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WorldVision Song Contest 80 | Marina Point, Nekoni

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Nekoni
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New York Times Democracy

WorldVision Song Contest 80 | Marina Point, Nekoni

Postby Nekoni » Mon Feb 17, 2020 5:18 pm

Image
NTR presents the WORLDVISION SONG CONTEST 80
Live from Marina Point, Nekoni
OOC Thread | Host Bid | Official Playlist


It's been a long time coming...since Nekoni's first bid at Marina Point for the 47th contest fell through, the million-strong city has been holding its breath for one chance at the spotlight, a chance to show its big brother Varea that it can hold its own on the world's stage. It's been over thirty contests since then, and so much has changed. Nekoni successfully did host their contest, but in the country's capital, and Nekoni has already claimed their first win. However, ten contests since that fateful night, that light falls back on the country's northwest. Marina Point...let's get to work.

After the opening strains of the NTR broadcaster's theme and WorldVision anthem come, the clock hits 8:00, and the cameras go live to inside the NEXPRO Arena. A full crowd of 19,000 have joined us tonight, with myriads more watching at home, and the atmosphere is as electrifying as it could possibly be. The lights go dark, as the audience cheers their first cheer of many tonight, and the show begins...

OPENING FILM: "Marina Point, 1979"
Based on Midnight Lady by Dirty Androids

The film opens on a scene of an old 1970s TV's screen. The dial is clicked off-camera, and between the fuzz, we can see and hear various clips from well known WorldVision songs from both here and around the multiverse: their first entry in 26, Praciba's winning entry at 40, Nekoni's first big placement at 46...the screen freezes on 46's winner, Normandy & Picardy's Jules Vergule, as the camera zooms out, and the song begins to properly fade in. The view is of a café-esque establishment on the beach at Marina Point, the sun shining brightly, and the café's patrons leaving. It's very obviously late 1970s, with the café having very questionable orange/brown patterned walls, the patrons wearing shirts with even more questionable patterns, sandals with socks, the works. However, the camera focuses on one girl, probably ten years old, with her parents, as they go towards their surprisingly stylish car in cherry red. The girl is wearing a red dress with black shoes and a red Alice band perched atop her brown hair. She looks at her father, and asks "Where are we going?". He says nothing, smiles, and as the beat hits, hits the accelerator.

At the exact moment the song begins, the camera cuts to a long shot across Marina Point's long beach, following the car as it goes. The styling of the area has immediately changed, with the drab greasy-spoons of the promenade replaced with bright pastel shades, pretty pink and mint green buildings and beach bars lining the coast. The fashion has changed, too, with the same pastel shirts being worn by the men with white capri pants, and the women wearing much less conservative beach wear. Welcome to the 80s, friends.

At :31 in, the sun begins to set, as the neon lighting around the roads begins to illuminate the way. Extra arrowed neon signs pop-up through CGI in the background indicating "The Future - This Way", "Arena - 2 Miles", etc, in suitable neon-esque font. The camera cuts to the girl, open-mouthed in delight as the signs reflect across the car windows and her face. As this happens, a group of roller-skaters wearing lycra sportswear with glow-in-the-dark stripes of pink and yellow down their sides begin to overtake the car along the sidewalk all in a line. She looks at the back-marker, smiling. The skater recognises that she's being watched, looks at her back, smiles and high-fives her. The camera immediately cuts to the car entering a tunnel at :46 in.

As the saxophone solo comes in, the tunnel's once drab walls illuminate with bright orange and purple, white neon lining the individual tunnel sections, as if the car's driving through a Club Tropicana-esque version of Tron. As the solo continues, the tunnel steadily fills with white, and the moment the beat hits at 1:03, the car is shown leaving the tunnel into a brand new version of the road we just drove down. This time, the scene is more of a late-90s feel. The neon lights are still there, but the storefronts have changed. Instead of pastel beach bars, there are video arcades, bowling alleys and cinemas. The townspeople are now dressed in the fashion of the time, with slightly too many people wearing camo shirts/cargo pants to appear normal, some of them wearing sun visors, bright red leather bomber jackets, etc. As the car barrels down the road, we see the sidewalk now host to a couple of skateboarders and inline bladers. They all follow the car along as before, except whenever there's a low rail, bench or box of some sort, one of them will take an opportunity to grind/jump off of it, to the astonishment of the girl in the car.

On the other side of the road, there are groups of people in the market square, and amongst the 'alternative' set of gothy-looking types performing street magic and firebreathing, there stands out a group attempting the fad of breakdancing that hit Nekoni about half a decade after everyone else. One of the group, clad in a black striped tracksuit and wine red beanie, attempts a tricky single handstand, using his freehand to support his legs. He notices the car, and the girl inside looking, and with that had, he points at her, finger-gun style with a smile. The effort to do that causes him to forget what the hand was there for, and he ends up overbalancing and ending up head-over-heels on his back. Cut to girl in car giggling. Cut back to B-boy man looking decidedly embarrassed.

At 1:33 where we get the guitar solo, the scene changes. We're getting closer to the arena, and the road is now in the city itself, and it's the standard view that one would expect in a bustling city on a Saturday night However, the sky is lit up like a beacon with tons of fireworks. Judging by this and the nightclubs packed with party hat-wearing revellers, it's New Year's Day 2000. The fireworks eventually begin to form the paint splashes that formed the logo of the attempted WV47 bid, as a nice Easter egg. The girl is in the back, admiring the fireworks, whilst drinking what appears to clearly be orange juice from a champagne flute. She also has a party hat on. How did she get either of these? Editing.

The final section at 1:49 immediately sets the present day, as the car arrives and parks in front of the NEXPRO arena. The scene cuts to the indoor concourse of the arena, as the family's tickets are checked by two familiar faces dressed as the ticket staff...the hosts of the show, Alice Florien & Miki Lazaretti. They both reach out their gloved hands and point to the entrance to the main arena. As the family enter, the girl looks back, and smiles at the hosts, and they smile back. As they enter the opening, the crowd noise begins to build, and the screen fades white as the song ends...


As the song ends, the crowd gets wilder and wilder, as hosts take to the stage, shouting the immortal words: "WELCOME TO WORLDVISION!!" They both enter to the last stanza of the opening video theme music, making their way to the front podium of the stage, waving as they do so. Both girls are dressed in tastefully minimalist cocktail dresses: Alice's in black, Miki's in red.

Alice (left in picture): "World, good evening! Bonsoir, mes amis, and welcome once again to Nekoni!"
Miki (right in picture): "It's been a long time coming, but the contest is finally in the cosmopolital cultural capital of the Canera coast, Marina Point!"
Alice: "Truly it has been, my dear, and the nations of the world once again converge in on our little country, all united with one goal: to have the best damn party the world has ever seen! However, there's a competition in here as always, and one country's latent is going to become immortalised as the winner! We experienced it ten contests ago, and rest assured, there's no feeling like it! Can we do it again?"
The Nekoni-strong crowd naturally cheers loudly for this blatant display of homefire-stoking.
Miki: "Of course, it's you at home that will decide the fate of all our performers tonight."
Alice: "Of course by fate we mean who's gonna win, not a life or death type situation. This isn't some kind of televised Aztec ballgame-slash- murder ritual...""

Alice tails off a bit when she realises that she probably would have done better not trying to improv comedy. Miki silently stares at her faux-mockingly, and the audience laughs when she sarcastically pats Alice on the head.

Miki: "Now, it's all well and good talking about the music, but it's not as good as actually doing it, is it!? So..." She turns to Alice, who now has a clipboard of the program structure in her hand. "Who have we got doing for our little introduction? Someone famous to really bring the party out of the gates at full-speed?"
Alice (sheepishly): "Erm...it says here that it's us."
Miki, in shock, yells "WHAT!?" at her, grabs the clipboard, and leafs through it.
Miki: "Oh God, you're right. Listen, Allie...you got any ideas?"

Alice gives her a thumbs up, and rushes over to the orchestra pit, much to the confusion of Miki. She gestures at one of the musicians in the pit to help her out, and he does, handing her a tambourine. She rushes back to Miki.

Alice: "There, I fixed everything!"

Miki stares at her oddly.

Miki: "Hun, I don't think you trying to busk with a tambourine is going to be suitable to open up a global music show!"
Alice (laughing): "Of course not, love...but this might!"

OPENING SONG: "In Nekoni" by Alice Florien & Miki Lazaretti
Based on Ai (Chouseishin) from Excel Saga

The song begins with the weirdly angry synth stabs, as Miki watches in confusion at Alice doing what can only be described as angry dancing. Armed with a tambourine. Alice notices her taking a step back almost out of fear of being whacked, and remembers that Alice has to grab the mic. She looks at Alice and nods her head at her, gesturing her to take the microphone. Miki gently tiptoes in, and gradually forces the tambourine out of Alice's hands, and places it on the floor, mouthing "this is for your own good". She is, naturally, annoyed.

Nontheless, Miki has restorted order to the madness, and takes to the microphone.

This is our night, tonight
We're making stars tonight
WorldVision's come home now
It's time to break out
Show yourself, the time is here

Just as she finishes, Alice straight-up barges into the scene and grabs the mic directly from the stand. She is noticeably more erratic, louder and vibrant to the point of being out-of-tune when singing than Miki's honest attempt at being modest. She responds by exaggeratedly pinching her forehead to stop the headaches coming through.

This is our night, tonight
Bankrupt our station tonight
NTR's chairman had to sell his house for
You to set your rhythm free

This continues, with Miki attempting desperately to keep this song grounded, and Alice doing her level best to ruin her day. When she mentions the whiskey sours, Alice leans on Miki as if she's drunk, to which Miki rather strongly shoves her off. During the rebound from the shove, someone off camera throws her a flag pole with a Talvezout flag on it.

Red carpet's out just for you, you're the height of celebrity
And I've just had four whiskey sours, and I don't care if I bleed!
It's the greatest party, here in Nekoni
Until the next one comes by and it's in Talvezout again!

She emphatically waves it whilst yelling into the microphone.

In Talvezout again!
In Talvezout again!!
In Talvezout again!!!
In Talvezout again!!!!

Both of them are singing into their handheld microphones after mercifully Alice gives the flag back. At this point giving her a long pointed object could be a mistake. Upon the namedrop in the chorus, both of them kiss their fingers, and outstretch their arms, effectively blowing a kiss to the entire stadium.

We don't care if the whole damn arena burns down
We wanna show you how this country goes to town
And we all know that you're gonna have a ball
We know that you'll see it all, in Nekoni!

The little instrumental break has Alice still pretty much dancing like nobody is watching, using a mic stand as an air guitar. Thankfully she puts it down before the vocals come in.

And when the voting comes in
Everyone hopes that they'll win

And so do we, until we know that we'll come fourteenth again!!

The juxtaposition of calm Miki and unhinged Alice continues again. Miki noticeably turns red at Alice's first bit.

It's your one time, make it count, show us what you got
Please don't be offended, boys, if Miki calls you 'hot'!
Take a deep breath, get out there, go take your best shot
Then complain on the internet when Izmedu probably wins

Miki and Alice unzip their cocktail dresses to reveal white T-shirts and black pleated skirts underneath. The T-Shirts have "IZMEDU WON ANOTHER SONG CONTEST AND ALL I WON WAS THIS LOUSY T-SHIRT" on it. At this point Miki has given up on trying to restrain Alice so is embracing it too.

When Izmedu probably wins!
When Izmedu probably wins!!
When Izmedu probably wins!!!
When Izmedu probably wins!!!!

For some reason they decide to keep the shirts on as they sing the second chorus.

We don't care if the whole damn arena burns down
We wanna show you how this country goes to town
And we all know that you're gonna have a ball
We know that you'll see it all, in Nekoni!

The image on screen during the breakdown is Alice, on the left, almost like a bad 80s airline safety film, gesturing wildly whilst she speaks into a megaphone as text on the right of the screen scrolls up. To complete the effect she has somehow found an adorably small air hostess hat. The text is the following instructions in a grainy, VHS-quality overlay:
"- Have fun
- Don't break our laws, please
- Enjoy the music
- Keep your hands inside the carriage at all times
- Please vote for Nekoni
- Don't eat our wildlife, we need those for things
- Also please vote for Nekoni
- Be excellent to each other always
- Seriously, though, vote for Nekoni
- Donate to the poor. After tonight, NTR is also poor. Hint, hint"

Ladies and gentlemen, welcome to Nekoni
Please keep your tray-tables in an upright position
Exits are located here, there, and here
And please don't vote for yourselves
Everybody's welcome here
Unless you give votes to yourselves
Sit back and let's get on with the show
No, seriously, don't vote for yourselves, CAN'T YOU READ THE RULES!?

She puts the megaphone down, and yeets the hat into the audience for the final chorus. She joins Miki, and they do the chorus whilst holding each other's hand.

We don't care if the whole damn arena burns down
We wanna show you how this country goes to town
Let's have fun this one 'cause we ain't coming back again
We know that you'll see it all, in Nekoni!

During the final instrumental bit, the stage gets swarmed by people waving giant flags (presumably the one for Talvezout got hers back), each one wearing clothing largely similar to the colours of the flag they're waving. Of course, at the front, Nekoni get two. As the two presenters run back to the main stage, one on each catwalk, they meet in the middle at the front just in time for that weird ending drum fill, throwing out their arms on the final note to a lovely round-stage blast of gold pyro.


The audience cheers the performance, and the two look visibly exhausted, one obviously more so than the other. The take a couple seconds to catch their breath.

Alice: "So...yeah! Welcome to Nekoni! I'm sure that was a suitable way to open the show, wasn't it?"
Miki: "I wouldn't give up your day job, Alice. Shall we leave it to the professionals?"
Alice: "I thought you'd never ask! Let's start the show, whilst we change into something a lot less treacherous, and get all these people off stage and into catering!"
Miki: "Sounds like a plan! Nekoni, are you ready!?" The audience responds with a loud cheer.
Alice: "World, are you ready!?" The audience, again, cheers, louder this time.
Both: "LET THE WORLDVISION SONG CONTEST BEGIN!!"
Last edited by Nekoni on Tue Mar 10, 2020 4:23 am, edited 11 times in total.
29, Eurovision apologist, drunk.
ALT-F4 PARTY 2020 - Bring on the nukes

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Nekoni
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Founded: Jan 29, 2013
New York Times Democracy

ENTRIES AND COMMENTARIES

Postby Nekoni » Mon Feb 17, 2020 5:19 pm

Image

SONG 01: HIGHLY RANKED
WV ENTRY #(INSERT NUMBER HERE) - THE ENTIRE POPULATION OF HIGHLY RANKED
Performance - Postcard

SONG 02: FAUTENHEDDO
tbc - tbc
Performance - Postcard

SONG 03: MAIN NATION MINISTRY
Afternoon of Love - Fred Walker and Princess Keller Harrington
Performance - Postcard

SONG 04: PLACELY PLACINGTON
WorldVision Song Contest - Dave the Hobo and his Magical Cardboard Box
Performance - Postcard

SONG 05: ERTZEI KISHIM
Red - Lika Dia
Performance - Postcard

SONG 06: BRITONISEA
On We March - Concordium
Performance - Postcard

SONG 07: MISTER X
I <3 U - Lauren
Performance - Postcard

SONG 08: BESEN
Here For You - OLA
Performance - Postcard

SONG 09: IMPERIAL JOSEON
JANCHI - The Twelve
Performance - Postcard

SONG 10: PROLUVIA
Nothing Without Me - The Beautiful People
Performance - Postcard

SONG 11: POLKOPIA
Poison - Millennia
Performance - Postcard

SONG 12: ELEJAMIE
Racing For Your Love - Mason
Performance - Postcard

SONG 13: IZMEDU
The Last Judgement - Aeropagus
Performance - Postcard

SONG 14: MISSUS X
X My Legs - Rick Leg
Performance - Postcard

SONG 15: BEEPEE
Live In Peace - Krystal D'Canter
Performance - Postcard

SONG 16: INDO STATES
Leia Moja (Chase Me) - The Sienna Broadway Assemble, Siena College Ballet and Siena College Acoustic Band feat. Natasha Mariacapastol Crimieliyev
Performance - Postcard

SONG 17: AXUVA
New Life Anthem - Symphonica
Performance - Postcard

SONG 18: SPIRITUAL REPUBLIC OF CARYTON
Even Though You're Leaving - Eleanor Strawson and Barry Polo
Performance - Postcard

SONG 19: ZAMBOODLE
SPOOKY CARY HELL TIME - Zamboodle Supah Soldahs + Kumswalo Missionaries
Performance - Postcard

SONG 20: OCEANLAND
tbc - tbc
Performance - Postcard

SONG 21: AMUAPLYE
Вин Вилитик Кирм Маранат (We Will Come Together) - Love and War
Performance - Postcard

SONG 22: ACHAEAN REPUBLIC
Santo Deber - Metta-Noia
Performance - Postcard

SONG 23: NEKONI
I'm Alive - Alex Ford
Performance - Postcard

SONG 24: ANTAHBRANTAHSTAN
Heroes Never Cry - Mariska Tulang
Performance - Postcard

SONG 25: TALVEZOUT
The Word - Isobella Bachelor
Performance - Postcard

SONG 26: MALTA COMINO GOZO
Love of my Life - Pistols and Tulips
Performance - Postcard

SONG 27: THE HLHATA STATES
Keep On Fighting - Jerome Brown
Performance - Postcard

SONG 28: KALOSIA
Words - Carladini
Performance - Postcard

SONG 29: TÖDLICHEBUJOKU
Alcas - Rasiña
Performance - Postcard





Image
Elejamie (ETV1)
Last edited by Nekoni on Tue Mar 10, 2020 2:35 am, edited 12 times in total.
29, Eurovision apologist, drunk.
ALT-F4 PARTY 2020 - Bring on the nukes

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Highly Ranked
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Iron Fist Consumerists

Postby Highly Ranked » Mon Feb 17, 2020 6:27 pm

1. HIGHLY RANKED

THE ENTIRE POPULATION OF HIGHLY RANKED - WV ENTRY #(INSERT NUMBER HERE)

Lyrics: Entrant #1
Music: Entrants 2 through 5
Tune: Alex Jones - Alex Jones as an Indie Folk Song


Image

Exactly what it says on the tin.




The 50 or so people file up on stage, with Entrant #1 having the luxury of sitting on a rickety wooden stool. Written on one the legs is "Schneider Reederei, Berlin, Weimarer Republik, 21.02.1927".

They are all wearing either somewhat dirty and slightly tattered streetwear or perfectly clean military uniforms, save for Entrant #1, who is wearing regular, clean streetwear. Entrant #1 pulls out a guitar with the word "KRAPPY" written on it.

He starts playing the guitar, which is out of tune, as Entrant #28 picks up and sets down a microphone stand in front of him.

I'm angry
This looks like an abandoned school gym
This contest is filled with idiotic crap songs
That will get hundreds of points
Because all of the juries are actually tone-deaf
What more do you need to know about this garbage?
I'm being forced to be here
I will be shot if I don't do this right
But everyone's running around singing insane garbage and pop crap
Everybody knows this


Everyone on stage has a smile, waving their hands in the air at exactly the same time as the man sings. As the men in the military uniforms (all 5 of them) only speak French, he somehow isn't taken off stage for his singing. The stool creaks as he moves, as the soldiers move away from the group and moving to either side of the stage, 2 on the left side, 2 one the right side, and 1 in the middle.

Jakob and Michaela are just tabloid garbage
The Britonish press has nothing so they just talk about
Some random lady who fell down the stairs (No-one cares!)
Michaela, number one, is ugly
He's really desperate, man
I'm told Jakob is just gold digging
Jakob married Michaela just for the money


The group of people all simultaneously hold up an image of Jakob and Michaela, and rip it in two. Entrant #23's ripping of the image is somewhat delayed. She is approached by the center soldier, and apparently is told off for not ripping her picture at the same time. She turns back to the audience, her worried expression turning back to the smile that everyone except for the soldiers has had for the entire song.

Real bomb-throwing communist terrorists
Got 9th place a few editions ago
We all listened to the propaganda music and went
Ah (x3)


The people in the background hold up another piece of paper, this time of the Amuaplyean flag with the colors inverted and the stars replaced with hammer and sickles. They hold it up while smiling as the center soldier returns to his position. They throw them up in the air, then started going "Ah", along with the singer, doing it louder and longer as time went on.

You are all really stupid
You all think that these entries are actually good when they're not
There are thirty entries and they're of the very worst type and I'm so pissed
Some dumb forgettable pop song will get first
Yep (x3)
We won't even get thirtieth place!
Ooooh
Nobody's going to remember half of this, and the jury's gonna say:
"We love these entries, we are not tone-deaf, oh it's so good, oh we are not snobs."


The people in the background again provides the "Ah"s and "Ooh"s, waving their arms in the air again, still smiling. At the very end of the song, the stool finally breaks, causing Entrant #1 to fall over. People try to help him up, but the soldiers prevent them from doing so. Entrant #1 gets up, and as the people in the background left for the next entry, the guards, along with Entrant #1 and the people who tried to help him up, go the opposite direction.

I don't mean any ill will towards anyone. Also, this isn't really a joke entry per se, I'd say it's a nonstandard entry. It's not meant to be funny, but it's also not completely serious. It's mainly trying to scare the crap out of you, whilst trying to make you laugh at the same time.
Last edited by Highly Ranked on Mon Feb 24, 2020 12:19 am, edited 3 times in total.

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Fauntenheddo
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Founded: Aug 27, 2019
Capitalist Paradise

Postby Fauntenheddo » Mon Feb 17, 2020 6:34 pm

02. Fauntenheddo

Pulling out!

There were cameras back at my house, looking at me
Maybe I'm what everyone like to see
I'm just a man who is up on our big family tree
Because legacy is where I want to be

Everyone can just agree
Everyone can just agree
Everyone can just agree
Everyone can agree about it now

13 - WIP
11 -
12 -
10 -
12 -
10 -

Everyone can just agree
Everyone can just agree
Everyone can just agree
7 -

7 -
11 -
9 -
7 -

5 -
7 -
9 -
11 -
9 -

9 -
9 -
10 -
6 -

7 -
(2) -
9 -
(2) -
4 -
Last edited by Fauntenheddo on Thu Mar 05, 2020 9:47 pm, edited 3 times in total.

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Main Nation Ministry
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Posts: 8602
Founded: Sep 28, 2016
Psychotic Dictatorship

Postby Main Nation Ministry » Mon Feb 17, 2020 6:43 pm

03: Main Nation Ministry
Fred Walker and Princess Keller Harrington - Afternoon of Love
Tune: Weezer - Island In The Sun
Language: English


Image
Pictured Above: Princess Keller Harrington (also looking nervous as always)


Background: After the lack of Main Nation Ministry appearing in any Worldvision for two WV's straight, the Leader noticed WorldVision 80 would take place. Immediately, he asked Jessica Madden to attend, however according to Madden, she had to attend to some family matters around that time. The lack of participation for WV 78 and 79 were attributed to the lack of shining new musicians to take the multi-verse music scene by storm. With artist's block being a main factor, and despite the fact that the nation has some low scores, Main Nation Ministry needed to find some way to stay revelant.

Why?

Because we're still revelant, damnit! Saying no to this is illegal and punishable by death by orders of the Leader! Ahem..

At the eve of the announcement of WV80, Fred Walker, who was influenced by some of Madden's music had signed up to participate for his nation. Originally, Fred Walker wanted to sing what he described as a "standard and simple" song, however another singer had suddenly decided to participate at the last second. Princess Keller Harrington, who was hesitant on being a part of any public events, such as WorldVision, had immediately asked to be a part of the experience for performing. Fred Walker asked if she wanted help, which she agree. Fred Walker later explained that Keller had wrote some music sheets, despite the lack of knowledge of music, though Fred helped fix some stuff up for her.

"She wasn't difficult, oh no. Me and Keller discussed things over about our act, where I give her some credit that the song was her idea. She was very nervous, when rehearsing. I told you she doesn't have to sing on stage, though she still expressed interest in singing, even if being in front of the stage makes her nervous. She told me it was supposed to be a bit of a love song, though I don't really know who she making the song for. Probably somehow she has her eyes on. Though, I don't want to press her. I'm sure they would like it." Fred Walker said.

Here's Fred Walker and Princess Keller Harrington.



Performance: For this performance, Princess Keller insisted on just having some basic, rather than over-the-top sets and pyrotechnics. After the postcard is shown, Fred Walker and Keller Harrington are standing in front of their microphones, as Fred has a vintage neon blue electric guitar to go with the turn of the century for the 80s. Several backup singers are standing nearby in the large pit on several platforms, as Fred starts strumming the guitar.

Backup: Hey hey


The song proceeds to start, as the backup singers continue to sing.

Backup: Hey hey
Hey hey
Hey hey


Getting himself set up, Fred Walker starts singing the opening set of lyrics, while Keller appears nervous.

Fred: To look toward the night stars
I want to see what is ours
Even if I break a vow
No rainbow's end will cheer me now
A warm afternoon for love
To fly as a broken white dove


As Fred is singing the chorus, Keller Harrington starts to sing along with Fred, much to the interest of Fred, since she was silent throughout the first part of the song.

Both: Even if I'm happy right here when
Things always will go wrong


Cue backup singers.

Backup: Hey hey
Hey hey


Keller, mustering up some more courage, sang the next set of lyrics, while Fred keeps playing the guitar.

Keller: I left the white clouds behind
All I want is my pure mind
You can cheer me on for long
But I know where I belong


Cue chorus with both singers.

Both: A warm afternoon for love
To fly as a broken white dove
Even if I'm happy right here when
Things always will go wrong


A spotlight starts to illuminate over the two, as the song reaches a high point.

Both: Longing for days typical
Doing that we're capable
Doing all the fun things we enjoy


Cue backup singers.

Backup: Hey hey
Hey hey
Hey hey


Cue chorus.

Both: A warm afternoon for love
To fly as a broken white dove
Even if I'm happy right here when
Things always will go wrong


The spotlight shines on the two singers again.

Both: Longing for days typical
Doing that we're capable
Doing all the fun things we enjoy


For the remainder of the song, both Fred Walker and the backup singers sing the ending of the song.

Fred and Backup Singers: Hey hey
Hey hey
Doing all the fun things we enjoy (Hey hey)
Oh no(Hey hey)
Hey hey
Doing all the fun things we enjoy (Hey hey)
Oh no (Hey hey)
Hey hey


After the song ends, Keller claps for Fred Walker, where the rest of the audience go into applause for the performance. Jessica Madden (a fellow repeatable performer for WV) throws up a bouquet of roses, along with Charlotte Huxley (another performer who participated in Worldvision 77). The Leader, who had been watching the performance, started to clap. Upon noticing that his fellow bodyguards weren't clapping, he gave a glare before all of them in unision started to clap for Fred Walker and Princess Keller Harrington.
Last edited by Main Nation Ministry on Sun Mar 08, 2020 10:58 pm, edited 8 times in total.
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Placely Placington
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Posts: 10
Founded: Feb 03, 2020
Civil Rights Lovefest

Postby Placely Placington » Mon Feb 17, 2020 6:48 pm

04. Placely Placington[/color]

Dave the Hobo and his Magical Cardboard Box - WorldVision Song Contest


Tune: Wesley Willis - Rock and Roll McDonalds

The news had just come in. Chief President Man Dave McDaverson has announced that Placely Placington was going to take part in the WorldVision Song Contest, an international and intermultiversal competition where countries submit songs and vote for other songs depending on how much they liked them. As the soccer season was taking a break due to the sole player for both teams in the nation accidentally stubbing his toe while watering his spice garden, he figured that entering the competition would be the best way to show off his smiley face-shaped nation consisting of 12.93 people. Plus he heard a rumour that a cash prize would be involved that he was too lazy to figure out if it was true or not (probably not).

Because they kind of needed the money. After finally reversing the effects of that one time their chief economist got intoxicated and ended up accidentally banning the economy (Yes, someone actually did this. I am not making this up), McDaverson realised, in a rare moment of lucidity due to the Orb of Confusion being a bit weaker than it normally was, that they needed some money to pay off their creditors. And what better way to do that than by entering a singing competition? So, with the help of their Science Minister Dave the Hobo, a man notable for inventing cardboard boxes which may look ordinary but can store anything and everything (an invention that would've been put to better use and could've lead its inventor to greater things had he lived somewhere that wasn't completely batfuck insane), they got to work on their song. Once the song was made it was submitted, approved and Dave the Hobo finally made his way over to Nekoni, where he will perform his country's inaugural entry. Probably badly.




Once the postcard was finished, we then cut back to an empty stage, shrouded in light as if they were still waiting for the next entry to come out. And, indeed, that's what happened a couple of seconds later as a scruffily-dressed person walked out holding a standard beige cardboard box in his hands, one which had a "This way up" arrow with the appropriate text next to it in the top right and, in the bottom left, was the broken wine glass symbol to indicate it was fragile. That person was Dave the Hobo and he was holding his titular Magical Cardboard Box? How was it magical? Let me tell you, assuming you haven’t read the previous paragraph.

He set the box down on the ground and pulled a small drawer out, which turned out to be an even smaller box. Once he sat down on that, he opened up the top flap and pulled out an 80s style keyboard, the kind that a good percentage of you would've played in music lessons and you had to fight off the temptation to press the DJ button lest you got into trouble with the teacher (but you pressed it anyway and just messed around because it was fun. Don't lie, we've all done it). He rested it on top of the box and angled it slightly so that it was perfectly balanced. After cracking his knuckles, he pressed a couple of buttons to load a pre-recorded song before he pressed the play button, just so the song could play while he sang into the microphone.

The WorldVision is on tonight
It is a song competition full of good songs
The crowd roars like a lion after each entry
Sometimes the people at home vote for the winner

WorldVision Song Contest!
WorldVision Song Contest!
WorldVision Song Contest!
WorldVision Song Contest!


Once he was done with the first verse and the chorus, he then moved on to some supposed facts about the WorldVision Song Contest that seem a bit, shall we say, unfacty. Ranging from "not exactly true but..." to "OK, you're just making things up" to "completely unverifiable". Then again, most of their information from the contest comes from watching the previous few competitions, blog posts and rumour mills, so they didn't exactly get the most accurate of information. Especially when they end up getting it from places that seem a bit grudgey.

The big nations always win
There are bloc votes
There are low-effort entries
They do not do so well

WorldVision Song Contest!
WorldVision Song Contest!
WorldVision Song Contest!
WorldVision Song Contest!


During this instrumental break, Dave the Hobo got up off of his box seat and left the stage. One of the camera people followed him, keeping it steady thanks to the Steadicam attachment, simply because he was wondering where the act was going. The crowd who were at the show were instead looking at an empty stage, wondering where the performer went off to while the people at home watching the competition were instead treated to him going to a vending machine and paying for a drink. He bought it, immediately drank all of its contents and threw the can over his shoulder (and into the bin even though that wasn't his intention) before finally arriving back at the stage to carry on his song, praising four completely random countries.

Polkopia gives us kick-ass shows
Izmedu makes great tunes
Acaya really keeps us in the groove
Malta Comino Gozo makes joyride music

WorldVision Song Contest!
WorldVision Song Contest!
WorldVision Song Contest!
WorldVision Song Contest!


And then came the outro. Rather than try and jam the current city's name into it and end up with the thing sounding even more awkward than normal, Dave the Hobo instead went with the previous host city. He also presumably mispronounced the company whose slogan he's adding at the end but, in his defence, he's only seen it written down and not heard it.

Rock over Phoda
Rock on, Citysburgh
S-U-M-A: Always there


A few seconds later, the song and the entry was mercifully over. Contrary to the song's lyrics, the crowd didn't roar like a lion. They didn't boo it either. The crowd was instead mostly silent, barring a few spatters of clapping that all sounded completely out of sync with each other. Fortunately, it didn't bring Dave the Hobo down as he got up, pushed his keyboard back into his box, pulled the flap down and pushed the smaller box into the much bigger one, so that his Magical Cardboard Box resembled an ordinary one again. He picked it up and then headed backstage, leaving it empty and free for the next entry to perform.
Last edited by Placely Placington on Wed Mar 04, 2020 11:11 am, edited 1 time in total.
Obligatory wacky and "so random" puppet that you all know and are probably sick and tired of, brought to you by Elejamie.

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Ertzei Kishim
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Posts: 99
Founded: Aug 12, 2019
Inoffensive Centrist Democracy

Postby Ertzei Kishim » Tue Feb 18, 2020 4:20 am

. : 05 - Ertzei Kishim - أراضي الكيش - ארצי כישים : .
Lika Dia - Red
ليكى ديى - أحمر | ליקה דיה - אדום

Language: English

To the Tune Of - The Pussycat Dolls - React


Ertzei Kishim was once again back in WorldVision, a uniquely consistent set of participations had allowed the nation to build up some consistent fan momentum, at least in WorldVision circles. The 8th participation in a row was the first time EK had done so since WorldVision 32. Last edition was a painfully average one. While an improvement on the previous edition, "Energiyah" failed to impress a number of traditional EK voters, leaving the girls in ninth place. HAREHSET's response was to organise a larger national final, and yet the same style of song was victorious again. While clearly willing to give it another go, some within HARESHET had mused about an alternative selection process, but that was of course to be determined, and all energy was put into making Like Dia's song a success in Nekoni.

Lika Dia, real name Lika Didusha is a Circassian-Jewish singer from Tiferet in Ertzei Kishim. Interestingly, the show at Kdam-WorldVision was her first live performance of her career - at the age of 27. Previously Lika rose to marginal fame as an army model: this is not a common job outside of Ertzei Kishim, however the mandatory 3 year service and intense militarisation of the society means it is in fact a viable career path for some, generally including posing for promotional shots of the army, but also modelling equipment which is to be sold to other nations. Entering Kdam was a chance, with a song produced for her by a friend she had met from her days as a model, she stormed the show, picking up the most amount of points and convincingly selling her song "Red". A sultry pop song with a sexy drop, Lika had been perfecting the stage show for the last few months in order to give an excellent performance in Marina Point. Because of her role in the military, she was very athletic, however this did not mean that she automatically got the rhythm of the dance immediately. The song was about lost love, or, unrequited love. Speaking of the song, Lika Dia said "I wanted to deal with the issue of unrequited or even lost love, but in a non-typical way. I think Kishrael has always done best when we have sent melancholic dance music and I wanted to recreate this. I think symbolism is also very popular in expressing emotions, and so the colour aspect was super important to me in the creative process".

As the muted cheers and clapping died down after the Kishi postcard, the stage show became visible. There was a hollow cube on the stage, with each side illuminated by a neon coloured LED light. In the centre of the cube was Lika, sitting at a desk similarly illuminated, on a chair also with the LED lights. There were a number of typical office "accessories" dotted around the cube, for example a chest of drawers, filing cabinet and stationery which was all illuminated in lights. Lika was wearing a typical "sexy librarian" uniform, complete with fake glasses, a buttoned shirt which was tied at the back to reveal her stomach, and a pencil skirt (which was going to be ripped away mind). She didn't have a microphone, but rather had a headpiece that served as a microphone. As she started the song, she feigned doing office work and daydreaming.

You had me chasing these crazy dreams
When it was way past my bedtime
We never said where we’d draw the line
But that didn’t matter when I was the only one on your mind


As the bridge comes, she stands up and moves in front of the desk, throwing her glasses to the side and unbuttoning her shirt to reveal a shiny plastic bra (which is giving her great cleavage). At the same time as the bridge starts, the stage becomes a golden-beige colour. Two female dancers either side of her pull the skirt off as she does a twirl, revealing plastic-leather shorts which are TIGHT on her thighs. The dancers are wearing similar outfits, with their hair in high ponytails. In contrast, Lika removes her hair from its previously pinned up style and shakes it out while winking to the camera. They begin posing in a vogue-y kind of way to the camera.

Smashing bottles into diamonds
Glass shards cut so deep
The waters ain’t so clear no more
Their taste is not so sweet


As the chorus starts, Lika and her four dancers march to the front of the stage in unison, their legs moving at the exact same time as one another. When they reach the front, they move the top half of their body to the side, their hands clutching around their breasts and up to their neck. They then whip their hair back while moving their heads behind, and then back to the front again. As she sings the "red" part, the stage then goes black, before the beat comes back and the now darker stage has glistening LEDs on the back panel - the box is still illuminated. Her and her dancers do a synchronised routine which starts just as sexual posturing, before they lean into each other (touching each others backsides) and slap them. By the next time she says red, the stage returns to normal and Lika is on her knees singing to the camera, while the dancers go back to the box.

Blue is the way I look towards you
Black is the way that you turn away
I got no regrets for stumbling this far
Coz’ you took everything that we had and you painted it red
Ah, Ah, Ahhaaahhhh x3
Coz’ you took everything that we had and you painted it red


Lika makes her way around the side parts of the stage, interacting with the crowd as she goes. The camera sometimes cuts to both the crowd enjoying the performance and also the dancers who are climbing on the box. She makes her way to the podium at the front of the stage, with a bottom up shot so you can see the crowd enjoying the performance with Lika.

All the eyes are on me and you
So tell me what you gonna do?
Thought I wanted to know the reasons why
Turns out is easier than I thought to say goodbye


For the next bridge, Lika dances seductively on the podium part of the stage, while her dancers march either side of the stage to the podium to join her for the chorus. The camera first pans over the stage to show the dancers marching towards her, then to Lika who flirts with the camera, before swipping her hair away.

Smashing bottles into diamonds
Glass shards cut so deep
The waters ain’t so clear no more
Their taste is not so sweet


As the chorus starts, Lika is still turned back, and so a camera from behind the stage advances forward and then up, catching the dancers arriving as Lika once again winks at it. She turns around back to the front for a wider frontal shot. The lengthened chorus provided more opportunities for choreography and so the girls dance in unison until the drop, when Lika pirouettes and the dancers either side of her do two aerials backwards. Also sparks come out of the stage at this moment too, making the crowd cheer some more.

Blue is the way I look towards you
Black is the way that you turn away
I got no regrets for stumbling this far
You took everything that we had and you painted it red
You think you can call all of the shots now
Tell me no more stories, tell me no lies
I got no regrets for making it this far
But you took everything that we had and you painted it red
Ah, Ah, Ahhaaahhhh x3
But you took everything that we had and you painted it red


As the song slows, the stage goes dark and the dancers run back to the main stage, but they are hidden from the view of the camera. The neon strips of light begin flashing in the background, as the camera moves slowly, panning around Lika in a soft curve as she makes herself all sexy and stuff, singing the slow part. Then another shot appears, a close up of her face. For the final line it zooms right into her lips (which are painted red).

Love strung massacre on the dance floor
I feel like spending my nights alone now
And I ain't even mad, because the shame is all yours
You took everything that we had and you painted it red


From that shot the camera zooms all the way back out to the audience which reveals an impressive light show. It then shows shots of the audience cheering and dancing in the standing area. This has given Lika enough time to run back to the main stage, and with her dancers, she climbs on top of the office furniture in the box, all while singing. Her dancers dance around her as she climbs on the top rim of the box, before standing up. Currently her feet are about 5m from the ground. As the final line is sung she falls back deliberately to be caught by her dancers, and as this happens the stage turns completely red, giving a shocking and powerful ending to the performance.

You think you can call all of the shots now
Tell me no more stories, tell me no lies
I got no regrets for making it this far
But you took everything that we had and you painted it red
Ah, Ah, Ahhaaahhhh x3
But you took everything that we had and you painted it red


At first the crowd was slightly concerned that Lika was okay, but as she stood back up and gave a big thank you to the crowd, they began cheering and clapping the performance. Later, the Kishi team would find out how well they did.
Last edited by Ertzei Kishim on Sun Mar 08, 2020 10:17 am, edited 7 times in total.

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Britonisea
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Posts: 8028
Founded: Oct 29, 2012
Inoffensive Centrist Democracy

06 | Britonisea | Concordium - On We March

Postby Britonisea » Tue Feb 18, 2020 6:12 am

#06 BRITONISEA
Concordium - "On We March"
Tune : Within Temptation ft Jacoby Shaddix - "The Reckoning"
Music: George Kilnus, Reynold Hughes, Alyssia McCoy, Grace Ariella Lyrics: George Kilnus, Reynold Hughes, Alyssia McCoy, Grace Ariella

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Concordium becomes Britonisea's 37th participant!: Britonisea is back in the game with Machievelihan-based group, Concordium, who will sing "On We March" in Marina Point, Nekoni.

Britonisea returns to the WorldVision Song Contest after taking a three edition hiatus. This time, Britonisea returns with former WorldVision Song Contest broadcaster, BITC, the broadcaster which was responsible for the Britonish WorldVision Song Contest 61 - 74 entries.

Actually getting "On We March" to the WorldVision Song Contest 80 in Nekoni was a very difficult path for Britonisea and that's not because of the song itself but rather because of the situation that has been happening with the nation's participation in the WorldVision Song Contest. For the first time since the 58th WorldVision Song Contest in Polkopia did the nation withdraw from the WorldVision Song Contest for three editions in a row. During that time, BVC had stopped investing as much time and effort in the WorldVision Song Contest as before and eventually dropped out. This time, the whole drama with Eleanora Buckingham at the 75th WorldVision Song Contest left a sour taste in the mouths of those who regularly watch the WorldVision Song Contest. As the hype for the World Hit Festival builds higher and higher each edition, BVC made an attempt at the WorldVision Song Contest in Achaean Republic for the 76th edition, ultimately placing 10th place which was the nation's worst result in 22 editions. BVC soon withdraw from being the official broadcaster for the WorldVision Song Contest, leaving Channel 4 to broadcast the competition from the 77th edition to the 79th edition. While viewings soared higher than what was average for Channel 4, the WorldVision Song Contest received around half of the 13 million figure of the World Hit Festival 49 which was held in Estogium & Britonisea. BITC decided to make a return to the WorldVision Song Contest after everything was cleared for them to return to restore Britonisea's faith and fortunes in what was a pretty bad "decade" for Britonisea at the WorldVision Song Contest. We mustn't discount the placings of Alyxhia Willis, Vha Mehlodhivestoile 2019 winner and Jun-iči Hoch & Ekkehard Liinamaa who both placed in the top 2. BITC said that they're ready to repeat the 60s and what better way to do that than to go back to Nekoni to start off, the nation where BITC scored the first of three wins during their very successful run at the WorldVision Song Contest...

ORIGINAL BITC POST;
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Britonisea is back - for good!: Britonisea will be participating for the 37th time at the WorldVision Song Contest 80 in Nekoni. BITC will be broadcasting the show on their main channel, advertising it heavily against Vha Mehlodhivestoile 2020, the show it shares a slot with over on BVC.


A simple message was posted on Britonisea's WorldVision Song Contest social media, with not much said along with the post. A little after the post was mentioned, on the grapevine, it was announced that fans would be able to hear the song on the 7th of March 2020, with many assuming that people will be able to hear the song at Vha Mehlodhivestoile, the 2nd Semi-Final that happens on the day. This information was confirmed on the 29th February 2020 during the 1st Semi-Final of Vha Mehlodhivestoile, with the name of the song, "On We March" and Concordium being revealed on the 4th March 2020. Even though the name of the song was revealed, the actual song was revealed during the earlier schedule time for Vha Mehlodhivestoile at 6:30pm with many of the 22 VM2020 broadcasters showing the performance in their respective countries. With Concordium performing the song for the first time, there was a burst of excitement with many people saying that they'd tune in to watch Concordium perform at the WorldVision Song Contest. As WorldVision and Vha Mehlodhivestoile start at the same time, with Concordium performing 6th in WorldVision, many were wondering how this would affect viewings for both shows. The positive reaction that Concordium had received was unlike anything they had received before as they were thrown into the viewership of twelve million in Britonisea alone.

Concorodium is a band of two women and two men from the Machievelihe area, the city that hosted the 57th WorldVision Song Contest, 23 editions which for them seem like a lifetime ago. The group don't focus on one particular genre of music, going through contemporary pop, rock, metal etc. They have performed at many gigs within Machievelihe, but have never travelled out of the Authority and performed elsewhere. Performing at Vha Mehlodhivestoile in the capital of the country was a big step for them, especially as two of them had never been outside of the Machievelihe Authority at all.

The group consists of George Kiluns (pictured first from left above) who is 26 years old and originally not from Machievelihe. George's story began in the Northern city of Arçonne, one of the most Northern cities in Britonisea - one of the most forgotten about treasures. When asked about Arçonne, he says that he had grown up in Arçonne for most of his life until he went to University, The University of the Creative Arts: Machievelihe (UCAM) as he thought that the universities in Alshkan did not give him what he wanted. In Britonisea, University admission is very high to the point where it is mostly unheard of for someone not to go. For the government, they suggest that students go out of their birth cities to go to University - advice George took and doesn't regret. He said, "As much as I love Arçonne, there's no music scene there and it would be hard for me to go to the places where I have been if I stayed at home. I met some great friends in Machievelihe as well, all of whom are truly unforgettable. I have loved this experience so much." One of George's first friends at University was 25 year-old Renold Hughes (pictured last from left) who is from Machievelihe, who had yet to explore the rest of his country. Him and George undertook the same course together, getting on with one another rather well. Renold learnt a lot from George about the city where he was from, and about Britonisea in general, not realising how different the South, North and East of the country varies from one another. When speaking about meeting George at University, Renold says "I was lucky that he chose this university to come to. He had so many options to go anywhere and he came here and I am grateful for that. He's my best friend and together, we've actually done so much to be proud of." Renold is looking forward to his cross-country travel to Doportedas and other places before they undergo the trip to Nekoni.

That's only half of the tale however as the other two were passed their University days but went to a Music Talent circle which was being held in Machievelihe at the time. 28-year-old Singer Alyssia McCoy (third from left in the above photo) isn't from Machievelihe, but actually from the city of Boschke, a stone-throw over the Bay of Britonisea in the East of the country. Alyssia moved to Machievelihe after the hype the city received after hosting the 57th WorldVision Song Contest, with Machievelihe being hailed as the new city of Britonish Music (with Junterapten and Quickenden holding those titles colloquially). Alyssia spoke about her journey explaining "I [Alyssia] was so lonely in Machievelihe and spent some time alone but remembered that you're the only person that can make chances for yourself. I saw the advert for musicians in Machievelihe. When I went, it was this big festival and I was told to go to a hall for the first meeting - that's when I met George and Renold at first. It was lovely meeting them, they were younger than me and they still went to uni, but they gave me so much insight and made me feel so comfortable. I got on with them both very quickly." The three of them kept in contact as Alyssia sorted out finding another member of their group which leads us to the final person, 29 year old Grace Ariella (the last person we haven't mentioned) who became friends with Alyssia as she found work in Machievelihe to raise money. Alyssia and Grace used to hang out outside of work hours when they found that they both have a passion for music. Soon after, Alyssia introduced Grace to the two guys. Grace said "It was weird meeting them at first, not because of them of course haha. It felt like I had finally been able to do music with people who sounded great. University just didn't happen for me, so much was happening in my life which I am luckily clear from now...but it was nice to finally be able to do music again."

As they practised, they started to gain more and more contacts. They were recommended to send a song to BITC before the broadcaster stopped broadcasting the WorldVision Song Contest. Internal selections for Britonisea were commonplace for BITC with only three of BITC's 12 entries coming from National Finals. Internal selections lead to long periods of silence from the broadcaster. Once BITC pulled out of WorldVision, Concordium gave up on hope hearing from the broadcaster. That was until BITC announced that they were returning. For them, everything happened so quickly. Before they knew it, they were the representatives for Britonisea at the WorldVision Song Contest without the public's knowledge, working on the demo version of the song that they submitted, perfecting it before their performance in Doportedas on the 7th March 2020.

During their journey to Doportedas and after, they managed to go to the nearby cities of Kyvivre and Aloquirbe City to perform their songs during events that were happening in those cities, but only managed to do it in the space of 48 hours, with Concordium on a plane journey to head to Marina Point for the 80th WorldVision Song Contest on the Monday night for the preparations for the contest. It was odd for Britonisea to leave such things so late, but the broadcaster wanted it to be more of an explosion of news for Concordium at the contest. The song being revealed on Saturday as well gave the band the whole week to try and advertise to get into the Top 100 for the Friday's chart update. It is expected that 8 million will watch them during the WorldVision Song Contest over on BITC, hoping for them to score the nation their sixth win after being relegated out of the Top 2 most successful nations in WorldVision Song Contest at the 77th WorldVision Song Contest. BITC now feel the pressure as the broadcaster plays catch-up, but BITC say that they're going to be nothing but ruthless to get what they want.

The group will be performing 6th in the running order during the night. Will they top the scoreboard? All will soon be revealed...

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Duration: 4m09
Female Vocalist 1: Alyssia McCoy
Female Vocalist 2: Grace Ariella
Male Vocalist 1: George Kilnus
Male Vocalist 2: Reynold Hughes
Lyricists: George Kilnus, Reynold Hughes, Alyssia McCoy, Grace Ariella
Composers George Kilnus, Reynold Hughes, Alyssia McCoy, Grace Ariella


Following the efforts of Ertzei Kishim was no easy feat. The audience applauded after their nation with the band members of Concordium waiting in the wings ready to step onto the stage to the roar which was for the end of the performance before. Concordium was hoping that the broadcasting of Vha Mehlodhivestoile with their performance on it helped people recognise the song - even if they hated it - by the time they perform in Nekoni. As it was announced on the screens that Britonisea was the next to perform, the audience in Nekoni seemed very happy to welcome Britonisea on to the stage. Nekoni were, of course, the hosts when Britonisea won with Taron Woods during what was BITC/BVC trying to regain the trust of the national final. Britonisea performed this early in Nekoni as well, position #5 and so many wondered why Britonisea couldn't do it once more. As Ertzei Kishim's delegation was off the stage, the Britonish delegation rushed on. As George stepped out and saw the audience he let out a "wow", before stopping and taking a large gulp. 19,000 eyes stood before him in NEXPRO in Nekoni. He smiled as stage personnel pushed him along, double-checking his microphone pack was working. The rest of the group was waiting for George to join them before they all took their positions on the stage.

The theme of the performance was post-apocalyptic with everything around them matching said theme. On the stage, there were a couple of cars (upstage) that looked burnt out and turned over. There was also barbed upstage as well, with the four of them standing on different heights on top of what looked like cinder blocks (which obviously weren't cinder blocks as it would damage the floor). Also around the stage were these robot metallic-looking things which would shoot lasers at them, which would be used later on during the night. The clothing also represented this too, with the women wearing something like this, with the two men something like this. While it didn't exactly scream what the theme was, the clothing stylist thought that it was good enough for the performance. The LED wall in the back also showed a post-apocalyptic setting as well, with them showing what seemed like a desert, inside a crater after what looked like a war of some sort. BITC had the budget to stage well this edition - even though the broadcaster was already known for its good staging. After confirming with the host broadcaster, NTR, whether they'd be virtual reality available, BITC decided to invest even more in the performance by Concordium. As we got closer to the end of the postcard, those in charge made sure the VR was working fine, with the top of the stage seemingly looking as though clouds had covered it, ready for a proper storm ahead. The camera readied itself, with a shot pointing up towards the stormy clouds. All of the stage personnel ran off the stage, the four of them knew that it was their time to perform. They all looked at one another and smiled, they knew that it was going to be all okay.

As the postcard finished, the 19,000 audience screamed and shouted, taking the four by surprise. The ident happened before as everyone in the audience were silenced. There was now simply silence. The first shot of the performance was of that first camera which readied itself by pointing upward towards the top of the light rigs above that. There was smoke billowing beneath the podiums of which they stood on. The lighting was lowkey, and so was the colour of the camera shots too, with a sepia look being used for the opening here. As the strong drums came in, the camera slowly panned down to the four of them as they stood on each of their podiums. The camera wasn't in focus, with the audience only being able to make out for bodies standing fiercely amongst what seemed to look like a dystopic scenery behind them. As that scream was heard, another shot from further away in the arena was used and zoomed in quickly to the four of them. Red started being shone on the four of them, flashing and blinking, creating the sense of urgency. White flashes were also seen as multiple different camera angles before the first person sang.

There was a flash of darkness (quite the oxymoron there), and as we came from the darkness, the camera was poised on the first singer of the night, Alyssia...

You've made your choice, gather your men.
Prepare them for the war, your decision's final.
No turning back, willingly you have crossed the Rubicon
And so

Ignore your fears, they'll hold you down
Have no regrets - you're a warrior now
So, on we march...


For most of the verse when Alyssia was singing, the camera was focused on her only. Very quickly, the camera would flick quick images of the other three members of Concordium. They all looked at the camera, with faces of readiness for war, readiness for their section of the songs to come. It was time for Reynold and Grace to sing during the pre-chorus of the song, with the pair of them bringing the microphones to their face - both with a slight smirk on their faces. They turned to look at one another as they sang the pre-chorus. During the pre-chorus of the song, the camera had the image of Reynold on the left and Grace on the right, moving in, over the image of Alyssia before Alyssia was out of the shot. Alyssia held the microphone down by her side, looking forward and keeping her poker face on. The pair currently sang together before George shouted the lyrics, "So, on we march!" with the lights coming together to George as he bent his knees to force those lyrics out of his body. The camera was quick to focus on George as he sang this.

We had then moved on to the chorus of the song, with the four of them pounding their feet against the cinder blocks that they all stood on. There was a camera shot which zoomed from one side of the arena to the other side, with the audience watching at home gaining the scope on the setting that they had missed out. The VR was still being used here as well, with the storm brewing above them. It looked like there was some sort of lightning as the stage's lights reacted to the rumble heard during the chorus of the song. All members of Concordium were synchronised in their movements, all facing the audience and sounding perfect together.

We are entering hell on Earth,
I hear the screams, pleading for our help.
What now, since we cannot slow down?
Through the flames,
Through the fire,
Through the blaze,
Don't matter - we march on

Ignore your fears, they'll hold you down
Have no regrets - you're a warrior now
So, on we march!


As the group said the phrases, "Through the.." each of the time they did, the camera zoomed in from afar to one member of Concordium, with them going from Alyssia, Reynold, Grace before going to George who shouted the "Don't matter - we march on" with his eyes clenched closed and he belted out that line, raising his hand in the air. They continued singing the chorus by repeating the pre-chorus once again. There was another further away shot as the lights reacting to the performance and the beats in the song. The camera clicked from one member to the next member seamlessly as all members of Concordium, swayed from one side to another.

It was now time for George to sing much more than just the "On We March" sections. The lights in the arena was not as fierce as they once were as we head to closer and closer to George as he sang his part of the song, his verse. There was a bright white light on George as he looked deep into the beckoning lens. He didn't want to mess up his chance to shine during the performance, but his heart was beating rapidly as he knew the millions of eyes watching him. It gave him the drive he needed to get through his verse with conviction. As he sang the lyrics "You're not alone," he gave off a slight smile, welcoming the audience to feel safe when he's around. He wanted his audience to be calm during this verse amongst the power of the rest of the song. As he started singing the "A shoulder to cry on", all members of the group tilted their heads to the right, all being faded into shot as they all did this. As George quickly pulled his head back up with the lights brightly flickering a single light, changing camera shot to once slightly higher than him, with his eyes moving from left to right along with the movement of the camera.

You're not alone,
War's not for the faint-hearted, but I'm here,
A shoulder to cry on.
Think of what could-
What could come of this,
A new life for you and I

Ignore your fears, they'll hold you down
Have no regrets - you're a warrior now
So, on we march!


Once again it was time for Grace, but now with the addition of Alyssia to sing their parts of the song and following the same movements as the last time, the pair turned to face one another as they lead the song from the verse to the chorus. Similarly to what happened to the first pre-chorus, the shots of Grace and Alyssia moved in from the left and the right of the screen as the strong figure of George was covered by the two of them. There LED's changed, getting darker and darker with embers shining amongst the darkness below them. They continued singing with the camera pointing upwards as they reached the end of the pre-verse. As George screamed out the words, "So, on we march!" we moved into the chorus of the song, with the VR being used now showing rain falling from the storms above them.

As the rain starts to fall, this was also being shown on the screens behind them as well as fire combusted in the scenery in the LED. There was another shot of the whole of the stage as all of the members sang strongly into their microphones during this chorus, yet still remaining in sync with one another in terms of movements. The audience watched the performance as the Britons on the stage gave it everything they got. For BITC, this performance meant a lot to them, returning after the struggles the broadcaster faced at the 75th WorldVision Song Contest onwards.

We are entering hell on Earth,
I hear the screams, pleading for our help.
What now, since we cannot slow down?
Through the flames,
Through the fire,
Through the blaze,
Don't matter - we march on!


In what was a short version of the chorus, George shouted the lyrics once again as the storm seemed to disperse as we moved into Grace's bridge section. George and Alyssia, who were out of shot, got off their cinder blocks as the camera focused on Grace singing this section. There was a laser being pointed at Grace at the place where her heart would be. She sang to the audience as moved from side to side, not showing any smiles of happiness as she sang. Behind her, on the LED, it seemed as though something had landed, a large metallic object which was shining red from it. Before she got to the end of the bridge section, the camera slowly zoomed out and moved to the left as Reynold put his hand on Grace's shoulder. Grace put looked up at Reynold as they finished off the bridge together.

From dawn to dusk,
Through all the hate
We'll fight and fight until we've won,
Until we're glorious, yeah!
And, no, nothing will stand in my way but death and I-
I am not scared

Ignore your fears, they'll hold you down
Have no regrets - you're a warrior now
Ignore your fears, they'll hold you down
Have no regrets - you're a warrior now


Everything seemed to suddenly calm down all of a sudden. There was a shot of far away as Reynold and Grace moved down from the cinder blocks to join Alyssia and George who were already down on the stage floor. As Alyssia began to sing the "ignore your fears..." section, the camera focused on her, with the fan machines blowing delicately on her face. She moved the strands of hair which were blocking her vision. Before she knew it, all members of her group had joined her down on the stage floor. The camera slowly moved out as they all started to sing the song with her, with Grace coming in first before the men came in too. The lights were spotlights with fire being burnt behind them on the LEDs alone.

Suddenly, flashes of white flickered through the whole of the arena behind them the audience being heard over the group. It was time for the instrumental of the song, with the lasers that we saw on the stage earlier now pointing at them. Pyrotechnics shot around them as the pair danced moved from side to side together, with the franticness of the moment being helped by the jittery movements of the camera, the sudden plumes of fire which shot up from every corner of the arena, the manic strobe lighting and the LEDs which looked as though the large metallic thing that hand landed was shooting something at the audience, with the virtual reality making it look as though it was coming from out of the screen when it wasn't.

[INSTRUMENTAL]

So, on we march!
So, on we march!

Ignore your fears, they'll hold you down
Have no regrets - you're a warrior now
So, on we march!


Right at the end of the performance, the shot quickly zoomed in on the four of them as they held their hands out above them. They all were breathing heavily as the audience applauded after them. They all hugged before shouting their thank-yous to the microphone. They all felt great after that performance - they felt as though it was worth it. They knew they did their country proud no matter the result.
Last edited by Britonisea on Thu Mar 05, 2020 3:33 pm, edited 10 times in total.
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WorldVision Top 6 | WorldVision Factbook
1st - 154 points - WV81
1st - 139 points - WV47
1st - 132 points - WV73
1st - 117 points - WV64
1st - 113 points - WV41
1st - 98 points - WV63

World Hit Festival Top 6 | World Hit Festival Factbook
1st - 51 points - WHF50
1st - 34 points - WHF42
1st - 34 points - WHF48
1st - 28 points - WHF46
1st - 28 points - WHF37
1st - 20 points - WHF26

User avatar
Mister X
Ambassador
 
Posts: 1174
Founded: Sep 25, 2013
Left-Leaning College State

Postby Mister X » Tue Feb 18, 2020 6:14 am

07 MISTER X



Lauren - "I ♥ U"
Tune: LORYN feat. Rudimental - "Stand By"





Image




Image




Lauren is a little older than she tries to pass herself off as. For a 40-year-old woman, she has no problem wearing revealing or tight outfits, although it must be said that her style of fashion is somewhat outdated nowadays. The use of her extensive wardrobe has been gone for here too, with a pair of black spray-on leather trousers matching a summer-flower type blouse creating a feminine summer vibe yet one that still shows off Lauren's curves and swerves.

The creative decision to style the song as "I ♥ U" is an attempt to sound more youthful and hippy in line with the general summer festival mood of the song. However, many members of the Mister Xian Vnitarvm generalis de amantes WorldVision (general organisation of WorldVision amateurs) have taken to writing the title of the song, in line with Mister Xian standards on spelling and grammar and so on, as "I Heart You". Indeed, when the lyrics were leaked prior to the song's release, there was some confusion about the pronunciation of the refrain, whether it would be pronounced as "I heart you" or "I love you". Responding to these, the composer said, with no holds barred, "if it were "I love you", it would have been called "I love you", not "I ♥ U"." Whatever happens at WorldVision (and MRX Television is almost beyond caring now given the lack of success in recent editions) the song will have a life after WorldVision, as it has been booked to be the official theme song for the Mister Xian First Class Cricket Championship. Perhaps this song is well-suited to cricket rather than the hippy-Shoreditch-vibe it's going for, but nonetheless it sort of works as a hippy song, it was felt by many of the media. However, the air in the song's balloon somewhat deflated a few days before the contest and now it's not even expected to do that well much to the annoyance of everyone at MRX.

Lauren stands on the stage on her outfit and the lights gently come up on her in super-close-up.

There is one thing u should know
That it's only for u to know
There's only one thing that I know
And it's something I think u know


The camera pulls out from her super-close-up to show a gentle band dotted around the stage: some trumpeters, a pianist, and a drum kit at the back of the stage with someone playing it. The camera comes on to the stage and she sings around it.

'Cause although I'm not ur only love that u will only ever ever have
There's nothing that I don't know about u
And I know that u have had a past but it's the future that I want to know
And u know that I just


Lauren sticks one hand up during the next line and there is a gentle explosion of natural light as everything is turned on at once. On the next line, the camera moves from the back of the hall to the stage on a very high angle. One line later, the next camera angle is a gentle zoom on the front of the stage. And for the fourth line there is a pan across the front of the stage from the back of the hall. Then a dramatic zoom as she sings the fifth and sixth lines of the chorus.

♥ u
There is nothing 'bout u that is wrong with u
And u know, baby, just want I wanna do
Yeah and I know, baby, that u want me too
I just ♥ u
♥ u


The lights start gently flashing as the trumpeters sway from side to side during their solo.

♥ u
(There is nothing 'bout u that is wrong...)

♥ u
There is nothing 'bout u that is wrong with you
I just ♥ u
♥ u


The back wall shows Lauren and her lover, a rather overweight but jolly man, Whichard Riteley, doing overly stereotypically romantic things such as running through fields of wheat, texting and scones, picnics, etc. Then they are shown lying on the grass looking at the stars when she sings about space.

Please don't leave me here all alone
U know I'll follow u into space
Until the stars and the moon collide
Please don't leave me here all alone


The camera and lighting work for the pre-chorus is repeated from the first pre-chorus, because there's only so much staging you can do.

'Cause although I'm not ur only love that u will only ever ever have
There's nothing that I don't know about u
And I know that u have had a past but it's the future that I want to know
And u know that I just


This time, whilst the chorus's main camerawork is the same as it was before, the back wall shows the lyrics flashing up on the screen.

♥ u
There is nothing 'bout u that is wrong with u
And u know, baby, just want I wanna do
Yeah and I know, baby, that u want me too
I just ♥ u
♥ u


The trumpeters move towards the front of the stage and jam with Lauren, one either side of her.

♥ u
(There is nothing 'bout u that is wrong...)

♥ u
There is nothing 'bout u that is wrong with you
I just ♥ u


For the bridge section, the camera comes onto the stage and runs rings around her. The TV audience is a little bit dizzy by the end.

I think I love, think I love
I just ♥ u, I just ♥ u (ohhhh)
I think I love, think I love
I just ♥ u, I just ♥ u


There's an explosion of sparks at the start of this chorus, followed by a golden shower of sparks that goes on until the rest of the song.

♥ u
There is nothing 'bout u that is wrong with u
And u know, baby, just want I wanna do
Yeah and I know, baby, that u want me too
I just ♥ u
♥ u


The trumpeters move towards the front of the stage once again.

♥ u
(There is nothing 'bout u that is wrong...)

♥ u
There is nothing 'bout u that is wrong with u
I just ♥ u
♥ u





Image



Last edited by Mister X on Mon Mar 09, 2020 12:07 pm, edited 6 times in total.

User avatar
Besen
Envoy
 
Posts: 241
Founded: Mar 01, 2018
Inoffensive Centrist Democracy

Postby Besen » Tue Feb 18, 2020 6:38 am

(8)
Besen

Here For You - OLA
Lyrics - Onika Laurel Abit & James Savein
Music - Rowen Ansebel
OK (Anxiety Anthem) - Mabel

Image

4 contests ago, Besen sent its last act to the Worldvision stage. Or so it had seemed, due to the indefinite hiatus sprung upon the BSB WV team, by the broadcaster, whom seemed to have no more interest in financially backing the participation of the nation. Maybe Besen was never to return, dragging its record of respectable results down with it, almost winning in WV71 and finishing in the top three two contests later in Estogium. There simply was no plan for the nation to return, it would take someone of high interest to kick-start talks again. And it did. BSB received many messages from OLA, offering to make her return on the stage. It would be risky, but the prospect looked promising and it might have payed off well. They held several meetings after that, in which they discussed the terms of her entrance to the contest and how she would provide something quality and quickly to the table, with sign-ups fast approaching an end. They had a plan: they would tease a track from OLA's upcoming 3rd studio album, in which one of the eleven songs would be the one that she would be singing at the competition. They would then reveal the song the following week, followed by an announcement of the team behind her, of which they were sure could make fans certain of a good performance from the singer. It was perfect, and ran smoothly just as intended. They looked forward.

OLA danced her way into the Worldvision community in the 71st edition of the WVSC in Main Nation Ministry, where she proved to be an electric spirit, with much to give and much to prove to countries who had previously thought Besen unable to crack a top 10 finish. She much exceeded expectations, coming 2nd and almost edging it for the win over Izmedu, in a tight but exciting race between the two. She returned home glorious in the eyes of the broadcaster, relieved, and the Besenian fans, happy to finally get their recognition on the podium. Her song topped the charts in Besen and continued to make an impact across the world as she made appearances in Vha Mehlodhivestoile in Britonisea, the 72nd contest in Lipa and several televised performances in various countries. It seemed she had made it, and in broader terms for BSB, they could invest more, perform better and experiment a little. They proved to be efficient in their efforts, after OLA Besen finished: 10th, 3rd, 11th, 9th and then 5th. Bosses decided that they would have to put pressure on the Worldvision team by cutting some of their funding, which technically paralysed them as they couldn't hold a national final anymore, which was proving to be the best method, and they could not appeal to large-scale artists that they previously could. There was no hope: Besen didn't make an appearance at any following contest. People lost their jobs that they loved so much and many felt that any chance of returning was little. Until OLA that is.

"Here For You" was selected as the song for OLA by herself, as she felt it needed to be shared with the world more than any song she had ever made. It was written by her and James Savein, a long time collaborator of hers, as a way to deal with struggles of self-worth, anxiety and existential fears. "It comes from a hopeful place.", she said in an interview, where she also states, "I'm not here to win this time. I want people to feel good about themselves and just have a good time when they hear this song. I am here for you, all of you." The song takes a much darker tone to her previous work, especially the dancefloor filler "Durem (La La)", which she remembers, "Was a fun time for me. I have to move on from it at some point though. This is me bearing my heart, this is me. It's fine to be anxious about something, to feel not good enough, to be down. We have to build each other up."


Alone in a single spotlight, seated in a tightly adjusted position atop a small table, OLA glistens in a plastic-looking black jacket - it's puffy and makes her look weighty. She wears similarly coloured glasses but takes them off as the camera swoops from the side angle as she begins singing. Her voice sounds fragile at first, probably just finding the note, but carefully emotes the lyrics well. She moves herself around on the table, following the camera as it tilts ever so slightly to the right of her.
Stand up, I can barely expect
The pain in my chest, I can barely pretend
My reflection, yes, it’s hurting
I realise that I’m on my own
So I go and mess up every single thing I know
It’s burning, it’s been burning


She begins to disembark from the table, and some more lighting that isn't the spotlight comes in pieces behind her, illuminating the stage a soft white colour. The aesthetics of the production are simple and connote a sense of nothingness, empty so that all the focus is put on OLA and her performance. She still follows the camera as she walks more to the front of the stage.
I call my dad when I feel so lonely
I cry alone when I feel unworthy
‘Cause it’s great living in this merry-go round, I go round
I shut my doors when the rain starts falling
When I can’t contain the storm that’s always coming
‘Cause it hurts, living in this merry-go round, I go round


Two dancers crazily swoosh into frame, as the camera neutralises and takes standard forward view. They appear taunting OLA, pulling at her jacket, taking it off slightly so it's just hanging off her left shoulder. She sings well, although seemingly breathless - it's so evident that this moment means so much to her. She fights back against the dancers, glaring at them angrily, but still cowering almost in a ball at the front of the stage. The spotlight flashes madly as the dancers disappear and she is again the main focus, beginning the second verse.
So, I just smile if I feel okay
I just cry when I need to break
I just run when the fears are great
But so what, I’ve made mistakes
So, I just smile if i feel okay
It’s fine that I have to break
I wanted to know, I wanted to know
If you’d be here for me today
Today-ay
Today-ay
I wanted to know, I wanted to know
If you’d be here for me today
Today-ay


She looks down into the supportive audience below, it's like she is singing to them, and it makes for a good moment in the recap, as many have their phone's flashlight on during the song. The white light in the back begins to shift into a darker, more brown tinted colour, at the same time as the camera cuts pick up pace. The atmosphere is still calm in the arena though, not really feeling the approaching madness on the stage.
I cry at you, you cry at me
We have learnt that we have a possibility to be happy, to be happy
Then I look at you
You are the best of me
‘Cause you do, ‘cause you do
You do what you do when I’m spiralling, oh I’m spiralling

I call my dad when I feel so lonely
I cry alone when I feel unworthy
‘Cause it’s great living in this merry-go round, I go round
I shut my doors when the rain starts falling
When I can’t contain the storm that’s always coming
‘Cause I’m sick of living in this merry-go round, I go round


The two dancers and two more appear once again on the stage, with a rougher touch, ripping OLA's jacket off her, exposing a gorgeous silhouette made of nearly translucent black fabric. The spotlight disappears as the darker colours have started to illuminate her enough. The dancers make uncomfortable movements around her, the camera captures it in a frontal position.
But, you just smile if you feel okay
You just cry when you need to break
You just run when the fears are great
But so what, you’ve made mistakes
So, you just smile if you feel okay
It’s fine that you have to break
You wanted to know, You wanted to know
If I’d be here for you today
Today-ay
(I will, oh, I will, oh) It won’t break me
(You will, oh, you will, oh) I’m getting better, yeah
(I will, oh, I will, oh) It won’t break me
(You will, oh, you will, oh) I’m getting better, yeah


As the vocal demand becomes more, OLA handles this fine as she stays in one position at the centre of the stage, as the main spectacle is the dancers who seem to create chaos across the stage - the overturn the table and taunt the camera. They are the physical representation of everything the song talks about, the sadness, misery and anxiety. A giant streak of red light hits each of the dancers and they freeze, as the camera cuts to a close up of OLA, where she brings the chorus to a quieter place before the final stretch of her performance.
But, we just smile if we feel okay
We just cry when we need to break
We just run when the fears are great
But so what, we’ve made mistakes
So, we just smile if we feel okay
It’s fine that we have to break
We needed to know, we needed to know
If you’d be here for us today
Today-ay (Just breathe, just breathe, baby)
Today-ay (Just breathe, just breathe, baby)
You have to know, you have to know
I’m gonna be here for you today


She smiles more and more as the song comes to a close, the dancers are nowhere to be seen. A hopeful yellow-ish light replaces the darker and moodier colour palette of before, it begins to feel emotional, as does OLA. She struggles to vocally deliver the last lines, but carries on. She remembers that she was here 9 editions ago, where she made her country so proud. All the memories of her time at the contest nearly brings her to tears, but she carries on. Just like the message of the song, she smiles, she feels okay, and she embraces the moment. The song finishes, and cheers start to erupt. OLA loudly thanks the fans and blows a kiss to the camera, she is so proud of herself.
But, you just smile if you feel okay
You just cry when you need to break
You now know, you now know
I’ll be here for you everyday
(I will, oh, I will, oh) It won’t break you
(You will, oh, you will, oh) You’re getting better, yeah
(I will, oh, I will, oh) It won’t break you
(You will, oh, you will, oh) We’re gonna save you, yeah
Last edited by Besen on Sun Mar 08, 2020 10:25 am, edited 4 times in total.
63 - 12/19
Erica - Rules For A Broken Heart

64 - 11/23
KRENA - I Live For You

65 - 14/29
Celine - We Are The Fighters

66 - Did not participate
67 - Did not participate
68 - Did not participate
69 - Did not participate
70 - 11/21
Lori - Tempo

71 - 2/25
OLA - Durem (La La)

72 - 10/18
Giovanni Able - A menudo

73 - 3/26
Leona - Butterfly

74 - 11/32
La Force Femme - The Strong Woman

75 - 9/31
Alana Deviney - Sick Joke

76 - 5/26
Marietta - I'll Always Love You

77 - Did not participate
78 - Did not participate
79 - Did not participate
80 - 9/26
OLA - Here For You

81 - 7/35
Matia Greoswoli - All Along

82 - 15/29
Mimi Lamire - Breathing

83 - TBA
ANAIE - Spericolata

User avatar
Imperial Joseon
Minister
 
Posts: 2917
Founded: Dec 13, 2019
Ex-Nation

Postby Imperial Joseon » Tue Feb 18, 2020 6:49 am

9. Imperial Joseon
The Twelve - 잔치
Tune: IZ ONE - Fiesta (https://youtu.be/eDEFolvLn0A)



Hey girls
Do you know what time it is?
It must be party time
Here we go
여긴 summer 지금 radio를 켜
흘러나오는 favorite song
Hey, turn it up
뜨거운 리듬
이끄는 대로 drive
눈이 부신 여름 속으로 oh, oh
창을 넘어온 바람을 따라
지금 yeah, yeah, yeah, yeah, yeah
Singing yeah, yeah, yeah, yeah, yeah
목소릴 높여 louder and louder
파도 소릴 따라 달려 here we go
We can't stop stop stop
여긴 party time
이대로 계속 party time (It's a party)
We gon' rock rock rock
짜릿하게 난 (tonight)
Party, Party
레몬 소주 난 테킬라 넌 모히토
가자 제주 California 로마까지
하얀 진주 품은 바다 멋진 파도 Finito
Party, Party
We love summer
바쁘게 뛰어 온
어젠 다 잊어버리고
Hey, turn it up
저 푸른 하늘
정말 완벽한걸
수면 위에 가득 물들어 oh, oh
찬란한 여름 다 가기 전에
함께 yeah, yeah, yeah, yeah, yeah
Singing, yeah, yeah, yeah, yeah, yeah
들뜬 내 맘은 higher and higher
어서 잔을 위로 a shot, here we go
We can't stop, stop, stop
여긴 party time
이대로 계속 party time…
Champions - Sporting World Cup 10 (U-18),

User avatar
Proluvia
Bureaucrat
 
Posts: 42
Founded: Feb 28, 2016
Civil Rights Lovefest

Postby Proluvia » Tue Feb 18, 2020 7:18 am

SONG 10: PROLUVIA
Nothing Without Me by The Beautiful People
Based on Anything Like Me by Poppy


It has been a while for the eternal rivals of Nekoni. Whilst at one point they did seem to have the upper hand on the much larger coastal nation, the moment that WV70 ended with their victory, it was almost a self-BSOD. The 71st contest featured the PRO1 staff embarassingly singing about their own failure, then, despite two attempts since to get in...silence. One could have thought that Proluvia had taken their ball and gone home, but alas, they are back. This time, again, they have gone for an internal selection, to Nova Truare's underground metal scene, and to The Beautiful People. Surprisingly, this is the alias of one woman: Marisa White. The Beautiful People is in essence her vanity project, with session musicians (all female) taking the other musical roles for when she performs live. Her style is esoteric, even for underground music, allowing for costume changes, theatrics, and all manner of weird and wonderful things to happen in both her live shows and her music, which is known for straddling multiple genres, even in the same song.

This contest's song is an all-out angry call to revenge against a violent former lover. Is it based on a true story? She'll never tell you.

Image



The band are set out on the stage, Marisa at front, two guitars flanked at each side, bass and drummer at the center.

As the song starts, the camera focuses on Marisa, who is kneeling, dressed in a white hooded gown, one that extends past her legs and forms a big circle around her. The hood obscures the top half of her face. She is also holding a white stuffed bear with a red bow. She has heavy white powder make-up on, with bright lipstick. The lighting and imaging gives the effect of a forest in winter, with the wind machine providing a little bluster. Whilst she sings, her head is tilted, as she's cuddling the bear, as if she's scared.

Everybody's out to get me
I will make you bleed

As the beat kicks in, the mood changes. The background changes to black and white stock footage of harrowing scenes, e.g. nuclear test explosions, football hooligans, prison riots, etc. This is interspersed with CCTV-style footage of close-ups of her face. The camera immediately switches to a guitarist or the drummer every time their stabs come in. Her demeanor is now emotionless, her head now upright, but her body still kneeling.

Upon the word 'tight', she straight-up snaps the bear's head off in one twist of her hands. Rude.

Ever since you committed the sin
Revealing the madness within
You'd kick and you'd drag, I'd raise the white flag
A battle you thought you'd win
I've cried for a thousand nights
I'd rather squeeze your neck tight
And if the shoe fits, then put up your fists
The bell's gonna ring, round one

As the chorus comes in, she throws off her gown to reveal that she is wearing a tight PVC catsuit in black beneath, complete with high-soled New Rock-esque boots. Her face fully visible, we now see that she has heavy black eyeliner. She additionally has a straight platinum wig on, at least a good two feet long. The camera pans out to reveal the stage in full, and the scene has completely change to reveal a fiery hellscape. In the back of the stage, a giant anvil has appeared on stage, and two men in full faceless leather zentai suits are hammering it, to the second and fourth beat of the music, accompanied by plumes of flame coming out of the front of the stage.

You're gonna be nothing without me
Your love means nothing, as I see
There's nothing you could do for me
You're gonna be nothing without me
You're gonna be nothing without me
Your love means nothing, as I see
There's nothing you could do for me
You're gonna be nothing without me

For the verse, the two faceless men put down their sledgehammers and crawl on their hands and knees to the front where she is. They both have spiked dog collars with leashes on, and Marisa has grabbed them both. She leads one with each hand, as they attempt to escape from her first to the left, then to the right. Marisa looks almost like she's pitying them, as she knows they can't escape, and she tugs sharply on the leads, causing both of them to fall backwards, basically backward rolling to her.

As she points at the one on her left as if to tell him off, the one on the right has, behind her, stood up, and is attempting to punch her. Just as he is about to strike, she sings "Stop", with her right hand outstretched to his face without her even offering so much as a glance. Almost immediately, she swings a punch with her left hand, which sends not only him sprawling, but the sub that she was restraining in her left hand also goes flying into him as well.

Not sorry for what I've become
Now it's time to think you'd better run
Don't apologise, it's a weak disguise
My kind of revenge is more fun
Despite taking all that you want
You think you're so perfect, my God
Stop, your record's unclean
And now ending you is my fucking dream

The subs are still sprawled on the floor, but free from their leash. However, they aren't free for long. Appearing from behind the drummer, two women appear. They are wearing black bodysuits cut at the legs, with nasty-looking thick black metal spikes from the thighs. They also have black high heels, jet black long wigs, demonic horns, wings and PVC masked hoods on. They are each carrying thin leather straps. One can assume what we're doing with those. And one would be correct.

The each take one pup by the leash, take them to either side of Marisa, and do the spanky-spank in time to the beat again, same rhythm as the submen hit the anvils. Cut to audience shot of someone covering their child's eyes. Apparently this was the thing that turned the parent, not her saying "fuck". Hmm.

You're gonna be nothing without me
Your love means nothing, as I see
There's nothing you could do for me
You're gonna be nothing without me
You're gonna be nothing without me
Your love means nothing, as I see
There's nothing you could do for me
You're gonna be nothing without me

As the solo commences, Marisa gutturally screams the final 'me' of the chorus, as flame jets circle the stage. The masked women have put down the leashes for now and have taken out something more interesting: an angle grinder. As the guitar solo comes, both of the women turn on the angle grinders and, against all matters of logic or reason, decide to grind the metal spikes out of their thighs. Through leaning, they are able to shower Marisa and the subs in a fountain of sparks as she robotically gyrates from side to side, with her head down, the long wig obscuring her face from view and her eyes from the sparks.

As the song completely changes direction, the background switches immediately to a white scene of clouds, almost heavenly. There is a light fog which begins to cover the floor of the stage, and everyone on-stage save for the musicians are frozen in place. As she sings, Marisa looks around at what has happened, and finds on the floor, the stuffed bear broken in two. She slowly picks up each piece, and as the drums come back in, she holds each piece tight as one, crouched on the floor, only being able to see her lips thanks to her wig. However, as her head is tilted towards it as it was in the beginning, you can see a single teardrop roll down her face, smudging the white powder of her make up. However...it isn't a tear. It is blood.

Everybody's out to get me
I will make you bleed
Sorry for what you did to me
You did this to me
You did this to me
You did this to me
You hurt me

As the madness descends, the leatherclad S&M types all fall down, as if they've just been shot. The staging shows the clouds being consumed immediately by fire, and the camera zooms in to show that Marisa's face has changed. Her eyes are now a deep, angry red, and she is crying tears of blood. The background immediately switches to the close-up of her face whilst the lights go strobe. As she screams the final lyrics, she's bearing her teeth, staring straight down into the camera, and you can see that her mouth is bleeding, causing rivulets of blood to cascade down her chin. The backing graphics rapidly switch between the normal camera view and one with the colours inverted, which, combined with the strobes, is intense. Upon the final outro, the lights completely go into darkness.

You're gonna be nothing without me
You're gonna be nothing without me
You're gonna be nothing without me
You're gonna be nothing without me


The audience go wild (although possibly from fear of what happens if they don't), and when the lights come on, the stage is empty, and that is it. Proluvia are back with a solid entry for the first time in nearly ten editions, but can they beat their old rivals on their own turf?
Last edited by Proluvia on Mon Mar 09, 2020 4:14 am, edited 6 times in total.
Nekoni's bit on the side.

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Polkopia
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Posts: 2655
Founded: Jun 06, 2011
Iron Fist Consumerists

Postby Polkopia » Tue Feb 18, 2020 8:32 am

11. Polkopia



Millennia - Poison
Tune: THE HARDKISS - TONY, TALK!


The Allied States of Polkopia, one of the most successful nations to have competed at the Worldvision Song Contest, holds the current record for the most wins at 9. Due to this, representing Polkopia was always a huge risk for any hopeful artist. Winning, or at least finishing with a high placement, meant immediate domestic success which came in the form of riches, fame, and anything that a Polkopian artist could ever dream of. Finishing in a position that didn't satisfy the general public's expectations, however, came with the price of forgoing one's entire music career. While there have been exceptions to this in the past, many previous Polkopian Worldvision participants have stated in interviews, social media, or otherwise, that their decision to represent their mother nation led to a "career suicide" (Samoyubičniye, in Polkopian), leading many aspiring artists to hesitate to even submit an entry to the Landa vy Polkopia out of fear that their efforts would only lead to massive backlash from the public. Of course, other artists are more than willing to take on this challenge and dozens and dozens of Polkopia's most successful artists owe their success to the exposure they received from Worldvision. Albeit the risk that these artists take each year to perform at the Landy vy Polkopiya - and later at Worldvision, every single artist expressed how there is a certain joy about having the entire nation behind them as they present Polkopian music and culture on a platform as grand as Worldvision, especially considering Polkopia's dark history, which included decades of seclusion and isolation from the rest of the world, so many were not as exposed to Polkopian culture as much as, say, Kalosian or Axuvian culture. For many years, Worldvision serves as the outside world's only glimpse into Polkopian music and culture. Of course, since Polkopia embraced globalization and the free market, the nation's culture can be observed as easily as any other culture, however Worldvision still remains an important staple of Polkopian culture for this reason.

At the most recent edition of the Landa vy Polkopia, there had been over 130 entries submitted to the contest, and as usual, only 10 entries made the final cut. Included in the final 10 were the group Millennia, which consisted of lead vocalist, Ashri Čotovska, lead guitarist Branko Silvić, bassist Marko Voroženko, and drummer Valerei Morančuk. Since releasing their song to the public, it was met with mixed reviews, with most first-time listeners believing that, although it was a decent song, it wasn't necessarily up to the caliber that many expected from a Polkopian entry at Worldvision, and many turned to Danila Vedrum's song, Drowning. With shaky live vocals on the night of the semi-final, Danila's chances for winning the contest plummeted and it was anybody's game. Once the finalists were announced, nobody was quite sure who would take the crown, and everybody knew that the multiverse wouldn't know Polkopia's entry until the last possible minute of voting. Once the domestic televote revealed that Millennia had absolutely dominated the voting lines, many were prepared to stand behind the group as they prepared for Worldvision, but as the international televote lines crept in, the result looked more and more unsure. The other group participating, Siren, had gained many more points than expected from international votes, and that number only seemed to be increasing as the gap between Millennia and Siren narrowed more and more. At the end of the night though, Siren hadn't gotten enough points from the international vote as needed to overpass Milennia, and the latter earned the right to represent the Allied States of Polkopia at the upcoming Worldvision Song Contest, set to be held in Nekoni.




Prior to Millenia's performance, the Polkopian postcard was shown on all of the screens throughout NEXPRO Arena in order to show those at home, as well as those in the arena, who the next country in the running order was. Of course, fan support was as high as ever, and the loudest members of the audience were those who came to support Polkopia. Many either had their faces painted, wore leather clothing to support the band, or waved their own personal Polkopan flags loud and proud. No matter how supporters chose to show their admiration for the Polkopkian entry, their voices were heard above the rest for this sort period of time. To start off the performance, three long, metal poles were placed onstage, with the pole in the center standing on a raised platform, whereas the other two did not. During the opening dial tones, the audience was only able to see a man sitting in a chair, just in front of the center pole. He was an attractive, fit, black-haired man, who wore black jeans and a black sleeveless shirt. He looked down at the floor, his body slightly moving as he inhaled and exhaled, but once the *actual* instrumental began the audience could see the performers. The band was positioned at the back of the stage, trapped in iron cages as they played their instruments. Ashri Čotovska, the main singer, was positioned away from the rest of the band and was seen at the very top of the center metal pole, upside-down. All of the band members, including Ashri, were dressed in full-body suits made up of entirely leather. As the music progressed, she spun around the pole and made her way toward the base. Backup dancers were swinging on the other two poles, and a third replaced Ashri once she made it to the base. Ashri picked up a microphone that was on the ground next to the man seated and started singing.

You're just tryin' to drink me into your life,
Like a bottle of poison, poison, poison.
If you think you're able to handle me now,
Then you'll never feel lonely, lonely, lonely.


The camera moved in an arc around Ashri, who put her hand on the man's chest and moved it around while she danced around him. The camera transitioned between this angle, showing the other dancers on the poles, and then back to her. The lights, meanwhile, showed a deep red color, and the LED screen showed large metal cogs turning among themselves. At one point during the second line, Ashri picked up a goblet of wine that had been positioned behind the chair and out of view, and poured the dark red liquid over her breasts and onto the man.

You'll be under my spell
When I ask for you to come.
come to me, come to me!


Ashri swung a leg over the man's lap and swayed it back and forth in sync with the beat. The rest of the stage hardly changed; the pole dancers kept dancing and the LED screen showed the same pattern. The only main difference was the intensity of the lights, which increased during the chorus, but then shifted back to normal once the verses resumed.

Baby don't look away.
We're just getting started, I'll show you the way.
Baby don't walk away.
It's too late now, you're committed today.


The two dancers who had been dancing on the two outside poles slid down and danced around the man, whereas Ashri walked around the perimeter of the stage, holding a whip in her free hand and letting it drag along the floor of the stage behind her. The camera mostly focused on her, but would once in a while pan to the other members of the band, and then to the two dancers and the man.

Everybody's vanilla, I'm your rocky road,
And this road's never easy, easy, easy.
After one taste of me, you're hooked, you can't stop
But boy don't you get greedy, greedy, greedy.


The camera centered on the two women dancing around the man. At this point in the performance, it looked as if the two dancers were hungrily tugging him between each other, like two predators fighting for their prey, and at one point, one of the dancers ripped his shirt off.

You'll be under my spell
When I ask for you to come.
come to me, come to me!


During the transition between the bridge and the chorus, the camera looked at the ceiling and spun out of control, before focusing in on Ashri's face, who had a dribble of "blood" coming out of the corner of her right eye, almost looking as if though she was crying tears of blood. She slammed her ship down, strut around the perimeter of the stage, and pointed to the audience while she sang.

Baby don't look away.
We're just getting started, I'll show you the way.
Baby don't walk away.
It's too late now, you're committed today.


More backup dancers, dressed in the same getup as the others, appeared from backstage and swarmed the man sitting on the chair. Ashri walked to the pedestal and watched it happen with a sinister grin on her face. As the instrumentation continued, the pedestal began to rise and smoke erupted from below the now-raised platform and Ashri looked at the carnage in front of her from 15 feet in the air with a sinister grin upon her face. Meanwhile one of the cages in the back opened and the guitarist stepped out and walked to the front of the stage, with fireworks erupting out of the ends of the guitar. His face was painted white and black in a sort of quasi-skeleton style, and his guitar was decorated in the same colors.

You've had your taste, baby.
Silly, silly boy.
You're addicted to this now!
So come baby! come!


The women backing dancers backed away from the man and he walked forward, wearing leather pants with rips along the inner thigh. His torso was bare, save for a leather harness which he wore over his chest, with three black straps running along his chest.
Last edited by Polkopia on Mon Mar 09, 2020 11:05 am, edited 13 times in total.
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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)

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Elejamie
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Founded: Jan 31, 2009
Civil Rights Lovefest

Postby Elejamie » Tue Feb 18, 2020 9:36 am

12- Elejamie

Mason - Racing For Your Love


Tune: The Weeknd - Blinding Lights (non-Vevo version)

Image
Mason himself, or rather a GTA Online rendition of him. Click the image to see a more distant shot of him, as well as a full reveal of his outfit for the competition. I’ll probably get a much better headshot that shows his head better sometime this week.
(The reason for using a video game character instead of an actual person for a change is mainly because of my guy’s backstory (seriously, potential TWs ahead) and how there was a mild controversy during the 13th Summer Olympics back in January last year where someone used a picture (which they took down) of a real person in an RP about an athlete attempting suicide. Granted everyone was dying in that Olympics but that apparently took things too far. So to avoid a repeat of that, as well as to save time trying to think of a good faceclaim, I did this instead. Besides, it’s my GTA Online character, so I doubt he or the person controlling him would be offended by it.)

Mason Richards, or just simply Mason for short (real name Ricardo Frederico Oliveira de Santos Bittencourt), was born in Edgebaston, MDLN on 29th March, 1994. The only son of two unemployed people, neither of whom were married to each other, he didn’t exactly have a great time growing up. When he was two, his father died of a heart attack, leaving him to be raised by his single mother for most of his early years, with the odd mother’s boyfriend coming and going every so often until the age of 10 when she got married. And when he was 8, he and his mother were evicted by their landlord, which saw them live with relatives for a number of months. However, it wasn’t all bad for him. He actually did fairly well in school, with music, engineering (which is what “shop” or “technology” lessons are called in Elejamie) and to an extent athletics being his main strengths. And the odd sleepless night from ages 13-15, as well as regular listens to old 80s music with his mother and stepfather, meant he’d end up watching a lot of 80s movies and TV shows, which ended up kickstarting not only an interest in the decade but eventually lead to him developing an interest in the synthwave genre, where he would make his name.

However, his later teenage years would end up kicking off with two major depressive episodes. The first was on his sixteenth birthday when he found his stepfather dead from suicide, the first person to find the body. Although no note was left, it was later revealed that the cancer he had been in remission from for the past couple of years had not only returned but was also inoperable. At the age of 18, in his last year of high school, he had his second major mental breakdown brought on by a combination of exam stress and a bad breakup with his girlfriend at the time. As a result, not only did he drop out of high school without actually taking part in the exams but he locked himself in his bedroom for two months, very rarely eating and rarely talking to anyone except his own mother (and, even then, he would only utter one or two worded responses). Eventually, he emerged and was taken to the hospital where he was diagnosed with clinical depression; although he would be put on antidepressants, he would take himself off of them as they ended up worsening what turned out to be his hypomanic episodes.

A few weeks after his emergence, he’d first start working at a fast food restaurant before quitting after only a few months due to a lack of interest. However, he’d soon start working as a technician in a factory, where he ended up flourishing due to it not only being better suited to his strengths but . It was also during this time he got to work on his music career, thinking that making his own music would be therapeutic and he might as well see if he can make some money off of doing what he loved. After saving up most of his wages to get a proper keyboard, as well as borrowing one off of his co-worker (turned best friend and fellow synthwave musician) Jon Navarez. Once he had gotten enough money to purchase a good quality keyboard, he then got to work on making a few rough demo songs and submitted them to various record companies. Fortunately, one record company not only took a liking to his music but would also sign him along with Navarez; that label was Super Saturday, well known for being a leading name in alternative dance and any other forms of electronic dance music not normally considered mainstream (despite the label being a subsidiary of one of the larger ones).

After signing with Super Saturday shortly after Christmas 2016, he took the rough demos he made and started to turn them into actual proper songs thanks to a bigger budget, access to a proper studio. He would also make some original tracks, one of which (“Serpents Tail” [sic]) would end up being a smash hit in the underground scene and made him a household name. With the track being a massive success, he then announced that his debut album, titled Mason (a name he got when he looked at the main street that cuts through Edgebaston, Sam Mason Boulevard), would be released in February 2017. The album got some good reviews and decent sales, enough to turn a profit, but barely made a dent on the mainstream album charts. He wouldn’t tour in support of the album but he did announce that he’d be part of the annual SuperSaTourDay, a nationwide tour where all the acts were part of the Super Saturday label.

However, disaster struck when he went missing following the seventh stop on the tour in Playa de Rocas, the tractal capital of Nuevo Paraíso. Although he was found alive and well in the neighbouring town of Mara only a few hours later, only 2km away from the outskirts of the city, the downside was that he was found in an abandoned barn with a couple of cuts on his arm, though whether or not they were self-inflicted remains a mystery since Mason himself has never revealed if they were or not. This along with his somewhat erratic behaviour during the early stages of the tour, where he ended up composing two full albums worth of material in less than a week in his free time and got a bit into everyone’s faces (though never rude or inappropriate, just overly friendly and excitable), resulted in him being taken to a doctor where he was eventually diagnosed with bipolar disorder; more accurately Bipolar II, given that he’s never had a full-on manic episode, only hypomanic ones, but has had a number of major depressive episodes. Following his diagnosis, he voluntarily withdrew from the tour and has stated on numerous occasions that he will never go on another one, though he will still give live performances.

It was during this time that he decided to reinvent himself. He’d start by taking the name of his debut album and using it as his new stage name, even going as far as legally changing his name to Mason Richards in November 2018. He then took a two year off-and-on hiatus from music, where the only time he’d make music was the odd collaboration from with his labelmates just so he’d have enough money to keep going. During this time, he’d go off and collect a number of period-accurate synths, keyboards, sequencers and other such equipment just to make sure he could get as authentic a sound as possible, even if he ends up mixing it all together on a modern PC. He would also move from Edgebaston all the way up to Iceland (a city in the northwest of the country, named after but not to be confused with the real-life country of the same name), where the label was headquartered, just to make his work easier and because he wanted a fresh start in a new city.

Following his return to music, he’d also decide to reinvent his style. While he retained his trademark fast-paced, energetic style, he decided to make his albums more cohesive instead of randomising. To start with, he re-released his debut album, calling it Mason: The Producer’s Cut with a different track listing with a few extra tracks made around the time but left off the finished result thrown in, not just to make it so the songs would flow into each other better but also the extra tracks were, in his own words, “to fill in any gaps that were left in the standard version”. During the production of his second album, he then decided to produce it as if he was making a movie soundtracked, a move that’d end up contributing to his trademark style. He’d also move away from the more vocal stylings of his first album to a largely instrumental-based sound, although he’d still provide his singing voice on a few tracks here and there. His second album, Nuclear Stranger 2, was fittingly released on Halloween 2019, given that the album is based off of old 80s low-budget horror movies. His third album, Soundtrack to the Movie “White Heat”, an album themed around a gangster movie he had imagined, will be released in March 2020.

As for some obligatory uninteresting facts? He is of Brazilian descent on both sides; his father had arrived in the country in 1989 due to the economic crisis, whereas his mother’s family fled the country in the 1970s to escape the military dictatorship; he also has Irish and Portuguese ancestry. He is mixed-race, with his father being white and his mother being mestiço. He is also openly bisexual as, other than the ex mentioned in the second paragraph of his backstory, there’s his current one that he’s been with for a year and he has spoken about his numerous flings he’s had with other men. And, in an interview, he said that had he not gotten into music, as well as finished school, he would’ve become a professional sprinter.


In the last competition back in Phoda, Talvezout, Elejamie sent Shireen, a former X Factor contestant who wanted to remake a name for herself after returning from an 18-month long mission. Performing the song “BE A STAR”, which was co-written by one half of WV75 runners-up Fata Morgana and a 90s boyband member, as well as produced by a club DJ, it wasn’t among the favourites to win but still had enough buzz and hype that it wouldn’t have been a surprise if it did. And that’s despite the lyrics, which some critics pointed out as the weakest part. It didn’t help that there was a mishap or two that went on during the dress rehearsals. Fortunately for everyone involved, the actual performance on the night went smoothly without any mishaps.

When it came time for the votes to come in, things didn’t go as badly as expected when her entry received 22 points from the first two countries, which saw them briefly take the lead. Unfortunately, a voting drought saw them drop off, although it did receive enough points here and there to remain inside the top ten. At the end of the voting stage, she ended up finishing in 7th place with 76 points; although Kalosia’s entry also received the same number of points and both countries received the same number of votes (12 countries), Elejamie finished ahead as they received two sets of 12 points (courtesy of Mister X and Nekoni) compared to Kalosia’s one (from Malta Comino Gozo).

Spurred on by this continued run of good fortune, ETV announced that it will once again be internally selecting an entrant for the 80th competition in Marina Point. However, instead of them having to go through a list of potential candidates, contact them and see if any of them are willing to represent the nation at the competition, they received an email from someone immediately after WV79 ended asking if he’d be OK to represent them with a song he’s written and composed, as well as a copy of said song. After listening to the song and replying to the artist to say they approve it, ETV announced that they’ve already found someone who’d be representing the nation in the 80th WorldVision Song Contest.

The artist then turned out to be Mason, a fairly well-known figure in the alternative dance scene best-known for his synthwave compositions as well as his rather energetic stage performances even when it’s just him playing instrumentals, though he did admit that he toned down his WV performance even if he didn’t exactly provide a reason. While he seemed like an odd choice, given that synthwave is a fairly underground genre in Elejamie (not necessarily unpopular but never really broke out into the mainstream) and Mason himself had a rather notorious incident where he went missing in the middle of a tour, when the song was released it immediately shot to the top of the charts domestically (and possibly charted abroad as well) and a number even went as far as saying that it could potentially finally win the contest for the nation. The majority aren’t as optimistic but are still confident that the song itself will carry on the top ten streak that started with WV75, noting that the son itself fits the theme of the contest it’s been entered in.

When asked about the song itself, namely if it actually meant anything, Mason himself said somewhat meandering around the subject. “The song itself doesn’t actually mean anything. It’s just some dumb love song about how the singer has been away for a while and wants to return to his loved one just so he doesn’t have to deal with the problems of the world. He’s also promising not to leave them and have them put up with what he did a long time ago. It’s just fairly standard lovey fluffy stuff that doesn’t work that well on its own, admittedly. The lyrics aren't important anyway.

But in the movie itself, the DJ announces it as just some pop song that’s doing well in the charts. It’s why it sounds more poppier, more mainstream than what I normally do. But you know that moment when you’ve got a character, they listen to the radio and they end up listening to a piece of music that fits their situation? That’s what’s happening here. In this bit of White Heat, the main protagonist is off to rescue his love interest from the main antagonist, who kidnapped her. And as he’s speeding along in his sports car, he puts on the radio, gets pumped up and it carries on as he whips out his shottie and starts blasting the bad guys to save her. And that’s what it’s really about.”

While there is an IRL movie actually called White Heat, three in fact (one from 1926, one from 1934 and one from 1949), none of them are the films he’s talking about. Instead, he’s talking about a hypothetical 80s movie, which he writes about in the liner notes for the supposed soundtrack to it. He says it’s basically a movie about someone who takes the fall after a deal goes wrong and gets arrested for it. However, a crime lord, with no actual links to the deal, springs him out of prison and gives him 48 hours to not only try and figure out who set him up but also get his revenge. Although he doesn’t go into detail about any twists or anything like that, he does mention that fans can message him and he’ll give them out on the sole condition they don’t leak them. It probably helps that he’s vague enough with them that people tend to interpret them differently, so one person’s explanation may or may not be right and might be different to another person’s explanation.

Also, if anyone wants to know why there are tildes or wave dashes in this post, it’s mostly because there are a few long notes and it makes it seem a bit less ridiculous than writing “IIIIIIIII” for a long “I” or “Oh-oh-oh-oh-oh” for a long “Oh”. Filler over, let’s get to the entry.




Once the postcard was over and done with, it dumped the viewing audience back to an overhead shot of the audience. Indeed, as the cameras slowly moved their way to the audience the lights started to dim. However, those who were in the crowd as well as any eagle-eyed viewers, noticed six figures on the stage. The first, right at the front and centre, was the man himself. Right behind him on either side of him were two keyboardists, one to play the bass parts and one to play the melody and everything else. Right at the back, completely behind Mason but to the left a little bit, was the drummer sat at an electronic drum kit; completely unnecessary due to the fact that a drum machine was used in the making of the song, but Mason insisted on there being one as he’d imagine being backed up by a full band on stage. And, to the far right of the stage, were two backing singers, both with a microphone each.

When it was time for the song to start, we cut to a shot of Mason kneeling down in front of his microphone stand, gripping onto it tight as if he was going to be blown over any second by a strong gust of wind, with only the odd faint background light source to illuminate both him and his backing band. And, indeed, while there was a slight gust of wind brought on by a machine, it was on as low of a setting as possible just to achieve the desired effect. When the synths kicked in while the drone was still going on, the camera then cut to a shot of one of the keyboardists playing those notes on his keyboard. When the drums kicked in, we then cut back to Mason letting go of the stand and slowly standing up until he was standing straight. He also audibly yet quietly cleared his throat, which wasn’t actually part of the song or even him improvising, it was just something unplanned that just ended up being part of the performance. Just hope it doesn’t dock him any points.

Once the music started to swell, the melody would then kick in and the lights would flash on to reveal Mason, his backing band and how the stage was set up for their performance. The lights themselves were the standard white colour, there seemed to be a filter on them, as evidenced by a violet hue on the singer’s white suit and anything else that was white. The background video behind them was just a standard scrolling synthwave scene, showing the standard sun where the top half was whole but the bottom half was divided into bars; the top half was a soft fuchsia colour with it getting progressively oranger towards the bottom, with the first bar being a combination of the two colours. On either side of the sun were two dark purple hills, with a lighter purple grid on them. And the floor was dark purple with a neon magenta grid scrolling towards the camera, with the middle of the grid having a lighter hue due to the sun shining. The stage underneath the performers had the same scrolling grid as the backdrop behind them but there were two differences. The first was that the grid below the performers was a bit grainy, as if it had been recorded on a VCR and played back a few times, something that was intentional so no one could blame the stage designers for that. The second was that there was no lighter hue in the middle due to a lack of sun. Not to mention that it cut off at the walkways so it didn’t go all the way to the plinth in the middle.

As for what the performers themselves were wearing? Mason was right at the front of the stage, taking the microphone off of the stand so he could get ready to sing into it. He was wearing a plain white suit with a charcoal shirt, black shoes and a pair of aviator sunglasses, with silver frames and light blue lenses, as evidenced by the picture in the “Artist background” spoiler. His backing band were essentially dressed in a mostly colour-inverted version of his outfit; instead of a white suit with a blackish shirt, they were wearing black suits with white shirts. However, they did wear the same black dress shoes as well as black Wayfarer sunglasses, just to keep the look and the theme going.

Enough description, back to what they’re doing during the verse. Once Mason got the microphone off of its stand, holding it in his right hand, he picked the stand up and moved it to one side as he began to sing into the mic. For the first three lines, he just stood there, swaying a little bit and in time with the music, even pointing to the crowd on the last word of the third line. During the fourth line, we then cut to the bass keyboardist hitting a key that produced a drummy kind of sound, with the shot of him doing that fading out as we then cut to a panning shot from the side, showing the backing band a bit more of the band as the camera moved over to where Mason was standing, all while he carried on singing the verse.

I’ve been on the run
It’s been a long time but I’m coming back
And I want to get things right back on track, only
You know what I want
I only want to do what is right
And I don’t wanna go home tonight lonely


We then cut to the backing singers singing the bit in brackets before we cut back to Mason singing the rest of the line. Looking closely as the lead that’s plugged into the microphone, the audience could see that he’s been twirling his finger through it, much like people used to do with telephone cords back when they were a thing. On the next line, he easily slipped his fingers out, given that the cable wasn’t wrapped tightly around them, and held his hand up in the air as if he was about to receive a bottle of something from someone passing by; towards the end of the line, we briefly cut over to the backing singers singing the “Ah” line before we head back over to Mason. He held out his hand as if he was about to grab something from behind him before he returned his hand back down to his side, though when it came to the last three words he held the mic horizontally and moved his face closer to it with each word.

(This might sound strange but) I know I’ve been gone lately (Ah)
I had to get to safety (Ah)
I’ve got to get back before it’s too late


Right when Mason started singing the chorus, the lights started to swell before they returned back to the way they were. Mason himself held the microphone back at the angle it was at earlier, then shook the hand holding it for the first word before he leant back a bit for the rest of the line, going back to the way he was standing for the rest of the chorus. For the second line, he pointed right at the crowd for the first half before pointing at himself for the second half. He repeated what he did in the first line for the third line but for the fourth he shook his head a little bit, mostly for a bit of emphasis and maybe because he was into the song.

Because I~, I’m racing for your love
And I won’t stop ‘til you’re safe here in my arms
Because I~, I just can’t get enough
And I know that you’ll keep me safe from harm
Hey! Hey! Hey!


When it came to the “Hey! Hey! Hey!” bit during the chorus, he made a fist with his left hand and waved it in the crowd’s direction, moved forward a step or two as he got into the groove, doing a bit of dancing on the spot, simply moving his shoulders as well as his arms up and down. The audience at home didn’t see most of it unless they spotted it out of the corner of their eye due to the camera being mostly centred on one of the keyboardists but they did return back to Mason as he spun around on the spot. The downside was that the cable was wrapped around him but no worries, he held the mic up and moved it around so that it would unwind around him before bringing it back down closer to his mouth so he could carry on singing.

When it came time to the next verse, he was bouncing up and down on the spot a little bit, in time with the music as he stared intently at the audience. The camera started off giving him a side profile before it slowly panned over to face him. The camera just lingered there throughout the third line, all while he moved backwards a little bit and moved his hands to the beat. He also bobbed his head to the right towards the end of the verse.

I'm closer to the edge
It feels like I'm running out of breath
It feels like I've got nothing except for you


He swayed from side to side during the long “Oh~” bit, holding a hand up with his palm flat, before he turned to face a camera to his right, his hair and suit jacket fluttering a bit as he moved, due to how quickly he turned. During the second line, Mason did a fist pump with his free hand and pulled it closer to him, his face tensed up due to him adding a bit more emphasis on the line. Once the third line came, he relaxed his face before thrashing the arm to one side, as if he was swatting something out of the way, before he leaned closer to the edge of the stage, moving closer with each syllable of the last three words.

Oh~, I know I’ve been gone lately (Ah)
I had to get to safety (Ah)
I’ve got to get back before it’s too late


Once it was the chorus again, Mason did another first pump and face tensing on the first word, keeping his fist pumped throughout the line even when he relaxed his face once again. During the second line, he pointed at the audience with his left hand and shook. All of that happened while the camera zoomed closer to his face, before doing a full rotation around him while he sang the first two lines. When it came time for the rest of the chorus, we then cut to a slightly more distant camera that slowly zoomed out

Because I~, I’m racing for your love
And I won’t stop ‘til you’re safe here in my arms
Because I~, I just can’t get enough
And I know that you’ll keep me safe from harm


When it came to the bridge, we then cut to a close up of one of the keyboardists rapidly tapping the keys of his instrument, going upwards as the bit he was playing went higher in pitch. Towards the end of it, we smash cut over to Mason, holding the microphone close to his mouth with one hand whereas he turned around to face a camera, his hair and suit fluttering once again due to how quickly he moved, his hand raised up in the air as if he was about to slam his palm down on a flat surface. After a brief shot of the backing singers singing the second bit in brackets, we cut back to Mason making a fist with his free hand and shaking it for a couple of seconds, again for a bit of emphasis before he relaxed his hand for the rest of the line. He leant forward as he sang the first half of the chorus, the camera panning around him from right to left at the foot of the stage, before it went to a close up of him repeating what he did earlier, waving a fist in the crowd’s direction in time with the “Hey! Hey! Hey!” bit.

But I've got something I want to say (That I want to say)
That I shall be seeing you today (Seeing you today)
And nothing will get in my way (Oh~)

Because I~, I’m racing for your love
And I won’t stop ‘til you’re safe here in my arms
Hey! Hey! Hey!


Immediately after that last “Hey!” and the flash of light that accompanied it, Mason unplugged his microphone cable and ran from the stage to the plinth in the middle. The cameras didn’t really pick most of it up due to the fact that it concentrated on the backing band and the backing singers. At one point it even cut to the drummer, who looked like he was in a state of deep concentration as he played his instrument, even though again it was a machine on the track. However, once he did make it to the plinth in the middle, the cameras immediately cut to Mason plugging his microphone into a cable that was laid out especially for him, whereupon he did another “Hey! Hey! Hey!” while he was kneeling down on the floor. Once he did that, he once again unplugged his microphone and rushed back to the stage using the other walkway, essentially completing a lap of the stage itself. Once he made it back to the stand, he plugged the cable back into the microphone and got ready.

Because it was time for the outro, where nearly all of the lights dimmed. Only one remained on, a spotlight pointing just a plain bright white unfiltered light down on Mason. He kneeled down, bringing the stand with him. Once he was kneeling down, he looked down at the ground as he began to sing the last few lines of the song. Once it was over, he lowered his head, moved the microphone to his side and waited for the song to just fade to a finish.

Because I~, I’m racing for your love
And I won’t stop ‘til you’re safe here in my arms


Once the song was finally finished, the lights turned back on but this time without the filter. Mason got up as the audience applauded, waving at the crowd to show his appreciation. A number of them were waving flags and other such stuff of their respective nations, a couple were holding signs to spur on support for their acts. He then put the microphone back onto his stand and leaned into it, saying “Thank you, thank you, thank you Marina Point! Obrigado, boa noite, good night!” He threw the stand into his other hand before resting it straight up, followed by him and his backing band vacated the stage as everyone got ready for the next act (Izmedu) to perform.
Last edited by Elejamie on Mon Mar 02, 2020 6:49 pm, edited 1 time in total.
Elejamie (English); Elejamia (Spanish); Elejam (Iyilim) - Denonym: Elejamian - Pronounced (English): Eh-leh-jah-meh
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Left-wing Utopia

Postby Izmedu » Tue Feb 18, 2020 1:01 pm

13. IZMEDU
AREOPAGUS - The Last Judgment

Tune: EPICA - Decoded Poetry


Image


Image
(left to right from the picture)
Gordana Antonijevic – Rhythm guitar, backup vocalist
Zvonko Galic – Drums
Jagoda Fotez – Lead Singer
Martina Tusek – Keyboards, synthesizer, piano
Adam Liposcak – Lead Singer, Lead Guitar
Mirko Lonza – Bassist

“The whole concept of AREOPAGUS was to determine if there was such a thing as truth as we knew it, or if truth is so complicated that we’d have no idea where the hell to find it even after years of making music. There’s a reason why we primarily avoided the music industry and never wanted to be big like The Wicked or Grupa Grobnica. We didn’t even know if what we were doing as a band was right, of if we were going to get lost in the money making machine that the Izmeduan music industry was. Music, for us, was always a search for not what is right, but what makes things right, wrong, neither, both, or anything in between. It is both suffering and hope, love and hate. What mattered was that we somehow got together to make our voices heard and wrote what spoke to us in the deepest level possible. If we weren’t sticking to what our vision of integrity us, then we’ve lost, no matter how much money this band could’ve potentially made.”Statement released by AREOPAGUS

Then said one unto him, Lord, are there few that be saved? And he said unto them, Strive to enter in at the strait gate: for many, I say unto you, will seek to enter in, and shall not be able. When once the master of the house is risen up, and hath shut to the door, and ye begin to stand without, and to knock at the door, saying, Lord, Lord, open unto us; and he shall answer and say unto you, I know you not whence ye are: Then shall ye begin to say, We have eaten and drunk in thy presence, and thou hast taught in our streets. But he shall say, I tell you, I know you not whence ye are; depart from me, all ye workers of iniquity. There shall be weeping and gnashing of teeth, when ye shall see Abraham, and Isaac, and Jacob, and all the prophets, in the kingdom of God, and you yourselves thrust out.Luke 13:23-28

For those that had a passing interest at looking at what happened in Izmedu’s rock and metal scene, AREOPAGUS were seen as the hottest new thing to come out of the genre in recent years. Their popularity as of late had skyrocketed; with their dramatic and symphonic style catching favor with those that were wishing for a greater heft to Izmeduan metal. However, for all intents and purposes, their public optics enshrined them as a ‘new’ band. To the public, they were newcomers to the scene with an EP that has gained nothing but immense critical acclaim. The band members’ often camera-shy nature, in contrast to their aggressive stage presence, would mean that not much was known about the band outside of their names, their roles, and a basic sketch of their personalities from what could be gleamed through the very few media interviews that they did. It was tempting to live out this kind of comfortable lifestyle after having broken through. AREOPAGUS’ EP, Divine War, was met with an acclaim that was unusual for Izmeduan metal. It had broken through Izmedu’s ‘metal ghetto,’ as in, it broke through the inaccessibility but also the ‘cheesiness’ that Izmeduan pop critics would often lob at Izmedu’s mostly symphonic metal bands. For regular fans that were looking at what their home country could offer, they grudgingly conceded to the fact that the pop critics were right. Izmeduan metal, and specifically Izmeduan symphonic and power metal, were accused of being incredibly formulaic in their compositions, branding, and singing. In other words, Izmeduan metal was really just Izmeduan pop with guitars, distortion, some growling, and some orchestras. What one could get from metal is what one could get from pop. This left Izmeduan metal at a stand-still as Izmeduan rock began to flourish, with the metal scene beginning to be represented by bands that tended to straddle between both styles (Grupa Grobnica being one example)

For those in the know (mostly AREOPAGUS themselves), the band itself was older than most would give it credit for. In a money-hungry and image-obsessed industry that Izmeduan music finds itself to be, AREOPAGUS could never have succeeded in the traditional way of doing things. AREOPAGUS was established right around the time of the 40th WorldVision Song Contest, having been primarily founded as a band that would mostly play to local and underground audience. AREOPAGUS was the brain child of Jagoda Fotez and Adam Liposcak, both of whom came together in a chance meeting after being kicked out another band and finding out that a band had dissolved respectively. They found a shared interest in the contrasting styles that Izmeduan metal tended to push. What underground had asked for when they were touring Mousiki were performances that gracefully melded and forced together the interaction between clean and growling vocals. The clean vocals were emotive, struck towards the core in the song, and primarily drove its message. The growling vocals were aggressive, served as a counterpoint, and acted as primarily an ‘antagonist.’ These two contrasting styles were the hot thing amongst the underground, but no band by that point had ever used it as a reason to create songs, or use it as a creative drive. In here, the clean/growling dynamic had only been used as a performance tactic to wow the audience or to get the audience through a particularly long song (as Izmeduan underground metal bands are wont to do)

AREOPAGUS was born when both Jagoda and Adam moved their base of operations from the outskirts to the Mousiki to the heart of the city. Jagoda had the songwriting and singing credibility to bring some ideas into the table, and Adam was immediately struck by how his signature style of growling meshed well with Jagoda’s high, operatic-esque vocals. The band didn’t undertake its current moniker then, being still an unnamed duo between Jagoda and Adam. They would first make their name by re-interpreting Izmeduan songs into metal covers, primarily with an eye of playing around with the arrangement to make the clean/growing duo even more apparent. However, the projects they were envisioning were all reaching towards one problem they were facing: they needed a proper band to make those projects happen. Their live covers were successful, but the underground scene was a fickle one to entertain. What Jagoda and Adam had in mind were original songs that were larger in life. To make original the way they would extend songs during the re-arrangement process. They wanted to write around larger, lofty themes, and they wanted the production, instrumentation, and power to back up what both had in mind. More people needed to be recruited, but then yet another problem arose out of this. What was their band going to be? What kind of brand did they even want? Without a ‘pitch,’ there was no way they were going to recruit anyone. Those who were unsigned faced painfully high turnover; and the last thing that Jagoda and Adam wanted was to be a band where they couldn’t even have stable personnel for at least a year or two. Thus, work needed to be done to figure out what this band was going to be.

Adam was the one to suggest the idea. Prior to music, he originally toyed around with the idea of going into literature in some form; but the precarity of both kinds of lifestyles and paths meant that Adam only had the conscience to choose one. Though he went for playing guitar and aggressive vocals for bands, he always had a soft spot for keeping in contact with the literature he studied. Primarily, he was trained to read the Early Modern and Renaissance. One of his favorite pieces to read was John Miltons’ Areopagitica, a speech by John Milton that strongly opposed censorship. For Adam, he had read and taken it as a call to never hide the truth, a call towards making sure that all voices were not just heard, but that voices could not be silenced. He was in awe of the passion that Milton exuded in his speech, and he wanted to inflect that in the music he would play and create. Adam suggested the idea of themeing the band around ‘truth.’ That is, the band would always attempt to search for the complex idea of ‘truth’ in their music, even though that idea remains in perpetual flux. Jagoda, herself yearning for something ‘bigger’ to sing around instead of spending years in covers or songs that she knew wouldn’t ever become popular, had agreed to the idea. For Jagoda, she knew she had nothing to lose by taking this leap of faith. She was already known primarily as a covers singer, so trying something new would mean that even if this project collapsed, she knew what she could return to.

The band name was in the process of being settled. Jagoda, in her own research, found the original source of what could have possibly led Milton to name his speech Areopagitica. She found the Areopagus, which in classical times was a court that tried cases of homicide, as well as the place where Ares was supposed to have been tried. When Jagoda revealed the information she was able to scour online to Adam, the band name was decided then. It would be AREOPAGUS, deliberately stylized in all-caps, and would be a band that would write to larger-than-life themes without the pressure or need to be able to attract the bigwigs of the Izmeduan music industry. Throughout the next year or so, AREOPAGUS, still primarily Jagoda and Adam, would reach out to anyone they personally knew to talk about becoming part of the band. The process was long and Jagoda distinctly remembers that more people were definitely saying ‘no’ to joining in the initial canvassing of contacts that they did. It made sense, considering that metal bands in Izmedu around the time were more known for singing grounded themes and concepts instead of trying to contemplate abstractions that may not even lead anywhere. Plus, the nature of AREOPAGUS’ potential meant that a large lineup was going up to be necessary. They would need at least a drummer, which they thankfully found in the form of Zvonko Galic; who has still remained with the band to this day. Jagoda would also recruit Gordana and Mirko into the band, both being acquaintances that she was fond of in the times she was touring between Mousiki, Vodiznad, and the municipalities between them. There was something big happening, something with potential brimming.

The band members largely came and went, and thus, the fears of having an unstable personnel were realized. However, for each time someone left, the people that remained grew closer to the band. The AREOPAGUS project began to morph from Jagoda and Adam’s prized baby to now Zvonko’s, to Gordana and Mirko’s, and eventually Martina when the position to play keyboards wasn’t facing such a dangerously high turnover. With a full band at hand, it was now time to begin the process of doing what they came together for, making music. AREOPAGUS remained solely an underground band for most of their existence, deploying a localized release model where their albums would only be sold at concerts. Thus, they would mostly tour around Izmedu, planning shows either months in advance or in short notice. The only ‘backing’ they had from a company was a management and booking deal that made sure that the legal and financing process for the AREOPAGUS tours was being managed by someone, but otherwise… they remained deliberately unsigned and unaffiliated to any label for most of their careers. For good reason, the albums they produced and created were quite unlike any of the Izmeduan metal that was courted by record labels. They took the clean/growling dynamic to its most logical extreme, and were often frank about singing about war, religion, and other themes that most Izmeduan musicians did not broach for fear of alienating a listener. For AREOPAGUS, they didn’t want anyone to feel overly comfortable or feel that their music was only merely copying a movement. For Adam, the project’s point was to push their strand and style of Izmeduan metal as far as it could. If they were able to notch fans along the way, that was a sweet extra for them.

They did not seem like the type to go to WorldVision, so how did they get here after staying in the shadows? After 6 albums that are technically ‘unreleased,’ and two prior EPs, it looked as if the band suddenly hitting it big came at an oddly random time. The move towards a label was done out of both financial necessity as well as to protect the band’s discography, seeing as AREOPAGUS’ strange career trajectory meant that it was possible that anyone could legally claim the band’s music. Their iconoclasm was eventually caught by the weird and yet practical ways the Izmeduan music industry would work. As a collective, under Gordana’s suggestion, they would sign to a smaller label that could help authorize the band’s music to be put onto streaming platforms without pulling teeth as an independent artist. Plus, it would also mean that the band would be able to release something officially without the risks of needing to go through the fraught process of self-releasing and self-publishing. Seeing as they were getting older, with not much of the energy they had when forming, and needing some form of stability to get through the latter half of their lives. Considering the body of work they had, the small label they negotiated with was generous in making sure that the band’s creative process remained as it was. This insistence on their shadowy work nature, the intensity of which they arranged their songs, and the years of practice that resulted from finessing their albums meant that they accorded a considerable amount of respect in the underground metal scene. For those that knew who they were, AREOPAGUS were seen as a prime example of a band that should be listened to more, but for many reasons remained solely in the underground. Perhaps, the band was better rooted to broadcasting their music in that realm instead of trying to chase for an audience that might not even be there.

That still begged the question of what led to the WorldVision entry. The Last Judgment was the first song that was written for AREOPAGUS’ EP, Divine War. The whole concept of the EP was trying to re-work the songs that were not included in their last album, Sublime Mathematica. The songs in Divine War were iconoclasts in their own way, seeming to congeal to a theme about the divine, god’s cruelty, and eventually the end of the world itself rather than talk about the awe and terror that comes numerology and numerics. Ultimately, the EP itself ended up being the perfect introduction to the band to a wider music-consuming public. Divine War served as a ‘reboot’ for AREOPAGUS’ music up to that point. The band hesitated to release something akin to a greatest hits compilation or trying to for their six albums down anyone’s throat. Instead, Divine War was meant to be an immanent introduction to what AREOPAGUS was best known for and what direction the band could take. It ended up being a loose interpretation of their second album, Reclaim Your Destiny, which was about a critique of religion and specifically, it would call out Izmedu’s still entangled relationship with Roman Catholicism, and critique how religious reasonings were still used to censor, belittle, and justify some of the Izmeduan government’s more shameful moments as well as Izmeduan society’s. That album, by now, has become dated; owing to Izmedu’s move towards secularism with Roman Catholicism becoming more a relic of the past and an ornament to Izmeduan society rather than being an integral part of Izmeduan social life.

Divine War thus ended up being a more holistic critique of religion as inflected by what they grew up in Izmedu. More specifically, Divine War is AREOPAGUS’ interpretation of the events surrounding the Book of Revelation in the bible. The album was largely born out of Jagoda’s research into the manner, as well as Mirko and Martina confessing everything they know about being born and raised in strict, catholic households as children. They recounted what they know from the once popular bible schools that the more socially conservative circles of Izmedu once used to hold; and how the apocalypse was one of the ‘fear of God’ moments that they had on top of many others. Taking some creative license, the entirety of God’s antagonism against those who have sinned was the creative starting point for AREOPAGUS. The Last Judgment was written as one of the songs that would serve as the dramatic end point for the album itself. The horror of the biblical apocalypse would ultimately rest upon humanity’s shoulders, with their deaths driving the whole point of the terror it involved. In some respects, there was an undercurrent that, even despite discourses surrounding sin, there was an almost profound unfairness to god’s divine wrath. What caused these people to be considered sinners when all are considered born of sin? What if these people fought back to the end? There were a lot of questions surrounding the project’s viability and AREOPAGUS were ready for some heat to be thrown their way, especially considering that there were still some pockets of Izmedu that swore fealty and loyalty Izmedu’s Roman Catholicism.

Acclaim was the last thing anyone was expecting, nor was the message surrounding them being a ‘new band.’ For AREOPAGUS, this was the beginning of a possible culmination of their work and a hint towards their future direction. They weren’t quite sure what to do with Divine War having become more famous and leaping them to the national conversation. WorldVision was a suggestion. The selection committee at Izmepisma were at parts throughout Izmedu’s WorldVision history for RTI to have more rock and metal representation. It was floated around by Mirko to send ‘a thing’ to RTI for the hell of it. They did so, not expecting anything to come out of it. For the time being, AREOPAGUS were trying to adjust to the fact that it was no longer their local scene that recognized their faces. Jagoda and Adam, being the ‘faces’ of the band, were making more regular commutes to Vodiznad to conduct meetings and talk to RTI, label heads, and other bands that situated themselves in the capital. They had to adjust to the fact that their shadowy tactics had their limits. There were people, complete strangers, that recognized them on the streets. They appreciated the attention they received, but it does beg the question of how much could they bear of this newfound fame. Did they want it? Did they even need this fame?

Shock was an understatement when RTI made the move to directly select AREOPAGUS’ The Last Judgment as the entry instead of entering it for Izmepisma. This was the first time since the 61st WorldVision Song Contest that the decision to not hold the national final was done for creative and not financial reasons/contractual obligations. The decision to move ahead with AREOPAGUS was a hotly contested move amongst those who were deliberating the Izmeduan entry. Should it be something this risky? Were RTI ready to take the fall for a possible last place considering how aggressive AREOPAGUS were in their performances and music? The channel’s sleuthing into the band’s past led the band’s internal supporters to lobby passionately for the band’s inclusion as a direct internal selection. The whole process split the committee into two, with the graces of one more supporter helping AREOPAGUS earn the ticket to Marina Point, Nekoni. Unsurprisingly, the same reaction that RTI had was also the exact same for the general public. Seeing as all Izmeduan WorldVision entries are released for a larger audience in mind; the audience that AREOPAGUS had was the biggest they’ve ever seen. The reaction to The Last Judgment was mixed, to say the least. Critics that loved Divine War loved The Last Judgment. Those who were ‘in the know’ were excited in no uncertain terms. While those who were not fans of AREOPAGUS’ style made their displeasure with the entry very clear. It was either the best or worst Izmeduan entry in recent times depending on who you talked to. There were calls, especially from those worried about Izmedu’s future in the contest, to withdraw the entry immediately and find a more ‘suitable’ act. Seeing how most artists submitted under the good faith of an Izmepisma moving forward, there weren’t a lot of other options that RTI could directly select in such short notice.

AREOPAGUS weren’t surprised at this divisive response. There was a certain pressure of not just being tasked to represent your country, but having this many eyes on you all at once. The thought of withdrawing the entry was contemplated, especially since AREOPAGUS weren’t entirely married of feeling a duty to make sure that Izmedu was represented in the contest. However, they knew that withdrawing would mean conceding a creative loss to their detractors. If there was a moment where their style of stubbornly sticking to their guns was needed, this was that moment. AREOPAGUS, for both to people’s pleasure and dismay, were going to the be the Izmeduan entrants to the 80th WorldVision Song Contest. The nature of their performance was kept under wraps. AREOPAGUS, true to their nature, rarely ever did interviews or courted media presence in the same way that artists like Dijana Jurina would. For fans that followed WorldVision, no one ever really quite knew what AREOPAGUS was, what they were here for, and why they of all bands would participate in WorldVision. Nothing about their creative creed stated that they would represent a channel with links to the labels that the band refused to sign. Their inclusion in WorldVision inevitably led to accusations of selling out, which dogged the band as they flew to Marina Point, Nekoni. There wasn’t anything much they could do except keep soldiering on.

The stage was set. The band were ready. Rehearsals went well enough without revealing too much of what they created with the stage team.

Perhaps fittingly, it was only going to be Jagoda and Adam on the stage, with the rest of the band represented in the screen graphics playing their parts live backstage.

Jagoda and Adam nodded to each one more time.

This is the Last Judgment.


Stage lights billowed down to the center of the stage in the NEXPRO Arena, flashing a brilliant, almost blinding, white before quickly dissolving into darkness. The stage hung in silence for a few seconds before the screen at the back of the rectangular stage would show a metropolitan cityscape. Instead of the hard-hitting, dramatic beginning of the song, audio of what appeared to be chatter began to play. In that brief interval, holograms of people walking on the stage as if it were just your everyday commute. This scene would linger on for three or four seconds. However, something peculiar would begin to happen. One by one, about a good portion of these holographic commuters would begin to shine a bright white and then disappear, fading from existence. As these people began to disappear, those who were left were visibly and audibly beginning to panic. The normal sounds of metropolitan city life were disrupted, leaving a panicked populace in its wake. Soon, the audio would reflect this panic, desperate cries and hushed sounds were heard as the audio would then progress to a still silence. All at once, those who remained were ‘frozen’ on the stage. A dramatic chord of horns would then suddenly be heard through the speakers.

That caused a scene change. Now, the screen would show that same metropolitan center now in complete disarray. The backdrop turned from clear blue skies to a noxious orange; with people visibly and audibly trying to make sense of the situation. All around them, the city was being destroyed to pieces. Buildings were burning, sobs could be heard, and the chaos was not abating. These scenes would continue for at least 5 to 6 seconds, before the camera would begin to ‘zoom’ into the screen. The screen would then display a CGI representation of the singer looking outwards into the destruction. This virtual Jagoda, the fire literally reflected into her eyes, could only look on in pure shock. The implications of not disappearing were evident just in her wordless expression. She, and the rest of the people that remained here, were now damned subjects. The first part of God’s last judgment had been enacted in this narrative. An audible breath could be heard through the speakers and the screens would darken into a pitch black. Once that ended, the NEXPRO arena would hang in silence for a few seconds, leaving the audience wondering what was going to happen for the next new seconds…

The introduction was abrupt. A sudden clash and banging of guitars, drums, and bass was now heard through the arena’s speakers as it was made apparent to the audience that this was a metal song. The introduction pulled the audience through a screen sequence of a city in flames. As the whole instrumentation progressed in a rapid pace, the whole sequence felt like a breakneck surveying of the whole landscape. As this was progressing, Jagoda was preparing to enter the stage, timed to the fact that her CGI representation was beginning to appear on the screens. Her clothes were tattered, her expression was haunted, and she looked to be visibly holding a broken cross. During the introduction, a melodic line can be clearly heard from the song, an orchestra giving heft to the distortion. Midway through the introduction, a shot of Jagoda encountering a corrupted angelic being began to manifest, one that turned its eyes on her and was close to the attack. This would then bleed into images of innocence being broken, from children’s toys set against the flame to other figures of human production burning down, and finally culminate into Jagoda’s encounter against a symbol of the being that have forsaken her. As the screen would ‘zoom’ into Jagoda’s face, the camera broadcast would bleed into Jagoda’s real face on the stage itself, with her carrying the same expression.

The world burns in endless flame
For the lost and damned
(This cannot continue)
We are the shattered remnants of this earth
Forsaken by this cruel, sadistic god


All around her, holographic projections of fire and brimstone would appear as Jagoda would sing the first verse. The way she delivered the first verse was one where she was reflecting upon the destruction had been wrought upon the world. She cast a glance at the destruction with a solemn, lamentful look. The world was in flames, and there would be no going back to what was once past. There was both a sadness and a fury in her expression, as she would cup her fists as she walked throughout the stage. She would not be facing the audience for the first line, at some point even kneeling down as she closed her eyes and looked away from yet another scene destruction. The third line gave her a brief pause as the background singers would carry that for her. At the latter half of the verse, she would immediately stand up and sing the last two lines with a rage in her eyes. She was putting into words the feelings she held deep within her about what they were in the world that was shattering right before her eyes. She turned straight to the audience as she closed out the chorus, stepping forward as the camera that was catching the action was specifically rigged and formatted to make sure that the whole performance had a cinematic flair to it. She ended the first verse with her eyes up, even though the background screens still showed the image of a burning city.

We must resist
This dogma
We will not die


At this, the lights coagulated and would flash down onto the stage, with them being of an orange hue. They blended in against the screens; which would begin to change against the shifting instrumentation. The screens would begin to distort as if the feed they were capturing a malfunctioning field. These static malfunctions would begin to show silhouettes of the rest of the band members that were not present in the stage. Jagoda’s vocals began to get more rousing, her notes a little bit longer and a touch more powerful. At the final line of this pre-chorus, the orange lights would turn white and so would the screen. The full silhouette of the band could now be seen as Jagoda hit an extended note while ending this moment. The primary message behind the people’s ethos was now established. Jagoda sang with the belief that they could not err or submit to the destruction that had been wrought upon them. Her look exuded the necessity to survive at any cost possible.

Haunted by god’s decree
Left to die in hatred
Our shattered faith turned to blood
Torn asunder
This is the last judgment, flesh etched in testament
Our fates preordained with death, heresy, betrayal


The camera would cut to a wider view at the start of this chorus, showing off a view of the wider stage of the NEXPRO Arena. On the screens would be a black and image of a fantastical image of the song’s interpretation of god, presiding over his judgments. It was the gates of heaven, akin to the painting of Michelangelo’s painting of the Last Judgment. This image would only appear for the first line and half the second line, before quickly transitioning back to the image of still burning world. This time, the background would change; to an image of a burning church and its environs, and with people in the screens desperately searching for a fate that would not appear. Jagoda would sing the chorus against this backdrop, singing the immanent reflection of what the people behind her were going through. She sang this chorus with a mixture of anger and resoluteness. She held an inner duty in her to take up the fight against the very higher being that betrayed them, but she also needed to voice the frustrations that were apparent in the people that she would be singing for. There was anger in her eyes, especially as she sang the last half of the chorus, of having a faith that was not just shaken, but it was broken before repair. She especially sang ‘Torn Asunder,’ with that kind of force, but it was clear that she was holding back slightly for what was to come later on. However, this didn’t mean she didn’t end the chorus without intensity. She stepped forward for the last two lines, the image behind her beginning to changes images and surveying the rest of the broken world. It was now out there that this was not the way things were supposed to be, even if the judgment may have been under this god’s plan all along.

After that chorus, the rest of the band were hard at work in carrying the instrumentation live. They performed with as much intensity and rapidity as much as possible, making sure to bring out the rousing rage, hopelessness, and yet also deeply embedded hope that the song had. The melodic line kept continuing on throughout this brief instrumental interlude, making sure that the song didn’t even slow down for a single second. On the screens, images of a few other people slowly making a group were appearing against a backdrop of another ruined town. In this point in the narrative, a resistance to try and find others who were left behind was beginning to form. The people were still suffering, and the images made it very clear that those who survived were a lucky few, especially considering how shell-shocked they all looked.

We seek our fellow survivors, those who remain lost
(We will marshal on)
To be left behind was only the start
Wicked angels will exact his grim judgment


The camera faded to Jagoda look up to the ceiling for a few seconds, before looking face down. She started off this second verse low, her tone solemn. At the end of that first line, she would put up a face against her face, which remained when Gordana would sing that line in parentheses for her (which she herself has done for the song so far). At the end of that second line, Jagoda would open her eyes, filled with an intense fury. As the camera maintained its focus on her, with the still moving images of people trying to huddle and group together against the dying world, it was clear from her body language that she was trembling from the raw fury she felt. Her rage was evident from the way her eyes figurative brurned through the camera, her hands perpetually cupped by her fists, and how her vocals kept going up and up. She would lunge forward slightly after the chorus, standing near the center of the stage, and looking ready to take charge.

We must resist
This dogma
We cannot fall before him


This pre-chorus would begin much the same way the previous one did. The lights would congeal once more as the lights turned into white once more, representing a time shift in the narrative. More shadows would begin to manifest behind Jagoda as she sang; those doing so in the slightly longer pause between the second and the third line. There wasn’t that many people behind Jagoda that appeared in shadow, but it seemed enough to make a difference. This helped the burgeoning atmosphere of hope that began to accumulate around the song, which Jagoda was pushing across as she sang the last line of the song looking up into the ceiling, closing her eyes and wanting so desperately to find if there was something that could be salvaged from their situation. Even in this hopeless situation, there might be a light at the end of the tunnel, now, it was time to see if that could come into fruition by the chorus…

Haunted by god’s decree
Left to die in hatred
Our shattered faith turned to blood
Torn asunder
This is the last judgment, flesh etched in testament
Our fates preordained with death, heresy, betrayal


The shadow and white background disappeared to make way another transition to a ruined background. Though the world was not in flames, it was clear that the background was reduced to rubble. During this chorus, the background screens would show a group of people shaking hands and nodding to each other, with some flashes of passionate arguing and fighting, before realizing that to survive in this world, they needed to find a compromise and a banner to unite under. This banner to unite under was the very message expressed in the chorus, which Jagoda sang with an increased intensity from earlier. The camera cut between wider views of the narrative being shown on screen to Jagoda’s singing, and alternated between both throughout this chorus. Jagoda’s vocals grew more and more passionate, stepping forward and not looking towards the screens as she sang. Her voice resonated with power, somehow being able to stay equal and sometimes even overpower the distorted instrumentation that was playing live with her. Versus the anger she felt when singing this line at first, she now sang this chorus as a way to express this message she felt. This was the message, the thesis statement, she needed to express to the world. Instead of a shaken faith; she was now holding a faith that people need to see that they have been forsaken. This was the banner that she was now believing in, fragile as it was. Yet, as someone trapped in a now broken world, at her wit’s end… The anger in her eyes carried that tenor. She was still trembling, but she was beginning to get used to the role of being a messenger and a symbol. The chorus ended with a close view of her, her eyes staring right into the camera and her singing at its most forceful.

God’s army will not show mercy
We will only know his war
Peace remains extinct from existence
We must unite in our banner
Of a lost humanity
We fight this divine war to the end, we will fight


As Jagoda was singing the chorus, Adam himself walked away from backstage and stood by until his part was ready. During the chorus, he was standing not too far from Jagoda. The transition to him, however his close distance to his fellow singer, was still jarring. Jagoda’s clean vocals immediate gave way to Adam’s aggressive growling, which communicated almost too effectively the anger and the wrath that literally comprised this song’s foundation. Fittingly, the instrumentation would also begin to distort even more, as the guitar work especially began to syncopate with Adam’s growls. For Adam’s brief appearance in the song, he made an impact. His expression was all wrath, not desiring or even wanting to make the viewers watching at home comfortable with his presence. In the screens behind him, images of what he was singing were being displayed on the screen. For the viewers in the NEXPRO Arena, images of the destruction that angels were doing were being displayed. Though the images weren’t overly explicit, the story being shown was still showing the violence that surrounded the aftermath of the Last Judgment and the ensuing apocalypse. Images of what were supposed to be righteousness, from the white horse to angels, could be seen either ignoring people’s plight so save them or, with some creative camerawork on the screens, were seen killed in front of the audience’s eyes. For the second half of this verse by Adam, the images would then begin to transition to the makeshift army that were beginning to form during the previous chorus. From their shocked expressions, it seemed that they too were witnessing that the last judgment was simply not about being left behind in their world, but they were actively being killed, decreed as not only worthy to not pass through to heaven, but not worthy to even live. The kind of wrath associated with that revelation was expressed when Adam aggressively ended this verse. A distortion effect went through the screens when he growled out the last three words of the verse. As soon as that verse ended, the music would calm and the cameras would zoom out to a larger view of the stage, the stage lights suddenly turned off and the only light source was from the screens themselves, having now flashed white…

The angels weep for what cannot be regained
The gates of heaven crumble before his eternal rage
Hell’s labyrinths widen their forlorn, cold berths


As the music quieted, there would be no vocals for a few seconds. During that interval, a set of white lights would begin to slowly flash on, creating a haunting atmosphere that began to presage the mostly surreal atmosphere that the instrumentation was going for. On the screens, there was now an image of a ruined city against the night, with ashes slowly falling toward the ground. Then, a chorus would begin to sing these lines. For this verse involving the chorus, they would sing primarily against a mostly quiet (compared to the rest of the song) backdrop. Then, by the second line, the screens would shift to an image of the gates of heaven. As the ‘camera’ on that screen would survey the somber sights of heaven in black and white, one could see a dragon being wrestled with by god’s disciples and angels; a dragon sent by what could be termed as the ‘false prophet.’ By the end of that second line, that dragon could then be seen being ‘hurled’ downwards, thrown towards the earth. Even then, heaven seemed more of a like a drab, somber place after the last judgment. There was no sense of this being paradise, no sense of any sort of the kind of final hope that the place could be. By the end of this verse, the instrumentation would begin to intensify, and the screens would then begin to show an image of the world itself once more, with the army that was ‘led’ by Jagoda now appearing with her screens.

They sacrifice their lives
For a hopeless war
For justice, for penance
Why must they fight this losing battle?


The guitars would return for this additional verse. The chorus now intensified, with it now being very clear that they were the antagonists that served as the counterpoint to Jagoda and Adam. They were the larger voice overlooking what was going on back with the remnants of humanity, which was especially evident when the screens would show a far more distant view of the battle that the remnants of humanity were beginning to undertake. On the screens, images of Jagoda, Adam, and the rest of the band were apparent alongside the many other survivors that were present in the earlier verse. They were overlooking a cliff, dressed in tattered clothing but facing their predicament with as much determination and hope as they could muster. This contrasted with the lyrics that were spelling out their doom in no uncertain terms. On the other side of the equation, it was also clear that god’s army was getting ready. They were beginning to mount a force to purge the rest of humanity out of the equation, seeing as the figure that would represent Satan (via the dragon) had already been banished to Earth. Even so, this did not stop the mounting forces. The end of this chorus saw the guitarwork only get more intense.

Now, the battle would begin. On the screens would now begin to show humanity making the charge to fight against beings they wouldn’t win against. The guitarwork was rapid, almost disorienting, and the images on the screen reflected the incredibly fast way that Gordana (who was taking point for lead guitar in this live performance) was playing. The images were suitably blurry, with it taking a far more distant view of the whole scene instead of trying to show anything that was too close that would push the whole animation into an uncanny mode. The guitar line would change into a line where the drums would begin to push the instrumentation forward, in anticipation for some additional lines with Adam and the chorus.

Never relent
No surrender
(The forsaken fall one by one)
To concede is to betray your oath
(Their ideals were only folly)
(Death)
(War)
(Fate)


As the choir predicted, the battle for humanity was a losing one. Adam’s aggressive vocals were a rallying call, the power in his voice making an echo effect emanate in the arena as he quickly sang them. The camera would attempt to cut to close views of Adam as he sang, but it would mostly focus on what was happening on the screens. One by one, each person that assembled in the army was dying quickly against the hands of the angels and the crusaders that god sent from the gates of heaven. Despite the rampant destruction that was occurring, Adam still kept rallying them through. However, the army kept losing their numbers, almost to the point where it was looking like nothing but the original representations of the band were still remaining. By the end of ‘their ideals were only folly,’ it was only Jagoda, Adam, and the band that were left standing on the screens. However, the eventual wipeout of all humankind was not merely just the plan during this. After that fifth line, there would be a brief interval where the choir would begin to dramatically sing the words that comprised the very theme of the song. Images on the screen would briefly flash something appropriate to the words. Death would show the destruction that was evident from the environment, war saw a brief flash of humanity and god’s army fighting, and fate was an image of god himself contemplating the world from a distance. The fate of the world was still technically left hanging, but the fact that now, only few were left standing, had all but sealed the very fate of the world that they were existing in.

This realization was timed with an instrumental turn. After the choir ceased their singing, a guitar solo would begin that was now led by Adam. He still remained on stage, with the camera sometimes cutting to his deft guitar work. To that guitar solo, images of other armies falling to angels were also being shown. Theirs was not the only army that resembled to combat the battles that they would lose, but it was also clear that all around the world, they were losing. Adam’s guitar solo was melodic, highlighting the destruction that was only worsening with severity, and his face expressing the total defeat that was imminent. Even so, the guitar solo was his last push towards the fight against a fate he rebelled against, a last push against being forsaken by the world and god he once believed in. He faced the camera with one last look of an embittered hope, looking toward Jagoda as she would now take center stage for the rest of the song…

Haunted by god’s decree
Left to die in hatred
Our shattered faith turned to blood
Torn asunder
This is the last judgment, flesh etched in testament
Our fates preordained with death, heresy, betrayal


This reprise of the chorus was the song’s dramatic rendition. An orchestral flourish started this chorus, embellished by Jagoda’s vocals. Just on the performance side, she was giving it everything she has got. Her vocals soared through the orchestra and the band, and she was making sure to give it every last bit of energy that the song needed to carry the story. Her face looked exhausted, near death, but her delivery now of the chorus was less a repetition of a message and more of a last hurrah and metaphorical flipping the bird against the antagonist of the song. On the screens behind her, a CGI representation of the band appeared as the chorus began. The band, on the screens, looked worse for wear and worn, but were ready to give it one last fight. During they chorus, they did that fight as best they could. And the triumphant nature of this chorus, befitting Jagoda’s delivery on the stage, almost seemed like there was a last hurrah for this story. Though their fate has already been sealed, is it possible that they could eek out one victory in this hopeless situation? The band fought with their might, the orchestration kept flourishing, and Jagoda was giving as much as she could. Even so, the band would begin to crater and fall by the end of the chorus. The power of going against supernatural forces was beginning to be too much. During the last two lines of the chorus, the screens would show the members of the band falling one by one, starting from Gordana, Zvonko, Martina, and then Mirko. By the end, it truly was down to Jagoda and Adam.

All is lost
All is gone
God’s wrath has spoken its last judgment


For this brief interval of the choir’s return, Adam would also fall. We would again flash to god contemplating the fate of the world, as befitting that final line. His eyes would gaze into the camera, expressionless and emotionless. During this interval and after that flash from heaven, images of the world beginning to splinter apart would begin to be displayed. In areas far from Jagoda, reality itself would dissolve into non-existence. The whole world was literally ending and breaking in ways that no human could conceive of. Not much time could be spent lingering on this situation as the transition from this choir’s brief bridge would then quickly turn to the outro of the song.

I may be no more
I’ve fought to the bitter end
(To the end)
The world will shatter
But I hold til my last breath
(God’s wrath has spoken its last judgment)


As appropriate for her character on the screen, Jagoda was on her knees when she sang this last verse prior to the final lines of the song proper. She was exhausted, beyond defeat, and looked ready to let go. However, her expression, demeanor, and singing all screamed that she would not surrender. The CGI rendering of Jagoda would disappear in favor of letting Jagoda herself on the stage be superimposed on the screens, something that the camera views would begin to account for in the final phases of the song. For the first half of this verse, she started up into the ceiling, holding one more hand up as if she were attempting to fight once more. However, she could give no more to the fight. As per the choir earlier, the fight has already been lost. Even so, the second half saw the determination that was still burning in her eyes. Her vocals remained powerful, still remaining on par with the loud instrumentation that the song kept pushing. At the second half of this verse, the screen would begin to display that the land around her was beginning to ‘break.’ The breaking of reality in lands distant from where Jagoda was could now begin to be swirling around her. She would ‘notice’ these breaks in reality, reflecting the lyrics, but she acknowledges that god’s last judgment is to erase and rebuild the world anew, without humanity. Even with that, she still did not refuse to surrender. During this, the choir would sing alongside her lyrics.

I die in the name of justice
(In the name of penance)
That shall stand as our last judgment
(God shall ordain a new world once more
Born from sin, born from death)


This was the outro of the song itself, the last moments before all would be lost. The first two lines of this final ‘verse’ saw the camera pan out slightly; while still focusing on Jagoda. She sang ‘I die in the name of justice’ with as much energy and passion as she could, delivering that line in a way she didn’t deliver any others. Her vocals unfurled even further and belted out the kind of resolve that was apparent in her whole demeanor throughout the song. It was one last cry and hurrah; one that she sang as reality was breaking around her. In those first two lines, reality was beginning to shatter around her, a broken world becoming even more broken as the last remnants of even the universe she knew were slowly losing their composition. That second line, sung by Gordana, saw Jagoda breathe in desperation but continue to look up towards the camera. At Jagoda’s final line, now complemented by a rapid drum line, she would belt out that final line. During her final line, reality had now truly shattered. Even though she was holding out the final word of the song, ‘judgment,’ an alternate reality effect would be applied where she would dissolve alongside reality itself on the screens. The final moments of the song would be her long note sung alongside the choir’s final lines as well. Jagoda’s disappearance from the screen and the dissolving of reality had well and truly sealed humanity’s fate. The world, as it once was, no more. It remained uncertain at the end of the entry if the world would be reborn, or if we were going to be left with a white void. Yet, that was what the audience was left with as Jagoda’s last, long note was completed, and the choir ended the entry with the song’s final words.

Holy shit… Did that actually happen?... Jagoda thought.

After the end of the performance, she was able to chase down Adam for a hug. She found that he hadn’t left the stage during the performance, but was instead expertly hidden with the lights. Both founding members gave each other the longest, tightest hug they could muster. It was surreal that the performance happened, no less that they were in Nekoni making this happen.

Jagoda let out an exhausted, but brief thank you. Yet, all she wanted to be was to celebrate with her bandmates. For Adam, his shaking hands and tired arms left him unable to contemplate much except for the desire to relax backstage. Yet, deep in his mind, he felt that something good could rise from what had happened tonight. The results he knew could end up being disastrous for Izmedu, but the creative possibilities for the future…

No matter what happens… AREOPAGUS is only getting started here, was Adam’s thought heading back into the green room with Jagoda.
Last edited by Izmedu on Mon Mar 09, 2020 1:13 am, edited 10 times in total.
THE DEMOCRATIC REPUBLIC OF IZMEDU
WorldVision Song Contest - World Hit Festival

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Missus X
Spokesperson
 
Posts: 138
Founded: Jun 02, 2014
Right-wing Utopia

Postby Missus X » Tue Feb 18, 2020 7:27 pm

Image




Rick Leg - "X My Legs"
Tune: Aisel - "Cross My Heart"





The performance is somewhat literal, with Rick engaging in everything he says. He is joined on stage by 5 other people. They're all wearing floating white tunics. And no underwear. I think you can see where there is going. They all sit on a chair on top of a plinth each.

I can feel them come apart
And revealing all the art
I can see my weapon's big
So I become a "dick pig"


Like Sharon Stone in basic instinct, Rick slowly uncrosses his legs and then recrosses them the other way, just flashing the wedding vegetables. Just flashing. For now.

Every time I get my dick out
I am naked
It is a tautology
But it's just biology


Rick and co start clapping above their heads and the lights flash.

Oh my god we are
Sitting right here now
And my legs are hurting
Now it's time to shine
You know that it's right
Baby look down as I


Rick and co spread their legs and a wind machine blows the tunics up, revealing the dick and balls to a horrified audience. Thankfully they've all taken anti-viagra pills, so they're all very floppy.

I X my legs
I tell you to eat 'em all
I X my legs
And show off my cannon balls
I'll never [monkey noises]
[monkey noises]
[monkey noises]
And I'll never [monkey noises]
[monkey noises]
[monkey noises]


And now everyone stands up as the wind machine stops, hiding them from view. A woman comes onto the stage and everyone stares at her as she ambles around sexily. And she's wearing a red tunic-cum-dress.

If you're sucking all alone
Please film it on your phone
That said, a tablet will do
Just not a laptop, honey boo
Then they will be leaked
Just like you and me ;)
(OOC: takes a minute for that joke....)
Come on let me see
If I show you mine
Can we go this time
Come on babe cause I


Now everyone jump splits on to their plinths then shuffles forward so the balls are hanging off the edge, and as the wind machine starts again they are all shown dangling in front of everyone.

I X my legs
I tell you to eat 'em all
I X my legs
And show off my cannon balls
I'll never [monkey noises]
[monkey noises]
[monkey noises]
And I'll never [monkey noises]
[monkey noises]
[monkey noises]


Then they all do the can-can, flashing on every other beat.

I X my legs
I tell you to eat 'em all
I X my legs
And show off my cannon balls
I'll never [monkey noises]
[monkey noises]
[monkey noises]
And I'll never [monkey noises]
[monkey noises]
[monkey noises]


I X my legs





Image


Last edited by Missus X on Mon Mar 09, 2020 11:30 am, edited 1 time in total.

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Beepee
Envoy
 
Posts: 235
Founded: Jan 20, 2018
Democratic Socialists

Postby Beepee » Fri Feb 21, 2020 6:07 am

15. BEEPEE
"LIVE IN PEACE"
performed by
KRYSTAL D'CANTER



Written by
Wilma Hoddet and Willie Doddet

Tune: Moi, Tout Simplement by Annie Cotton




Background

Krystal D'Canter is a schlager singer based in Esrille, a small town in Beepee. At 24 years of age she has released two albums.

Image
Krystal D'Canter


Her first album, "Fill Me Up" was a schlager album filled with rousing pop power ballads and uptempo bops. The album reached number 27 in the Beepeean charts, with the same titled single selling a respectable 7,800 copies and has been streamed almost as many times.

Krystal's sophmore album, "Krystal" saw a more experimental sound, including sweeping countryside lyrics and orchestral overtures. It reached only number 42 in the charts and was considered a flop selling but 112 copies in the first 3 weeks. The first single of the album "Cornfields in Winter", a sixteen minute track which included three minutes of chanting followed by thirteen minutes of the sound of wind whistling through hedgerow failed to chart.

Following the failure of the second album, Krystal was dropped by her record label and she hopes WorldVision will bring her back into the Beepeean spotlight.

Live in Peace, written by Krystal D'Canter's writing team of Hoddet and Doddet, mixes the countryside lyrics, orchestral backing with a pop/schlager ballad feel. It is a song for world peace, love and a respect for nature.




Participation

A large centerpiece stage is set with a backdrop of a nightime countryside scene. A tree on the veiwers left of the stage and a bubbling brook to the right. The brook appears to be made out of crumpled acetate and shards of mirror to reflect light.

The darkened stage becomes lit in faint moonlight.

Krystal D'Canter sits alone aside the brook, in a large white satin ballgown. The unfortunate dress shape give the impression of a toilet roll cover doll as she sits.

The orchestra music picks up and a small yellow ball of light makes it's way across the stage. Krystal raises her microphone and begins....


Hey there little firefly
I watch your light dance through night sky
I wonder where you're going to now
Won't you stay with me a while.

As I lie at the rivers edge
The sound of water rushing by me
I think about how we could all be
Living in a world of peace

And when the morning comes
And the sun is high in the sky
We will live in peace

And when the morning shines through
And the sun is high in the sky
We will live in peace


Krystal stands and walks across to towards the tree. Sequins and crystals sewn into her dress shimmer as she moves through the simulated moonlight. She looks up to the branches where an slighlty handknitted owl sits perched.


Hey there mister night owl
Sitting high up in your oak tree
You're so wise you know it all
Won't you share your secrets with me

I listen out for you call
As you fly into the night sky
Happy hunting my good friend
May we meet another day

And when the morning shines through
And the sun is high in the sky
We will live in peace

And when the clouds have rolled on by
And the sun is high in the sky
We will live in peace


The lighting begins to brighten signifying the breaking dawn and the new day. The camera slowly begins to close in towards a tight shot of Krystals face.


And when the morning shines through
And the sun is high in the sky
We will live in peace

Live in peace

And when the morning shines through
And the sun is high in the sky
We will live in peace

Oh, live in peace

And when the morning shines through
And the sun is high in the sky
We will live in peace


Krystal finishes staring straight into camera, which is zoomed in tight to her face. She smiles and gives a cheeky wink to the camera.

"Thank you. I love you Worldvision!" Krystal yells to the audience as she walks of stage.
Last edited by Beepee on Fri Feb 21, 2020 6:41 am, edited 1 time in total.

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Nekoni
Diplomat
 
Posts: 711
Founded: Jan 29, 2013
New York Times Democracy

Postby Nekoni » Fri Feb 21, 2020 7:25 am

As the ending strings of Beepee's entry close out, and the audience cheers, the camera cuts to inside the green room, where our hosts, Alice and Miki are waiting. They have changed back into the dresses they wore at the start of the show.

Miki: "Thank you, Beepee! That was a beautiful performance by Krystal D'Canter, and if you agree, vote!"
Alice: "That's right, the phone lines will only open up after all the acts have performed, and it will be down to you who picks the winner, so if you want your favourite to take the trophy, then there's only one way you can, and that's to vote!"

They walk down the side of the green room as they talk, with the individual pods of nations there in the order that they performed. Some of the performers notice they're on camera and cheer at it, some of them doing the handsignal for telephoning at the audience at home.

Miki: "Now, we're at pretty much the halfway point of the performances, so it's not long to go before you have to make your decision!"
Alice: "But, whilst the party's in full swing, it's not just here in Marina Point where the action is! We now go live to just down the road at the beach to meet a very special person indeed! Good evening Elitsa!"

The screen splits into two two reveal the spokesperson for the Nekoni vote, live on scene at La Grande Plage, where a beach party is full in swing. There are giant screens across the beach, and over 2,000 people are all there. The sound is near deafening when the camera jumps to TV host, Elitsa Bétancourt.

Elitsa: "Bonsoir, mes amis! It's been absolutely manic out here, and the party isn't stopping until the dawn, easily!"
Miki: "Excellent! Excellent! Now, would you like to tell us how the rules of the vote works?"
Elitsa: "Not a problem, my friends! Now, remember, you can vote using the app, or calling the number that you see on the bottom of your screen followed by the number of the entry that you're voting for. At the end of the night, we're going to top those votes up, and each country, as y'all know, will award 1 point for its 10th favourite, all the way up to 12 big points for its favourite! The one with the highest score takes it, it's as simple as that!"
Alice: "Thanks, Elitsa! Now, before we go back, do you want to introduce the next entry?"
Elitsa: "Isn't that your job?"
Alice: "I'm still recovering from that opening, love!"
Elitsa: "Alright, then! The contest continues, and in entry number sixteen, we welcome the nation of the Fatiman Federation!"
Last edited by Nekoni on Mon Mar 09, 2020 12:36 pm, edited 1 time in total.
29, Eurovision apologist, drunk.
ALT-F4 PARTY 2020 - Bring on the nukes

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Indo States
Diplomat
 
Posts: 841
Founded: Jan 05, 2018
Inoffensive Centrist Democracy

Postby Indo States » Fri Feb 21, 2020 7:40 am

DIECISÉIS/SIXTEEN: FÉDÉRATION FATIMANIENNÉ/FATIMAN FEDERATION (ÉTATS INDO/INDO STATES)
THE SIENNA BROADWAY ASSEMBLE, SIENA COLLEGE BALLET AND SIENA COLLEGE ACOUSTIC BAND feat. NATASHA MARIACAPASTOL CRIMIELIYEV - LEIA MOJA (CHASE ME)

Image


Lisa Manolo as Christina
Stephan Verzosa as Marcus
Natasha Mariacapastol Crimieliyev as Diana

Elise Sarmiento as Betté
Dennis Balcala as Ben
Catherine Pascual as Lisianné
Chloe Pantenescu as Maria
Alicia Romulo as Belle

Samantha Repolledo
Ben Sandoval
Dan Mosaro
Clement Junipas
Marie Sandoval
Leonor Marie Lonares
Catherine Guzman
Elizabeth Castro

Organ - German Nozales
Accordion - Melissa Magallanes
Ukulele - Randy Smith Santos
Drums - Delpan Tippy Nazarna
Violin - Bianca Cruz

Conductor (Instrumental): Reynaldo Sandoval
Conductor (Vocal): Elise Mayla Sison
Writer: Lisa Fuentebella since 1914 (Dead 1994)
Director: Dennis Bacani





BACKGROUND

Leja Moja/Chase me is an Romantic Play with the Remix of Singing and Acting, a Story about a Girl named Christina and Marcus done in their Romantic Relationship but with no Borders and Had to Escape their Parents to prevent having them Punishments.

Written by Lisa Fuentebella in 1914 to Teach how Love on Teenagers making Harmess in order to Prevent Teenage Pregnancy and Child Abuse, Remastered by Sienans in Siena College.




The Into

Before the Intro, The Video about Intoduction to the Play was shown and Portrayed by Alicia Romulo, A Story of the Writer and the Background of the Play, The Video Takes 10 Minutes.

Then, The Intro was a Background of Small Strucures as a Town Proper, a Pub, a Flower Shop, a Goods Store and a School Building at the Center. The Song (Hrdza - Stephen) was Played and Schoolgirls entered the Stage an Sang the First Chorus

Quelle belle journée, belle journée, belle journée (What a Nice Day, Nice Day, Nice Day)
Je me suis senti tomber amoureux de lui (I Felt Fall in Love with him)


WIP
Fédération Fatimanienné - Fatiman Federation
Country of Freedom and Education




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Axuva
Spokesperson
 
Posts: 165
Founded: Feb 22, 2018
Liberal Democratic Socialists

Postby Axuva » Fri Feb 21, 2020 7:43 am

Image

https://www.youtube.com/watch?v=H3Kzh6RrnMc

Come with me, come with me
(Oh-ah-oh-ah)
Cause we taking on this life
Listening
Cause we taking on this life
Just go and
Come with me, come with me
(Oh-ah-oh-ah)
Come with me, come with me
Listening
(This life, this life)
Cause we taking on this life



James sits at the piano, playing it live as Amelia sits ontop of the piano while he plays it and flowers surround the piano and are attatched to the piano as flower patterns started to be shown on the screen and they would move.

[Verse 1:]
It’s something new about your love
Even tho I don’t always show up
We were so young, we were so close
This is really how it was
Now that I think about our love
It feels our love is eternal
But sometimes we have had our lows
But can we get over...?


Amelia gets off the piano and stands next to it as they approach the chorus.

[Pre-Chorus:]
Just come with me, come with me, come with me
Let’s start a new journey
Love is a mystery
I can’t stress this shit enough
Bring it down on me, down on me
Oh I was wrong baby
Love is a mystery
But I know, I know, I know, I know


As James gets off the piano, James and Amelia start to dance on the as sparks flew out over the stage and Amelia would start to play a guitar that was handed to her off screen.

[Chorus:]
Ah, Oh, Ah, Oh Ah
Cause we taking on this life
This life, this life
Ah, Oh, Ah, Oh Ah
Cause we taking on this life
This life, this life



(Woo)
(Woo-ooo-ooo-woo)


They both walk up to a microphone stand and Amelia continues to play the guitar as James singing his part of the song.

[Verse 2:]
Can you just give me all your love
Maybe we both should grow on up
Lets stop facing all of the doubt
And just give in to sound



[Pre-Chorus:]
Bring it down on me, down on me
Oh I was wrong baby
Love is a mystery
But I know, I know, I know, I know


They both start to sing together for the Chorus at the microphone stand

[Chorus:]
Ah, Oh, Ah, Oh Ah
Cause we taking on this life
This life, this life
Ah, Oh, Ah, Oh Ah
Cause we taking on this life
This life, this life


James steps away and starts to clap and Amelia sings at the microphone, then James walks back up and they start singing together.

[Bridge:]
Ah, Oh, Ah, Oh Ah
Na,na, na, na, na, na, na
This life, this life
Ah, Oh Ah, Oh, Ah
Cause we taking on this life
This life, this life



[Outro:]
Cause were moving through the light
Cause were moving through the..
Cause were moving through the light
Cause were moving through the light (Cause were moving)
Cause were moving through the light
Cause were moving through the..
Cause were moving through the light
Cause we’re moving through the...


As they approached the end Amelia takes off the guitar and they stand at the microphone stand and Amelia continues to sing, and she holds the microphone in her left hand, and James holds her right hand up in the air.
Last edited by Axuva on Mon Mar 09, 2020 1:08 pm, edited 4 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.

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Spiritual Republic of Caryton
Envoy
 
Posts: 257
Founded: Jun 25, 2019
Authoritarian Democracy

Postby Spiritual Republic of Caryton » Sat Feb 22, 2020 10:22 pm





18 - Spiritual Republic of Caryton




Image - Eleanor
Image - Barry


"Even Though You're Leaving" - Eleanor Strawson and Barry Polo





The scene opens with a solemn shot of an LED screen silently briefing the audience with the following message:

"Gospel Liberated Zone, Republic of Alta - March 2018. The civil war against the genocidal Altan regime has peaked, and even though new groups of various resistance fighters have been formed and Cary the Golden Retriever has already been regarded as a prophet, the enemy shows no initial signs of letting up, the military's key leaders still loyal and egotistically bolstered at this point in the war. An intensive bombing campaign of the Gospel Resistance- also known as the forefathers of Caryton-- has made way for Alta's first attempt at invading the pockets of revolution. It is widely known that the patriots can hold the borders in time for other resistance groups to nab their attention. However, this defense has been widely regarded as a suicide mission. Our entry starts here, with a dutiful housewife bidding goodbye to a guerrilla fighter she subconsciously knows she will never see again."

The piano and chimes kick in as the screen retracts, showing a concrete housing unit, the white picket fence broken. Still, a proud banner of the Gospel Resistance flutters high from a flagpole. First leaving the house is Barry, dressed in an opened beige trenchcoat which revealed a golden military tunic symbolizing Cary. A brown sam browne belt crested his torso diagonally. An armband featuring a painting of Cary the Golden Retriever proudly and snugly fitted his right appendage. Ammo belts loosely hung about his body as a deteriorated-looking light machine gun was slung to his back. One or two ancient-looking stick grenades hung from his left side pouch, giving historical accuracy as to how ill armed and rag-tag the Gospel Resistance was. Following up next was Eleanor, in a strikingly beautiful red dress, a bonnet about her head. Her modest clothing already reflected Carytonic values before the country was even portrayed existing. He seems to be set on walking past the mailbox and away from the house before Eleanor began to sing. He turned to her emotionally as she began.

Eleanor:
"I know you and me aren't through,
that our two voices aren't hushed.
The conflicts are just and true,
that our people have not been crushed.

I know you might not return-
so let me say what makes my soul burn;

Even though you're leaving and it may be for good!
I may have to wait forever- and I know I could, I know I could!
And if you're gone tomorrow, we'll still have eternity!
So even though you're leaving, I know that in the end, we'll be."


By the time she finishes her verse, she reaches out towards him lovingly, steadily advancing. Her hands swooped down and rested on a fence post. The soldier began to walk back, both parties mutually stopping when they were about seven or eight feet from each other.

Barry:
"When we found love in that park-
I felt so free, who knows why?
That oppression from the dark-
cast away by truth to die!

First new faith came to save me,
And it's a new life that your love gave me!

Even though you're leaving and it may be for good!
I may have to wait forever- and I know I could, I know I could!
And if I'm gone tomorrow, we'll still have eternity!
So even though I'm leaving, I know that in the end, we'll be."


As the first swell of the song came, they clasped hands and turned to the audience to continue. The distant hums of plane engines came from speakers strategically placed above them for a more realistic effect. The LED screens showed a rosy sunset, with dots coming closer. Eventually, they were recognized as planes from the Alta Regime. The duo seemed to ignore the impending danger as the whirring became louder.

Both:
"Cary knows that when you're leaving-
we've done what's right and see!"


As the short instrumental kicked up and subsided, the whirring became too apparent. The duo started to look up in bewilderment, pulling each other close. Eleanor's dress fluttered in the makeshift wind set up by an offstage fan. This kicked the resistance flag in an impressive flutter. The screens changed to panorama shots of the sky.

Barry:
"If things were different."

Eleanor:
"What, if we had a little more time?"

Barry:
"If there was no war, and I weren't about to die a martyr."

Eleanor:
"You don't really have to fight!"

Barry:
"No, but it's what God ordained we do."

Eleanor:
"You'll see."


The whistling of impending objects fell from above as the music swells. Makeshift bombs fell in the air and hit behind the backdrop, immense red lighting and fog effects hitting the air. Well-timed explosions followed. The duo looked fearless, staring at the audience as they realized it was time. One arm dropped from the both of them, leaving only one intertwined hand as the sounds of exchanging artillery and gunfire filled the air.

Both, interchangably:
"And if I'm gone tomorrow! (We'll still have eternity!)
So even though we're both leaving, we know that in the end, we'll be-"


Their grasp broke as Barry marched away from her, their eyes locking. By 'we'll be', Barry grabs his weapon, holding it close to him in a defensive position. An anti-aircraft missile is seen shredding into the hull of one of the bombers on-screen, the crash explosion the perfect percussive to transition verses into the final climax. Barry, now at the mailbox, passionately looks her in the eyes one final time for the last few lines.

Both:
"So even though I'm leaving;
We both know that in the end, we'll be!"


By "we'll", Barry walks offstage as Eleanor reaches out to him. With emotion in her eyes, the bombs reach a grand finale. By the three brass hits and the final beat, a massive boom shakes the audience. Angels in glittery white dresses descend from cables, blowing their horns for the last 10 or so seconds as an instrumental backing. The stage goes black with passionate red spotlights on the fluttering flagpole. Fireworks and sparks flew up on stage as a last impression before silence fell to roaring applause.
Last edited by Spiritual Republic of Caryton on Sun Feb 23, 2020 9:05 pm, edited 2 times in total.
***The Spiritual Republic of Caryton - The FIRST pet tribute nation!***
In tribute to my childhood Golden Retriever, Cary. She lived 11 years of joy and love.
OVERVIEW VIDEO
A restorationist christian nation with no separation between church and state and its own unique denomination. The national figure and defacto head of state is Cary the Golden Retriever, famed for so-called prophetic abilities and miracle-working. The Gospel Church of Caryton is the unique state religion.
|| 17 yo gay male in Arizona with a love of Golden Retrievers and everything nice! ||
Trinity Broadcasting Network of Caryton: [7-1-20] Gospel Church of Caryton criminalizes energy drinks. 0 COVID-19 cases maintained. Solemn candlelight vigils and prayers for G. Floyd continue.

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Zamboodle
Civil Servant
 
Posts: 9
Founded: Nov 14, 2019
Corrupt Dictatorship

Postby Zamboodle » Sat Feb 22, 2020 10:24 pm

SUPAH ZAMBOODLE ACTION KUNG FU SECKS WARLORD CIA PRISONER (REAL TRUE OFFICIAL) PERFORMANCE LIVE AT WORLDVISION


In a spout of defiance, several Carytonic missionaries assigned to the Zamboodle mission had been inspired by the Zamboodlean Supah Soldahs' performance, liberalizing their views and forging a small offshoot church that had more tolerant views. Many missionaries also join the performance group to parody and spite the Gospel Church of Caryton back home.

-
CLICK HERE FOR TUNE

The scene opens with a dreary yellow spotlight on a Carytonic missionary: white dress shirt, typical yellow vest, khaki pants, and golden Cary lapel pin. His shirt is dirtied and cut up. A trampled pride flag laid underneath his feet, as if an ironic display of hypocrisy. He looks somewhat regretful. In the background, a turned up heater and fogworks gave the illusion of a flaming Zamboodle village behind him, dead men, women, and children littering the area-- the warlords having returned. He seems to disregard the carnage to an awful extent, only focusing on his personal flaws.


Missionary:
"Long ago, when I was a lad-
I went to the house of my best friend Chad-
And kissed him on the lips against the wall.
His father looked at us two boys,
And his duffel bag of adult toys-
Told my priest father and beat Chad down the hall!

I regret it all, and don’t feel alright-
And now Heaven seems so much less bright!

No, please, not again!"


The spotlight on him turned a sinister shade of red as demonic laughter filled the area. The backdrop had been skillfully removed, and the fog cleared to see the corpses rising, an expert costume change into half-demon half-zombie revealed as they began to torment and circle him. The backdrop and LEDs turned to a stereotypical vision of hell as the missionary turns from dizziness and faints, only to be shoved around back and forth by two succubi.

Hellthings:
"Down, down, thy soul is cast!
Sin and strife is now your life!
Rivers of tears now lead thee to
SPOOKY CARY HELL TIME!

No more heaven,
SPOOKY CARY HELL TIME!
Abandon all ye hope-
IT’S SPOOKY CARY HELL TIME NOW!"


A skeleton poses and cracks a whip. As the vocal emphasis changes back to the missionary, the hellspawns form several lines behind him, a chorus that boomed each time they echoed, vocal effects in their mics drawing a sinister effect. In the back, hidden flame baton twirlers in black skinsuits flailed the objects from behind the setup, giving the illusion of actual fires stirring every time the chorus backed him.

Missionary (w/ Ensemble):
"And now I’m back on Grindr again! (HOMOUS!)
Throwing my whole life into the bin! (SODO-MUS!)
I got a disease in my man-bone! (SYPHILIS!)


Oh God, how much I’ve lied to you! (GLORIUS!)
I’ve lost sight of the gospel that is true! (HOLYUS!)
And now the dysen-cary inside me has now grown…
EVEN IN SPOOKY CARY HELL TIME!"


The missionary grabs his stomach, throwing aside a phone bearing the familiar meetup app, displaying the "dysen-cary" as seen in the Zamboodlean debut. The things seem to envelop him, prod with pitchforks and bayoneted rifles, and raise him up, virtually crowdsurfing him, before he was rolled back onto the floor, fog shooting back up to obscure him.

Hellthings:
"Down, down, diseased and ill you go!
No more being a hoe!
Eternal bondage in torture-fire, though!
No mistakes in SPOOKY CARY HELL TIME!"


A spotlight shone on the real Cary in the audience, but a dog's voice blared through the speakers, obviously not her. Carytonic church officials looked mortified by this point, as the fursuited Golden Retriever from the debut arrived and taunted the rising missionary on stage. Subtitles were displayed on the screen.

"Cary":
"Woof woof woof arf woof grr…. Woof grr arf woof bark roof woof woof….. Woof arf woof!
(You kiss another boy as a highschooler, and now you try to leave the church to have gay sex? You’re a dick!)


Missionary:
Cary, I'm sorry!"


The fursuit disappears backstage, but the spotlight shining on the bewildered pooch in the audience brightens. The fog disappears as the missionary was thrown to the front of the stage, directly facing her to some degree as the hell-spawns cackled and mocked, waving their hands annoyingly.

Hellthings:
"Cary hates you, and she’s on track!
For you’re acting super black!


Demon:
You remember Lucifer; he is even spookier!"


The demons cackle as the red spotlight shines on a mountain, a relatively large Zamboodlean man painted red and given horns, the buff, bald, and intimidating man twirling a pitchfork resembling Satan, an axe guitar strapped to his back.

Satan:
"Fallen perfections, have you heard the news?
Nathan was caught in a manhole!
Now he’s back, with all you nazi thug crews!
It’s super spooky-wooky!"


The missionary looks terrified of Satan, and turns away, a look of regret and decisive action taking over his face.

Missionary:
"I’m sorry, Lord- it was selfish of me!
I’ll stop being bad, please I don’t wanna be in this
SPOOKY CARY HELL TIME! (SPOOKY CARY HELL TIME!)"


The stage seemingly clears as a four point podium of nether rock surrounds the missionary, demons on the stage with him, but the focus seems to be up above, the spotlight shifting from group to group.

Hellthings:
"Gregory!
Kim Seyong-Taek!
Pol Pot!
Scot-a-trova!

The spirits all surround you,
Spooky spooky spooky!"


The first podium bears Lord Almighty Gregory in typical getup, his brainwashed and malnourished slaves beneath him. The second bears Kim Seyong-Taek in a threatening red hanbok with KPA soldiers beneath her, perpetually goosestepping. The third bears Pol Pot and the Khmer Rouge beneath him, seemingly ripping pages out of books. The final one bears only two people-- a man in a costume bearing the map of Scotatrova, and a transsexual stripper.

"Gregory:"
"I shot up the audience and drugged my citizens’ prune juice!

"Kim Seyong-Taek:"
Food is not what my people need!

"Pol Pot:"
I killed people with glasses and tortured babies!

"Scotatrova"
I want your gay people freed!"


After Gregory sings, he shoots blanks into the audience and his slaves drop dead. After Kim sings, her soldiers goosestep down the podium and engage in a two or so second dance break before returning to their posts. After Pol Pot sings, his cronies stomp on pairs of glasses. After the map man from Scotatrova sings, the MtF rips off their suit and wig to reveal dyed hair, a tanktop, and a miniskirt which they look surprisingly good in. Satan seems to be relishing in all of this, as for the missionary, he looks terrified. They taunt him, but gasp at realizing what he's done, as if their atrocities were nothing compared to his "crimes"

Missionary:
"You think that’s bad, I broke rule six hundred and two!
I left the church, I’m way worse than you!
I hate this SPOOKY CARY HELL TIME. (SPOOKY CARY HELL TIME!)

Oh, Heavenly Father! Give me one more chance! I won’t leave the church again!"


Satan absolutely shreds his guitar. In one corner of the room, Gregory is portrayed whipping his slaves as they eat prune juice and gruel. In another, North Korean soldiers tap dance as a makeshift rocket raises over Kims' head. In another, pol pot and his followers are seen firing blanks into a baby doll, and in dead center of the stage the trans boy from before starts pole dancing while the Scotatrova map costume boy pelvic thrusts. Demons and Zamboodleans dance in the background as the missionary looks tormented. Satan smashes his guitar once finished.

Missionary:
"I can't believe Cary called me a dick!"

-
Ensemble:
"Welcome, welcome!
To spooky cary hell time!
You can drown in our sheet-blood-
In SPOOKY CARY HELL TIME."


Zamboodleans take over front of stage as the rest of them move back, they sing in surprisingly broadway voices for their accents, and they tap dance in block formations as the village/militia looking outfits are given canes for them to twirl as their warlord depicts genital mutilation and "sheet-blood" behind the thin screen from last performance, with some convincing props and shadows. At the end, they circle him and spin around, their pitchforks lunging ever so closer to him.

Missionary and Backing:
"Oh, please, heavenly father! Please save my soul!


(Down, down, thy soul is cast!
Sin and strife is now your life!)

Give me one more chance, I won’t let you down again!


(Rivers of tears and blood and sheet lead you right here to
SPOOKY CARY HELL TIME NOW!)"


At the end of the song, the redness ended and the boy is thrust under a regular white spotlight, seemingly waking up among all the carnage, the stage changing to before the song kicked off, as if it were all a bad dream.
Last edited by Zamboodle on Mon Mar 02, 2020 6:40 pm, edited 4 times in total.

User avatar
The Micronation of Oceanland
Lobbyist
 
Posts: 12
Founded: Oct 14, 2018
Scandinavian Liberal Paradise

Postby The Micronation of Oceanland » Sat Feb 22, 2020 10:25 pm

OCEANLAND


[WITHDREW, SKIP ME
Last edited by The Micronation of Oceanland on Tue Feb 25, 2020 7:36 pm, edited 1 time in total.
the best micronation ever!


oceanland, take me by the hand to your land, that you understand

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Amuaplye
Minister
 
Posts: 2948
Founded: Dec 07, 2014
New York Times Democracy

Postby Amuaplye » Sun Feb 23, 2020 7:04 pm

21. AMUAPLYE

A Few Men - Вин Вилитик Кирм Маранат (We Will Come Together)

Song: The Petrov Brothers (and Elena Petrova, Fyodor Petrov's wife)
Lyrics: Fyodor Petrov & Nicholas Morales of Love and War
Tune: The Decemberists - Sons & Daughters


Image

A Few Men is an Amuaplyean folk band consisting of the 4 Petrov brothers, Fyodor Petrov the vocalist, Dmitri Petrov the bassist, Pyotr Petrov the guitarist, Elena Petrova (vocalist Fyodor Petrov's wife) the drummer and backing vocals, and Vladimir Petrov doing various other instruments, but mostly accordion, and backing vocals. The reason all of their songs are in Amuaplyean is because not only are they native speakers, they also grew up and performed in areas with high amounts of Amuaplyean speakers.

The band was founded in Melbourne in 1997, and found its footing doing swing music, in a time when it was still somewhat trendy (in the hipsterish parts of Melbourne, anyway.). In that period, they released 3 studio albums, Амюкаыаник Суинг (Amuaplyean Swing) in 1998, Суинг Исмок Март (Swing Isn't Dead) in 2000, and Макик Суинг Мокта Вар (Make Swing, Not War) in 2002, to very little fanfare outside of the local Melbourne area.

After that, the band had a short hiatus due to Fyodor getting married to Elena in 2003 and deciding to settle down for a bit with his wife. The band released its 4th album in 2009, Вина Бак (We're Back). This album was the one that shot them into popularity after the Амукаыаник Академи фут дак Амукаыаник Споквард (AAAC, Amauplyean Academy for the Amuaplyean Language, AAAL) gave them the Фредрик Цампбел Авард (Frederick Campbell Award) for "Representing Amuaplyean Language and Culture" in early 2010.

Elena Petrova joined the band herself in 2011, and shortly thereafter released its fifth album, Вина Фамик Новат (We're Famous Now) in 2012. They did not gain the success they got with We're Back, and shortly thereafter, faded into obscurity again.

That is, until 2018, when they released Садлит & Комилит (Tragedy and Comedy). A song from that album, Дак Лентгед, appeared not only in a viral video in mid-2019, but also a campaign ad from Stronger Amuaplye (a far-left Amuaplyean political party) supporting candidate Victor Hartman for the Sydney mayoral election, causing A Few Men to come back into the public eye.

Shortly thereafter, ATV selected them to represent the nation for the 74th WorldVision Song Contest, after their previous and 1st entry, the avant-garde sound collage The Amuaplyean Powder Keg (Part 4) flopped, coming into 20th place with 27 points, tying with keyboard mashing from New Activia, and placing lower than several joke songs.

A Few Men did the opposite, with Amuaplye plunging 9 places lower, and going from 27 points to 19. It took until the 76th WorldVision Song Contest for Amuaplye to regain its losses, and even now, Amuaplye still hovers between 15th and 20th place. Amuaplye hopes to restore its reputation this edition, but people in Amuaplye are saying otherwise.





The camera starts off lingering on the postcard for Amuaplye, before slowly zooming out, then transitioning to a shot of Pyotr. Pyotr is sitting in a wooden chair with a guitar, whilst the rest of the band stands behind both him and in front of their instruments . They then walk backwards, with the camera tracking the rest of the band members as they grab their instruments and Elena sits down in her chair.

Pyotr starts to play, the camera focusing on him, then fading into a shot of Fyodor as he begins to sing.

After the end, we will recover
We'll eventually move on with our lives
We'll rebuild our steel walls
It will all go in the back of our minds


For the Amuaplyeans, there is a surprising lack of the usual dramatic flair from this band. They thought that they would at least do some interpretive dance or something like that. Instead of just standing completely still without any sort of emotion, and only 2/5 of the band playing.

The shock subsides, the pain goes away
Everything will all go back to normal
Till April rolls around
We will all come together then


Vladimir join in, with Vladimir playing the accordion. The camera pans, showing the 4 being the only ones playing. Elena sitting motionless in her chair, not expressing any emotion at all.

After the fall, we will recover
We will arise from the ashes
We'll sing, we'll talk, and we'll campaign
Until this won't ever happen again

After the end, we will recover
We'll eventually move on with our lives
We'll rebuild our steel walls
It will all go in the back of our minds

After the end, we will recover
We'll eventually move on with our lives
We'll rebuild our steel walls
It will all go in the back of our minds

After the end, we will recover
We'll eventually move on with our lives
We'll rebuild our steel walls
It will all go in the back of our minds

After the end, we will recover
We'll eventually move on with our lives
We'll rebuild our steel walls
It will all go in the back of our minds

Watch as the past fades away
Watch as the past fades away
Watch as the past fades away
Last edited by Amuaplye on Sat Mar 07, 2020 11:40 am, edited 9 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
Achaean Republic
Envoy
 
Posts: 209
Founded: May 26, 2019
Civil Rights Lovefest

Postby Achaean Republic » Sun Feb 23, 2020 8:13 pm

22| Achaean Republic
Metta-Noia “Santo Deber"
Tune: Mala Rodríguez - Quien Manda
Music & Lyrics:Kiara C. Gutiérrez, Fernando Torres, Andrés López


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Metanoia, derived from the Greek word for correction, is a rhetorical figure used to emphasize, weaken, strengthen, or even amplify an argument through the use of self-correction in speech or writing. In Greek, metanoia is also translated to “repentance,” “the turning away from one’s mind,” or even “correction.” To use metanoia carefully, as politicians, public speakers, preachers and self-help gurus do, is to project spontaneity and humanity to the people––in the immortal words of Oscar Wilde, “Spontaneity is a meticulously prepared art,” and spontaneity in a world that seeks, craves, and worships authenticity is more than necessary in order to thrive and survive in the limelight. To use metanoia, as we all do on a daily basis, is to demonstrate that we can regret things, change, adjust our expectations, and perhaps even improve our course of action. Even if we don’t mean it, we can use metanoia to justify and even clarify our lies and innermost expectations, to divert and cause an impact without even thinking of doing so. With metanoia, you can say a lot without saying much.

Which is why Kiara C. Gutierrez chose the word Metta-Noia as her pen name when writing pamphlets at the University of Corola when she was a sophomore. In those pamphlets, she would rage against the system in as few words as possible. Capitalism and abolishing patriarchy were her favorite subjects, but she could dabble in other topics such as LGBTQ+ rights, indigenous rights (despite not being indigenous herself), college politics, petty haters, veganism, and of course the pointlessness of telenovelas. In fact, she was a prolific poet-pamphleteer: by the end of her sophomore year, she wrote over 200 poems, paragraphs, and textual epithets deconstructing the commentary from machista thinkers and luminaries, exposing their flaws, and reconstructing them for the benefit of women.

This forward-thinking and somewhat combative attitude had her at odds with her family. Her father, a Pentecostal minister from the city of Yuquibo in Ciboney, was not happy with the worldly attitudes her daughter has picked up from the city. The father-daughter conversations by phone or Skype would inevitably turn to heated discussions on the skirts that became minis, the Bible she shred to pieces and turned to tampons in a protest to “bleed over religion,” the relentless faces she’d make every time her father would mention God or the ones her father made whenever she said she was a sworn atheist for life only to spite him. She never meant those things––she only wanted to taste the freedom that came with leaving her ridiculously small Ciboney township and enjoy the city lights. She never wanted to give her doting father a heart attack.

Only that one time, in the heat of another routine discussion, she did. His heart gave out from pumping one time too hard and dropped dead on the cold, wooden floor from his Ciboney apartment, partly broken-hearted and partly afraid of her daughter’s eternal salvation. At that moment, the one when she heard that merciless “Thud" on the floor and the line cut off, was the one she knew Kiara took things a little too far. From that moment on, she could not stand to hear the random beep-beep-beep of the phone listening to dead air. It traumatized her. It filled her with so much shame and guilt that almost forced her to drop out of her bachelor’s degree in Women’s Studies and turn back to God.

It inspired her to deepen her militancy and write even more abstract, dangerous, emotive poems that railed against everything she used to rail about before––and then herself. She dropped out of school to become a street poet and graffiti artist. She founded the Kolecivo Mujer Vagina, a Corola-based anarcho-feminist women’s rights organization dedicated to apply state-free and patriarchy-alternatives to women’s issues in the region. She also found love with tattoo artist and DJ Alexa Valdesiano, who has become a major source of inspiration for both Metta-Noia’s music and the Kolectivo Mujer Vagina.

DJ Alexa was also the inspiration behind Santo Deber (“Holy Duty”), the winning song representing Achaea in this year’s WorldVision Song Contest. A rap tune taken from her most recent album, Clítoricamente (“Clitorically”), this song––along with many others––attempts to reconcile her past trauma with the memory of her father and her hopes, dreams, and expectations for the future.
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As the Achaean postcard finishes, the crowd receives Metta-Noia with a very warm surprise. She receives cheers and shouts from the audience, and especially from the loud and rambunctious Achaean contingent somewhat spread around the arena. The stage is barely pitch-black, with some scenery lights tacked on for emphasis. Metta-Noia is at the center of the stage, apparently standing on a conveyor belt of sorts that is soon to be moving. She is wearing her auburn hair loose, hanging near the shoulder. Her left arm is covered with many large and emotive tattoos, each of them with a meaning of sorts. One of them has the face of her beloved, DJ Alexa––seated somewhere in the green room, cheering her on. Another one is has her father rand mother’s faces, Don Francisco and Doña Juliana, even though she never met her because she died when she was five. Still another one was freshly made a few days before traveling to Nekoni, which had the WorldVision logo and the date of the grand final.

She is also wearing bright-blue mahones (denim jeans) with special edition Kobe Bryant imprint sneakers from Nike (a volunteer from the Kolectivo Mujer Vagina borrowed those for her performance), and a blue baseball tee that barely covers her midriff. She has a grey beanie atop of her head, kind of reminiscent to the one Finn the Human would use. Metta-Noia also has barely any makeup on her face barring some foundation and eyelashh mascara. This is something she would wear on a daily basis while strolling the streets of Corola with her beloved or writing up bars for a new single. Unlike past Achaean performances, this one would focus on symbolism and cynicism.

As the song begins, the curved LED screen shows scenes of people walking up and down a set of stairs and escalators in downtown Corola. Some of them looked like businessmen, teachers, skaters, stoners, preachers, models and pretty much anybody who had anything to do in the city during the day. In the middle of the stage, Metta-Noia is stepping on an electric escalator that automatically turns on as soon as the song begins. She begins walking the escalator downwards as it climbs upwards, trying to battle against the machine’s motions. She sings and moves her hands flamingly in a flow.

Me pierdo entre tanta gente
I lose myself between so many people

yo me siento indiferente
and I feel indifferent

tal parece que todos sienten
It looks like everybody believes

que todo es indecente
that everything is indecent

que nada ha cambiado
that nothing has changed

la moral es indigente
morality is indigent

¿Y quién sabe lo que quiere
And who knows what they want

dejaré la mentira
will I leave lies

en propuestas indecentes?
in indecent proposals?

El amor es frágil e impulsivo
Love is fragile and impulsive

¿y quién es inconsciente?
And who is unconscious?

Si nadie dice nada, no importa
If it says nothing, it doesn't matter


At the same time, two Yamaha motorcycles, one blue and one red, suddenly run from the respective left and right sides of the very narrow walkway. While Metta-Noia sings, travel the length, depth, and breadth of the narrow walkway with ease yet some cognizance of the danger they pose to the audience and themselves. However, they are silent: tips and trinkets of the motorcycles were modified to silence their very potent sound, so as not to ruin nor detract from Metta-Noia’s performance. They are wearing matching blue-and-white faux-leather pants and suits, and helmets with balaclavas and sunglasses to hide themselves from the view. They were living props, and they kept their part.

Metta-Noia keeps singing while going against the escalator’s direction. One glance of the top camera shows her singing with her snapback, inside the stair, as the stunt motorcyclists stop by each other’s tracks, stop behind the escalator (that has a small compartment under it) and hi-five each other before dragging their bikes to the other side of the stage in a symmetrical fashion. The camera back to Metta-Noia, she continues spitting out bars and assessing the crowd vibe.

Y si alguien intenta violentar mis sueños
And if anybody tries to destroy my dreams

si rebota la prisa desde el mundo entero
If the haste rebounds from the whole world

si esa oscuridad son lenguajes de señas
if that darkness is sign languages

para con mis manos crear un mundo nuevo
so my hands can create a whole new world

si enciende una llama con cada sorpresa
If a flame is lit with every surprise

si la oscuridad teme un corazón sincero
If the darkness fears a sincere heart

si el mundo quiere que mi fe se pierda porque

solo hago mi santo deber
I'm only doing my holy duty


For the chorus, Metta-Noia temporary rushes through the escalators––this time running in reverse––to walk to the crowd with microphone towards the crowd. The camera pans for the first verses and then spins around her while she interacts with them. The two motorcycles rush behind her and do rapid stunts. They pop wheelies, make stoppies on the marginally thin strip of walkway, and perform a couple of donuts near the rapper. This needed to be coordinated carefully so as not to harm her nor the performers and the crowd––needless to say, AS1 hired professional stunt doubles and daredevils that could handle the pressure of performing for the crowd and providing a cohesive performance.

As she attempts to subtly blow away the smoke coming from her, Metta-Noia concentrates on the meaning behind each lyric she performs. Is this really her “holy duty”––to go for gold on a frivolous song contest she used to complain about in private? Or is it her “holy duty” to expunge the demons of the past that haunt her––the guilt she feels after listening to her father’s last breath because it was her fault? Can she at least try to withhold the tears and finish her “holy duty” to perform for Achaea and her father without undoing herself in the process?

Dime por qué, pues, dime por qué también
Tell me why, then, tell me why too

tengo que ver como se explota el mundo entero
I have to see how the entire world explodes

solo hago mi santo deber
I'm only doing my holy duty

Dime por qué, pues, dime por qué también
Tell me why, then, tell me why too

tengo que ver como se explota el mundo entero
I have to see how the entire world explodes

solo hago mi santo deber
I'm only doing my holy duty

¡El deber!
The duty!


From the second stanza, she spits her rhymes while walking backwards back to the escalator. She briefly trips and falls at the small thread between the steps of the escalator, where her shoelace gets tied with the small dents. She wrasses herself free from the trap, more so as the escalator rapidly quickest its pace. It’s hard to maintain flow when you saw your life flashing before your eyes (how can you be confident in your performance when your shoe gets untied by a mechanical prop!?). But she keeps her cool, attempts to pace her breathing, and shows off her composure. Not the first time malfunctions happen live on stage.

But the camera only notices when she tries to wars her shoelace out of the escalator’s dents, leaving many to wonder what is happening to the Achaean rapper. No matter; she still looked good doing so.

No me importa regresar
I don't care to return

mi lema es luchar
My motto is to fight

mis demonios enfrentar
my demons to face

solo acepta, soy una presencia
just accept it, I am a presence

que inunda las pasiones, la gente
that floods the passions, the people

no sabe lo que siente
don't know what they want

Soy sombra y privilegios
I am shadow and privileges

Cuerda floja y ajena
Tight rope and alien

Sube la electricidad en mi cabeza
The electricity goes to my brain

y por qué no el amor cuenta
and why not, love is counting


The motorcycles return to the center stage. Once again, Metta-Noia singings while walking against the escalator’s direction. One glance of the top camera shows her singing with her snapback, inside the stair, as the stunt motorcyclists stop by each other’s tracks, stop behind the escalator (that has a small compartment under it) and hi-five each other before dragging their bikes to the other side of the stage in a symmetrical fashion. The camera back to Metta-Noia, she continues spitting out bars and assessing the crowd vibe. This time, another camera shot has the crowd singing the bridge, and another wide pan to the performance slowly retreating against the audience.

Y si alguien intenta violentar mis sueños
And if anybody tries to destroy my dreams

si rebota la prisa desde el mundo entero
If the haste rebounds from the whole world

si esa oscuridad son lenguajes de señas
if that darkness is sign languages

para con mis manos crear un mundo nuevo
so my hands can create a whole new world

si enciende una llama con cada sorpresa
If a flame is lit with every surprise

si la oscuridad teme un corazón sincero
If the darkness fears a sincere heart

si el mundo quiere que mi fe se pierda porque

solo hago mi santo deber
I'm only doing my holy duty


For the chorus once again, Metta-Noia temporary rushes through the escalators––this time running in reverse––to walk to the crowd with microphone towards the crowd. The camera pans for the first verses and then spins around her while she interacts with them. The two motorcycles rush behind her and do rapid stunts. They pop wheelies, make stoppies on the marginally thin strip of walkway, and perform a couple of donuts near the rapper. This time, the motorcycles make doughnuts in front of the escalators while Metta-Noia runs back and forth the escalator’s steps.

Dime por qué, pues, dime por qué también
Tell me why, then, tell me why too

tengo que ver como se explota el mundo entero
I have to see how the entire world explodes

solo hago mi santo deber
I'm only doing my holy duty

Dime por qué, pues, dime por qué también
Tell me why, then, tell me why too

tengo que ver como se explota el mundo entero
I have to see how the entire world explodes

solo hago mi santo deber
I'm only doing my holy duty

Dime por qué, pues, dime por qué también
Tell me why, then, tell me why too

tengo que ver como se explota el mundo entero
I have to see how the entire world explodes

solo hago mi santo deber
I'm only doing my holy duty

Dime por qué, pues, dime por qué también
Tell me why, then, tell me why too

tengo que ver como se explota el mundo entero
I have to see how the entire world explodes

solo hago mi santo deber
I'm only doing my holy duty

¡El deber!
The duty!


At the final stroke of “El Deber,” Metta-Noia raises her hands in a cross-like position and throws herself to the end of the escalator. If you paid attention before, you would notice that a small compartment shown at the bottom of the escalator. That one had an inflatable mattress that was pulled out and quickly inflated by an electric pump right before Metta-Noia would throw herself off the escalator. Once she did without hurting herself and the crowd began cheering for her, one of the stunt motorcycle drivers picked her up off-camera, rapidly drove her to the center stage, and waved at the cheering, flag-waving crowd.

“¡Gracias! ¡Thank you!”, said Metta-Noia as she thanked her audience before leaving the stage.


One of the stunt drivers actually took her bike helmet off before leaving. It was DJ Alexa, Metta-Noia’s collaborator and soon-to-be wife.
Last edited by Achaean Republic on Sat Mar 07, 2020 9:19 pm, edited 11 times in total.

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