NATION

PASSWORD

BITC | 81st WorldVision Song Contest | Boschke, Britonisea

Where nations come together and discuss matters of varying degrees of importance. [In character]

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Lagoa
Lobbyist
 
Posts: 16
Founded: May 20, 2019
Ex-Nation

Postby Lagoa » Tue Apr 07, 2020 10:51 am

-22. LAGOA-

Image

SIM
(Yes)

Saição Novômem


Vós se virasteis
Eu não portava de novo, não
Faz muito tempo agora
Olho para trás, e prisimino


Não fujais do passado
Eu sei cue é dôroso


Sabei cue eu inhoço
E se vós voltardes a mim
Vós tereis certeza
Eu sempre direi... sim
Eu sempre direi... sim


Um rosto no brinâis
Perdido no erdue, tão sozinho
Sei cue dói pra caramba
Eu estive lá e vivi isso, como vos


Sabei cue eu inhoço
E se vós voltardes a mim
Vós tereis certeza
Eu sempre direi... sim
Eu sempre direi... sim


Não fujais do passado
Eu sei cue é dôroso


Sabei cue eu inhoço
E se vós voltardes a mim
Vós tereis certeza
Eu sempre direi... sim
Eu sempre direi... sim


Eu sempre direi... sim


You turned away
I couldn't bear it again, no
It's been too long now
I look back, and reminisce

Don't run away from the past
I know it's painful

Know that I forgive
And if you return to me
You'll be sure
I will always say... yes
I will always say... yes

A face in the mirror
Lost in space, so alone
I know it hurts like hell
I've been there and lived that, like you

Know that I forgive
And if you return to me
You'll be sure
I will always say... yes
I will always say... yes

Don't run away from the past
I know it's painful

Know that I forgive
And if you return to me
You'll be sure
I will always say... yes
I will always say... yes

I will always say... yes
Last edited by Lagoa on Mon Apr 20, 2020 9:44 am, edited 7 times in total.

User avatar
Antenovaria
Lobbyist
 
Posts: 22
Founded: Jan 11, 2019
New York Times Democracy

Postby Antenovaria » Tue Apr 07, 2020 11:03 am

wip may or may not finish hopefully i do please


https://www.youtube.com/watch?v=feYwLT4DSDo

23

[Intro]
(Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay)
Geni está aqui, presente! Haha! (Ay, Ay, Ay, Ay)
(Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay)
Here we go!

Geneveva clapped to the beat and started to dance.

[Chorus]
Dance right now, Dance right now
Come on over and start moving
Let’s get to it, dance right now
Dance right now, Dance right now
Feel it all in your system, baby baby
Dance right now, Dance right now
Party people come on over just get to it

Two men helped Geneveva step down off the prop to the front of the stage and female dancers were paired with other male dancers and two men stayed with Geneveva at the front of the stage.


[Verse 1]
Just get into the sound
We’re moving to the beat, the party’s crazy
Like a fever in the heat,
It’ll be steamin, you cant stand it (Uh-huh)


[Refrain]
Just keep on moving (Just go and move it), Just keep on moving that way
Just keep on moving (You gotta move it), Dance all your cares away (Come on, you know what we're here for)
Just keep on moving (Move it), Just keep on moving that way
Just keep on moving (Do it), Dance all your cares away

[Verse 2]
Time is running, Do it fast
Dance like you never have, just keep on grooving
If you can’t find a way
Then baby get away cause there ain’t no losing (Hey, hey, hey, hey, hey, hey, 'cause I'ma live my life)

[Refrain]
Just keep on moving (Just go and move it), Just keep on moving that way
Just keep on moving (Just go and move it), Dance all your cares away
Just keep on moving (Move it), Just keep on moving that way
Just keep on moving (Do it), Dance all your cares away


[Chorus]
Dance right now, Dance right now
Come on over and start moving
Lets get to it, dance right now
Dance right now, Dance right now
Feel it all in your system, baby baby
Dance right now, Dance right now
Party people come on over just get to it

[Interlude]
Yeah, Just make it move (Ah)
Dance right now, Ah papai (Haha)
Dance right now
Dance right now
Dance right now

Dançar comigo, bebê , venha
A man would start to dance with her

Dance right now(Woo!)
Dance right now
Dance right now
Get on up (Ah)
(Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay)
(B-break it down)
(Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay)

[Verse 3]
Just keep on dancing to the song
Lets all have some fun, just keep on moving
Dancing all in the wind
Feel free to be yourself, nobodies looking

[Refrain]
Just keep on moving (Just go, dance right now), Just keep on moving that way
Just keep on moving (Just go and move it), Dance all your cares away
Just keep on moving (Move it), Just keep on moving that way
Just keep on moving (Do it), Dance all your cares away


[Chorus]
Dance right now, Dance right now
Come on over and start moving
Lets get to it, dance right now
Dance right now, Dance right now
Feel it all in your system, baby baby



[Interlude]
Sim! (Ay, Ay)
Ah sim, Ah sim, estou me divertindo! (Ay, Ay, Ay, Ay)
Não pare de dançar! (Ay, Ay, Ay, Ay, Ay, Ay, haha)
Dance right now
Dance right now
Dance right now
Dance right now
Dance right now
Dance right now
Dance right now

[Chorus]
Dance right now, Dance right now
Come on over and start moving
Lets get to it, dance right now
Dance right now, Dance right now
Feel it all in your system, baby baby, dance right now!
Last edited by Antenovaria on Mon Apr 20, 2020 1:55 am, edited 2 times in total.

User avatar
Izmedu
Ambassador
 
Posts: 1473
Founded: Sep 09, 2014
Left-wing Utopia

Postby Izmedu » Tue Apr 07, 2020 11:36 am

24. IZMEDU
Jana Jusic - All They Ever Said Was Sorry

Tune: Victoria - Tears Getting Sober
Music & Lyrics: Jana Jusic

“How many times have I lied to myself that it’ll be okay? How many times have I said to myself that things will return back to normal even though I know they won’t? Losing someone does crazy things to your brain. There are so many days where I feel like it’ll be okay. I believe that things will be normal again. I believe that what I’m going through is just another rough patch to get through. As soon as I think I’m over it… I have another bad day where I’m going through all of those same emotions again. All of the denial, the bitterness… And I still have no idea how to talk through all of it, because sometimes those bad days end up outnumbering the good ones. Without writing to something, I don’t know how I would’ve been able to crawl out from those bad days.”A blog post written by Jana Jusic about the entry, dated at around the time of the 70th WorldVision Song Contest

Jana Jusic remembered the very first draft of the lyrics she wrote to the song. It was a hot mess. It was riddled with lyrics she couldn’t even sing along to. Not only that, the lyrics were uninspired. Trite. They didn’t mean anything or congeal to a song. The emotions behind each line were the glue that was close to holding the whole thing together. However, none of it was ever sticking to something that could be legitimately called a song. She hated the lines she wrote. She wanted to burn the paper she wrote them on, delete the files that were related to this song. Of all the first songs she could ever develop, she kept wondering why she kept returning to these lines even though she knew at an abstract level that they should’ve been nothing to her. The music workshops she attended to help fledgling artists develop the first singles they could shop out to a record label. By the time “All They Ever Said Was Sorry,” was conceived of as a project, Jana was 17 at the time. She was attempting to finish her secondary education and prepare herself to major in music in a university in either Mousiki or Vodiznad, but what she really wanted to be was a singer-songwriter. She felt like she belonged to nowhere but the music industry, as big of a risk as it was for someone as young as her. But how was she to make her entrance as someone who was still a relative unknown? No connections. No gig history. No prior interaction with the music industry.

It was hard to separate herself from the project. Being able to say that she was Jana the artist, not Jana the person, whenever she would write her songs or explain it to other people proved to be an impossibility for her. How could she separate herself when the first song she was comfortable enough to write to shop towards other labels was a song that was also attached to the loss of a friend she experienced 15? She remembered the friend’s name; a childhood friend she knew by the name of David. By the time she was 15, they’ve been friends for as long as she knew him since primary education. And from what Jana remembered… he was a friend through thick and thin, surviving even the awkward period of late childhood and into early adolescence. In fact, David was one of Jana’s few friends outside of her family when growing up in her home in a municipality near the capital. Jana, for as long as she knew, spent a lot of her childhood alone and with not many people she felt she could connect to. It wasn’t due to an unstable family situation nor any other extenuating circumstances. Yet, when Jana was old enough to recognize what social interactions were and had her first taste of social interactions, Jana struggled to fit in with the kids in her class. This was not out of any sort of rebellion or any part from Jana. She felt that instinct of never really ever fitting in. If she were to metaphorize looking back with the benefit of hindsight, she truly was the cliched metaphor of being a round shape trying to fit into a square peg. It just wasn’t ever going to happen.

David, though, reassured her that being alone wasn’t going to be the case forever. Being with him reassured Jana that there was someone out there that she could connect to. For most of her primary school years, she spent a lot of it hanging out with David, confessing all of the feelings about never really ever quite settling into belonging into any social group and feeling… randomly alone, even though Jana knew in an abstract way that there were many friends for her to make. It just was an instinct that she couldn’t ever shake away. Of course, a large part of her was afraid that she would ward David away with her constant worries at a young age. Yet… just as much as she did with her mom, she felt safe around David. She felt like she could be herself around him, or at least, be comfortable about finding out who she truly was without the pressure of being judged or wanting to fit in. For most of those years, she just spent them in a strange mixture of both worry and bliss. Worry about thinking too much about what she’d become in the future. Worry about the fact that even at a young age, Jana would feel perpetually exhausted and emotionally taxed. Yet bliss because she remembered the best memories she had with David. Exploring the school, sharing her burgeoning love for writing songs and finding out that she didn’t have a bad singing voice from a young age. Talking about David wanting to be a multitude of careers, his home life… If anything, Jana was saddened that she didn’t remember all of the specifics. She remembered how those conversations made her feel. And that, reflecting upon how she felt about all of this now, kept gnawing at her.

It was the day that David died from that car accident was what nearly made Jana keel over the edge. It truly brought a lot into perspective. By that point, she was dabbling into songwriting and singing, but she was struggling. Her early material when she was 13 was marred with a lot of inconsistencies, concepts that weren’t really concepts, and an instinct for music that was more emotionally led than something that could be sold to a record company. However, it was the kind of music that she learned to write and in many ways it was what Jana grew up with. The thing that made it difficult to break out was that while Jana was talented for her age, music was a common path for those exploring possible creative outlets or aptitudes in Izmeduan education. There were many that wanted to enter the music industry and aspired to be the kind of young star that could well take the country by storm and position themselves for a great career in their 20s. For Jana… she just wanted to write music. Music became another outlet to make sense of the isolation, the unexplainable feelings, the exhaustion, but also the happiness she would keep feeling when she was around people she trusted. Whether or not she could articulate it then, she knew that she was taking David for granted.

The car accident was sudden. She hadn’t witnessed it, only hearing the news from her distraught parents, who knew that she was close with him. But to her, she could scarcely believe what she was hearing. David, along with his mother, dead in a car crash driving towards her municipality? The tragedy of it sank in when it hit her that David’s whole family was taken away due to that car crash, an accident that nobody ever saw coming at all. David’s father had passed just when he turned 12 years old. Jana could only remember feeling so numb that she had to metaphorically shut down just to get through the day. She didn’t know to deal with the loss or process it. She was so lost in her bliss with David that she couldn’t envision a life where he wasn’t there. He was the one constant that Jana kept relying upon because Jana knew that in so many ways than she was hesitant to even admit to herself… He made her feel safe and brave. Without him? Jana wasn’t sure, but she felt afraid of how to face the days following his death. She wasn’t sure how to cope. She wasn’t sure how to deal with the constant barrages of people saying sorry, even though she knew that those were the only things that could be said. The only thing Jana knew what to do was to keep a brave face on. She could only smile and hope that the days after won’t be as bad.

And that’s what happened… The days ebbed and flowed. Life would pass on as she tried to focus her energies in building the foundation in order to enter the Izmeduan music industry. Some days would get brutal, such as when she could only do nothing but helplessly stare at the photos she and David took. There were times where certain songs would stop her in her tracks. She would take a listen and tears would well up in her eyes. She hated those bad days. She wanted them to stop. Jana found relief that at least most of the days were good. She felt like she was coping. She didn’t want to take a risk on therapy. Jana would focus as much energy as she could in building her music style. She began to experiment when she turned 16, utilizing her free time to get lost in songwriting and singing technique in order to distract himself. Focusing on the possibility of this career was helping salve some of the wounds she felt were eating at her. However, Jana knew that she was pursuing this career path largely at a vacuum. She didn’t have any talent agency notice her, nor was she looking at the right channels to allow A&R or execs to give her the time of day. She was just practicing craft, hoping and praying that something would stick.

However, the days would turn bad once again. When Jana would be 16 turning into 17, the bad days would come back again. This time, those bad days would keep getting worse and worse. There were days where she couldn’t stop thinking about not just David, but the crises she felt with her live potentially sputtering and not being able to move forward. She felt her efforts getting wasted over the lack of any efficient way of being able to gain some traction in the Izmeduan music industry. Jana’s writing and singing quality were also constantly being put under attention and pressure. She was at that weird quandary of being good, but not exactly good enough to reach her goals. Jana didn’t know if what she was lacking was either a lack of practice or a lack of a talent. She tried to hold onto singing and writing music as her one line of stability as something to lean on while attempting to cope with David’s death. However, the constant limbo she felt trapped in was maddening. Jana wanted an answer as to whether or not the career path she wanted to embark on was even feasible for someone like her. The non-answers kept getting to her head. At a certain point, she was losing it day to day to the point where the bad days became too dominant. She could still function, but Jana knew she was losing any right to call herself a functioning and normal human being. She needed an outlet. She needed to let these volatile emotions go.

That was where “All They Ever Said Was Sorry” began. It began on a bad day, with her needing to let out something no matter how questionable it came out on the other side. She admitted it to herself when she looked at the first draft of the finished product. It sucked. She had no idea where the lyrics or the composition were heading. Something orchestra? With a more breathy and ethereal delivery? These were concepts more befit for a confessional than a song. Yet, Jana knew that her impulse would mean that she would lie on the bed that she made. Despite intellectually knowing that this song could well be a disaster in the making, it was also the first idea she felt compelled to actually develop and follow through to an actual song. Thus, Jana got to work in attempting to finesse and revise what she had. She attempted to record demos with her phone, mostly a ca pella ones to ascertain where the song could possibly be held. She had some experience with composing some parts of songs, and conceptually… she figured that it shouldn’t be too complicated to create something dreamy and sad. It was here that Jana began to develop the mojo to at least stake out what a professionally made song was like. She would ask any and all music teachers that she had for any help to be able to sell the song to an Izmeduan company or to at least re-arrange the song to a feasible state. As it was then, Jana’s exhausted voice was not going to cut it for artists and repertoire attention. She needed some heft to the package.

Following the advice of a teacher who did have a connection with a local Vodiznad subsidiary, Jana was able to get some help in acquiring software and as well as a skeleton team to put her idea to life. As it turned out, her song was a feasible idea in terms of the composition. The sounds that she wanted to pursue, the kind of dreamy, almost whimsical, and yet also carried a strong tinge of sadness. The kind of orchestral-backed arrangement that Jana had in mind was not only just feasible, but it was also the kind of song that could well catch the Izmeduan public’s imagination. For Jana, at least at the level of the song’s composition and the proposed thematic, she believed for the first time in a while that she may be genuinely onto something that could be beyond her wildest imaginations. This could well be her in to the Izmeduan music industry. Thus, the next several months were spent fostering this connection, allowing Jana to help keep re-arranging the song and record her vocals in a more cleaner states as Jana’s teacher was pushing for their associated record label to take a chance on at least her song. The whole process of getting Jana’s name into even being acknowledged by studio managers was certainly a mission. Without a gig history and experience in performing, Jana didn’t have the clout of someone who would’ve been scouted from a very young age.

Then, finally, a breakthrough. Jana was forwarded a contact from a small studio in Vodiznad that were interested in the demo and wanted to hear Jana audition. That was the start of something that could snowball into a larger project. It came with some good timing. By the time Jana was waiting for any news, her ability to cope with the long-term effects of David’s death wasn’t going as well. She tried to keep revising the lyrics of the song to help deal with the feelings of what she felt. Yet… she could never really settle down on a particular narrative of emotions. Outside of a profound despair, most of the emotions that she tried to put in were all over the map. She had no idea how to control what she was writing except for the fact that it was all congealing to one statement… She couldn’t handle the condolences. She couldn’t handle the fact that David, no matter how she wished that his death was a dream, would never come back. It was a basic fact that she knew that she had to accept at some point. Yet, it also began to occur to Jana that music was more of an escape for her than a coping mechanism. She would get lost in trying to compose a song or write lyrics in order to escape from her mind instead of trying to confront directly what was going on. Jana didn’t even know if she was even ready to confront those demons. She could only find solace in the fact that at least there was a progression in what could become her career.

The one thing she did maintain was a faith in the song that she was producing. It was paradoxical of course, given how much she was more than happy to be willing to burn the lyric sheets or even some parts of its composition. Her faith in the song was what kept it alive in its entrance to the Izmeduan music scene, at least form the behind-the-scenes perspective. She would keep at recording the song, garnering the attention of more producers that were associated at the studio she was recording at. A considerable level of interest was beginning to develop around “All They Ever Said Was Sorry,” but as her teacher kept stressing, these interests were provisional. They would, after all, see in Jana the potential for the future, not necessarily the song she would be giving them. It was that realization was what led Jana to submit to Izmepisma instead of hoping for a record label to give her a shot. Why not submit a song independently that she was working on with a fairly small team? What couldn’t hurt? Jana knew she had no brand of any to speak of. If she was to be rejected, it wouldn’t really hinder her burgeoning career.

Getting selected to be one of the candidates for the live shows and going on to win the national final after a three-way tie? Jana knew that all of this should be a deal to her, and she knew in her heart it was. Yet, after taking stock of everything that has happened, the national final season blurred so quickly. It was as if it was a protracted footnote in her life happening in real time. Yes, she knew that winning Izmepisma was the reason she was in Boschke, Britonisea. Yet, it also felt unreal at the same time. The experience of transitioning from ordinary high school student to WorldVision entrant felt almost too fast for Jana. But it also served as a distraction from the problems she was still coping with. The media interviews and the pre-party appearance in Junterapten were centering and refreshing for Jana in ways she didn’t expect. However, as the battery of rehearsals kept intensifying, Jana couldn’t help but keep reminiscing back to the very person that served as the basis of this song. She couldn’t stop thinking about David again, with her loss now 4 years down the line. All Jana could do as the grand final approached was keep rehearsing. She kept this story close to her chest, not wanting to tell any entrant about the specifics behind this song. She only allowed a little bit of it to go out to Mateus Breton, but she kept the details out of the vague version of the story she told.

When her performance spot approached, Jana felt forlorn. She secretly wished still that her win was a fraud. No, the Izmepisma committee found at the last possible minute that it was either Jasna Potocki or Ivana Puljic who was the real winner of the national final. Jana entertained the rather juicy conspiracy that she was a decoy for RTI to hide the real entry they would actually perform on stage. Jana shook her head as she got ready. No, these fantasies are too tempting. She had to face the facts as they came, she was the one who was going to perform to an audience bigger than she ever envisioned. Whether she liked it or not, she was the Izmeduan entrant.

She took a deep breath after hugging the head of delegation, Antonio Malic, tightly. She didn’t feel nervous about wanting to impress the world or anyone. She was most nervous about making sure she had it together on stage. Each rehearsal became more and more difficult as the thought of David kept lingering in her mind. Of course, it would be the actual performance itself where the memory of him was almost too much. Yet, regardless, she would press on, hoping for the best.



Crowds were never easy for Jana. That fact always came true no matter the situation, and her crowd anxiety began to flare up when it was time for Izmedu’s turn in the parade of nations. She took a deep breath as she realized just the massive scale of the whole WorldVision production right in front of her very eyes. Rehearsals really didn’t capture the electricity or the feeling of the real thing happening. However, things had to happen quickly, and Jana knew she only had a scant few seconds to make an impact. She wasn’t one to make any flashy movements, so the first part of the parade of nations had her shyly waving to the camera. The next moment would come when the arena was bathed in the Izmeduan national colors, the rather striking combination of strong reds, greens, and blues. Whatever the Britonish did, they made the Izmeduan colors look far more pleasing than the Izmeduan colors had any right to be.

Jana knew that being sassy towards her own country was not the way to go. However, she did what she knew how to do. She would glance at the camera with a shy, but somewhat demure expression. She kissed her hand and would wave at the camera as a fun little gesture for the people in the audience at home. Considering how she struggled with choreography in general, Jana knew that just a little kiss and wave was enough movement to sate what the Izmeduan delegation wanted for the parade of nations bit. However, she was relieved when her bit was over. Jana would walk behind the act from Antenovaria as she could hear the announcement for the Mister Xian entry. Of course, as one anxiety fades, another would rise like a game of perpetual whack-a-mole.

There was the simple fact of her entry at the 24th spot. However, she would cross that bridge when she had to. The one thing she was hoping for was that Antonio would make sure that she wasn’t going to run away from the Newbury Park Arena and ditch being the Izmeduan entrant.



Whenever Jana was nervous, someone would always describe her as performing yoga 24/7, with or without the actual outfit necessary to do so. Whoever they were, Jana thought they were completely spot on when she was in position for the performance. In traditional Izmeduan fashion, the stage lights would billow down to the center of the stage, flashing a bright, brilliant white before deepening into the pitch black darkness as is customary before any Izmeduan entry. She felt the pulse and the energy from the crowd and the production. If Jana weren’t so nervous, and if she hadn’t consented to doing in the first place, Jana knew she’d be dizzier and would probably have vomited on the Britonish stage. However, she substituted what could’ve been those feelings with an immense amount of deep breaths, taking care to make sure she wasn’t breathing on the microphone. No, she wasn’t about to give the audience some accidental ASMR either. She felt the beep in her in-ear begin. It was time for Jana to focus. When she talked with past Izmeduan entrants, some (particularly Luka Brekalo) gave her advice that had always stuck in her head whenever she got prepared to rehearse the entry itself. Focus on the moment that this song came alive personally. Focus on the moment that the song was born, whether that be in the middle of writing it or the first moment that the song was actually ever written. Focus on that and let the routine lead the way. Don’t let the routine wear you and turn you into a robotic performance machine. You lead and own the routine, making sure the audience was made clear of the reasons why she would pull off each and every performance choice. After all, many of the ideas in this performance, whether that be the storytelling ideas, the lyrics, and everything, they were her ideas. She would have to own them and lay in that bed, even though she knew that most of these ideas were disasters in the making.

Jana would gingerly hold the microphone with both hands as the music began in earnest, putting it up to her chest. She heard the familiar strains of the music production she was sure she obsessed over for what was literally years. The introduction itself was one sticking point, but hearing the background vocalists sing the melody of the song didn’t take her back to the studio. She was right back at the very beginning of conceiving of this song. 17 years old, seeing the mess that she had written in her notebooks, wanting to be rid of the song. But she couldn’t, not when it was the only idea she was willing to get behind. It made a lot of sense standing in the stage why memories were most resonant when you were faced with the actual performance. Rehearsals felt like going through the motions. But this? She could only hope that she wasn’t getting too lost in her emotions as she tried to keep the stage cues in the back of her mind. She pushed the temptation to keel over as she tried to find the cameras that would track her movements.

The song began with those vocalizations, as if the audience were hearing music being played from behind the door. The camera would move slowly as the stage was lit up in a mixture of dark greens and whites. The camera would slowly descend down as the song’s introduction played itself out, the vocalized parts ending with a transition to a lone piano. The whole mood of the song felt like a suspended limbo. It was clear there was a whimsical mood to the entry, but there was also a brooding sadness in the wake of its more somber instrumentation. This befit Jana’s introduction to the audience when the song transitioned to its lone piano. Her eyes were looking at the camera with an almost empty emotion, looking as if she’d been told an important revelation that she was only just able to process at that moment. The camera’s movements slowed to a halt at the piano section, lingering close to her face as she gazed directly at it. She didn’t dare move forward as the spotlight on her would fade slightly as the song approached its first verse. For Jana, all she could think about were the first versions of the lyrics that were swirling in her head. She kept recounting the words that everyone would say to her that served as the inspiration for each line, and all she could feel was an emptiness from feeling almost too much. The instrumentation felt limp, the very same feeling she felt as she coped with the loss that the song was predicated upon.

Breathe, that's what they always tell me to do
When your whole world just ends
But... they don't know what it's like to lose
No, these tears have to stop


The first verse was laced with her bittersweet vocals. She sang and enunciated each word almost too slowly, her diction lingering over each syllable for as long as she feasibly could. Her movements looked slightly practiced, with one hand going over eyes in the first line, her glancing toward the multitude of cameras trained on her. Behind her, the stage would be covered in the twisted storybook aesthetic that the producers had planned. She sang against a backdrop of a modestly designed but unkept family home, with the LED wedges showing high definition images of an empty bedroom. Shadows would occasionally appear on that image, indicating that Jana would be metaphorically performing in the ‘bedroom’ trying to block out what the shadows were saying by getting lost in her own world. She would forlornly stare at the LED wedges, looking away as she kept focusing on the audience. Those shadows would then walk out into the stage in the next three lines of the verse, revealing themselves to be slightly older backup singers that served as stand-ins for a parent or a guardian. From the distance, they would try to console Jana, the cameras primarily staging this scene from the perspective of Jana. She smiled with a hint of bitterness and anger toward them at the second half of the verse, turning away toward the audience for the first chorus. She knew what those stand-ins would say, but she couldn’t bear to hear another word. She could only smile back to maintain the strong image she was projecting, a contrast to the black and white image of a bedroom that was messy not from natural living, but messy in a way that indicated that she wasn’t about to bother maintaining it, not when there was too much to think.

My mind cannot bear another day
They lie, but the pain doesn't fade


The camera would maintain one long, mid-shot to ensure that Jana’s expressions were caught while also showing the scale of the stage. The lights would gradually brighten at this brief iteration of the chorus, with Jana utilizing this as her moment to escape and begin to express what she was truly feeling deep inside. It seemed to be the first sign she was opening up and beginning to address the problem through song, a frank acknowledgement that things were becoming unbearable, and that this was going to be a rougher patch than she anticipated. These lyrics seemed to contrast with the almost dream-like tone that the instrumentation was going for, but Jana took advantage of the limbo-esque nature of the song through her expressions and delivery. Being in that nigh-suspended state was the only way she felt she could express these emotions without keeling over. She sang these two lines as if she were telling a story, trying to separate herself from the character in the narrative, even though she was well aware that she was singing about herself. This was only half the chorus, so it was clear that Jana was holding back performance and vocal-wise, making sure not to put in too much power. As the chorus ended, she could sense the two backup singers approaching her as they sang the two notes that would end the chorus. There was no time to breathe as the song immediately started its second verse.

Cry, they let you have one day to weep
Yeah, they all say they're sorry
Smile, cause you don't want them to worry
But these tears won't stop


For the second verse, Jana knew she would have to interact with the backup singers. As they sang the song’s melody back to her, there was a conversation that was happening around her and the other two as the camera would slowly rotate around them. It was as if the viewers at home were witnessing an intimate scene in a television drama. This was the scene after any sort of revelation, the cooldown from having been told that a loved one has died or having been told about major life-changing news. Jana would sing at those background singers, maintaining a smile that was almost too strong. That too served as a contrast and complement to the lyrics she was singing. Jana’s eyes would say one thing, a desire to break down in front of the people she cared about and to tell someone of the grief she was still trying to work through. However, it was clear from the almost distant way that the background singers were interacting with her in an almost stilted fashion. Their expressions looked too sympathetic as they would be giving her, through their body language, some sort of consolation or acceptance. Jana receiving that consolation was acknowledged at the third line, as she too would smile back at them and try to gracefully receive their sympathy. Once again, Jana felt as if she was experiencing these dual emotions in limbo, which was an emotion reflected in the way she was still holding back her vocals. She had a strong desire to be able to let out just one genuine emotion to them, but Jana’s eyes would withdraw as she couldn’t bear to do that. At the final line, an action caught by a camera’s close view, Jana would begin to hold one hand to her eye. She was checking if she had began to accidentally cry in front of them, but no relief ever crossed her face as she sang ‘these tears won’t stop.’ With the camera still looking as if this being staged as a television show, they would cut to a view of the backup singers to catch their reaction. However, they didn’t seem to strongly react to Jana holding her eyes or looking as if she were about to cry. They looked… sympathetically neutral, knowing there wasn’t much they could do for the young singer. The grief was something she would need to work out on her own, a theme that would be carried over to the pre-chorus.

Some days it's easy to live
But then come those damn nights
Where you remember one thing
And the wound aches again


For this pre-chorus, Jana would try to reach out towards the backup singers. They could only sing back at her, with Jana trying her hardest to get her message through to them. She would try to reach a hand to them as she sang this pre-chorus with a different tenor, the pace and urgency slightly increasing. It seemed to work for Jana, but the reassurances again were only just at the surface. One backup singer would gently clasp her free hand, giving only that same, almost creepy smile at her. That was when Jana realized that her confessions were not going to ever be heard. What she was singing would only fall on ears that, for many reasons, couldn’t be heard. The only outlet she had was the song that she was singing. The narrative was beginning to move forward once again as the backup singers would not to her. To the confessions about the way she was trying to cope, the background singers could only respond through their body language with a gesture that could be read to the effect of ‘we’re sorry, but that’s all we can offer.’ Midway through this pre-chorus, they would leave just as Jana felt like she was about to get to the point of her confession. She finally felt as if she was getting right to the heart of the problem that she was about to address. However, that chance was taken away, and she could only feel the despondence and bitterness about to leak into her voice. Existing in a perpetual limbo both in the song and in her life was not going to be sustainable for her emotionally. She knew that it would be asking them too much for them to be some sort of emotional anchor or cushion. However, her derelict expression when they left signaled to the audience at home that Jana was close to the breaking point. She tried to search for them, but she was alone once more in an empty room. There were no shadows on the LED wedges as she could only stare at one of them, holding her chest as if there were some psychosomatic itch she was scratching. She was lamenting both the sorry state of the room and the messy state of her emotions. The camera would remain close to her for the final two lines, gazing at her as a lone passer-by as she was actively trying to think through what could be done now. At the final line, she would face the audience and the camera holding her chest.

My mind cannot bear another day
My wound won't start healing
Their lies cut like knives leaving these scars
They lie, but the pain doesn't fade


Now was the time that the song would deliver its full chorus. Jana felt the impulse to want to get out of limbo, but she was also scared to keep puncturing the protections she set up for herself. Maybe she was in limbo for a reason; she wanted to protect her mind from the full force of losing someone and accept the fact that things had to be the way they were. This inner turmoil was represented when she would begin to sit down on the stage, crossing her legs and treating the stage as if it were literally her bedroom. In her mind, her notebook was right in front of her, the room had a messy smell to it that indicated that it needed to be desperately cleaned. In a similar way she did for the pre-party, she would sway back and forth throughout this chorus, reflecting the dream-like mood that the chorus was pushing in its instrumentation. However, this swaying back and forth was crossing the lines from a performative persona towards the feelings she wanted to keep reasonably hidden from the media. She sang each word attempting to hold onto that dream-like quality, wanting to ensure that it was her performative persona that was living each of these words. Yet, as she sang, the whole pressure of this being the real performance was beginning to break that persona. At some point, midway through the chorus, Jana began to ran away with the fact that the line was breaking gradually. Trying to keep them at bay was not going to work, so she focused on making sure to keep the performance cues in mind. She would hold her chest and her head at the second and third lines respectively and would then keep her head down at the final line. However, what she couldn’t ignore was the camera itself. Even if she knew that the camera would never really respond to what she felt, she felt that it was enough of an appropriate receptacle to channel her emotions towards. Better its gaze than the surface-level expression of apologies she was getting too used to seeing. The camera would stop its gradual movements at the end of this chorus, lingering right in front of Jana as the stage would darken. The two-note vocal once more played at the end, signaling a brief break for Jana to get ready for the song’s bridge.

I try to live and forget
Yet the pain cuts deeper
Each time they say sorry
One night, I lose it all


The camera would linger in one continuous view for this bridge. The stage effects around Jana would disappear as the LED wedges were turned off, the only light source being the faint spotlight that would shine on Jana. This was a literalization of the very feeling that the song had been expressing this entire time. For the viewers at home and from a certain angle, from those in the audience, it looked as if Jana was singing in a literal limbo. She was surrounded by a darkness where she was the only one that was visible in the space, trapped and with nowhere else to go. She remained sitting down but would gaze and sing to the camera for the entire bridge. The bridge itself began softly, with Jana’s eyes closed as she tried to think through again the grief that she wanted to let go but couldn’t. Jana tried to smile, but it came out with a bitter expression, a bitterness at herself that this process had gone on for too long. The next lines of this bridge were a realization that she couldn’t run away from the pain she felt. What she had been doing earlier was just denying and overcompensating by keeping herself in a holding pattern. Instead of songs acting as an outlet, they were only a temporary escape. Jana’s expression turned from a self-hatred to an overwhelming sense of despair that threatened to overtake the persona that she was performing with. It didn’t matter how many times she rehearsed this part of the song and told herself to keep the emotions in check. The song’s continual swelling to a climax that was due to happen at the end of this bridge wasn’t helping matters. Her hands were trembling as she tried to hold them up, but all she could do was tightly clasp the microphone with both hands. She pushed through the shakiness in order to make sure she was ready for the song’s final chorus. The camera kept lingering, but she kept staring back at it, prepared for the catharsis she knew she wasn’t ready for. She sang the last line of the bridge with as much power as she could muster, belting out the final line in sync with the orchestra beginning to swell to a climax. By the end of this bridge, she was finally being pulled out of the limbo and into the light of feeling something she kept denying.

My mind cannot bear another day
My wound won't start healing
Their lies cut like knives leaving these scars
They lie, but the pain doesn't fade


Jana knew that she was well and truly losing it, but she didn’t care. Though she remained sitting down, the camera would alternate between wide and close views of the stage as the Newbury Park Arena was now bathed in mixtures of bright white and dark green. The LED stage effects were back, but this time, the backgrounds were different. This time, it was an empty room, left without any sort of personal effects or belongings. Though the camera tried to catch the change in scenery, the focus was all on Jana and the brief light show that was playing around her. The music threatened to overpower the visual motif of Jana’s ‘room’ emptied out, a sign that either Jana was about to let go or Jana was running away from her grief this time. However, the vocals were telling another story. This was the moment she had to address the grief in its own terms. The very ugliness, despondence, and bitterness she had to address was hers, and she had to own every single bit of the anger that she felt at the people she knew couldn’t really comfort or give her solace the way she wanted them to. Jana had to push through and guide the emotions to work for the performance, with the instrumentation now helping her instead of acting as a painful reminder of the emotions she tried to compartmentalize. The instrumentation climaxed as it indicated in the bridge, the song coming out of limbo and leading us towards an emotional end. The song may have maintained its dream-like quality, but this was the moment of letting go that Jana sorely needed. She would keep swaying back and forth as she let go of any inhibitions about her vocals. Her hands may have trembled and she knew that losing her focus would mean she probably would end up having an actual breakdown on stage. However, she kept pushing on, utilizing every last bit of strength to belt out each and every single line. Instead of these words acting as ways to escape… These words were finally her talking through the grief. The camera, for the second half of the final chorus, would focus its full attention on her. She held her chest once more, her eyes gazing directly at the camera especially at the final line of the song. In that final line, the instrumentation would disappear mid-way through when she sang ‘they lie, but the pain.’ For the final two words of the song, Jana would sing it a ca pella. Her voice would echo slightly throughout the arena as she sang those lines with her eyes closed and her vocals right at the breaking point. She had felt almost too strongly, but she was able to hold on. It was there the song was approaching its end. Jana looked down as she waited for the song’s brief outro. In a softer fashion, the song would play its main melody, and would then close off with its two-note vocalization, the very vocalization that denoted any end of the chorus. Once that part was finished, the entry was over…

Jana felt like she was about to keel over and lose it when the crowd began to cheer. She was way too lost for words to even say a thank you, only able to blow a kiss to the camera with her hand as she made sure not to have the microphone too close to her. The last thing she wanted was for the audience to hear her desperate breathing. She would nod vigorously, anyone who would be able to read what mouths would say silently would be able to spot that she was saying thank you to the audience. Jana could only chuckle internally when she felt unable to even physically speak after the performance. She knew the first thing in order when she was back in the green room was ‘no speaking’ time until at least the voting started.

Maybe it was nerves. Maybe it was the emotions. She didn’t know.

But it was enough to know that this part was done. There was a lot to think through, there was a result lying in wait. Yet, Jana was happy that she was able to perform all of this to the world. No matter what happens now… at least she could say she had this moment.

And that was enough.
Last edited by Izmedu on Mon Apr 20, 2020 11:39 am, edited 6 times in total.
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WorldVision Song Contest - World Hit Festival

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Mister X
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Posts: 1175
Founded: Sep 25, 2013
Left-Leaning College State

Postby Mister X » Tue Apr 07, 2020 2:33 pm

25 MISTER X



Filius Deorum - "Touch the Dead of the Night"
Tune: Muse - "Butterflies & Hurricanes" (F1 2005 version)





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"Touch the Dead of the Night" is designed to be a dark, moody kind of song, the kind that Mister X has sporadically entered in the past but not really. Filius Deorum, on the other hand, has entered countless times (well, I say countless, more that MRX couldn't be bothered to look it up when they sent out the press release with the entry information) and consequently, comparisons have been made with their WV57 entry, Pandora's Box. Given that was over 20 editions ago, it was surely time for something a bit more like it: darker, broodier, foreboding. And this very much is in line with that. However, a major cock-up began before the song even reached Boschke, in that the version of the song released as a single was a mish-mash that was completely rubbish and a mess. The final minute was widely panned, and consequently the version sent to WV81 has been chopped by nearly two minutes in order to make the intro not excessively long given the rest of the song. Whilst the song, by WV standards, is therefore fairly short, it was decided to keep this version as it seems ideal for the contest.

MRX's plans were further thrown astray when the stage was released, for its 360-degree nature ruined the slow build-up staging that they were planning. A quick rethink resulted in something fairly generic in the end...




Filius stands in the middle of the circle in pitch darkness. There is no lighting at all, other than one spotlight slowly fading up on him. Behind him, in darkness, is a generic rock band - drummer, guitarist, and so on.

(Oooh) Your name has been called
The call, the march of war
Your enemy is yourself


The lights slowly rise on the rock band, but the arena is still fairly underlit, as the camera rises from under the stage to slowly reveal the band. Then the camera cuts to several gentle shots during the verse.

Yeah, your enemy is now
The dead have risen up
And crush all the dead of the night
The dead of the night (the dead of the night)


The lights flash and strobe during the breakdown as the keyboardist and guitarist hammer out the breakdown.

Touch the dead of the night
And you will rise again
Yeah, your fight is ahead


The camera cuts to Filius as he hits all the long notes inch perfectly.

Fight your inner saboteurs
And you will rise again
Touch the dead of the night


For this final sung section, the camera goes into shaky cam whilst the lights flash, creating a rocky atmosphere.

Yeah, to reach out and touch 'em
We'll fight for what you heard
And crush all the dead of the night
The dead of the night (the dead of the night)


The keyboard breaks things down again, and then the lights stop flashing, the camera goes back to a more genteel direction, as the rocky bit has finished.

And then the lights all fade out except for one on the keyboardist, as the camera gently zooms out and fades to black.




The crowd goes wild. That wasn't half bad, actually. Filius says "thank you" and the band moves off the stage.
Last edited by Mister X on Mon Apr 20, 2020 9:24 am, edited 1 time in total.
MISTER X
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STAY ALERT CONTROL THE VIRUS SAVE LIVES
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WV29: 19th, debut
WV30: 10th, first top 10
WV31: 8th, new PB
WV33: 3rd, new PB
WV34: 6th, first hosting
WVYF: 11th, last place
WV52: 2nd, new PB
WV59: 7th, second hosting
WV62: 1st, first victory

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Britonisea
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Founded: Oct 29, 2012
Inoffensive Centrist Democracy

26 | Britonisea | Kelsey Banques - Indestructible

Postby Britonisea » Tue Apr 07, 2020 2:35 pm

#26 BRITONISEA
Kelsey Banques- "Indestructible"
Tune : Dotter - "Bulletproof"
Music: Aaliyah Banques, Martia Sampson, Delia Fox-Smith, Susanne Barker Lyrics: Beatrice Williamson, Zara Holland

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The fifth winner of Vha Mehlodhivestoile: Kelsey Banques becomes the 5th winner of Vha Mehlodhivestoile after 17 International Juries and Britonish Televote awards her a record-breaking 222 points. She will return to the WorldVision Song Contest stage which is taking place in East Britonisea in the city of Boschke.

VM2020: SF3 - QuickendenVM2020: The Grand FinalVM2020: Grand Final Points & Reprise

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The winners of Vha Mehlodhivestoile:
Kelsey Banques joins the coveted line-up...
Since 2016, every year, the WorldVision Song Contest community is treated to a Supernational Final called Vha Mehlodhivestoile or The Star Song which takes place over a period of six weeks and five live shows (three Semi-Finals, a Battle Stage and Grand Final) which draws in a lot of attention throughout the community. The amount of nations broadcasting Vha Mehlodhivestoile has significantly increased over the years, going from only ABEN nations in 2016, moving up to increasing nations such as Ekoz in 2017, before making its big break in 2019, where over 15 nations broadcasted the competition on National Television. This year was astounding as BITC managed to call on 22 nations to broadcast the competition on live television with nations such as Izmedu, Scotatrova and Achaean Republic pulling in big numbers especially for a foreign show in the English language. It is expected that over 30 million people not from Britonisea watched the Grand Final of Vha Mehlodhivestoile 2020. At home, a total of 19.05 million households, 71%, tuned in to what was the third-largest final viewing to date, with a peak of 19.85 million. Percentage-wise, the recent final of Vha Mehlodhivestoile gained the highest share to date, completely obliterating any show in the same slot as Vha Mehlodhivestoile. One could say that up to 60 million people watched the Britonish broadcast on the 4th April as Kelsey Banques was crowned as the winner of the successful show format. Her journey to win the competition hasn't been easy but we would have to go right back to her participation in 2017 to show why she was a deserving winner of the 2020 edition.

The first time that Kelsey Banques participated in Vha Mehlodhivestoile was in Quickenden in 2017 where she managed to qualify out of the very tough 2nd Semi-Final, drawing with Believe, a duo that was expected to perform much better than they eventually did. Due to a change in the format of the show, 2017 saw there be a Public Vote between Believe and Kelsey which saw Kelsey win her place in the Battle Stage. In the Battle Stage, the Euskirribakondaran Jurors decided to choose Rigas Jengiz ft Ayo over her meaning that she stayed in the Battle Stage. For the 2018 edition, Kelsey Banques qualified to the Grand Final after receiving 104 points (54 points from the international community), coming in second place. In the Grand Final, Kelsey nearly won the International Votes, missing out by only one point, receiving 12 points from Togonistan and Izmedu while receiving 10 points from Todlichebujoku, Polkopia and Darkmania. The Britonish Votes weren't as fruitful, with her ending in position #3 in the end. She did have an opportunity to participate in Vha Mehlodhivestoile 2019 as the Automatic Grand Finalist, though she declined the offer due to her participation at the 66th WorldVision Song Contest. The 66th WorldVision Song Contest participation was an unexpected one for her. With Lucie Dagenham having to pull out due to family issues, Kelsey was asked to represent Britonisea on home soil. Kelsey agreed as long as she could send a different song to the one that she sent to Vha Mehlodhivestoile; BITC agreed. Kelsey won many hearts at the 66th WorldVision Song Contest, which saw over 30 nations participate. Receiving points from 19 nations (which at the time was the joint-most for most nations voting for Britonisea at one edition with WV47, only to be beaten at the 73rd WorldVision Song Contest - 20 nations), Kelsey received a total of 129 points, receiving 3 12-points from South Botoko, Ardoki and Electrum Diplomatic Offices, while receiving a total of five-eight points making it the most times a Briton has received a podium position in any one edition. Now while she was a long way from eventual winners, Todlichebujoku, Kelsey's participation is one of the best results for Britonisea and to date is the third-highest score for Britonisea. This is a score Kelsey and BITC are desperate to beat with their song, "Indestructible" which they have faith in. Though, there is still a journey to "Indestructible" that we have not covered yet.

The Semi-Finals of Vha Mehlodhivestoile 2020 were rather unpredictable this year. 24 Britonish acts vied for a position in the Grand Final which was set to take place on the 4th April 2020. For Kelsey Banques, a first for her saw her perform in the 3rd Semi-Final which happened in Quickenden. Kelsey was rather nervous heading to Quickenden for the Semi-Finals as she thought that it could be an unfortunate repeat of 2017, with her being relegated to Battle Stage once again. Kelsey was drawn to perform last, 8th, which had seen relatively good success in the past, with the position automatically qualifying to the Grand Final in every year except for 2019. Kelsey Banques saw BVC and BITC's decision to close Britonish songs of Vha Mehlodhivestoile as a positive and come the day of the Semi-Final, she was more than ready to participate in the competition. She loved her Semi-Final group, with it having Petre Lemetre, David Kiser and other direct qualifier, Martina Hacer who also participated in Vha Mehlodhivestoile 2017 like Kelsey and Petre. While the results weren't announced in full after the ending of that show, Kelsey would go on not to know that she won that Semi-Final with a record-breaking score of 135 points which a couple of years ago was enough points to win the Grand Final of VM, never mind a Semi-Final. Winning 75 points from the International seemed like an amazing total for the BVC and BITC number crunchers, as Kelsey received non-stop high points from the nations that voted in the Semi-Final. Though for the Britonish Public and Kelsey, they had to wait until the Grand Final to see Kelsey's - what seemed like - inevitable win.

The hype for Indestructible in Britonisea wasn't high as in other nations where Vha Mehlodhivestoile is broadcast come The Grand Final. Now while Britons understood that it was a good song - an entry that Britonisea would be expected to send to The WorldVision Song Contest - the bookies and spotify streaming figures had other ideas, pushing the agenda that Tobias Noah's song, "Stronger" would become the 5th winner of Vha Mehlodhivestoile. Due to Britons being superstitious when it comes to figures and patterns, people were certain that a male would win Vha Mehlodhivestoile 2020 and with Justs Prazeres' pre-show hype now being rather dead, Tobias aka The Poster Boy for VM2020 was the frontrunner to win. Tobias started to receive a lot more media coverage in the three weeks that separated his VM Semi FInal performance and his Grand Final Performance, with others, such as Kelsey, keeping their head down and working on how to better their performance ahead of the Grand Final which took place in Alshkan. The Grand Final of Vha Mehlodhivestoile 2020 was the largest VM Grand Final and, with 17 nations voting in the Grand Final alone, VM became the most voted-in National Final in modern WorldVision Song Contest history which is a title both BVC and BITC will brag about until that total has been beaten. Though, none of this was done through slacking. BVC and BITC put on a humongous show, with BVC explaining that the Grand Final of VM was almost the same amount of manpower as WorldVision Song Contest 51, which saw 19 nations participate in total. Kelsey Banques walked into the Alshkan Havenhavlve Arena with a smile on her face on the 4th April 2020, with her feeling ready to slay in the Grand Final. She was drawn to perform in 9th position which historically had no benefits. She was sandwiched between two male favourites Justs Prazeres and Tobias Noah, as fans saw Songs 8 to the end as the "to-be successful" songs. It was her time to perform, and with style...she did.

After finishing performing, she felt emotionally drained. She had given her all in that performance on the Alshkian stage to the point where she felt weak and could barely walk back to the Greenroom area. She took a huge gulp of chardonnay from Normandy & Picardy (Britonisea isn't really known for its alcohol, you see) and watched the last four performances of the competition and two interval acts from Nekoni and Togonistan. It was time for the reveal of the Jury votes with Kelsey holding her delegation tightly close to her. She didn't know how the points were going to go for her...but oh boy did it go well...
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Ertzei Kishim: 5 points, Waisnor: 12 points, Polkopia: 12 points, Titaniumland: 12 points, Togonistan: 8 points, Besen: 12 points, Izmedu: 12 points, Scotatrova: 12 points, Belgaam: 12 points, Achaean Republic: 7 points, Antahbrantahstan: 7 points, Darkmania: 12 points, Malta Comino Gozo: 4 points, Todlichebujoku: 6 points, Skanden: 8 points, Llalta: 10 points and last but not least...Axuva...

Well, we needn't mention it as Kelsey had reached 151 points, way ahead of the second-placed act, The Shards of Diamonds...
But was that really good enough? A record 12 Britonish voting areas would be voting in Vha Mehlodhivestoile and there could be some large discrepancies - could Shards of Diamonds close the gap? Could Tobias win the hearts of Britons? Most international fans thought that Kelsey's win was in the bag, but Britons weren't so sure. For International Fans, they weren't in Britonisea to see the advertisement of Tobias - he would appear on billboards across the country telling fans to vote for him come the 4th April 2020 - whereas Kelsey didn't do advertisement to that scale. After what seemed like an unnecessary third interval act, it was time to announce the televotes...

She didn't know how to act. It was finally her chance to shine - she is now the current Vha Mehlodhivestoile champion and the first one to be so young. The Alshaknite won in her home city, but her job, her second chance to win the WorldVision Song Contest on home soil is no easy feat and while she celebrated her win, she got ready to represent Britonisea almost immediately. After going to the AfterParty for Vha Mehlodhivestoile, BVC and BITC were very quick to rush her to Junterapten where the Headquarters for the broadcasters is to polish the song and think about how to change the staging for the different stage that was being built in Boschke. Not much had changed from her previous performance but due to the position of the stage in the National Final compared to the WorldVision Song Contest, some changes had to be made.

Kelsey Banques is a 20-year-old singer from Alshkan who had her eye on WorldVision for a very long time now, with her aim never to stop going for the WorldVision Song Contest until she's too old and grey to stand up on the stage and we are sure that after the Eleanora Buckingham events, the BITC will certainly agree with that statement. Kelsey does not a tragic backstory that you'd find in some of the Information Packs for other participating delegations, with Kelsey having a relatively normal upbringing with a keen interest obviously in music - especially singing. She had been told that she was too young for the WorldVision Song Contest when she represented us, but she failed to listen to the haters, which ultimately did her some good. Kelsey said that she was more than "excited to represent Britonisea for a second time, an opportunity that does not happen to everyone who has represented the country in the past." Amid her arrival in Boschke, she participated in the Junterapten Pre-Party which saw her win hearts of those in the city. She met a few friends as well such as June from Llalta, performing 39th tonight, Tyra from Axuva performing 21st and many other acts from Polkopia, Izmedu, Antahbrantahstan - as they were all seen in Carla's Confectionery; a popular bakery in Junterapten which has become popular online due to events which transpired there between an Amuapylean journalist and Manamma from Achaean Republic. Kelsey managed to stay on the drama despite her expressing how Manamma can be a bit "topsy turvy" sometimes. Kelsey, like many of the Junterapten Pre-Party delegations, were transported to Boschke using the M130 and M300 straight to the city of 81st WorldVision Song Contest - the fifth city to host WorldVision in Britonisea. She was excited as the slightly chillier air hit her face. It was sunny; beautiful. Ready to welcome the 35+ delegations coming to Boschke for a fiesta. Boschke was ready, and so was she.

Kelsey Banques was the last one to enter the stage for the Parade of Nations. She wore a long red shawl which was so glittery - you could see it for miles. The audience cheered loudly for the woman many people call the Queen of Britonisea. She placed her hands over her mouth before blowing a kiss to everybody, mouthing "Indestructible! Indestructible!" as the camera moved passed her.



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Duration: 03:06
Main Vocalist: Kelsey Banques
Female Vocalist 1: Aaliyah Banques
Female Vocalist 2: Frida Grover (winner of WV63)

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KEY
I’ve swum through strong tsunamis - Sung by backing singers only
[ad lib] - Note enlongated (over backing singers)

It was quite interesting that for Vha Mehlodhivestoile, they had Kelsey Banques performing after the break in order to give Kelsey Banques' staging to put up and be perfect before she started to sing. BVC felt as though they needed that time and by the time the song was about to begin, every time, everything was in place. However BITC said that setting up Kelsey's performance would be "a breeze", explaining that there'd be no need to spend as much time to set up the staging as BVC took. Some say that BITC have been practising. Of course, the Newbury Park Arena was one of the arenas used for Vha Mehlodhivestoile (albeit with a reduced audience) and so they thought that now knowing how the arena works, they would make sure to "plan ahead". A break was put after the Britonish performance, however, perhaps suggestion that the break was only moved from the start to the end of the performance.

Kelsey was feeling quite nervous during the Mister Xian performance as we edged further and further to the performance of "Indestructible". Kelsey started to get vibes of her at Vha Mehlodhivestoile 2020 Grand Final, during Justs Prazeres' song - the song that performed right before her. She started to worry that she would mess things up, that she wouldn't be good enough and most of that worry comes from the expectations of many people. She knows that success rate of the winners of Vha Mehlodhivestoile and she gets the hint that BITC wanted her to keep that percentage record high. She thought about the backlash that Mehkl Maddox Ajax received after his Vha Mehlodhivestoile 2017 win, when he came 9th place in WorldVision which was seen to be some sort of national crisis. Kelsey closed her eyes and took deep breath mumbling words of encouragement as she took a breath out. She wasn't religious per say, but she felt as though if there were a God, now would be the time he would help out. She started to calm down as she realised that the performance from Mister X had finished. The audience clapped for the nation, but as the people knew that Britonisea would be next to perform, some members of the audience started shouting over the polite Xian clap. As the name for Britonisea showed up on the screens around the arena, the home crowd screamed and shouted, raving for Kelsey Banques and "Indestructible" with the crowd being much more boisterous than the crowd at Vha Mehloduivestoile. A smile widened on her face as she took watched the Stage Personnel rush on to the stage to prepare for the performance of Kelsey Banques. She made one last prayer before smiling widely with the microphone in her hand, walking confidently down a catwalk to the centre of the stage which was out in the public. Members of the audience watched her walking by with them seemingly being much more interested in Kelsey than her postcard.

As Kelsey reached the centre of the stage, she moved inside the curved wall which had hundred of misshapen pieces of mirrored glass stuck to it. For BITC, one of the reasons that they were happy to have won the WorldVision Song Contest host bidding is because of this large curved wall - with the transportation to any other country becoming much more of a hassle. With the finals of Vha Mehlodhivestoile having taken place in Alshkan - the opposite side of the country to Boschke, it was a minor challenge anyway but abroad, especially not in the region, would've caused some issues. Due to the dark staging at the start of the song, the mirrors behind her wasn't as visible. Projections were to be used in her WorldVision Song Contest performance as well, though this would be used later on in the song compared to her Vha Mehlodhivestoile 2020 performance. She was handed a microphone, which fit in with her silver crop top and tight-fitting shorts as the microphone is was made of the same material the wall behind her is made of. She started to feel nervous, but conversely, a rush of adrenaline hit her as she heard the ending of the postcards. The audience came in with a huge cheer, the loudest cheer for the beginning of a WV81 entry so far and its expected, not only is she Britonisea's representative but Kelsey's stardom is skyhigh especially after her VM win.


As the audience came in with a cheer, the arena was lit up in Britonish colours. "26 Britonisea" came up on the screen including all of the information regarding the entry. It was time for the Britonish performance. The arena turned dark after a while. As Kelsey started singing, the song, some members of the audience starting cheering with it being heard in the background of the song. Kelsey Banques started off in a different way to her VM performance, with her looking into one of the mirrors with the camera positioned in a way where we saw Kelsey staring back at the camera through the mirror. With the microphone in her hand, she sang the first three lines into the mirror before she moved on...

Woke up from
What I thought was eternal bliss,
Noticed all warning signs once missed.
I can't hide how my heart, oh it aches from the pain,
I guess it's more fool me once again


As she finished singing the line "Noticed all warning signs once missed", Kelsey slowly turned around from facing her back to the audience, now looking out towards those sitting directly in front of the staging in the stands and the fortunate few that saw the Britonish staging in the staging section. As we moved on, there was a camera shot from the front of the stage which was blurry - out of focus - and quite dark but as she continued to sing, the quality of the camera strengthened with it being a tactic to make sure that the viewers didn't see the first camera move off of the stage. As Kelsey sang the lyrics "oh it aches", she placed her hand on her heart with their being a quick close up of the camera quickly trailing up her body, stopping where her hand met her hand. Kelsey was bathed in blue light, especially from in front of her which gave the feel of the song a cold vibe which is the feeling that she wanted her audience to feel. White strobes from behind her. You'd also notice that naturally, the mirror on the microphone reflected the normal strobe lights with there being lens flare as we move from different camera shot to different. The lights did not change that much during the section and into the next.

As we move from the first verse to the pre-chorus, there was a bit more action used in Kelsey's gestures, so that she wasn't just singing with a microphone on the stage. There was a shot from the top of the stage which quickly made its way down. The white strobes that were behind her, along with the sound of the clicking of fingers, flickered which you could see perfectly well with the shot before. As Kelsey sang "wasn't true love", she made a heart sign with the microphone still in hand, before she started to twist and turn her body slightly as she felt the music take over her actions. Moving along with the sounds of the clicks, there was a series of close up shots of features of her body such as her eyes, her lips, her hair and even the ring that she wore on her finger. The audience, especially those behind the large stage object who had to rely on the screens in the arena, seeing what audiences at home could see, to get the Kelsey Banques experience, started to cheer as we moved closer to the memorable chorus of the song. For this part of the song, Kelsey Banques' facial expressions were mostly serious and almost hateful of some sort as she seemed to be not only angry with who she is singing about but also with herself.

What I felt, it wasn't true love,
I never felt I was enough,
You told me I'm paranoid
I know I wasn't, you fed me lies
And though I-

I know that I will recover
You know that I'll be stronger
You still try to tear me down, but
You've left indestructible


As Kelsey moved into the later stages of the pre-chorus, the cold blue lighting that was used slowly started to get lighter in colour, with the cold blue now becoming a lot lighter. She was still bathed in the lighting with the white flickering to the sound of claps but the mood of the song changed. There was a camera shot directly in front of her that she was looking at as she started singing "I know that..." with it being different to the first half of the pre-chorus after the series of close-up shots. As we moved outwards and over some members of the audience that were flying their flags from all over the multiverse - Britonisea, Darkmania, Ekoz, Besen, Malta Comino Gozo and beyond. Kelsey, for the first time during the performance, let out a small smirk which showed signs of happiness, adding to the changing mood of the performance. Suddenly, as there was silence in the music as we moved from the verse into the chorus with the only thing being heard is Kelsey alongside members of the audience singing "You've left me indestructible" with her as we moved into the chorus of the song. The blue light and white strobe was quickly turned off as the two separated LEDs on either side of the stage and the LED floor all turned white with there being a shot from further away to show this.

Kelsey dipped her head quickly forward with there being a motion blur effect being used in the camera that was switched to capture this moment, with it looking as though her flicking her hair and head forward looked like it was happening in slow motion when it actually wasn't. As we saw this happening, the next shot of Kelsey was when she was bathed in Eygptian golden yellow - a truly indestructible colour for Miss Kelsey Banques. As we explosively moved into the chorus, there was a shot
of Kelsey Banques from afar to the lyrics "I'm unbreakable" before another shot from afar was used with it quickly zooming into Kelsey as she looked deep into the camera beckoning as she sang "indestructible" with a camera from downstage to her left capturing her at the first "hoo" and her right side at the second "hoo". It would also be the first time we heard from the backing singers which include Aaliyah Banques - Kelsey's sister who represented Nightom at the 32nd World Hit Festival in Euskirribakondara and also includes Frida Grover who won the 63rd WorldVision Song Contest with her song "Pyro". With a star-studded all-female song, line up for the Britonish entry, it definitely seemed Britonisea had a mission to complete.

I’m unbreakable, Indestructible (hoo-hoo)
Do your worst, try and tear me down at my strongest
I’ve climbed all hills and mountains,
I’ve reached the top on my own,
No one can tell me I can't cope alone.


As Kelsey sang "do you worst" a low angle shot was next on the camera with the camera zooming from low across her before moving outwards - up and over the audience before another shot of us zooming in on Kelsey Banques was shown and she was standing, again, looking deep into the camera. The facial expression that Kelsey had on her face was one of proudness and confidence as she looked up when singing "I've climbed", widening the stance that she had on the stage floor, with her free hand being curled into a fist before she delicately looked down to once again meet the camera once just as soon as she sang the words "on my own" before the golden light slowly eased back on the intensity as she completed singing the chorus. We could hear the backing singers slightly supporting Kelsey during the first chorus but they would be much more important throughout the rest of the song. As we moved into the next verse, there was a single second as the arena plummeted into darkness.

Only lit up by the projections which were shining on her face, Kelsey Banques opened her eyes as a camera watched her starting to sing the second verse. The projections were of text on her face with most of the text that was showing up were of the lyrics that she was singing with some of the lyrics such as "NO LONGER" and "YOU'D USED ME" and "I THANK YOU" in capital letters, much larger than the rest of the lyrics and with words such as "Indestructible" showing up on her stomach area where he skin was exposed. The projects were all the way down her leg which was captured a few times using the camera. During this section of the song as well, she did not have much changing in lighting with the scenery behind her being kept very dark, not giving anything away in terms of the mirrored wall behind her but there was a light to not completely have Kelsey in darkness while she sang the verse. The audience continued watching as they see the new and improved "Indestructible" as directed by BITC stage directors. They didn't want to change the package too much as in past VM songs that were sent to WorldVision, they'd been kept the same staging-wise with minor improvements. This entry's staging most definitely had the largest revamp since it won the competition yet it still feels recognisable to the millions of households watching the WorldVision Song Contest.

No longer (longer),
Do I see through rose-tinted glasses
I now know how much you'd used me
I thank you,
Though you think you had left me weak,
Actually it's the opposite


With the projection being used during this section, Kelsey couldn't move her body, despite her wanting to sway along to the beat of the chorus. She kept the strong stance she had before to help avoid her moving during this section. She also used her arms to interact with the song, pointing as she sang "You" or putting the back of her against her face as she sang the lyrics "you had left me weak." The cameras followed Kelsey round as she continued singing this section of the song. It felt as though this verse was very short and that is because it was. There was only one "stanza" of verse for this section and there wasn't a pre-chorus once again with the music producers saying that for the second chorus, the pre-chorus wouldn't make it as impactful as it should be - especially thinking about staging in mind when writing the song. She was nearing the end of the second verse before, on the projection did the word "INDESTRUCTIBLE" appear everywhere it could on her body, with it being in different languages such as the usual English, Spanish, French and even national languages of participating nations such as Britonish, Taploukki, Polkopian, Scotatrovan and many more languages as she sang the last line of the verse.

Similarly to what happened in the first time, we entered the chorus, we saw a flash of white being used on the LEDs behind her and the stage floor - with the cameras moving outwards to view this before Kelsey once again flipped her hair forwards with the same motion blur being used on the camera to create the same effect as it did before with lasers making a cage around Kelsey as she dipped. Though, as she moved back up to standing position once again, the golden colours came in but specific lasers that were trained on the mirrored wall behind her were now blasted the each of the fragments on the LED wall slowly moving in circular motions along with the moving on these lasers which reflected broken prism lights and as it did, the audience cheered loudly with it being heard in the back of the song. She started moving her body once again, slowly bending her legs as she did. There was a shot of Kelsey from further away as we saw how large scale the reflections were, with her body being the only thing that blocked the rays of light passing through. She sang with more gusto than she did when beginning this chorus.

I’m unbreakable, Indestructible (hoo-hoo)
Do your worst, try and tear me down at my strongest
I’ve climbed all hills and mountains,
I’ve reached the top on my own,
No one can tell me I can't cope alone.


As she was singing the chorus, once again her facial expressions were of confidence. She seemed to be so engrossed into the performance and making sure that she was performing to the best of her ability. After the camera was used to focus on the new lighting rigs that were used for a while, giving the time for the audience to actually take in the use of the reflections, as she started on the line "I've climbed up hills and mountains", the tracking camera around the stage was trained on her, moving from one side of the main circular stage to the next, with Kelsey moving along with it and of course showing the beautiful light scene behind her. She quickly looked up before singing "I can't cope alone" with it seeming as though she going to sing the chorus once again with the end of the chorus as her volume and pitch slid back up before we went into the repeating of the chorus.

With her 90% volume, she looked up with the microphone around 15 centimetres away from her as she belted out "I'm unbreakable", before turning around, almost crouching down as she sang "Indestructible" for the nth time tonight. Her loose arm was tightly curled up into a ball while she tightly gripped the microphone with her other hand. As she, and the backing singers, sang "hoo-hoo", she quickly made her way back up into standing position with the colours of the lasers changing to the red before back to gold alongside the cameras changing at that sound too. She continued belting out the lyrics as you could hear Aaliyah Banques and Frida Grover strongly now joining Kelsey Banques singing the song perfectly underneath her. With her singing, "take me on" and the rest of that line, she slightly moved forwards, holding her free arm outwards, before singing "I am brave!" purposefully prematurely before extending the word brave, adding her own spice to the song by ad-libbing and making the song her own.

I’m unbreakable, Indestructible (hoo-hoo)
I dare you, come and take me on if you are brave
I am brave! [ad lib]
I’ve swum through strong tsunamis
Reached the shore all in one piece

(Oooooh oh oh) Whatever you have got planned, I'm ready


As Kelsey ad-libbed, Frida and Aaliyah sang the sections Kelsey weren't with Kelsey totally immersed into the song. Frida and Aaliyah actually were on the stage with Kelsey, but they were directly behind the mirrored wall, facing outwards towards the audience on the side of the arena who weren't getting a view of what Kelsey was doing in front of the wall. Frida, host of the last WorldVision Britonisea hosted and Aaliyah, who wore similar clothing to what Kelsey was wearing as they swayed along with the song in unison, looking at each other as they sang occasionally with them trying to add their own flair to the song, complimenting Kelsey rather well. The audience on that side of the arena were pleased that they could still watch the performance happening "live". They cheered as Frida and Aaliyah sang with power.

We then moved into the bridge of the song, before a single spotlight of Kelsey was trained on her as the lasers were switched off and normal strobe lights too. Kelsey, at the start of the bridge, was blurred, with a Steadicam joining her on the stage, slowly circling around her. This was all done to fit the calm nature of the song during the verse. Kelsey wanted for this to be an intimate moment between her and the audience, and so when the lens moved in front of her, she would give it intense eye contact, singing as though she is telling everyone at home that yes, she does feel lonely and feels as though she can only trust herself. She looked sad, she looked in pain but as she sang "I'm the only...person and", the Steadicam operator ran off the stage before another joined Kelsey on the stage from a different angle as she now turned with the camera, moving until the audience was clearly behind her.

Yes, sometimes I do feel lonely,
And feel like time's moving slowly.
There's one person I can trust,
And it's me, just me, I'm the only...person and
(mmmm) Never have I ever felt like...
The whole world is on my side
(mmmm) I’ve reached the top all on my own,
You've left me indestructible


As the bridge section was being sung, haze started to fill up on the stage, with it being used for the first time in such magnitude during a Britonish performance at WorldVision. With Kelsey still having the audience in the background, Frida and Aaliyah came in with the humming as Kelsey closed her eyes and slowly shaking her head from side to side, raising an eyebrow and she felt the song once again. As the song reached the point where she sang "top all on my own", the camera slowly faded to black with Kelsey turning around during this section by the time it got dark. The audience again could be heard during the moment of silence after cheeking Wiktoria 2016 smiling before going back into the chorus of the song.

And here she is once again at the chorus, with the lasers being used once again in a few colours, with the main colour being reflected being white. As the "hoo-hoos" were sung once again, she flicked her hair from one side to the next as the camera caught this from one shot to the next. Kelsey was continuing behind herself on the stage throughout this last bit of the song, with it being the home straight now. She felt as though this was her winning Vha Mehlodhivestoile performance; feeling very satisfied with the performance she had so far. It was time for her to give that last push...

I’m unbreakable, Indestructible (hoo-hoo)
I dare you, come and take me on if you are brave
No longer do I feel pain,
I've been hurting all my life
The life I lead before's my sacrifice


With there being a change of wording for the chorus she had just sung, it offered having the song not be as repetitive as it could have been using the same lyrics over and over again. The camera zoomed in on her face as she sang the line "The life I lead before's my sacrifice" as she placed her hand over her heart. The haze was working very well with the lights as well making the already darkish staging seem more mystical and magical, but also as she appeared amongst the haze, it made her look much grander and indestructible.

As she moved onto the repeat of the chorus, the large circular centre of the stage started moving upwards like this with the LED strips around not being used just yet. With it being timed that it takes 13 seconds for the stage to be fully up to how it is in that example, so by the time she belting the words "I have claimed", she would be fully in the air. Though, winding back, as the main stage starting moving upwards, lights along the top of the arena (which you can also see in that example) starting flickering, lighting up for the first time during the performance, with them being in a strong golden colour to match the lights already being used. As sang "I'm invincible", she held her free hand out, as looked directly up as her body was bathed in the golden light with camera effects being done to make it appear much golder than before. Throughout the chorus, the cameras made the raising of the stage look dramatic, with air now blowing too, with Kelsey's hair now floating delicately in the wind; focusing on her as she moved upwards with cameras trained in certain positions to capture a glimpse of her moving up, quickly shifting to the next as we moved from her moving up and up.

I’m invincible, Indestructible (hoo-hoo)
Do your worst, try and tear me down at my strongest
I have climbed [ad lib]
I’ve climbed all hills and mountains,
I’ve reached the top on my own,


Once again, as she reached the top, there was another camera waiting for her. She stopped before moving to the side (a la Sweden 2013 before the YOU scream but without the weird foot thing before), before elongating the note once again, adding her own spice through ad-libbing while Frida and Aaliyah came in with the strong vocals helping Kelsey carry the song out. The camera zoomed out as we saw her sing her final long note of the song with a lot of strength. It was now time for the final bit of the song with a camera being trained on the LED around the rising stage showing the words "NO ONE CAN TELL ME I CAN'T COPE ALONE" with the camera slowly panning upwards, meeting Kelsey Banques as she said that line to the progressing camera, smiling into it.

NO ONE CAN TELL ME I CAN'T COPE ALONE


As she sang the final note, there was one final shot of the stage from further away, but not too far with the audience being able to see Kelsey standing in the middle and the LEDs in the back and around the raised platform with the word, "Indestructible" plastered on every inch of the LED in a similar fashion to how it looked on her during the projection section. The audience came in with a humongous roar which took Kelsey by surprise. Frida and Aaliyah came running from around the back of the stage before the three women embraced, "Remercio Teis everyone! Thank you Boschke!" she screamed into the microphone before the camera lingered on her for a bit, zooming over the audience and watching their reactions, focusing on a group of Britonish men who, when they noticed, chanted after Kelsey Banques at the camera. The camera then went over to the Greenroom where the hosts were waiting.
Last edited by Britonisea on Sun Apr 19, 2020 8:02 am, edited 13 times in total.

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Intermission 2: What more went down in Junterapten?

Postby Britonisea » Tue Apr 07, 2020 2:35 pm

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The audience was still cheering even after Kelsey Banques left the stage as the two main hosts of the competition appeared on one end of the stage with the LED behind them. The hosts came out clapping and gave the audience time to calm down;
Jordan Hermes: Thank you Britonisea for the song, "Indestructible"!
The audience starts to cheer again rather loudly right before Ria Arisitide opened her mouth. She places her hand over her mouth as people got the message to be quiet.
Ria Arisitide: Now, during our last visit, we saw some of the fan favourites and now its time to see some more! Say, Mateus, who do you have for us now?
We move over to the WorldVision area just outside the arena where Mateus Breton was with 1000s of fans that weren't able to get a ticket. Britonisea, now, has a tradition of providing a huge outdoor cinema and festival experience for unfortunate fans who wanted a place in the arena but couldn't get it with this tradition being done at Vha Mehlodhivestoile, World Hit Festival and other TV contests that happen in Britonisea.

Mateus Breton: Hey everyone, I hope you are enjoying the show so far! The Todlichebujoki boys decided to give their hug to Kelsey from Britonisea who we just saw perform, and oh, she was very thrilled the three of them wanted a bit of Kelsey. Here's Kelsey and four other WorldVision participants. Who will give who a hug? We will find out in...5...4...3...2...1...

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BRITONISEA WITH KELSEY BANQUES
Check out her performance:
26 BRITONISEA


Mateus Breton: Hello Miss Kelsey Banques and welcome to Junterapten oh nana! Please tell me, Kelsey, how are you feeling tonight?

Kelsey Banques: I am feeling absolutely great! I had an early night yesterday after hanging around with some of the WorldVision participants - they're such great fun, man! I then came in, watched a bit of television with a biccy and a hot chocolate before heading to bed. I feel great tonight and I just cannot wait to perform.

Mateus Breton: So, as many knows, you won Vha Mehlodhivestoile 2020 by quite some margin - we're not used to seeing a winner stealing the show in both the Semi-Finals and the Grand Final. How are you feeling about that and how has your life changed since?

Kelsey Banques: Well, I think its absolutely ridiculous that I won by some margin! I know most of my points came from the International Community so I must take the time to thank those who voted for me, whether you were part of the Jury or each national televote. Honestly, I can't believe I am sitting here right now. My life hasn't changed that much. I think there's this thing in Britonisea where if you see someone famous, you know, you don't just bombard them haha. But, you know, I have so many new International fans which is the biggest change. I am so grateful, honestly.

Mateus Breton: Tell me what happened at Carla's Confectionery because girl, I am hearing so many different stories.

Kelsey Banques: I don't even know! Like we were sitting around a table and there's Manamma coming in late, as per usual. And then she got in some argument with a journalist from Amuapyle and I don't even know what happened after. I just kept my head down and had my Yumyum, you know what I mean. Keep out of that drama.

Mateus Breton: What does "Indestructible" mean to you personally?

Kelsey Banques: You know, my journey at Vha Mehlodhivestoile is a great example of me being indestructible. I fail once, I fail twice - in 2017, 2018, but I strive to win and get to the WorldVision Song Contest stage - I've earnt my way here and I think that shows truly indestructible qualities - stop me if I'm blowing my own trumpet haha. But yeah, being here on this stage makes me feel indestructible. I've worked my buttocks off!

Mateus Breton: Last but not least, you received a hug from the Todlichebujoki act and have to pass this hug onto someone. Who will you pass it to?

Kelsey Banques: So firstly! Thank you so very much from the MEN from Todlichebujoku! I'll be hoping to get a real-life squeeze from you all in real life - if you guys are the triangle, I can be the eye in the middle. Undeniable force! Anywho, I'd love to pass my hug onto the Malta Comino Gozoan act, Lewis, because he is just so nice and sweet, and honestly he's such a laugh and I think he deserves this hug!

Mateus Breton: Awww that's sweet! Thank you for the chat, Kelsey!

Kelsey Banques: No problem, my lovely!


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MALTA COMINO GOZO WITH LEWIS SARUCINO
Check out his performance:
14 MALTA COMINO GOZO


Mateus Breton: Bonjour Lewis from Malta Comino Gozo - how are you feeling tonight in Britonisea?! Are you looking for ward to staying here for the next couple of weeks?

Lewis Sarucino: Bonjour Hello Hello! Can I just say to start, your country... is beautiful. From the moment I arrived me and team have received nothing but hospitality, so thank you! I am so grateful to be here and to be representing my country again.

Mateus Breton: Now about your entry, you were selected internally and then participated in Malta Comino Gozo Decides, where there was a choice of three songs and your country had to choose which was the best. Could you tell me how this idea came about? Did you suggest the idea?

Lewis Sarucino: Yes it was our first National Final for the islands. No as much as I would like to claim it was my idea it wasn't sadly. I approached MCG1 ( our national broadcaster) not long after Worldvision 76. My management team Mylk Music and MCG1 are quite close so it was easy reaching them. I felt I hadn't done justice for my country, I mean 16th place isn't last place but I wasn't satisfied. So MCG1 who had been running with the idea of a NF for a while thought, now's a better time than any so we teamed up, I wrote 3 amazing songs, and here we are!

Mateus Breton: The song, "Depths of Nowhere" ended up winning, what were your person thoughts about that - did you expect that song to win out of the three, and - to roll this up into one - what does this song mean to you?

Lewis Sarucino: Depths of Nowhere was definitely my personal favourite, I have to say. The lyrics were from a dark period of my teenage years. Its definitely one of the most personal songs I’ve ever written.

Mateus Breton: Now you received a hug from Kelsey Banques from the Britonish entry, she says she really likes your song and you're a splendid guy. So, would you be able to tell me who you've passed your hug to and why you've passed it to them?

Lewis Sarucino: Gosh, I cried like a little girl when I received the hug, it meant a lot more too me than people think. With the ongoing emergency in my country as we speak, too receive this hug... was the best hug I could have recieved. Kelsey I love you. Yes, but first I want to send a hug back home! Right.. back on track my lovely hug goes to Francheska González from The Achaean Republic. She was the first one to come over to me as we arrived at the hotel, she was worried, scared and anxious and the chat we had when we arrived was just what I needed.She is a great friend. Her and her country delegation have been so supportive towards us so my hug goes to her.

Mateus Breton: Thank you Lewis, it was lovely speaking to you and good luck at WorldVision!

Lewis Sarucino: Thank you! Grazzi!



ACHAEAN REPUBLIC WITH MANAMMA
Check out his performance:
27 ACHAEAN REPUBLIC


Mateus Breton: Hello Manamma and welcome to Britonisea for the 81st WorldVision Song Contest! How are you feeling about being here in our country?

Manamma: Well, Mateus, I like how dry and bo—well, excuse me, I’m sorry, my therapist said I needed to find ways to ameliorate the aggression I felt towards my father. What I meant to say was that, this is a very interesting opportunity for me to explore a new nation and become famous and make lots of money so I can pay my legal fees and medical expenses. So I’m having a blast, Mateus. Thank you!

Mateus Breton: You'll be sending the song, "Lentamente" at the Contest, could you give us a few words explaining to us what the song means personally to you?

Manamma: Um, I wrote “Lentamente" during a time I was very crazy as f—, I was high as f—, I was doing drugs––marihuana, cocaine, LSD, roofies, poppers, Paxil, Percocet, Xanax, rum, beer, vodka, alcohol. I was having sex like five to seven times a day and three more at night. Then I would cry, cry, cry all the time when I was alone. Then my family forced me to go to the doctor’s and I was diagnosed with schizophrenia and bipolar disorder. I’m taking therapy and lots of medications to cope, and I’ve learned a few things about myself. I’m proud that I haven’t had sex in five months!

Mateus Breton: Now, Achaean Republic usually does a National Final before picking the final entry at the WorldVision Song Contest. Why did that not go ahead this time - did you just have the perfect song?

Manamma: Well, the last time I was in the national final, the network screwed me up so bad that the motherf— piece of sh— producers knew that I was the fu— winner of that… (ahem) Take a deep breath, Francheska… (coughs) What happened is that they were planning to restart a national final for spring that wasn’t done since 1985 during public channel times. But then coronavirus came in and Junior World Hit Festival was also taken, so AS1 decided to call me ‘cause I was saner than the last time I performed. I already had a song and it was right in line to perform, so… (shrugs) I am here.

Mateus Breton: What do you have in store for us in Boschke - or is it all a secret?

Manamma: Well, my performance is gonna very fabulous and edgy and fun. That’s the word I’m looking for––fun! The Achaean way of fun!

Mateus Breton: Now before you get up on that Pre-Party stage, I'd like to ask you who you want to send a hug to and why you'd like to send a song to them?

Manamma: So I wanna give a hug to the Polkopian singer, Bradin, because I love that whore’s song and it’s very cute and very intense and very delicious and I want to make a remix with her sometime next week. And also, Um... I wanna give a hug my mommy, Doña Lucía, I love you mommy! I also want to give a warm hug to my therapist, Miss Carmen Collazo; she's one of the best therapists ever and I dedicate my song, "Lentamente," to her. And to the people at the Corola solar place where we kill chickens, I wanna give them a hug as well for showing me how to make the best fried chicken ever!... I send them my song to them because they've been helpful for me to realize what I need to change in my life. Um, Matheus, One more thing: now that I’m saner, I want to apologize to everybody I hurt and disappointed by my actions. I’m very sorry that I showed my vagina to people on that livestream. I’m very sorry for killing a chicken and drinking its blood while wrapping it in Britonisea’s flag and chanting Changó, changó. I’m sorry I was rude and psychotic and high as f— when I was in the throes of my illness. Now I’m much better, I promise. Don’t worry for me now––my therapist said I was progressing on my therapy.

Mateus Breton: Well then...um...thanks for the chat...



POLKOPIA WITH BRADIN
Check out his performance:
03 POLKOPIA


Mateus Breton: Hello, Bradin! Welcome to the WorldVision Song Con- sorry, I meant the Junterapten Pre-Party - I'm practising for the actual thing haha - I know that you weren't feeling to great not so long ago - are you feeling much better now?

Bradin: Yes, I'm feeling 100%! With the global crisis that many countries are going through, we assumed it was the worst, but thankfully it was just a case of pneumonia. Because of the scare, I couldn't see anybody and I was home by myself for most of this time. It was a shame too, because of course, we announced a lyrical change to my original song, and I couldn't be there for the official reveal! It was a little upsetting, but I could still track the reviews and feedback from fans from home, so at least there was that!

Mateus Breton: So you won your National Final, Landa vy Polkopiya without any issues! Could you speak more about your Landa experience and what it has been like since you won?

Bradin: So it was a little strange to be at the Landa this year, since we performed out entries without a live audience, so I don't think my experience was quite as exciting as it could've been. I'm still incredibly happy that I won, and since then, we immediately began with the rework of the lyrics, until I got sick. But since I've been better, I've been working with my team to figure out how we want to deliver the song at Worldvision because, as you know I'm sure, the song is only half of the experience, and we wanted to deliver an unforgettable experience for the viewers at home. Thankfully, I've been working with Ilya Demitrović, who helped stage the Polkopian entries since WV and really does such a good job, so I'm very excited to deliver this performance!

Mateus Breton: Polkopia is, of course, the nation that has won the most amount of WorldVision Song Contest titles, do you feel an added bit of pressure because of this?

Bradin: Of course I want to do my nation proud, and in the back of my mind I know that everyone at home is watching, so yes there's definitely a lot of pressure. While I was in quarantine, a number of past contestants actually reached out to me and wished me well. I spoke with Elise Grace, Anna Viktoreevna, and Sergey Borisčev, all of who are really considered royalty when it comes to Polkopian Worldvision fans, and they all gave me tips on how to really handle everything.

Mateus Breton: If you had to steal a past Polkopian WorldVision Song Contest song and sing it yourself on the stage, which song would it be?

Bradin: When I watched Anna [Viktoreevna] win WV75, I was just blown away by the staging, really, and I really think that moment really gave me the desire to follow n her footsteps one day, so I'd have to say that one.

Mateus Breton: Now you received a hug from Nanamma, the Achaean Republic representative. Who would you like to pass your hug on to and why?

Bradin: Well first off, a huge thank you to Nanamma! I'd like to send a virtual hug to Miss Chloe Svensson from Titaniumland, because she's worked so hard to promote her song, and really, it's a fantastic entry, so I wish her all the best!

Mateus Breton: Thank you very much for the interview, Bradin, and I will see you up on that Pre-Party stage!

Bradin: Thank you!


Find out how Chloe Svensson reacted along with 4 more Pre-Party acts!
Last edited by Britonisea on Sun Apr 19, 2020 8:43 am, edited 4 times in total.

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Achaean Republic
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Civil Rights Lovefest

Postby Achaean Republic » Tue Apr 07, 2020 4:28 pm

27| Achaean Republic
Manamma “Lentamente"
Tune: Azealia Banks - Anna Wintour
Music & Lyrics:Francheska González, DJ Tasty, Orgasmika


Image


Whenever people hear the name “Manamma”, they expect someone or something foreign, something out of their grasp. those with some knowledge of geography would even hint that the word is a misspelling of the capital of Bahrain. The latter are correct though––but not for the reasons they’d think. Manamma in Achaea, though, is a very complicated household name to reckon with: Everybody knows her. You either love her or hate her. You either expect her to cry at the drop of a hat because she soiled her new $500 blouse she bought with a cloned credit card, or you expect her to yell at you and throw a phone or even a cinderblock at your face. She is well-known by name by the local police corps, but her troubles are so outlandish she is treated less like a criminal and more like a public nuisance. You can’t even speak of the Corola club scene without talking about her: Francheska González.

Francheska was born in the Manama Achaean Air Force Base in Bahrain, which is why she always jokes that she was nicknamed Manamma because she was conceived there––and she’s not wrong. She spent the first three years of her life in Bahrain while her father served his deployment, and then she went to Tokyo, Santa Ana, Riyadh, and then New York, until she moved back to Corola, her Achaean hometown in her teenaged years. It was during this time that Corola was developing a thriving underground club scene where everything goes and anything could happen. She would use fake IDs to fool club bouncers and drink copious amounts of alcohol during school nights as she would enjoy the typical New York-style ballroom battles that different Corola drag houses would compete in. It was a style that filled her with passion and made her even more determined to go to New York and experience that American dream on her own.

This also meant that, when Manamma hit sixteen, she was already causing trouble. She was running away with boys, smoking more than a joint at the gym, trailing off in clubs, and even falling some classes and getting good grades in others. She would spend days in an unnatural, euphoric high, chasing dreams, writing songs and drinking copious amounts of spirits. When the crash came, she would linger into a hopeless depression that would last for weeks, to the point she had to be preventively taken to the hospital for fear of self-harm. Her reckless behavior went beyond your typical teenage rebellion––it caused a nasty separation between her father, who wanted to send her to military school in order to force a behavioral change, and her santera mother, who believed that Echú, the trickster devil, was tormenting her in Manamma’s body. This was reflected in her very first album, Mal Echú (“Bad Eshu”), a club hit that mixed contemporary Afro-Caribbean religious rhythms with techno-dance beats. No one can deny that she’s smart––after all, she does have a Master’s Degree in Visual Arts and Film Theory at Columbia University in New York City.

One emergency school intervention later, and Manamma was diagnosed with schizophrenia and early-onset bipolar disorder. These two illnesses would always follow Manamma’s controversial behavior: Critics adore her eclectic, yet somewhat demented music while criticizing her many pointless scandals. Fans adore her ability to speak the truth and shine a light on mental health issues in her own way. But haters, if they could be ever called that way, will always reprimand and dissect her actions as those of a madwoman that does not deserve the spotlight––even if her music is deliciously catchy. Nevertheless, the dichotomy between the person and the music is always present in Manamma’s work, more so when she was the unexpected internal choice for AS1 to represent the Achaean Republic in the WorldVision Song Contest with the song that caused her to have a very public meltdown.

Will she be able to redeem herself in the eyes of the Multiverse––and even the critics back home in Achaea––through her music?




For the Parade of Nations, Manama appeared on stage with her entourage of four dancers on heels wearing an N95 mask and blue rubber gloves with a finger pointed at it. She waved the camera with her left hand and showed the middle finger on the right. Oddly enough, she was enjoying the very mixed reception she received from the Britonish audience: On one hand, they were heavily booing her for the recent scandals she consistently made once she arrived to Britonisea. On the other, the crowd was applauding and cheering her performance. The Achaeans, the few brave and stupid ones that risked fines, prison time and even public shaming to go to Britonisea, were loudly cheering and waving the national flag on the crowd. Nevertheless, she was thriving on the drama of the moment, the one that was arguably denied to her before. Hopefully she can shine again.




As the first house beat drops, the Boschke stage lights up in industrial tone colors: red, green, rusted brown, black, white. The LED screens on the stage and the floor turn to showcase smoke and various degrees of a rusted cogwheel, giving the viewer a deconstructed view of a factory or a steampunk clock being torn apart to pieces. Regardless, the vibe is industrial and contrasts with the heavily fabricated themes of the song’s lyrical beat. The camera pans into a view of the stage alongside waving flags, the Achaean ones, in particular, highlighted by the few screams and yells in the audience––unlike other editions, most of the rambunctious Achaeans had to stay home due to coronavirus or they would risk self-isolation for 14 days upon reaching the country’s airports again at the very best, or outright refusal at the very worst.

Manamma is standing in the middle wearing a white, almost-translucent camisilla that faintly shows her black bra (and her pierced areolas). She also has black short-shorts almost soiled by steam, water and charcoal like the markings on her face, neck, and arms. The sneakers she wears––a classic white Adidas shoes––appear as if they were covered in soot and dirt and charcoal, as if she just came out of a shift at a dangerous factory. (Face masks were considered for the performance by the Achaean delegation, but that would’ve been considered in poor taste regarding the national circumstances). She also has a short black bobbed wig that almost matches with the white lines on her sneakers––if they weren’t repeatedly soiled by filth and dust.

The camera focuses on the stage as four men land somersaults from the edges to the central circular stage and simultaneously pose in peculiar angles––in knee-high heels. The men are also wearing leather onesies with translucent black glasses. Unlike Manamma’s somewhat dirty look, one that shows off enough skin to uncover most of her 26 tattoos, the dancers’ dresses are far more elaborate and skin-tight, and maybe a little itchy. Nevertheless, they looked fabulous.

In a brief moment where the camera zooms at their faces, all five performers begin to do waacking moves, where they rotate their hands and arms, touch their faces with their fingers, and engage in facial expressions while maintaining an air of seriousness. Some move to the left. Others move to the right. Manama stays in the center while waacking to the house music’s beat.

Tengo hambre y sueño y sueños
I have hunger and dreams and I'm dreaming

Tengo tiempo de sobra que me hace feliz
I have plenty of time and that makes me happy

Lentamente, eternamente, solamente para tí
Slowly, eternally, slowly for you

(solamente es para tí)
(It's only for you)

Y la gente simplemente no entiende
And the people simply don't understand

porque decidí caminar en gríngola y fe
why I chose to walk in visors and faith

Hay momentos que dudé de todo mi ser
There are times that I've doubted of my whole being

Y mis manos buscan algo para sentir por sentir
and my hands look something to feel, to feel

quien me enseña piensa que no puedo
who teaches me believes that I can't go on


The camera angles hit left for the bridge’s first verse, then right for the second verse. In each symmetric angle, both Manama and the dancers attempt to match the song’s energy while keeping an air of graceful elegance int heir movements. Even the camera tilts its angle for a bit in each shot while toying with the song’s expression. The tone she conveys is contradictory: rueful yet explosive, restrained yet impulsive. Despite her somewhat well-deserved infamy on the Achaean music scene, it is undeniable that she can pull off those intricate dance moves while singing and cussing at her audience at the same time. And with the stiff competition she’s facing within Britonisea, she needs it.

The camera angles hit left for the bridge’s first verse, then right for the second verse. In each symmetric angle, both Manama and the dancers attempt to match the song’s energy while keeping an air of graceful elegance int heir movements. Even the camera tilts its angle for a bit in each shot while toying with the song’s expression. The tone she conveys is contradictory: rueful yet explosive, restrained yet impulsive. Despite her somewhat well-deserved infamy on the Achaean music scene, it is undeniable that she can pull off those intricate dance moves while singing and cussing at her audience at the same time. And with the stiff competition she’s facing within Britonisea, she needs it.

Por tí, por mí, me siento así
For you, for me, I feel like this

déjate ir y entrégate a mí
Let yourself you and surrender yourself to me


For the chorus of the song, Manamma and the dancers line up and vogue in different directions, their hand movements portraying graceful yet harsh movements and their interactions, almost as if they were portraying cogs in a machine. Their movements are fluid and interactive. The performance, as well as anything involving Manamma, is intense and combative. The cogwheel, no wonder, is a reflection of her meticulously cyclical perspective.

Déjame tanto, cuanto tú más
Leave me so much, as much, you more

y si no me harás brillar
and if not you'll make me shine

un poco más
a little more

déjame verte para llegar
Let me see you so I can arrive

y llorar con las ganas que tú me darás
and I can cry with the desires I get


(Déjame tanto, cuanto tú más)
(Leave me so much, as much, you more)

(Tanto, cuanto tú más)
So much, as much you more)

(Déjame tanto, cuanto tú más)
(Leave me so much, as much, you more)

(Tan- un poco más)
(So- a little more)

(Déjame tanto, cuanto tú más)
(Leave me so much, as much, you more)

(Tanto, cuanto tú más)
So much, as much you more)

(Déjame tanto, cuanto tú más)
(Leave me so much, as much, you more)

(Tan, tan, tanto, tanto)
(So, so, so much, so much)


For the English part of the song, Manamma grabs a megaphone from a small corner of the floor and starts singing. There are backing vocals recorded to this version which amplify the sound, but they do not detract from the power of Manamma’s vocals––instead, they seek to enhance it. The camera focuses on her singing though the megaphone alongside the earpiece megaphone. Her English is loud and crips, something you don’t typically see in Achaean entries with English-language parts––after all, she did live in New York City for quite some time, where she was enamored with the city’s carefree spirit and freeform dance culture, which heavily influenced her music and perfected her English language skills.

Oh, please don’t you come for me when I’ve got no bodies on it
Let me be, I’ll show you how my fun’s got my number on it
Got the money and the tact to show what I hunger on it
I wanna feel naughty and I wanna feel like I’m exotic


This next part is both highly catchy and dangerous for Manamma to sing––not that she isn’t already a dangerous person, but she is recalling her times of lucidity in the midst of her madness. Reportedly, these were random phrases her friends and family recalled her saying in the midst of her various breakdowns and addictions. It is frustrating, yet intensely personal to watch how many times she ended up in rehab and therapy, only to fall down on another pointless addiction and repeat the cycle of disappointments over and over again.

Meanwhile, her backup dancers perform harsh and cutting voguing icons behind her in a clockwise motion. They are standing and performing clock-like motions through their body as well.

Don’t try to bring me down, bitch, I know
The sandwich I ate’s from tomato
And you eat caviar but go low
I feel, you feel, I feel you don’t know
That blunt you smoke will burn all your toes
The shy face, that bitch, feels rather slow
And you’ve said that I don’t got no flow
I’m burning up that I burn no more
You can’t deal with my critiques, so go
This house is filled with bitches and hoes
You called, you ain’t getting my attention
Give me some meals and I’ll let you know
Well, crash and burn is burning no more
The pain I feel is all the crystals
Stop smoking, you'll die before you’re old
Let’s take you to heal your heart and soul


For this bridge, the camera angles change: instead of left, they hit right for the bridge’s first verse, then left for the second verse. In each symmetric angle, both Manama and the dancers attempt to match the song’s energy while keeping an air of graceful elegance int heir movements. Even the camera tilts its angle for a bit in each shot while toying with the song’s expression. But instead of the forceful expressions of before, she is playful and energetic, a personality unlike her usual problematic and rambunctious self.

Por tí, por mí, me siento así
For you, for me, I feel like this

déjate ir y entrégate a mí
Let yourself you and surrender yourself to me


Déjame tanto, cuanto tú más
Leave me so much, as much, you more

y si no me harás brillar
and if not you'll make me shine

un poco más
a little more

déjame verte para llegar
Let me see you so I can arrive

y llorar con las ganas que tú me darás
and I can cry with the desires I get


In the final beats of the song, the camera focuses on Manamma and her dancers making various catwalk poses, as if they were on their way to a high-fashion photo shoot. Fierce. Realness. Cunt. Those are the expressions she offers to the public, more so those that follow the latest fashion trends and are equally immersed in ballroom culture. The expressions of striking a pose strike a thoughtful impression on the Britonish audience––more so to the fashionistas.

“Thank you, Britonisea! ¡Gracias!,” shouted Manamma to the very divisive audience: Some were cheering her performance, while others were booing at her because of her ridiculously scandalous actions during her time in Britonisea. Before leaving, she managed to flip the bird at the audience in classic Manamma fashion. She also grabbed the megaphone and managed to yell, “Lewis, please f—meeeeeee!” five seconds before the Britonish production team noticed the obscenity and hurriedly continued to the following country’s postcard.
Last edited by Achaean Republic on Mon Apr 20, 2020 10:56 am, edited 9 times in total.

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Amuaplye
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Posts: 2952
Founded: Dec 07, 2014
New York Times Democracy

Postby Amuaplye » Tue Apr 07, 2020 8:24 pm

28 - AMUAPLYE

Jeremy Barker - Forever

Tune: NILETTO - Любимка
Lyrics: Andrew Porter
Music: Jeremy Barker


Image


Jeremy Barker is an Amuaplyean artist born on July 23rd, 1995 in Melbourne, Amuaplye. He was born to an upper-middle class family, his mother being a doctor at a Melbourne hospital, and his father a financial adviser at the HQ of the Melbourne branch of the financial services firm Johnson and Sons.

He started his career in 2007, busking near his home in Melbourne. He caught his first lucky break in 2014, when he was picked up by National Records, a prominent record label in Amuaplye. He recorded his first album, What Dreams May Come, and released it on June 1, 2015. His first album charted at #4 on the Amuaplyean charts. 2 singles, Lessons for Sale and Babe, Wait and See, charted at #5 and #7, respectively.

He has released 2 more albums, for instance, Creativity, released on October 20, 2016, which charted at #4, and its 4 singles, Man of Something, So Do I, We Will Try, and Dreamland, which charted at #1, #4, #1, and #20.

His biggest hit, The Traveler, off of his album Crazy Thoughts (May 9, 2019, #1), was at #1 from its release on June 3, to August 12. The song deals with homesickness, and the desire to go home. This song has been critically acclaimed for its upbeat pop rock sound, despite its subject matter. It was picked by AITV (Amuaplye Independent Television), due to its popularity and sound.

It proved to be Amuaplye's 3rd best showing in its run at WorldVision, scoring 14th place. Whilst being, to put it politely, mediocre in most aspects, ATV decided to give Barker a shot again with "Forever", off of his new album: Togetherness, due to be released in 2021. It should be noted, however, that not only were the song's lyrics were changed slightly to fit with the theme of the contest, the song presented before you is mostly a work in progress, and the version on the album will be somewhat different than the one that will be on the album.




Jeremy walked up to the stage with a female companion, Jeremy looking something along the lines of this, and the woman looking like this. They sit on the central platform, it rising as high as it can go. Andrew Porter, the DJ, stands on the eastern wing of the arena, wearing a similar outfit as Jeremy, except that it is light grey instead of black.

I hope I'm not wasting your time, your time, your time, your time, time
But I really have something to say to you, to you, to you


Jeremy stands up, standing behind the girl, as she looks up at him. Jeremy, as he sings these lines, puts his left hand on his heart, and stretches out his right hand, gesturing as if he was in a play of some sort. He then walks over to the side of the woman, her eyes following him as he did so.

It's just a quick question
It's just a couple words
You've been asked this before
But I really want to
Want to be with me now?
Or perhaps forever?
It's all up to you
It's all up to you


The lights on the stage start flashing from black to white, and then from white to red to the beat of the song, as Jeremy struts around the center of the stage to the beat. He continues to theatrically gesture, sometimes beckoning her to join him. They both have grins on their face, and the girl nods at the very end, and gets up with him.

We can sit down here and talk
Or kiss in my room
Just whatever you want, babe
I'm all yours for right now
How does that sound for tonight? (yeah)
I'm with it if you are (yeah)
A chat, a kiss, a drink, your choice (yeah)
It's all down to your choices


The lights start flashing faster as she takes his hand, and follows him as he continues strutting and gesturing. Jeremy walks backwards in circles around the center of the stage, while she walks forwards. At the beginning of the 3rd line, the lights shut off, as fire comes up from the stage suddenly, timed to the sound of a gunshot (symbolizing Cupid's arrows), then goes away as quickly as it came.

I hope I'm not wasting your time, your time, your time, your time, time
But I really have something to say to you, to you, to you


He turns around on her, his back facing her, as he bends backwards so that he is facing her again. He continues to sing this line, his arms outstretched into the air. He then quickly gets up and twirls around, gesturing to her that he wants to dance. She smiles and nods, and the two hug each other.

Come to think of it, I need to say a quick thing
I think I'm in love with you right now, sweetheart
It's just a quick saying, It's just a quick saying
It's just a quick saying


The lights stop flashing and become white again, as the two start to dance around the center of the stage, doing some sort of a tango-waltz fusion to the beat of the song, whilst several dancers (both men and women), stand around the center in a heart shape, wearing red spandex full body suits (though, from the neck down, think the Tethered from the movie Us, and you'd be pretty close.), who twirl, dance, and make heart shapes with their hands.

Come to think of it, I need to say a quick thing
I think I'm in love with you right now, sweetheart
It's just a quick saying, It's just a quick saying
It's just a quick saying


Jeremy and the woman's dancing intensifies somewhat, as the red spandex dancers pair up and start dancing with each other. They imitate Jeremy and the woman's moves almost perfectly, ending with a kiss (unlike Jeremy and the woman), and then parting again.

There's no deadline
I'll be here whenever
I can be here for hours
Or even a few years
We can visit Brisbane
Maybe visit Bochke
We can do it all now
We can do it all now


Jeremy and the woman part at the same time as the dancers, the two standing on either side of the circle. Jeremy gestures again, making moves relating to the lyrics that he is singing at the moment. The lights tint at the times that he mentions the 2 cities, becoming a mix of blue, red, and yellow for when Brisbane was mentioned, and a mixture of blue, red, and orange for Bochke, then returning to normal.

We can sit down here and talk
Or kiss in my room
Just whatever you want, babe
I'm all yours for right now
How does that sound for tonight? (yeah)
I'm with it if you are (yeah)
A chat, a kiss, a drink, your choice (yeah)
It's all down to your choices


The 2 start strutting around the circle again, the two facing each other, but this time, the woman is walking backwards and Jeremy is walking forwards. When the gunshot is heard again at the 3rd line, the spandex dancers fall to the ground, and raise their arms and legs up in the air in the rhythm of the song.

But when you cry, you cry
I'll be the one to cry on
Yes, when you cry, you cry


The lights turn cyan, as the woman falls off of the platform. A few of the spandex dancers run over to the area and manage to catch her, a frown on her face. Jeremy lies down, and sings to her as she is lifted up by the dancers. His arms dangle off of the side, gesturing as he sings.

Come to think of it, I need to say a quick thing
I think I'm in love with you right now, sweetheart
It's just a quick saying, It's just a quick saying
It's just a quick saying


Jeremy jumps off of the platform, and lands on his feet. He'd then sing the song while dancing with a variety of people, including not only the woman, but several of the dancers as well, and the woman also dances with a few of the dancers as well. (And a few of the dancers also dance with other dancers as well. Everyone danced with everyone, basically.)

Come to think of it, I need to say a quick thing
I think I'm in love with you right now, sweetheart
It's just a quick saying, It's just a quick saying
It's just a quick saying


At the part where he sings the "it" in "Come to think of it", flames shoot up from all over the arena, as Jeremy sits in the center, and is lifted up by the platform. He sings the final part, which is mostly a series of "La"s, while standing on top of the platform, standing near the woman, as she stands right next to the platform. As soon as the song ends, everyone faces the audience, and Jeremy stays silent for a few seconds, before shouting off of the top of his lungs, "Congrats Bochke! Congrats Brisbane! Congrats Everyone!" Before jumping off of the platform again and leaving the stage, followed by everyone else.
Last edited by Amuaplye on Tue Apr 14, 2020 12:42 am, edited 4 times in total.
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Also, call me Amuaplye, not Amuapyle, or Amu.

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Darkmania
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Founded: Oct 18, 2015
Inoffensive Centrist Democracy

Postby Darkmania » Wed Apr 08, 2020 12:59 am

29. Darkmania

Cärtenne Sërnänä - "Naturen`s Sang" (Song of the Nature)




"I like to sing. That is why i am here. I dont care if i win or not. I just wanna sing." - Cärtenne Sërnänä


Cärtenne Sërnänä is a darkmanian soprano (meaning she is an opera singer). But not just a regular one. She is, in fact, a former winner, performing Tou ë Yr Tou ë Yr in World Hit Festival 38[/url], making her (as of this post) the only darkmanian winner of said show. Incidentally, the same host country that hosted WHF38 also hosts this very Worldvision, so she has some winning experience inside Britonisea


The postcard has played and all we see on stage is just a microphone stand. And nothing else. The background is nothing but a .jpg of a forest in the stary night with some sparking fog attached to the forest. The spotlights display a white light.

The opening drop of the stage completely drowns the background lcd in a bright white colour that is so bright, there are someone in social media who ends up making jokes about they no longer cant sleep for the next 5 days. The sound of 4 female sounding voices are all that can be heard, but none of then are Cärtenne.

Out of the whiteness, we see Cärtenne. She has been placed centre.

Vinden visker noen ord
(The wind is wispering some words)

Vi føler oss fri i grønne skoger
(We are feeling us free in green forest)

Blå vann og frisk luft
(Blue water and fresh air)

Ute i ukjente steder vekk fra stress
(Out in unknown places away from stress)


Glem støy og massing
(Forget noice and yelling)

Kranglinger og kriger
(Arguing and war)

La oss gå sammen ut i det ukjente
(Let us go together into the unknown)

Alle ønsker seg fred på jord, men vi er langt fra det
(Everyone want peace on earth, but we are far away from it)


The stage slowly begins to rise up, revealing a green like colour that
.
Fri, fri fra elendighet
(Free, free from misery)

Lyder lager rytmer
(Sounds makes rythms)

Naturen`s sang
(Song of the Nature)

Aldri hørt den før nå
(Never heard it before now)


Everything gets turned off, leaving only a single light source aiming at Cärtenne.

Kom med meg og bli fri
(Come with me and be free)


Everyone at the venue has been left speechless by "The Queen of Darkmanian Opera". With flawless vocal-performance, this entry will surely be a contender.

"Remercio teis! Thank you so much! We love you all" EMERCIO TEIS"
Last edited by Darkmania on Mon Apr 20, 2020 11:34 am, edited 6 times in total.
22/M/NORWAY #DMN
NSWIKI (IC) -wip- / Favourite Wikipedia-Page

Not racist. The name has nothing to do with racism.

Vermin Supreme 2020

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Krytenia
Senator
 
Posts: 3751
Founded: Apr 22, 2004
Inoffensive Centrist Democracy

Postby Krytenia » Wed Apr 08, 2020 8:29 am

Image
KRYTENIA - 30. Christopher Williamson, Fallin'

The stage opens to darkness. As the opening bars play, a young lady in a trouser suit and leather duster runs furtively across from stage left, spotlights following her across the stage. As she reaches the centre, a larger spotlight centres on Williamson, in tuxedo and bow tie.

The night has come, the darkness is your shroud
I search for you, I search for you
You are the wolf, you are the femme fatale
I wait for you, wait for you


The stage lights up, rich in gold and red. The videowall reveals a night-time cityscape. Williamson walks towards the front of the stage as he sings.

You wait up all night
The target's in your sights
Your finger's on the trigger, blood is cold
But I just don't see why
Somebody has to die
Somebody has to fall


The woman in the leather coat appears again, chased by two musclebound men dressed in stereotypical gangland thug costumes. During the chorus, the three have a choreographed "fight" of dance, which concludes with both men seemingly having had their necks snapped.

Is this the way?
You see them as your prey
They're standing in your way
They keep fallin', keep fallin' to you
I don't know what to do
To get it through to you
'Cause I'm still fallin', still falling for you


The leather coat lady walks towards Williamson.

My friends say, that I don't have to stay
But they're not me (They're not me)
They don't see (They don't see)


She brushes his arm once, and leaves.

In the end, you're coming back to me
Eventually (Eventually)
Then you'll see (Then you'll see)


Two more hoodlums come on stage, one from each side, and amble menacingly towards Williamson.

You wait up all night
The target's in your sights
Your finger's on the trigger, blood is cold


A red crosshair appears on the chest of one of the hoodlums, and he crumples to the ground.

But I just don't see why
Somebody has to die
Somebody has to fall


A red crosshair appears on the chest of the other hoodlum, and he crumples to the ground.

Is this the way?
You see them as your prey
They're standing in your way
They keep fallin', keep fallin' to you
I don't know what to do
To get it through to you
'Cause I'm still fallin', still falling for you


The leather coat lady returns, now dressed in a black cocktail dress.

My friends say, that I don't have to stay
But they will see, eventually


The pair dance with a spark of sexual tension as Williamson sings the final chorus and refrain.

Is this the way?
You see them as your prey
They're standing in your way
They keep fallin', keep fallin' to you
I don't know what to do
To get it through to you
'Cause I'm still fallin', still falling for you


"Thank you Boschke, goodnight!"
Last edited by Krytenia on Fri Apr 10, 2020 4:25 am, edited 1 time in total.
KRYTENIA: Losing in semi-finals since 2004.
Capital: Emberton ⍟ RP Population: ~180,000,000 ⍟ Trigram: KRY ⍟ iTLD: .kt ⍟ Demonym: Krytenian, Krytie (inf.)
Languages: English (de jure), Spanish, French, Welsh (official regional only)

Hosts: Cup of Harmony VII, AOCAF I, Cup of Harmony XV, World Cup XXIV, AOCAF XIII, World Cup XXIX, AOCAF XVII, AOCAF XXIII, World Cup XL, Cup of Harmony XXXII, Baptism of Fire XXXII, AOCAF XXVII, Baptism of Fire XXXVI, World Cup L, Baptism of Fire XL, Cup of Harmony LXIV, AOCAF XLVIII, World Cup LXXV, AOCAF LX
Champions: AOCAF LII
Runner-Up: AOCAF VII, World Cup LVIII
Creator, AOCAF & Cygnus Cup - Host, VI Winter Olympics (Ashton) & VII Summer Olympics (Emberton)

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Spiritual Republic of Caryton
Envoy
 
Posts: 269
Founded: Jun 25, 2019
Moralistic Democracy

Postby Spiritual Republic of Caryton » Wed Apr 08, 2020 7:29 pm

31 - Spiritual Republic of Caryton


Withdrawn, please only consider Zamboodle's entry.
Last edited by Spiritual Republic of Caryton on Sat Apr 18, 2020 2:11 pm, edited 3 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.
A 80s-90s tech restorationist christian nation with no separation between church and state. 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. (OVERVIEW VIDEO)
|| 17 yo Latter-day Saint 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: 10
Founded: Nov 14, 2019
Corrupt Dictatorship

Postby Zamboodle » Wed Apr 08, 2020 7:30 pm

32 - ZAMBOODLE SUPAH SOLDAHS - TOMORROW IS A CARY DAY


The African veelage troupe will perform one last time before going away for good - to work on a broadway musical featuring their songs.


The scene opens with the same village from spooky cary hell dream. The missionaries are gathered around by downtrodden Zamboodleans after receiving their excommunication orders.

link

Missionary 1:
"We still believe in Cary, all of us. Even if we live here now. Even if we become gay. Even if we chop limbs off like the Kommando. We can still work together and make Zamboodle our new paradise.

Missionary 2:
Wait, we're chopping limbs off now?

Missionary 1:
Well, if that's what Da General wants, my friend.

Fear not, dear companion, do not be so blue.
Tomorrow is a Cary day, and I am here for you.

Unison:
Tomorrow is a Cary day-
Tomorrow is a Cary day!
Tomorrow is a Cary... day!!"


The scene transitions into a brightly lit flashmob with all of the villagers and former missionaries dancing with each other as spotlights made incoherent patterns.

Missionary 1:
"I am a Carytonic saint!
I believe in the Gospel Church!

Missionary 2:
I love our dog through times of joy and sorrow... (Ensemble: Love dae dog through does time-ahs!)

Missionary:
It's not a sin to be gay instead!
It's not a sin to eat something other than bread!

Unison:
The only dog that matters here won't bring us sorrow!

Carytonic:
The skies are clearin' and the sun's coming out!
Cary's grace, we gon' borrow! (Zamboodleans: Praise dae dog!)

Put your sin and your fears and your cares away, and focus on the Cary day!

Ensemble:
Tomorrow is da Cary day! Yeah!

Village Princess:
I am a Gospel Church Membah (Z: doo doo wow!), along with dees sheet town! (Z: dees sheet town!)
AIDS and Ebolah can't come our way! (Z: Praise you, Lawd!)

Gay Missionary:
With men I catch my Z's
I don't care about no disease!

Carytonic:
And work to make a better Cary day!

Zamboodleans:
Hunnah heyah, he so gay-ah!"


The flashmob kicks to a new intensity as the hell background is spun in and out, swapped with the village background as the fake Carytonic figures from Caryton Nativity Story danced in their manner stereotypical.

Carytonic:
"We're gonna help out our brothers every step of the way,
Cary's grace we gon' borrow! (Z: Hana heya!)

Zamboodleans:
Caryton may hate us for our culture and ways,
But they don't know it's a Cary day.
Yeah, tomorrow is a Cary day!

Missionary 1:
I decree! (Z: Tomorrow is a Cary day!)
I believe! (Get so fat and die from your bladder day!)
I decree! (Tomorrow is a badder madder Cary day...)
-
I decree! (Have gay sex and don't be shunned for it day!)
I believe! (Wear a dress that doesn't cover your ankles day!)
I decree! (Do some dope and have an african ritual day!)

Ensemble:
Why are Carytonic stuffy, it's because they know!
We copyrightin' their dog to borrow!
So if they're mad put your hands together and pray!
That it won't be a bomb and gun and fightin' day!
And then they'll probably invade us anyway!
Tomorrow is a Cary day!

Missionary 2:
So what kind of songs will we sing?

Missionary 1:
What new church will we make of old?

Village Princess + Missionaries 1&2:
I can almost see it now...


The stage goes dark. The scene changes again once the spotlight re-forms on the Zamboodleans, still armed to the teeth, coated in dirty dress shirts and holding pamphlets and an unknown red book.

Ding-dong.

Bubumbo:
"Hello, my name is Brother Bubumbo!
And I would like to tell you that I'm not some crazy crook!"

Daede:
Hello! (Sheet-blood!)

Daede:
My name is Sister Daede,
I have a book about a people who were lonely like you too!

Village Princess:
A sacred text!

Douknodewe:
Hello!

Village Princess:
Of rebels and dogs! (AIDS dogs!)
And how you can find salvation if you just believe!

Villager 1:
Hi ho!

Villager 2:
Ding-dong!

Villager 3:
Hello!

Villager 4:
Nipple-face!

Villager 3:
You have a lovely manure hut!
And if you just put the machete down I'll show you-
Ow, ow, ow my arm!

Villager:
Hello!

Falli:
My name is Brother Falli!
You will love all of dae AKSHUN dat dees book can bring!

Warlord:
Hello. (Hello!)

Warlord:
I just killed and raped fifty people!
But I can testify that this book has sacred magic can sing!

Villagers:
Find paradise! (Like Jesus Christ!)
And a little gore! (Hello, nice door!)
You've been told by Caryton the Bible comes in four! (No more!)
There's five. (There's really five!)
This is not a prince scam. (No ma'am.)

Have you heard the story of the Prophet
Mateus Breton? (From Britonisea!)
Mateus Breton. (Our gracious host!)
Mateus Bret-

"Breton":
He-eell-o!

Ensemble:
Our church is growing strong!
And if you let us in we'll show you how you can belong!
Join our family, and set your spirit free!

We can fully guarantee you that this book will change your life!
This book will change your life!
This book will change your life!
This book will change your life!

The book of sheet-blood! (sheet-blood!)
Hello!"


The curtains closed and all of the troupe stood in front of them for the curtain call in which they respectively bowed.


Ensemble:
"We are Gospel Zamboodlean Church!
We are always at your door!
When the warlords come down, we can brighten your day! (Brighten that day!)

We may all have AIDS!
But our kids have good grades! (Hanna heyah!)
Make a water well and come out as gay!

Thank you, God!
Hasa Cary Eebowai!
Tomorrow is... a Cary day!

Villager:
I STILL HAVE SHEET-BLOOD DOWN MY PENIS!"
Last edited by Zamboodle on Sun Apr 12, 2020 3:20 pm, edited 1 time in total.

User avatar
Zentata
Bureaucrat
 
Posts: 62
Founded: Nov 10, 2019
Liberal Democratic Socialists

The Woogles Perform-Song 33

Postby Zentata » Thu Apr 09, 2020 5:41 am

Song of Serenity-By the Woogles

The lights come up to reveal 5 Shrouded figures in black in the back, and the lead singer of the Woogles, Micheal Isbon in the front of the stage with a spotlight on him. He begins to sing.
Hello hope my old desire
I thought I'd never hear you again
Because I was taken in the nigh--t
And left no trace, forever sleeping
And the doubt that was pushed inside my mind
Still stand--s aahhhh
The sound of Serenity

The music enhances as the other figures slowly unviel to reveal the rest of the woogles, and a sharp white light fills the stage, blinking on and off
In all my peace I've walked it slow-w
In the narrow boundaries of where I roa--m
Beneath the oversight of peace
I turned to hope for something new-w
And then I heard the sound of cha-ang-ge
And it said there would, be
No sound of serenity

There is a pause, and then a massive drumbeat starts, shaking the floor.
And I was glad, you bet I was
But the people cried and more
They did not talk, they prayed
And I heard nothing-g
Doing things I'd never know-w
Because they didn't want
No more echoing serenity

The music dies down as the Woogles are slowly lifted up still playing their instruments, execpt for the lead singer, who continues to sing...
I thought they were fools
Serenity is like a death spell
Why don't you listen to my call
Take my words, let me reach--h yo--u
But they isolated me
And my echos became, the sound of serenity

A rain seems to fall, and neon light illuminates it. Micheal continues to sing,and is being lifted up, but he is resisting
And then I realized, hope
serenity, the same
I was warned, and I chose to die-e
For I now know that serenity is only
Only what you make of--f ooooohhhh
The sound of Serenity


The stage is black
Last edited by Zentata on Sat Apr 11, 2020 5:27 am, edited 1 time in total.
Go Zylan Zingers!! Support them with an upvote here https://www.nationstates.net/page=dispatch/id=1319976. LET"S GO ZINGERS LET'S GO!!!
SEMPER THALASSIA!
My views in this nation reflect real life, except when they don't.
We are because we am.- Terry Pratchett
Also, I got to the house but found a mouse. Goodbye, adios, au revoir.

User avatar
Natanya
Chargé d'Affaires
 
Posts: 363
Founded: Nov 15, 2011
Liberal Democratic Socialists

Postby Natanya » Thu Apr 09, 2020 8:21 am

34

coming soon init
GENERATION 33: The first time you see this, copy it into your signature on any forum and add 1 to the generation.

WV21 - Savnic - The Japanese Girl - 22nd - 25 points,
WV31 - Kaylileenástkadeenada Ñadiakimadoradaþínkaðerren - You Can't Make Me Cry - 16th - 37 points,
WV32 - Tuo Su and Yao Su - Internal Fire - 19th - 42 Points,
WV34 - CNLD,
WV38 - CNLD.

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Britonisea
Powerbroker
 
Posts: 8039
Founded: Oct 29, 2012
Inoffensive Centrist Democracy

Intermission 3: The Last Few Interviews in Junterapten!

Postby Britonisea » Thu Apr 09, 2020 8:24 am

Image

At the end of the Natanyan performance, the audience cheered as there was a shot showing the whole arena, with the camera moving slightly to the size as it did. We then saw the ident for the contest before going to the Greenroom...
Jordan Hermes: Thank you very much Natanya!

Ria Aristide: We are now...34 songs down but the song contest is still not over, y'all!

Jordan Hermes: But before we go back to the songs, we need to fill in everyone with the last bit of what happened at the Junterapten Pre-Party, don't we?

Ria Aristide: Of course we do - let's see the final acts Mateus interviewed...


Image



TITANIUMLAND WITH CHLOE SVENSSON
Check out her performance:
08 TITANIUMLAND


Mateus Breton: Hello Chloe, Its very nice to meet you here on the Junteräpten Pre-Party stage. How are you feeling about performing in front of everyone; there's an audience of maybe 3000 people here and then another 3000 dotting around the other hall and here?

Chloe Svensson: It's crazy. The atmosphere is amazing, the people are super nice, and excited to present my song through this pre-party.

Mateus Breton: Titaniumland hasn't participated for quite some time and you were the chosen come-back participant. What does this mean to you?
Chloe: It means a lot to me. Especially, the head of TNT himself approached to me to represent the Titans. And also, I'm a huge fan of Worldvision so it feels like a dream come true.

Mateus Breton: Your Tour. It's to my understanding that you'll be doing a lot of promotion throughout this period - including performing in Britonisea - could you tell me a little bit more about that?

Chloe Svensson: I am! I'm excited to finally on the road again to show the world what I can do (laughs). Performing in Britonisea has always been a fun experience for me. The crowd is insane and the people I have worked with are also super friendly and nice. For the show in Machievelihe, we promise to have a great show and provide a great time for everybody. And we will have dancers, choir, band and everything. I'm very excited.

Mateus Breton: Well, I wish you good luck! The act from (I forgot) has sent you a hug. Would you like to pass this on to anybody and who and why would you like to pass it on to?

Chloe Svensson: I'd love to give hug to lovely Priscilla from Antahbrantahstan! We actually talked backstage and got along, I wish nothing but everything great happens to her.



ANTAHBRANTAHSTAN WITH PRISCILLA
Check out her performance:
18 ANTAHBRANTAHSTAN


Mateus Breton: Hello darling, PRISCILLA! Welcome to Junterapten. How excited are you to head to Boschke for the 81st WorldVision Song Contest? You're only two hours away from Boschke - the host city is closeby!

PRISCILLA: Ah, yes, yes! Thank you! Honestly i'm so, so excited, mainly because the last time i've been to Britonisea is so fantastic! So I can definitely tell that Britonisea, Boschke in particular, will, um, provide me with more amazing experiences and also some nice additions to my passport stamps! Haha

Mateus Breton: So tell me about "Strawberry" - what is the song about? Are they your favourite fruit or something?

PRISCILLA: Well, Strawberry is of one of my favourite fruits, but the point of the song is not about that, Strawberry is like, um, how i am literally a femme fatale trying to seduce someone, very family friendly, isn't it?

Mateus Breton: And how did your participation come about? Who was involved in the creative process behind "Strawberry.

PRISCILLA: I wrote Strawberry while i was doing my album alongside my producers, DUMZ and Lenna, however, it came off as too sensual and contradicts with the theme i'm hoping for my album, so i thought, "what about entering it in WorldVision?" So i submitted it to MGP Anta, which is the Anturian national selection, then i won, and boom, i am here.

Mateus Breton: A fun question from you - if you had to steal a former Anturian entry in the past and send it again to WorldVision - which song would you send?

PRISCILLA: That's a very tricky question! But for me, i would very much love to send "Dream" once again, Sara-Lorena's impact back then was huuge in Antahbrantahstan, and Sara-Lorena is my idol! You know, I guess musical talent really runs in the Britonish blood, and Sara, being half-Britonish is the proof of that!

Mateus Breton: Haha, thank you! Well, you received a hug from Chloe - lucky you!! Now, it's time to pass on a hug...who would you like to pass your hug to and why?

PRISCILLA: I wanna pass my hug to Cartenne from Darkmania!! I love love her voice so much!



DARKMANIA WITH CÄRTENNE SËRNÄNÄ
Check out her performance:
29 DARKMANIA

Mateus Breton: Hello Cärtenne, and welcome to Britonisea - or should I say, welcome back to Britonisea! How are you feeling - did you have a good journey to our country?

Cärtenne Sërnänä: Thank you. I had a good journey here. I know i have been here before. Its like i am gonna get that britonish citizenship after all (Laugths). I am feeling good, thank you

Mateus Breton: Now you are a World Hit Festival champion and when you won the World Hit Festival, you won in Britonisea's capital city in Doportedas. Do you think that you could strike again in Britonisea?

Cärtenne Sërnänä: Well i dont care if i win or not. I am here just to sing, or to sing opera. I know that there are some fans in the WSC who knows me from WHF38 and even if i do want to win, but then everyone want to win the Contest, i hope that i mabye end up winning both WSC and WHF. The only missing is JWHF (Laugths).

Mateus Breton: Could you tell me about your WorldVision song, "Naturen`s Sang" - firstly what it means in English and then your personal connection to it?

Cärtenne Sërnänä: Me and my husband wrote this song as we felt that the current political climate was getting more poliziced. We Darkmania has a prediental election aswell as a general election later this year in the autumm and already we have a presidental candiate who are, for a lack of a better word, a toxic idiot." (Refering to a candidate named Frÿdrick Fërma, the presidental candiate for the right wing party "Party For Patriots". Think of it as the party Marie Le Pen runs in France but with less sexism). "Now we dont know that the future are brining us. It is into the unknown, so what i want is that we go into the unknown wilderness of the nature and forget all of the things that divides us. When i am home in Darkmania i like to take a walk into the wilderness. It is a tradion that i was rased on by my mother and father and doing one of the trips, i belive it was like the mouth after VM 2019, i was in a forest and it was just amazing. It gave me and my husband the insperation to write a song called "Song of the Nature" or "Naturen`s sang". We darkmanians love our nature

Mateus Breton: Now it was Chloe from Titaniumland who gave you your hug. Finally who would you like to pass your hug onto next - which act from the Pre-Party and why would you like to pass it to them?

Cärtenne Sërnänä: Can i hug you mister?

Mateus Breton: Haha! Maybe after this interview but a Junterapten Pre-Party representative first!

Cärtenne Sërnänä: What was his name?...Ïnükh Pmïlginkh? Sound lovely. Send him all of my hugs.

Mateus Breton: Thank you very much, Cärtenne! Have a good performance!



HAFÄMARIMËT WITH ÏNÜKH PMÏLGINKH
Check out his performance:
XX HAFÄMARIMËT

Mateus Breton: Hello to you, Ïnükh and welcome to Britonisea. I am not too sure whether you've had the time to experience any of Britonisea since you've come but how is the country doing for you - I hope everyone has been welcoming, especially the crowd here in the Junterapten Pre-Party!

Ïnükh Pmïlginkh: Thank you, hello! I am very happy to be in Britonisea. I don't see much except the city, this city but it is very fun! I go out and drinking and dancing, everyone likes to dance and have fun! Pre-Party is a real party!

Mateus Breton: Now, Hafämarimët has not participated in the WorldVision Song Contest for quite some time - how does it feel being the first person from Hafämarimët to represent your country again after the hiatus?

Ïnükh Pmïlginkh: It is very much honor for me. I never thought I can go to Worldvision. I think I am not too nervous, I will have fun, but I want to do a good job to be proud of myself, and already proud of everyone who comes with me!

Mateus Breton: Could you tell me a bit about your song, "Come to Me" what comes to mind when you think about your song?

Ïnükh Pmïlginkh: I hope that even it's not in English but people can understand, it's that feeling of love, that you can look at somebody and say I want you being beside me, I take a strength from you. Even if you meet them only for one dance, or even if you are lucky to share breakfast every day with them, you still can share many things if you love each other.

Mateus Breton: You received a hug from Cärtenne from Darkmania, former World Hit Festival champion who is participating here in Boschke. Who would you like to pass your hug on to and why?

Ïnükh Pmïlginkh: I hug Flourishing, they are from Imperial Joseon! I hug them for the pain in my head because we had many drinks another night.



IMPERIAL JOSEON WITH FLOURISIHING
Check out his performance:
XX IMPERIAL JOSEON
Last edited by Britonisea on Sat Apr 25, 2020 3:21 pm, edited 3 times in total.

User avatar
The Hlhata States
Secretary
 
Posts: 39
Founded: Jul 29, 2018
Iron Fist Consumerists

Postby The Hlhata States » Sun Apr 12, 2020 4:01 pm

THE HLHATA STATES || 35
"Song For A Stupid Heart"

Martina Damarco
Music - Martina Damarco
Lyrics - Martina Damarco
The Future Is Bright - Amy Lennox





When you've fallen again
For that guy
Who has your heart in his hands
And you've nowhere to go
But his arms that you left before

So you go through that pain once more
And yet again you're all alone
But you'll do it again, and again cuz
Your heart loves him so


Yet
Remember you deserve more than that boy you know
So shout your vows
Tell yourself
You're never a slave
To your heart of gold
And
You're a goddess and a fool but that's ok
You're a star, work of art
Yeah
So shine bright my queen!


Yeah, yeah, yeah, yeah, woah, woah, woah, ooh!

When he texts you at two
Leave him ghosted or tell him goodbye
If you feel your heart sing for some playboy toy
Sing louder, sing free

So soon you'll find your prince charming
But first you'll break through the storm
Just wear your dazzling crown
Let them know you ain't
Their plaything anymore
Shine bright my queen!


Yeah!
Remember you're better than any boy in history
So shout your vows
Tell yourself
You're never a slave
To that heart of yours
And
You're a goddess and a fool but that's ok
You're a star, work of art
So shine bright my queen!


Woooaahhhhhhhh!

So shout your vows
Tell yourself
You're never a slave
To that heart of yours
Take to the skies
Fly to the stars and far beyond
Don't let no fool of a boy
Get you down, get you down oh
Get you down, get you down yeah oh
So just live your life to the best
Keep your head up don't let your crown fall
Don't you know!
You're a goddess and a fool but that's ok
You're a star, work of art
Beyond reality!
So shine bright my queen!


Yeah, yeah, yeah, yeah, woah, woah, woah, ooh!
Last edited by The Hlhata States on Sun Apr 12, 2020 4:03 pm, edited 1 time in total.
i do hate certain ppl
    67 = 25/31
    78 = 28/29
    79 = 21/23

    41 = 17/20
    42 = 19/20

    5 = 13/15

User avatar
Elejamie
Minister
 
Posts: 2878
Founded: Jan 31, 2009
Left-Leaning College State

Postby Elejamie » Tue Apr 14, 2020 6:52 pm

Image

ETV1 presents WorldVision 81 - English language commentary by Cerin Erali and Flynn Taggart

Image

Image


CE: Welcome to WorldVision 81! Bienvenido a WorldVision 81! Yalcom WorldVision 81! Live from... Boshkee? Boskee? Bos-ke-ke? Boshkeh?
FT: One of those.
CE: Live from Britonisea! I'm Cerin Erali...
FT: ... And I'm Flynn Taggart.
CE: And we are your English language commentators for this evening. For a Spanish commentary, Iyilim language commentary or to sing-along to each entry, please press the red button. Thank you. Para Español, Iyilim o karaoke, pulse botón rojo por favor. Gracias. Aspenol, Iyilim o cereoc - Ancelis o Aspenol, ne Iyilim - plaes toc rad boton. Fenci.
FT: Voting works the same way it always does. You either dial the number, text SONG, S-O-N-G in all caps, followed by the entry number to the other number, you click the button on the app.
CE: But you can't vote for entry #6. Even if it is your second choice. Ehhhhhhh...
FT: Rather than complain about how lame and nonsensical that pun was, I'm also going to tell you all that you can't vote until they tell you to, otherwise it will not count.
CE: Anything else?
FT: Not for the minute; besides we can talk them through it when it's the right time.
CE: Alright, let's get on with this thing!


Opening Act (the Parade of Nations is still WIP, as is my commentary for it)

CE: So, after that brilliantly yet dramatically scored introduction video that shows Britonisea's progress throughout the competition, as well as some high and some lows, we get to the Parade of Nations. A look at everyone who's going to compete!
FT: For better or for worse.
CE: That's true. Some got a positive reception, like Malta Comino Gozo and Belgaam. Others, like Placely Placington, wasn't as fortunate.
FT: (in an obviously disinterested voice) What a shame.
CE: (completely oblivious to his co-commentator's snark) It is. But it can't be helped. Anyway, the track that was going on in the background was a b-o-p BOP, good enough to have been an entry! Probably not a top ten but definite top half. And it did serve as a good warm-up for the opening song, performed by the three hosts.
FT: I hated it.
CE: It wasn't that bad, Fleen!
FT: It all sounded like a load of unrelated, generic party-sounding tracks, either musically or vocally, were mashed together with no care for the end result.
CE: I guess? But I still thought it was decent. Especially the vocals.
FT: It was sung decently, that's as much praise as I can give it.
CE: There we go! There's a bit of positivity! Now, hopefully there'll be a song tonight that you will like. I want you to come away with at least one song you thought was good.
FT: We'll see. Going into it blind for a change. I may have been quarantined for a fortnight but I still didn't listen to any of these other than our own.


01 - Highly Ranked

CE: Second time in a row these guy have started now! The song's the same tune that we kept hearing so long ago. Like, I think it was used twice in the same competition.
FT: It was, WorldVision 39 in Titaniumland. I haven't missed it, by the way.
CE: It's not to say it was a bad song but it was just so overused it just ruined it for everyone. But enough time's passed to make it enjoyable again, so I like this one.


02 - Scotatrova

CE: Now, as you all know, the second entry of the night has never won the competition. Which is a massive shame because there's been quite a few songs that I felt could've won if they were performed at a different position. This might be one of them if it doesn't win.
FT: It's decent, so you were right.
CE: Hooray.
FT: Still won't win, though.
CE: But if it does finally pull it off I won't be surprised.


03 - Polkopia

CE: Let's get all the great songs out of the way, shall we? Yes, another solid tune from Polkopia. Good vocals, staging, beat, potential winner.


04 - Kalosia

CE: Before we commentate on this entry, I'd just like to say that our thoughts over at ETV are with the Kalosian people during this difficult pandemic, especially since we and a whole heap of other nations are going through the same thing. RIP to those who have passed, may those who are still sick recover as quickly as possible and let nothing hold them back and hopefully this crisis passes soon.
FT: I'm not going to be my usual cynical self here, but I will also suggest that everyone still be safe and don't hoard any supplies, especially perishables like bread and fruit. I don't need to tell people that but they still do it anyway.
CE: Agreed. That sort of stuff helps no one. Anyhoo, onto the entry now! It's good. Kind of like alt-rock, kind of dancey, overall quite good.
FT: Back to my usual cynical self just to say that this isn't my sort of thing, in all honesty. Not bad, just middling.


05 - Belgaam

CE: Ooh, now this is a name that hasn't been heard around these parts for quite a bit now. It's Belgaaam. And they've made quite a comeback in style. It sounds like it should be in a sports game but it's still good. I liked it. Good showing there from Belgaaaam.


06 - Elejamie

CE: Here's us, with our entry!
FT: Yay.
CE: While I personally don't think it's as good as Mason's entry and it might have difficulty squeezing into the top ten in a competition this stacked, it still might do well.


07 - Todlichebujoku

CE: Oh hello there, Murkusta 2: The Quickening. Yeah, this is a great metal track by my standards, should do very well tonight. Don't imagine it'd win but, if it does, hopefully it'll have more of a lead than the last time Toad-licker-bazooka sent a metal act.
FT: In other words, it won't have to rely on a literal last second victory. I also thought this was decent, by the way, so no snark here.


08 - Titaniumland

CE: A nice, slow and slow, chill, relaxing R&B track. I mean it's the standard "I left you and I'm feeling better for it" that you'd get but it's still done very nicely. Well done, Chloe.
FT: I admit it was good as well. Sounds like something that would've came out of the 90s.


09 - Vartugia

FT: Remember when they had that revolt where they wanted to go back to being sane? Me neither. At least this was sung competently.
CE: Music's not that bad either.


10 - Beepee

CE: While this isn't as great as their last entry, this isn't a bad ditty either. Feels a bit brash and overpowering, especially the horns during the chorus, but it's still a decent track. Might get points, might not.


11 - Eljida

CE: A very, very catchy track. If it wasn't in such a strong competition, easy top ten. But for now, it might have to hope and wish for the best.


12 - Talvezout

FT: Very repetitive.
CE: I guess but it's the good kind, where it kind of makes sure it gets buried in your head. And I can imagine this getting stuck in my head for a few hours, maybe a day until I play it again because I want to keep it buried in my head.


13 - Nahlcomo

FT: Feels lo-fi but, I don't know, something about this works.
CE: Yeah, I must admit that this was actually kind of good. Something about it made me feel sad. Hopefully it'll do well.


14 - Malta Comino Gozo

(random plug during the postcard)
CE: Now, before we commentate on the entry, we'd like to do a small plug for what's being called "Sports 4 MCG".
FT: Yes. Though we do not know the exact dates, times and locations yet, we do know that there will be a series of charity matches, one from each sport, to be played in Malta Comino Gozo to raise money to help rebuild following the horrific storm surge there, especially since the seasons have either been cancelled or delayed. In soccer, it'll be Playa de Rocas vs the Edgebaston Wild; in rugby union it'll be the Murgon Bullfrogs vs the Coventry Wyverns; in rugby league it'll be Aloc RLT vs the Crown Manor Princes; in ice hockey it'll be my old team the Avon Stars vs the Davenport Dockers; and in Twenty20 cricket it'll be Rosetta vs Nuevo Paraíso y Valledorado.
CE: It's all for a good cause, hopefully everyone playing will be fit and healthy and hopefully we can help nation that'll host those games recover.

(following the entry)
CE: Nice to see you again, Lewis! Just as good as his first entry, if not better by a slim margin. Will it do better? You'll have to try and make that happen, peoples at home.


15 - Ertzei Kishim

FT: Last time's winners.
CE: Shock winners, I might add.
FT: Not really that much of a shock, at least in my opinion, but OK.
CE: Anyway, this song. It's OK. When I first listened to it I felt disappointed but listening to it a couple more times made me really feel it. Won't get them back to back wins like the last times but it's always worth a shot!


16 - Ekoz

CE: Welcome back, Ekoz! Long time, no see. And what a comeback we have here! Very danceable, very catchy, could score a decent amount of points.
FT: Not really that interesting but they'll probably be like us, this is just them testing the waters to prepare us for what they're about to bring to the table.


17 - Waisnor

CE: Wow, bombastic introduction there. I mean, the music itself is decent but the guy's voice? I'm not sure if I like or dislike. I'm honestly torn on this.


18 - Antahbrantahstan

CE: Now we're back to something I can definitely decide if I like or not. And I do like this. Standard experiemtnal poppy stuff, fairly inoffensive other than the whiplashes as it changes styles, but will still definitely get a decent score.


19 - Placely Placington

FT: The less said about this, the better.
CE: Agreed. Not my style but maybe there's someone whose style it is.


20 - Besen

CE: Another good track from Besen. Something about this says "surprise winner" even though I don't think it will win. I do think it'll fit just fine in the top five, maybe even a podium finish.
Last edited by Elejamie on Mon Apr 20, 2020 4:25 pm, edited 5 times in total.
Elejamie (English); Elejamia (Spanish); Elejam (Iyilim) - Denonym: Elejamian - Pronounced (English): Eh-leh-jah-meh
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Nacrad
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Founded: Jan 16, 2020
Left-Leaning College State

Postby Nacrad » Wed Apr 15, 2020 2:29 am

WIP
Last edited by Nacrad on Wed Apr 15, 2020 2:47 am, edited 1 time in total.
A 14 civilization, according to this index.

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Estogium
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Posts: 420
Founded: Apr 27, 2015
Inoffensive Centrist Democracy

37 | Estogium | The Smile Project - until your heart's conte

Postby Estogium » Wed Apr 15, 2020 5:49 am

#37 ESTOGIUM
The Smile Project - "until your heart's content"
Tune : bill wurtz - "i just did a bad thing"
Language: English
Duration: 2:47

Image
The Smile Project: From the left to right: Jack, Mark (lead singer), Jake, Mike representing Estogium with the song "until your heart's content"!


Estogium returns to the WorldVision Song Contest with band, The Smile Project, for what will be Estogium's 33rd participation at the contest and this time it's being held in neighbouring country, Britonisea, albeit on the other side of the Brito-Esto border...

After the Estogian postcard, the crowd came in with a huge roar for their neighbours. It was now time for The Smile Project to grace the stage. The Smile Project wasn't expecting a whole lot from the WorldVision Song Contest, but they hoped that their participation in the contest would make some people happy and to smile - after all, they're called The Smile Project for a reason. At the start of the song, the lead singer Mark stood in the middle of the stage while the other three, Jack, Jake and Mike were dotted around the stage in different areas. As the song came in, the dark stage lit up in bright pastel pink, blue and yellow along with white. The camera trained itself on each one of the members of The Smile Project as the four of them started dancing around happily. The audience watched the sight in front of them...

Do you feel like you're down?
Can't turn that frown upside down?
Do you feel like you are trapped?,
Oh I know how that feels,
Feels like you're trapped


We still focus on the main singer as he embraces himself. At the time, he didn't have any instruments in his hands. The colours in the back really complimented the song - the innocence and joy of it.

Come over for a cuppa
I have shortbreads and custard creams
A knees-up will do some good
Tell me what is on your mind, love
Let it out! Oooooo


As they sang "oooooo" together, there was shot from further away as the camera moved from one side to the other. As we moved into the chorus of the song, everyone jumped in the air screaming "Hey" at the same time. There was a single pyrotechnic used, and as they jumped up you could hear the bang.

Hey! Tell me 'bout your sad face
Why aren't you happy?
What can I do to help?
The pain will wash away someday,
I would know


There was a steadicam which made its way to the stage, with the steadicam man running and swirling his way across all members of The Smile Project, with each of them playing their instrument, smiling as the camera moved passed them.

Hey! Come on now, let's embrace!
I'll be your shoulder,
Cry and cry 'til your heart's content
Oooooooo until your heart's content
Oooooooo Everything is okay


The leader singer then starts to sing about keeping healthy as the steadicam man ran off the stage. The lights dimmed a bit, focusing on the man singing. He looked out to the audience as he sang. He had the guitar or whatever it was around his neck, pointing out to the audience with his free hand.

Go for a walk daily
And keep up the good hygiene
And, exercise your mind,
Read a book, educate
Go find yourself a date
Stop thinking about your ex, Kate
It's not your fault she is a thief
So please don't get mad about her 'cuz
You are better than her, just date me


We then start to get more information about what the song is about, and it seems as though it is about this woman called "Kate" who stole the heart of whoever the lead singer is singing to. The lights brightened up once again. There was an aerial shot of all of them, with dancing left and right together, shaking their hips as they danced.

It's not your fault she stole your card
And no it's not your fault, she had stolen your car
But you have it back, take me for a...
Ride around town

I don't mean to offend
I'm just not on the fence
I have an opinion about Kate


The Smile Project, all members, jumped into the air as the camera zoomed out before zooming back in - almost like air when you're taking a breath, with a large BANG being heard when we come back in.

Hey! Tell me 'bout your sad face
Why aren't you happy?
What can I do to help?
The pain will wash away someday,
I would know


They continue to sing and dance here, with there being a shot of Estogians in the audience, as they forcibly smile at the camera.

Hey! Come on now, let's embrace!
I'll be your shoulder,
Cry and cry 'til your heart's content
Oooooooo until your heart's content
Oooooooo Everything is okay

Everything is okay!


At the end of the song, they raised their hands in the air before the audience came in with a modest cheer for their neighbours, "Thank you, Remercio Teis, Brityunik!" Mike said into the mic. The four of them walked off the stage ready for the next performance from Petroslovania.
Last edited by Estogium on Mon Apr 20, 2020 8:05 am, edited 6 times in total.

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Petroslovania
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Posts: 255
Founded: Dec 09, 2016
Ex-Nation

Postby Petroslovania » Wed Apr 15, 2020 7:54 am

#38 PETROSLOVANIA
The Sausage Cats - "Red Wind"
Tune : The Red Hot Chili Peppers - "Under the Bridge"
Lead Vocals: Marvin Jones Guitarist: John "Gino" Foster Bassist: Connor "Popeye" Huang Drummer: Malik Smith

Image
Marvin Jones and Gino Foster performing at the King Center in New Manilla


The nation is buzzing as the first ever Petroslovanian act to appear in the WorldVision Song Contest was preparing backstage. Successfully competing would not only bolster native Petroslovanian music domestically, but open up the industry to success in the foreign market. Not to mention promote the funding for national musical arts programs. The process of choosing an artist or group to represent the nation on the nation scale involved a long series of auditions, performancings and votes. The finalist was chosen by the nation’s people, a panel of judges, and even members of Petroslovanian government’s Ministry of Culture. Ultimately, the band that won the nation’s heart was The Sausage Cat’s. After topping the domestic music charts for many years The Sausage Cats are generally considered “past their prime”, however, their recent hit Red Wind reminds the nation of both its musical heritage, celebrating the era of 90’s rock, as well as hardship faced during the several decades of Communist rule in Petroslovania.

Backstage Marvin listened as the Estogian band, the Smile Project, began to play Until Your Heart’s Content. He pictured the drastic change in mood that would surely begin as soon as Popeye strummed the first notes of the riff they wrote together just four months ago. His thoughts were interrupted by a stage manager yelling, “THREE MINUTES UNTIL THE NEXT ACT.” At that Marvin gathered his band and gave a stern yet inspiring pep talk, he sent them on their way to do any last minute preparations they found necessary. “TWO MINUTES” yelled the stage manager. Gino grabbed his guitar and fingered out some practice notes. “ONE MINUTE.” Popeye abandoned his post at the service table, he said his goodbyes to two young female equipment managers, their names escaped him but he didn’t mind. “THIRTY SECONDS.” Marvin hugged his daughters and walked towards the stage. “FIFTEEN SECONDS.” Malik signed the cross and pulled his drum sticks out of his back pocket. “NEXT ACT IS ON.” The Sausage Cats walked on stage and when the cheers died down Popeye played the opening riff.

The winds are blowing across the vast nation,
The winds are blowing in deep shades of red,
But still we are all hungry, hungry for freedom,
Broken together, alone we all cry.


All I have is tears, but at least I have something
I'm searchin' for friends, at least I have myself
He knows my secrets, and I have told no one
I never worry, now that is a lie.



I could never let it stay, I need to be free,
When everyone has nothing, is that equality?
I could never let it stay, I need to be free,
When everyone has nothing, is that equality? (yeah yeah)


It's hard to believe that there's someone who likes it,
It's hard to believe, that we’re not alone,
I’m fighting for something, and still they give nothing,
Broken together, alone we all cry.


I could never let it stay, I need to be free,
When everyone has nothing, is that equality?
I could never let it stay, I need to be free,
When everyone has nothing, is that equality? (yeah yeah)



Ooh no (no no yeah yeah)
Free me, I say yeah yeah.


(As the red wind blows 'round) I cried out for some help.
(As the red wind blows 'round) I bled out on the ground.
(As the red wind blows 'round) I did not have enough.
(As the red wind blows 'round) My past came to save me. (yeah yeah)


Ooh no (no no yeah yeah)
Here I stay yeah yeah
Here I stay.
Last edited by Petroslovania on Sun Apr 19, 2020 8:03 pm, edited 1 time in total.
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Elejamie
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Founded: Jan 31, 2009
Left-Leaning College State

Postby Elejamie » Thu Apr 16, 2020 7:00 pm

Image

ETV1 presents WorldVision 81 - English language commentary by Cerin Erali and Flynn Taggart

Image

Image


[u][b][color=#004000]21 - Axuva

CE: Wow, another early 00s sounding R&B track. And just as good too. Might score very well tonight.


22 - Lagoa

FT: This song feels baity. Like it wants to be given the trophy on a platter even though it won't get it.
CE: I mean, it's not the best but I wouldn't go that far. Could still scrape a good amount of points.
FT: It will and I will.


23 - Antenovaria

CE: Ooh, this is nice and bouncy. I reckon this'll do very well with Acaya. But for us? It might scrape a couple of points. Only one way to find out, really.
FT: Certainly better than the last song.


24 - Izmedu

FT: Remember when they came out of nowhere last time and sent that epic metal song? Not in the way kids use it but rather it was an epic, by WorldVision standards at least because it was around seven minutes long.
CE: I do, yes.
FT: Good, because this song is boring.
CE: I guess? I mean, it's all nice and soft and pianoy and there's nothing wrong with a 180 from last time. I would say it feels like it should send me to sleep but I don't know if it's because I feel the same as you or because I also feel it's very relaxing, where it could be a bit of a compliment.
FT: Well done on another victory, Izmedu.


25 - Mister X

CE: Ah, yes, Mister X. This is a good song, no doubt about it. Brilliant vocals and a good enough stage performance despite them apparently having to come up with something on the fly.
FT: It'll be overshadowed by the other acts.
CE: But I reckon it'll pick up a good amount of points from us.


26 - Britonisea

CE: Here are the hosts and another favourite to win the contest. After all, it won their Melody Festival thing. And I can see why. Unlike their song from last time.
FT: Not keen on this song but can see why people would be.
CE: Yes, it seems like it has that highly-produced, design-by-committee sheen that you'd expect from the big nations, the kind they'll always enter as a safe bet rather than take a chance on something a bit more out of left-field and experimental. Still a good song, though.
FT: I feel like one of us had a rant like that in a previous contest but I can't care to go back. Not enough time, anyway.


27 - Achaean Republic

CE: So here's Acaya, as represented by Manamma.
FT: Hopefully a Manamma that isn't as psycho.
CE: Yeah, let's not get into that again. I mean, I know I kept calling her "Manamana" in the podcast episode we did before this contest and I'm not sure how she'd react if she found out.
FT: She won't.
CE: I guess. This song's still good, though. Very good, even. If I had to pick my own personal favourite it'd be this and then maybe Britonisea's but I'm not entirely sure.
FT: Why do I get the feeling they'll never send something like Tierno ever again?


28 - Amuaplye

CE: So, fun fact about Amuaplye, they also bidded to host the 81st WorldVision Song Contest.
FT: And only got one vote.
CE: Which is a shame but hopefully they'll host it sometime in the near future. Anyway, this song! It's decent, just as good as Acaya's entry before it. Should do better than their entry from last time, too.


29 - Darkmania

CE: And here's a name we haven't heard of since, well, Monterra. It's Darkmania!
FT: Either they also boycotted the competition because of what happened as well or, much more likely, funding issues.
CE: Whatever the case is, they're back! With a song that feels a bit better suited for the WHF but is still very good. I don't really like opera and all that jazz but I still like this. I feel it'll do well.


30 - Krytenia

CE: I can't remember the last time these guys competed but Krytenia's back as well!
FT: Didn't we hear this song a while back as well?
CE: I guess but either way it's still a good ditty. Should hopefully get some love from the voters.


31 - Spiritual Republic of Caryton

Sadly withdrawn


32 - Zamboodle

FT: It's the same thing you'd get from any Zamboodlean entry, nothing to write home about.
CE: Other than from how, shall we say, "colourful" it can get.


33 - Zentata

CE: Not sure what to make of it. Sadly might finish near the bottom but hopefully they won't get discouraged.


34 - Natanya

Sadly withdrawn


35 - The Hlhata States

CE: It's decent enough but nothing that'll help it stand out.


36 - Nacrad

Sadly withdrawn


37 - Estogium

CE: Another cute, nice little song. Could sneak onto the left-hand side, maybe it'll end up being high on the right. Hoping it's the first one.


38 - Petroslovania

CE: This is actually quite a good debut entry. Not sure how well it'll do, considering how stacked this entire competition is but I won't be surprised if this finishes somewhere in the middle. Preferably still in the top twenty.


39 - Llalta

CE: And to round things off we've got yet ANOTHER entry making a return after so long, it's Luh-lalta. Yalta. One of those.
FT: Why do I have the feeling this song's been done before.
CE: I don't know if it has but, if it has, then I can't blame them. This is very, very, very good. Again, somewhere at the top of my list. Great way to close out a great competition.
Last edited by Elejamie on Mon Apr 20, 2020 4:51 pm, edited 2 times in total.
Elejamie (English); Elejamia (Spanish); Elejam (Iyilim) - Denonym: Elejamian - Pronounced (English): Eh-leh-jah-meh
RETIRED FROM INTERNATIONAL ICE HOCKEY ON NS

OOC: Just some guy who does stuff.
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Llalta
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Founded: May 09, 2018
Left-wing Utopia

Postby Llalta » Fri Apr 17, 2020 6:10 pm

LLALTA || 39
"Cherish Life"

June Summerfields
Music - June Summerfields,
Lyrics - June Summerfields
I Wanna Dance With Somebody - Whitney Houston (Shortened)



THE ENTRY


Image

The teaser image in which hinted at Llalta's participation in WV81, which is also the album cover of June Summerfield's newest album of the same name, "Cherish Life".


After an 8 edition break, the tiny island nation has returned to WorldVision with a vengeance. Ever since it's debut in WorldVision 65, where it gained 4th, Llalta has had varying levels of success, such as lows of 23rd and highs of 4th and 5th. It's last participation in the prestigious contest was WorldVision 73, where Llaltese star-crossed lovers, Penny Tration and Cass Tration gained 11th place with their iconic pop song, "Transdimensional Meat Popsicle in A Minor". However, Llalta has not returned since then due to lack of funding of the LBN, unable to pay for the membership. However, in the 8 edition gap, Llalta has done incredible things in the World Hit Festival, such as winning in Kyvivre, placing 3rd and qualifying for the first time in the semi-finals. This recent success has lead a push to return to WorldVision despite economic barriers, in hopes to replicate the success found in World Hit Festival. Especially as the contest wakes up to a new era, the contest in Boschke predicted to have over 35 nations participating, a callback to when WV had 40+ nations participating at once. Furthermore, the contest being hosted in one of Llalta's best allies, Britonisea, was also a reason for Llalta's participation in the contest, being a "close" nation for the island. Not to mention, Llalta last won in Britonisea, with Chiara Albanthia's "Timeless", the operatic symphony that stunned the world. However, this edition, Llalta is dropping the ballads that they are renowned for, in hopes to get the whole world dancing once again like in their debut. Plus, a new hashtag was trending on twitter from Llaltese and Llaltese fans alike, a call to bring the nation back to WV. The LBN couldn't resist dipping their toes in such a contest once more themselves.

Llaltese participation was confirmed near the end of WorldVision 80, a teaser of the entry being placed upon the LBN's twitter. It was later revealed that the LBN had internally picked June Summerfields to sing her newest single in a while, named "Cherish Life". As a result of the teaser image, many WorldVision fans were excited for a Llaltese return to the contest, while others were sceptical whether the LBN would actually pull through with those plans, some believing it to be some joke or prank. However, the participation was further confirmed at the result of June Summerfields being listed to perform at the Junterapten pre-party, to which she brought the house down, "getting the whole room dancing". The song, written and composed by June Summerfields herself, was written after the events of WHF50, June Summerfields getting inspired by an entry of that competition of the same name. After being written, the LBN held a secret meeting discussing the participation of Llalta in WorldVision, where a few singers were invited too. After of which, June Summerfields stepped up with her newly written song, to which it was given a small uplift and was ready for participation in Boschke. The song is disco-esque pop song, which is about how one should always live to the fullest no matter what. The song is one that "I hope I get the audience dancing with their loved ones! You know, cherish them while they can!" as said by June Summerfields. It was also partially inspired by dance songs of the 80s which are, as said by June, "A bittersweet kind of happy. They make me dance and sing along, but once the song is over I'm crying, reminiscing of a bygone era." The song has also since release has hit Llaltese charts by storm, claiming #1 since it's release into the Llaltese music industry, a marginal yet ever so important market that "Cherish Life" managed to hit the g-spot of.


ABOUT THE ARTIST


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Llalta's entrant for WorldVision 81, June Summerfields, performing in World Hit Festival 48.


June Summerfields (54, born January 2nd 1966) is the manager of the Albanthia Inn, one of the biggest inns in St. Christopher but is also a singer-songwriter on the side most famous for her folk songs but also her brief fame in the Britonish music industry in the late 80s at only her 20s, as a singer for mostly pop songs. Born in St. Christopher, she was soon known to become a very smart and musically talented singer. Known for her maturity, she did quite well at school. And as a result, managed to get into Junterapten university in 1984 as a student of music. As a result, she spent lots of time in Junterapten, even finding her eventual husband, Calseth Summerfields, in the city. In 1987, she released her first album, "Carla's Confectionery With A Side of Gin" which though a flop commercially, gained her a couple of listeners across Britonisea. However, she persevered and her third album in 1989 was a success, becoming the first Llaltese singer to get a Silver Album in Britonisea, with her album, "1922", which was a mix of fast-paced disco bangers with some Llaltese folk sounding ballads also. The album was also a success critically, being heralded as "a powerful mix of boisterous bangers and some of the coldest and hardest-hitting ballads in the world, woven together with positive vibes. However, after the album's release, she met her future husband Calseth. The two hit it off, causing June to focus on her relationship and not her blossoming singing career, causing her fame to wilt. However, she was happy.

After marrying in 1995, the two stayed in Junterapten until 2008, when the news broke out that Calseth had died, leaving June extremely distraught, especially knowing that she had not spent his final moments with her, as she was busy at work. June didn't know what to do, saddened by not being able to see him before he died and also not doing everything they had wanted to do with each other. She felt as if the two had not lived to the fullest together. As a result, she moved back to Llalta, taking over the Albanthia Inn in an effort to bring joy to everyone. Furthermore, she began working as a music teacher at St. Christopher Primary School, and used her singing to promote charity events and to perform to those in less fortunate countries. She also travelled the world and was the forefront for the charity movement against the Nihilitopia Revolution which brought famine and suffering in the small population of Nihilitopia, and freeing the many nomadic religions and tribes oppressed by Nihilitopia's former government. June also participated in WHF 48 held in St. Christopher, Llalta, with her folk ballad "Lullaby of the Lost", which placed 9th. Since then, June has become a star in her own right, using her talents to spread the love around the world. The song she sings today might just be a reflection of her life, and how she wants the world to liberate themselves to make the world a better place through the power of song.


PARADE OF NATIONS


During the parade of nations, June came out after the Petroslovanian act, dressed in a cute little ensemble consisting of a white t-shirt with a print of an 80s inspired heart, with matching leather jacket and pants. She walks along the stage, waving to the crowd and blowing plenty of kisses. Though she'd had large audiences since her participation in WHF48, none were ever as big as the Britonish crowd in front of her. And yet, she wasn't nervous or scared somehow, instead walking casually yet confidently. She waved to other singers too, including Martina Demarco, who waved happily back. The audience shouting and cheering was making her excited for the performance, and couldn't wait for her chance to shine. She couldn't wait for her song to fill the arena with love and light, and was so excited to perform the choreography she spent so long learning too. As she walked, her leg almost slipped off the stage she was so lost in thought.


THE PERFORMANCE


As the postcard finished, the lights dimmed and the audience hushed for Llalta's first entry in 8 editions. As the song began, the LED screens and lights flashed white to each of the claps at the beginning of the song. A troupe of dancers, dressed in suits with trilby hats and women wearing jitterbug style dresses, can be seen dancing in the centre of the stage, the white flashes causing them to appear as silhouettes upon the white background. They perform in pairs, one woman with a man, twirling and spinning around each other in order to create an interesting silhouette. Though you can hear June vocalizing, she is nowhere to be seen, leaving just the dancers in the middle circular stage to dance. The camera angles are uneven and wild, adding some extra flair to the dancer's routine. The dancers perform a Dirty Dancing style lift near the end of the routine, before throwing the girls into the air. The camera whizzes around to transition to the next section of the song, colourful lights of pink and blue billowing out and around the arena to show a change of mood. Furthermore, the dancers are lit up, dressed in a colour scheme of dark grey with hints of red on the costumes.

The camera switches to June, who sings a triumphant woo as she throws a handful of confetti into the air. She is standing in front of one of the back LED screens, dancing with four other female dancers. Dressed in the same leather pants and jacket as in the parade of nations, her hair is let down with added volume, bouncing around as she performs the high energy routine. The dancers are wearing similar outfits, with leather skirts that bounce around as they dance. The dancers also have their hair frizzed and curly, bouncing with each move. At the revelation of June being revealed, there is a loud cheer from the audience, excited to see her return to the stage once again. She smiles proudly at the audience's reaction, putting more energy into her dance. Her routine, though simple as June is in her 50s, consists of twirls and kicks, some intricate leg moves coinciding with disco and 80s moves. The LED screens behind her are basic not to take away from the dancing, being silhouettes of people dancing upon a background of everchanging colours. The camera switches to a section of the audience waving Llaltese flags excitedly, dancing along to the bouncy song. The camera changes back to June, who vocalizes often, not hesitating from the dancing. There is an infectious happiness exuding from the song, many of the audience dancing along. June high fives some of the dancers as they stand from a W formation into a line, resting on each other's backs and swinging their arms in a funky move. The lights are manic and bright, painting the arena in various shades of beautiful. As the instrumental draws to a close, the lights flash to the rhythm, June and her dancers doing a twirl into a kick to the same rhythm. They stand in a position, with June at the front with the dancers striking various power poses. The lights flash once more to the rhythm, the dances doing the same routine as previously mentioned, before hitting a pose to segway into the first verse. June stands at the front with one hand on her hip and one hand thrusted in the air. Two dancers sit casually on either side of her whilst the other two stand next to June, arms stretched to the sky as well. The lights flash white, creating a silhouette, and it becomes clear that the dancers are almost 'framing' June. The smile widely, breathing heavily in the short break that they have.

As June begins to sing the first verse, staring straight into the camera addressing the audience at home, the dancers begin pulsing loosely to the beat, staying in position. June's voice is soft yet clear, melancholic yet filled with hope. The LED screen behind them changes to a sky of stars and a bright white moon, overlooking a beautiful cityscape. A beautiful shooting star crosses the LED skies as the glittery bell instrument is played. The scene is sombre yet peaceful and beautiful, matching the verse. The camera zooms into June, who gracefully extends her hand over her head, eyes glittering in the light. On the third line, the dancers extend outward arms away from June, before sweeping it round in front of them. June continues to sing, bopping along to the beat. On the last line, however, the dancers break from position, reaching out in front of them, facing the front rather than framing June as they did before. June's voice begins to grow more powerful as the verse ends, a smile growing on her ageing face. The camera takes mostly close shots of the dancers, not to break the spell of intimacy and welcome that the song and choreography convey. The camera then focusses on the audience, enthralled in the performance to the point of dancing and vibing.

In a world of everchanging
You lose what you forget
Too late to cherish what is long gone
Lost to history's cold grasp


The dancers high kick, their legs only covered by ripped fishnets, before performing a kip-up in which the two dancers positioned on the floor are now standing up. They hold hands, matching the lyrics of the song, and perform another high kick cancan style, only June's kick is not as high as everyone else's. They then break from their positions, the dancers moving into an arrow formation behind June Summerfields. They begin performing a couple funky and more subtle hip hop, 80s style moves, June striding funkily towards the edge of the stage. She bends down to high-five some of the audience members, winking as she does. She then stands up and continues to sing passionately, joy lacing every word that she sings. The camera zooms into her face, where she smiles happily at the camera, addressing the audience at home. On the third line, the LED screen shifts, turning into a rising sun, shining its glorious rays upon the awakening cityscape. The lights change to gold, billowing out and rising up dramatically, building up to the first chorus of the song. The camera takes a close-up of June, who smiles compassionately into the camera, the golden lights glimmering like stars in the camera lens, framing June in an almost divine light. Though the music is gloomier and slightly more melancholic, contrasting the grand and golden lights, there is a flash of sadness and regret in June's eyes, as if remembering all she had lost and whether she had truly treasured each moment she spent with them. On the last line, June performs the note, however, she and her dancers jumping excitedly, wiping away any trace of the sombre feeling she felt mere moments ago. As if, she was realising how much she was cherishing this moment. before a couple of white lights flash to the rhythm of the strobes that open up to the chorus, causing the audience to cheer loudly. Not to mention, the clapping sound effects are met with a couple of bolder flashes of light, almost enveloping the dancers and June in its grasp, building up to the first chorus of the song.

So grab those around, hold their hands
And dance to the moonlight's symphony
'Til you wake at dawn
Live it up to the full!


To June's surprise, the audience had begun singing along with her, the crowd chanting the hopeful lyrics together. At first, June didn't know how to react, a moment of brief confusion in her eyes, before embracing the backing of the crowd. Her moment of confusion shifted swiftly to a face of pride and enjoyment, happy her song was making an impact to those watching. The audience reaction only seemed to fuel her vocals and smile, a strawberry blush upon her face. At the opening of the chorus, lights of blue, purple, gold and pink billowed outwards, painting the arena a disco style colour palette. The LED screen behind them also changed, silhouettes of people dancing energetically upon an everchanging background of varying bright and funky colours, giving a fun, party-like atmosphere. At the beginning of each line, to emphasise the blare of the synth, white lights flash dimly yet noticeably on the stage, complementing the overall colour scheme of the song. As June sings the song powerfully yet infectiously joyfully, four male dancers jump from behind the camera, adorned in the male version of the female dancers' outfit. With leather jackets and leather pants, with a white t-shirt tucked in his pants, they all have 80s style haircuts, like a production of Grease. Black slick back hair and mullets especially. They grab their female partners by the hand, before performing an energetic rockabilly style dance together, kicking and twirling in each other's arms to the funky rhythm. Meanwhile, June, both physically unable to dance at their level and not to ruin her vocals, stands at the front of the group of dancers, bopping and dancing along subtly, focusing on singing to her best and showing her inner charisma onstage. The dancers perform a kick ball change before the boys lift the girls up in a fancy yet exciting move, before the girls slide between the boys' legs before being lifted and thrown once again. On the fourth line however, the lights flash in various colours dramatically. After, the dancers would separate from their pairs, standing equal spaces apart and perform a step in which June also joins in on, in which they would kick ball change for 3 beats, before twirling and changing positions with the person next to them. June, on her own at the front just twirls on the spot instead. They then go back via the female dancing twirling into a fall, caught by the male dancers. Then, the lights would flash wildly in white as the chorus neared to a close, June belting out the final note of the chorus in a grand showing of her vocal ability, the audience cheering loudly for the Llaltese singer as a result.

Yeah, let's cherish life everybody
Light the world with your love everybody
Yeah, let's cherish life everybody
Live life as if no one was there!
Yeah, let's cherish life everybody
Dance away your fears everybody
Yeah, let's cherish life everybody
Cherish life 'cuz life's all you've got!


The music tones down for the verse and the lights follow suit, the energy of the previous chorus gone, painting the arena in a sensual navy and purple wash. The male dancers twirl off, pirouetting as they do, leaving June and the female dancers onstage once more. The LED screen behind shifts to a starry night sky, inky clouds drifting across the navy blue. The moon still shines softly, a radiant halo of light surrounding it. June and her dancers begin walking forward away from the farthest to the back LED screen that they were dancing upon and making their way to the central stage. The dancers then begin to ring June, circling her gracefully before falling slowly to the floor, each glancing towards June who stands in the middle, still singing. Her eyes are filled with worry, as if recalling a time where she felt alone, but even so in the deepest part of her eyes, a flame burns, determination to live the best life one can live. On the second line, however, the dancers doing various moves begin slowly rising up, kicking and bopping as they do. They then stand behind June, thrusting their hands out to the side and clicking their fingers to the beat, a snazzy wrist twirl after every click, surrounding June as if she were a goddess. After, the dancers slide out from behind her, two for each side. June, singing as if her it were her last song, waves her hand slowly above her in an arc, her eyes watching her hand before hugging herself and rocking slowly. And yet, she quickly snaps back into her funky moves by the third line, walking forward with hair swish and a click in the air, the dancers quickly following suit before doing a little combo of moves in which their hands wave from side to side, laced with a groovy swing. They then do a run on the spot without moving their legs before the two farthest dancers from June bend to their knees, the next closest bending a little bit to create a pyramid formation, with June in the centre. They then do a move with their hands shielding their eyes as if looking, sweeping their whole head from right to left in sync. The camera then takes a shot of the audience, encaptured in June's soulful vocals.

Don't stay isolated and feeling lone
Dreaming your days away
Go explore odysseys of your own
In a place you've never known


The LED screen changes a little, the moon changing to a disco ball reflecting the multitude of colours across the deep ocean of sky. Furthermore, the lights also change with it, silver lights glimmering every so often across the stage, causing the stage itself to shine. The dancers begin tapping themselves with their hands to the rhythm, June in the centre still living her best life. June's smile says it all; her happiness a token of the joy in her life. Her warm smile and welcoming voice inviting the whole world to dance with her that night. With a touch of sensuality, ther dancers rise from their positions, swerving their curves as they do so. All of them then shake their head from side to side, their hair bobbing as they shake, and arms subtly moving alongside. They begin to dance some 80s moves, this time including some snazzy disco moves to freshen the choreography, June dancing also. The vibe is joyful as they begin strutting whilst performing simple yet iconic moves. The camera takes a wider shot of the dancers before switching to the audience, showing a couple seconds of the normal people in the audience dancing along, grandparents, children, no matter the race or gender or whatever the fuck, dancing together doing the same moves as if it had been rerhearsed before. June, after doing a booty bump with the dancers next to her, on the third line falls to her knees, the camera focussed on June and June only. She sings longingly into the camera, conveying her feelings right to the audience at home through the lens. She reached out is if attempting to grasp something before retreating, lost and alone. The lights behind her shift into a darker grey, purple and blue colour scheme, matching the once again more melancholic moment of the song. There is a short moment of slow and steady, a conflict especially surrounded by the energy of the chorus soon to play after the short bridge was over. However, two dancers on either side of June, helped her up swiftly, before dropping to the floor and kicking, almost hitting their heads. June regains her smile and relights the flames of determination in her eyes, smiling with the two dancers next to her, doing a small step, rapidly kicking and switching her feet. However, as the chorus nears closer, June stops for a moment and sings the final note of the bridge, eyes closed. The white lights return once more, flashing to the rhythm followed by brighter white lights which accompany the clapping noises on the lead up to the chorus. June comedically jiggles her breasts to the rapid claps, before high kicking a beat before the chorus begins.

So grab those around, hold their hands
And dance 'till sunrise comes around
But until the morning
Live it up to the full!


Once again, the Britonish audience sing along to the funky disco pop tune, filling the arena with an air of fun. This time June was fully ready to embrace the chorus of the audience. June's eyes glimmered gold as the lights turn blue, gold, purple and pink for the chorus. The silhouettes return to the LED screens once again, painting the stage in various shades of fun. Moreover, the male dancers jump into a splits as the chorus begins, sending the audience into a frenzy, the men having lost their leather jackets replaced with tasteful leather braces embroidered with a red heart. Not to mention the trilby hats placed upon their heads covering their mullets and slick back hair, apart from a couple strands of loose hair. They begin to dance behind June, dancing in a hip hop style a little more wild than the choreography so far. At first the choreography is mild yet fresh, fancy footwork with loose hand movements, creating a more wild atmosphere. However, things change after they jump into a handstand and begin running in the air upside down, the move met with shocked yet excited cheers from the audience. June on the other hand runs on the spot the right way up, almost mocking the hip hop dancers as the perform intricate leg-ography upside. However, they soon hop back to the feet, before front flipping into a split before bouncing back up, exuding "swag". After some robot moves, June also but slightly worse, almost comedic, the lights flash rapidly on the fourth line, June powerfully singing the line, halting her clicks. On the sixth line, June slowly drops into a squat, matching her voice in which she elongates the note to add variation to the song. The dancers also drop to the floor, although a little more smooth, spreading their legs as they squat to the floor, clutching their trilby hats and popping their braces. The male dancers after perform a whack back, before jumping to their feet and brushing their shoulders sharply, bar two who lift June into the air, one on each arm, although one may see the glimmer of fear in her eyes mixed with a strange love for being lifted by two strapping young men. She kicks before jumping from their grasps to sing the final line. The dancers and June spread their arms out, each arm going a different direction to each blare of the synth, matched with white lights that flash, creating glares in the camera lens that obscure June from view, the camera zooming in on her as she sings the final note, winking to the camera as she thrusts her arms out to the camera. The dancers and June swap legs in short hop, before twirling around arms out Michael Jackson style, the camera also swirling quickly to transition into the final bridge, the white lights swirling and flashing hypnotically.

Yeah, let's cherish life everybody
Light the world with your love everybody
Yeah, let's cherish life everybody
Live life as if no one was there!
Yeah, let's cherish life everybody
Dance away your fears, yeah!
Yeah, let's cherish life everybody
Cherish life 'cuz life's all you've got!


Beams of red and purple lights billow out and around the arena, spreading a dark red and black colour scheme in the arena. The LED screen on the other hand shows a graphic of roses twirling upon the screen, a beautiful crimson red matching the lights. June is now seen sat on the knee of a male dancer, dressed in a black and red pinstriped suit and matching trousers, alongside a black trilby hat adorned with a crimson red ribbon. He also wears a shirt underneath. As she sings "Cherish life, yeah" she sways to the rhythm, the man she is sat on clicking with one hand as he sways, the other hand securing June in order to keep her balanced. Unlike the chorus before, the atmosphere is that of like a tango, matching the colour scheme. The backup singers (three female dancers) sing slightly behind June and the three men, performing purposefully cheesy backup singer style choreography, with bodies swaying and hands clicking, and basic choreography with footwork to match the tango feel of the section. June then twirls rapidly off of his knee, her hair flipping around. After spinning for a moment she falls on her back in an instant, only to be caught inches away from the ground by another male dancer, dressed the same as the one before. Still enveloped in his arms, she sings the third line, singing passionately, swaying, lost in the music. Her tone is fierce with hints of hope, her face still smiling even through the drastic colour and mood change. She high kicks, supported by the male dance before she steps, spins and throws her head down causing her hair to swing fiercely, only to spin once more and end up in front of another male dancer, who performs a salsa like move which involves their hopes swishing side to side, arms outstretched either side. She twirls out, holding hands with the dancer and she leaps, the dancer lifting her up and around, where she lands in front of him. The three dances she just danced with end up in a line behind her by the final line, and they shimmy, popping out from behind June on alternate sides before sliding back behind her and perform intricate hand movements behind like that of an Indian dance, with hands coming out and twirling behind her. June bounces up and down softly to the beat, before swooping her arm in front of her as if reaching for the stars, still swaying to the beat loosely, entranced in the music herself. She came out here to get the whole world dancing and living their best life to her music, and became lost in the music herself, ecstatic to be performing and dancing her song that means so much to her.

Cherish life, yeah
Cherish life, yeah
Cherish life before it's gone
Cherish life, yeah
Cherish life, yeah
Become what you've always wanted


At the turn of the final bridge, the lights shift to the songs signiture purple, pink and blue lighting, the LEDs switching to the serene night sky once more, the disco ball moon also returning to make a cameo. June walks funkily to the front of the central stage, singing out to the audience in front of her very eyes. The camera takes closer up shots of her, capturing the quieter moment of the song. June falls to her knees, her hands hovering aimlessly around her face driven purely by emotion. Compared to other moments of the song, June's emotions seem much more longing and regretful, creases of pain etched subtly across her face. A great white spotlight shines upon June on the stage, lighting her up so that shadows dance across her face as she sings. And yet though she appears so hurt, after all a smile of a thousand suns still spreads across her face, as if she knows she can do nothing but sing her heart out and make her country proud, if only for 4 minutes. Her body rocks as she sings, putting all her soul into each lyric and each note she sings with such clarity. On the third line however, she rises a little and looks up, raising one hand up to the skies and sweeping her hand out, as if addressing the audience, giving advice to try and give the world a little more love. On the final line, bright white lights pulse out rapidly to the synths that build up the final chorus, though more bright and flashy than the flashes of light before. Not to mention, sparks begin to fly rapidly from the stage, bursting from all different directions. The camera takes a wide shot of the stage, displaying the flurry of lights, before zooming in on June who belts out the final line. On the final note all sparks fly out at once, June's vocal ability being shown off, met with a thunderous applause from the audience.

So grab those around, hold their hands
And dance 'till sunrise comes around
But until the morning
Live it up to the full!


Golden, purple, blue and pink lights billow outwards, marking the beginning of the final chorus. As sparks begin to rain down from the ceiling of the arena, the camera takes a wide shot of the stage. Seen upon the stage is all the dancers dancing together in pairs in a rockabilly style dance, with dancers twirling and rocking with each other, jumping and lifts as common too. June jumps from her knees and dances with a partner of her own, where they begin to perform the same dance as the rest. And yet, even as June sings the final chorus impeccably she continues to dance the energetic choreography with little repocussions on her vocals apart from increased breathiness. There is a sense of excitement and joy as all the dancers dance in perfect harmony, the camera weaving in between couples as they dance, each smile and laugh captured. The LED screen behind depicts a perfect night sky, adorned with twinkling stars that glimmer gold like the lights. However, fireworks begin lighting up the skies of the same colour as the spotlight in the arena. The fireworks on the screen are flashy and dazzling, almost as beautiful as the dancers themselves, the men now twirling the female dancers in their arms. As every chorus, white lights flash at the start of every line as well as on the fourth line, the rapid flurry of white lights. After, the male dancers kneel down, and the female dancers begin sashaying and swirling their hips around the male dancer before switching to less traditional twerking and body popping, before performing some wild disco dances as they end in a splits, sending the crowd once again into a shocked and excited frenzy. June lands in the splits also, belting out a note as she does so, before standing up and continuing to sing the rest of the song, shimmying and waving her hands to the beat. There is a irreplacable smile upon her face, her cheeks as red as fire, her eyes glimmering like starlight. The male dancers do a couple flips, and some hiphop moves such as head spins before helping the girls from there splits throwing them in the air in a lift. All the dancers began rushing up to behind June, some girls being lifted to created a stunning finish. On the final line, they shimmy as June does the final note of the chorus, white lights rapidly shimmering to the sound of the synths. June had once only dreamed to make the world dance, and she saw her colours change these people's lives for the better. She couldn't have been any happier herself, not until she saw the people she made smile.

Yeah, let's cherish life everybody
Light the world with your love everybody
Yeah, let's cherish life everybody
Live life as if no one was there!
Yeah, let's cherish life everybody
Dance away your fears everybody
Yeah, let's cherish life everybody
Cherish life 'cuz life's all you've got!

Yeah, yeah
Cherish life y'all!


June performs her final note, her voice brimming with passion, as a spout of sparks fly from the stage at once ending the song in a grand flourish of light. Her note was powerful and strong, melodic and beautiful. She sings the final two phrases, laughing along with the dancers who have struck a pose as the lights land on them, lighting them in gold whilst the arena is pitch black,, followed by a flash of sparks from the stage. The song ends and the crowd goes ecstatic for her, excited and adrenaline filled from the party they just experienced. June was lost for words. Not only because she could hardly breathe after all that dancing but she had achieved her goal, to get the world dancing, and yet; she felt complete. True. Maybe she'd taught herself how to cherish life, even if just for one song. "Thank you World! And Cherish Life!" she shouted, beaming from the audiences' smiles that warmed her soul. She didn't know whether to laugh or cry, so she did both. She did it for Llalta; for the world; for herself.

For Calseth.
Last edited by Llalta on Mon Apr 20, 2020 12:57 pm, edited 26 times in total.
The Democratic Community of Llalta, a small island situated in the Adlantic Ocean where the past and future align.

    65 = 4/29
    66 = DSQ
    67 = 23/31
    68 = 16/26
    69 = 5/32
    70 = N/A
    71 = 9/25
    72 = N/A
    73 = 11/26
    74 = N/A
    81 = 9/34
    82 = 1/31

    40 = 17/30
    41 = 2/20
    42 = 2/20
    43 = 10/20
    44 = 2/15
    45 = N/A
    46 = 9/13
    47 = 1/24
    48 = 9/15
    49 = 3/19
    50 = 8/31

    5 = 2/15
    6 = N/A
    7 = 9/13

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Ekoz
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Posts: 1202
Founded: Feb 24, 2006
Inoffensive Centrist Democracy

WorldVision: The Reaction | Only on STE Play

Postby Ekoz » Sat Apr 18, 2020 6:29 am

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Yohanna: Good evening Ekoz, good evening World! Thank-you for tuning in to WorldVision: The Reaction, only available on STE Play! You may chose to watch Alfaans over on STE One, who will be talking you through the show, but I'm here specifically reacting to each performance and commentating on my thoughts, as well as interracting with you, the fans at home and online! My name is Yohanna van Umsaak, I represented Ekoz in my home city of Carnise finishing in second place! I also hosted the 40th WorldVision Song Contest in Rokkestaat, Ekoz and came fourth in the ultimate WorldVision Song Contest: Ruby Edition. I don't mean to brag, but I am the current holder for the best Ekozian position, just saying, and I'm a boss ass biatch. Tonight we are broadcasting from the beautiful Britonish city of Boschke! We have over thirty countries participating, including our very own Hugo! If you do wish to get involved tonight, tweet us at @STEplay or use the hashtag #WVReaction.

Ooh, it looks like the show is about to begin everybody! Here we go...




Opening Ceremony
Yohanna: Welcome to Boschke indeed, I remember being so so nervous opening up the contest, as well as hosting so I can only imagine how they're feeling right now! It was rather catchy, commercial and a decent start to the show. I heard Vodka and was sold, I just hope Herresfjord is sold here!


1 | Highly Ranked
Yohanna: Well, that was something. Not really sure what to say about this one. A quick disclainer to you all, we at the STE don't condone binning national flags of any kind.


2 | Scotatrova
Yohanna: Wow, that was emotional! Just wanted to give poor Diego a hug! Don't cry. His voice is amazing, such a beautiful tone. I imagine this could do very well tonight in the arena. I can see this charting on the Ekoesestopplistan!


3 | Polkopia
Yohanna: Yes you sultry bitch! Polkopia's Bradin serving to the heavens tonight with, of course, another radio friendly bop from the WorldVision titans. I do wish the music built up a bit more towards the end, but that's just me. I'm sure this will do very well both at home


4 | Kalosia
Yohanna: I mean, it's hard to follow on from Polkopia, but Ǧamilah holds her own. It's a simple, foottapper that the crowd clearly were engaged with. WIll it set the scoreboard alight? I'm not so sure, but I enjoyed the staging and incorportating the floor into it. Decent entry from Kalosia.


5 | Belgaam
Yohanna: Flip that hair girl. She's got a set of pipes on her hasn't she?! You don't need a man honey, you're fierce on your own. I love the country twang to her voice. I think I enjoyed Maveria and her performance better than the song itself, but this could be a hit with the audience.


6 | Elejamie
Yohanna: I mean, who could not tap their foot through that? I do love that those girls were playing their own instruments on stage. I could not have done that at all! It was a decent, radio friendly song which I'm sure will chart in many countries, but Im not sure if I smell a winner with this one.


7 | Todlichebujoku
Yohanna: WIP


8 | Titaniumland
Yohanna: R'nB at WorldVision, with a sax player. Yes. I'm here for it. Takes me back to my childhood listening to this. This could stick out, I doubt many nations will send an R'n''B song. I would've liked a bigger finish, but a steady perfmance. Chloe is giving me Carnise Fashion week with that outfit too. I want.


9 | Vartugia
Yohanna:I mean it's schlager? Ekozian's love schlager... I guess. The less said about this the better.


10 | Beepee
Yohanna:Bold lady wearing a gold catsuit, not sure I could pull it off. I like the lyrics, guys should fight for her love. I'm not sure how this will do tonight, it seems slightly dated, but music trends right now are bringing some serious 80's vibes, so I could be wrong.


11 | Eljida
Yohanna:Right, I need to put down this glass of calorific white wine and get my ass to the gym. I really enjoyed this, the ethnic vibe, the national dance. It worked. I can see this doing pretty well tonight.


12 | Talvezout
Yohanna: I mean, who doesn't love a dirty house pop song? This could do very well on the Ekoesestoplistann. It's current, catchy and my god, she looks amazing in that bodysuit. I don't remember WorldVision being this sexy when I was competing!


13 | Nahlcomo
Yohanna:I mean it was simply staged. When in doubt, go with a circle of candles. The song was also pretty simple, not really groundbreaking in terms of WorldVision. I don't see this winning unfortunately, but stranger things have happened in this contest, so who knows!


14 | Malta Comino Gozo
Yohanna:That was rather intense wasn't it! I love how into it he was. The song and lyrics were good too, it's one of those instantly relatable ones that everyone loves. This could be a fairly good night for Malta Comino Gozo tonight!


15 | Ertzei Kishim
Yohanna:Ah, here we have last editon's winner, and my arch nemesis'. For people who aren't aware, this country beat me by just two points to win WorldVision... in my own home city, so I should really leave a bad review here. However, I can't. This was catchy, current and well staged, and could do very well back home in Ekoz I'm sure. No doubt this will be top ten tonight.


16 | Ekoz
Yohanna:Well done Hugo! Very proud of my nation right now. This song has already blown up in Ekoz, and I hope it does the same here tonight. For all the Ekozian viewers, how nice is it seeing Ekozian flags back at WorldVision?!



Last edited by Ekoz on Mon Apr 20, 2020 12:12 pm, edited 4 times in total.
Koniksgrand Eköses
The Great Kingdom of Ekoz
Ekoz in the WorldVision Song Contest

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Britonisea
Powerbroker
 
Posts: 8039
Founded: Oct 29, 2012
Inoffensive Centrist Democracy

Interval Act 1

Postby Britonisea » Mon Apr 20, 2020 12:00 pm

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At the end of the last competitive performance for the night, there was a huge cheer as the ident for the 81st WorldVision Song Contest showed up on the screen. We were then joined by the hosts of the competition; Ria and Jordan.
Ria Aristide: And after so many performances we have finally reached the end, everyone! We have listened to all songs of the 81st WorldVision Song Contest and now it's time for you to vote for your favourite song.

Jordan Hermes: With so many songs to choose from, I think that the voting sequence is going to be one hell of a journey, but before we get to that, you have to vote.

Ria Aristide: And it's with our greatest pleasure that the vote for the 81st WorldVision Song Contest here in Boschke is...

Jordan Hermes & Ria Aristide: OPEN!
The audience start to cheer as the list of all the participants for WV81 showed up on the screen. Jordan and Ria started to speak over the loud cheers from the audience members.
Jordan Hermes: You all have around twenty minutes to vote. Now we understand that you might've forgotten some of the songs at the start of the show-

Ria Aristide: So here's a little recap to jog your memory!
The screen for those watching at home showed the ident once again before we started to see the different performances, starting with Highly Ranked.

Official Recap
9 minutes

Jordan Hermes: If you'd like to see Highly Ranked rank highly on the scoreboard, all you need to do is add 01 on the scoreboard. If you'd prefer to see Scotatrova win the WorldVision Song Contest for the first time, then all you have to do is add 02 on the number at the bottom of your screen. Bradin hopes that you're not "Alone" in being the only lover on her song - add 03 for Polkopia! Ǧamilah is hoping that you "Portami" her some points as she's looking to better her WV47 performance, so add 04 for Kalosia. Maveria will be hoping to be "drowning" in points at the end of the night, add 05 to your score if you'd like to see Belgaam win the WorldVision Song Contest. Add 06 if you'd like to see Elejamie finally snatch the WorldVision Song Contest trophy. Did the "Venom" from Todlichebujoku entice you to vote for them? It's 07 if you wanna vote for them. Titaniumland is far from "Gone", they're back participating at the WorldVision Song Contest - add 08 for them. With the song, "I Wanna Marry Rick Leg", if Vartugia made you laugh, add 09.

Ria Aristide: Beepee's song is next, and if you would like to see "Fight For Your Love" fight for the first place, add 10. Kiç jultas! If you would like to see the debuting nation of Eljida win on their first go, add 11 to number at the bottom of your screen. If Talvezout is the nation that you'd like to see win, "dime más" after you add 12 to the number at the bottom of your screen! "Say Something New" by saying you'd like to see Nahlcomo win the 81st WorldVision Song Contest - add 13 to the number at the bottom of your screen. Add 14 for Lewis from Malta Comino Gozo with his song, "Depths of Nowhere". If you'd like to crown last edition's winner, Ertzei Kishim winners again, you've got to add 15 to the end of the number on your screen. "One Thing" I wanted for Christmas was Ekoz's WorldVision return, and here it is - add 16 for Hugo! If you'd like to vote for Waisnor in their first WorldVision Song Contest, I think you ought to add 17 to the end of your number before hitting the call button. I love a "Strawberry" or two, but my favourite is from PRISCILLA - if you agree with me, add 18 for Antahbrantahstan!

Jordan Hermes: "Song One and Song Two" and Song Number 19, add 19 if you'd like to vote for Placey Placington. If you knew "All Along" that you'd like to vote for Besen, you better add 20 innit? Don't get me "Started" on TYRA from Axuva, how about you just add 21 at the end of the number at the bottom of your screen! The Lagoans will be saying "Sim" to every one of your votes, so add 22 if you'd like to vote for them. If Antenovaria got you to "Dance Right Now", I suppose that you're just going to have to add 23 at the end of the number of your screen. If you'd like to vote for Jana from Izmedu, all you have to do is add 24. If you'd like to vote for Mister X, the number you're dialling should be ending in 25! If you're feeling just as "Indestructible" as Kelsey Banques after her performance, add 26. Don't vote for Achaean Republic "Lentamente", speed up and add 27!

Ria Aristide: If you're "Forever" in love with the performance from Amuapyle, then please add 28. If you're one with nature, then you should vote for song number 29 for Darkmania. If you would like to give your 12 points to Krytenia, then please add 30 at the end of the number at the bottom of the screen. If you think "Tomorrow is a Cary Day", then vote 32. If you'd like to see debutant, Zenata become the winners, then add 33. Natanya, if you'd like to vote for them, then add 34. The Hlhata States is next with song 35. If you want to listen to Estogium "until you're heart's content" , add 37. If you'd like to see Petroslovania, then you'll have to add 38. If Llalta's performance makes you "Cherish Life", then you need to add 39 at the end of your number.

The audience clapped as Jordan and Ria finished their bit. The camera was trained on them once again as they got ready to announce the interval act.
Jordan Hermes: Right. It's time for some more music.

Ria Aristide: Picture this. 80th WorldVision Song Contest in Nekoni and the votes are coming through. Ertzei Kishim...
The audience start to cheer as they know what's coming...

Ria Aristide: Ertzei Kishim starts to pull away from the rest of the field and in the end, Lika Dia wins the contest with 148 points.

Jordan Hermes: And well, it's time to welcome Lika back onto the WorldVision Song Contest stage!

Ria Aristide: Without further ado, the reigning champion from Ertzei Kishim, Lika Dia with "Red"!


Interval Act 1
Lika Dia - "Red"
Tune : The Pussycat Dolls - "React"




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. It was now time to head back to the hosts who were waiting for us in the Greenroom....

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Britonisea
Powerbroker
 
Posts: 8039
Founded: Oct 29, 2012
Inoffensive Centrist Democracy

Interval Act 2

Postby Britonisea » Mon Apr 20, 2020 12:00 pm

Image


Ria and Jordan were standing on the far end of the stage that was of shit in the final shot of the Lika's performance. The audience was clapping as we got closer to the hosts. As the hosts would start speaking, at the bottom of the screen flashed the numbers of all of the participating nations.
Jordan Hermes: Thank you for the great song, Lika! That was the winner of the 80th WorldVision Song Contest, everybody and she will be passing the trophy to whoever wins this contest.

Ria Aristide: And I wonder who is set to win the 81st WorldVision Song Contest? Well, we are soon going to find out but we are going to check out how Mateus Breton is doing in the WorldVision Fan Zone... Mateus?
We quickly saw the ident flash on the screen before we headed over to the Fan Zone. There was a camera which zoomed over all the happy Britonish fans before we went to Mateus.
Mateus Breton: Hello everyone! We are doing absolutely fabulous here in the Fan Zone. We all really enjoyed the performances from tonight.

Ria Aristide: Hey Mateus! I heard that you quite possibly will be revealing the Britonish points...again...this edition?

Mateus Breton: Yes, I know - I seem to be getting the gig again under similar circumstances - in front of a crowd. I think I should become the official Britonish spokesperson.

Ria Aristide: Indeed haha! How did you Lika's performance? - did the crowd where you were like it?

Mateus Breton: Well, of course, they did! I certainly did as well, it's always great to have the current winner performing on the new WorldVision stage - it's only right.

Ria Aristide: Okay, well I will leave you to it, Mateus, and I will see you in a bit for the voting reveal!

Mateus Breton: I will see you soon!
The audience in both arenas cheered as we moved back over to the Boschke Newbury Park Arena. It was time for some more music...
Jordan Hermes: It is now time for some more music! This woman performed on Boschkian stage in this very arena for Vha Mehlodhivestoile, before heading to Izmedu where she not only won her Semi-Final but won the World Hit Festival 50 Grand Final. With her win not amounting to Britonisea hosting the competition due to the hosting of the 81st WorldVision Song Contest, we thought that it would only be fair to invite her to perform at the WorldVision Song Contest.

Ria Aristide: She was a hit in so many nations, including in all corners of ABEN, as she is back...please welcome to the stage, Meghan Jorgensen!


Interval Act 2
Meghan Jorgensen - "Waiting For You"
Tune : Dua Lipa - "Physical"


The red light they were bathed in turned golden representing the 50th World Hit Festival and a little ode to that. The camera was a lot more focused during this section and we slowly zoomed in towards the action. The lights quick went to black before coming back on. In this time, the male dancer had disappeared with the camera now in a medium-close-up of her looking into the camera. Her face was left of screen, with the camera showing the LED screens and light flashing to the right of her alongside the fog which was slowly making its way up her body.

Our eyes met on the dancefloor
From your gaze, I could tell you wanted more
Yeah, I could feel
Sexual appeal

For you, I'm there for the taking
But you're gonna have to work hard for it
So come meet me...
Come and take me


If you really want me, you'll find your way to me


During that last section, the camera did mixtures of close-ups and further away shot of Meghan singing towards the camera under the mood lighting. She moved closer and closer to the middle of the circular platform with the camera following her as she did. As she got to the line, "So come meet me", the camera slowly moved outwards to the point where you could see standing on the circular platform on her lonesome in the middle. You could see the man that we saw earlier and three other men moving around the circular platform as though they were ballroom dancing by themselves - holding someone that just wasn't there. As the camera moved out, you could see that Meghan's focus wasn't on any of the men that were dancing around her but the camera.

As we came closer to the chorus, there was an extreme close up of her mouth as she said the line, "If you really want me, you'll find your way to me" before there was an establishing shot of the whole arena as the disco balls turned on and golden and red shone through the arena. As she started singing the chorus begun, the four men stopped at each corner of the circle and jumped onto the stage with her, bobbing strongly to the side of the song along with Meghan who sexily trailed her finger on the side of her body. The men were all facing inwards, looking at Meghan only. While they were all bathed in light, the light that was on Meghan was much stronger. There was a shot zooming into Meghan with the lens flare of her dress and the disco ball filling up most of the screen...

Come here - I will dance with you,
The music's a-blaring,
Get's me into the groove.
I won't bite, boy, come!
Show me...
Your best disco move!

Red, green, yellow and blue
Dancing under disco lights,
It's time to get close.
I won't bite, boy, come!
Get me...
I'm waiting for you


At the end of the chorus, there was on a track which moved from one side of the arena to the other side of the arena as the men stepped down from the platform and started moving circularly around it. During this, Meghan slowly moved forward, taking a breath before going straight into the next verse. Capturing her before she started was a camera shot which focused mainly on her face. The fog was now dying down and the LED's behind her were now being used in full force, shifting from red, green, yellow and blue - the four colours that were mentioned in the song. The audience cheered as Meghan started singing once again. She smiled cheekily into the camera as she sings about how she "can see you advancing"...

Now I can see you advancing
Look at that smile, it's naughty but beaming
The mystery
Too much for me

Oh, It feels so good to feel wanted
I've waited a long time
Taking advantage...


You have something for me, so come find your way to me


During the verse that had just gone, Meghan was doing pretty much the same things that she was doing before - singing to the cameras and audience with the lights around her flashing on and off in a disco-theme. Meghan was bobbing along to the song, looking happy and in her element as she got closer and closer to the end. As she sang the last part of the verse, "Taking advantage...", the lights in the arena muted, with a single bright, white light beaming behind her as that last line was said. Suddenly, as we went into the chorus, the colours came back as though it was an explosion.

Come here - I will dance with you,
The music's a-blaring,
Get's me into the groove.
I won't bite, boy, come!
Show me...
Your best disco move!

Red, green, yellow and blue
Dancing under disco lights,
It's time to get close.
I won't bite, boy, come!
Get me...
I'm waiting for you


As we came to the bridge of the song, the more emotional part of the song, the male dancers were back on the stage, still circling the podium that Meghan was in. A steadicam then joined, running around Meghan as she sang the bridge section. As the steadicam moved around, Meghan moved along with it, looking directly into the lens and she sang. Every few seconds, one of the male dancers would pass in front of her, making it look as though Meghan was turning in circles in a busy club like what is described in the lyrics of the song.

Boy, come!
Pull me in by the waist…
Hold me, come on!
Hold me like this is the last time -
That you'll ever see me.
I'm waiting for you

I'm scared
That I will fall for you
But now...I feel...
Stronger than I've felt for so long
And it's all thanks to you
I'm waiting for you


After the bridge section, she belted out the last line with the camera zooming out from her mouth over the audience before losing focus so all you could see on the screen was lights beaming. During this bit though, four female dancers had entered the stage on the platform all wearing short, shiny black dresses. Meghan stepped forward as the four women flanked Meghan - two on either side. All of the four women had microphones strapped to them similar to the one that Meghan had, and all of them would begin singing during the pre-chorus section. She gave them all a little look before they started to sing together in unison.

The wind machines started blowing wind as the lights started flashing white lights from in front of the five women on the circular podium (like the paparazzi) along with the beat of the tune. The women did multiple different actions such as bopping to the side, flicking their hair from side to side, pointing out the audience, twirling before slapping their behinds (Beyonce-style). As they started singing "Boy, come! Show me...!" they turned to the front once again and started pulling as though they had ropes on them. The camera pull focused and zoomed out with the four men appeared on the stage floor in front of the platform. The four women then walked off the platform before circling Meghan who still stood in the middle on the circular platform. The women started dancing/jogging anti-clockwise closer to the platform while the men went clockwise. As a male and woman crossed each other, they would hold each other and do a twirl before moving on.

At this point, the disco ball was still turning and the music was still a-blaring.

Come here - I will dance with you,
The music's a-blaring,
Get's me into the groove.
I won't bite
Boy, come!
Show me...!
Your best disco move!

Red, green, yellow and blue
Dancing under disco lights,
It's time to get close.
I won't bite, boy, come!
Get me...
I'm waiting for you
I'm waiting for you
Yes, I'll wait
I'm waiting for you
Come on, yes, yes, yes, I will wait.


At the end of the song, the audience roared as Meghan Jorgensen took a bow before screaming, "Thank you! THANK YOU ALL!". We then went to the Greenroom where the two hosts were. Tense music started to play as;
Jordan Hermes: Hello everybody! Thank you for that performance Meghan and congrats for that World Hit Festival 50 win.

Ria Aristide: It's now time to announce the voting at the 81st WorldVision Song Contest is CLOSED.
There were "ooo"s in the audience as a "DO NOT VOTE" sign showed up on the screen.

Ria Aristide: Do not vote or you may still be charged!

Jordan Hermes: Now, while the math brains check out the scores for the 81st WorldVision Song Contest, we are going to show you some facts and figures concerning Britonisea's participation in the WorldVision Song Contest!

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