts: 4973
Founded: Oct 05, 2014
Left-wing Utopia

THE 79TH WORLDVISION SONG CONTEST - PHODA, TALVEZOUT

Postby Talvezout » Mon Jan 13, 2020 8:30 pm

The TRT logo - three concentric irregular polygons grouped together - would appear on screen, alongside the official TRT fanfare for Worldvision 79, specially composed for this event. After the jingle had played twice, a horn fanfare would play as the logo of the contest, designed by a graphic arts company in Kalosia, would fade into view. Based off art deco design ethos, the logo would shimmer before a waving flag of Talvezout would slowly fade into view. As the purple and white flag would be waving in the wind, the Phoda Philharmonic Orchestra would start playing a unique composition, "Talvezia Forever". The words "PHODA FOREVER", repeated in the five languages of Talvezout - Talvezian, Talfossian, International, Allugha, and Ashprakh would appear on screen, overlayed on top of the Talvezian flag, as the strings of the orchestra would swell.
OPENING FILM: PHODA FOREVER
Composition by Illiana Hursh | Performed by the Phoda Philharmonic Orchestra | Directed by Youssef Boutros Ricardo
Music for this part of the opening act is 0:15 - 6:37 of the opening film for the 1979 Eurovision Song Contest.

The wavering Talvezian would slowly fade out to reveal an ancient,1500s styled map of Talvezout, with that image fading out to reveal a modern day map of Talvezout; the camera would slowly zoom onto the island of Oñati, where Phoda is located, as the shot would transition into a helicopter view of Phoda. The helicopter would fly around Phoda, revealing the various locales of the city, before hovering over the Museum of the Siege - a museum complex dedicated to the remembrance of the Talvezian Wars and the Siege of Phoda. We would then go to the front of the museum, with the camera - and the viewer slowly walking up the steps of the great complex, before stopping at a statue and plaque. The statue - a huddled group of people marching, with their little remaining possessions in tow - would be underscored with a plaque beneath reading "We will endure - Vamos a soportar." As a solitary flute would play, the camera would turn to reveal the whole of Phoda spread out before them. The viewer would be swept along the skyscape of Phoda, flying high above the city, with the camera lingering on various landmarks.

The camera would finally linger on a funeral in the city's historic Universalidad Cemetery, as the strings would fade, being replace by a more jaunty guitar and flute combo. The camera would suddenly cut to a baptism of a newborn baby, as various scenes of the daily life of Phodans would play out onscreen. Birthdays, prayer services, work, play, celebrations - all would appear onscreen as the viewer would see how Phoda was like. A scene of Phoda's Jewish population celebrating the holiday of Purim would be inter-cut with scenes of Muslims praying at the Nisí Tzamí, the most prominent mosque in Phoda, with the entire tableaux being punctuated with a solitary flute. As organ music would play, we would transition to a Christian celebration of Palm Sunday - throngs of the faithful would crowd the streets, holding candles, flowers, and palms. As the strings would return, we would see the Interfaith Field of Phoda - a green space dedicated to all religions. Trees, bushes, and flowers would crowd the park, as we, the viewers, would be treated to a personal tour of the space. We would in turn hard cut to performance in the park by a group of Dervishes, whirling about as a band would play on. A series of cuts would follow as we would see various Phodans of all ages, sexualities, faiths, gender identities, and abilities enjoying life in the city, before stopping on an elderly couple quietly enjoying the life around them in one of Phoda's many beaches. As the strings would swell once more, the shot would slowly fade out to the flower gardens in front of Campo B - a camera would linger on a single white rose before rising up to show the gigantic banner festooning the front of the stadium; the banner would be a display of the logo of the contest, and the camera would slowly zoom in onto it.

OPENING SONG: LET'S GO
Composition by Sunny Siracauso | Performed by Sunny Siracauso
Music is "Vogue" by Madonna.



We would transition to a shot of the stage inside the gigantic Campo B; a gigantic white shroud would cover the stage, as the logo was projected onto it. A 60 second countdown would play before the strings of the opening song would begin, as a silhouette of Siracauso, flanked by several dancers would appear. As the music would slowly build up, the dancers would begin to dress Siracauso, with her being outfitted in a elegant dress reminiscent of Baroque times. As the beat would kick in, the giant shroud would burn up, revealing the stage. While the audience would applaud, Siracauso would be lifted upwards by the floating stage, which would move into position above the audience. Drag queens and drag kings dressed in the various national colors of the competing nations would storm the stage and the audience, as Siracauso would begin to perform on the stage hoisted above the audience.



Tear it down
Tear it down
Let’s go, let’s go, let’s go
Let’s go, let’s go, let’s go

Look around, see all the screaming people around
It's everywhere that you go (look around)
Can’t you see the people having a great time
There’s no rush, so why take things slow? (Take things slow)


Footage from Worldvision 48 would be playing on the screens behind Siracuso, with the audience cheering in response. Scenes of the opening act, the various performers, the interval act, the voting, and most important of all, Polkopia's win, would be shown, with Polkopia's win gaining the most cheers. The video would freeze on Branka Larisa performing her winning song, before switching to a live feed of Siracauso performing right now.

It’s been quite a while but we’re in Phoda
Do you remember Sharon and Nick E.?
We’re bringing it back to Phoda, baby
Worldvision 79 tonight
And you’re in for a fright:


As the refrain would kick in, Siracauso would be joined by two gorgeous dancers dressed in Roaring 20s garb - they arrived on the platform after parachuting into the stadium. They would perform alongside Siracauso on the floating stage, as down below the audience would be having a giant party. On stage, the drag queens would all be doing a runway routine, with each queen strutting their stuff on the catwalk that extended out into the audience.

So come on, let’s go
Let your body move to the music (move to the music)
Hey, hey, hey
Come on, let’s go
Let your body go with the flow (go with the flow)
Who cares about the world?


The floating stage would slowly fly back to the main stage, as the drag queens and kings would make space for the platform. They would help lift Siracauso off it as it would rise back into the air, now being flipped vertically. An LED on it would display the logo for the contest, as Siracauso and the drag performers would continue their routine. Flags of the performing nations of tonight's contest would appear on stage (being lowered from the rafters), while a sudden pyrotechnic would reveal Siracauso's new outfit - a rainbow colored ballgown.

All that matters is just you tonight
You’ve worked hard, so you deserve it (You go baby)
Just let all your stresses go
Let the music take you somewhere unknown (Somewhere unknown)

It makes no difference if you're black or white
If you're boy, nonbinary, or girl
This music's pumping, giving us new lives
Be your own superstar, yes, that's what you are, let’s do it

So come on, let’s go
Let your body move to the music (move to the music)
Hey, hey, hey
Come on, let’s go
Let your body go with the flow (go with the flow)
Who cares about the world?


Siracauso would lead the drag kings and drag queens down to the catwalk as the fans would cheer with delight. One person in the audience would throw a bouquet of flowers in the colors of the flag of Malta Comino Gozo, which Siracauso would catch without missing a beat. She would keep it with her for the rest of the night.

The world’s what you make it
We all need to come together and save it
We all got that musical
So let’s make tonight extra beautiful
Let’s show them what we can do
Everyone, get up, and show them something new

So come on, let’s go
Let your body move to the music (move to the music)
Hey, hey, hey
Come on, let’s go
Let your body go with the flow (go with the flow)
Who cares about the world?

Look around, see all the screaming people around
It's everywhere that you go (look around)
Can’t you see the people having a great time
There’s no rush, so why take things slow? (Take things slow)


As Siracauso would name off every country during the spoken word bit, the drag queen or drag king representing said nation would step forward and do a little dance. The flags of the various nations would continue to wave behind the performers, as the screens behind them displayed the partying delegations over at Campo A. There would be cheers in the audience as the names of the various performing countries would be called out, belonging presumably to the fans of each nation.

Mister X, Latin realness
Tobu, Nekoni, and Indo
Izmedu with that emotional feeling
Here comes Malta Comino Gozo

Elejamie, Ethane, Kalosia
Wazekia’s finally back
Look who’s winning, Polkopia
Estogium, Skytrina, Hanvaria

Ertzei Kishim’s got energy
Beepee needs someone to love
Saint Bernard’s on Earth
There goes Vartugia

Scotatrova and Axuva
Achaean Republic es sabrosa
All these nations are finally here
Let’s all get crazy and fierce


A giant curtain of sparks would cover the screens behind the performers, as fireworks would go off around the stadium. One giant firework would go off at the catwalk, with the drag queens and drag kinds emerging from the sparks. Sunny Siracauso would follow them, wearing a new outift - a stunning, glittery, purple and white dress. The audience's cheering would turn into applause as the performers from every nation tonight would arrive on stage, as the next song began to play.

Let’s go, let’s go

Oh, so let’s go
Let your body move to the music
Oh, so let’s go
Let your body go with the flow
Oh, you've got to
Go



OPENING SONG 2: LET'S GET THE PARTY ROARING
Composition by Sunny Siracauso | Performed by Sunny Siracauso
Music is "So Emotional" by Whitney Houston.



Sunny Siracauso would slowly walk onto the catwalk, as the drag queens and kings behind her would join up with the various national delegations. As the drum beat would begin to play, the floating stage would lower itself again, with Siracauso jumping onto the stage - this time just by herself. The stage would park itself over the audience, as the national delegations and drag performers would fill in the space on the catwalk.

It’s been quite some time now
Welcome back home

31 contests have passed since you’ve been here
31 nations have won since that long ago year
And we’re back home here, baby
Doesn’t it just feel a lil scary, heh

Do y’all remember how Phoda is like
Things have changed but it’s all the same
And as we wait for the music to strike
Who’s gonna create some new fame?

Oh I remember the way that Polk won
And now the contest has just begun


As the refrain would start, Siracauso would rip off the ballgown gloves she was wearing to reveal a spray of red rose petals, that would gently fall onto the audience, as they would cheer in response. As she was performing up on the floating stage, the main stage down below was a party.

Let’s get the party roaring, baby
Hear the fans roar and scream
The party’s roaring, baby
Ain’t it shocking what the world can do
Ain’t it shocking what the world can do
Ain’t it shocking what the world can do

We got so many nations here tonight
All across the world and beyond
All here to sing and fight
But only one song
Will win it all

Oh, who will win Worldvision 79?
No one knows, but we’ll see in time


Siracauso would rip off part of her dress to reveal another spray of rose petals, as she would continue getting into it song. Down below, one drag queen would get into the song too much and accidentally lose her wig, with her neon red wig soaring into the air before landing in the audience. Some poor sod lost a wig that night, while someone else got a free one.

Let’s get the party roaring, baby
Hear the fans roar and scream
The party’s roaring, baby
Ain’t it shocking what the world can do

Let’s get the party roaring, baby
Hear the fans roar and scream
The party’s roaring, baby
Ain’t it shocking what the world can do
Ain’t it shocking what the world can do
Ain’t it shocking what the world can do


The floating stage would slowly lower itself back onto the catwalk, as Siracauso would hop off it; she would join the party onstage, still singing and performing the song. By now, the red wig was being carried around the audience like a holy relic, while beach balls, balloons, and other bouncy round objects would be thrown around the stadium. In just 24 hours, the stadium went from an ordinary soccer field to a true party palace.

Oh, who will win Worldvision 79?
No one knows, but we’ll see in time

It’s time to get the party started
Ain’t it time to get it done
We’re all here tonight
So come on let’s have some fun!


Siracauso would completely rip her dress off this time, revealing underneath a form fitting rainbow gown, complete with sparkles and glitter. Air cannons would shoot out giant bunches of rose petals and confetti, and it would fill the air within the stadium. As rose petals would fall around her, Siracauso would continue performing the song, giving her 100% for the viewing audience. A curtain of sparks would fall onto the stage at the back, as the floating stage would start turning and releasing sparks like a pinwheel firework. As the song would finish, one more giant pyrotechnic would go off, as the audience would leap to their feet, roaring with applause.

Let’s get the party roaring, baby
Hear the fans roar and scream
The party’s roaring, baby
Ain’t it shocking what the world can do

Let’s get the party roaring, baby
Let’s get the party roaring, baby
So come on let’s have some fun!

Let’s get the party roaring, baby
Hear the fans roar and scream
The party’s roaring, baby
Ain’t it shocking what the world can do

Let’s get the party roaring, baby
Doesn’t it all feel brand new?
The party’s roaring, baby
Talvezout proudly welcomes you!


As the pyrotechnics and other effects would cease, all of the performers sans Siracauso would make their way back stage, to get ready to sing and to go back to Campo A. The lights would all fade out and the logo of the contest would appear on the screens behind Siracauso, as she would finally get ready to speak.

Sunny: Personas de todas las edades, razas, sexualidades, identidades de género y creencias religiosas, bienvenidos a nuestra ciudad, Phoda. People of all ages, races, sexualities, gender identities, and religious beliefs, welcome to our city, Phoda.

The home audience would cheer in response to the mention of the city.

Sunny: Thank you to the creative geniuses over at TRT and Felicette Co in their help in making this contest possible. And of course, we would be nowhere without you all.

The audience would cheer once more as Sunny would gesture towards them.

Sunny: We are back here in Phoda, Talvezout for the second time running. Last time we were here in Phoda, the theme was "Listen to the sound of our hearts," and we sure did. 34 nations competed in that contest, with Polkopia being the ultimate winner. Now, it's the first contest of the 2020s, so the theme is "Let's Get The Party Roaring", and I think you all certainly did. We have a wide variety of nations competing in this contest, but only one nation will win. So who will it be? We shall all find out soon.

She would repeat her words in Talvezian and Talfossian.

Sunny: Now, I imagine you are all bored by me talking, and I would be too. But alas, I still have some more I need to say. Here are the songs performing tonight. You may vote for them via telephone, or the official Worldvision Song Contest app. Remember, the voting procedure may vary based in your broadcaster - some may allow voting during the performances, some may allow it after. Please be aware of this, or your vote may not be counted. Now, we have over 90,000 crazy Worldvision fans crammed into this arena, 10,000 hanging out in the Worldvision Village, and an ungodly amount of people watching all across the multiverse. All of their eyes are trained upon the tiny little island nation of Talvezout, where we will see the multiverse's finest tonight. Everyone, are you ready?

The audience roars as Siracauso utters those last words.

Sunny: Let the 79th Worldvision Song Contest begin!
hey check out my dispatches and factbooks!
Indonesia is flooding. Australia is on fire. The US is provoking war with Iran. The world entered 2020 in a global crisis. There is no other option than relentless solidarity, organizing and community building. We have no one else but each other.

User avatar
Talvezout
Senator
 
Posts: 4973
Founded: Oct 05, 2014
Left-wing Utopia

Postby Talvezout » Mon Jan 13, 2020 8:30 pm

Image
01 - NAHLCOMO
Nahlcomo would receive a mixture of booing and applause. The booing was presumably for how bad the entry was. The applause was either for the entry being over, or from people who somehow enjoyed it. Either way, the producers were completely confused at what had just happened. Gina, on the other hand, was happy that her satire had finally made it out.
02 - SCOTATROVA
03 - AMUAPLYE
04 - SAINT BERNARDS
05 - BEEPEE
06 - INDO STATES
07 - VARTUGIA
08 - NOT FATIMANIAN FEDERATION
09 - ELEJAMIE
10 - AXUVA
Last edited by Talvezout on Tue Jan 14, 2020 4:00 pm, edited 7 times in total.
hey check out my dispatches and factbooks!
Indonesia is flooding. Australia is on fire. The US is provoking war with Iran. The world entered 2020 in a global crisis. There is no other option than relentless solidarity, organizing and community building. We have no one else but each other.

User avatar
Nahlcomo
Lobbyist
 
Posts: 12
Founded: Oct 11, 2019
New York Times Democracy

Postby Nahlcomo » Mon Jan 13, 2020 8:31 pm

Image
what have i unleashed
01 - NAHLCOMO |NINA GINA | "TODLICHEBUJOKU BOYS"
I think I need something new
Gather boys of Todlichebujoku

(Oh, orgy, orgy)
Ey, ey, ey, ey
(Come here my little toy)

Tick tock I need some new tea
'Cause this old drink ain't free
I do not want the things of you
I want the things of me

No, no, Talvezian boys are too weak
Yes, yes, Talvezian girls are too strong
(Good times make weak men all day long)

I think I need something new
Gather the boys of Todlichebujoku

Oh my god, oh my god, oh my god, dear lord…
Oh my god, oh my god, oh my god, dear lord…
Oh my god, oh my god, oh my god, dear lord…
Oh my god, oh my god… Oh my god I'm so bored

(This) Not? (This) Yes! (This) No? (This) Yes!
(What does she want?)

Hmmm ... sex
(What a kinky woman)

I need something new for me
Talvezians are just too much for thee
I need a boy to make me sing
Boys from Indo, Brito, or Polk-e?

No, no, Talvezian boys are too much
Yes, yes, Talvezian girls are too indie
(Good times make weak men wear thongs)

I think I need something new
Gather boys of Todlichebujoku

Oh my god, oh my god, oh my god, dear lord…
Oh my god, oh my god, oh my god, dear lord…
Oh my god, oh my god, oh my god, dear lord…
Oh my god, oh my god… Oh my god I'm so bored

(Hova, hova, hova, hova)
(Vartu, Kosva, Hlata, Mister X)
(Use protection, no infection)
(Phoda, Ylfa, Yaru-Bzhreriut)
Talvez, Smchalvez!

(Come here)
Shiites, Shiites, Shiites, Druze, Shiites, Sunnis, Shiites, Jews
Shiites, Shiites, Shiites, Shiites, Tombou, Tombou
Tell me wine

I think I need something new
Gather boys of Todlichebujoku

Come here, come here, come here boy ...
Come here, come here, come here boy ...
Come here, come here, come here boy ...
Come here, come here ... Todlichebujoku
I think I need something new
Gather boys of Todlichebujoku

(Oh, orgy, orgy)
Ey, ey, ey, ey
(Come here my little toy)

Tick tock I need some new tea
'Cause this old drink ain't free
I do not want the things of you
I want the things of me

No, no, Talvezian boys are too weak
Yes, yes, Talvezian girls are too strong
(Good times make weak men all day long)

I think I need something new
Gather the boys of Todlichebujoku

Oh my god, oh my god, oh my god, dear lord…
Oh my god, oh my god, oh my god, dear lord…
Oh my god, oh my god, oh my god, dear lord…
Oh my god, oh my god… Oh my god I'm so bored

(This) Not? (This) Yes! (This) No? (This) Yes!
(What does she want?)

Hmmm ... sex
(What a kinky woman)

I need something new for me
Talvezians are just too much for me
I need a boy to make me sing
Boys from Indo, Brito, or Polk-e?

No, no, Talvezian boys are too much
Yes, yes, Talvezian girls are too indie
(Good times make weak men wear thongs)

I think I need something new
Gather boys of Todlichebujoku

Oh my god, oh my god, oh my god, dear lord…
Oh my god, oh my god, oh my god, dear lord…
Oh my god, oh my god, oh my god, dear lord…
Oh my god, oh my god… Oh my god I'm so bored

(Hova, hova, hova, hova)
(Vartu, Kosva, Hlata, Mister X)
(Use protection, no infection)
(Phoda, Ylfa, Yaru-Bzhreriut)
Talvez, Smchalvez!

(Come here)
Shiites, Shiites, Shiites, Druze, Shiites, Sunnis, Shiites, Jews
Shiites, Shiites, Shiites, Shiites, Tombou, Tombou
Tell me wine

I think I need something new
Gather boys of Todlichebujoku

Come here, come here, come here boy ...
Come here, come here, come here boy ...
Come here, come here, come here boy ...
Come here, come here ... Todlichebujoku


"Todlichebujoku Boys" may appear to be a unhinged comedy of a song, but it is actually a multi layered satire of Nahlcomo politics. Nina Gina, one of Talvezout's most famous drag queens-cum-makeup artist, was inspired to write the song after witnessing Nahlcomo politics for herself. When she visitied the Nahlcomo Parliament one day, she witnessed MP Jolyn Glasscock going on an unhinged 7 and a half hour rant about everything and anything, from Nahlcomo to Talvezout to men to gay people to a lot more. Gina witnessed the whole event in bizarre fascination, and she eventually wrote the song with the help of some of her friends from The Not-Militant Militia of Not-Actually-Militant Militant Talvezout, or the NMMNAMMT for short. Together, they crafted "Todlichebujoku Boys", a demented but brilliant satire of the insanity of Nahlcomo politicos.


Gina, dressed in her finest Nahlcomo attire (which consists of a white wedding dress with added padding, alongside a gigantic ruffled blouse, topped off with Gina's iconic peach makeup and headgear) would be standing center stage. Surrounding her would be several men and women in rather simple black robes. They would form a circle around her. The first two lines of this song - "I think I need something new" - refer to one of Glasscock's statements during the speech. She attempted to speak the phrase "We need to build a new country, one that will actually serve us" in Allugha, but it instead came out as "I think I need something new, gather boys of Todlichebujoku", as Glasscock did not speak Allugha at all.

I think I need something new
Gather boys of Todlichebujoku

The orgy bit would be a reference to the arrest of the Nahlcomo Vice President, Rev. Diko Scunthorpe, during a sex club raid. Rev. Scunthorpe was caught in the middle of an orgy with 14 other women, 3 men, 5 nonbinary individuals, 2 horses, 1 short person, 1 giant, 1 puffin, and 60 kiloliters of lube and shortening. The incident made headlines in Nahlcomo, only to be drowned out by the news that 3 police officers had died after they had fell into the lube and drowned.

On stage, the men and women around Gina would strip off their robes to reveal rather tight spandex singlets. They would all be in eye-searing neon yellow, blue, and green, with the design giving some in the audience some temporary blindness. The outlines of the genitals would be clearly visible as they would all shake in rhythm with the song.


(Oh, orgia, orgia)
Ey, ey, ey, ey
(Ejja hawn tiegħi)

Gina meanwhile, would be drinking from a cup of tea, while sitting on a ornate wrought iron chair onstage, seemingly ignorant of the libacious gyrations of the dancers around her. The men would walk up to her and she would squeeze one of their bulges, which would make a honking sound as she did. She would get up and stand atop the iron chair, as all the men and women would encircle her, their unfortunate lumps being proudly displayed for the crowd.

Tick tock I need some new tea
'Cause this old drink ain't free
No te quiero los cosas de ti
Quiero mucho la alegría de mi

One of the male dancers would hand her a picture of a rather effeminate looking Talvezian male, which she would promptly rip up. Another man would hand Gina the same picture, this time with tits - she would rip it up again, before looking to the audience in desperation. She would hop off the chair and stroll to the audience, seemingly scanning them to find a new man - or woman - to catch.

No, no, Talvezian boys are too weak
Yes, yes, Talvezian girls are too strong
(Good times make weak men all damn day long)

I think I need something new
Gather the boys of Todlichebujoku

The men would start gyrating, as their lower tents would start helicoptering - the women's mammaries would do the same. Gina would be unbothered by the display, as she would produce a hankerchief in the colors of the Nahlcomo flag. She would start waving it around as she would make her way back to the main stage, ignoring the obscene display going on around her.

Alvhym adyrym alvhym adyrym alvhym adyrym ...
Alvhym adyrym alvhym adyrym alvhym adyrym ...
Alvhym adyrym alvhym adyrym alvhym adyrym ...
Alvhym adyrym, avy alvhym ... avy alvhym any kl kk mshv'emm

The men would hold up various pictures of Talvezians, with them including Lorenzo, Sunny Siracauso, Laura, and the President of Talvezout herself. Gina would walk past each of these in rhythm with the song, cutting each one with a knife she held aloft. The dancers would all appear confused by her seeming indifference, and would respond accordingly. As the dancers would exclaim her to be a kinky woman, Gina would appear offended, cluthing the knife to her breast(plate).

(Haec) non est? (Haec) Ita! (Haec) non est? (Haec) Ita!
(Quid illa velint?)

Hmmm ... geshlekht
(Vos shtifetish froy)

Gina would wave away the dancers behind her, as she would plead to the audience. "I need a man to make me sing", she would exclaim. For every country she mentioned, the dancers would produce a flag corresponding to each nation. Thus, Indo States, Britonisea, and Polkopia all got shout outs during Nahlcomo's song. Whether they wanted it, however, was a wholly different question.

I need something new for me
Talvezians are just too much for thee
I need a man to make me sing
Boys from Indo, Brito, or Polk-e?

The same picture routine from before would happen, with Gina being rather displeased with the candidates listed before her. This time, one of the dancers would hold a giant sign with an eponymous Todlichebujoku boy, clad only in eye searingly reflective neon green. The sign was even complete with a package where the package should be on a male body. The PRTOFCN, NMMNAMMT, and Nina Gina spared no expense when it came to staging this entry. Whether they should have spared some expenses, however, is up for debate.

No, no, Talvezian boys are too much
Yes, yes, Talvezian girls are too indie
(Good times make weak men wear green thongs)

I think I need something new
Gather boys of Todlichebujoku

Ya 'iilhi, Ya 'iilhi, Ya 'iilhi, 'iilhi ya…
Ya 'iilhi, Ya 'iilhi, Ya 'iilhi, 'iilhi ya…
Ya 'iilhi, Ya 'iilhi, Ya 'iilhi, 'iilhi ya...
Ya 'iilhi, Ya 'iilhi… Oh my god I'm so bored

The flags of the nations mentioned would appear, as the flags of Vartugia, Kasanova-Koratica, Hlata States, and Mister X would be held aloft by the dancers. During the "use protection, no infection" line, giant cannons suspiciously shaped like the male member would shoot out white confetti and condoms, dental dams, bottles of lube, pads, and tampons. Some poor people in the audience would receive injuries due to being conked on the head by bottles of lube. The excuriating display on stage would still continue, however. Gina would rip off her dress during the "Talvez Smchalvez" line, revealing a nude fabric suit, with the picture of Jolyn Glasscock on it.

(Hova, hova, hova, hova)
(Vartu, Kosva, Hlata, Mister X)
(Use protection, no infection)
(Phoda, Ylfa, Yaru-Bzhreriut)
Talvez, Smchalvez!

The male and female dancers would all rip off their horrifying singlets, to the relief of the viewing audience. For the women, they would be wearing lacy and racy lingerie in the colors of the flag of Todlichebujoku. For the men, they would be wearing jockstraps and harnesses (provided by Andrew Christian and Nasty Pig) in the colors of the flag as well. A giant "Coexist" logo would appear on the screens behind them, for some unknown reason.

(Ela edó)
Siítes, Siítes, Siítes, Droúzi, Siítes, Sounítes, Siítes, Evraíous
Siítes, Siítes, Siítes, Siítes, Tómpou, Tómpou
Pes mou krasí

I think I need something new
Gather boys of Todlichebujoku

As the song ended, sparks would come shooting out of Gina's breast plate, and the men and women's bras/jockstraps. When the sparks ended, the performers would all be dressed in very simple white t-shirts and black joggers. They would bow to the jubilant applause of the audience - with the applause coming from the audience being happy that the tortuous display was finally over.

Tule tänne, tule tänne, tule tänne poika…
Tule tänne, tule tänne, tule tänne poika…
Tule tänne, tule tänne, tule tänne poika…
Tule tänne, tule tänne… Todlichebujoku
Last edited by Nahlcomo on Mon Jan 13, 2020 9:36 pm, edited 1 time in total.

User avatar
Scotatrova
Senator
 
Posts: 3736
Founded: Dec 28, 2013
Civil Rights Lovefest

Postby Scotatrova » Mon Jan 13, 2020 9:03 pm

2. Scotatrova
Miranda Cortes
Just Like The First Time

Tune: Ariana Grande - Into You
Image
Male, Hispanic, Liberal, L(G)BT

My nation is based on my own personal views

Official Factbook for reference
The Scotatrovian People's Republic
La Repuvlia eh’Oneix Scotatrofina


Scotatrova in WorldVision
WV72 - 13th
WV73 - 6th
WV74 - 8th
WV75 - 18th
WV76 - 11th
WV77 - 5th
WV78 - 17th
WV79 - Withdrawn

For those of you that ask "How do you have Fascists before Fascism even existed?" My answer to you is: Alternate History. My nation does not follow the RL flow of events so things in my history are going to be different, hence Fascism existing so early in my history. Thanks for coming to my TED Talk.

User avatar
Amuaplye
Minister
 
Posts: 2915
Founded: Dec 07, 2014
New York Times Democracy

Postby Amuaplye » Mon Jan 13, 2020 10:24 pm

3. AMUAPLYE

ANGELA PAYTON - FORGIVE ME

Written by: Angela Payton

Music by: Angela Payton

Tune: Dance Monkey - Tones & I


Image

Angela Payton is an Amuaplyean singer and songwriter. Her career began in 2019, when she released her 1st album, Ерок (Love), which tells several stories from several perspectives about love. Half of the album is in English, and the other half is in Amuaplyean. The album went under the radar mostly, although the title track, Ерок, did hit #45 on the Amuaplyean charts.

This was, until another one of her songs, Forgive Me, was used not only in a viral marketing campaign for the jewelry company JewelDazzle, but in the film Robert's Request, a rom-com about a man named Robert trying to reconnect with his ex-girlfriend, Julie in late 2019.

As a result, the song shot up the charts, going from not even charting when it was released, to #1 in January of 2020.



The entry begins with the stage moving by itself into a T-shape, before the lights turn off. Then, Angela enters on the left side, followed by several backup dancers, 5 men and 5 women, all wearing formal attire with black and pink stripes. Angela herself is wearing a dress emblazoned with a crimson-colored heart.

The song begins once the lights come on, with the 10 background dancers occupying all of the T, with Angela standing in the intersection. The background dancers tap their feet to the tune.

I think we all now remember the fun times
When I took your hands, and kissed for the first time
You know you broke my heart when I was oh so young
So now I want to see you 'gain just one more time


As soon as the finger snapping begins at around 0:20, the background performers stop tapping their feet, and raise their hands into the air, snapping their fingers and making a circle around Angela. The circle transforms into a heart, which "breaks" and then goes back together, the screens displaying an orange circle on a black background turning into a heart, and doing the same.

Ooh, I remember, -member, -member the last time
When we split apart so long ago
It made me, made me, made me wanna cry
But now I beg to see you 'gain just one more time


The heart starts to go back together, while Angela walks backwards, the heart following her.

So I say, "Forgive me, forgive me, forgive me", oh, oh, oh
"You've always been the love of my whole life and I'm sorry"
You'll say, "I've moved on, I've moved on, I've moved on", ay, ay, ay
"After all, I've already got somebody else"


The background performers start dancing, whilst walking in a circle around her. A female background performer lip syncs the first and second lines, and a male one across from her turns to her and lip syncs the last 2.

I know the next time I see you walking by
I'll ask, my love, just like I did so long ago
I know it seems weird, I've been wanting to my whole life
So I'll ask you out again just one more time


The 2 aforementioned performers break away, the circle getting smaller as a result. The male performer walks around the stage, the female performer following him. At the 2nd line, she taps him on the back, and lip syncs the rest of the verse.

Ooh, I remember, -member, -member the last time
When we split apart so long ago
It made me, made me, made me wanna cry
But now I beg to see you 'gain just one more time


The performers slowly start walking into a circle shape in preparation for the chorus again.

So I say, "Forgive me, forgive me, forgive me", oh, oh, oh
"You've always been the love of my whole life and I'm sorry"
You'll say, "I've moved on, I've moved on, I've moved on", ay, ay, ay
"After all, I've already got somebody else"


The performers again start walking into a circle again, them raising their hands in the air and snapping their fingers when needed.

So I say, "Forgive me, forgive me, forgive me", oh, oh, oh
"You've always been the love of my whole life and I'm sorry"
You'll say, "I've moved on, I've moved on, I've moved on", ay, ay, ay
"After all, I've already got somebody else"


The front row of the audience stands up, singing along, a few of them standing on the stairs leading to the stage, as Angela stands at the front, the performers standing and forming a T-shape.

Ooh
Oh woah, oh woah oh
Ooh


The lights dim, as at the 1st and 3rd lines, they raise their hands up, as the audience makes their way onto the stage. Angela blends in, allowing her to do a costume change.

Ooh, I, I, I say, "Forgive me, forgive me, forgive me", oh, oh, oh
"You've always been the love of my whole life and I'm sorry"
You'll say, "I've moved on, I've moved on, I've moved on", ay, ay, ay
"After all, I've already got somebody else"


Angela reappears, wearing a red, blue, and yellow satin dress, and carrying an Amuaplyean flag. The displays behind her show the Amuaplyean flag as well, as the audience members pile onto the stage, all dancing in various ways.

So I say, "Forgive me, forgive me, forgive me", oh, oh, oh
"You've always been the love of my whole life and I'm sorry"
You'll say, "I've moved on, I've moved on, I've moved on", ay, ay, ay
"After all, I've already got somebody else"
Someone else


Angela waves the flag around, as more and more audience members start dancing, and they all slowly start to form a heart shape on stage. As she sings the last line, the lights shut off, and only the display remains, showing the postcard for the next entrant, from the nation of Saint Bernards.
Last edited by Amuaplye on Sun Jan 26, 2020 3:17 pm, edited 11 times in total.
I'm a dude.
Also, call me Amuaplye, not Amuapyle, or Amu.

Electrum on Discord wrote:Please do not ping me a list of body parts.

User avatar
Saint Bernards
Political Columnist
 
Posts: 5
Founded: Jan 06, 2020
Democratic Socialists

Postby Saint Bernards » Mon Jan 13, 2020 10:36 pm

The bold text shown is what is sung, in Bernardean Creole.
The normal font below the bold text, is what is translated into English, or what the line refers to, properly.


04 - THE COMMONWEALTH OF SAINT BERNARDS

CARTER MARTINET (AND INSTRUMENTS) - PARADISE ON EARTH

Image






Carter Martinet, who will be debuting in the WorldVision, will be representing the Commonwealth of Saint Bernards for the first time. Martinet, who is a popular figure in the island’s music and entertainment industry, was selected by locals to introduce the Commonwealth to the world. Martinet will be singing one of his classic songs “Paradise on Earth”, which is a popular song amongst the Bernardean Citizens. The song was also presented as a background song for Saint Bernards’ official tourism video in 2012.




Carter Martinet walks onto the stage, wearing a red camo shirt and green shorts with imprinted leaves of different shades of green. Shortly after, the man (Zavier Somé) brings out a traditional Bernardean standing steelpan drum on stage, where he then places it behind Martinet.

Introduction: We do it real down low in de tropical island! (boom boom boom brrah)

We party down low in the tropical island! (boom boom boom brrah)


After the introduction message that Carter Martinet shouts, in his Caribbean accent, four Bernardean ladies, with traditional feather dresses and feather headdresses, enter the stage. Two from the left, who will be dancing on Martinet’s left, and two from the right, who will be dancing on Martinet’s right. In order from left to right, of audience’s perspective, the ladies are wearing red, yellow, green, and blue dresses.

The steelpan drummer starts his metronomic beat, as well as an audio-clip beat of the surround sound. Carter Martinet starts singing the first verse.

Verse 1: Down in the island, there’s fresh a-air,
Bushes and trees everywhere,
Down by de beach, de golden sa-a-ands,
In every ville, the marching ba-a-nds,


Down in the island [Saint Bernards], there is fresh air,
Bushes and trees everywhere,
Down by the beach, with golden sands,
In every village, there is marching bands,


The dancers have started a traditional Bernardean dance, which is called the Flambango. Regular-minded people would just watch the show go on, but for the silly or single men in the crowd, the ladies imitate them with the dance moves.

The birdies shoo away,
When de night after de day,
When de whole country comes,
Together to say-yay-yay,


The birds fly away,
When the day turns into night,
When the whole country comes,
Together to say [sing],


Carter Martinet begins the chorus. The steelpan is making a grand call to introduce the chorus.

Chorus: Everyday is a bright, happy day,
When the sun shines away, (away)
Our children have grown since birth,
Saint Bernard’s is Paradise on Earth.


Everyday is a bright, happy day,
When the sun shines away, (away)
Our children have grown since birth, [Is an Analogy meaning Every citizen of Saint Bernards matters]
Saint Bernard’s is Paradise on Earth.


When the chorus is finished, the steelpan’s strength in noise recedes to a calm beat.

Verse 2: Our communes are friendly,
We would love to help you, glad-ly,
When you come, you can join our famleys,
Our people are happy as you can be!


Our communities are friendly,
We would love to help you, gladly,
When you come [to St Bernards], you can join our family gatherings,
Our people are happy as you can be!


Martinet keeps his voice clear. The steelpan you can still hear. The dancers on the sides, are still dancing the Flambango there.

We welcome you with Banjo,
You can do the Flambango (bango),
The palm trees shay in the sun,
Down-en-aroun’ you can enjoy the fun.


We welcome you with Banjo [Hello, Greetings in Bernardean Creole]
You can do the Flambango [Traditional Bernardean Dance]
The palm trees shay [Relax, Lie down in Bernardean Creole] in the sun,
Down and around, you can enjoy the fun!


Again, to introduce the song’s chorus for the second time, the steelpan is played to a grand call.

Chorus: Everyday is a bright, happy day,
When the sun shines away, (away)
Our children have grown since birth,
Saint Bernard’s is Paradise on Earth.


Everyday is a bright, happy day,
When the sun shines away, (away)
Our children have grown since birth, [Is an Analogy meaning Every citizen of Saint Bernards matters]
Saint Bernard’s is Paradise on Earth.


Once another time, the steelpan drum recedes the level of noise played, to enter a calm and final verse three.

Verse 3: Wit de zippa ocean breeze,
You can find your inner peace,
Find your talent, oh yes ple-a-se,
Get up off of your knee-e-e-es,


With the quiet ocean breeze,
You can find your inner breeze,
Find your talent, oh yes please,
Get up off of your knees,


The final part of verse 3 comes. To finish it all off, Martinet mentions a lyric about putting on a show. This is exactly what he does.

From the town of Castlebrey,
To the top of the mountain snow,
Hush your zippa and let us put on a show, ow, owwwww,


From the town of Castlebrey [Bernardean Capital]
To the top of the mountain snow, [referring to Val Peak in the centre of St. Bernards island]
Be quiet/Shut your mouth and let us put on a show,


The crowd gets ready for the applauding ending...



The final “ow” is held for a long time by Carter Martinet, where he introduces us to the final repeated chorus. The steelpan is drummed to a level where it is powerful, and the dancers put the effort in for the final piece...

Chorus: Everyday is a bright, happy day,
When the sun shines away, (away)
Our children have grown since birth,
Saint Bernard’s is Paradise on Earth.


Everyday is a bright, happy day,
When the sun shines away, (away)
Our children have grown since birth, [Is an Analogy meaning Every citizen of Saint Bernards matters]
Saint Bernard’s is Paradise on Earth.


Get ready for the emphasised ending! The steelpan continues it’s power, along with the dancers, and Martinet’s voice.

Chorus: Everyday is a bright, happy day, (happy day)
When the sun shines away, (a-wayyayyay)
Our children have grown since birth, (since birth, birth, birth, biiirth)
Saint Bernard’s is Para-diiiiissse on Earrrrrrrrrth!


Everyday is a bright, happy day,
When the sun shines away, (away)
Our children have grown since birth, [Is an Analogy meaning Every citizen of Saint Bernards matters]
Saint Bernard’s is Paradise on Earth.


The steelpan ends the beat, along with the surround sound tune. The dancers stop doing the Flambango and each of them blow a kiss with their hands at the end.

The crowd applause in a matter of seconds after the powerful ending. Carter Martinet says Thank You to the audience, along with a bow made by the dancer ladies, Somé, who was the steelpan drummer, and of course, leading vocalist, and only vocalist, Carter Martinet. They exit the stage, with a wave each.

Saint Bernards’ is done.
Last edited by Saint Bernards on Tue Jan 14, 2020 2:45 pm, edited 5 times in total.
DE KWINSREALM O’ SANTI BERNARDS
THE COMMONWEALTH OF SAINT BERNARDS

Banjo dere!

79: 20
i am from new zealand born and bred.
a puppet-turning-semi-main-account of Libumelland

User avatar
Beepee
Envoy
 
Posts: 221
Founded: Jan 20, 2018
Democratic Socialists

Postby Beepee » Tue Jan 14, 2020 4:03 am

05. BEEPEE
"SEND ME SOMEBODY TO LOVE"
performed by
IDA SLAPTER



Written by
Ida Slapter and Ida Slaptim-Tu


Tune: "Voi Voi" by Nora Brockstedt


Ida Slapter, is a new artist part of the duo - Ida Slapter and Ida Slaptim-Tu.

Image


Ida Slapter enters the stage wearing a black velvet, off the shoulder, ball ballgown with fitted bodice, white trim and a red carnation pinned to her satin lapel.

Beepee's first entrant to Worldvision is a simplistic a entrant with Ida Slapter standing centre stage.

Three backing singers, dressed in black, stand left stage. As the music plays, Ida lifts her microphone and begins as a single Spotlight focusses on Ida.


Verse 1
One day, I climbed up the mountain,
Looking for a love to call my own,
I yelled, out to the snow field,
"Auphie* bring me somebody to hold"


The light expands to into a cool blue to signify the mountain. The backing singers make hand gestures as if to hug themselves.


Verse 2

The wind blew, down from the mountain,
I was so hopeful it would bring my reply,
So, I walked back to village,
happy believing that my love would come


The lighting changes from cool blue through to a warm pink, signifying the warm feeling provided by the wind, as the backing singers grin widely.


Chorus 1

Auphie, please my hear my wishes,
Please bring me someone to love and to hold.
Auphie, please my hear my wishes,
Please bring me someone to hold.


The backing singers sway gently, from side to side, as Ida goes her best to smile to the camera.


Verse 3

Then when, winter was brewing,
ice and snow both covered the town,
There came, a knock at my front door,
And there stood a love of my own


The lighting changes to a warm yellow, in anticipation of love. As Ida sings 'knock', the backing singers gesture as knocking at a door.


Chorus 2

Auphie, answered my wishes,
brought me someone to love and to hold.
Auphie, answered my wishes,
Brought me someone to hold.


A tall, handsome man, dressed in a fine blue velour suit walks onto the stage, holding a single red rose which he hands to Ida. He goes down on one knee, and then he takes and kisses her hand.


Verse 4

So if, you need some wishes,
Answered, climb to the top of that hill
And yell, out to the mountain,
Auphelia, answer my prayer


Auphie, answered my wishes,
Brought me someone to hold.

Auphie


With the final note hit, the man stands beside Ida and the backing singers join them forming a line. The backing singers and man take a bow as Ida tosses the rose into the audience and curtsies.



*Auphie, is short for Auphelia. Auphelia is the goddess of Beepee to which most citizens worship.
Last edited by Beepee on Thu Jan 16, 2020 12:47 am, edited 4 times in total.

User avatar
Indo States
Diplomat
 
Posts: 519
Founded: Jan 05, 2018
Iron Fist Consumerists

Postby Indo States » Tue Jan 14, 2020 5:28 am

06. Fatiman Federation (Indo States)
RĘT (WAR) - LILIANA ADAMCZYK





Image

How the World Make Peacefull? The Peace Organizations in Eastern Sierua wanted to show their song on a Single Song Conest. Then it was Decided, Worldvision.

18-Year Old Liliana Adamczyk Writted and Composed the song within 3 Days and Her Song was in Edeltian, which It is was used on WV69.

Before the Performance, 3 Fatimanians in the Video shown in the LED Screen flown 3 Doves, and Showing the Doves Flying and Their Distance that they will reach to receive an Message. After, The Second Video was the History of Eastern Siberian Wars, after the Colonization of Eastern Siberian Subcontinent by the European Powers, The Creation of Fatiman Empire, The Collapse, The World War I, The Revolution, The World War II, The Cold War and the Recent History of Eastern Siberia.

The Orange Lights on the Stage are Open, which they are now Preparing for the Intro where Explains the War. The Sound of Desert Wind Plays, And Armed Soldiers Walking Slowly. Then a Enemy Shown and the Soldiers let the Enemy hands up and They disappeared later. After, The Background changes into Mountain Background with Snow Effects. Until Liliana Appears with her Boyfriend which they are doing the play first.

The Play

Liliana (Alicia): Hello Szymon
Aleksander (Szymon): Hello Alicia, How are you Today? Good?
Liliana (Alicia): Not Good, Because my Father Died Yesterday because of War. Because he was an Soldier and my mom recalls his death.
Aleksander (Szymon): Yeah, There is no Peace going on and nothing. Nothing Happens. Should you... Rest in a Moment and Let's Talk?
Liliana (Alicia): Yeah. This is Sort of Dark Days. I Dont know why, do you brought your doves today?
Aleksander (Szymon): Yeah, I Think we need to flew it Away so we can Celebrate Peace for now, Alicia?
Liliana (Alicia): Yeah, Lets go Aleksander.


The Lead Singer and Her Boyfriend Left Stage and The Background Changes into a Dusty Wind Background. After Liliana Changing Clothes, She Returned to Stage and She Started Singing.

1st Verse

Widzę świat
Szczęśliwa, pełna ludzi i ładna planeta
Zapytaj mnie, Droga Planeto, dlaczego nie ma pokoju?
Czy nadchodzi nowa nadzieja?
Możemy pomóc każdemu

I can see the world,
A Happy, Full of People and Nice Planet
Ask me Dear Planet, why there is no Peace going on?
Is there a new hope coming?
We can Help Everyone


The Background changes into Blue and Cresent.

2nd Verse

Wydaje się ciężki dzień dla ludzi,
Ludzie stracili życie,
Latać nad niebem
a dzieci odczuwają swoje obawy

It seems a Hard Day for People,
People Lost their Lives,
Flying over Heaven
and Children Feels their Fears


1st Chorus

Nadchodzi nowy dzień,
Nadchodzi nowy pokój,
Żadne wojny nie wrócą,
Wojna może zabić Ludzi i Dzieci,
Dzieci utworzą krąg,
Nadchodzi nowy dzień,
jest nowa generacja
Nadchodzi nowy dzień,
Pokój Pernamentu będzie teraz widzieć lud,
Nowa nadzieja jest tutaj,
Mamy marzenie o naszej przyszłości,
To wydaje się przeszłością.
(Teraz możemy to zrobić)

A New Day Coming,
A New Peace is Coming,
No Wars will Back,
A War could kill People and Children,
Children will Form the Circle,
A New Day is Coming for us,
a New Generation is here
A New Day Coming,
A Pernament Peace will now See the People,
A New Hope is Here,
We Have a Dream to our Future,
That Feels like a Past.
(Now We can Do This)


Bridge

Powrócą dobre dni,
Przemoc nie powróci,
Ale Wojna może otrzymać lęk, głód i śmierć
Przez ciemne dni

A Good Days will Return,
No Violence will Return,
But a War could receive a fear, hunger and death
Through an Dark Days,


2nd Chrous

Nadchodzi nowy dzień (nie strzelaj),
Milion lat będzie spokojny (zrzuć ręce, śpiewaj wszyscy),
Czuję się jak Dawne Dni, których doświadczyliśmy,
Myślę, że świat będzie cichy,
nie mogę iść do domu podczas wojny,
Nadchodzi nowy dzień,
Podajemy ręce, gramy i jemy,
Będziemy latać gołębie na naszym niebie,
Wraz z nowym World Coming
Lepsza planeta będzie,
Czas zakochać się,
Czas na dzielenie się prezentami,

A New Day Coming (Do not Fire),
A Million Years will be a peaceful (Drop Your Arms, Sing Everyone),
Feels like Old Days that we Experienced,
I Think the World will be Silent,
i cant go home during a war,
A New Day Coming,
We Shake Hands, Play and Eat,
We will Fly Doves in our Skies,
With the new World Coming,
A Better Planet will be,
A Time to Fall in Love,
A Time to Share Gifts,


Last Verse

Nadchodzi nowy dzień (pokój i przyjaźń),
Że świat będzie w przyszłości (zostanie zmieniony),
Cudowna piosenka,
Dla Ludzi Ziemi.

A New Day Coming (Peace and Friendship),
That the world will be in the future (It will be Changed),
A Wonderful Song,
For the People of the Earth.


Main Vocalist: Liliana Patrycja Klaudia Adamczyk
Male Vocalist 1: Aleksander Igor Mendoza-Jantaszki
Lyricists: Liliana Adamczyk, Cristina Lonayev
Composers: Liliana Adamczyk, Aleksander Igor Mendoza-Jantaszki
Props Manager: Wendell Rogers
Sound: Jonathan Lisana
Video: Elizabeth Parters
Last edited by Indo States on Sat Jan 18, 2020 5:23 am, edited 1 time in total.
Fédération Fatimanienne - Fatiman Federation

User avatar
Vartugia
Spokesperson
 
Posts: 126
Founded: Nov 12, 2015
Iron Fist Consumerists

Postby Vartugia » Tue Jan 14, 2020 6:15 am

08. Vartugia

Iama Stan- "Libertike” (Liberty)

Loreen – Euphoria (Livepeformence from Melodifestivalen for extra power of the song)



"One person once said that "music is feeling" many years ago, and it as stuck with me ever since. Music is feeling. I have feelings. And my countrymen and countrywoman has feelings. We want to choose our way for our Vartugia. We will express it via song and music." - Iama Stan.

Iama Stan is a rebel. She has said that she wants to bring change to her motherland. She wants to be remembered for something. The people has had enough of the fake news and the lies that has been spread to ensure that the regime survives. Its time for "Liberty".
Her song "Libertike" are sung in a language called "Vartugese". A language so obscure, it is only spoken by 4975 Vartugians.


Barefooted, she is locked in a 9 metre by 9 metre by 9 metre long cube placed in the centre of the stage. She is all alone on the stage at the moment and the stage is dark. The audience all begins to worry about what shenanigans Vartugia are gonna do this time and its reflected that everyone is silent, ready to cringe at the usual shit they always do.

Unlike every vartugian singer, she sings in tune and in tempo.
Say. Say ess va dy halde gort
(Tell. Tell us what your have done)

Deu. Deu fer esse fre tanke
(Die. Die for our free thougths)

Ney. Aldi mei dyna ligner
(No. No more of your lies)

Nu ele aldi. Eys me tig sansje nou
(Now or never. We must take the chance now)


She holds her left hand toward the front glass with a desperate look at her face as she wants to break free from the cube. While singing the next part she tries to break free from both the front, left side and the right side of the cube. (There are no back wall of the cube but it cant be seen by anyone). The audience has been blown away when they realise that Vartugia has gone serious for once.

Doing one of the moves, parts of her hair fall off, paving the way for someone to make a "Vartugia are so serious this time, their wig felt off" comment somewhere.

While singing the English parts of the song, she has a noticeable accent, but it is understandable.

Libertike
(Liberty)

Dy halde ess nud ally tyde
(You have held us down all the time)

Lo ess de in revaluation
(Let us do a revolution)

Smille, sav ess ally samin nou
(Please, save us all now)

Libertike
(Liberty)

We are the rebels of our time
Its time for us to make a chance
Smille, sav ess ally samin nou
(Please, save us all now)


She goes down in the "Let me meditate in the middle of the song"- position and doesn't seem to face the camera.

Bete deu slos fre frehyt un e in fang
(Better to die fighting for freedom then be a prisoner)

Demokrait. Metgeft te essy myd
(Democracy. Antidote to our minds)

We the peole want a better future without fear
Its never. Its never. Its never. Its never late for chance


Libertike
(Liberty)

Dy halde ess nud ally tyde
(You have held us down all the time)

Lo ess de in revaluation
(Let us do a revolution)

Smille, sav ess ally samin nou
(Please, save us all now)

Libertike
(Liberty)

We are the rebels of our time
Its time for us to make a chance
Smille, sav ess ally samin nou
(Please, save us all now)


Iama then "collapses" in the cube with "blood" coming out and spills all over the floor of the cube. She is playing as she has been shot dead. The camera then slowly flies away from her, revealing a banner. The banner as a sentence written in all the languages that have ever been represented in Worldvision. But all have the same meaning. "Free Vartugia. Revolution of our Times".

Neve sak eys deu mei
(Never shall we die more)

Deh here, deh here, deh here, kym tu ess
(The army, the army, the army, come to us)


Flowerpendals begins to rain inside the cube as Iama slowly rises up again after being dead. She is now dancing all alone, but the walls have been removed, allowing Iama to escape the cube. She gets harassed by two male dancers dressed as vartugian military men (without weapons) in such a way as it looks like a dance.

Libertike
(Liberty)

Dy halde ess nud ally tyde
(You have held us down all the time)

Lo ess de in revaluation
(Let us do a revolution)

Smille, sav ess ally samin nou
(Please, save us all now)

Libertike
(Liberty)

We are the rebels of our time
Its time for us to make a chance
Smille, sav ess ally samin nou
(Please, save us all now)


In the end, the two military men fall to the ground and play dead as the biggest applause at the moment has accorded.

"Thank you", Iama says as several backstage crew members begin to clean the stage for the next entry when some words gets heard. But its from the audience at the venue.

"Libertike! Libertike!"

In support of Vartugia, the audience has already began chanting the title of the song and this goes for a while. In the end, it causes a slight overrun of the program
Last edited by Vartugia on Mon Jan 27, 2020 12:25 pm, edited 5 times in total.
This is a puppet for Darkmania.

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




User avatar
Not Fatimanian Federation
Political Columnist
 
Posts: 5
Founded: Dec 09, 2019
Civil Rights Lovefest

Postby Not Fatimanian Federation » Tue Jan 14, 2020 7:45 am

09. Not Fatimanian Federation, Seriously?

NADITO NA SI ALICE DESNILLA - A Muppet

gay: NADITO NA SI ALICE DESNILLA! (ALICE DESNILLA IS HERE!l)

(Fucking Numbers Dancing)

Alice Desnilla Muppet: Alice Desnilla Po, Number 80 sa Balita (Alice Desnilla, Number 80 on your Ballots)

(Everybody in the Stage Dancing)
A Puppet of Indo States.

Quote of the Month: "No Wonder why Edeltians, Firestonians and Fatimanian Give Birth at 11. Is it matter?"

User avatar
Elejamie
Minister
 
Posts: 2829
Founded: Jan 31, 2009
Left-wing Utopia

Postby Elejamie » Tue Jan 14, 2020 11:17 am

09- Elejamie


Shireen - BE A STAR


Tune: Michael Gray - The Weekend (once again, the actual song doesn’t end with a fade out)

Image
The lady herself, having a bit of downtime in between recording her first album.

Shireen Eloise Nathalie Douglas was born in Davenport, WYKN, on 26th December, 1996. The youngest daughter of a firefighter and a stay at home housewife, with extended family living with her and nearby just in case, she grew up as a fairly religious member of the Church of Latter Day Saints (as in, the proper original OG version), primarily because her family was like that. So, naturally, no caffeine, constantly having to dress modestly, all that stuff kind of had a bit of an effect on her, which bled out into the music. Other than that, life was fairly normal other than being quite shy even into adulthood and after her missionary stint, hence why she won’t be on the catwalk at the front. Don’t worry, my next entrant might have an actually interesting backstory for once.

However, unlike the last few representatives at WorldVision, there were absolutely no intentions to go into music. There were no bets, no mutual interest, no nothing. The only time she ever really did sing publicly was when she was singing hymns during her LDS services, as well as when she was bored to help pass the time or quietly to herself when she needed help. However, those who noticed her singing voiced pointed out how good she was and suggested that she consider a career in music. After a long time turning the offer down and wanting to just concentrate on life, she finally relented and signed up for the 2016 series of The X Factor, hoping to just bomb the audition so she could just prove everyone wrong or, at the very least, she wasn’t anything special.

When she appeared on the show, she decided to go against the grain and instead of singing a well-known popular song she decided to go with a hymn instead, more specifically Nay, Speak No Ill. However, despite this, she completely managed to impress the judges and make it through to Bootcamp and, eventually, the Judges’ Houses alright (even squeezing in another hymn, Rock of Ages) before making it through to the contest proper. There she managed to do fairly well, managing to avoid going anywhere near the bottom spots and even winning Week 3 with 17% of the vote. She even got offered a contract towards the end, though she turned it down as she’d rather concentrate on the competition and maybe anything that’d happen afterwards.

Unfortunately, all good things must come to an end. And that’s what happened when she was eliminated in the penultimate week, receiving only 22.6% of the vote, not enough to save her. Although she was dismayed at this elimination, she managed to take it in good stride despite announcing she wouldn’t be making any music for a while. At first there was some confusion and even concerns that she didn’t take the loss well. However, shortly afterwards, she cleared things up to explain that she was going to go on a long break to do some missionary work for her church in Achaea, having applied to do so immediately after her elimination from the contest and her approval to do some work came the day before the announcement. After a few weeks of training, she set off and began to spread the word.

One 18-month-long missionary job later, she returned to Elejamie completely refreshed and ready to get back into the music business. Deciding against going into performing religious music, on the grounds that she’s afraid of getting pigeonholed, she decided to try and experiment with different styles before she decided to go with a disco/house kind of sound, simply because she felt it had the right vibe to it. Posting covers of classics onto the internet, she managed to get snapped up by a label (or, more accurately, one of those sub labels of the much bigger ones, no indie stuff this time!) and began to get to work on an EP. It was also around this time that she decided to loosen up a little bit; although she still attends services and abstains from caffeine, tobacco, swearing and alcohol, she dresses more casually and has frequently come out in support for LGBT rights, something she did before she set off to do her missionary work but only afterwards was she more vocal about it.

Once the EP, simply titled Shireen, was finally released as an online-only exclusive, she was blown back by how successful it was. Hitting number #3 on the Digital Downloads chart in its first week before going up a space the following week, as well as finally hitting the fabled #1 spot the week after, she announced she would finally get to work on an album. Titled Début and released in July 2019, it was mostly a collection of covers (with a hymn being a hidden track) but there were some original songs in there. It still did fairly well, sold a good amount of copies but wasn’t as successful as the EP, peaking at #3 domestically. While it didn’t lead to a tour, simply because she wasn’t a big fan of touring and didn’t want to tire herself out, there was enough demand for a second album, titled The Second Go-Around, which will be released in April 2020.

As for the top three that year Shireen took part? They all ended up being busts who were well-known for a bit before fading back to obscurity, with the winner eventually being a one-hit wonder before going back to his day job as an electrician. Fortunately has a good sense of humour about it but, unless I’m merciful and give him a second shot (which may happen, you never know), don’t expect him to be top of the charts again anytime soon, especially if he goes for a repeat of his winner’s song. We’ve all had enough of crappy overdramatic ballads. Other than that one year where the winner’s song was actually upbeat for a change; thanks for that Rock Soup Rak-Su, we genuinely appreciate it. At least they’re not getting the Christmas number one anymore.


In the last competition, held in Valletta, Malta Comino Gozo, Elejamie was represented by the indie pop-rock band Imogene, who sent their song Worlds Apart, a song that they officially revealed after the contest was about an unrequited crush on a fictional character. A favourite going into the contest, at least according to domestic sources and Voxijan media, there were high hopes for the group to finally bring home the nation’s first victory. Although there were some pre-performance jitters that became apparent during the rehearsals and even backstage, they managed to perform the song itself without a hitch and received a warm reception from the crowd, an indicator that things might not go as badly as the more pessimistic members of the group thought.

However, when it came time to the actual voting part of the tournament, that’s where things started to go downhill. Although Imogene had reached a respectable third place by half-time with 48 points, their song didn’t receive a single set of 12 points until eventual winners Kalosia gave them their first and only set of douze points… with five countries left to vote (or six if you count Lons, who sadly didn’t vote and as a result got disqualified). However, they did get a decent amount of points from Mister X, Nekoni, Estogium and Nahlcomo and, as a result of that plus the various amounts of points it got from the other nine countries that voted for the group, Elejamie eventually went on to finish in fourth place with 87 points. Nowhere near the top three (Izmedu, then-reigning champions Todlichebujoku and the aforementioned Kalosia, who all finished with 102, 122 and 124 points respectively) but still an impressive score nonetheless as well as their third consecutive top five finish following second places in Monterra (WV75) and Majorium (WV77).

Still pleased with the final result, ETV announced they’ll be sending another artist to hopefully carry on the recent run of good results. After another small search, they ended up with Shireen, who had taken part in the second season of The X Factor, where she finished fourth after being eliminated in the penultimate week which was then followed by an 18-month hiatus following her birthday for missionary work. Although she said she’d happily participate in the competition, there was a slight snag. She didn’t exactly have a song ready. Oops.

Teaming up with another up-and-comer, this time a club DJ named Dr. Dan (real name Daniela Ramírez, born February 29th, 1996) who had made waves in the club scene but wanted to produce her own in-studio work, as well as a couple of songwriters in Keith Kelly (a singer-turned-songwriter best known for his stint in 90s boy band Cool Cool, though he had been semi-retired for the past five years) and former WV-entrant Yoni Maenilon (who not only still had issues with the WorldVision Song Contest but agreed to work on the song anyway but is also well-known for trying to avoid rhymes in his songs as to not ruin the flow and the feel) to help her out, Shireen got to work on making her entry. After a few days of working on the song (the majority of which was spent getting the lyrics up and done which, after several snags and do-overs, was finally completed at 3am the day before they were set to record), the song was presented to ETV and, after meeting their approval, it was announced as Elejamie’s representative for the 79th WorldVision Song contest in Talvezout.

When asked what the song was about, Shireen said “It doesn’t really have much of a meaning. I just wanted to make a song about trying to reach the top and, as the song title says, become a star. I had to tell Keith and Yoni to make it absolutely clear that there’s a lot of hard work that you need to do to get there. I mean, they already know, one was a multi-million-selling artist back in the day and the other nearly won the WorldVision Song Contest so naturally they know. ”

Not going to do the obligatory last line, so I’m just going to wish the best of luck for my entry. It's going to need it with these lyrics. Also, all but two of the links below are GIFs of dance moves that are happening, just to let you all know; if necessary I can go back and edit some of them out.




Once the postcard finished and we cut to the stage, we go to a far away shot of the stage, with the foreground being mainly the audience waving their flags or cheering for the next act. However, the viewers at home could just about make out the stage in the background, with the lights turned on for a change, mainly because one of the backing singers wasn’t in the right place yet. As the camera zoomed closer before fading to a close enough shot of the stage, at which point everyone was right where they needed to be, the lights faded to black and everyone got ready to begin their entry.

And then the song started. As the opening shuddery beeps (which pretty much repeated throughout the song at points) started to play, spotlight after spotlight turned on to reveal that there are five people on stage; the two female backing singers, a couple of male dancers and, of course, the lady of the hour. The dancers were dressed in plain white buttoned-up shirts, a pair of blue jeans and a pair of trainers; one of them had brown hair and brown stubble whereas the other was (dyed) blond and clean-shaven. The female backing singers on the other hand, where dressed in matching silver sequined dressed and silver flats; although they both had black hair, one of them had it done up in a bun whereas the other had it going all the way down to her shoulders.

As for Shireen herself? She was dressed in a long plain black dress, albeit with a thick white trim as well as one arm having a sleeve whereas the other was just skin. She was wearing a pair of black suede flats, designed to look a bit like moccasins; not because she had any issues with wearing heels (and, indeed, she wore them as part of her outfit whenever she had to attend a sacrament meeting) but rather because she planned to bust a few moves and she figured something flat would make it much easier to do so. And she had a silver and blue ring on her left hand, though if the camera was at the right angle, the viewers at home could see that the blue on her ring said “CTR” in cursive. Make-up wise, she didn’t really have much on. Primarily foundation but there was also a bit of mascara and lip gloss on there too. And her dark hair, which went down to her shoulders, was mostly slicked back, though a little bit of it stuck up especially towards the back.

And the stage itself? The floor itself in front of Shireen and her singers were black and blue vertical stripes, which would alternate in colour every 2-3 seconds until the song itself finished. The floor where the singers were was black to start off with but after the opening beeps it turned a dull gold colour. The screens around the stage (other than the big ones mentioned in the next sentence) were a bright yellow, with smaller gold stars floating by in time with the music; the big screens facing the catwalk would show the word “Star” in bright silver letters everytime the sample would play. And the only thing the big screens either side of the stage were, as expected, showing the TV feed to any audience members who weren’t close enough to get a good view of it. Shireen herself was positioned in the middle of the stage, just a millimetre or two away from the black and blue horizontal bits where the dancers were, whereas her backing singers were both on a podium to her left.

With that out of the way, let’s move onto her singing. Starting off with what was pretty much the chorus, she stepped closer to the mic, did a little bit of dancing on the spot and started to sing.

And one day I know that I will be a star (Star)


With each shuddery beep after the one that opened the song, she and her backing singers stuck out an index finger and shook it in time with the beeps. The backing dancers, meanwhile, would stop what they were doing to shake other parts of their body (also in time with the beeps).

I wanna be a star
I’ll do the best I can
To make it very far
I hope they’ll understand


When it came time to sing the pre-chorus, she turned so that her side was facing the front of the audience, turned her head so she was looking at them and started to sing.

I’m working all the days and all the nights
And I can’t wait to see my name in lights
I won’t stop ‘til I reach the top
(No, no, no, no…)


Then came the chorus. She was doing a little bit of dancing as she was singing it but the backing dancers were as they kept feeling the groove. It's what they were there for, after all.

’Cause one day I know that I will be a star (Star)
‘Cause one day I know that I will be a star (Star)


When that was over, she span around on the spot before grabbing onto the mic to sing the next verse. After all, since there was a couple second gap in between the chorus and the verse, there wasn’t enough time to do anything else. The dancers, meanwhile, carried on doing their thing as normal, since there wasn’t anything stopping them. Also, at one point, the producer used a different part of the same song just so the next line would make some kind of sense.

Don't wanna sell my soul (Star)
I won't give in
Won't give them full control (They)
Won't pull my strings


As we move onto the second pre-chorus bit, we zoom over to Shireen, who was doing a little bit of dancing of her own again. Nothing super exciting, just a little bit of twirling and a bit of posing at the end of each line. During this bit, albeit mostly off-camera, the two male backing dancers unbuttoned their shirts all the way, revealing to the world once they re-appeared in the last line that they had plain white tank tops on underneath their shirt. They left the shirts on throughout the performance, however, mostly because Shireen nicely asked them too.

I’m going to give it all that I can give
In the dire attempt to make it big
I won’t stop ‘til I reach the top
(No, no, no no…)


And then it was time for the chorus again. Much like last time, Shireen didn’t really do a great deal of dancing, at least compared to the backing dancers. One of them (the dyed blond guy to be exact) even did a backflip on the spot, which got a small cheer from a couple of people which was neat for him.

’Cause one day I know that I will be a star (Star)
‘Cause one day I know that I will be a star


During the little instrumental break, the two backing dancers started to breakdance, while Shireen herself walked out from behind her stand and positioned herself in between the two dancers so she could bust out some moves as well. There was another “Star” sample thrown in before the lights started to dim, during which time Shireen quickly made her way back behind her microphone so she could get ready for the next bit. Not that the viewers at home would notice as the cameras were centred on one of the backing dancers moonwalking his way over to the side.

And then came the breakdown. We fade to a shot of a single white light up against a black background, mainly because the backing screen was turned off. We also slowly tilt down to Shireen herself, arms raised slightly and her hands almost parallel to her shoulders, kind of like she was shrugging. However, despite the almost nirvana-like expression on her face, there was no real confusion or consternation or anything like that. That was just the way the choreographer imagined that part when it was performed on stage and that was just Shireen doing her job.

When it came time to sing the chorus again, or rather a slightly modified version of it, she immediately snapped out of it and grabbed the microphone. With a slight smile, one that seemed like a cross between a flirtatious smile and a polite one, she started to dance a little bit as she went back to singing the chorus, or rather a slightly modified version of it. She stood still for the first two lines but, when it came for the “A star!” shouts, she did a different pose each time while the camera cut to a different angle, namely stretching out an arm or two and having them in different positions, even moving her body from time to time.

And one day I know that I will be a star
I know that I will be a star
A star! A star! A star! A star! A star! A star!


Halfway through the sixth “A star” the lights immediately turned back on, ditto the screens behind and to the sides the performers; the big screens showing the performance to the audience however remained on throughout the performance. And, indeed, much like earlier, the camera was cutting to different angles of Shireen posing while singing the “A star!” bit, though the tenth and twelfth “A star!” bits were actually shots of the backing singers. When it came to the last line of the modified chorus, the camera did a fairly quick pan from right to left before cutting to the backing singers shaking a finger in time with the shuddery beeps.

A star! A star! A star! A star! A star! A star! A star!
And one day I know that I will be a star


Following that she stood up straight in front of the microphone before she leaned forward to grab a hold of it. She managed to hold it in such a way that one of the legs, namely the one right in front of her, was right up in the air but she kept such a tight grip on it that it didn’t fall over. Unlike that one dress rehearsal.

I’m working all the days and all the nights
And I can’t wait to see my name in lights
I won’t stop ‘til I reach the top
(No, no, no, no…)


Putting the mic and the stand back the way it was, she went on to sing the outro, which was also a modified version of the chorus. As in, in the second and third lines, she paused and turned her head to the side before starting the line again as if nothing had happened. Again, entirely part of the song and entirely part of the choreography, simply because the song was like that.

The lights dimmed a little during the last line of the song and, during the last of the shuddery beeps, the lights turned off one by one (in time with the beeps even) and the backing screen turned itself off on the last beep, leaving only the faint lights of the side screens to illuminate the stage, simply to let the audience know that the song finally came to a close. It was also during those last beeps that she span around on the post before raising her right fist in the air, while the backing dancers made their way back to where they were standing and, on the last beep, pointed in Shireen’s general direction but not at her.

‘Cause one day I know that I will be a star (Star)
‘Cause one - ‘Cause one day I know that I will be a star (Star)
‘Cause one - ‘Cause one day I know that I will be a star (Star)


Once the song was over, the lights turned back on and the audience applauded. A few fans even jumped up and down, waving flags of the competing nations, though the cameras paid close attention to Elejamian fans who had made the trip over to Talvezout. Shireen then waved to the crowd before joining in a group bow and grabbing the nearest microphone so she could show her appreciation. “Thank you Phoda! Have a great evening! God bless!” Afterwards, she and her entourage made their way off stage and left the stage; unlike Elejamie’s last three entrants, they didn’t help the stagehands take anything off the stage if only because the only things they took out were the microphones and they could easily be taken on or off. Either way, the five celebrated what was a good performance as they headed off stage, letting the hands set up the next act and hoping the rest of the multiverse liked their entry.
Last edited by Elejamie on Mon Jan 20, 2020 8:32 pm, edited 2 times in total.
Elejamie (English); Elejamia (Spanish); Elejam (Iyilim) - Denonym: Elejamian - Pronounced (English): Eh-leh-jah-meh
RETIRED FROM INTERNATIONAL ICE HOCKEY ON NS

OOC: Just some guy who does stuff.
SISU OUT!

User avatar
Axuva
Spokesperson
 
Posts: 149
Founded: Feb 22, 2018
Liberal Democratic Socialists

Postby Axuva » Tue Jan 14, 2020 3:07 pm


An arial view of the stage would be shown and Sarai lays out on a surgery bed with her eyes closed as scientists stand around her body and behind it with loads of equipment on stage and they back away, as they set up a robot which creates a digital heart on her chest and it moves on her body.



Boy you make me smile It’s so much more than what you think
Sometimes you’re the reason that I can never go to sleep
And baby it’s me and you and yeah it will be true
I’ll have all the time for you but do you have for me

The robot stops moving and she opens her eyes, making the digital heart and what she is sitting on rises up and she gets off of the __

Give me a reason I see you here
There is no time to be wasting
My mind is on you , don’t have no fear
Baby my life is changing


[Chorus]
Baby I always want you in my life
In my life, in my life
Just come on over and be here for tonight
Just take mine just mine
Baby can you stay my love for all time
all of mine, in my life
I just want you for all day
Please never go away

[Verse 2]
I just want you close cause baby I’m so into you
If you feel the same then baby you can feel on me
Your poison I can’t control , it’s harder than before
Baby come on over and just take control of me


[Chorus]
Baby I always want you in my life
In my life, in my life
Just come on over and be here for tonight
Just take mine just mine
Baby can you stay my love for all time
all of mine, in my life
I just want you for all day
Please never go away


[Post-Chorus]
I want to be here, for all time
Because you are all of mine
I want to be here all the time
Because you are, all of mine

[Bridge]
Ooh, ooh ooh ooh
Will you be here for it? (it it it)
Ooh, ooh ooh ooh, ooh
Will you be here for it? (Will you be here for it)
Will you be here for it

[Chorus]
Baby I always want you in my life
In my life, in my life
Just come on over and be here for tonight
Just take mine just mine
Baby can you stay my love for all time
all of mine, in my life
I just want you for all day
Please never go away


[Post-Chorus]
I want to be here, for all time
Because you are all of mine
I want to be here all the time
Because you are, all of mine
Last edited by Axuva on Mon Jan 27, 2020 7:56 pm, edited 6 times in total.
Axuva Today Network [ATN] Today we announce that the Axuvian Government now recognizes The Russian Language as an Official Language, Korean and English were spoken in the beginning, but there were Russians too, russians were forgotten and their language were not recognized due to the things they did in the past, but now their language is a official language of Axuva, and there will now be 3 official languages instead of two.

User avatar
Mister X
Ambassador
 
Posts: 1136
Founded: Sep 25, 2013
Left-Leaning College State

Postby Mister X » Tue Jan 14, 2020 5:21 pm

11 MISTER X



Tracy Manson - "Through The Night"
Tune: Mel C - "High Heels"




Image




Image




Tracy Manson, feeling disappointed after her previous performance at WorldVision 76, whereupon she came an appalling 21st out of 26, decided that she would be bouncing back in due course to allow Mister X to win the WorldVision Song Contest for the second time. Her song, "Through The Night", is, as per her previous entry, about celebration and having a good time. Noticing the double entendre of the title, she commented that "anything can go "through the night" if you try hard enough. Even working. Have you ever had to pull an all-nighter?". Swiftly clarifying that her entry was not about writing a dissertation, she decided to let other people do the talking. Manson was so happy about representing Mister X at the WorldVision Song Contest again that she was determined to put in a good performance and show that Mister X is not a spent force in this contest. The national final, afraid of outside influence from sabotaging sources (as has been suspected as most MRX national finals) meant that whilst a National Final was held this year, it was held solely without televoting and with the artists and songs kept under wraps until the actual night. The juries, each representing one particular area of Mister X (in accordance with the Mister Xian Parliamentary constituencies) awarded points along a 10-6-4-3-2-1 structure to the 10 competing songs, and the overall winner was quite clear at the end of the night, with "Through The Night" winning 299 points (receiving at least one point from every constituency). There was such a good feeling about this song within Mister X that there was an innate feeling. Surely... this deserved to win?




Tracy Manson stands alone on the stage, wearing lots of different shades of pink patches of clothing, which looks somewhat hodge-podge, as though the whole thing has been thrown together at short notice but equally it works and looks like haute couture. The outfit resembles something a drag queen may or may not wear. The outfit has gigantic shoulder pads and then cuts in drastically to have a very slim waist. On the very front of the jacket is more vibrant colours, and yet underneath it all is a simple white T-shirt. This continues down to the matching trousers. All of the articles of clothing have a lower case "i" dotted around them, as though she works for the Mister Xian tourist board.

(OOC: It perhaps, in terms of design philosophy, compares to the outfit made for the Sixth Doctor, in that the lapels are different colours and was given the brief of "totally tasteless", yet somehow, like all good designers, found this an impossible brief to fulfill, and it still sort of works.)

Image





The lighting for the introduction is one spotlight from each side of her face, although not too brightly, thus highlighting the middle in such a way that the lighting looks natural. The camera is in super-close-up on Tracy's ruby red lips, with the microphone and her hand just out of the bottom of the shot.

I'll be going through the night every day all through my life,
We can go right through the night, go to bed when the sun comes up...


The lights come on, with everything at first in half-light but all in different shades of pink and purple, with each light changing to a shade of the other colour on each beat. Dotted around the stage are 5 bar stools (the white, plastic ones (OOC: the ones in Latvia's 2011 Eurovision entry)): they use the full depth of the stage, with one directly behind Tracy at the very back of the stage, one either side of her as wide as possible, and two either side of the stool at the back. They are not perfectly aligned, and at each one is a small, black, circular coffee table, full of empty plastic glasses - the reusable, hard type, because Mister X was keen to show off their green credentials. Upon each stool sits a dancer, all of whom are wearing club-type outfits that have been used. They are all frozen in place, slumbered in a different, artistic position on each of their chairs.

As the beat starts, they keep their positions, and the cameras cut to shots from a relatively low angle of each of them in turn, lasting exactly one bar each with a gentle zoom on each one. They miss out the dancer directly behind Tracy, for the simple reason that 5 dancers doesn't go into 4 bars. Tracy stays relatively still on the front of the stage. As she starts the first verse the camera gently zooms out on her, starting with a normal-close up and ending in half-length at the end of the first line ("... of town (of town)"). The camera movements for the second line follow the same pattern of the instrumental a few bars ago, but each taking a slightly different angle in order to capture Tracy in side profile in the background. The third and fourth lines of the verse have more conventional camera settings, taking a medium-width shot from higher positions.

Going out to the brand new club right upon the edge of town (of town);
I am loving it every single night, and it's cheap too (cheap too);
Just twenty minutes is all it takes, looking good, feeling gorgeous (feeling gorgeous);
Ready to hit you, ready to shock you, with my little two-step in my Cha-Cha dress especially for you.


The lights stop changing colour for the pre-chorus as the camera zooms out of Tracy. Each of the dancers awake from their slumber and walk slowly in unison towards Tracy, matching the current formation of the chairs but in a much stricter fashion, until the dancers and Tracy form a good 3-3 formation with Tracy front and centre, each a decent distance apart from each other. By the time Tracy sings "nothing's gonna get me down", they're all in position and stop walking. A different front-on camera zooms in to Tracy in order to create a build-up into the chorus...

I'll be going all night, can your pace keep up with me?
I'm not stopping for anything, nothing's gonna get me down...


... before a jump-cut into Tracy's face for the all-important line...

(Go!)


Tracy makes two punches "I'll / be", and then the staging of the chorus begins in earnest. The lights resume their flashing pattern as the first verse, but this time with added beams that have white lights going in three-dimensional circle patterns which include the audience. The camera changes ("going") to a front-and-low shot of the troupe, who all cross-walk (in order words, moving sideways but with their feet crossing over rather than sidestepping) for four beats, before the camera then cuts to a quick-zoom of Tracy as she sings jubilantly, before the camera cuts back to the front-and-low angle to track their movements back to the centre, just as they did in the first line but obviously in reverse.

For the third line of the chorus, the dancers all, with their hands, gently make three "explosions" towards Tracy (i.e. they move their arms towards Tracy with clenched fists, but their fists open up), before making the same movements away from Tracy. The camera takes a gentle front-on zoom, followed by the front-and-low angle rising up slowly. On the fourth line of the chorus, everyone on the stage improvises on the spot for four beats, before all the dancers raise one fist to the sky slowly, then drop it on "life" and run back to their seats and resume their positions as if nothing had happened.

I'll be going through the night every day all through my life,
We can go right through the night, go to bed when the sun comes up;
'Cause I know that life is good, living life just like I should,
I'll be going through the night every day all through my life.


To stop the television audience from seeing the dancers running ungainly (being no break between the chorus and the second verse), the camera decides to cut directly to a close up of Tracy in half-length. Moreover, simultaneously, generally, as it stands, all the naturalistic lights bar one on Tracy cut off, and the coloured lighting stops flashing altogether. By the time the first line of the second verse ends, the camera cuts to a still shot of one of the dancers in their original position, keeping Tracy in side-profile in the background. This camera pattern, albeit with subtle zooms on the other lines, and a different dancer for the end of each line, is repeated until the end of the verse.

Life is just a simple game but it's not so simple, the rules (oh, the rules);
Now I'm dragging you through my life and I ain't ever gonna let you go (let you go);
Only you and I can make it through if I let you know what I'm gonna do (gonna do);
If the music stops don't let go, it is never time to go, hold it in my hand, it's the feeling we'll be free:


For the second chorus, the lights repeat their chorus pattern with no changes in the lighting department. But with no pre-chorus, the choreography must change and thus so must the camerawork. The camera takes a medium-high shot from the audience's right and in front of the stage for the first line: the dancers all walk towards Tracy, but much loosely choreographed this time, and much tighter on Tracy too, and for the second half of the first line of the chorus they all improvise dance with their upper bodies on the spot, with limbs seemingly flying everywhere but in a controlled and careful manner. The idea, of course, being like a dance floor at a nightclub, with dancing not exactly professional but not exactly last-minute-winner-at-an-association-football-match uncontrolled. The camera, on that improvisation bit, returns to a more front-on, full length, dynamic shot.

Between the first and second lines of the second chorus, a panning shot, level with the stage but from the very back of the hall, is taken. Everyone pauses dancing for two beats before resuming, but on the second line of the chorus they all spread out doing their improvisation. This allows Tracy on the third line to lean towards a few of the dancers rhythmically in turn, before on the fourth line everyone resumes improvising but they all slowly walk towards one of the tables and stools (audience front left) for the middle eight.

I'll be going through the night every day all through my life,
We can go right through the night, go to bed when the sun comes up;
'Cause I know that life is good, living life just like I should,
I'll be going through the night every day all through my life.


For the middle eight, all of the dancers adopt a frozen position, which they change in perfect unison after every "can you keep up with me", and on "I'm not even moving yet" they make three sudden movements ("even" / "moving" / "yet"). The lighting keeps flashing but with the white light beams having been disabled. The camera takes a different shot on every section of every line, as per the dancers in many ways.

Can you keep up with me, can you keep up with me, can you keep up with me? I'm not even moving yet...
Can you keep up with me, can you keep up with me, can you keep up with me? I'm not even moving yet...
Can you keep up with me, can you keep up with me, can you keep up with me? I'm not even moving yet...
Can you keep up with me, can you keep up with me, can you keep up with me?


Tracy walks slowly back to the middle, with all the lights off other than the introductory lighting - one spotlight on each side of her face. The camera tightens the shot on her as it tracks her moving towards the middle of the stage in close-up length.

'Cause I know that life is good, living life just like I should,
I'll be going through the night every day all through my life...


On the chord at the start of this final chorus, there is an explosion of sparks, upwards, from each table. The dancers have all resumed the positions they were in for the first chorus, managing to get there under the cover of darkness in the previous section, and for this final chorus the movements are effectively an amalgamation of both choruses - they walk in unison to one side, then do improvisation (rather than just Tracy) for the second half of each line, before walking back to the middle on the second line, and so on. The camera follows similar patterns to the two choruses, except for the very first line it takes a wide shot from high and front on in order to capture the pyrotechnics adequately. For the third line, they walk over to the other side, before scattering everywhere for the very final line and overturning their pyro-tables on the final line in slow-motion, with glasses scattering everywhere.

I'll be going through the night, every day and every night,
I'll be going through the night every day all through my life;
Cause I know that life is good, living life just like I should,
I'll be going through the night every day all through my life...


With the nightclub stage now looking trashed like a closing nightclub, the lights all come back up to their non-performance levels: the performance is over. Tracy says "thank you!!" in a high-pitched voice and all the dancers surround her, hugging her tightly.




Image



Last edited by Mister X on Mon Jan 27, 2020 12:24 pm, edited 3 times in total.

User avatar
Missus X
Spokesperson
 
Posts: 133
Founded: Jun 02, 2014
Right-wing Utopia

Postby Missus X » Tue Jan 14, 2020 6:00 pm



Rick Leg stands on the stage singing.

The lights flash.

To be arranged, to be arranged
'Cause I forgot to write a song
To be arranged, to be arranged
'Cause I forgot to write a song
Forgotten, forgotten,
Yes, I forgot to write a song
Forgotten, forgotten,
Yes, I forgot to write a song


Dancing meatballs come onto the stage.

I didn't write a song for this Worldvizh edition
So here's some lyrics that kinda fit the beat
If you play this tune back the OG lyrics are better
And I must apologise for putting you through it


Rick Leg starts biting himself as punishment for not writing a song

I bite me, I like me, do something else now to me
'Cause I have forgotten what I'm doing here
I need to focus on finishing the RP
For Mister X but I don't want to be DSQed
So here's some lyrics that could have been much better
Cause this tune has a lot of meme potential obviously


Then the dancers so something

I think this song is not too bad
And I used to sing it at school
I don't know why really
Generation XXL


The lights flash

The camera moves

The performers do something

To be arranged, to be arranged
'Cause I forgot to write a song
To be arranged, to be arranged
'Cause I forgot to write a song
Forgotten, forgotten,
Yes, I forgot to write a song
Forgotten, forgotten,
Yes, I forgot to write a song


bwoah

"Would you like fries with that?"

Is what the


meh

dropouts from school in the early 00s
would have to learn how to say
honestly it should be in the gcse exams or something
because if you're working at a counter you kinda need to grasp

the basic concepts of
hopsitality, tee tee


chorus time

To be arranged, to be arranged
'Cause I forgot to write a song
To be arranged, to be arranged
'Cause I forgot to write a song
Forgotten, forgotten,
Yes, I forgot to write a song
Forgotten, forgotten,
Yes, I forgot to write a song


Here comes the dance break again so all the various animals on stage do some dancing

I love fried chicken


And now the middle 8

Eight
Ooh ooh (etc)
It's the middle 8
It's the middle 8
The 8


post middle 8 pre chorus bit repeated from earlier on

I think this song is not too bad
And I used to sing it at school
I don't know why really
Generation XXL


For the final chorus, Rick sets fire to the stage

To be arranged, to be arranged
'Cause I forgot to write a song
To be arranged, to be arranged
'Cause I forgot to write a song
Forgotten, forgotten,
Yes, I forgot to write a song
Forgotten, forgotten,
Yes, I forgot to write a song

To be arranged, to be arranged
'Cause I forgot to write a song
To be arranged, to be arranged
'Cause I forgot to write a song
Forgotten, forgotten,
Yes, I forgot to write a song
Forgotten, forgotten,
Yes, I forgot to write a song


Actually that was more of an actual song than I thought it would be




Image



Last edited by Missus X on Mon Jan 27, 2020 12:38 pm, edited 3 times in total.

User avatar
Polkopia
Minister
 
Posts: 2631
Founded: Jun 06, 2011
Iron Fist Consumerists

Postby Polkopia » Tue Jan 14, 2020 10:23 pm

13. Polkopia


Stefan ft. Alexandra - Drink To That
Tune: Tiësto, Mabel - God Is A Dancer


Stefanio Somonovskiy was born in Peeto, Polkopia, to Anton Somonovskiy - a piano teacher and classical musician, and Mariya Povolovna - a guitarist and a schoolteacher. At the young age of five, he began playing the guitar and at ten, the piano. He attended a public school located along the outskirts of the metropolitan area of Peeto, where he started the band, Melomatic, where he and his bandmates/schoolmates played in several of the school's main functions. Upon graduating, Stefanio never remained in one city for too long but instead chose to rent apartments in several of Polkopia's larger cities in order to explore the music scene. He eventually settled in Dovgorodia at the age of 21 and participated in several remixing competitions around the city, winning 2 of them when he was 22. During this time, he produced several remixes of Polkopia's most prominent artists of the time, which included Mirela Santana and Martin Tyvin - both of whom had participated at Worldvision in the past. In fact, one of Stefanio's most well-known songs of his early career is his remix of Miracola, which was Polkopia's entry at the 64th edition of Worldvision. Now, since he was starting to make a name for himself, he changed his stage name to Stefan and was hired as a DJ at one of Dovgorodia's most popular nightclubs, where he remained for four years. Afterward, he was invited to play at several concerts around the country, where he opened for Elise Grace - Polkopia's most popular artist of the time, and soon after his success soared. His original song, Vanity, peaked at #3 on Polkopian charts and remained in the Top 10 for several months after its original release. A year after, he signed with Timeless Record Company, a record company jointly founded by Worldvision alumni Anna Viktoreevna and Sergey Borisčev, where he mentored under Gregori Vakschuk, who wrote Polkopia's winning entry for the 75th edition of Worldvision. After a year of rebranding himself in order to evolve alongside Polkopia's ever-changing music scene, Stefan collaborated with the up-and-coming artist Alexandra in order to release the song, Drink To That, which would eventually represent Polkopia at the 79th Worldvision Song Contest in Talvezout.

Alekzandra Vakschuk was born in Valinkova, Polkopia. She has one older brother and is the daughter of one of Polkopia's most prominent songwriters, Gregori Vakschuk, and his wife - Branka Ionesca, who is the founder of a popular coffee shop chain in Valinkova, Coffeeccino. Vakschuk grew up in the affluent Čipčak neighborhood, located in the northeast section of Valinkova. Because of the proximity of the coast to her childhood home, Vakschuk spent a lot of her childhood on her parents' boat and visiting some of the harbor islands just off of mainland Polkopia. She describes her childhood as being "very protected" and her family as "pretty posh". Attending a private school within her neighborhood, Vakschuk excelled in social sciences at school and grew particularly fond of literature, writing poetry and short stories. In an interview with the PNB, Vakschuk reported that she grew so attached to literature due to her childhood desire of always being somewhere else, and her literature allowed her to do that in some capacity. Upon graduating high school, she enrolled in an academy for the arts and sciences, where she studied music theory. Her father's position allowed for an internship which subsequently grew into a full-time job upon graduation, at which point she assumed the role of a producer for her father's company. After a year of this, Vakschuk released her debut single Tainted with the stage name "Alexandra." Initially, the song didn't prove to be as successful as Alexandra might have hoped, but her follow-up single, which was the song where she and Stefan were to collaborate together for, brought her immense success and lifted her career to new heights. Her collaboration with Stefan was due to her father's suggestion that the correct partnership of an established songwriter with a relatively unknown one was a risk worth taking for the both of them, and in this case, the risk was well worth it.

Initially, the songwriting process was rocky and progress was very slow. The two disagreed about the music style regarding their collaboration - Alexandra preferred a beat more suited for the pop and growing EDM scene in Polkopia, whereas Stefan preferred to experiment with piano and more classical sounds in his song. With pressure from the record company, Stefan lost this battle, however he and Timeless came to the compromise that Stefan was to have the final say regarding the lyrical content of this project. The progress here was so slow that their finished product was submitted only a couple hours before the deadline for submissions at the Landa vy Polkopiya. Despite butting heads at the start, Stefan and Alexandra proved to be more than compatible with their vision for the song's performance. The biggest issue regarding the performance was the dancing and choreography - Alexandra wasn't a dancer. Be that as it may, Alexandra worked with Sergey Borisčev himself who, prior to his performance in Achaea, was faced with the same problem as Alexandrea. Sergey worked with her personally and hired the same dancing coach he used when he prepared for his first live performance of Praktika. After weeks and weeks of intense training, Alexandra finally found herself capable of delivering a strong performance that included choreography as well as vocals. At the first semi-final at the Landa vy Polkopiya - the main focus was to be Alexandra of course, as she was the main singer and the song in a way was to help launch Alexandra's career domestically and/or internationally. Stefan was to be off to the side, behind a mixing station, where he would apply lighting effects to the performance in real-time. The result was an incredible success, as the duo's song advanced to the Grand Final - albeit by Wildcard, and eventually won the entire competition, making this the second time in the contest's history where a song that advanced to the Grand Final through the Wildcard spot ended up winning and representing Polkopia at Worldvision.




The performance started moments after the Polkopian postcard was shown in the Campo B and all around the arena, Worldvision fans were heard cheering in anticipation for the next song, with the Polkopian fans being the loudest group of them all. Drink To That was a huge hit in Polkopia already, and Polkopians had been eagerly awaiting this moment since the duo won the Landa vy Polkopiya a few months prior to Worldvision. Now was the moment every Polkopian was waiting for, and Stefan and Alexandra would do everything they could in order to make their country proud. The stage started with a frontal view of the top half of the LED screen, but the camera quickly moved down toward Alexandra as she started signing. The LED screen showed bright golden lights in a mosaic pattern, yet no spotlight illuminated Alexandra as she walked forward. All that was visible on stage at the moment was Alexandra's silhouette slowly walking forward, while her voice echoed throughout the arena.

Like the stars I'll be shining
I thought that you'd already know
Shouldn't come as surprising
But I won't do it all alone.

Now my vision's gone hazy
And it's not 'cause I'm lazy
Oh yeah, oh yeah, oh yea oh yea.


A spotlight finally illuminated Alexandra, resulting in a small wave of cheers from the crowd. Her long, black hair fell over her shoulders in waves and had been dampened prior to the performance in order to add an entry sultry feel to the performance. She wore a black bodysuit with thin straps over the shoulders, with thin lines of fabric covering her cleavage area, tight-fitting blue jean shorts. Her shoes took the shape of 3-inch heels and her face was covered in makeup, most notable was the heavy black mascara and golden eyeshadow, with small rhinestones dotting her face near the wings of her eyes.

Wanna lose all your senses
Gonna give up all control.
When you're feeling this tension
When you just let go yeah.
Oh yeah, oh yeah, oh yea oh yea.
Better go better watch me.
Oh yeah, oh yeah, oh yea oh yea.


At the sound of the chorus, other lights illuminated the rest of the stage in intervals of three. On the third count, the entire stage had been revealed and the backup dancers (four in total) had all been illuminated by the lights. Once they were illuminated, they meandered toward the center, where Alexandra was singing, and all of them - including Alexandra, started to dance. These dances were relatively basic in nature, but were insanely catchy and fit perfectly with the rhythm of the song. Most of the dances involved thrusting the left arm to the chest, then the right arm, and then the left arm again, spinning, a hair flip, and then stepping to the side in increments of 3 - again, to fit with the beat of the song. During the last two lines, all of them rolled their bodies to the left, and then to the right.

Just drink 'em one, two, three
When you're coming onto me.
I got that special thing
Leave you begging on your knees
And count 'em one, two, three
Drinks tonight are all on me.
We got that oh na na na na na
We got that oh na na na na na


The camera zoomed in on Alexandra quickly and she cocked her head and winked as she sang the last part. She then "slapped the camera" and it rapidly spun around in order to transition to the next verse.

We got that,
Ice on my neck now and I'll show you all how I'm feeling now.


The spinning camera soon focused on Alexandra again and she walked down the catwalk. At some parts of the verse, she extended her free hand toward members of the audience and graced their outstretched arms with her fingertips, but she kept walking, channeling all the sass and ferocity she could, while still maintaining a friendly, likable demeanor when she looked at the crowd on either side of her.

Body on ten but boys I
I ain't gonna give it to you.
Mm yeah, mm yeah mm yeah, mm yeah
We'll keep on drinking, we'll keep on dancing
Yeah, time to yeah, keep that pace
Mm yeah mm yeah


The dancers had all followed Alexandra down the runway and here, with Alexandra at the very end of the catwalk, they repeated the same choreography as before, although they were more spread out at this instance than when they performed it the first time. Toward the end of the second part of the chorus, the dancers all walked up to Alexandra and stood behind her.

Just drink 'em one, two, three
When you're coming onto me.
I got that special thing
Leave you begging on your knees.
And count 'em one, two, three
Drinks tonight are all on me.
We got that oh na na na na na
We got that oh na na na na na

Just drink 'em one, two, three
When you're coming onto me.
I got that special thing
Leave you begging on your knees.
And count 'em one, two, three
Drinks tonight are all on me.
We got that oh na na na na na
We got that oh na na na na na


With the dancers behind her, Alexandra moved her hips and sank to the ground while the other dancers remained perfectly still during this part.

Won't you drink 'em down one, two, three
Won't you drink 'em down one, two, three, boy?
You're not coming home with me
You're not coming home with me, boy.
Won't you drink 'em down one, two, three
Won't you drink 'em down one, two, three, boy?
You're not coming home with me
You're not coming home with me, boy.


Here, Alexandra crawled forward toward the camera. sat down, rolled over, and looked up toward the ceiling, where, at this point, the camera showed an aerial view of the stage and Alexandra. At the end of the breakdown, however, Alexandrea stood up and repeated the same body rolls she had done many times throughout the performance.

Like the stars I'll be shining
I thought that you'd already know
Shouldn't come as surprising
But I won't do it all alone.
Vision's gone hazy
Not 'cause I'm lazy
Ooh na na na na na
We got that ooh na na na na na...


Alexandra punched the air and the dancers all broke up and headed toward the back of the stage. Alexandra walked down the runway in the same fashion as she had done the first time, before joining her dancers at the back of the stage, where they repeated the choreography one more time before the song's end.

Just drink 'em one, two, three
When you're coming onto me.
I got that special thing
Leave you begging on your knees.
And count 'em one, two, three
Drinks tonight are all on me.
We got that oh na na na na na
We got that oh na na na na na

Just drink 'em one, two, three
When you're coming onto me.
I got that special thing
Leave you begging on your knees.
And count 'em one, two, three
Drinks tonight are all on me.
We got that oh na na na na na
We got that oh na na na na na

Won't you drink 'em down one, two, three
Won't you drink 'em down one, two, three, boy?


"Thank you Phoda! Thank you world!" Alexandra shouted before hugging her dancers and exiting the stage.
Last edited by Polkopia on Mon Jan 27, 2020 11:54 am, edited 17 times in total.
Anthem (Instrumental) Factbook Embassy
Check out the Polkopian Premier League

1st place: 8 Times (WV25, WV30, WV35 WV39, WV44, WV48, WV50, WV75)
2nd place: 2 Times (WV26, WV34)
3rd place (8 Times: WV27, WV31, WV32, WV37, WV54, WV59, WV70, WV72)

User avatar
Proluvia
Secretary
 
Posts: 36
Founded: Feb 28, 2016
Civil Rights Lovefest

Postby Proluvia » Thu Jan 16, 2020 4:31 am

Entry No.14: PROLUVIA
¡No pasarán!
Timberwolves
Based on: Ang Katulad Mong Walang Katulad by Orange and Lemons


Last edited by Proluvia on Thu Jan 16, 2020 5:29 am, edited 1 time in total.
Nekoni's bit on the side.

User avatar
Achaean Republic
Spokesperson
 
Posts: 111
Founded: May 26, 2019
Left-Leaning College State

Postby Achaean Republic » Thu Jan 16, 2020 7:29 pm

15| Achaean Republic
P.P. Galore - “Sabrosa”
Tune: Gloria Groove-Coisa Boa
Music & Lyrics: Lydia Greene, P.P. Galore, Szionne


Image


Tomás Pérez Jiménez always knew he was gay. His gayness wasn’t that big of a deal as he grew up in the city of Taladega in Nueva Galicia. The remote fishing community located a few hours’ drive from Pontevedra de la Acaya was always welcoming to its fellow residents and tourists. And yes, many in the small community knew that Tomás was gay. They suspected it whenever he whistled show tunes as he played hopscotch with the fishermen’s little cousin. They suspected it when his mother, tired after a two-hour bus commute from her poorly-paid nursing job in Os Pinos to catch him with her knee-high party heels and covered with cheap drugstore makeup. They knew it in his mannerisms and somewhat cheerful, yet oddly torturous, designs. Children in Taladega teased and bullied him, yes, but then they got bored at the end of the day and moved on to the next target. Nobody––at least, not in his face––cared about Tomás’ gayness in Taladega, more so when Achaean society slowly started to embrace its LGBTQ+ community (albeit with certain restrictions and reservations) and began coming out, so to speak, in the nation’s wider culture.

Tomás’s mother, Narcisa, knew that he was gay. It was the reason why she left her drunkard husband Jack, who once swore on his grave to kill any son of his were her to turn gay. She always prayed every morning that Tomás would be safe from harm, and she always prayed every night that Tomás would not lead himself into harm. She loved her only child even if her countenance was filled with a dignified sense of disappointment: She would never see Tomás marry (same-sex marriage was not legalized in Achaea until 2016). She would never have grandchildren (same-sex adoptions was not legalized until 2016 as well). She would have to suffer the judgment of the world when she saw her son, her only son, the one she loved, the way her husband left her when he learned of Tomás’ sexuality (although he was a drunkard, a wife-beater, and also a womanizer). But Narcisa kept supporting Tomás through her own pain, selfish as it may be.

Until she died of cancer when Tomás was 16. Then, the Novogalician teen was picked up by his grandparents and whisked away to Pontevedra de la Acaya, a smaller city two hours in the state’s interior, where the tacit acceptance of Taladega gave way to pure condescension masked with worry from his neighbors, colleagues, and peers. The traumatic shock of losing her mother, coupled with the sudden change of home and the harshness of its people, shocked Tomás into a deep depression that couldn’t be simply prayed away. He deeply considered slitting his wrists every time he took a bath to school––when he would simply show up to school, anyway, as his grandparents were too busy managing their endless medical appointments to simply afford attention to Tomás. He could only think of his mother, his friends, his life in Taladega against the cold, hard, wet prick of the razor on his forearm, only to think of ending it all––or at least, taking fifteen minutes away from his pain.

One of his new school friends invited Tomás to a drag show in nearby Oquendo to see hair-whipping drag sensation Xereca Panoxa, who was retiring from performing due to her advancing AIDS. The one-subversive sensation, now a wasted shell of a woman due to disease, was shaking her frail body as if she never struggled to keep her choreography––and her designer wigs––in place as she moved to classic drag staples. For a brief moment, Tomás forgot his misery and was transfixed into Xereca’s sultry movements and exotic hair whips as she commanded everyone’s attention. And, for the first time in forever, Tomás finally felt like he found a purpose for his pain: drag.

He craftily stole his grandmother’s old, discarded dresses and broken shoes to practice in his room, throwing himself awkward pictures in his Polaroid and burning them after. He also discovered his mother’s stash of crusty makeup to practice the exaggerated contours on his face, trying to make his masculine complexion look more feminine and exaggerated. He had no wigs like Xereca Panocha’s, but he practiced gluing his head to a black-dyed mop with hilariously in order to practice hair whipping, with painfully hilarious results. He even stole a name, Pussy Galore, in honor of the legendary Bond girl his grandfather used to ogle every time he turned on the TV. Pussy was his creation, his confidante and alter ego, one that would bring him so much success.

Renamed Pussy Pupaul Galore (by a copyright suggestion from AS1), in her twenty-year drag career he has been invited to more than thirty countries, performed in numerous Pride festivals in both Achaea and beyond (with a standing invitation to potentially headline Polkopia’s very first Pride parade), endorsed products and created an influencer brand for herself (she prefers to use female pronouns when in drag), and rumored to have received an invitation to compete in Rupaul’s Drag Race as Achaea’s very first drag queen. By queer standards, P.P. Galore is as mainstream a queen as they come––which is why her being selected by AS1 again to perform in WorldVision was not a surprise to the Achaean public. She was initially reluctant to compete in the national final despite her good previous results; however, encouraged by her adoring Achaean fans, she accepted to represent Achaea with a song dedicated to a celebration of her own freedom.
________________________________________________________________________________________________________________________________________
As the Achaean postcard comes to an end, the top cameras focus on Campo A and register the cheers of the crowd for the next entry, more so the always-rowdy and rambunctious Achaeans cheering on for their entry. Another camera shot from the crowd has a mixture of Polkopian flags, Talvezian flags, Axuvan flags, and of course Achaean flags, some modified with the ubiquitous Pride flag.

The camera returns to the stage, colored with the green-red-blue colors of the Achaean flag. P.P. Galore is dressed up with a fringe bodysuit embedded with thousands of Swarovski crystals, carefully painted as black rhinestones. The bodysuit also has bejeweled golden fringes on her shoulder pads and criss-crossing thigh-high stockings. She is wearing a synthetic lace front pastel blonde wig she bought from a local Corola weave shop, one where she bargained for 30 corcinos ($54 USD) when she should’ve paid 50 corcinos ($90 USD) because she discovered it had some defective partings where there should’ve been hair. She carefully coiffed and cared for the weave, and brought it all the way to Phoda because she felt very comfortable with it––it was, as Tomás would say, P.P’s lucky weave. Completing her look was a list of assorted (fake) golden rings she bought from a dollar store, a few tchotkes and brooches she bought from a thrift shop in Taladega, and knee-high faux suede heeled boots that made her look like a powerful drag dominatrix while stomping on stage, but made her feet very sweaty after performing, so she only wear them for two numbers at most.

Behind her, five performers––all men, two in drag, and two in “butch femme queen realness” mode––are voguing, splitting, and strutting in high heels. At the beginning of the song, the camera focuses on them and PP Galore in a quick V-formation.

PP Galore

Convencí a mis amigas pa’ divertirse también
I convinced my girlfriends to have fun, too

Saben que a ellas les gusta ir a joder y beber
They know they all like to drink and have fun

Hoy a nadie nos detiene a hacer cosas indecentes
Tonight nobody’s stopping us to do indecent things

A mí no me importa nada, que se entere bien la gente
I don’t care about anything, let people know about it


A wide pan of the camera reveals that the LED arch has been transformed into speakerphones and PP Galore appears to be lost in a sea of waving flags and cheering crowds. In the bridge of the song, another camera angle to the right where PP is seen walking towards the catwalk and the backup dancers and drag queens behind her bending and twisting their bodies to the beat of the song––oddly enough, without missing the beat.

A mis e-nemigas
To my e-nemies

Que luchan y estrillan
Let them fight and get cross

Hoy estoy atrevida
I’m feeling bolder tonight


A low camera angle has the two “butch" dancers quickly pick up their Nerf guns from the floor. They “cock" them (or at least make a sound similar to that) and shoot them in the air when the first verse of the chorus starts. Rainbow confetti comes out of the air, which has the drag queen dancers whine to the floor and to the camera at the same time. The “butch" dancers keep voguing at the same time PP Galore feverishly interacts with the rowdy audience, all the while keeping the pace of the music and showcasing her steps without looking too rehearsed and keeping her makeup intact. While she didn’t learn those skills from watching just Xereca Panoxa, but she does attempt to look good while following them.

Y estoy sabrosa
And I’m so tasty

Todos se detienen a esperar, bien deliciosa
Everybody stops and waits, I’m so delicious

que mueva mi coolant de arriba a abajo, gozosa
I’m moving my coolant from top to bottom, I’m so joyous

Tengo más que nadie la osadía, peligrosa
I’m more daring than anybody, I’m so dangerous


As the beat continues, the crowd grows hyped––especially the Achaean fans on the ground––and PP continues to keep the pace of the music surrounding her. Some of her dancers were doing death drops, back flips, voguing, and fabulously interacting with the crowd. PP Galore continues to strut her body to the floating platform.

He never said it out loud, but Tomás is deathly afraid of heights since that little incident in a Corola nightclub he refuses to speak about to this day. P.P. Galore, her alter ego, unfortunately carried over that fear. It’s a fear that Tomás carries within him and is forced to interact with on a constant basis whenever PP has to perform on multi-stored nightclubs or even a long stairwell where she has to go up and down the stairs to perform. This time, as the floating platform is raised above the heads of the crowd, PP is heavily breathing but feigning ignorance of her fear, putting her professionalism––and the pride of the Achaean Republic––into her flawless rap performance, dancing and waving to the crowd while two dancers join her in on the stage and the two drag queens on the platform. Without harnesses.

Soy artillería, pistola de bala
I’m heavy artillery, pistols and bullets

Bailando en la pista, bien arrebatada
Dancing on the floor, carried away

Ella corre, ella grita, ella bebe en la cara
She runs, she screams, she drinks through her mouth

te insulta y te dice tú sal de mi casa
She insults and says, “You! Leave my home!"

no la agitan, no la estiran,ella es me-tralla fina
Don’t piss her off, don’t stretch her, she is a divine machine gun

Ni la paren, ni la viran, se somete a la pista
Don’t stop her, don’t twist her, she submits to the dancer floor

Ella es chapiadora divina
She’s a holy gold digger

Le gusta gozarse de la vida
She likes to enjoy life

Calentura de esquina a esquina
Heat coming from corner to corner

Le gusta jugar con plasticina
She likes to play with plasticine

Se divierte de principio a fín
She has fun from beginning to end

¿Tú crees que ella no va a permitir
You’d think she will never allow

que le den un poco de Bailey’s vacilando
that they not giver a bit of Bailey’s to have fun

El mundo pensando y nosotras aquí?
The world is thinking, and we’re still here?


Once again wide pan of the camera reveals that the LED arch below PP and the dancers have been transformed into speakerphones. Instead of being lost in a sea of waving flags and cheering crowds, PP appears resolute despite her acrophobia. In the bridge of the song, a quick wide pan of Campo B shows PP Galore on the raised platform singing and dancing, with her backup queens. Another quick camera angle has the crowd below her looking intently at the sky, waving at her, cheering her on with shouts of "Yas, Queen!" and "Dale, Bicha!" ("Go, Bitch!"). Still another camera angle has PP looking resolutely and intently at the camera, clutching her microphone for dear life––and looking fabulous in the process.

A mis e-nemigas
To my e-nemies

Que luchan y estrillan
Let them fight and get cross

Hoy estoy atrevida
I’m feeling bolder tonight


As the floating platform slowly descends to the beat of the music, PP Galore and her dancers continue to shake their bodies to the beat of the music. Below the floating platform in a wide pan of the Campo B arena, fireworks rain down from all four sides. The sides of the long runway on the stage behind her also start shooting fireworks to the air. The femme dancers are dancing to the catchy funk carioca beat that has become popular in Achaean nightclubs, be it gay or straight. Before saying the final line, PP places herself backwards to the camera, places her hand in her hip, and declares:

Y estoy sabrosa
And I’m so tasty

Todos se detienen a esperar, bien deliciosa
Everybody stops and waits, I’m so delicious

que mueva mi coolant de arriba a abajo, gozosa
I’m moving my coolant from top to bottom, I’m so joyous

Tengo más que nadie la osadía, peligrosa
I’m more daring than anybody, I’m so dangerous


A long camera shot of the stage reveals how fireworks spout in all directions for one final time to the beat of her words. The crowd immediately cheers, more so the proudly flag-waving Achaeans that are faintly audible in the Campo B crowd. They hug PP, and they hug each other while waving an Achaean flag modified with the Pride flag.

Y estoy sabrosa
And I’m so tasty


“Gracias, Phoda! Thank You!” PP Galore shouts to the crowd while waving her hands. Before she leaves the stage, proud of her performance, she almost trips with her boots.
Last edited by Achaean Republic on Sun Jan 26, 2020 7:53 pm, edited 5 times in total.

User avatar
Ertzei Kishim
Secretary
 
Posts: 30
Founded: Aug 12, 2019
Inoffensive Centrist Democracy

Postby Ertzei Kishim » Fri Jan 17, 2020 9:02 am

. : 16 - Ertzei Kishim - أراضي الكيش - ארצי כישים : .
Camila Benjaminez & Naobi - Energy
كاميلى بنخامينز ونايوبي - طاقة | קמילה בנחמינז ונעבי - אנרגיה

Language: English, Hebrew

To the Tune Of - IZA, Ciara, Major Lazer - Evapora


Concept: The singers are playing two characters in the song. Both of them are dating the same guy, however on an unspecified night, one girl sees the other dancing with the guy. She doesn't get angry however because she is mesmerised by the dancing of the other woman, and the woman dancing with their menses notices the girl back. The implication of the song is that they don't need this two-timing man, and maybe the energy between them is stronger, so perhaps exploring it isn't a bad idea.

The participation of Camila Benjaminez and Naobi in Kdam was something of a coup. Naobi has been for a long time a chart topper and the front-runner in the Ethiopian pop culture market in Ertzei Kishim. Her timeless beauty and musical prowess had already landed her two number one albums, in addition to a number of presenting gigs at rival network SHAM, as well as fronting a beauty campaign for L'Oreal in Ertzei Kishim. Camila was a member of the small, but growing Latinx-Jewish community in Ertzei Kishim, hailing from the Achaean Republic, she arrived in Ertzei Kishim just 5 years prior. If Naobi was already a star, then Camila was a star on the rise, also breaking into a number of high charting musical avenues, mainly through features, but had certainly began to make a name for herself with her natural rhythm and latin flair. Thus, their participation sent interested murmurs throughout Ertzei Kishim as to what their song would be. They had the unique distinction of not receiving a single top mark from the international jury, and yet won through sheer consistency of finishing second in almost every vote. In the end, their lead was sizeable enough that late jury votes did not manage to change the result (once again, placing the duo in second place). There was an air of acceptance that, as demonstrated by the international juries, they would not win, but the delegation at HARESHET predicted a good amount of middle-ground points, certainly enough to get a foot in the door of the top ten. The song itself was pop, with some latin elements, but certainly had a mainstream focus. It was also extremely quick, just over two minutes long. This was considered a risk, and the more shallow lyrical content may have been criticised by the international juries. The reasoning behind this as explained by Camila, was that it assisted in creating this explosive sound and atmosphere. Many World-fans would know beforehand that they only had a small window to enjoy it, and so they hoped that energy would be transmitted onto the stage.

Both Naobi and Camila are standing in the middle of the stage, back to back. They are both wearing outfits like so, however Naobi's is inverted so that the body is gold and the mask is silver. Camila was to start the song, then Naobi would take the middle chunk, before Camila closed. They were both wearing head microphones that were hidden by the masks, giving a sleeker effect. As the opening notes of the song rang out, the stage flushed into colours, pinks, greens, reds, oranges and yellows - a tropical combination. This flush of colour along with the opening notes caused the audience to cheer loudly. A backing singer from the side of the stage opened with the first riff, before Camila took a breath and sang her first WorldVision notes.

Tell me why I need to be sorry
When the rhythm is so right
If you felt that human energy
Habibti passion at first sight
I listen for when you come
Don’t turn away, I know you want it
Say what you like, but you can’t deny
The grind and the rhythm of his body on mine!


While Camila sang, they both turned to each other and looked each other seductively in the eye. The stage split into two colours, pink on one side with blues and greens flashing through, and red on the other, with orange and yellow, corresponding to the side which Naobi and Camila were standing. They began to engage in what looks to be a dance battle, both performing an individual and sexualised dance routine for a few moments, before waiting for the other to do the same. This of course was more challenging for Camila, however Naobi was providing intermittent riffs and vocals to add texture to the display. The backing singer off stage also strengthened the vocal for when it wavered slightly.

You don't even speak my language
את שפתי את לא ממש מבינה

And you're not defining the limits
ואת הגבולות את לא מגדירה

So you're not denying that we have
שיש לנו את לא מכחישה

A type of energy?
?איזה סוג של אנרגיה

Move close to me
אליי זוזי יותר קרובה

I'm feeling so damn eager
אני מרגישה מה זה להוטה

No I never felt so alive
לא הרגשתי מה זה חיה

Because we have such an energy
כי יש לנו איזה אנרגיה


Ay ay ay ay ayyy x2

Et sfati at lo mamash mevinah
V'et hagvulot, at lo magdirah
Sheyesh lanu at lo mak'khishah
Eizeh sug shel energiah
Alayy zuzi yoter krovah
Ani margishah mah zeh lehutah
Lo hirgashti mah zeh hayah
Ki yesh lanu eizeh energiah


For the chorus they got extremely close, almost facing off against each other. The camera zoomed in to their eyes looking at each other, the emotions they were expressing went from rage, to passion, to excitement... it was really too hard to tell. As Naobi sung the chorus, Camila circled around her, dancing on Naobi who widened her gate and stood firm in the middle. Camila came to the front of Naobi and dropped it low, twerking on her while she finished the last parts of the chorus. Before the beat dropped, Naobi grabbed Camila lightly by the chin and brought her up to her face, almost like they would kiss. As Camila reached her face, the beat dropped and they immediately separated, performing a dance which involved extending their arms in the air and shaking their asses as they moved to the side.

When I walked into the dancefloor
Every step my heart beating
And when I saw you together
How could I look away?
Your body, the motion
The rhythm causing commotion
Slow bite on my lips with his hands on your hips
I have nothing to forgive!


Naobi continued for the next part, and marched straight down the runway part of the stage, next to the audience. She did not actively engage with them, but maintained a high energy dance routine which was both appropriate and engaging. At one moment, Camila came up and leaned against Naobi, rubbing her body on her and closing her eyes as if she was relaxing, or potentially feeling some kind of pleasure from the interaction. At the end of the verse, they both drop to their knees, and then begin crawling towards the front of the stage again, in a slow and deliberate manner. First they are side-by-side, and the camera moves from one to the other, their eyes almost primal, and the cinematography itself also works like in a fast paced animal documentary.

I am not blaming you
אני לא מאשימה אותך

He's pretty handsome for a guy
הוא די חתיך לבחור

You aren't denying that we have
שיש לנו את לא מכחישה

A type of energy?
?איזה סוג של אנרגיה

We will laugh about this tomorrow
נצחק עליו מחר

So move your focus to me
אז אליי תזיזי את פוקוסך

Forget all about him
תשכחי עליו לגמרי

Because we really have such an energy
כי ממש יש לנו איזה אנרגיה

Ay ay ay ayyy x2

Ani lo ma'ashimah otakh
Hu dei khatikh leb'khor
Sheyesh lanhu at lo mak'khishah
Eizeh sug shel energiah
Nitzkhak alav makhar
Az alai tazizi et fokusekh
Tishkakhi alav legamrei
Ki mamash yesh lanu eizeh energiah


For the first part of the last chorus, Camila crawls to one side of the runway, with Naobi behind her, in an almost pouncing manner, they both jump up, dancing on one another as Naobi goes in front to move side to side while squatting, while Camila moves the opposite way while standing. They then separate while doing a dance which emphasises their hip thrusting motion, which they do while also moving on an axis 360 degrees. As they sing the last part of the song, they come back together back to back as they started, lifting their heads up they sing the last line of the song together in English, except for the Hebrew translation of "energy".

So move your body upon mine, and don't deny this 'Energiah'


With the conclusion of the song, the crowd in Talvezout goes wild for the performance. It was certainly popular with the audience, and the sexualised nature was bound to get some hearts racing at home. They both shouted their thanks to the audience, to Talvezout and to the viewers at home, before jogging off the stage for the next act to set up. As far as they were concerned, this was a job well done.
Last edited by Ertzei Kishim on Sun Jan 26, 2020 4:41 pm, edited 4 times in total.

User avatar
Nekoni
Diplomat
 
Posts: 680
Founded: Jan 29, 2013
New York Times Democracy

Postby Nekoni » Fri Jan 17, 2020 9:48 am

Entry No.17: NEKONI
Wonderful Night
Donkkaseau
Based on: Everybody Jump Around (OST Version)...except it isn't by Hideki Naganuma...except it also isn't

Donkkaseau. The self-proclaimed 'oldest man in hip-hop' (he's 41, but don't tell him). Starting in 1997, and with noticeably more hair at the time, he can certainly lay claim to being one of the most recognised artists in the country, although it seems to be more down to his polpularity in the late 2010s being more ironic than out of any particular talent reason. He doesn't mind, though. It pays the bills, and the public still at least knew him. It appears that the appeal of the act is that he's actually believing he's not a novelty act, although given that his previous work is 90% covers of songs that should absolutely not be in any self-respecting club's playlist and was more suited to children's parties and crap weddings, surely someone must have let him known the truth by now.

It felt almost like fate that he was going to end up in the WorldVision. Nekoni's entries the last few times ended up being a bit tongue-in-cheek, especially considering last time's vomit-festival. However, NTR had wisened up to this, and specifically told their entry that no alcohol was going to be allowed within a mile of the main stage. It certainly meant that the entry would be easier to stomach, but would it be memorable?

Image



The song begins with a large screen appearing at center stage, with a small set of stairs leading down in front of it. The screen has a projected video of what appears to be a very grainy 70s-esque video of a close up of a woman's hand placing a record on a gramaphone, and setting it into motion. Upon the scratches, the video rewinds and fast-forwards in time. The shaky video continues, with her words being written on screen in an agreeably-drab old-style font.

When the main bass comes in, the video cuts to what appears to be washed-out footage of a carnival on a Latin America-esque street. On the right note of the first verse, Donk (we're calling him Donk) launches himself through the screen, bursting it. He sings as he walks down the central stairs and out onto the stage proper. He is dressed in a white suit, burgundy shirt with slightly too many buttons undone, and a white panama hat with a black band, in a foolish attempt to convince people that he still has hair.

As he continues, twenty-or-so more people come through the screen, and fan out across the stage, a pretty diverse range of ages, genders and races across the board. They are all dressed as one would expect for a Miami-esque summer street party; pastel colours everywhere, some of them have beads, flower leis, carnival masks, etc. They're all dancing, but not in any particularly specific way, the sort of thing you'd expect in a crowd, each of them clearly enjoying themselves but nobody being deliberately conspicuous.

Open up your eyes
Start believing in the feeling that we got tonight, the rhythm's
Got a hold around my collar
The beat's pumping blood into my heart
And I don't wanna go nowhere


The camera during this part reveals that indeed we have employed an orchestra, namely the brass/rhythm sections to accentuate the mambo roots. Perez Prado was unavailable, on account of being very, very dead. The screen is wheeled off to reveal that a DJ is behind there who pretends to scratch. Of course, this man is over thirty years old, but at WorldVision, it will give the number a contemporary feel.

The heat's gonna take it to the street
The party's here, get off your seat
Soul's fizzed-up like champagne, smooth like tequila
Please fill up our glasses, we're gonna have a knees-up


One of the crowd breaks away from the pack, dressed in pastel pink, and she makes her way over to Donk, throws a lei over him, and hands him a drink. It's not alcoholic. Honest. We learnt from the last time. He takes the drink, as he saunters over to a jukebox (of course it's spraypainted that tacky sparkly gold colour), and on "drop it", he smacks the top of it in the style of a man who literally just saw Happy Days and thought Fonz is the personification of cool. This may not be method acting.

We're starting up and gonna tear this place apart
The block is shining just like a star
Any fine music is all good by me
So grab your best record and drop it


The chorus breaks in, and the jukebox appears to be joined by four more, with a couple more dancers, dressed in the same outfit as the last one, perform some weird routine in the foreground involving basically synchronised sliding. Clearly, the jukeboxes are on wheels, and also prop ones made out of polystyrene. If you sort of imagine them doing it with shopping trolleys, you're halfway there.

I'm gonna have a wonderful night tonight
I'm gonna get so high off the vibe
We're jumping up and down, just check your beer
'Cause everyboy knows just why we're here
The party's gonna go on all night long
And we're gonna dance 'til the break of dawn
And when the party's over, if you're in
We'll come on back tomorrow and start again


During the break, some of the troupe work their way to the front, in front of donk, and start pulling off some light late-80s-era breakdancing. Nothing mad, but amateur gymnastics level. Imagine trying to explain to the doctor that you broke your arm doing...this.

When, in the section that Donk will shamelessly call a 'rap break', the crowd have formed into about as much like a square as they can, and they all perform a simple synchronised dance routine that isn't too dissimilar to the bit in the music video for The Bad Touch by the Bloodhound Gang. Clearly Donk's trying to get it to catch on and become the latest dance craze in the discotheques. If this was 1995, he may have had a chance. Not now.

Jump in, crash out
This time we're coming out
Pop your collar, break a leg
Raise your cup and tilt your head
No rules, no debts, just one crazy night
Tonight's goinna be the best one of your life
Take a shot once, then take the drink twice
And if you drink any less, then we ain't doing it right!


Yes, there was a reference to drinking in there. No, he didn't tell the NTR staff. Someone's getting fined in the morning!

The next verse now has four more dancers, this time peach-and-gold jumpsuit-clad roller skaters performing a routine around Donk. One of them has a metal tray, and arrives in time for Donk to place the now empty cocktail glass on it. He isn't drunk. The dancers wish they were. There is some how over a minute of this madness left.

It's gonna be a wonderful night tonight
I'm gonna get so high off the vibe
We're jumping up and down, just check your beer
'Cause everyboy knows just why we're here
The party's gonna go on all night long
And we're gonna dance 'til the break of dawn
And when the party's over, if you're in
We'll come on back tomorrow and start again


During the break, Donk begins to walk to the front of the stage. He tries to work the crowd, yelling "Say yeah!", then trying to hide his embarassment when he points his microphone to the crowd and nobody calls back.

Just before the third chorus, Donk reaches the front of the stage, where there is a small turntable, decorated to look like a vinyl record, like the one that was playing in the intro. He steps on it, and during the section, it moves as he basically does a cross between rhythmic walking and dad dancing. He is in his forties, you know.

We're gonna have a wonderful night tonight
We're gonna get so high off the vibe
We're jumping up and down, just check your beer
'Cause everyboy knows just why we're here
The party's gonna go on all night long
And we're gonna dance 'til the break of dawn
And when the party's over, if you're in
We'll come on back tomorrow and start again


There's a goddamn balloon drop. Apparently the audience is five. The record has now stopped spinning because him falling over and breaking his neck might have been too much fun for one day.

I do, you do too
Lose ourselves in the gold and blue
You know it's true, I don't lie
This is gonna be a wonderful night


There's a last bit of general mass dancing to hide the fact that nobody has written any lyrics for the end. Donk tries the audience call-and-response. Noticeably one person in the audience yells "Yeah!" and the entire arena can feel his shame radiating.

At the end of the song, there's a single blast of pyro, the audience cheers as expected (because they'd rather be confused for 3 minutes than bored for 3 seconds), and they all go off on their merry way. The Nekoni commentator waffles off some bollocks about how "this is what WorldVision is all about", and a once-proud nation's dignity dies in a fire of holiday-camp-esque kitsch.
Last edited by Nekoni on Mon Jan 27, 2020 12:33 pm, edited 11 times in total.
29, Eurovision apologist, drunk.

User avatar
Talvezout
Senator
 
Posts: 4973
Founded: Oct 05, 2014
Left-wing Utopia

Postby Talvezout » Fri Jan 17, 2020 1:11 pm

Image


After Nekoni's entry was done, the camera would cut to Sunny Siracauso, who was standing on top of the floating platform over the audience.
Sunny Siracauso: Thank you to the rather interesting performance from Nekoni! We are now 17 entries in, but we still have quite a way to go. Phoda, how are you feeling?
The crowd roars and cheers with delight.
Sunny Siracauso: Seems like everyone's having fun then, no? Of course, please remember that we still have plenty of other events going on here tonight. Yetkarina Petrovina and Valerie Hasbro will be presenting the Worldvision Awards later on this evening, and TRT has planned an exciting interval act to entertain you while you vote. And of course, sprinkled throughout tonight with be some fun, bite-sized pieces of commentary, provided by yours truly.
The camera would cut to the audience cheering once more; before cutting back to Siracauso, the camera would linger on a fan holding a half Mister X, half Missus X flag.
Sunny Siracauso: Now, for some quick facts about this edition of the Worldvision Song Contest.
A medium sized screen would be hoisted down behind Siracauso; it would display relevant graphics and statistics for every bit of info she would talk about.
Sunny Siracauso: This edition marks Phoda's second time hosting the Worldvision Song Contest, as you all know. In addition, this is the fifth time that Talvezout has hosted the Worldvision Song Contest - we previously hosted it in 44, 48, 62, 70, and now 79. Thus, our tiny little island nation is now tied with Polkopia for hosting the most Worldvision Song Contests. This is also the 28th time Talvezout has competed in Worldvision, and so far we haven't gotten close to winning it in a long time. But of course, we will still keep on trying. Also, this marks my second time presenting the Worldvision Song Contest - I previously presenting Worldvision 70 with Ylfa Lloviendo, who cannot be here tonight. She is currently in Amuaplye conducting various charity outreach efforts after the nation suffered the 132nd bombing of this month. She did, however, leave a message for us.
A video of Ylfa Lloviendo, dressed in military fatigues and yet still looking gorgeous, would play. She would be in the middle of a bombed building, with various people sifting through the wreckage.
Ylfa Lloviendo: Hey everyone, I'm so sorry that I can't be there tonight. I'm busy over here in Amuaplye, but I'm sending you all my warmth and my love. And of course, Sunny, don't fuck it up.
The audience would laugh before applauding Lloviendo.
Ylfa Lloviendo: Now, even though I'm not over there in Phoda, I still have the honor of introducing the next entry. Everyone, please give a great round of applause to entry number 18, the host nation, Talvezout!
The audience would roar as the postcard for Talvezout would begin to play.
Last edited by Talvezout on Fri Jan 24, 2020 3:15 pm, edited 4 times in total.
hey check out my dispatches and factbooks!
Indonesia is flooding. Australia is on fire. The US is provoking war with Iran. The world entered 2020 in a global crisis. There is no other option than relentless solidarity, organizing and community building. We have no one else but each other.

User avatar
Talvezout
Senator
 
Posts: 4973
Founded: Oct 05, 2014
Left-wing Utopia

Postby Talvezout » Fri Jan 17, 2020 1:12 pm

Image
Image

When TRT announced that Sunny Siracauso was going to represent Talvezout at the 78th Worldvision Song Contest in Valletta, there was hope that she would finally help Talvezout land in the top 10. After all, Siracauso had competed in Worldvision thrice times before, placing respectably twice. She also had hosted Worldvision when Ylfa held it back in WVC70, so she was certainly no stranger to Worldvision, right? Those hopes were crushed when the actual contest came around - Siracauso suffered Talvezout's worst result since Worldvision 72, placing 19th in a field of 30 entries, and scrapping by with 42 points. The nation was despondent - if Siracauso couldn't do it, why bother? The people of Talvezout had gone through the same routine before multiple times - Talvezout does eh, they pick an artist that hypes up the populace (Helena Jiang Lee, Nina Alexandrian, Lorenzo), they do eh, rinse and repeat. The Worldvision community of Talvezout became pretty polarized - one group wanted to send entries in the more pop vein, while one group wanted to stick with Talvezout's eclectic blend of indie and ethnic, while one group wanted to withdraw all together.

The polarization only intensified when TRT announced - and won - their bid to host Worldvision 79. The broadcasting group had hoped that hosting the contest would help smooth over the bickering that the multiverse song contest had brought to Talvezout. Instead, it only worsened it. Several governors refused to allow their provinces to host the contest, as they reasoned that since Talvezout was doing extremely eh (they placed in the top ten only three times in the past ten contests, not to mention Talvezout's last top three placing was in Worldvision 46), why should their government be forced to spend money on something that might provide only diminishing returns for the nation? Ultimately, the job of hosting the contest fell onto the province of Oñati, with Phoda being picked as the host location. Despite the many negative remarks the contest had garnered, Phoda was determined to do the best job they could hosting the contest.

TRT, meanwhile, had an issue on their hands - they had no artists to represent Talvezout. As Sunny Siracauso, was busy hosting the contest, she couldn't be chosen. Ylfa Lloviendo was away doing charity work in Amuaplye, Modern Tears was on a hiatus (and no amount of money would change their minds), Helena Jiang Lee was busy performing in some arts installation in San Marcos, Grezzja Haber was busy with Junior World Hit Festival duties, Laura was on tour, and Isobella Bachelor didn't pick up at all. TRT turned to Lorenzo to perform for the island nation, as she had performed at the contest four times (landing in the top ten three of those times) and she was practically the only artist available to perform.

Lorenzo was hesitant, however. She last performed at the song contest during Worldvision 74, and she had pretty much put the song contest behind her. Would she really want to come back to perform in the competition, and risk falling flat on her face? But on other hand, her home nation really did need her. Lorenzo was practically the only Talvezian artist who had done consistently well in Worldvision, and her style of music - electronic dance with ethnic elemtns - would surely play well for the multiverse audiences.

So when TRT asked Lorenzo, three weeks before the contest began, if she had made her choice, she replied:

"Yes."

As the postcard for Talvezout finished playing and all of the lights blacked out in preparation of the performance, Lorenzo got into position. She was already suffering some pre-performance jitters, not helped by the fact that there were some unexpected delays in getting the props to the stage. Originally they were going to have a full on sketch before entry number 18, but the technical difficulties forced TRT to improvise. They managed to get everything ready in time however, and the whole tableaux was finally ready to go. As the low bass rumble of the pre-performance sound effect rumbled throughout the stadium and the audience cheered for the home entry, Lorenzo stepped forward.


In just under a minute, the technical crew had managed to make the stage look like it was a wrecked city - thanks to a combination of physical props and projection mapping. A plinth made out of a crumpled car would be sitting in the middle of the stage, with Lorenzo lying down on top of it. The camera would slow zoom onto her, as she would appear to "awaken" when it was time for her to sing. As she opened her eyes and looked around her, she would see the wreckage strewn about. As she would get up at the second verse, the camera would slowly pan around her, facing her at all times. She would be singing into the camera, acting as if she was singing personally to the viewers themselves.

I thought I was going insane
All these boring days filled with pain, yeah
I just felt so stuck and lost
So then I knew

I just had to leave that place tonight
Needed to go find somewhere else
‘Cause nothing back home ever really felt right
I would stop at nothing less


Right at the end of these verses, the camera would zoom out to show the stage. This time, however, the stage was now "fixed" - the wreckage was gone, replaced with a bustling city background. Lorenzo was now joined by six dancers all wearing various styles of street garb. One of the dancers, in particular, would be wearing sweater emblazoned with the words "#<3MNM" a tribute to the nations of Main Nation Ministry and Fauntenheddo, who were both forced to withdraw from this contest due to constraints. As the dancers would all be performing their routine, Lorenzo would continue singing the chorus of the song, with a small smile. The home audience was now singing along to the way too catchy chorus of the song, and their energy helped elevate Talvezout's entry, as the performers would now give them their all.

'Cause baby, when I was so low
But then I finally saw you
I knew that this world was too good


The camera would quickly fade to black before fading in on Lorenzo sitting on a bench. She would be lying down, wearing some headphones and seemingly ignorant of what was going on. As she would start to sing again, she would sit up and take off the headphones, with two of the female dancers quickly joining her on the bench. Two of the male dancers would join the trio behind the bench, bopping their heads and snapping their fingers in rhythm with the song. As the pre-chorus would end, in one swift and fluid motion Lorenxo would jump off the bench with the dancers in tow, with the two male dancers doing a quick flip. The camera would quickly tilt upwards, displaying the starry Talvezian sky, before focusing back down onto the performers onstage. They would have all changed out of the streetwear they were previously wearing, now donning abstract but colorful pieces of futuristic wear.

I’m so tired of running all the time
Just thinkin’ hella stuck, yeah
I didn’t know what to do
But, hey, I made it through

And when I see those city lights
With all those pretty people, what a sight
The sounds of the world living it up tonight
I knew it was gonna be alright


The previously monochrome city background would now explode into color as small jets of colored flames would shoot all around the performers. Thanks to the magic of digital editing and live animation, abstract white outlines would surround the dancers, moving alongside them as they did their routines. The words to the chorus in a variety of different languages would appear on the screens behind the performers, as the audience would continue singing along to the upbeat house-inflected entry. Lorenzo's small smile had exploded into a full on grin now - even if the Talvezian entry did bad, they had a hell of a time onstage.

'Cause baby, when I was so low (when I was so low)
But then I finally saw you
I knew that this world was so good

Oh baby, how could I have knew
That life could feel so brand new
And that’s all because of you-u-u


The screens would suddenly fade out to black as the stadium lights would all focus on Lorenzo and the group, all tightly bunched together on stage. They would form a train behind Lorenzo, extending their arms as if Lorenzo was some Hindu goddess. Abstract graphics of stars would fill the screen, as Lorenzo would sing the bridge. The audience was by now singing and clapping along to the entry, as they partied here at Campo B and Campo A. As the beat quickly came back, the dancers all separated from Lorenzo, filling in the space behind her.

And when the darkness becomes light
The sun’s shining now ‘cause there’s no night
The rhythm I heard really blew my sights
And I knew I was gonna be alright
I was gonna be alright
Gonna be alright
Alright
Ooh, it was fine, it was fine, I’m finally alright


As Lorenzo sang the title of the song, the camera tilted back up to show the Talvezian night sky, before focusing again on the performers. They were now all riding the floating stage, still doing their routines and still singing as it would maneuver out over the audience. Back onstage, the screens would now display the colorful modern city as a curtain of sparks would fall from the rafters of the stage. Elsewhere, pinwheel fireworks would go off around the rim of the stadium as pyrotechnics would launch from the roof of the whole stadium. Purple and white fireworks would shoot off from the floating stage, as the audience cheered. Talvezout was giving their 110% this contest - the nation was determined to put on a show for everyone, and hopefully they were succeeding.

Oh baby, how could I have knew
Life just feels so brand new
And all because of you-u-u

'Cause baby, when I was so low (when I was so low)
But then I finally saw you
I knew that this world was so good

Oh I’m so fine, I’m so fine, I’m so fine, I’m so fine
Oooh, I’m finally alright, alright, alright, alright. alright
Ooh, this world’s good, so good, so good, so good


As the song came to an end and the multitude of pyrotechnics ceased, the camera would be trained back onto Lorenzo and company. Slightly panting for air, Lorenzo would thank the audience before the camera would cut to the postcard for the next entry. She had given it her all, and in her heart, she knew she had done well.

Thank you everyone! Gracias a todos!
Last edited by Talvezout on Fri Jan 24, 2020 11:54 am, edited 4 times in total.
hey check out my dispatches and factbooks!
Indonesia is flooding. Australia is on fire. The US is provoking war with Iran. The world entered 2020 in a global crisis. There is no other option than relentless solidarity, organizing and community building. We have no one else but each other.

User avatar
Fauntenheddo
Civil Servant
 
Posts: 6
Founded: Aug 27, 2019
Corporate Bordello

Postby Fauntenheddo » Sat Jan 18, 2020 1:16 pm

19
Fauntenheddo
Humble Autarchs - Agreed
Tune: Modest Mouse - Float On


WIP!

User avatar
Malta Comino Gozo
Secretary
 
Posts: 29
Founded: Oct 31, 2016
Left-Leaning College State

Postby Malta Comino Gozo » Sat Jan 18, 2020 3:56 pm

20. Malta Comino Gozo

Nation Name: Malta Comino Gozo
Official Broadcaster: MCG 1
Song Title: Can we tempt you?
Artist(s) Name(s): Pallix ft Clin
Tune: https://www.youtube.com/watch?v=SNTkUr2iZKs


Pallix ft Clin. Can We Tempt You?
Image
Pallix
Image
Clin

Image
Image

The Two Dancers Clarice and Cedrick


In the last contest, which was held for the first ever time in Valletta in Malta Comino Gozo the host nation achieved its highest placing so far in the contest placing a highly respectable 5th place with a total of 83 points, a place higher than the previous contest. At the time there had been much excitement that that the host could actually win on home soil, with millions of florins being spent on the perfect entry and staging and with Paloma touring prior to the contest but to much disappointment Malta Comino Gozo just didn't tally up enough votes from the public, still national media was full of praise and most talk shows around the country were booking Paloma for a chat and with her WV hit "Never" reaching number 1 in the charts for 4 weeks. She has now gained a huge fan base worldwide.

MCG1 announced their plans to participate long before the 78th edition, and plans were drawn up before the contest had even started. MCG1 wanted something fresh, upbeat and anthemic, a performance, song and a singer,that could get the crown in the arena and at home on their feet bopping. Step forward Pallix, Malta Comino Gozo most successful DJ and 5 times DJ Pacific Top 100 DJ. With international performances under his belt, what better than a man with years of experience. MCG1 approached Pallix and he quickly accepted the offer, having watched WV all his life, this was the chance of a lifetime, performing on the prestigious WV stage. He was asked to draw up 3 songs, fitting the criteria of fresh, upbeat and anthemic and to find a singer to sing all 3 before MCG1 would decide on the countries next entry. Clin, 25, a local not very recognised singer outside of MCG and a childhood friend who had sung in local summer festivals with Pallix quickly accepted the chance to sing on the international stage. His voice and charisma fit all 3 songs perfectly and after 3 days of painstaking discussions between the HoD and MCG1 in Valletta, "Can we tempt You" was chosen as the country's next entry. Pallix felt he wanted a song that best fit the nightlife and famous clubbing scene in MCG as well as bringing the Maltese language to the contest, a popular choice with the people.

The Performance
Pallix is in a shimmering golden pineapple DJ booth central but towards the back of the stage. The DJ booth displays a huge jewel encrusted M on the front to represent Malta Comino Gozo, small football banner flags of MCG drape across the front of the booth.
Image

Pallix is dressed in a black shirt with a grey t shirt underneath and blue tinted sunglasses tilted on top of his head, The stage lights up from black to a dark blue shade, and the DJ booth lights up to where Clin is stood on the right of the camera, sprawling across the front of the DJ booth smiling up at Pallix with his dazzling white teeth showing. Clin is in a mustard yellow Hawaiian shirt with a white tshirt underneath, he has a face microphone. The music starts up, he stands up straight, high fives Pallix, and clicks his fingers and the stage lights up as he sings the first line, the lights flash between white and dark blue to the beat of the song. The camera is on Clin as he slowly struts away from the DJ booth towards the centre of the stage, he has a swagger in his step and looms towards the ground as he struts along clicking his right hand in time with the beat. He is charismatic and confident.


Lights are on now
The music is starting up
Beach at your fingertips
Sun is setting really low
As he sings the last line the stage fades in to a neon blue ready for the chorus.

Clin turns and points towards Pallix who slides a shot glass towards a hot young female dancer on the left hand side of the DJ Booth, The camera switches to the dancer who is wearing grey floral bikini bottoms with a matching top. Her hair is tied up in a ponytail with a neon pink scrunchy. Her figure is thin but athletic, still with that irresistible curvature. Her gaze is confident and sexy, her tongue playfully sticking out of her mouth. With a outstretched hand she catches the shot glass without looking, her gaze set firmly on the camera in front of her with a sexy stare. She downs the shot of "Vodka" (water) and struts onto stage like a catwalk model to join Clin as the camera circles clockwise around her before facing head on as she joins Clin

Cocktails, are serving at the bar
Let's get this party started

The camera pans to Pallix who draws his sunglasses down onto his face.

Oh Yeah we know how to get the melody flowing

The LED background which had been dark throughout, drains fast and dramatically like a gushing waterfall spreading over the LED floor squares like water. As the "water" reaches the squares each one turns to either a neon pink, neon yellow, neon blue ,or bright white resembling a nightclub dance floor
The female dancer at this point is stood on Clin's left. She slut drops slowly down to huge cheers to Clins knees and Clin gently places a hand down under her chin as she does so. The pair stare into each others eyes with passion. The camera quickly jumps to a close up of the dancer. She slowly rises back to her feet whilst not looking away from the camera. She winks dramatically and playfully giggles silently

The camera smoothly switches to a face shot of Clin as he sings the next lines. The lights continue to stay neon blue flashing in time with the music. Clin and the female dancer are lit up with warm yellow spotlights as the DJ booth is plunged into darkness
We know how to do it in Malta Comino Gozo
No place quite like us keep it on the down low

Clin makes a shush face to the camera and the dancer leans sexually forward with a finger placed loosely on her lips

Our girls are dressed to excite every one of you

The camera backs out to get them both in shot as the female dancer rips of her floral shirt sending it crashing to the ground through massive cheers from the crowd revealing a hot red bikini underneath.
Image

The Female dancer, then dances loosely around Clin beckoning to the camera with am outstretched finger as she does so. She loosely twerks, bends incredibly to the left, forward and the to the right whilst keeping her feet firmly placed in on place She performs some fancy legography pointing her legs up and down whilst sat down on the stage. She is trying to tempt the crowd and she is exceeding.
This is the place to be.

Well?

Can we tempt you?

Clin steps forward slightly from the centre of the stage and looks at a camera to his right and points with his right index finger
Oh let us tempt you?

Clin looks to the camera to his left and points with his left index finger
Sure we can't tempt you?

Clin cheekily looks at the camera straight ahead winks and points.
Can we tempt you?

Clin looks at a camera to his right and points
I think we can tempt you!
He looks at a camera straight in front and points with his right index finger and nods his head encouragingly to the camera
Sure we can't tempt you?

Youoooooo..oo.ooo.ooo.ooo



As he sings the next line, the camera switches to a camera in the middle of the arena hovering half way above the ground showing the entire stage and some of the excited audience, stage fireworks shoot off powerfully for each letter from around the stage perfectly in time
M! C! G!


The background LED breaks into huge 3D cubes which bop, rotate and pulsate in time with the music playfully. The cubes are white on a dark blue background. Dozens of huge long thin white and yellow spotlights whirl all around the arena, resembling a nightclub, they swoop fast over the audience and flash fast (epilepsy warning advised). The DJ booth is now lit up in all its pineapple glory. The side panels of the stage move outwards slowly and back in several times throughout. The camera quickly switches to a group in the crowd that can be seen with their right hands raised jumping up and down to the song, their expressions are of pure excitement. During the instrumental, both Clin and Pallix sing the Hey's and oooh's that can be heard in the background. Clin steps backwards to join the female dancer to perform some choreography together.
Side by side, they turn their backs to the camera and with outstretched arms twerks their asses to the camera. Their outstretched right hands start high fiving the air as they turn to the beat to face the front body shot cameras. The camera stays with them. They face the camera turn to the right and kick their right legs up before turning to the centre and walking left along a few steps to the beat. They spin clockwise and the female dancer then moves in front of Clin, never taking her eyes from the camera she grabs her hair, releasing her scrunchy and waving her lovely locks and starts to make her way downwards. Clin shoulder pops and moves his hips to the beat whilst the female dancer slowly moves her hands down her right thigh erotically, the camera zooms onto her hand as it makes its way down. The camera then switches to one that's slightly off centre on the stage as Clin bops over to Pallix in time to the beat. The camera follows him along as Clin walks over grabs a cheeky high five off Pallix, whose scratching away excitedly, a massive smile on his face, before returning to the centre.

The female dancer is still in the centre energetically dancing along to the song perfectly. https://www.youtube.com/watch?v=-dkREMP-6_4Her hair is all roughed up and sweat is starting to show on her shoulders as if shes working out. As the next verse starts she pauses, biting her bottom lip playfully whilst staring into the body shot camera in front of her, her roughed up hair, slightly covering her face. She turns around to look at Clin and catwalks back to stand on the right of Clin. She dances less energetically next to Clin to the beat, moving her shoulders and hips and arms

Party vibe is high now
Clin wipes his forehead fast

Music playing in the air
Intoxicated people

The female dancer spins her head round and collapses slowly to the ground onto her front. She stays there briefly for a second before winking and walking her fingers along the stage towards her chest like shes playing the piano and smoothly raises to her knees and then to her feet
Oh they are everywhere


Clin points over his left shoulder as a young tall male dancer in a blue floral shirt and light pinky chino shorts slides into view on the floor of the stage to Clin's left.He has gelled up blonde hair and a muscly physique, ready to hit the club. He jumps to his feet dramatically. The crowd goes wild. He swaggers to the music up to Clin, smiles, fist bumps and and stands on Clin's right
Alcoholic fluids flowing
Lets get these juices going

(Clin tilts his head back pretending his right fist is a alcoholic shot) He shakes his head, pretending the shot he just took was extra strong.

Oh Yeah
We know how to get the melody flowing

He smiles cheekily to the front facing camera

We know how to do it in Malta Comino Gozo
No place quite like us keep it on the down low

Clin and the 2 dancers all stick the left index finger near their mouths gesturing a shush

Our guys dressed to excite all of you

The camera pans backwards as Clin points to the audience and surveys the entire arena right to left. The camera suddenly cuts to the young male dancer who rips of his floral shirt, showing off his muscular torso and ripped abs, he grabs it in his left hand and chucks it into the crowd. The shirt is caught by a pair of men in the front row who cheer madly.

This is the place to be

Clin and the two dancers each take large steps forward in unison, left right left until they reach the very edge of the large catwalks that extends out. The female dancer on his right the male dancer on his left.

So?

The camera zooms out to proudly show the whole stage and the left and right panels begin to lift out at a 45 degree angle from the stages lowly raising the two dancers up. They both perform choreography in unison atop the two floating pieces of stage. The two pieces of stage glow a neon pink. The camera leans a bit closer. The LED background changes to slow moving cubes on a black background that fly out from a central point in the middle of screen. During the next 2 versus neon blue and pink lights whoosh out from the top and sides of the stage over the entire arena.

An onstage camera come up from behind Clin showing the entire arena. Clin looks directly into the lens beckoning an already tempted audience asking them a question he already knows the answer too. They are very tempted even though they don't understand the language. Throughout the next verse the camera circles Clin anticlockwise rotating around him, Clin follows as it rotates around him.

Nistgħu nħajtu?
Can we tempt you?

Oh ejjew inħajruuk
Oh let us tempt you?

Żgur li ma nistgħux nħajru?
Sure we can't tempt you?


The onstage camera veers off as Clin break eye contact and starts singing towards the audience again. Multiple flags and dancing audience members can be seen just beneath him dancing wildy. The camera cuts to a far body shot of Clin.

Nistgħu nħajtu?
Can we tempt you?

Naħseb li nistgħu nħajru!
I think we can tempt you!

Żgur li ma nistgħux nħajru?
Sure we can't tempt you?


The arena darkens and pink and white strobe lights flash and move hastily around the arena. The camera cuts dramatically every second to a new angle, one of the whole arena, a close up of Clin, a side shot of the stage, every angle imaginable before a quick transition to a camera showing the whole stage as fireworks shoot out from around the stage, Each firework shoots of in pairs mirroring the fireworks on the other side of the stage. The LED screens on stage begin to form into shards and shatter during the next line

Yeah Yeah Yeah

A giant yellow firework goes off from the stage ceiling and sparkler firework fountains begin shooting from the edges of the stage as Clin's stage starts to take off forward also at a 45 degree angle. Blue, green, pink, and yellow spotlights probe around the audience, the whole arena is now dancing, everyone is out of their seats clubbing. The LED back screens pulsate with different colours in time to the music
A camera from high up pans over the wild crowd. It then smoothly cuts to Clin as his stage reaches a out 20m from where it started a good 15m above the audience. Hands can be seen reaching upwards, failing spectacularly at trying to reach the suspended part of the stage. The camera cuts back to Clin. Clin is bopping along to the song singing.
Can we tempt you?
This is the place to be
Temptation all around


The camera pulls out again showing the two dancers on their parts of the stage, they are excitedly dancing away, still in unison even though both of them are now a good 30m apart, their platforms slightly higher in height than Clin's. Their stages are right out into the pumped audience.

Yeah Yeah Yeah

The camera cuts to a frontal showing all the stage and Clin's stage. His platform now on the same height as his dancers. Clin's arms pumping away into the air of the arena high above the audience. The Camera then again cuts too several angles every few seconds, captuing every part of the performance and the arena. Pallix can be seen DJing away. The firework fountains begin to stop.
Can we tempt you?
I think we can
Yeah Yeah Yeah Yeah
Clin, Pallix and the dancers all tilt their heads to their right all fold their arms simultaneously,

The Arena lights come on. The audience, already on its feet, lets out an ecstatic cheers, whistles, screams, a huge roar of applause. The 3 platforms lower back into place and the 4 of them run over and jump around excitedly, overwhelmingly proud of their performance. The cheers and applause goes on for at least another half a minute, Clin and Pallix both out of breath can be heard shouting "Thank you so much!!!!, AHHHH" Everyone on stage walks off proud of what they had just done.
Last edited by Malta Comino Gozo on Fri Jan 24, 2020 4:28 pm, edited 6 times in total.

User avatar
Wazekia
Spokesperson
 
Posts: 115
Founded: Dec 29, 2014
Left-Leaning College State

Postby Wazekia » Mon Jan 20, 2020 2:58 pm

21. WAZEKIA
Alina Hesig - LOVING YOU

Tune: Elin Lanto - Discotheque

Alina takes the stage in a black jumpsuit. The stage goes from being completely in the dark to bright white as the music begins. She starts to sing and walks out toward the crowd. The stage behind goes from being a rotating white sphere with black lines designed to mimic a microchip.

Bang Bang
My heart begins to pound
Bang Bang
It's the only sound
I can feel you coming near
In the crowd, your face is all I see
Everything else fades to black
I was lost and then was found



Loving you makes me a wreck
My heart beats with deafening sound
You makes me a wreck
I was lost and then was found
Everything feels all right


Bang bang
You input the right code
Bang bang
Typing in a PIN
Found found
I was lost and then was found
and found
This time I will not drown


Loving you makes me a wreck
My heart beats with deafening sound
You makes me a wreck
I was lost and then was found
Everything feels all right
Loving you makes me a wreck
My heart beats with deafening sound
You makes me a wreck
I was lost and then was found
Everything feels all right


The music slows down. The lights dim. Alina gets down on her knees and slowly gets back up as the music begins to rise in volume again.

I was lost and then was found x4

Loving you makes me a wreck
My heart beats with deafening sound
You makes me a wreck
I was lost and then was found
Everything feels all right
Loving you makes me a wreck
My heart beats with deafening sound
You makes me a wreck
I was lost and then was found
Everything feels all right


Thank you Phoda! She exits the stage.
Last edited by Wazekia on Sun Jan 26, 2020 10:12 am, edited 5 times in total.
Wazek Republic
FactbookWorldVision

User avatar
The Hlhata States
Secretary
 
Posts: 31
Founded: Jul 29, 2018
Iron Fist Consumerists

Postby The Hlhata States » Thu Jan 23, 2020 7:47 pm

22 || The Hlhata States
I <3 THICK THIGHS
Pentanotits
Music - God
Lyrics - God

Mortal Kombat Theme (Acapella Version) - I Do Voices


Pentanotits are Hlhataneseian acapella group, formed in 1997, who are world renowned for there stunning music in which they use their vocals chords to sound exactly the same as an instrument. Since their start, they have managed to lead the way in the acapella music world, inspiring hit movies such as "Pitch Perfect" for example. With their, truly touching symphony of the body, "I <3 THICK THIGHS" the group plan on inspiring the world with their music.




4 wide children stand onstage, and as the song begins, red and orange lights dance wildly in a manic strobe effect. The four members of Pentanotits begin dancing, or wobbling to the fast paced acapella noises they were creating. They sang with power and conviction.

I <3 thighs
I <3 thighs
I <3 thighs
I <3 thighs
I <3 THICK THIGHS


They begin fake-fighting each other, until one of them screams out the lyrics. The lights flash gold, and before you know it, the stage is a flurry of red and orange strobe lights.

I <3 THICK THIGHS


The main singer begins singing to the audience, stepping towards the front of the stage closer and closer. Pyros start going on and off creating an intense mood.

Meaty
Juicy
Indulgence
Cum-worthy
Moist and wet
Scrumptious
I <3 THICK THIGHS


The song ends with a flash of light and a burst of flames. The acapella group hug each other as they leave the stage.
Last edited by The Hlhata States on Mon Jan 27, 2020 5:24 pm, edited 2 times in total.
Official puppet of Llalta.

    67 = 25/31
    78 = 28/29
    78 = 21/23

    41 = 17/20
    42 = 19/20

    5 = 13/15

Next

Advertisement

Remove ads

Return to NationStates

Who is online

Users browsing this forum: Cinyras, Izmedu, The Russian Federated States

Advertisement

Remove ads