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BITC | 107th WorldVision Song Contest | Entries Thread [IC]

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

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Placely Placington
Spokesperson
 
Posts: 107
Founded: Feb 03, 2020
Civil Rights Lovefest

Postby Placely Placington » Wed May 17, 2023 1:35 pm

20 - Placely Placington

Melty - Melty Is My Name


Tune: PtheG - She's Mad

E Oe fared a little bit better in Buaka than they did the last time they competed. Granted, it would've been impossible to have worse than they did back in WV98 where they got the first nul points of the televote era with the highly intense Uoiauai, but it was still noteworthy. Here, they not only got points (seven in fact; one from Norrp and six from someone else) but they also finished second from last. In fact, the only person that did worse than them was Tummylandia and Susistan who got five. And technically Aicrowan Canada who got no points from the jury on their debut but had ten televote points to wipe their tears with. Either way, a tolerable result. Not that Dave McDaverson cared, as he had managed to snag a trade deal that should hopefully keep his country afloat:

"Sir, the new shipment's come in." Television Director said as he opened the door to Dave McDaverson's office. There were plenty of empty glass bottles strewn about while Dave McDaverson sat in his chair, eating something out of another glass bottle with a spoon.

"Good, good. Remind me to thank Millenhaal again for it." Dave said as he ate the contents of another one of those glass bottles, an indiscernable brownish-pinkish sludge.

However, Television Director had noticed there was something starting to go wrong with Dave. "Sir, what is in that baby food anyway?"

"Radiation, apparently." Dave said, now immediately jaundiced. "Why?"

"Just checking, sir." Television Director said. "Anyway, do you have any ideas who we could send to the WorldVision Song Contest this time?"

"I'm not sure." Dave said, now with massive growths all over his body.

"I'm sure you could figure something out, sir." Television Director said before he looked over at Dave McDaverson. He was now dead. Turns out that irradiated baby food wasn't a healthy and nutritious snack after all. TD rolled his eyes and then headed down to the Clonomat rooms.

Shortly afterwards, a revived Dave McDaverson came out of the Clonomat room and asked his #2. "So what happened?"

"You ate some of that baby food and it seemed to have killed you."

"Preposterous!" Dave McDaverson scoffed at the idea and then marched back up to his office. Television Director waited in that spot but he didn't have to wait for long as, another five minutes later, another newly cloned Dave McDaverson came into view. "OK, you may have a point."

"Anyway, as I was asking, do you have any ideas who we could send to the WorldVision Song Contest?"

"I don't know. Melty apparently has a new song he wrote the music and lyrics to. Let's send that. Besides, I have something planned for the next edish, but it's a bit too early for that."

And, with that, Melty was sent over to Deportedass. Desportas. Doporthodox. And, with that, Melty was sent over to Britonisea. Of course, there's the various amount of issues of sending a perpetually melting person over to a different country. You have to get the melting flesh stains out of all the seats, the carpets, the floors would need a good steam clean afterwards. There's the risk of shining lights down on him to make him melt even faster. There was the possibility of people slipping on parts of him on the Titian Carpet over at that WorldVision Village thing (where the invites for him as well as the Placely Placington All-Stars to perform at it mysteriously got lost in the post); it had already happened when they were filming his postcard in Machievelihe (or Machiavelli as he kept calling it) and he had to deal with people either stepping in puddles or lumps of him or slipping on his trails. And there's the fact that, well, it's Placely Placington, the country that stinks up the lower 5th or so of the leaderboard. But hey, maybe this song would do fairly well. We'll have to wait and see.

Anyway, written by Melty, composed by Melty, here's Melty with his song "Melty Is My Name". Take it away, Melty.




The postcard came to an end and we get a shot of the stage. On it, a lone figure was just standing there, a figure who during the parade of nations just kept melting as he walked to where he needed to go until he became a near-sentient puddle by the end of it (it also didn't help that the audience immediately stopped cheering while he was around and only picked up again after he left). Meanwhile the audience at the foot of the stage and around it were mostly silent, with the only real sound being a scant arrhythmic applause. You know how it do. When that died down, it was time for the music to start. And what did we get? A clunky, off-beat dirge with horribly slurred vocals, almost as if the eternally melting person on stage was trying to make the unofficial sequel to Zasvyet from WV98. Let's hear it anyway.

Heeeeeeeeeeeeeeeeeeyyyyyy
Ohhhhhhhhhhhhhh
Oh yeahhhhhhhhhhhhhhhhhh (hey, yeah, yeah, Melty)
Yeah


Whether it be because the lights were a bit brighter than the last time he performed, or the arena was a bit hotter than the one in Zafizamarrah, Melty seemed to be melting a bit faster and harder than usual. When he performed I Hope Satan Brings Me Lots Of Presents For Christmas at WV93 he still kept his general shape for most of it. Here, he was simply pouring down and making a mess all over the stage. I dread the poor sod that has to clean that up. Oh yeah, performance wise, he wasn't doing much, just waving his body around and making small movements around the stage.

Melty is my na-ame
And melting is my ga-ame
Melty is my na-ame
And melting is my ga-ame


Anyway, Melty just waved his body to and fro while bits of him either kept spilling down or he started to sink into the stage. Meanwhile, backstage, two workers were arguing with who would do what when it comes to cleaning up the dropped off bits of the Placely Placingtonian performer and who would mop up the stage so it'd be clean for the next act. It somehow managed to get caught over the intercom but shortly after they noticed it they managed to turn it off so the audience wouldn't have to hear it. It's still probably more interesting than the song itself.

I'm melting all the time
I'm melting while I rhyme
Melting in Doportedas
I'm melting where they got class


And the conversation not only fired back up again, with them also complaining how they don't get paid enough to do this job and how it wasn't part of the description, but it also managed to drown out a bit of the song as well. Fortunately, they too managed to unmess it up before it really affected the song. Besides, Melty wasn't doing anything of note during this bit so let's just carry on with the song.

Melty is my na-ame
And melting is my ga-ame
Melty is my na-ame
And melting is my ga-ame


OK, now this sped up bit wasn't part of their argument, it was just the recording messing up and accidentally including a conversation from the other side of the booth. Damn cheap, crap Crustylandian equipment. Anyway, during this bit, the arm that was holding up the microphone dropped off and landed on the ground with a dull wet thud. Fortunately or not, depending on how you look at it, Melty picked it up and not only reattached it to his body but also carried on singing as if nothing had happened.

I'm melting for Placely
The best ever statelyyyyyyyyy
Melt in Britonisea
Melt and be just like me


Shit, I have to add something for the rear projector? Er, it was just a bunch of generic shapes flying around. Fortunately they were flying around slowly enough that it actually fit the whole speed and mood of the song. From time to time there were multicoloured blobs falling from the top of the screen to the bottom, occasionally making a splash when it landed. I don't know, this isn't the sort of song that requires a huge elaborate nation. Or country. Plus my internet decided that it wanted to go back to 1996 while I was writing this paragraph.

Melty is my na-ame
And melting is my ga-ame
Melty is my na-ame
And melting is my ga-ame


And then we got the bridge. As he sang, he kept leaning forward. It didn't seem that noticeable at first given Melty's general and bizarre anatomy but his head seemed like it was about to drop off his neck. It became more obvious by the third line and then, during the fourth line, it eventually gave and his head landed with a soft thud. Also his arm fell off again, although it landed it in a good enough place that the microphone was in front of his mouth. His body fell backwards while his head kept singing.

Meltyyyyyyyyyyyyy
Meltyyyyyyyyyyyyyyyyyyy
Meltyyyyyyyyyyyyyyyyyyyyyy
Meltyyyyyyyyyyyyyyyyyyyyyyyyyyy


Final chorus. Nothing else to say here other than it's nearly the end of the song.

Melty is my na-ame
And melting is my ga-ame
Melty is my na-ame
And melting is my ga-ame


After Melty finished singing, we immediately got something sounded like a producer tag. At least, that's what Melty was going for anyway, since he did compose and produce the song.

IT'S MELTY


After that came to an end, it was just 15-20 seconds of outro music. Nothing particular exciting. And there was even less excitement when the song just stopped. No one clapped or applauded. Melty let out a "Thank you, Doportedas." but, again, nothing from the audience. Eventually, one of the stagehands who was arguing while the performance was ongoing came onto the stage and swept Melty's head into a big bucket, followed by the rest of the mass that was his body before sticking the arm in like it was a straw. The other stagehand, meanwhile, just went around the stage with a steam vac just to clean up the streaks left by partially-melted humanoid flesh. On the upside, at least ISA from the lovely land of Besen will have a nice clean stage to work with.
Last edited by Placely Placington on Sat May 27, 2023 6:19 pm, edited 5 times in total.
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Besen
Envoy
 
Posts: 321
Founded: Mar 01, 2018
Inoffensive Centrist Democracy

Postby Besen » Wed May 17, 2023 3:44 pm

21
BESEN
Pardon? — ISA




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Lynn Isa Mitar - stage name ISA - (born 28th May 1989) is a Besenian singer, songwriter and actress. ISA is one of the highest selling female Besenian artist of all time domestically, having sold over 6 million records. She has been recognised for reinventing herself in music as well as fashion, and is referred to by the Besenian press as the "Princess of Pop" and a style icon. Her accolades include five BMA awards, six number one singles and a star on the Lipa walk of fame.
At the 2016 Besenian Music Awards, ISA was inducted by the Besenian Recording Industry Association into the BMA Hall of Fame. She was also appointed Officer of the Order of Besen in the 2019 Besen Day Honours.




There are two red lines across the back LED wall at the beginning of the performance. They slowly close together during the intro before ISA begins to sing. There are no lights apart from a soft red glow coming from the top and as the lines on the wall reach other, they ignite and sweep across to make the entire wall red. She's wearing something similar to this - but without the baby bump. There are two male dancers and two female dancers and they join her eventually towards the end of the build up to the first chorus. They're wearing the same coloured red plastic looking sleeved top and red camos. They form around her as the "Pardon..." call out appears and the lights are swirling in red beams.
(Pardon?...)
(Pardon?...)
Six inch heels on the floor
Six times, you calling me for more
As obliged I’ll be there soon
Won’t have to wait for a full moon
Shivers and butterflies
You’re feeling me and now you’re feeling on my thighs
And I’ll be well behaved
Cause I know you’ve been waiting
Pardon…
(Pardon?...)


As the beat hits, the dancers and ISA move their hips to the beat down and up and the camera is closeup to that scene. The back LED is flashes of red but the stage is currently lit with light and dark flourishes. As the hi-hats kick in and the chorus intensifies in the second half the dancing becomes more rigorous and there is laser beams that are introduced which quickly go back and forth across the dancers.

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Pardon? Pardon?
Are you someone that I know?
Pardon? Pardon?
Is there something that you want to show?
Pardon?
Want to see under my clothes?
Pardon? Pardon?
Enchanté, bel homme
Pardon? Pardon?
Are you someone that I know?
Pardon? Pardon?
Is there something that you want to show?
Pardon?
Want to see under my clothes?
Pardon? Pardon?
Enchanté, bel homme


For the second verse she interacts mainly with one of the male dancers, doing a back and forth call and response routine. He sensually weaves around her and occasionally holds her on the waist as they dance together. The second build up is more intense so the lights follow and get more crazy and intense - there will be a flashing lights warning for this performance. Her and the dancers stomp to the front of the stage again for the second chorus.
I like your place, can I stay a while?
I get the feeling we won’t be sleeping much
And you don’t have to commit at all
Just have to put your hands right here for now
Shivers and sweet nothings
You’re feeling me and now you’re feeling on my neck
And I’m well accustomed
Cause I’m not used to dating


Boom! A single burst of pyrotechnics from each side of the stage shoots up at the start of the second chorus, and the dancing is already more intense from the beginning. As the chorus proceeds, there is a camera shot of ISA following the camera frontally as it does a three sixty around the stage. She encourages the audience to sing along for the final reprise and then the chorus is over and the outro beat kicks in. They return to the first choreo for the first chorus and simply move their hips up and down following the rhythm of the beat.

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Pardon? Pardon?
Are you someone that I know?
Pardon? Pardon?
Is there something that you want to show?
Pardon?
Want to see under my clothes?
Pardon? Pardon?
Enchanté, bel homme
Pardon? Pardon?
Are you someone that I know?
Pardon? Pardon?
Is there something that you want to show?
Pardon?
Want to see under my clothes?
Pardon? Pardon?
Enchanté, bel homme

ISA and the dancers flick their hair around one final time and punch their arms up to the sky. The song ends and a final burst of pyro shoots up.

"Thank you Doportedas! We love you so much! Woo!"
Last edited by Besen on Mon May 29, 2023 3:58 pm, edited 5 times in total.

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Alezian Union
Envoy
 
Posts: 311
Founded: Apr 30, 2021
Scandinavian Liberal Paradise

Postby Alezian Union » Wed May 17, 2023 5:21 pm

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”Blessé Mais Béni”
Singer : Immanuel
Composer : Immanuel Sa'una'i-Rosseau Dadon, Hendra Cakrawinoto, Alif Sa'ad
Lyricist : Immanuel Sa'una'i-Rosseau Dadon, Hendra Cakrawinoto, Alif Sa'ad
Tune : Smash into Pieces - Six Feet Under


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Immanuel Sa'unia-Rosseau Dadon or more known with his nickname Immanuel is a Pantabang Islander singer and currently known for being the latest rock and pop sensation of the island, while also being a lecturer at a French language course in Bucinnois. Born in Bucinnois, BC, PI on 19th of August 1993 to military parents, he has been showing his talent for singing since he was little. He's also known for being the strongest polyglot (and this is no easy feat because Alezians are known for being polyglots) in the family knowing French, Alezian, Dutch, Indonesian, Arabic, and Italian.

Immanuel used to want to continue his family's great military reputation line and join the Alezian Defence Forces. Enlisted in 2014, he was stationed at Fort St. Jouviennes of Bristol, North Alezia as a cadet of the 192nd Batallion. There, other than your usual military skills (yes, Immanuel knows Ba'kanaku Api-Api aka the Native Alezian version of Krav Maga so no attacks please, he can kick the lights outta ya), he also developed another set of skills that eventually will land him in the music industry and eventually into WorldVision. Yes, he developed his music skills there as well. In the barracks, he would occasionally give his fellow soldiers entertainment by playing an accoustic guitar at break. He got caught, got punished, but then suddenly started representing his base at military musical competitions. He won once in 2015 with the guitar and vocal cover of the Alezian patriotic song "My Alezian Dream is to be Brave".

Eventually, dreaming of something else, after rising through the ranks, Immanuel decided to resign from the Alezian Defence Forces in 2018. He immediately tried entering the Alezian Institute of Arts (AlArts) in Bucinnois, but was rejected due to lack of musical portfolio. He then took language lessons as he rebuild his musical portfolio to prepare for a second attempt into AlArts. Eventually, with language skills and a strong musical portfolio (which includes covers of Robi songs), he was accepted into AlArts with a major of Musical Arts (YES, THIS MEANS HE HAS MET MARI-EL BEFORE!) and a minor of Linguistics and Poetry.

While studying at AlArts, he started where every other Alezian musicians made it: Arico.Net. He released cover after cover, and eventually, he starts gaining popularity. He then start releasing original music, with lyrics mostly in French. Let's just say that was a departure in a scene that usually have songs in English or Arabic, rarely the regional languages, even more rare in French. He quickly became popular in the Pantabang Islands, where in his repertoire, while albumless (until now, where he released Protégez Mon Cœur, more info on that later), he has released 16 songs, five covers, eleven originals.

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Blessé Mais Béni or Hurting yet Blessed is Immanuel's twelfth and latest single (which is also included in his latest album) and the selected entry to represent the Alezian Union at the 107th WorldVision Song Contest right from Doportedas, Britonisea. Thanks to the selection, the song has received quite a noticeable success for Immanuel's career, and it is now his best-selling single to date. It is also the first Alezian entry ever to be sung entirely in French (Aime-Moi was sung partly in French so that didn't count).

The song mostly talks about pain and uncertainty in life. One day it might be your best where you're soaring towards the sky, then the next day it might be your deepest low and you can't help but cry it out in anger. Immanuel phrased it best in his interview at That's Tea where he said: "It's basically life itself, you just simply don't know where to go and how to predict it, and all you can do is just go with it". This song also explains that life is full of contradictions, things that you want yet don't expect to happen now, or things that you don't want but expected to happen. Oof, it's super hard to explain.

At the creation of the song in its' entirety, Hendra Cakrawinoto, the oldest (and strictest) of the composers and lyricists were so impressed with the final product that he was rumoured to say: "This is WorldVision Quality. Absolutely amazing." And as it was released for the previews for Operation:WorldVision, it immediately was declared the favourite to win OP:WV and represent the country for the 107th edition. But Immanuel decided to not look at the odds too much; it would make him too complacent.

Immanuel initially predicted that he would atleast run neck and neck against Dominic Alaine. However, just like MARI-EL, Immanuel was literally running away with the win as Dominic Alaine has to settle for an upset of fourth place. His victory was celebrated as he became the first Pantabang Islander and "pillar-two" citizen to win and break the usual domination of North and South Alezia.

Another fun fact regarding this song, for the first time ever, the WorldVision entry for the Alezian Union is also part of a bigger album instead of only as a separate single. This time, "Blessé Mais Béni" is also included in Immanuel's latest album "Protégez mon coeur" (Protect My Heart) with other of his songs such as Including:

  • BLESSÉ MAIS BÉNI*
  • Prêt à tout
  • Hypnotique
  • L'étoile et le vaisseau
  • Retour du roi
  • Cause perdue
  • Surpassez-moi
  • Les lumières ne me suffisent pas
  • De toute évidence, je me tiens seul dans un endroit que je ne peux pas comprendre ou décrire par moi-même
  • Little Bit Insane (COVER)

As the results finalized and talks with ABA began, Immanuel began to pack.

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PART 1 - Pre-Doportedas
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The voting ended, and a city that started with "D" won the rights to host the competition. However, it's not Doorsbreekenstad. The bid submitted by the team behind Doportedas 107 proved to be superior in the voting procedure compared to Doorsbreekenstad's bid. Team107 felt that it was deserved, since Doportedas has hosted spectacularly numerous times before, and this is Doorsbreekenstad's first time ever bidding. Hopefully this can be used for future reference shall the city is ready to declare its intentions to bid again.

However, a dilemma arrives: The bill. Zafizamarrah can easily pay it off easily since it is a major global trading hub that can waste 10-20 million Alezian Dollars when it wanted to and end up didn't get what they wanted. But this is Doorsbreekenstad we're talking about. The city just recently escaped stagnation and now it has to cough up money. Usually, the Federal Government would help, but the city wanted to voluntarily take responsibility. The bill to even *have* the bid in the first place was 11 million Alezian Dollars (US$ 12.1 Million). The Federal Government watching this stepped in and loaned AZ$ 6.2 million. 4.9 left. Where will the city get that kind of money from? The city council thinks... And thinks... And thinks. UNTIL:

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The city had an idea. It was so brilliant, especially since they're facing the problem of disappointed Alezians (especially South Alezians) who expected the contest and everything to be at their backyard, and when it end up not being in DB, cannot buy plane tickets to Doportedas. In this case, they don't want to disrupt the IBA's activities with things that wouldn't really benefit them, but the Alezians still need to get that 4.9 million. And how to do that? Ticket sales. But there's no WorldVision. NOT EXACTLY:

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Instead of destroying everything, why not reuse it in a local megaparty that could still atleast earn revenue close to that remaining 4.9 million? The ABA has done that a lot of times before, but its' never been made official. For the entire WorldVision week, Doorsbreekenstad would still be busy, but this time hosting a local event for Alezian WorldVision fans who couldn't make it to Doportedas to enjoy the live show. Now, they will be gathered together watching the screen as the contest progressed, still enjoying the atmosphere. Outside, they can enjoy a lot of cultural activities, performances, and meet and greets... and lots of food and beverages (predictably, a lot of this will be of Britonish origin as respects for the actual hosts). All of this will be broadcasted live strictly on ABA, where at the live grand final, the festivals' proceedings will be broadcasted right before ABA joins the IBA network into Doportedas.

The event was met with positive reactions in the Alezian public, and hopefully, ABA will continue to hold these events shall their bids fail.
Also, the voting will be done directly from there, and Doportedas will indeed call Doorsbreekenstad with a spokesperson and a background of people celebrating their Vision Party.

Back to Immanuel, as he packed his luggage with things he need for WorldVision in Doportedas such as clothing, other stuff, but most importantly, his journal that he's been keeping and adding into ever since he resigned from the military. He also kept random pieces of paper that when people asked him about it, he'll always answer that he and his delegation will "need these for the live show, hence its' top secretness". But anyway, the team flew on a normal plane flight from Zafizamarrah to Doportedas. The budget ABA Bucinnois could've saved... But the past is in the past. Maybe next time, if Immanuel won WorldVision, ABA might even consider bidding it right next to Immanuel's apartment!

PART 2 - Doportedas

As Immanuel and the team arrived at Doportedas, they were fascinated by well... Everything! Mostly with the Doportedas transit system. Because it won over the people who can only see such efficiency back home only in Zafizamarrah, and maybe 70% of it in Doorsbreekenstad or 80% of Trishi. Don't even dare ask about Bucinnois, they're still recovering from their poor choices after building a monorail line that was rarely used and is being proposed for destruction.

When the Britonish team said that delegations can go anywhere with their transit system, it looks like they're not joking. They are planning to travel with public transportation for leisure trips, and sanctioned-transportation for event-related trips. Such efficiency, and transportation... While Immanuel isn't exactly a person who hype trains, some members of the delegation definitely does.

Other than the occasions where the delegations received some light looks after the delegation kept mispronouncing the city's name (the Alezians call it Do-Por-Té-Das instead of the actual spelling of Du'por-ti-das), the beaches of Doportedas immediately make them think of the beaches of Bucinnois where Westonber Beach according to the delegation is comparable to the St. Arlois de la Croix of Bucinnois. The white beaches, the skyscrapers right next, the warm feeling of the sun, they were planning to enjoy the beach right there but then remembered... that they have rehearsals to plan out and a Britonish team of experts regarding how the Alezian staging should be staged for the live show, since at this point, the Alezian team has only adapted Immanuel's winning Operation : WorldVision performance into the WorldVision stage... in Doorsbreekenstad. The team had only short time to readapt their staging to fit the one in Doportedas. This is where the secret papers come in handy, which will be shown to the public later.

Luckily, Immanuel's rehearsal went alright, as he also eventually meet with the Malta Comino Gozoan of Alezian descent (or as the Alezian internet would like to call it, reverse Adela Al-Maltiyyah), Prilla Grixti. They took pictures together, and talked. Sure, Immanuel is Pantabang Islander and Prilla is half North Alezian, but they still have a lot to talk about. Maybe one day they can discuss stuff in Zafizamarranian cafes? Immanuel's always open to talks over coffee. Oh right, we can't forget about Immanuel and his experiences at the Titian Carpet and the WorldVision Village!

After the crazy experiences Immanuel experienced, it's probably high time to understand that Immanuel's all ready for WorldVision. Now, enjoy the performance as he is involved in a postcard that connects the Alezian Union with the Britonish city of Boschke, a city that is both well known and massively unknown to Alezians since as ABA DID broadcast WorldVision 81, viewership rates were super low in anticipation for the actual time Alezia would eventually compete for the first time the edition after in Ertzei Kishim.

Immanuel stood backstage ready to enter, the postcard playing... This time, food! It is indisputable that South Alezia has one of the best food cultures in the Alezian Union, and after the bid defeat (South Alezians just won't stop bringing it up, sorry), Doorsbreekenstad's Centralestraat is connected to Boschke's Centralis Market due to both places being their respective countries' best places to get the top cuisines from each country... The Alezian flag, and the postcard, and the applause from the massive audience watching Immanuel. He took a deep breath, and then...

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Immanuel appears on the view of audience in the venue and from tv playing "dead" as a red line appeared following the lines of his body. Camera 12 was utilized as it rotates and zooms slowly towards Immanuel as he prepares to sing firstly from an earpiece.

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Immanuel woke up from being "dead" as the camera still slowly rotates around him. Immanuel "hesitated" looking towards the camera and then looked towards it suddenly in desperation. However, this "melancholic" attitude will suddenly break when...

Blessé mais béni
(Hurting yet Blessed)

Se noyer et respirer
(Drowning yet Breathing)

Coincé et libre
(Stuck and free)

Enchaîné ou avec ailé
(Enchained or winged)


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TV viewers were surprised with a glitchy transition which revealed the view of Immanuel now with a confident face inside of a lit-up "cage" made of iron with two ladders one on each side as he jumped forwards to stand up. A steadicam steadily and readily recorded Immanuel singing in front of a standing microphone (instead of the earpiece) where the camera rotated around the "cage"

En douleur ou en santé
(In pain or in health)

Seul ou avec vous
(Alone or with you)

Tout est brisé ou en entier
(All is broken or whole)


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The view changes to another steadicam that is walking away from the stage ready for the next part. Immanuel can easily notice the steadicam and smiled to it.

Dans la lumière
(in the light)

Ou dans l'obscurité
(or in the night)

sans sentiment de sécurité
(without a sense of security)


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Utilizing camera 6, the Alezian delegation used the one thing they usually do a lot: visual effects. "Mastering" colour, using transitions, and using bars. Each part of the picture is more "red" than the previous (instead of pink because this is not NEYSSA), before closing up and transitioning to show Immanuel's other side from the other side of the stage. It then zoomed out before slowly blinking the screen on, and off, and on
Je suis blessé mais béni
(I am hurting yet blessed)

Oui, blessé mais béni,
(Yes, hurting yet blessed)

et je ne sais pas où aller
(And I don't know where to go)

E-où aller?!, où aller?!, où aller?!
(Where to go?!, Where to go?!, Where to go?!)


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Firstly, as Immanuel looked at the camera and sung the first sentence, it quickly transitioned into white as camera 20 moved away from the stage showing a lot happening. Immanuel inside the "cage", lights of red and white flicking and moving up and down, flags and audiences celebrating.

Nulle part où courir
(Nowhere to go)

Plus rien à dire
(Nothing more to say)

Blessé mais béni
(Hurting yet Blessed)

Je me tiens ici
(I'm standing here)


Camera 4 was then utilized to show the audience before moving back to the main stage with camera 6, Immanuel looking way more than ready to move on to the next segment

Manquer de temps
(Running out of time)

Plus rien à tire
(Nothing more to do)

Je me tiens ici
(I'm standing here)

Je suis encore là
(I'm still here)


Camera 20 was then used yet again to show the red lights on the cage and on the floor's screen alternating between red and white before eventually stopping at the last sentence in this part as things simply calmed down for a small second. Camera six then shows Immanuel taking the microphone away from the stand and confidently "kicking" the front part of the cage open before crouching facing sideways with one feet on the front, which was met with applause from the audience

Je suis blessé mais béni!
(I am hurting yet blessed!)

Oui, blessé mais béni!
(Yes, I am hurting yet blessed!)

O, blessé mais béni!
(Oh, hurting yet blessed!)


Image


From camera 11, Immanuel was seen holding the microphone as he walked out of the cage and seriously looking towards camera 11

La vie est un cadeau
(Life is a gift)

La vie est un cauchemar
(Life is a nightmare)

La vie est pour le futur
(Life is for the future)

La vie est pour la haine passée, regrets
(Life is for past hate, regrets)


As the floor's screen "happily" indicated a red line that appeared from the cage outwards, Immanuel threw a fist upwards as the screen glitched into camera 21 as he vigorously jump-walked towards the front part of the stage and lights on the ceiling starts being equally glitchy moving all over the places again. As Immanuel reached the end of the digitally made red line on the floor, Immanuel spread his left hand as if he's trying to "capture" the moment of celebrating people and flags, combine it all, and keep it all for his heart. Afterwards, he faced away from the audience, signing another change to the view.

Et dans le sang ou les larmes
(And in blood or in tears)

Sourires d'amour
(Smiles of love)

Ou les larmes de colère
(or the tears of anger)

Tout n'est qu'un rêve ou de la violence
(It's either a dream or a violence)

Et je ne peux pas l'arrêter
(And I can't stop it)


Another steadicam followed Immanuel from the front as Immanuel saw the camera and pointed at it before continuing walking in order to be prepared once again. The steadicam gave way and still recorded Immanuel, but this time start taking the first steps upwards the right ladder

Je suis blessé mais béni
(I am hurting yet blessed)

Oui, blessé mais béni,
(Yes, hurting yet blessed)

et je ne sais pas où aller
(And I don't know where to go)

E-où aller?!, où aller?!, où aller?!
(Where to go?!, Where to go?!, Where to go?!)


Immanuel walked slowly upwards towards the top of the cage (which is secretly encased in glass, but Alezian technology made it nearly invincible)

Nulle part où courir
(Nowhere to go)

Plus rien à dire
(Nothing more to say)

Blessé mais béni
(Hurting yet Blessed)

Je me tiens ici
(I'm standing here)


Camera 10 from far away shows from left to right how Immanuel and his traverse upwards the ladder is going. He's halfway through, which is nice. But what's even more nicer is the fact that there are a lot of people jumping celebrating the Alezian music that they're listening, some flying flags (mostly Alezian and Pantabang Islander)

Manquer de temps
(Running out of time)

Plus rien à tire
(Nothing more to do)

Je me tiens ici
(I'm standing here)

Je suis encore là
(I'm still here)


Camera 20 shows Immanuel completing his traverse, walked to the middle of the top part of the cage (which is once again, made of near-invincible glass) started crouching upwards again as he spread his left hand forwards and then made a fist before slowly pulling it backwards as if he's telling the red line and the red lights to come back. And "magically", it happened as everything became so black that the screen turned black.

Je suis blessé mais béni!
(I am hurting yet blessed!)

Oui, blessé mais béni!
(Yes, I am hurting yet blessed!)


Image

From camera 5, only leaving only one part of the lights, the overhead one on, the microphone back on another mic stand, Immanuel can be seen closing his eyes intensely yet so calmly as he sung and hold his heart with his left fist, which is visibly red (due to lights), and an amazed audience as he opened his left fist opening and suddenly a massive ever-so-spreading heart made of red light shining on and on, before Immanuel grabbed all of the light again and raised his left fist to the air as he prepares for the climax...

[box]Nulle part où courir
(Nowhere to go)

Plus rien à dire
(Nothing more to say)

Blessé mais béni
(Hurting yet Blessed)


With camera 20 suddenly quickly zooming out, fire bursts and fireworks flying, and lights becoming violent again, Immanuel suddenly starts screaming with the best vocal training he's ever had lately and opened that left fist revealing a red light coming from his hand

Nulle part où courir
(Nowhere to go)

Plus rien à dire
(Nothing more to say)

Blessé mais béni
(Hurting yet Blessed)

Je me tiens ici
(I'm standing here)


Immanuel suddenly threw that light away and from the view of camera 6, and holding on dear to the microphone stand and looking at the camera with combination of anger, sadness, and happiness combined into one unexplainable power

Manquer de temps
(Running out of time)

Plus rien à tire
(Nothing more to do)

Je me tiens ici
(I'm standing here)

Je suis encore là
(I'm still here)


Immanuel "captured" that light again Camera 20 shows Immanuel "transforming that light" into an air guitar that immediately shocked the audience as he plays it around and fire stops and appears at specific intervals following the beat, the second sentence moving to camera 5 moving left to right, and then the last showing camera 6 zooming quickly towards Immanuel as fires and fireworks were deactivated and lights calmed down.

Je suis blessé mais béni!
(I am hurting yet blessed!)

Oui, blessé mais béni!
(Yes, I am hurting yet blessed!)

O, blessé mais béni!
(Oh, hurting yet blessed!)


Image

Amidst the smoke resude from the fire and fireworks, the audience applaused with the TV viewers looking at an Immanuel with a "phew! I did it" on his face. He smiled and laughed and then shouted "THANK YOU VERY MUCH, DOPORTEDAS! MERCI! I love you very much". The view then changes to a group of happy Alezians waving Alezian and Pantabang Islander flag with some even showing banners in support for Immanuel. Immanuel walked off the structure and sighed a feeling of relief as he finished his entry and all he can do now is relax as he'll be watching the remaining entries and hope the jury and viewers loved his entry.

Image
Last edited by Alezian Union on Mon May 29, 2023 11:11 am, edited 20 times in total.
THE ALEZIAN UNION

Member of the WMCAverse
Waisnor / Malta Comino Gozo / Carrelie / ALEZIAN UNION

Read The Alezian Union: The Comic HERE!

Winner of Worldvision 94 and 103, Runner-up of Worldvision 83 (through NA), 104, and 105, WHF 55, and JWHF 9

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Indo States
Minister
 
Posts: 3151
Founded: Jan 05, 2018
Corrupt Dictatorship

Postby Indo States » Thu May 18, 2023 6:20 am

WITHDRAWN.

23. Fatimanian Federation
Stephan Chémard - Briller (Shine)

Image





Information about the Song

The Song has been wrote by Léopoldéz Féliésse Péctéraux, in which, the song was based on Stephan's Childhood where he considered his Childhood as the "Most Joyful Moments in my Life", in which, Stephan and Léopoldéz decided to write this Song and to teach Fatimanian Youth on his "Joyful Moments in my Life".

Main Vocalist(s): Stephan Chémard
Female Vocalist(s): Évangelique Pélégréz
Lyricists: Lorenzo Gillérd
Composers: Léopoldéz Féliésse Péctéraux
Props Manager: Timmy Padilla
Sound: Karméla Aleszandra Tyróna (Carmela Alessandra Tirona)
Video: Endre Tyrón (Andrei Tirona)
Dancers: The 5K Squad (Vince, Luis, Herbet, Derick)

Original Tune: ALPHA - Seni oilai





The Actual Performance
Last edited by Indo States on Thu May 25, 2023 7:13 am, edited 1 time in total.
Fédération Fatimanienné - Fatiman Federation
Country of Freedom and Education


I DO NOT USE NATIONSTATES STATS

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Puffleland
Political Columnist
 
Posts: 2
Founded: May 17, 2023
Liberal Democratic Socialists

Postby Puffleland » Thu May 18, 2023 6:25 am

DELETE
Last edited by Puffleland on Thu May 18, 2023 6:54 am, edited 1 time in total.

User avatar
Alinghi Federal-Democratic Republic
Ambassador
 
Posts: 1176
Founded: May 07, 2013
Civil Rights Lovefest

Postby Alinghi Federal-Democratic Republic » Thu May 18, 2023 6:37 am

Image



THE ARTISTS

The Dissenters is a group formed 3 years ago. The group is known to do political song that talks about the dangers of authoritarianism, the loss of liberty, the pleasure to be themselves. All three members went from a situation that directly or not directly that implies there the liberty were not granted, and opinions were criminalized. Their base is located in Canoria, although they have a huge affairs also in Novgarada and other towns in Paradizna. Most of its song in sung predominantly in Alingo-Slavic (until the Russian Invasion called Alingo-Russian, with a reform, that make the rules more similar at the common language of who reside in canton Paradizna and Tromksi), Italian, English, and in minor measure German.

Gotčanov Biriska Romani

Born in Moscow, escaped from Russia at the beginning of the war (in the Alingan world, the war against Ukraine begun earlier), he began his artistic career in Russia, with the name of LUTCHA, when arrived in Alinghi though socials begin to have a success in Alinghi, firstly among the other Russian exiles, after in all Confederation. He initially beginned as solo in the metro station, in bars, also wiht the assitance of the Russian exiles association.

Kakalau Trobo Otto Marco

Born in Pastaretta, diffenetly of other two he didn't directly suffer with the deprivation of liberty, but his father does, and his history hit the hearth of Otto. His father came from Nigeria, he's escaped because the family discovers that he's gay. He crossed the Sahara desert, come across the mediterranean see, and stationed in Italy. Due an agreement between the Atlantis Union and European Union, he was one of migrants what moved in Alinghi. His request for asylum for political reason was approves. He meet after his future husband and adopted Otto Marco.
He meets Romani, in a pub in Novgarada during a trip with his friends, Romani was in Alinghi since 6 months. They meet before his show and shared their passion of music and Otto show some of his piece, and decided to make a collab. THe first collab, made in a bar in Paradizna was a quite success, and decided to do an stable "the Dissenters". He assist also have the role to make or adapt the lyrics for the non Alingo-Slavic language pieces, especially in the first years. In general he in performance doesn't sing

Bellini Sejfne Lekka

The last adding to the group. Born in Serifica. Her parents joined the Jehovah Witness when she was 2 years old, and the couple began to be exrtremely involved in the cult. At 16 years for her doubts and due restrictive rules of the group, what bing a different fight if the Elders, make her to be dissociated, that means that all members of the JW, must avoid all interactions, including her parents, left her totally alone (not having relationship with other non-JW peers). She meet the duo at an event to sensibilizes against the cults like JW.

THE SONG SYNOPSIS

The theme is the process of overcome from a toxic relationship, and to go forward and don't be influenced by the events that you can't control and don't confront with the life what the ex-girlfirend will have after the end of the relationship (as you can read there was no "karma thing" toward the woman at the end of the song)

POSTCARD

The video begin in a quite known metro/train stop of Aronik and show the particularities of the Metro station. After it stops to the train stop of Via Spinoza, of the Metropolitana di Canoria, firstly it shown the entry of the metro station, after the camera it going down to the track. At certain point a train arrive and the train doors opens, here the three artists of "the Dissenters" step down from the train arrived and come to a fairground organ present in the metro putted to entertain to are waiting for the train, and when the music start Romani, Otto Marco, and Lekka hear the music e begin to sing the lyrics of the song played in front the camera.

TUNE: https://www.youtube.com/watch?v=O6SHlXFAQVY

The song begin Romani, enter int he stage from an entry behind the screen, and begin to run (keeping the legs extendend) in the front side of stage. When Otto is present behind the console.

Io ghe te corro drio
(i run behind you)

Io ghe corro senza fermarmi
(I run without stopping)

io t'ho amata col meo core
(I loved you with all my hearth)

fin da dir addio al meo dentro
(until I renounce to be myself)


Romani arrived in the front, now he "run" in the place.

Io ghe te corro drio
(i run behind you)

Io corro senza fermarmi
(I run without stopping)

nor me sento sansa nulla en me
(now I feel nothing in me)

nulla in me sento nell'esser mio
(I feel to be everything than me)


Now Lekka, with a electronic mask (imagine wrech from Watch dogs 2, but the electronic prt covering the mouth, keeping visible her eyes), and begin to sing, in the screen begind the stace become all bleck except for a stylized retro eyes and mouth that sing that sing Lekka coping the images shown in the mouth-mask.

Io ghe corro via
(I run away)

senda gardar indrio
(without to see behind me)

pressa me ghea sentì
(oppressed I felt)

tu non ghe mea mai amà
(you never loved me)


Io ghe corro via
(I run away)

senza gardar indrio
(without to see behind me)

nove cose ghe me aspetan
(new things will awaits me)

con tì gh'era 'na monotonia
(with you was all a monothony)


The camera return to focus on Romani, where meantime he layed down on his right and continue to sing

Ma che ghe vuito dìr
(What you want to say)

Io g'ho fatto tutto per tia
(I do everything for you)

con i mei ho avia da ridìr
(With my [parents] I fought)

litigà con amisi avria.
(fighted with friends I had)

Ora sol son io
(Now I'm alone)

de mente ora non sia
(I'm out of mind)


Romani now turn on his left side.

'Na crisi g'ho io
(A [mental] crisis I had)

ana iorno io cria
(every day I cry)

per me importanti era ti e io
(for me important were us)

ma ora s'è tutto finia
(but now it's all ended)

el novo non ghe so che 'l sara
(and I don't know that the future will be)

e non fasile sè dir addio a la malinconia
(and I will not be easy to say goodbye to malichonia)


Romani now are laying on his back.

'Na parte de me se ne andria
(A part of me is gone)

ma alla fine sono en tutto non sia
(but I realized what I wasn't totally alone)

alcuni amisi che g'avia non adria mai via
(some friends never left me)

ed el patonico amòr che g'avia s'è via
(and the platonic love is gone)


Romani now stand partially up, sitting in the ground. Then Otto to make eh the camera turn temporarly on hit to return near immediately to Romani

'Na parte de me se ne andria
(A part of me is gone)

ma alla fine sono en tutto non sia
(but I realized what I wasn't totally alone)

alcuni amisi che g'avia non adria mai via
(some friends never left me)

ed el patonico amòr che g'avia s'è via
(and the platonic love is gone)


Suddenty he stand up e begin again to run on the place. The camera show Roman to sing, but occasionally let see Otto that play and dance in place behind the console

Io ghe corro mai indrio
(I never run backward)

Io ghe corro sansa fermarme
(I run without stopping)

mai ghe rinunserò più el meo 'ser
(I will never renounce to myself ever)

vivo mo io ghe vuia sentir in cor mio
(now alive I want to feel in my heart)


Io ghe corro mai indrio
(I never run backward)

Io ghe corro sansa fermarme
(I run without stopping)

qualca cosa en me ghe ritornà
(something on me is returned)

felicità 'no en me mi sentio
(happines now I'm feeling)


Now the camera return on Lekka, and the screen become again black with a stylized mouth like precenently

Io ghe corro sansa meta
(I run without a goal)

Io ghe corro a la riserca
(I run to search)

Di qualcuno che ghe mi capia
(of someone who will understand me)

per quel ch'io sia en realta (
for who I really am)


Io ghe corro sansa morbo
(I run without any hurry)

Io ghe corro a la riserca
(I run to search)

El passato è percorso
(the past is covered)

ed el futur s'è orbo
(the future is unknown)


Io ghe corro sansa via
(I run without a way)

Io ghe corro a la riserca
(i run to search)

Contra un che me ghe dise sempre no
(for one who not tell me everytime no)

a chi mi capia io ghe andria
(and I will go with who understands me)


Io ghe corro sansa via
(I run without a way)

Io ghe corro a la riserca
(i run to search)

Contra un che me ghe dise sempre no
(for one who not tell me everytime no)

a chi mi capia io ghe andria
(and I will go with who understands me)


The camera returns on Romani, who is in his knees, that sing in "desperation"

Te me ghe chiedevi
(You countinued to ask me)

di andar simpre dove vuio ti
(to go every time where you want)

Dai perfavor! Dai perfavor!
(Please! Please!)

E se ghe ti drio 'na volta
(If I tell you one time)

per calca rasòr de no!
(for every reason no!)

Saito ghe drama! Saito ghe drama!
(You know what a drama! You know what a drama)

De me non te ghe andava
(You didn't like)

mai nienta e di dise
(anything of me, and you tell me)

Ti sì un fallio! Ti sì un fallio!
(you're a failure, you're a failure)

A la fin te me lasciandome
(Endly to leave me)

me g'hai fatto 'n favor
(You make me a favor)

Con ti non ghe vuio nul da far
(Now with you I don't want nothing to do)


Romani stayed on his knees but is voice is less "desperate"

La nostre relasion xera toxica
(the our relationship was toxic)

ghe litigavia oni ionrno
(every day we fought)

malvasie cose ghe se noi dica
(evil things we told each other)

noi sempre via stavam dintorno
(ever far we stayed each other)

ma alo stiso tempo ghe te sercavo
(but at the same time I seached you)

ghe sembria 'no masochista
(like a masochist)

e ti te ne profitav
(and you get profit on that)


Anca io oni tanta mavasia ero
(Also me some time I do evil things)

ghe sparlai di ti a tutti
(I spread bad voiced towards you)

ma poi me in colpa me gh'ero
but after that I felt guilty)

e ghe sapevi di chesto ti
(on that you know that I felt)

e te guidii a tormentarme
(and on these guilty feeling you liked to torment me)

disendome che gh'ero sempre mi 'l villano
(telling me that I was the a deplorable person)


Romani stands up again e return to run on place
Io ghe corro sempre avanti
(I'll run everytime forward)

Io ghe corro verso el futur
(I'll run everytime toward future)

Terror io non g'avia
(I don't have fear)

ostacoli passerò davanti a mi
(I will pass all obstacle toward on me)


Io ghe corro sempre avanti
(I'll run everytime forward)

Io ghe corro verso el futur
(I'll run everytime toward future)

Sempre me io ghe sia
(in every occasion I will be myself)

Nessun me fermera mai
(Nobody will be stopping me)


Now Lekka begin again to sing.

Io g'ho corso sempre
(I ran ever)

Io mo mi fermo
(but now I'm stopping)

E ver amor io g'avia trovà
(the true love I found)

me el meo omo felisi semo sempre
(and with my man happy I am)


Io g'ho corso sempre
(I ran ever)

Io mo mi fermo
(but now I'm stopping)

E ver amor io g'avia trovà
(the true love I found)

me el meo omo felisi semo sempre
(and with my man happy I am)


The Broadcaster
Image
Last edited by Alinghi Federal-Democratic Republic on Sun May 28, 2023 5:39 am, edited 15 times in total.
[color=color=#00BF00] Democracy, social equity, switzerland, Democratic Socialism, EU (had some problems, but this not mean that it's unfixable), UN, Federalism, same sex marriage and Schengen , Ferderal non-ethinc based Palestine, Civic Nationalism on eventual European Federation (or Euro-civic-nationalism), Interculturalism(is a bit different whan MultiCulturalism)[/color]
Dictitonaship, Fascism, Communism, Racism, Putin's Russia, Berlusconi, religous intollerance, Trump, Erdogan , British Gov., Netanyahu, Orban, Likud,, Etno-Nationalism, Clericalism.
The tax rate is the half of NS index, pop. is different

I'm gay - I have Asperger Syndrome
I support
UKRAINE Peace, not a second München 38

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Polkopia
Minister
 
Posts: 2892
Founded: Jun 06, 2011
Iron Fist Consumerists

Postby Polkopia » Thu May 18, 2023 10:12 am

Image




Introduction


Rebekka: "Good evening, good evening! Thank you for tuning into the Polkopian National Broadcaster's official English commentary of the Worldvision Song Contest, held in Doportedas, Britonisea, brought to you by yours truly. Now, normally, I have a guest with me, but for this commentary I will be flying solo, as my colleague, Ony Yepsin, will be bringing you commentary in Polkopian, so all you nationalists and Polkopian enthusiasts can turn into his commentary instead."

Rebekka: "Right! So as you all may know, this is Polkopia's big return to the contest, having last participated in Besen for WorldVision 101. Polkopia was originally set to participate in Mister X the following edition, however the group, KAPITAN, withdrew due to some infighting within the group. You will be sad to hear that the group is no longer together. Very sad indeed. The PNB withdrew for the next few editions citing dissatisfaction with the IBA, though they did not point to any specific rule or regulation, but continued to broadcast the contest despite its non-participation in the contest. Worldvision has remained an important tradition in Polkopian culture and we are so excited to be back!"

Rebekka: "Like I said before, we're heading to Doportedas, the capital of Britonisea which, interestingly, has never hosted the contest. Britonisea has hosted the competition six times now, but this is the first time we've been in Doportedas. The Britonish are harping on their history with the slogan, 'Atoller Teuten Vokse,' which is an homage to the song, 'Cy Ecouto Teuten Vokse,' which won the contest for Britonisea all the way back in '64, when the Britonish actually had something to be proud of!"

Rebekka: "Every year, the host country brings something different to the contest, adding its own flare to make it stand out, so what can we expect from the Britonish this edition? Well, expect a massive production - lots of lights, special effects, cameras, and all those things that make the entries stand out a bit more. Delegations around the multiverse would be wise to take advantage of all of the tools at their disposal here in Britonisea, and I'm sure they're intending on doing so. But, before we do that, the Britonish are treating us to an over-the-top opening act, as expected. Grab a bottle of wine, some friends, and enjoy the show."




Opening Act


Rebekka: "Ahh yes, here we are in Britonisea, in case you haven't already heard! Here is the land of... beaches, okay, wouldn't really choose Britonisea as my primary destination for a beach vacation... oh but they've got more than just beaches, they have tennis too! Lots of, um, dancing too, I suppose. And next, here's a city with some dapper-looking men and women, I assume they're going to d- yep! A nice little introduction to get you in the mood for Worldvision."

Rebekka: "Opening the show tonight is the group, Fakawi. The group comes from Malta Comino Gozo, who were the winners of last edition, and if you're like me, you'll spend the next three minutes wondering how exactly they managed that."

Rebekka: "Well that was... well, I'm not going to say great, but it was definitely a song on a stage with visual effects. They sang a song and people clapped, so good for them!"




Rebekka: "And here are our hosts of the evening, Matt Evans, Alyxhia Willis, and Xavier Benchek. As usual, be prepared for awkward silences between dialogues, horrible jokes, and statements that don't quite translate well into English. Anyway, here they are!"

Rebekka: *After Matt's opening line* "Nothing sets the mood more than talking about your city's past Worldvision failures, eh?"

Rebekka: *After Alyxhia's dialogue with Xavier* "Let's keep a tab on all of the bad jokes made today. For the safety of everyone's liver back home, I advise against making a drinking game out of this one."

Rebekka: *After Xavier's, Alyxhia's, and Matt's dialogue* "I can confirm, the air in Doportedas does smell like road tar, but with an unmistakable hint of cigarette smoke... But on another note, imagine being poor Sadegh where you've come in 9th place and you're still the butt of every joke. To be fair, others have had career end early for less egregious offenses."

Rebekka: *After the hosts' opening dialogue* "Ah, there it is, the magic words signaling the start of the contest. I do love that bit of French in there, that was a fun twist!"




01| Strayaroos

*The Roosian postcard is shown*

Rebekka: "And here is the first nation of the night, that honor goes to Strayaroos. The nation is represented by Kitta & Ali who will sing, 'Welcome to the Show,' and one of the girls, Kitta, is actually Aenglish. Their song is fitting to be performed first, as it *ahem* is certainly upbeat and fun, but I'll let you folks at home decide that on your own. Ladies and gentlemen, Strayaroos."

*The Roosian entry is performed*

Rebekka: "Well that's certainly a way to make an entrance, isn't it?! I just hope nobody's grandmother was in the room to hear that Roosian girl scream. It's a fun entry, no? I'm not sure if they forgot some of the lines in that first verse or what happened there - I think there might've been some lyrical trouble, but it was a solid finish for this duo! At least they advertised their names enough so we can't forget them - no matter how hard we try!"




02| Crustyland


*The Crustylandian postcard is shown*

Rebekka: "Another Worldvision powerhouse - Crustyland is next. Atle Axness and Jørn Vea will be performing a song about - you guessed it, seals! They have a pretty sizable following back home, with some actually believing they can win this edition. I'm required by my contract to not point out any favorites - or least favorites, so I'll leave you to guess where this one ranks on my list!"

*The Crustylandian entry is performed*

Rebekka: "There's always at least one at Worldvision..."

Rebekka: "*ahem* Right, well, I'd say that these two gentlemen did well. Next time give them better lyrics, stylists, and song, and maybe they'll have a chance at top 10! We're moving on to the next country which is... Carrelie!"




03| Carrelie


*The Carrelian postcard is shown*

TBA"

*The Carrelian entry is performed*

TBA




04| Polkopia


*The Polkopian postcard is shown*

TBA

*The Polkopian entry is performed*

TBA




05| Aenglide


*The Aenglish postcard is shown*

TBA

*The Aenglish entry is performed*

TBA




06| Ertzei Kishim


*The Kishraeli postcard is shown*

TBA

*The Kishraeli entry is performed*

TBA




07| Robloxian Robloxia


*The Robloxian Robloxian postcard is shown*

TBA

*The Robloxian Robloxian entry is performed*

TBA




08| Axuva


*The Axuvan postcard is shown*

TBA

*The Axuvan entry is performed*

TBA




09| Illdonya


*The Illdonyan postcard is shown*

TBA

*The Illdonyan entry is performed*

TBA




10| Scotatrova


*The Scotatrovan postcard is shown*

TBA

*The Scotatrovan entry is performed*

TBA


Last edited by Polkopia on Mon May 29, 2023 5:54 pm, edited 11 times in total.
Anthem (Instrumental) Factbook Embassy
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Banou
Political Columnist
 
Posts: 2
Founded: Jan 06, 2023
Left-Leaning College State

Postby Banou » Thu May 18, 2023 10:26 am

Last edited by Banou on Fri May 26, 2023 12:40 pm, edited 2 times in total.

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Achaean Republic
Diplomat
 
Posts: 636
Founded: May 26, 2019
Civil Rights Lovefest

Postby Achaean Republic » Thu May 18, 2023 5:09 pm

26| Achaean Republic
The Absolutionists-"Kachat"
Tune: The Hardkiss - Kohanci


Image


The Teutonic complexions of the women, whiter than snow or paler than the clouds, confounded many people that quickly learned the sisters were native-born Rosarianas. “Wait, aren’t Rosarianos some sort of tan or black?” They have learned to ignore these ignorant assumptions, maybe even take them in stride since it happened so often that they were oftentimes confused as gringa tourists based on their Bavarian German accent, which also brought more questions when they could speak with that famous cantao citizens from Rosario could only speak and would sound so funny yet so endearing. Flat-chested and flat-footed, the Müller sisters enjoyed their live in the tropical sun, aware of the things in live that made them privileged beyond measure. Their parents, a German-born father that was one of the corporate execs at a Nissan plan on the outskirts of the city; and an American-born mother that taught English in the country and eventually settled to domestic bliss, led the trio to enjoy the benefits of multiple cultural identities: German, American, Achaean, Rosarianas.

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From left to right: Alina Müller, Elizabeth Müller, and Marianne Müller-Hernández


They spent their holidays between their dad’s hometown in Nuremberg and their mother’s hometown in Glendale, California, all the while studying and living life (and catching lots of sunburns!) in Rosario. In each place, they were enthralled into listening to the top German rock bands and incorporating them into their youthful endeavors. Alina, the oldest Müller, was the songwriter and guitarist; Elizabeth, the middle child, was the drummer; Marianne, the smallest, was the vocalist and the perky public face of their duo, all the while her boyfriend—and later husband—Roberto Hernández attempted to manage the group and landed them gigs throughout the country. In fact, they were slated to become first-time contestants at this year’s BahíaFest, the country’s most popular music festival.

Their motivation was countering the very tender and quite popular Buenas Noches from María Darío, the runner-up at last edition’s contest that melted a few hearts and may or may have not caused a few divorces—or so they say. Once they were chosen internally to represent the country in WorldVision, they decided to put a spin on hard rock, their favorite genre. They wanted to incorporate some of the industrial harshness of Rammestein with the pop-like goodness of Tokio Hotel, a different vibe from the one shown recently. “It has been a while that Achaea has competed with rock,” said Elizabeth in a press conference before heading to the country for their performance, her accent with an interesting mixture of that California twang with the Rosario sing-songy accent that was both charming and at the same time hilarious. They discussed their influences, the direction of their sisterhood and how they handled any conflicts within each other. There was a small discussion about life in Rosario and how rock is normally taken in the city (despite traveling back and forth to Corola for negotiations with the channel, they stayed put in the Black Pearl) that is mostly known for its tropical, Afro-Caribbean rhythms. And of course, they answered the most controversial question—

“And there’s no Spanish this time!” blurted Marianne to the mixed gasps of confusion in the house. It was not very often that the Achaeans decided to buck the trend of sending Spanish-language songs to the contest (it was no longer a hard-set rule imposed by the broadcaster), but it was quite anathema to even consider doing it in language. Cue comparisons and impositions, fear and frustration, accusations of Yankee capitulation, etcetera etcetera.




It was the first time in years that the Müller sisters visited Britonisea. Last time they came to the country, they were doing some shows in Chickenville and Bovingdon (they wished they could sneak out of the country to see The Intermissión win their Achaea’s first World Hit Festival trophy!), and then a quick hop and a skip to Estograd for an event. Marianne also considered completing her master’s degree in music theory in one of Doportedas’ most prestigious conservatories, but her father gave her a slight nudge for Frankfurt’s Hoch Conservatory or Berklee—whichever one was cheaper, to be honest. Elizabeth only wanted to take advantage of the limited downtime and enjoy some luxury shopping at Doportedas’ most famous high street stores. Alina just wanted to spend time away with her husband, maybe even extending her vacation in the city if it meant that she could gather some peace from her very lovable yet annoying sisters for a while.

It is well-known that the Achaean diaspora in Britonisea is quite strong and visible with the fueguero flags hanging on homes and apartments and the occasional Spanish sprinkled in with some Received pronunciations. This generation of Brito-Achaeans are no longer simply maids or au pairs or construction workers or illegal sex workers with a relatively decent command of English; rather, they are diplomats and delegates, councilors and university professors, musicians, and business magnates. They brought the hustle and bustle of the Caribbean fire and turned it their own in Britonisea. Very few Britonish, other than the far-right ones, consider Achaeans a nuisance, for their integration into society was more than complete. Of course there were some stereotypes that one or two cheeky cads asked the Müller sisters about Achaean looseness, but it was nothing that they couldn’t handle with sisterly power.




Alina forgot about her blood pressure medication! She always takes her blood pressure medication alongside her birth control (you wouldn’t believe she has blood pressure medication—she’s Achaean, after all). But for some reason she forgot to take the pills while she was in her hotel; and for some reason, her husband didn’t remind her. She was having her drums set up by the stage handlers seconds before the performance (they borrowed some props from the BITC collection and dyed them blue), but she was worried that her blood pressure would get too high while she was (miming) playing the drums. Oh, well. At least Doportedas would have one hell of a show.

Elizabeth drank lots and lots of water as if she were trying to stave off the heat. The stage felt annoyingly hot for some reason, and she needed to maintain herself constantly hydrated. Doportedas was not an unseasonably warm city, partly due to its oceanic climate. It felt very cool and pleasant—not too hot and not too cold. But the stage was filled with LED screens and lights and booms and the pyro. There was so much pyro injected to the stage, you could question how and when and where the Achaean delegation got all the sponsorships necessary to spend corcinos on the lights! She liked it, but it made her hot. She had to think about that while she adjusted her microphone.

Marianne kept fiddling with her guitar. Not tuning since it couldn’t be completely plugged in. She was just fiddling. Fine tuning the guitar meant stretching the knots and strings, grabbing the pick and touching the vibrations that turn into pleasant sounds in the ear. The youngest one, the baby of the group, she was usually kidding joking around with her sisters in complete counter to the mental toughness they needed to portray. But when push came to shove, her charisma transformed into focus and attention to her guitar. She loved guitars, and she preferred to be the one banging her head and thrashing (she may or may have not broken a few guitars) instead of being up front and singing or drumming. Guitars were a perfect fit for her.

The song with a few riffs and a wide railcam display of Camera 10, panning the cheering audience from left to right. Then it switch to Camera 20 with a Spidercam that glistened the arena and showed the three women in their respective spots—Marianne to the viewer’s left, standing by her electric guitar; Elizabeth at center stage with the front; and Alina in the front in the microphone stand. Two men on both sides of the stage wore black-and-white Adidas tracksuits alongside Greats brand all-black sneakers that, for some reason, had reflecting lights modified on its soles. They also had black balaclavas that made them almost invisible and inconspicuous (and a little bit shady), were it not for the cavalcade of black-white-red lights flooding the stage. It was obvious that they were men. It was obvious that they were burly. They were also carrying axes, using them as props. On scene, one of the men appeared to be ready to chop wood—or…a head? A melon? It was hard to say. Unlike other performances, which bordered on camp, this one attempted to embrace violence.

One of the railcams showed Alina’s face and voluminous hair, slowly zooming out as she bent her body and each angle accompanied her terse movements.

He thought he wouldn’t do it, so helpless
His heart was broken, corrupt
It begs to sleep
The blood he spills, stuttering
Magical or wandering
Breaking point, touch the gold
Brokenness and pleasure


After the chorus, the rig on Camera 4 captured an extensive shot from the stage to the audience as it suddenly burst into color. Quickly, the viewer’s gaze switched to Camera 20 with another wide-pan shot of the towering audience showing the fireworks on the side of the stage, each left and right side of the LED panels flanked with reverse images of red axes swinging on a white background. Then another quick camera change (this chorus is filled with fast-paced camera changes, which may cause a bit of a whiplash to the untrained or unaccustomed eye) the viewers could observe Marianne rocking in her guitar while slightly bungling her hair and Elizabeth in the banging her drums on the back. Alina moved from right to left with Camera 6 slightly below her, carefully tip-toeing the border of the stage with her feet so she could avoid falling beyond the railings with her pointy black boots. (She got those at a Goodwill store in Corola for 56 corcinos, or about $11.20 USD. Yes, they were unusually comfortable. No, they were not made of leather.) At the same time, the lights on the audience would reflect on waves of black-white-red colors, almost appearing as waves of blood.

Swing low, swing high
And swing to the head
Swing low, swing high
And swing to the heart
Swing low, swing high
The flesh breaks, we swing
Swing low, swing high
Swing low, swing high


Back on the stage, Alina took a back turn to the audience and looked directly at the railcam on Camera 6, slightly pointing and shaking her head. The railcam moved from left to right. Behind her, the nine-point LED light squares continued waving in streaks of black and red and white, the colors used on a typical axe. The two guys surrounding them were finally using their axes in different positions: the guy on the viewer’s left was still chopping some wood, and the guy on the viewer’s right was grinding his axe on a small stone. (None of these things could be easily found in the Achaean Republic, but no matter—it was an attempt to embed the danger and fantasy of the story.) Below them, the stage also contained the same dark hues, red intercalated with navy-blue tones on the LED floor. There were also occasional streaks of light as to avoid enveloping the audience and the Multiversal viewers at home with total darkness. But Alina’s smoky and seductive voice managed to carry its sound around the arena.

The fever stencils his neck, delirious
He’s fully alive again
Let him erase
The blood he spills, stuttering
Magical or wandering
Breaking point, touch the gold
Brokenness and pleasure


Once again, the rig on Camera 4 heightened the impact of the performance. A series of quick camera takes followed—first, a quick-shot image of the expansive stage with the Müller sisters and the axe-wielding performers; then, another glance at the rocking, vibing, hand-waving audience; then, another wide pan that showed how the stage lit up in streaks of red and white, still reminiscent of the gleaning look of a bloody axe. The chorus was simple but catchy, a challenge offered thanks to Michelle’s incredible lyricist skills—and a low night reading Dostoyevsky’s Crime and Punishment. They needed to maintain a simple chorus to lighten up the inherent heaviness and violence of the song. Not that the song was violent in and of itself, but the extension was to provide a major impact, as well. Lights and textures and fixtures were elements of the show that demanded to be played with, and it was up to the Achaean delegation to take it to its full advantage.

It is noteworthy to address the audience in the standing room. From the decked-out Achaeans to the Polkopians, the Alezians and even the normally stuffy Britonish, the standing room quickly transformed into a mosh pit. A bird’s eye view of the standing audience reflected the head-banging and thrashing nature of the impromptu mosh pit with some in the audience tackling the others (God help those that lost all their Britonish pounds on nachos and a Diet Coke!). It was undeniable the passion the Müller sisters would bring to their performance, the intensity, their unique commitment and sisterly bonds.

Swing low, swing high
And swing to the head
Swing low, swing high
And swing to the heart
Swing low, swing high
The flesh breaks, we swing
Swing low, swing high
Swing low, swing high


Then came the bridge. Originally, it was the sisters’ plan to sing the whole song in English. This proved to be quite the behind-the-scenes controversy. Even if it was no longer required (or, depending on who you ask, imposed) that at least 50% of WorldVision entries had to be at least in Spanish, it required a lot of will and a lot of gumption to using another language—especially English. There were songs in Portuguese, Papiamento, and even a…made up language (let us not talk about that performance again). And they wanted to break the already-broken rule about language politics…but they relented, at their fans’ request. They enjoyed hearing the sisters sing in English. They also loved hearing them in German. But they truly wanted to hear a bit of Spanish in their performance—they knew they’d be able to rock it out! It took quite a bit of prodding to heed the fans’ directions, but it was undeniable. They would end up singing at least some of the song in Spanish. If only as a compromise.

Perdió su mente y su alma
He’s lost his mind, he’s lost his soul

No pierde más
He can’t lose more

Rompió con toda humanidad, humanidad
He’s torn humanity apart, apart

Übermensch
Übermensch

Despiadado
So heartless

¿Respiró el pecado hoy?
Can he breathe out sin today?

Übermensch
Übermensch

Despiadado
So heartless

¿Vale su culpa el perdón?
Is the guilt worth forgiveness?

¿Vale el perdón?
Worth forgiveness?


Once more, the rig on Camera 4 provided a ritual rock ambience to the Achaean performance. An abuse of quick camera takes that encompassed a mixture of stage takes, standing-audience-turned-quicksand/mosh pit, another image of Marianne rocking in her guitar and headbanging at the same time (savvy viewers could see the stripes on the eagle tattoo she had on the back of her neck) and of Elizabeth (play) banging with her drums and Alina slightly bending her body backwards and showing her bellybutton to the cameras surrounding her. It was a chaotic way to display order in only the way Achaeans knew how to do. The men on the sides were seriously bending and swinging their sharpened axes to and fro. The chorus continued to be simple but catchy, challenging and incredible—and finally back into English. The compromise was over, and they needed to finish hard and strong…and sharp.

Swing low, swing high
And swing to the head
Swing low, swing high
And swing to the heart
Swing low, swing high
The flesh breaks, we swing
Swing low, swing high
Swing low, swing high


All three singers grabbed their hands and took a bow to the audience. They waved and rocked out and said “¡Gracias Doportedas!” in unison. “Thank you all!” said Alina as she blew a kiss. Michelle did the same. Elizabeth just wanted to get some Clucking Hell chicken and a pint of beer from a local pub. Maybe she could sneak off to the festival and get that while voting is happening.
Last edited by Achaean Republic on Thu May 25, 2023 6:51 pm, edited 6 times in total.

User avatar
Pemecutan
Ambassador
 
Posts: 1378
Founded: Dec 08, 2014
Inoffensive Centrist Democracy

Postby Pemecutan » Thu May 18, 2023 8:41 pm

27/#PCU
PEMECUTAN

Yudaswara-"Selalu Mencintamu"

Title Translation: Always loves you
Language: Pemecutan Malay

Music: Yahya Hafidz, Surya Dirgantara
Lyric: Reza Pratama, Kadek Dwipayana
Tune: Dean Fujioka - History Maker


Tak pernah terlihat dimatamu
Cinta tulusku
Selalu kau anggap aku sahabatmu

Tenggelam kau dalam cinta yang salah
Tak sedikitpun kau sadar
Ingin ku katakan
Ada cinta lain untukmu disana
translation
Never seen in your eyes
My sincere love
You always consider me (as) your best friend

You are drown in the wrong love
You are not even aware
I want to say
There is another love for you there


Berpalinglah, tatap mataku
Ada cinta yang untukmu
Dan dengarkanlah detak jantungku
Selalu memanggil namamu

Memanggil namamu...
Memanggil namamu...

Dan bukalah kedua matamu
Ada aku yang untukmu
Dan dengarkanlah detak jantungku
Yang kan selalu mencintamu

(cintamu...cintamu...cintamu...)
translation
Turn around, look into my eyes
There is love for you
And listen to my heartbeat
Always calling your name

Calling your name...
Calling your name...

And open your eyes
There's me for you
And listen to my heartbeat
Who will always love you

(loving you...loving you...loving you)


Perihku melihat tangisanmu
Yang trus berlinang
Kapankah kau sadar dia sakitimu

Jangan menambah luka dihatimu
Dengan cintanya yang semu
Bukalah hatimu
Tak hanya dia cinta untuk dirimu
translation
It pains me to see your crying
That keeps on flowing
When will you realize he hurt you

Do not add the wound in your heart
With his fake love
Open your heart
Not only he who loves you


Berpalinglah, tatap mataku
Ada cinta yang untukmu
Dan dengarkanlah detak jantungku
Selalu memanggil namamu

Memanggil namamu...
Memanggil namamu...

Dan bukalah kedua matamu
Ada aku yang untukmu
Dan dengarkanlah detak jantungku
Yang kan selalu mencintamu
translation
Turn around, look into my eyes
There is love for you
And listen to my heartbeat
Always calling your name

Calling your name...
Calling your name...

And open your eyes
There's me for you
And listen to my heartbeat
Who will always love you


Berpalinglah, tatap mataku
Ada cinta yang untukmu
Dan dengarkanlah detak jantungku
Yang kan selalu mencintamu

Kan selalu mencintamu...
Yang selalu mencintamu...
Ku kan selalu mencintamu...
translation
Turn around, look into my eyes
There is love for you
And listen to my heartbeat
Who will always love you

Will always love you...
Who always love you...
I'll always love you...
Last edited by Pemecutan on Sat May 27, 2023 8:02 pm, edited 2 times in total.
United Kingdom of Pemecutan
Pemecutan Realm
Trigram: PCU | Demonym: Pemecutanian
Capital: Pemecutan Puri
Population: 23,027,733 (latest census)

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User avatar
Todlichebujoku
Senator
 
Posts: 4839
Founded: Feb 24, 2012
Civil Rights Lovefest

Postby Todlichebujoku » Thu May 18, 2023 9:16 pm

28. _Tödlichebujoku_

Image

Zini Co Darít (You Know What To Do)

Áno, Nevis Barbo


Tune: Irama - Mediterranea (Full M/V)


It's been a long journey to the WorldVision stage for Encerso Delvacéro, better known through his stage name Áno, Nevis Barbo (Áno, not Barbo), which refers to his childhood nickname of Áno and a boy in his hometown of Añéni that looked very similar to him, and who was often confused with him. Having grown in popularity on his home island of Díva Osta, a balmy subtropical territory of nearly 3 million people, he came to the attention of TÖBUK for his aggressive and fast sound, and dedication to slickly choreographed shows. Originally participating in the WorldVision 97 edition of Sinun Valintasi, Encerso placed second out of the three acts, a hair shy of winning the national final and losing out to the WorldVision 86 alumnus Miilimasis Toivonen. Given this tight margin, TÖBUK granted him the opportunity to perform his song and represent Tödlichebujoku at a later edition. Originally, this was set to be WorldVision 99, but after a similar event happened in the following Starfall special of Sinun Valintasi, the WorldVision 99 slot was taken up by the group Orat ya Langat, which left Encerso to perform at WorldVision 100 or later. Unfortunately for him, a cyclone made landfall on Díva Osta, leaving his parents severely injured and in need of intensive long-term medical care. Thus, he found himself unable to commit to a WorldVision performance, or really any touring at all, until his situation improved. Of course, since you are reading this, he clearly has made it to WorldVision 107 in Doportedas - the intervening couple of years at home have proved fortunate and kind to his parents, such that he has improved in mind and spirit and is once again able to commit to the grueling practice regimen that he has planned with his standards to take his song to the next level.



Cold. It was cold in Britonisea. That was the first thing he felt when he arrived from his flight and stepped out into the open air. One might think that as a Tödlichebujoki, he should be well used to severe cold, but no. He'd in fact never stepped foot on the mainland before, only to the TÖBUK studio in Estegoa during a heat wave, and so surprisingly his first experience of such bracing wind and coolness was in Britonisea. Perhaps it wouldn't have bothered him so much if he were a tourist, able to duck from place to place in anonymity without care for style, but no. He had an aesthetic to portray for the cameras. And cameras abounded in Military City, where he was relegated to film the Tödlichebujoki postcard, and he made the best of the situation, having hoped to visit the multiverse-famous Britonish settlement of Chickenville. But alas. Here he was among the defenders of Britonish society, and there were still perks with this lot. Clad in the traditional native 'Ufúosa combat armor typical of Díva Ostan military service specialized for the hot and sticky island forests, Encerso struck poses in front of rows of strapping Britonish soldiers standing at attention, the precisely carved and highly ornamented ebony and gold braces clasped firmly on his skin. Though the carved incantations to the gods of war and wilderness lay flat and dormant in the pallid Britonish sunlight, the elaborate designs and minimal skin coverage attracted the interest of many a BENite fighter (rest in irrelevance, Aloquirbe), who would happily join him for private activities in the nearest barracks to explore the armor and the rest of Encerso. The encounters helped greatly to warm him up, and due to these diversions, the postcard filming process took rather longer than anticipated. By the time he exited the final checkpoint, half the men would come in contact with his essence in some way, shape, or form.

But still, the climate difference continued to take a toll on him, and as he stepped out on the Titian carpet (what a name! for a carpet that looked like the mud he played with as a child underneath the acacia trees) he grimaced internally, hoping that the potion the doctor provided him would do its job in shielding his body. Britonisea was beautifully sleek and modern, but he still wouldn't want to die an ignominious death here. But he had to do what he came here to do. Bare-chested, except for a collection of fig leaves and golden chains straddling his torso, a golden wreath perched on his head, all above a skirt of gold cloth and palm fronds, he struck a very eye-catching appearance and attracted much attention from the photographers and media, especially the Estogians and the single Natanyan who remained despite their nation's demanifestation from the contest. The attention was promising, but of course he couldn't wait to get back inside, and sooner rather than later get back to rehearsing. Powers above knew he needed some extra practice for his demanding performance. Luckily, the WorldVision Village did give him a little run-through of his act early on in the week, which gave him valuable time to dissect the experience and improve upon it in further practice. Hopefully it comes through to the audience on the big night, he prayed silently. Tödlichebujoku was returning to WorldVision, and he felt the need to make the comeback a good one. It was time to give WMCA some proper competition once more, after all.



Amidst a deep midnight blue, a fiery glow suffuses in from the right side of the stage, from the audience's point of view. Encerso, far back in the stage, is illuminated by this warm glow on one side, with his head hung downwards and eyes closed, and wearing only a loincloth made of foliage and golden chains that shine faintly in the reflected glow. A pair of leaves made of gold foil are set in his hair, only just visible as they are on the shadowed side of his head. Around him, wreathed in misty shadow, sits a veritable jungle of lush plant life, with some leaves gleaming in the dawning light, and casting his lower body in deep shadow. Encerso lifts his head and gazes toward the camera view as the song begins, with a wistful expression masking a darker, pained past. He glances toward the staged dawn, the fiery bright light on his face combined with a slightly hazy effect makes him seem to radiate on his own

Cad orentos ost zelta saule
Y vétras, vis esgaiz
Cá nomazgá manas sirçsápes,
Y bezot esmo adbrívoz
When the golden sun rises in the east
And the storms, all fade away
Like how you wash away my heartache
And finally I am freed


He slowly and deliberately raises an arm forward, swinging it outward, as if to tentatively explore his freedom, after an eon of being chained down. He turns to his other side, away from the light, where the camera view captures rays of light emanating from behind him through the misty air, with scintillating dewdrops on the foliage around him. The sparse instrumentation and serene aesthetic build a sense of Eden, a primordial sanctuary in harmony with nature

Esmo elge mecléyo tá adbildi
Manas lúxanas, açívoyás
Atradát to vientullo duéseli
I have long searched for this answer
My prayers, come to life
You found this lonely soul


Suddenly, and without pause, he picks up the pace, spitting out the lines rapid fire as he steps forward into the brightening light, which is centered off to the side but certainly more vertical that it was previously. He gyrates his body sensuously, hands roving along his sides and up his chest as he regards the camera view - first with a blush of appreciative affection, but soon also with a devilish glee as he brushes aside a heliconia's vibrant red and yellow flower cluster and rocks his hips suggestively

Dárza tu sauçi mano várdo
Vedi mani oz savo gaismo
Promno mitroma y tumsas, o
Cor lúpas noher spiltto ziedo
Tu zini, ca Daba míl suetos
In the garden, you called out my name
You guided me toward your light
Away from the rot and the dark
Where lips catch a vivid blossom
You know that Nature loves sex


A shot from an angle below places a backlit hibiscus in front of Encerso's mouth, before shifting to another camera view that is close up and focuses onto his fingers as they titillate the intimate bits of a moth orchid blossom. The action releases its pollinia on his fingertip, which he rubs into a smear of dry yellow paste, and brings it to his lips with a playful grin. Meanwhile, another camera view is focused on a pleroma flower in the undergrowth. a soft golden light emanates from somewhere out of the frame, just as the plant begins to vibrate from a buzzing noise and triggers a poof of pollen to spurt out from the flower's center, the grains forming a little cloud lit by the soft light and slowly drifting downward. This cute moment is suddenly cut off as the drumbeats ramp up, with flashing spotlights angled low near the stage floor through the undergrowth as Encerso continues with greater innuendo-laced energy and a wicked little smirk, verging on rapping out his next lines

Gatavoyo teu savos ziedputexños (plachi atuérto)
Náç tuvác, gribo pareizo sanoño
Lai esaucto mano izdalíchanos (brap brap brap!)
I ready my pollen for you (wide open)
Come closer, I want the right kind of buzz
To trigger my release


Shots of golden dust fire off from along the edge of the stage in a series of 3 shots, leaving small clouds that slowly drift down in a grander echo of the earlier scene. In time to this, Encerso thrusts his pelvis thrice, with a fist beating his very photogenic chest. He is clearly very invested in the performance and his very aggressive expression as he does so proves popular with some members of the audience online, who screenshot and share the moment. As he transitions to the pre-chorus, he raises his arms up, head turned upward toward the warm spotlights above with eyes closed and a euphoric, dreamy grin

Tas sapnis, co zívoyo
Atcal y atcal, nau cártéyais muorgi, bet gã tava suétíba
This dream that I am living
Again and again, it's not another nightmare, but your blessing


He turns his right, whipping his right arm out and unleashing a spray of golden glitter (which will unfortunately be continually discovered in the arena for years to come, for glitter never dies). Immediately after this, with excellent timing due to the veteran Britonish techs and the grueling practice weathered by Encerso, a breeze begins to blow on stage. A man dressed in verdant satin robes, after the fashion of classical Greece and India, cruises onto the stage, with metallic green leaves in his hair to complement Encerso's gold ones. The lighting dims somewhat, with cooler tones and occasional strobe flashes like lightning, as the two hold each other close and gaze into one another's eyes, the camera view close in on this intimate moment, in a partial orbit around the pair, before breaking away. Encerso begins to rock his shoulders back and forth, backing up as if to pull his lover into the shrubbery for privacy

Saules gaismá, lietosgázá es 'scatos tavás açís
Tava cantxa liec mã yustias zívã
Y nezino cá teu atcal admaxát
Tápéç viso, co varo teu dot, yr mano pato
In the sunlight, in the rainstorm, I look into your eyes
Your passion makes me feel alive
And I don't know how to pay you back again
So all I can give you is myself


But of course, they don't actually cavort in the landscaping. With a smoothly executed series of actions as he sings the last line of the stanza, Encerso pulls his man back to center stage in the open, where our attention is similarly pulled back, to reveal some strapping young men who have joined the pair, dressed in leafy loincloths. As they break into a whirlwind of dance, kicking up puffs of mist from the obscured floor (love the high-powered Britonish fog machines), the stage is engulfed in a brilliant gradient of various tropical hues - gold, orange, red, magenta, violet - and the floor is awash in a blend of turquoise blue in front and emerald green further back. Amidst the milieu, Encerso pauses to turn to the camera for the all-important title line, and winks

Y zini co darít

Y zini co darít
And you know what to do


As the flurry of dancing completes, the dancers waft away and evaporate behind the foliage. Encerso positions himself behind his man, peeking over his shoulder as they both face the audience, and he traces one hand down his lover's body, brushing side the robe to reveal scars on the lean and tanned muscle, as if he had been lost in the jungle for weeks and fallen into a scuffle with a civet while foraging for food. Encerso sinks to his knees, positioning himself next to a leg while reaching up with his free hand up along his man's inner thigh, a playful and devilish grin on his face as he spits out his desirous lyrics

Noxhirtayá suétníçá plaux tavo mejoníba
Gribo hioto, cas radies no çíñas
Daba pavéléia, pavéléia múso hermeñiã
Ozplaut esaiçináyumos y darbibá
Your wildness thrives in the secluded shrine
I want the nectar borne of struggle
Nature commanded our bodies
To thrive in challenge and in action


He tucks and rolls away to a standing position in a lightning-fast maneuver, landing near the stage edge, almost without catching a breath. He fires off his next lines in a hunched position over the camera view, which captures his severely focused expression in the half light, half shadow, with the lights in the background alternately flashing on and off

Áno, Nevis Barbo yr godíx y nenoliez
Tas míllais mílniex yr dezíx y neaizliez
Viñcho teu piexhiro, viso co vien vélies, átri
Áno, Nevis Barbo is honest and won't deny
This sweet lover is eager and won't refuse
Anything you want, he'll grant to you, quickly


He barely has time to breathe yet again before launching into the pre-chorus. Wow, this must have been a pain to practice and get right, but clearly he's managed it. As blasts of white smoke gets blasted up from the nearby sides of the stage - but not the section where Encerso is standing - he rises back up to a full upright position, head tilted back with a clear white light cast upon him

Tas sapnis, co zívoyo
Atcal y atcal, nau cártéyais muorgi, bet gã tava suétíba
This dream that I am living
Again and again, it's not another nightmare, but your blessing


He is joined by his lover, and the two turn to one another very dramatically and rather cheesily, circling one another as the light darkens and flashes erratically once more. Behind them, 7 figures rise up from the tropical foliage - small drones that are outfitted to appear like biblically accurate angels, gleaming in gilded gold and resplendent in pearlescent eyes, their rings rotating as they hover over the stage. They are also outfitted with little bouquets of tropical flora because they have a right to look pretty too

Saules gaismá, lietosgázá es 'scatos tavás açís
Tava cantxa liec mã yustias zívã
Y nezino cá teu atcal admaxát
Tápéç viso, co varo teu dot, yr mano pato
In the sunlight, in the rainstorm, I look into your eyes
Your passion makes me feel alive
And I don't know how to pay you back again
So all I can give you is myself


Encerso and his man dance with one another amidst the warming ambient light and pulsating spotlights above and the swirling mist on the ground below, the choreography this time joined by the group of drones that not only rove about overhead in an elaborate pattern, but also exude a soft glow from within. Occasionally, Encerso strikes a pose with his lover kissing his cheek from behind, in order to growl out the title line

Y zini co darít

Y zini co darít
And you know what to do


The lights dim to emulate moonlight, with only the drones above additionally contributing an eerie golden glow from above, as Encerso falls to his knees in front of his man, both turning their heads to face the audience, their heads touching, sweat visible on their foreheads in the cool light. Soon, however, the reverie is broken by flashes of flame erupting from along the edge of the stage as they turn back to one another

Lai gaiso attíra múso prátos, oh
Lai nactí veidoyas salda rasa, oh
Lai doto mumo zívíbo mílét
Lai doto mumo yemeslo çerét
Let the air cleanse our minds
Let the sweet dew form in the night
To give us life to love
To give us reason to hope


A lightning strike appears on the background screen, followed by a brilliant flash of light, where the dancers reappear as if through divine intervention and join the rest on stage in a circle of movement centered around the pair of lovers, the angelic drones arrayed overhead like a strange crown despite the returning the breeze. Whiffs of fog rise up amongst the performers on stage, lapping at the plantlife behind

Saules gaismá, lietosgázá es 'scatos tavás açís
Tava cantxa liec mã yustias zívã
Y nezino cá teu atcal admaxát
Tápéç viso, co varo teu dot, yr mano pato
In the sunlight, in the rainstorm, I look into your eyes
Your passion makes me feel alive
And I don't know how to pay you back again
So all I can give you is myself


Washed in an array of sunset colors, those on stage dance like it's a seaside party, a low wall of flame burning along the stage edge, an orange-red sun on the background screen. The pearly eyes of the drones erupt into beams of pure white light that rove and whirl along with the drones themselves, providing for a very unique visual experience as Encerso is thrust upwards above the other men to sing, let back down to dance, and thrust upwards once more, soaked in sweat. The fog machines certainly add to the humidity on stage, that heat is no joke - but luckily he's used to a good bout of tropical exertion

Y zini co darít

Y zini co darít (¡Brito, nisea!)
And you know what to do


One final time, he is thrust upwards, but this time, his arm is raised up. The lights darken, with only single spotlight shining down from above, as he reaches toward one of the angelic drones, nearly touching it, and is additionally lit by the beams of light from the drones themselves. He stays in this position for a few seconds, before the lights all dim entirely and the stage falls finally back into darkness


"Paldies, paldies yumo, Britonisea," he mutters exhaustedly while waving to the crowd as the lights return. "Thank you." The men bow quickly before shuffling off to the back to presumably get drinks and rest in the cool air in the greenroom. Heavens know they're thirsty after all that. Encerso is relieved, drained, and too tired to process the moment, so he knocks back a drink and lets himself drift away and zone out a for a bit before slowly returning to reality.
Last edited by Todlichebujoku on Tue May 30, 2023 12:12 am, edited 20 times in total.
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Britonisea
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Founded: Oct 29, 2012
Inoffensive Centrist Democracy

Postby Britonisea » Fri May 19, 2023 1:50 am

Host Intermission
Last edited by Britonisea on Fri May 19, 2023 3:59 am, edited 1 time in total.
WorldVision Top 8 | WorldVision Factbook
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1st - 132 points - WV73
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1st - 113 points - WV41
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World Hit Festival Top 9 | World Hit Festival Factbook
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Britonisea
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Posts: 9205
Founded: Oct 29, 2012
Inoffensive Centrist Democracy

29 | Britonisea | Ella Lockwood - Hypnotised

Postby Britonisea » Fri May 19, 2023 1:51 am

#29 BRITONISEA
Ella Lockwood - "Hypnotised"
Tune : Rina Sawayama - "Frankenstein"
Music: T:Rodden, James Embankment, Armas Partanen // Lyrics: Viktor Nelson, Fiona Cambridge-Hollyoaks

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Ella Lockwood: The winner of the eighth Vha Mehlodhivestoile, Ella Lockwood, is representing Britonisea on home soil...

After taking a two-edition break, Britonisea return to the WorldVision Song Contest which takes place in their own capital city, Doportedas. This edition, they will be sending their VM2023 winner, Ella Lockwood, who won the national final on her third attempt with her song "Hypnotised"...



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Ben Nikolai (BRI, WV104)
Participating in the WorldVision Song Contest became quite difficult for the broadcaster after the 100th WorldVision Song Contest in Kalosia. The broadcaster faced heavy criticism over its handling of the Doportedas 100 bid, spending an obscene amount of money advertising the capital only to lose out. While the broadcaster and fans of the Britonish bid noted that it only lost out by a few points, a lot of Britons saw it as a waste of money and internal reviews were had on why the Britonish bid lost out in the end. BITC's WorldVision Song Contest contract ended after the 101st WorldVision Song Contest (usually it runs for five editions, starting on editions that end in either 1 or 6), which explains why Britonisea didn't participate in the 102nd WorldVision Song Contest despite initially planning to do so. During this time, the broadcaster's overall conduct of WorldVision was brought into question - this is despite the end of the 90s decade being very good for Britonisea in the contest. Britonisea also confirmed participation at the 103rd WorldVision Song Contest with Ben Nikolai, but plans fell through due to internal arguments which saw members of the former WorldVision Delegation quit. Ben Nikolai had to wait another edition before being selected to represent Britonisea at the contest. Britonisea returned to the 104th WorldVision Song Contest with "CAMOUFLAGE", written by Ben Harrison, Baile Hamilton, Willis Corsica and Ben Nikolai himself. Ben Nikolai's entry scored 95 points in the jury vote, making them 4th place in that. The nation seemed to place pretty highly in the televote as well, scoring 96 points and overall finishing in fourth place with 191 points - one of Britonisea's highest scores ever at the WorldVision Song Contest. BITC saw Ben Nikolai's entry as a great return for the nation, but unfortunately fell into another small hiatus for the 105th and 106th WorldVision Song Contest, which most likely had to do with BVC's hosting of World Hit Festival and Vha Mehlodhivestoile which no doubt might've had BITC looking at other formats (not music shows) to try and steal viewers from them (it didn't work). Ben Nikolai became the sixth best Britonish entry with a male lead vocalist. Disproved by Britonisea's recent string of male singers, there used to be a theory that whenever the country sent male singers they were destined never to do well. Ben wanted to continue the success of the likes of Petre Lemetre and Josh Morris who have Britonisea's two highest scores in the contest ever and he managed to do that. Furthermore, with the broadcaster not participating in the contest, it gave them the opportunity to have another look at where they went wrong for the bid of the 100th WorldVision Song Contest and try again for WorldVision 107 which would be the 60th anniversary since Britonisea first sent a Vha Mehlodhivestoile entry to WorldVision Song Contest among other anniversaries such as the Machievelihe hosting and Charlotte Davies' win in Polkopia.

It was unclear to the BITC Production Team when they wanted to bid for the WorldVision Song Contest, but from the 102nd WorldVision Song Contest there were whispers that the team would aim for the 107th contest because that is when it aligns with Vha Mehlodhivestoile, the nation's national final. They thought that it might be a good idea to align the host bid with VM as that was done the last time Britonisea had hosted the WorldVision Song Contest at the 81st contest (in 2020!). That plan followed through alongside the fact that Doportedas was picked again to bid to host for the competition. It was floated around that Junterapten was at the forefront to bid to host the competition as Doportedas already had its chance to host and Junterapten had yet to send a solo bid to the contest (it did send a joint host bid with another nation for the 50th WorldVision Song Contest but ultimately lost out to Kalosia's bid). Other cities that were in the running to host the competition included Telm City (hosts of WorldVision 66), Quickenden (hosts of WorldVision 41 and probably second in the running behind Junterapten) and Kyvivre (hosts of WorldVision 51). The BITC team were adamant however that they wanted to show a new part of Britonisea and where better than the capital? They personally didn't like the idea that the capital of the country hadn't hosted the competition yet and allegedly planned on bidding with Doportedas until the city eventually won the race. Luckily, they got their act together for the 107th WorldVision Song Contest and while most of the bid was recycled from the 100th WorldVision Song Contest bid - this time they were successful, winning against bids from Alezian Union and StrayaRoos - both of whom have hosted much more recently that Britonisea - in order to host their sixth WorldVision Song Contest. 26 editions separates Britonisea's 5th and 6th hosting and to put that into perspective, the previous gaps between Britonisea's hostings were 10 - 6 - 9 and 15 editions. The Britonish crowd were dying for the Contest to return to the country and they finally got what they wanted. For BITC, it was preferable that their hosting of the WorldVision Song Contest coincided with Vha Mehlodhivestoile as they could leave the picking of the WorldVision entry to BVC (via Vha Mehlodhivestoile) and they could focus on putting on a great show...

Meanwhile, BVC were in tatters. They asked Scotatrova's broadcaster for a bit of help hosting the World Hit Festival due to the Festival clashing directly with Vha Mehlodhivestoile which they couldn't do much about because of the pressures they felt from the World Hit Festival HQ and also BITC who were planning to use the VM winner at the 107th WorldVision Song Contest. It meant that BVC were planning World Hit Festival and Vha Mehlodhivestoile simultaneously which lead to some international media (especially from Achaean Republic) citing that Vha Mehlodhivestoile didn't have as much buzz as it usually has, with ratings dropping across international viewers. In Britonisea, viewership remained largely unchanged but questions were asked as to whether Vha Mehlodhivestoile had already reached its peak a couple of years ago during the wins of Alyxhia Willis and Kelsey Banques. In true Britonish fashion however, even if late, the show had to still go on at the first semi-final of Vha Mehlodhivestoile took place on the first day of April - the latest start for the contest ever...



The five cities that were chosen to host Vha Mehlodhivestoile this year were Alosable, Aronyk, Machivelihe, Zelmerlow and Burgendore with only having hosted the WorldVision Song Contest in the past. During Semi-Final 1 (Alosable), there were a couple of big names that were present including Mya Richardson, who won the 41st WorldVision Song Contest and Esther Winterbourne, who won the 82nd WorldVision Song Contest. In addition to those two, the winner of the 46th World Hit Festival, Vhe Qi was in the line-up. It seemed as though it was going to be a difficult Semi-Final for others to go through, but it turned out that debutant Leyla Bellisario alongside duo Martina Hacer - who had participated in Vha Mehlodhivestoile in the past - alongside Rodrigo Babel would take the automatic finalist positions ahead of the contest winners. Esther Winterbourne and Jordan Samuels made it through to the Battle Stage - which is essentially is a second chance round for the people who finished third and fourth. During the 2nd Semi-Final which was held in Aronyk, host city of the 60th World Hit Festival, there were less well-known faces that the Semi-Final before, but some mentioned that the quality of entries were much better than the semi before. Axel Lindgren, who represented Britonisea at the 101st WorldVision Song Contest made an appearance alongside Ella Lockwood - the eventual winner - who had been in Vha Mehlodhivestoile twice before. Ella, alongside debutant Martin Esposito, were given the pimp spot in this semi-final (3rd and 4th which had historically done quite well in the competition overall). Raph and Nathan, who performed in seventh, won the Britonish vote with 61 points, but came last amongst the international juries, meaning that overall they finished fifth though still ahead of Martin Esposito w'ho finished fifth in the Britonish votes and sixth in the international votes - despite being a hot favourite to win it all. Axel and Ella made it directly through to the Grand Final, with it later being known that Ella had won the Semi-Final with the largest ever point haul ever - winning 140 points - that's 73% of total available points - with this figure rising to 83.3% when just factoring in the international votes. The final semi-final happened in Machivelihe, with Xavier Benchek - the host of the 107th WorldVision Song Contest - qualifying directly to the final alongside Zoe Wilkinson. There was a three-way tie for second place with Jayden & Reece alongside Gabriella Bianchi also receiving the same number of points as Xavier Benchek did - 93 - but they lost of due to the breakdown of ties. With Kalosia, Aenglide and Llalta's juries choosing the final three finalists at the Battle Stage, the Grand Final line-up was complete with favourites Ella Lockwood drawn in fourth, Benchek in 6th and Wilkinson in 10th. The Grand Final saw the same number of nations vote as last year (13) with Uthossia, Llalta, Besen, Alezian Union, Polkopia, Scotatrova, Beepee, Kalosia, Axuva, Todlichebujoku, Achaean Republic, Malta Comino Gozo and Ertzei Kishim - all of whom except Uthossia expected to compete at the upcoming WorldVision Song Contest. Out of the 13 nations that voted, 5 of them gave Ella Lockwood top points, with most nations having her in the top three. She ended up winning a total of 119 points from the International vote which equalled to 76.2% of the total available points from the jury - the highest jury percentage in the final to date. Ella came third in the Britonish Televote with 51 points - only two points behind first place, meaning her victory was set in stone. Ella won with a mammoth margin of 34 points which, to put it into perspective, all but one Vha Mehlodhivestoile finals - have had a winners margin of no more than 5 (ie last year Petre Lemetre won with 147 points to 145). Xavier Benchek made a huge improvement over his last Vha Mehlodhivestoile entry and placed second. This means he will get to host the 107th WorldVision Song Contest and participate in the 108th WorldVision Song Contest too. Esther Winterbourne and Petre Lemetre, both previous winners of the WorldVision Song Contest finished 9th and 10th respectively - coincidentally performing one after each other.

"Of course, there's immense pressure to do well as this is a home WorldVision - but we've worked so much on this performance, and I have faith that all this hard work will pay off..."

- Ella Lockwood speaking to Joe and Paulette @ Titian Carpet, Saintlake


So, now that Ella Lockwood was picked the representative, it was time to move forward with the plans that the nation had in place for the contest. Ella Lockwood 24 year old and from Arçonne, a northern Britonish city that hardly gets any limelight. Arçonne is home to just over 100,000 people and while it is it's own Authority (where a further 500,000 people live), it is the 22nd largest - and around the same size as the city of Loueske. Ella hadn't done much travelling around Britonisea. Arçonne, despite its freezing cold temperatures during the winter due to its location, it is a popular destination for university students with there being four in the city - with around 50% of the population studying at university, who usually flock back to their home cities during the winter. Ell Ella studied at the University of Arçonne, and after she graduated in the summer, she decided to write a song for Vha Mehlodhivestoile, which eventually gave her the opportunity to travel to other places in the country. Ella didn't have a fantastic idea of what a huge city was like. After all, Arçonne is a sleepy town with a somewhat busy nightlife due to the students but that was only a couple of strips of road. Being from Arçonne essentially meant you're from one of the most excluded places in the country, with it being so far North that you'd have to cross the mountains in order to head to a main city. Ella and her family weren't particularly affluent which didn't make travelling around the country an easy feat for her. She had been to Loueske and Solice before but both of those areas were no bigger than her home but did have the opportunity to go to Eaux Cavu with her family. Eaux, which is the sixth biggest city in Britonisea - home to around 1.6 million people - was her first taste of the city as she went for the annual derby between Eaux City and Boschke (Boschke and Eaux are separated by a stretch of water and generally have pretty good transport links between the two cities similarly to St Kings Bay and Doportedas - the derby is where its leading sports teams play against each other to win the Eastern Bay Derby title. Usually a week long event and has been likened to a [very] mini-version of the Olympics). She loved the vibe of the city, and was pretty adamant that when she finished university, she would not only go back to Eaux, but she would also see what else her country has to offer. Once she finished university, she first participated in Vha Mehlodhivestoile at age 22, when she had the opportunity to go to Boscombard which is central Britonisea. She didn't make it through to the next stage but ELLA was told by the BVC officials to resubmit an entry for the following year and carry on going as they believed that she had something about her. ELLA participated again at the next edition of Vha Mehlodhivestoile in 2022 in Eaux City which brought back so many memories from a couple years before when she went to the derby. She said that that experience had inspired her to give it her all on the stage, with ELLA qualifying directly to the Grand Final in first place. For ELLA it dawned on her that this meant that she would have to go to Doportedas - the capital of Britonisea. She had been through all the emotional stages, but on the day of her flight to the capital, it was nothing but excitement for her. Doportedas is huge. Compared to her sleepy Arçonne - which you can see completely from the window of her plane - you could see that Doportedas went on for miles and miles. While Eaux had tall buildings, Doportedas is known for its altitudinous skyscrapers that you wouldn't find in any other Britonish city (maybe apart from Telm to some degree). Ella was shocked that this place, which she had only seen on television, actually existed and was a part of the country she was also from. Even the people were different - the accents were different, everyone looked wonderfully sun-kissed - she understood where the people international people would consider the "average Briton" came from and God, why was it so hot?! It was like a different country, but as she walked around the city, she noticed things were still Britonisea. The haphazard mash of English, Britonish and French on street-signs, the food, the same brands and shops, the touchy-feely nature of Britons holding hands or having their arms around one another walking down the street. She didn't win in Doportedas in 2022, but after her adventures that continued in 2023 (where she went to Aronyk and Burgendore - the latter of which was much closer to what she is used to), she reminisced about the opportunity to head back to Doportedas for the WorldVision Song Contest. The city was way too great for her to take in last time and while she had a lot of plans in Doportedas this time around, she was excited to go back to the capital of the country she adored and was proud to represent.


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Duration: 03:12
Main Vocalist 1: Ella Lockwood
Female Vocalist 1: Ria Harrison
Female Vocalist 2: Georgina Harrison-Fox
Male Dancer 1: Rodrigo Ballas
Male Dancer 2: Matthew Anderson
Male Dancer 3: Laurent Bastion-Hayes
Male Dancer 4 (30s): Seldon Wishaw-Hampton
Female Dancer 1: Abigail Lai
Female Dancer 2: Dayanna Andrews


Being the person who is representing the country on home-soil was a huge undertaking - especially as a Vha Mehlodhivestoile winner. There is a lot riding on Ella Lockwood and she is more than aware of that. In terms of VM entries, every single winner has placed in the top ten so far, with 5/7 going on to win the WorldVision Song Contest, with a sixth coming second place. She knew that there would be a lot of hype already around the Vha Mehlodhivestoile winner due to how omnipotent the national final is with it being broadcast in more than 20 nations. Whenever Britonisea has hosted (the five times before), Britonisea has always finished in the top 2 - with Britonisea's most recent hosting seeing Kelsey Banques - who also won Vha Mehlodhivestoile - win against huge threats Izmedu and Todlichebujoku - who were hungry to upset the apple cart. While Izmedu is out of the way, Todlichebujoku is still participating alongside new emerging threats such as Malta Comino Gozo, Carrelie and even Natanya - who's entry has been charting, lowly but still charting, in Britonisea even before the contest began (if Natanya actually submits an entry, that is!). Ella knew that this had to be the performance of her life and she didn't plan on letting anybody down. Her journey to WorldVision was a long one and for her it was emotional that the biggest part of the journey also marked the end. Before the trip, she went back to her home town of Arçonne where she filmed the postcard for the entry. Seeing the support that the town of 100,000 people had for her, she said, felt really emotional and gives her the passion to make it work when she goes to WorldVision. She had time to rehearse and look around Doportedas but most of her focus was on the performance at hand - she wanted to make it excellent...show-stopping...the best Britonish entry of all time.

For the stage performance, it was pretty similar to how she had it set up at Vha Mehlodhivestoile. There was a broken-down car that was in the middle of the stage and was equipped with special effects and pyrotechnics that would be used throughout the performance. Though, while the team had a little more time to set up the stage, Ella would start her performance from backstage just as she did during the VM final. Ella was wearing a dress that seemed to show quite a lot of skin with the main colours being red and black. A steadicam was used backstage as we saw Ella sitting in a makeup chair that was quickly set up not too far away from the stage's entrance. The steadicam was pointed in her direction as she took her seat during the postcard. She was able to watch her postcard from a screen in the distance with the shots of Arçonne making her remember where she came from - so very different to Doportedas. She smiled before lowering her head. The sound of the Britonish audience was deafening - the crowd knew how to support their own well, especially the Doportedas crowd. Unlike in Vha Mehlodhivestoile, she was sitting on the chair alone with no-one around her. The music faded in as the steadicam slowly tracked towards her as she was doing her make-up, seemingly ignoring it. There were lights around the makeup set-up which were gently flashing along with the pulsating guitar that you could hear in the background of the track.

I put on my makeup - gotta hide my flaws,
Find it too easy to fall,
It's just 'cus I want it all, all- don't
Mean to be in denial,
But the truth hurts, it's so cruel
I know I should be careful, and...then...


Throughout the first verse, and probably throughout the whole song, Ella was trying to be as expressive as she could with her movements and facial expressions without coming across as cringe or a try-hard. She quickly turned around to face the steadicam that beckoned closer to her, singing the first few lines of the song directly to the lens of the camera. The camera was slightly rocking from side-to-side, adding a little bit of dynamism into the performance as all she was currently doing was sitting there, essentially having a conversation with everyone at home. She gave off a rye smirk as she sang "I want it all," before standing up and placing her make-up brush on the counter. As she continues singing, she gently caresses her face - serving vogue realness before getting up and running away from the make-up seat that she was sitting in when she says the final line. Camera 21, which was placed behind the stage, followed Ella walking from the sides of the stage (in front of the LED screens coming closer towards the main part of the stage). The camera slowly tracked backwards and she moved closer. She was joined on what seemed to be her own personal catwalk by two dancers who were dancing around her - circling her every few seconds - but looking as though they were trying to keep up with the pace that Ella was walking at. She had a look of determination on her face - she was playing the part and knew exactly what she needed to do to make sure the performance for her was a complete success. The main thing though was despite only starting the performance, she was wholeheartedly enjoying it. She couldn't wait to show her face to the crowd, she could feel the buzz already just walking up to the stage.

As we moved to the exciting pre-chorus section of the song. Another steadicam wooshed from the side of her (switching from the stable Camera 21 to this camera) while she was still on the ramp going up towards the stage (you know how/where they move the large props onto the stage). Ella gave direct eye-contact to this camera as it moved from her left to her right. She covered her eyes as she sang "Peek-a-boo" before moving them away when she sang the rest of that line, winking before taking another step forward. The shot was then cut to another steadicam who captured her from the other side, with Ella quickly turning around, her back still slightly facing the camera. She looked over her shoulder before mouthing "Don't be shy" to the sound of the backing singers. She gave a cutesy wave as she sang "say hello, I'm not scary". As she continued singing, she turned around - with the back of the stage visible as we cut to the steadicam before (that she had already passed so she was behind that one already).

(Peek-a-boo) I can see you watching me
(Don't be shy) Say hello, I'm not scary.
Approach me, tell me I'm wonderful - you'll love me, boy
(All night long) Looking deep into your eyes,
(My saviour) You're my angel in disguise,
You are perfect, I need you tonight.


The sounds of the audience could be slightly heard a little bit louder now that they knew that any second now, Ella would make her first appearance on the stage. Most of those who are in the audience - if not all - would've watched the performance at Vha Mehlodhivestoile and could probably guess exactly what was going to happen next. As she continued with the call and response section, she marched a little quicker to the front of the stage, with the steadicam lingering on her and she walked into the distance. Camera 11 captured the moment that she reached the top of the ramp and made her appearance to the audience's eye-shot. A huge applause could be heard as Ella appearance, with a wide smile appearing on her face - she couldn't quite hide it - 18,000 fans were screaming after her. It was the same capacity as Vha Mehlodhivestoile's final but this felt different - this was the WorldVision Song Contest...this was her time to shine in front of an international crowd. Camera 11 slowly zoomed out as Ella stood dead in the centre of the stage as she sang the line "You are perfect, I need you tonight". She took a strong pose, as the male backing dancers kneeled down on the floor on both sides of her. She put her free hand on her waist, with the wind machines turned on slightly.

A frightening and ghostly green was spread across the LED walls. During that small section between the pre-chorus and the chorus where there was a moment of silence, the performance was quickly cut to Camera 1 - the camera right in the centre of the arena - capturing Ella's silhouette (her face wasn't lit during this moment) - with her two backing dancers kneeling and facing her. She lifted the microphone quickly to her face as the thumping beat of the chorus came in as fire shot up into the air from the sides of the stage. Camera 5 whizzed from the left of the arena to the right, zooming in and back out the closer then further away it got from the stage. The strobe lights flashed green and red hues throughout the arena in a frenzy, while a number of different cameras were cut to during the first half of the chorus.

Tell me you want me, feed me lies.
Keep me on my toes, improvise.
Boy, you’ve got me hypnotised, hypnotised!
Need your attention, it helps me thrive,
Drive me insane, fuel my demise
Boy, you’ve got me hypnotised, hypnotised!

Boy, do you know that you've got me hypnotised?
Boy, do you know that you've got me...
Boy, do you know that you've got me hypnotised?
Boy, do you know that you've got me...
Boy, do you know that you've got me hypnotised?
Boy, do you know that you've got me...
Boy, do you know that you've got me hypnotised?
Boy, do you know that you've got me...


Throughout the first part of the chorus, the cameras cut to other men who joined the stage as backing dancers so by the time we had reached the second half, Ella Lockwood was joined on the stage by four dancers. With her in the centre, the four men were in front and behind as though they were points on a square. As Ella sang "Boy, you've got me hypnotised, hypnotised" the spidercam - that was zoomed very close into her from an aerial shot - quickly zoomed out while also moving further and further away so that you could see the whole arena for the first time. The LED panels that were around all of the seats were a greenish colour. As the song progressed into the second half of the chorus and Ella started repeating the line, they all started jumping on the spot - with the facial expressions the men gave looking as though they were in hypnosis - unable to control what they were doing. While Ella was jumping on the spot alongside the men during the first half of the "Boy, do you know that you've got me hypnotised" lyrics, during the second half, she pointed and jolted towards each one of them at each line she sang. Meanwhile, the backing LED wall turned from the green hues that it was into a video of a black and white hypnotic swirl with AR making the hypnotic swirl seem much larger as though it was coming out of the screen into your living rooms at home.

A steadicam came back onto the stage as Ella leaned back onto the side of the car. The lights and LED wall turned to a darker shade with hues of blue and the same murky green that was present earlier during the song resurfacing as a major colour. The dancers who were on the stage with Ella had all scurried away - leaving Ella by herself. As she was looking in the direction of the camera, you could see that she had an expression of anger and curiosity as she starts the next verse saying "You are playing games" - pointing at the camera as she accuses the audience of deceit. As she continues singing the few lines that make up the second verse she slides her body up the length of the car, before the steadicam slowly moves backwards, tracking further away from Ella.

You are playing games.
You look at me, I'm weak - then you take the opportunity
To get up and leave me

(Where are you) Got me asking "Where d'ya go?"
(I'm in love) My knight in shining armour,
All I need is my saviour, isn't that enough?
(Hide and seek) Looking for you high and low,
(Obsession) The cops are on high alert,
I don’t know what I’m capable of.


The car was bathed in a pinkish-red light, which contrasted with a deep blue that was shown on the LED walls behind Ella and the car. An establishing shot of the stage from a higher level - perhaps Camera 17 - slowly zoomed in as Ella rolled her eyes and started getting into the car as the backing vocals came in stronger than ever during the call and response section of the song. Once she was positioned in the middle of the car, Camera 1 captured her in a close up, looking directly forwards through the front of the car which didn't have a front window (the car did look a bit broken down and dilapidated - she wasn't going get far in that car anyway). As she asks, "isn't that enough" there was another establishing shot moving slowly from left to right while two female dancers got into the car behind her (who we hadn't seen before). They were interacting with Ella but it seemed as though she wasn't interacting with them back. The girls in the back looked like they were doing menial things - putting on some makeup or lipstick - gossiping etc. Meanwhile, low-flying fog started to fill the stage with the audience able to see this starting to get thicker during some of the shots.

As we moved onto the final chorus of the performance, very dramatically, the top of the car opens up with Camera 20 - the spidercam - capturing this movement as it quickly moves outwards. Ella along with the two female dancers pop up into the air while three male dancers appear on the stage - with on either side of the car and one in front of it. Attached to the sides of the car, and perhaps covered up by the far away shot that was chosen during this part, were poles that had long pieces of fabric which the girls took hold of, wrapping it around their wrists. Below, the piece of fabric was attached to the waists of the men who, while were wearing the same trousers as before, now weren't wearing anything on top. Flames started to go up behind the car as though it was being set alight - in a similar fashion to how it was done at Vha Mehlodhivestoile (well, in that show, the whole car went up into flames but due to the fabric being used it was only limited to the back). There was a huge cheer for this moment as pyrotechnics from all corners of the stage were used. Plumes of fire turned up the heat in Arena de Banques, while the fan machine was put onto high power with Ella and the female dancers around her dancing (though the dancers were doing a way more dramatic version of Ella's movements). The male dancers - who by now - were half covered by the fog beneath them. The male dancers below seemed to be doing a slightly masochistic version of the dancers - obviously having developed past the kneeling and humiliation that was hinted at during the first chorus of the song. Everytime the female dancers would do jerky movements, the male dancers would follow like puppets on pieces of string. Ella would occasionally look down at the men as she sang the next part of the song. The backing LED wall added to the frenzy created by the stage performance with it turning into a fiery hellish inferno. White light flashes frantically around every corner of the stage.

Tell me you want me, feed me lies.
Keep me on my toes, improvise.
Boy, you’ve got me hypnotised, hypnotised!
Need your attention, it helps me thrive,
Drive me insane, fuel my demise
Boy, you’ve got me hypnotised, hypnotised!

Boy, do you know that you've got me hypnotised?
Boy, do you know that you've got me...
Boy, do you know that you've got me hypnotised?
Boy, do you know that you've got me...
Boy, do you know that you've got me hypnotised?
Boy, do you know that you've got me...
Boy, do you know that you've got me hypnotised?
Boy, do you know that you've got me...


As we move back into the "Boy, do you know" section, the LED walls (which was now showing a murky green colour again) turned around once again to reveal the tens of hundreds of lights that the back wall had. The lights were flashing white and purple which looked cool from afar, but the intensity of the lights flashing became fierce after the 3-minute mark once Ella Lockwood had sang her final line. Ella took a leap forward off the platform to be captured by the three men who were below in what looked like a real acrobatic move. The placed Ella on the ground before they all screamed "Ay, ay, ay" together. Camera 5 captured the shot of the men throwing Ella into the air where she did a backflip (a la Israel 2023) before pyro went off at the end of the song to the sound of loud applause in the arena - the Britonish fans were stunned by this random addition at the end of the song - at Vha Mehlodhivestoile there was no dive or backflip but Ella did want to bring something new to the table in Doportedas. At the end, Camera 1 captured the moment where they all stood in powerful poses - the three men around her and the two women left on the top of the platform - with a bright white hue shone behind them. "THANK YOU BRITONISEA, REMERCIO TEIS BRITYUNIK! MERCI!" she shouted as the men gathered around the hug her. She was out of breath and tired but she knew she gave it her absolute all in true Britonish fashion. The Britonish are known for their big over-the-top performances, and this certainly didn't disappoint. After the cheers, we transitioned to Erie-Arcadia where Safe Haven smiled at the camera ready for their postcard to be played.
Last edited by Britonisea on Sat May 27, 2023 8:08 am, edited 11 times in total.
WorldVision Top 8 | WorldVision Factbook
1st - 154 points - WV81
1st - 139 points - WV47
1st - 138 points - WV99 (258 J+T)
1st - 134 points - WV87 (242 J+T)
1st - 132 points - WV73
1st - 117 points - WV64
1st - 113 points - WV41
1st - 98 points - WV63
World Hit Festival Top 9 | World Hit Festival Factbook
1st - 51 points - WHF50
1st - 42 points - WHF59
1st - 38 points - WHF52
1st - 34 points - WHF42
1st - 34 points - WHF48
1st - 33 points - WHF68
1st - 28 points - WHF46
1st - 28 points - WHF37
1st - 20 points - WHF26
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Plangainer
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Posts: 52
Founded: Jan 07, 2019
New York Times Democracy

Postby Plangainer » Fri May 19, 2023 11:26 am

Last edited by Plangainer on Fri May 26, 2023 12:41 pm, edited 3 times in total.
WV98: Achieved 15th Place
WV99: Achieved 9th Place (Top 10)
WV103: Achieved 6th Place (Top 10)
WV104: Achieved 3rd Place (Podium)

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Erie-Arcadia of Wombats
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Posts: 50
Founded: Nov 10, 2021
Left-wing Utopia

Postby Erie-Arcadia of Wombats » Fri May 19, 2023 7:24 pm

Image

31. ERIE-ARCADIA
Us Together - Safe Haven


Withdrawn.
Last edited by Erie-Arcadia of Wombats on Mon May 29, 2023 10:05 am, edited 4 times in total.

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Terra-Zealandia
Lobbyist
 
Posts: 22
Founded: Sep 17, 2022
Scandinavian Liberal Paradise

Postby Terra-Zealandia » Sat May 20, 2023 2:10 am

Image


Country Name: Terra Zealandia
Artist Name: Āwhina Te Kanga
Song Title: Careless In Love
Languages: English

Music: Āwhina Te Kanga
Lyrics: Āwhina Te Kanga
Tune: Anika Moa - Dreams In My Head




Background




Back in Buaka, South Batoko for the 106th Worldvision Song Contest, The Young 133 and their song “Get Alive” came 18th out of 32 participating nations, unable to beat the country’s best of 15th back in Terra Zealandia debut Worldvision 100 entry, which was metal band NGĀ TOĀKANA’s song “Tangata Whenua” that came 14th/22 in Semi-Final 1 even though they failed to qualify for the grand final that edition. Even though the current worst entry for Terra Zealandia is Ember Reflections and their song “That Summer Evening” back in Thatcher City, Mister X for Worldvision 102, they scored a relatively low 85 points, The Young 133 scored an even lower 79 points, showing how much the votes were disproportionately weighed throughout the scoreboard. Well, it was time for TZBC to move on from another depressing result, and find the next hopeful act for Terra Zealandia.



Artist




Āwhina Te Kanga is an indie singer/songwriter from Halifax, a small town in the Barington region, within the Barington greater urban area. She began playing guitar at the age of 8, and has written songs with it as a teenager. Now she is 21 years old, and she has just done covers and performances of different songs during her time as a musician, so her discography history is not lengthy at all.



Song




Careless In Love is Āwhina Te Kanga’s first ever original song, to be performed for the 107th Worldvision Song Contest in Doportedas, Britonisea. It’s a song that talks about how Āwhina Te Kanga frequently reminisces on her past love life, and how the act of love was much simpler back in the old times. Nowadays, it makes her feel empty and wrote the lyrics with passion. When talking about the song, Āwhina said that “For me, I am speaking from the heart with this song. Love isn’t like what it used to be.”



Performance




Terra Zealandia’s entry is announced on the stage of the Arena de Banques, and Āwhina is revealed on the stage, causing a cheer to erupt from the crowd. SHe is shown sitting on a stool with an acoustic guitar by herself on the stage. The lights are pretty done to encapsulate the feel of the cozy, dreamy atmosphere of the song.

When I was young, I moved to the city
I was searching for a brand new life
A brand new life
The crowded streets and the loud nights
It’s all my fault, and it makes me feel empty
Makes me feel empty


And now I miss the fields
And when we walked along them, we were careless in love
I see all the missed calls on my phone
But I just cry to sleep, feeling like I neglected you
I should’ve stayed
And I’m sorry for that


I can’t seem to get out of bed
My demons are pulling me down
Pulling me down
Under the sun, back in ninety-eight
Reminiscing, and I can’t get my thoughts straight
Get my thoughts straight


And now I miss the fields
And when we walked along them, we were careless in love
I see all the missed calls on my phone
But I just cry to sleep, feeling like I neglected you
I should’ve stayed
And I’m sorry for that


Now I can only blame myself for leaving
And now, it’s way too late
For me to tell you
That now I miss the fields
And when we walked along them, we were careless in love
I see all the missed calls on my phone
But I just cry to sleep, feeling like I neglected you
I should’ve stayed
And I’m sorry for that
It only makes me realise
That I was careless in love
(Now I can only blame myself for leaving)


She says “Thank You Worldvision!” and exits the stage.
Last edited by Terra-Zealandia on Mon May 29, 2023 3:51 pm, edited 2 times in total.
TERRA ZEALANDIA • AOTEAMOEMOEĀ
One of Aenglide's many puppets.

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Vartugia
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Posts: 240
Founded: Nov 12, 2015
Iron Fist Consumerists

Postby Vartugia » Sat May 20, 2023 9:34 am

33. Vartugia

Hor Rible- "Why This?"


WARNING! TUNE IS LOUD.



Yup, Vartugia is next. And because they keep lowering their bar to such lows that now they have to dig even deeper, Vartugia has found a new fucked up tune. One thing is for sure, this is a war crime. A war crime that was not needed yet came, saw, and was destroyed.

Meet Hor Rible. What do they look like? Where do they come from? Who cares! We only care about Vartugia never send this short of entries anymore. And by not giving them any points you can stop this madness. WorldVision lives matter.



Hor Rible is alone on stage and everyone is screaming in horror about what Vartugia is bringing this time. He does sings normally, but then the playback, realizing this is Vartugia after all goes on strike by playing all songs at once, making it unlistable. You can imagine the pain everyone in the venue is suffering right now, having to listen to every song playing at once.

I have a big, fat c-*ERROR 404 LYRICS NOT FOUND*


People begin to cover their ears as hearing all 30+ entries playing at the same time hurts. Technical staff is seen running in the background trying to fix the massive technical problem that occurs. Hor Rible sings like this is normal, because what is even considered "normal" in Vartugia?

Promise it's gonna *UNLISTNABLE*


The technical staff is trying to fix the now broken playback machine but to no avail. It's unfixable. Stuck having to play every single song at once. So they are forced to let it be played. Hor Rible's in-ears are still working. In fact, he can hear his song just fine. It is how it is being played on the outside that is the main problem that causes the pain and confusion. How can one of the most technically advanced IBA broadcasters be broken down by a vartugian singer with a stupid name that no one laughs at?

Send me nu- *UNLISTENABLE*


It has been 2 minutes and 30 seconds of pure, pure pain. It is soon over. The technical staff has in the background fixed some of the issues, but not every singe one. Some of the songs have seemed to have ended early and this less pain, but still pain.

Remember to vo- *UNLISTENABLE*


The song is over but before Hor Rible can leave the stage, britonish police have come. They have come to deport him. Why? Do not ask, please. Someone has to be deported in Doportedas. The policemen handcuff Hor and move him out off the stage, to huge cheers from the fans. Having to suffer for 3 minutes over a vartugian entry, they were finally going to hear some real music. Not 3 minutes of painful noises. Hor was taken away and was never seen again. Then something in the loudspeakers is said.

Voice: The Playback machine is now fixed and we are happy to report that this will not happen.


We cuts to the next postcard, belonging to the nation of...
Last edited by Vartugia on Mon May 29, 2023 9:52 am, edited 6 times in total.
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Polkopia
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Founded: Jun 06, 2011
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Postby Polkopia » Sun May 21, 2023 8:12 am

Placeholder for Polkopian commentary 11-20
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Check out the Polkopian Premier League

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

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Missus X
Spokesperson
 
Posts: 169
Founded: Jun 02, 2014
Right-wing Utopia

Postby Missus X » Sun May 21, 2023 5:02 pm

Image



Gay Muller - "I Broke His Schlong"
Tune: Mae Muller - "I Wrote A Song"





Image




Image





No words can describe what you're about to see. But we'll try.

Quelle horreur! No Rick Leg!? No. He, who has by now moved to Mister X, has also joined MRX Television in refusing to appear at the contest, and so Missus X did not enter in 106 either. However, after Gay Muller contacted the organisation with her track, "I Broke His Schlong", they just had to return.

Gay, for some reason, is dressed in a giant yoghurt. However, she takes it off as the song begins. On the rest of the stage is a giant bed and a man (who, likewise, was wearing a giant teaspoon but takes it off as the song begins) gets into it.

Gay takes off the rest of the clothes and sexually advances into the bed.

When he said he was ready
I was about to go down
I told him to take it steady, yeah
Otherwise it’d be brown


Gay starts seducing the man and she starts (under the covers, so as to keep it PG) laying herself on top of him.

Oh I know I just wanted to
Make him good and make him right
But things started to go wrong
Wanted to take it slow, don’t let it go
And wear a little thong (a thong, a thong)…


As the chorus drops, the man rolls out of bed with blood everywhere, screaming (albeit inaudibly) and clutching his groin area.

Instead I broke his schlong
Oh help me, it’s gone wrong
I could have had some fun
But now I’m being his mum
Instead I broke his schlong
Oh what shall I do now
I’m getting my tits out
They jiggle up and down


Gay runs around panicked during this bit.

Instead I broke his schlong
Oh lord, oh help, oh god
Oh lord, oh help, oh god
Oh lord, oh help, oh god
Instead I broke his schlong
Oh lord, oh help, oh god
Oh lord, oh help, oh god
Oh lord, oh help, oh god
Instead I broke his schlong


Gay runs around calmly as she reaches for her phone and calls an ambulance.

I kept my cool and composure
As I called the hospital
Wasn’t ready for blood or glitter
And it’s just stuck up there now


She starts putting some clothes back on as dancers - dressed as paramedics - come on to the stage.

Oh I just wanna
Make it good and make it right
But things had now gone wrong
Wanted to
Take it slow, don’t let it go
And wear a little thong (a thong, a thong)…


The dancers/doctors put the man on a stretcher and carry him across the stage, making sure to protect his modesty.

Instead I broke his schlong
Oh help me, it’s gone wrong
I could have had some fun
But now I’m being his mum
Instead I broke his schlong
Oh what shall I do now
I’m getting my tits out
They jiggle up and down


Now all the people on the stage (except for the man in the stretcher) start dancing with Gay.

Instead I broke his schlong
Oh lord, oh help, oh god
Oh lord, oh help, oh god
Oh lord, oh help, oh god
Instead I broke his schlong
Oh lord, oh help, oh god
Oh lord, oh help, oh god
Oh lord, oh help, oh god
Instead I broke his schlong


A camera comes onto the stage and looks closely at Gay and the man, as Gay sings directly on to him.

Look into my eyes
Everything’s gonna be all right
So don’t go and block me tonight
Tonight, tonight
Actually, it’s a kink
Taking the bones out of your dick
You better now? I’ll kiss it quick
Then it can go back in the pink


An ambulance comes onto the stage as the doctors begin wheeling him into it, unfortunately they crash the stretcher.

I’ll get them out
And swing them round
And I’ll be loud and proud


For the final chorus, the man provides the high notes as he falls out of the stretcher.

(Instead I broke his schlong) AAAAAAAARGH
(Oh help me, it’s gone wrong)
(I could have had some fun)
(But now I’m being his mum) ARGH-ARGH-AAAAARGH
Instead I broke his schlong
Oh what shall I do now
I’m getting my tits out
They jiggle up and down


For the final line, everything comes to a close as Gay is hoisted up by all the dancers and the man with a broken penis lies in a crumpled heap. Eagle-eyed viewers spot something falling out of Gay's groin.

Instead I broke his schlong





Image
Last edited by Missus X on Fri May 26, 2023 5:19 pm, edited 1 time in total.

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Estogium
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Posts: 492
Founded: Apr 27, 2015
Inoffensive Centrist Democracy

35 | Estogium | Taylor Siregar - Heartbroken

Postby Estogium » Mon May 22, 2023 8:23 am

#35 ESTOGIUM
Taylor Siregar - "Heartbroken"
Tune : James Blunt - "Love Under Pressure"
Duration: 2:45
Music: Taylor Siregar, Peter Barker-Champion, Simon Foster
Lyrics: Taylor Siregar, Barbara Lister

Image
Taylor Siregar represents Estogium: Estogium sends its first male solo act since the 91st WorldVision Song Contest in the hope for a top ten finish in Doportedas...


Estogium returns to the WorldVision Song Contest for the first time in six editions with the entry, "Heartbroken" hoping to crack the top ten for the first time in twenty-eight editions...

While Estogium used to be a regular participant at the WorldVision Song Contest, that all fell apart during the 90s edition when the nation only showed up at the 91st and 99th WorldVision Song Contests which were coincidentally both hosted in Carrelie. At both of those contests, Estogium failed to place in the top 15 - coming 19th and 16th respectively. Compared to Estogium's past results, when the nation has a streak where they finish outside the top fifteen only once in 16 participations, the fact that RVC was struggling to get back into the top 15 was highly frustrating. The nation planned to send AMIRAH to the 100th WorldVision Song Contest but pulled out reportedly due to the semi-final process being confirmed. The nation returned to the contest for the 107th edition and placed 13th with 129 points. While the number of points was down on the edition before, it was the joint best score since the introduction of the Jury/Televote split (the other 13th place was by Elias Nordin at the 82nd WorldVision Song Contest - the very first edition of the Jury/Televote split). AMIRAH's placement gave Estogian fans of the contest the hope that the nation would try and correct its record at the contest. At the end of the day, Estogium is the nation with one of the most participations without a win with 41 entires being sent between WorldVision 33 and 101. Estogium has come close to winning before - at the 48th WorldVision Song Contest when they placed 2nd (only a few points behind Polkopia who won) and at the 61st WorldVision Song Contest where the nation placed 3rd (only three points behind the winner). Most of Estogium's best results have unfortunately been earlier on in its WorldVision history so there is a hope that the 107th WorldVision Song Contest will be a lot more fruitful for the ABEN nation especially now that the contest is in Britonisea.

With the contest in Britonisea, it doesn't mean that Estogium will be successful. Some of Estogium's worse results have come from Britonish-hosted WorldVision Song Contests with Estogium placing 32nd at the 41st WorldVision Song Contest and 32nd at the 81st WorldVision Song Contest - only scoring six points in the latter edition which is the first and only time that the nation had finished by scoring single digits in the competition. There's something that bothers the Estogian public about its process of selecting songs compared to neighbouring nation, Britonisea. Britonisea has had 8 wins at the competition in around 55 participations while Estogium has scratched the top 3 on only two different occasions. The 81st WorldVision Song Contest highlighted the difference between Britonisea and Estogium with the former at the top of the scoreboard while the latter was almost at the bottom. At the World Hit Festival, where Britonisea is still fortuitous, Estogium does occasionally place higher than Britonisea and so they're hoping that with a bit of luck - despite the hype around the Britonish entry this edition - that they will place fairly highly in the competition. In comes their representative, Taylor Siregar who is the first man to represent Estogium since Jared Atkinson who came 19th in Carrelie. Tony Siregar is a 25 year old singer from Palisadoes in the south of the country and so will only need to take a short trip over the bay to Doportedas for the competition. Tony's song "Heartbroken" is a ballad in the same vein as Elias Nordin or Jakob Fletcher - with the latter placing 11th when he participated.

Image
Taylor Siregar's photoshoot: Ahead of the 107th WorldVision Song Contest, Taylor participated in a photoshoot while he was in Alshkan for his postcard...

RVC returned to the World Hit Festival in preparation for the 107th WorldVision Song Contest as WHF was also being hosted in Britonisea too. Estogium's Andrew Victon was sent to Telm to perform his song with the nation placing 6th out 22 nations with a total of 20 points - the highest in 17 editions for the nation and gave them a little bit of a boost coming into the 107th WorldVision Song Contest with Taylor who they have said is a fantastic vocalist. While RVC focused on the World Hit Festival participation, Taylor was busy preparing for his performance in Doportedas by firstly filming his postcard which was on the Britonish-Estogian border in the city of Alshkan. During the postcard, he went to the Havenhavlve Arena which hosted the 49th World Hit Festival where he travelled down the walls of the Arena, looking at pictures of the different productions that they had put on in the past. In the end, they went to the main arena hall, running into the middle before the dancers held up the Estogian flag using LED panels.

Taylor enjoyed his time in Doportedas - with Palisadoes being very much like Doportedas in terms of weather and even people. Palisadoes did have more of a chill vibe than Doportedas, with the latter being a lot more like an international city comparable with the likes of Darlington and The Estograd. He was able to do a little bit of tanning along the beachfront, but he was mostly focused on his rehearsals, going to the Titian Carpet and getting enough sleep. During his rehearsal, everything seemed to be going swimmingly with the Britonish television operatives able to translate his and his team's visual accurately on the stage. Taylor was ready for his performance and ready for the rambunctious Britonish crowd (which no doubt was full of Estogians too).

For the 107th WorldVision Song Contest, Estogium was trying to go all out. They didn't need to fork out a lot of money on travel as they could take the cheapest mode of transport to Doportedas (which for them was the ferry) and they could also fit the large props that they needed to bring from Estogium fairly easily and cheaply too. The Estogian delegation walked into WorldVision week with a sense of confidence, not that they will win, but that they will do a good performance in Doportedas and hopefully score their highest points total since the Jury/Televote split. The stage in Doportedas was highly functional and had all the bells and whistles of a normal stage and more. At the start of the performance, the large light rig pair was lowered to how it is in that linked picture facing outwards towards the audience. Similarly to the picture, the outer LED walls were facing the other way to reveal the light display in the back while the middle few were showing a stormy picture which was contrasted with the red beams of lights that was coming from the lights pointing at the audience. Taylor was wearing a very tight-fitting black shirt and dark jeans - a very simplistic design but he didn't need anything to stuck out too much. The Estogian was standing in the middle of the stage with a huge LED heart on a platform that looked broken in the middle. Taylor was leading on the inside of the LED heart which was shining white - a very bright white - which stood out on the stage. The performance was filmed in 18:9 with a slight tint that made things look a little browner. The performance started with a slow zoom using Camera 1 which was bang in the middle of the stage.

Held on to hope, despite the odds
I avoided the truth.
Living in delusion, you're set for a fall.
Ignored warnings and I knew the risks
They didn't outweigh the benefits
But once you've fallen, you can't stop falling
Am I just a fool? A brainless man.
A hopeless romantic who's been messed around?


During the first verse, there was a load of different shots, but each one - while it had movement - they were all pretty slow-paced which fit in with the tempo and the beat of the song. Taylor gently bopped his head along to the song, but the expression on his face was one of pain and despair. You could tell that perhaps the lyrics really were hitting home for him - after all he did pen the lyrics himself. As he sang the lyrics "Am I just a fool? A brainless man", he started stressing his vocals a little bit, swinging his head back but not giving it all of his energy because he wanted to save that for the end of the performance. His light eyes seemed to shine very obviously, especially during the close-up shots of his face. Taylor was then to start singing the chorus of his song with the lighting rigs slowly moving upwards throughout the chorus.

Every time that you and I talk (I'm left heartbroken)
I feel as though there is a spark (I'm left heartbroken)
It's in your gaze, but you're afraid to fall for me
And I'm left heartbroken.


The first chorus was only a taster of what was to come and so the camera shots during this section weren't too explorative - still rather slow but cinematically interesting. Camera 12 was used during the chorus with the LED floor showing Taylor in the middle of a lake of some sort and you could see that it was raining with the pitter-pattering of the rain falling on the lake. Taylor had stopped leaning on the side of the heart, standing upright and slightly in front of the heart. Camera 4 swung around over the audience and captured Taylor as he walked downstage right but remained on the podium where the heart was. Taylor slightly leaned forward as the camera got closer to him. The LED heart that was behind him was flashing on and off with the stormy vibe on the LED wall behind him remaining. There was motion on the wall's graphics meaning that it didn't feel too static. Of course, the lights also made the performance static so even though Taylor had only made a few footsteps throughout the performance so far, it seemed as though a lot more was happening on the stage. At the end of the first chorus, the audience started cheering before everything turned to black as we cut to an extreme close-up on Taylor's face (Camera 5), slowly zooming out as he continued singing on...

With each interaction, I've got more questions
I'll admit that I'm going mad.
I think about you every night, every day
Overthinking? I've gotta stop,
But I'm seeking some answers.
Yeah, I just want peace, just want the truth.
Is what we have normal - Is it just friendship?


As he started singing "Overthinking?" he turned around, with Camera 21 capturing him through the heart that was on the podium. In this shot, you could see the light panels that were on the seats. At the moment, they were just shining white to simulate a sea of lights and made the arena behind him seem a lot larger than it actually was. He sang directly towards the camera for a while before turning back around and walking off the platform which was a couple of steps. The camera cuts became a little bit faster, with a load of different angles being used - including Cameras 5, 8 and 9 being used - most of them being canted angles. The LED wall behind Taylor started whirling around - making the scenography a little bit more exciting for the audience. The other LED walls that were showing the lights had turned around so that the entire back wall was LED screen and was exposed (as the lighting rig was brought upwards). As he asks "Is it just friendship?" he stood strong in the middle of the stage and at the sound of the beats, strong white strobes flashed brightly out towards the audience with the spider cam tracking outwards at an exceedingly fast pace with the first wide shot of the arena in Estogium's performance shown.

Every time that you and I talk (I'm left heartbroken)
I feel as though there is a spark (I'm left heartbroken)
It's in your gaze, but you're afraid to fall for me
And I'm left heartbroken
What is going on between us? (I'm left heartbroken)
'Cuz every time I push, you pull (I'm left heartbroken)
Need clarity, just to move on
This has been going on for way too long.


As we moved into yet another chorus (above), pictures of Taylor's face and upper body was sprawled across the long LED wall. Each image seemed to be at a different closeness to his face - with the middle one (which was right behind the heart which was still flashing on and off) being the closest of his face at the start of the chorus. Camera 19 swooped from the right to the left of the stage to show the audience the whole scene with his face in each of the shots slowly zooming in before fading away into another image of him further away (before it gets bigger). As we moved onto the second part of the chorus which we heard for the first time - you could tell that everything was a tad more dramatic than the chorus before with the lighting flashing in unison along with the beat. There was use of augmented reality during a couple of the cameras (including Camera 19) with the roof of the arena seemingly gone and replaced for a murky stormy sky. It was then time for the bridge of the song which didn't have any lyrics to it, allowing Taylor to move from the main stage to the outer stage - the backing singers taking up the vocals while Taylor moved to the front (where Camera 5 is located).

(I'm left heartbroken)
(I'm left heartbroken)
(I'm left heartbroken)
(I'm left heartbroken)

Every time that you and I talk (I'm left heartbroken)
I feel as though there is a spark (I'm left heartbroken)
It's in your gaze, but you're afraid to fall for me
And I'm left heartbroken.


During the bridge section, the LED walls turned around to expose the lights once again. As we reached the climax of the song, a golden pyro shower fell in the background heart shone a dark red colour. The lights behind Taylor was shining along with the beat of the song with white lights coming from every corner of the stage through the pyro shower. Fans were strong on Taylor as he sang powerfully, bending his knees, pushing in his stomach and squeezing his fits as he dramatically belts the final chorus out loud to the roar of his adoring fans in the arena. In the background, the male backing vocals (about four of them) were standing in the background with only their silhouettes being shown. They were just standing solitude on either the front corners of the stage or the front corners of the podium where the heart was positioned. The final shot was of the dark stage, a spotlight on Taylor who was standing slightly right and the red broken heart on the main stage behind him out of focus. At the end of the performance, there was a huge cheer for Estogium. Taylor was more than happy - he was ecstatic - excitedly he shouts, "Merci, Brityunik! Thank you, World!" out loud before running off the stage ready for the next act, Caryton.
Last edited by Estogium on Sun May 28, 2023 5:33 pm, edited 8 times in total.

User avatar
Spiritual Republic of Caryton
Diplomat
 
Posts: 506
Founded: Jun 25, 2019
Authoritarian Democracy

Postby Spiritual Republic of Caryton » Wed May 24, 2023 2:11 am

36. Spiritual Republic of Caryton
Luna Briar - Missed Connection
Image


A new face for Carytonic music is the up and coming Luna Briar. After a tour around Caryton, she remained in the limelight long enough to win the national song contest and represent Georgine at Doportedas. WorldVision analysts and foreign Caryton fans were surprised at the choice that came seemingly out of left field. Many had expected Latanya Anderson to win in a landslide, noting that she had visited the Britonish capital to seek mentorship and gain a fresh musical perspective. Such a sharp return to the Carytonic "status quo"- barely secular (if not outrightly religious) folk music - for such a modern and energetic song competition is enough to raise brows. Perhaps Georgine wants to send a statement to Doportedas...





Luna takes center stage in an aptly-themed but still eye-catching yellow hooded raincoat-themed dress. In her hand is a black prop umbrella. All of the lights on the towers flanking her shine a colorful mosaic of green and yellow that rotate, focusing on the ground of the stage. Around 20 female background singers in regular raincoats stand in various places on a small town set, the LED's expertly creating a sense of foreground and background by displaying the rest of the small town and a cloudy sky there. Luna is initially with her head down, but as the backup choir cues her in, she lifts her head up and starts moving forward.

(You’re my perfection!)

I know your sweet smile isn’t coincidence-
Each time we pass the café corner.
Words unspoken, but on our separate paths-
Without fail, you leave my heart craving an encore!


Luna sings as if awestruck and in love, a sweet cherry-red smile on her face. She uses the umbrella by placing it on the ground to accentuate and give a sense of bounce to her steps in a giddy fashion. She twirls happily until she reaches the cafe corner, when an attractive-looking blonde man in suit and tie staring at her wordlessly and yet with admiration as he moves past her. However, the urgency of his pace prevents anything more than a simple wave and a charming smirk. Luna hides her face in her raincoat as she blushes. Once she gathers her composure, she turns to chase after him but he's already gone. Confronted with the reality of missing her chance once again, she moves into the chorus with conviction and lovesickness.

Your eyes are why I’m there, rain or shine-
Looking for my missed connection!
Your smile is sweeter than clementine,
That’s why you’re my missed connection!

I know that I might be out of line,
Going so far to see my only affection!
But when your soul gives me peonies and roses,
My poor love-struck heart cries “perfection!”


Luna springs to life, spinning enthusiastically as she just lets the emotion of love take over. On the LED screen, the repeated incidents play over and over again, the man and woman never getting a chance to speak- only looking at each other knowingly, smiling. They focus on his kind eyes, and the background chorus joins in with Luna's singing to add emphasis. They begin a choreographed minuet with one another to convene the flowing feelings of adoration.

Luna spins before a fruit stand and raises a fragrant clementine to her face, loving every little detail of life as somebody in love does. She sets the fruit down and struts down the fake road, springing her umbrella to life and spinning it in her hands as she expresses her admiration to the audience, walking parallel to the edge of the stage, knowingly nodding at the couples cheering her on. The camera pans across the stage as she does this, and Luna approaches a florist and buys peonies and roses, wrapped in a delicate ribbon. She takes them with her free hand, smelling them as she sings, and appreciating them as deeply as somebody in love would.

Sometimes I think myself a fool-
That you’d come and cross me one more time.
The wave and smile you gave, gave me fuel-
So now I linger, every day, waiting to make you mine!


Luna diligently waits at the café corner for as much as her time would permit. The background singers in their assigned places return from the dance to their assigned places, conversing as they would. The rain is gone, and instead of the umbrella, she's now holding the bundle of peony and rose, waiting to give them to the man who's been on her mind for so many weeks. The small town is busy, but there's no sight of the man. However, Luna is not defeated yet and returns to the chorus with even more conviction. She springs forth into a shimmy-like dance, unable to drive the enthusiasm out of her body.

Your eyes are why I’m here, day or night-
Waiting for my missed connection!
Your smile is brighter than the sunshine,
I can’t get by without my missed connection!

I know that I might be out of line,
Going so far to see my only affection!
But when your soul gives me daisies and tulips,
My soul will then endure, for its perfection!


Luna begins twirling once more as the LED gives way to a post-storm rainbow, complete with the shining morning sun. The background singers spring into their minuet, taking each other by the hand and twirling to create the illusion of a bustling crowd. The mention of sunshine makes all the stage lights flourish the brightest yellow they can, love-light overtaking the stage as Luna prances about, returning to interact with the audience once more. Before she returns "home", she passes by the florist stand another time, buying daisies and tulips to add to her bouquet. She turns back to the audience, smiling brightly as she rounds the corner once more, only to be shoved back out by two of the background singers. One of the girls points excitedly. It's the man from before, and he's out of his work clothes.

Your eyes are why I’m there, wrong or right-
Embracing my missed connection!
Your smile is more gorgeous than columbine-
You’re more than merely a missed connection!

I know that I’m not out of line.
For you are my only affection!
Because your soul gives me poppies and lilies,
And they’ll bloom evermore, for my perfection!


She stumbles before the man, who smiles warmly. Luna's feelings weren't in vain as the two embrace. They share small talk, and the entire background chorus takes each others hand in a symbol of joy and a happy ending. The man pins a columbine flower to the lapel of her raincoat dress, and Luna takes it in her free hand, blushing. She just can't handle his smile. Luna pulls him by the wrist to the cafe counter and sits him down. She hurries around the corner to greet the audience, ecstatically bouncing and cheering. The audience cheers back in solidarity. She visits the florist one more time, and adds poppies and lilies to the bouquet. She runs back around the corner and offers the grandiose gift to the man, a stark contrast to the one columbine he'd given her and a symbol of how she truly felt.

You’re my perfection!


The rainbow above intensifies, doves fly in the sky, the lights are changed to a rainbow assortment that shine like glorious beams above. The last rain is gone, and the man accepts her gift, and the two hug once more- the start of a great relationship. The instrumental ends and the audience booms into cheering. The two main characters bow, and then make way for the row of raincoat background singers to step forward in unison and bow. The camera catches the Carytonic section waving their flags excitedly, applauding for their representation at this years WorldVision. Without any further comment, they walk offstage in unison, the tech crew pushing the set pieces as soon as the lights fade to black.
Last edited by Spiritual Republic of Caryton on Mon May 29, 2023 3:50 pm, edited 3 times in total.
The Spiritual Republic of Caryton
(CARYTON VIDEO)
A serene & puritan 80s-90s tech agrarian Christian fundamentalist nation with no separation between church and state. Wide prairies, fertile plains, archaic clothing, clean skies, lack of modern influence, universal prohibition, kind societies, and simple austere lives forge the Carytonic identity.
Music of Caryton: [8-29-22] Classic Carytonic Sing-Along Hymns

User avatar
The Hlhata States
Bureaucrat
 
Posts: 61
Founded: Jul 29, 2018
Iron Fist Consumerists

Postby The Hlhata States » Wed May 24, 2023 11:40 am

37 ♥ THE HLHATA STATES
"いつまでも見ていたい水彩画" by 夢枕薫花 ft. RAION
Music ♥ 星科流杏, 夢枕薫花, RAION, Ayonda Malone, mikano44, 小林十郎
Lyrics ♥ 星科流杏, 夢枕薫花, RAION, IRI'z (姫村正敏)

"The Watercolour Painting I Want to Look at Eternally" by Yukika Yumemakura ft. RAION
Music ♥ Ruan Hoshina, Yukika Yumemakura, RAION, Ayonda Malone, mikano44, Juurou Kobayashi
Lyrics ♥ Ruan Hoshina, Yukika Yumemakura, RAION, IRI'z (Himemura Tadatoshi)

Tune ♥ "eight" by IU ft. SUGA


Image

The cover for Hlhata Statesianese singer Yukika Yumemakura's single, 'いつまでも見ていたい水彩画'. The track is The Hlhata States' song at WorldVision 107 in Doportedas, Britonisea.


The Hlhata States returns to the contest for the first time since WorldVision 103 in Richmond, StrayaRoos, where 川岳あかり represented the nation with her 2000s inspired trance song "RESET". She ended the night placing 13th, the countries 2nd best placement since their debut in WorldVision 67. Though a drop compared the countries previous result at WorldVision 102, where Juniar and their song "LOVE ME 4 ME" placed 3rd, marking The Hlhata States' podium debut, it was still showed a growth in result, the country having mingled around 16th - last place prior to WorldVision 102. To continue this upwards trend, the HSBC have chosen to send Yukika Yumemakura, a rising indie star who had sung some of the nation's most streamed songs of 2023.

全て大丈夫
全て静かなです
君のリップから息は夜を彩る


Subete daijōbu
Subete shizukanadesu
Kimi no rippu kara iki wa yoru o irodoru

Everything's alright
Everything's quiet
From your lips a breath colours the night


でもごとの瞬間が思い出になる
指の間をすり漏れる砂のよに
過去にyourself無くすな
明日をglimpse欲しい


Demo goto no shunkan ga omoide ni naru
Yubi no ma o suri moreru suna no yo ni
Kako ni yourself nakusu na
Ashita o glimpse hoshī

But every moment becomes a memory
Slipping through your fingers like sand
Don't lose yourself in the past
I want you to glimpse at tomorrow


Because you are a perfect work of art
心の隙間にpainted
Because you are worth every single moment
君はmasterpiece
君をずっと見たい


Because you are a perfect work of art
Kokoro no sukima ni painted
Because you are worth every single moment
Kimi wa masterpiece
Kimi o zutto mitai

Because you are a perfect work of art
Painted in the crevice of the heart
Because you are worth every single moment
Your are a masterpiece
That I want to look at forever


ずっと見たい
ah, ah, ah
ah, ah, ah, ah
ah, ah, ah
ah, ah, ah, ah
ずっと美しい
ah, ah, ah
ah, ah, ah, ah
思ひ出せどうぞ
You're loved and you're forever


Zutto mitai
Ah, ah, ah
Ah, ah, ah, ah
Ah, ah, ah
Ah, ah, ah, ah
Zutto utsukushī
Ah, ah, ah
Ah, ah, ah, ah
Omohi dase dōzo
You' re loved and you' re forever

I want to see you forever
Ah, ah, ah
Ah, ah, ah, ah
Ah, ah, ah
Ah, ah, ah, ah
Beautiful forever
Ah, ah, ah
Ah, ah, ah, ah
Please remember
You' re loved and you' re forever


ライオン
黄金の砂
夏のそよ風が
僕を撫でた
過去は写真に凍りつく
振り返るにはあまりにも怖い
しかし、それは我らの記憶に
通して生き続けます
我らが生きる理由


Raion
Kogane no suna
Natsu no soyokaze ga
Boku o nadeta
Kako wa shashin ni kōritsuku
Furikaeru ni wa amarini mo kowai
Shikashi, sore wa warera no kioku ni
Tōshite iki tsudzukemasu
Warera ga ikiru riyū

RAION
Golden sands
Summer breeze
Caressed me
The past frozen in photographs
Too scared to look back
But, it is in our memory
Living on
The reason to live


でもごとの瞬間が思い出になる
指の間をすり漏れる砂のよに
過去にyourself無くすな
明日をglimpse欲しい


Demo goto no shunkan ga omoide ni naru
Yubi no ma o suri moreru suna no yo ni
Kako ni yourself nakusu na
Ashita o glimpse hoshī

But every moment becomes a memory
Slipping through your fingers like sand
Don't lose yourself in the past
I want you to glimpse at tomorrow


Because you are a perfect work of art
心の隙間にpainted
Because you are worth every single moment
君はmasterpiece
君をずっと見たい


Because you are a perfect work of art
Kokoro no sukima ni painted
Because you are worth every single moment
Kimi wa masterpiece
Kimi o zutto mitai

Because you are a perfect work of art
Painted in the crevice of the heart
Because you are worth every single moment
Your are a masterpiece
That I want to look at forever


Even though the past is far behind us
Tomorrow is the blank canvas we colour
Paint with me the future that we yearn for
君は美しい
水彩画に成る


Even though the past is far behind us
Tomorrow is the blank canvas we colour
Paint with me the future that we yearn for
Kimi wa utsukushī
Suisaiga ni naru

Even though the past is far behind us
Tomorrow is the blank canvas we colour
Paint with me the future that we yearn for
You will become like
A beautiful watercolour painting


いつまでも見たい
ah, ah, ah
ah, ah, ah, ah
ah, ah, ah
ah, ah, ah, ah
ずっと見たい
ah, ah, ah
ah, ah, ah, ah
思ひ出せどうぞ
You're loved and you're forever


Itsumademo mitai
Ah, ah, ah
Ah, ah, ah, ah
Ah, ah, ah
Ah, ah, ah, ah
Zutto utsukushī
Ah, ah, ah
Ah, ah, ah, ah
Omohi dase dōzo
You' re loved and you' re forever

I want to see you eternally
Ah, ah, ah
Ah, ah, ah, ah
Ah, ah, ah
Ah, ah, ah, ah
Beautiful forever
Ah, ah, ah
Ah, ah, ah, ah
Please remember
You' re loved and you' re forever
Last edited by The Hlhata States on Mon May 29, 2023 8:25 pm, edited 5 times in total.

User avatar
Flusia
Lobbyist
 
Posts: 23
Founded: May 22, 2022
Liberal Democratic Socialists

Postby Flusia » Wed May 24, 2023 4:23 pm

:::38. FLUSIA:::
Stehl - All My New Friends





Chorus:
All my new friends think that I suck
They never give me any love
They make me feel alone
Now I just stay at home
All my new friends think that I suck
They never give me any love
They make me feel alone
Now I just stay at home

Verse 1:
Check their phones and comb their hair
They have to pretend they care
It’s like they aren’t even there
I miss back when I had fun
Stupid jokes and Xbox One
Wish that I was with someone

Pre-Chorus:
Oh god
The fame is only making me more blue
I’d give it all for you

Chorus:
All my new friends think that I suck
They never give me any love
They make me feel alone
Now I just stay at home
All my new friends think that I suck
They never give me any love
They make me feel alone
Now I just stay at home
They make me, they make me feel alone
Now I just, now I just stay at home
They make me, they make me feel alone
Now I just, now I just stay at home

Verse 2:
Cigarettes and alcohol, try and throw myself a ball
Doesn’t work, instead I feel like I am trapped within these walls
Start to wonder if it’s hell, chained to records that I sell
My life isn’t going how I want it, hope that yours is well

Pre-Chorus:
Oh god
The fame is only making me more blue
I’d give it all for you

Chorus:
All my new friends think that I suck
They never give me any love
They make me feel alone
Now I just stay at home
All my new friends think that I suck
They never give me any love
They make me feel alone
Now I just stay at home
They make me, they make me feel alone
Now I just, now I just stay at home
They make me, they make me feel alone
Now I just, now I just stay at home

Bridge:
I’m not cut out to be
Singing on a TV
For the whole world to see
I’m not cut out to be
Famous, all that I need
Is someone who likes me

Chorus:
All my new friends think that I suck
They never give me any love
They make me feel alone
Now I just stay at home
All my new friends think that I suck
They never give me any love
They make me feel alone
Now I just stay at home
They make me, they make me feel alone
Now I just, now I just stay at home
They make me, they make me feel alone
Now I just, now I just stay at home
Last edited by Flusia on Thu May 25, 2023 11:19 pm, edited 2 times in total.

User avatar
Llalta
Envoy
 
Posts: 285
Founded: May 09, 2018
Left-wing Utopia

Postby Llalta » Thu May 25, 2023 6:04 pm

39 ♠ LLALTA
"ALL IN" by Olyvia Kingsington
Music ♣ Olyvia Kingsington, Esther Winterbourne, James Embankment, Jamie Pryce
Lyrics ♥ Olyvia Kingsington, Esther Winterbourne

~♦~

"踊" - Ado


Image

The cover art of the single "ALL IN", by Olyvia Kingsington. The single is also Llalta's entry in the 107th WorldVision Song Contest in Doportedas, Britonisea.



~♠~ BACKGROUND ~♠~


The last time the world had seen Llalta was upon the WorldVision Song Contest stage was WorldVision 101, held in Lipa, Besen, 5 editions ago. The edition began promisingly for the island nation, with a bid announced to be in the works, which would mark the 2nd time Llalta would host the contest if successful. However, once the initial excitement of a possible hosting died down, the harsh reality of the situation settled in. With mere weeks to go, the nation had still not yet announced the song or even artist, worrying Llaltese fans. This was only worsened by bid losing to Lipa, Besen, which convinced many that the nation was not to participate. A general sense of dejectedness resounded amongst the islanders of Llalta, left entirely in the dark by the LBN, especially following Llalta's less than spectacular result at WorldVision 100. However, on the 24th of August 2022, the LBN finally announced that Llalta would be represented by Llaltese/Japanese singer Hana Uemura and her emotional soft rock ballad, "Ending Credits", written by Uemura herself and Esther Winterbourne. Though the entry had been a last minute effort by Uemura and the LBN with little funding and promotion, the bid taking up much of the LBN's already small budget, Llalta finished 4th in the Jury and joint 2nd in the televote (a higher televote, something Llalta hadn't achieved since the introduction of the televote), landing 2nd overall on the leader board, behind the winner, Ertzei Kishim. WorldVision 101 also saw Llalta's highest viewing figures since WorldVision 83, beating out even the centennial edition in Monterra, Kalosia, at 92.7%. Deemed a success for the country, the LBN proved after WorldVision 100's results that even the smallest could still prove a contender amongst the ever-evolving musical landscape of WorldVision.

Following the success of WorldVision 101, many fans, and the LBN themselves expected that their streak of participating would continue into WorldVision 102. Within the LBN headquarters, discussions began early on about what Llalta could bring to the international stage. As with any WorldVision cycle, generating ideas was the first step for the broadcaster, on what direction to go for. Prior to WorldVision 95, though Llalta had many a success at the WorldVision Song Contest, it had been generally agreed that the LBN clearly lacked knowledge surrounding contemporary music and what music was popular around the world, Llaltese songs never boasting chart presence or critical acclaim, Esther Winterbourne being the exemption. It had been known amongst Llaltese for many years that the delegation consisted of higher-ups within the LBN, most of which being aged 35 - 70. This demographic tended to gravitate towards sending songs that appealed to a Llaltese market, which, whilst pleasing the Llaltese, also meant results were never guaranteed. And though many admired Llalta's strong cultural identity, it did not necessarily translate to success on the night, with high highs and low lows.

However, during WorldVision 95, Llalta was represented by Britonish-Llaltese artist Titania and her song "The Time of Your Life". The song was a new direction for Llalta, featuring elements from both Llaltese music as well as R&B and electronic music. This was also the first artist since Esther Winterbourne, over 10 editions prior, to be under a Britonish music label. Though the song was produced within Llalta, Titania's grasp on contemporary music as well as connections to Britonish music industry professionals allowed the song to be far more contemporary than the usual Llaltese entry. During this time, the LBN was also starting it's migration of half it's operations to Britonisea to outsource work and develop it's technological capacity following the state broadcasters drop in staff. Whilst also allowing the LBN to expand it's operations, it also meant the LBN had a better foothold in the Britonish music industry as well as an improved Llaltese delegation consisting of the now-trained Llaltese staff as well as Britonish professionals. The LBN's expansion into Britonisea opened many new doors for Llalta, showcased to it's fullest in WorldVision 100 with the modern song, staging and extensive promotional campaign. WorldVision 101 was also guided by the same delegation, the results far more fruitful than the prior.

However, WorldVision 102 was just not meant to be. Following the expensive bid the budget was stringent, paired with the time constraints as the movement of operations to Britonisea continued, the LBN just could not find the space to prepare an entry, announcing their withdrawal from the contest early in the cycle through twitter. Following editions did not attempt to feign hope however, the LBN silent regarding WorldVision participation for every edition post-102. And slowly, not participating became the norm once again, many Llaltese just waiting for the LBN to randomly confirm participating in anywhere from 5 - 10 editions time.

For the LBN however, as movement to Britonisea neared completion, it was no longer a matter of time or money, but who would represent them. It was long known that Llalta, with a population of only 3,136, had struggled to find artists to compete on the island's behalf. And yet somehow, the LBN would find a way, whether that be by choosing an artist who had already participated (such as June Summerfields, Esther Winterbourne, Hana Uemura or Himiko Arden) or by borrowing an artist from another country (such as Titania or Prudencija). However, by the end of Uemura's two edition streak, the pool seemed to have run dry. Though choosing a prior artist was potentially possible, many chose only to compete once or twice, Winterbourne being the exception. Furthermore, the LBN tried to remain true to their Llaltese roots, and thus sending a singer from another country was out of the picture, as well as far too expensive. Though the movement of half the company to Britonisea was successful on other fronts, WorldVision seemed bleak by comparison. By WorldVision 107, the LBN expected the same result, nobody offering to participate for Llalta. However, to their surprise, they received an email from none other than Olyvia Kingsington, a former participant of the Junior World Hit Festival, who placed 2nd in the 5th edition of the contest. The email also included an mp4 with the song she proposed to send to WorldVision, stating that, if the song was not accepted she would revoke her offer. The Llaltese delegation, in desperation, just hoped the song would be good.

Upon listening however, the room was divided. Amongst the older, Llaltese, members of the delegation, doubt was expressed, fearing the song was too far out their comfort zone, some even flat out stating they did not like it. However, the song was defended by the younger side of the delegation, mostly Britonish, who saw the potential of the song. The delegation was split on the song for days, some even refusing to budge on pride and pride alone. On Kingsington's end, she began to grow worried, knowing that the LBN were not too busy to respond. Expressing her fears to Esther, Winterbourne chose to contact the delegation herself, turning up to the shiny new LBN-Britonisea Headquarters in Doportedas. Though the events were not disclosed, those who overheard the event said that Winterbourne was "in another a life, an alluring scam artist. Even I was convinced to pick up this song I'd never heard before. L-look I even bought the CD single when it came out, even though I've never heard it before." With the delegation dealt with, Kingsington shortly received the email confirming her participation in the 107th WorldVision Song Contest. Travelling to Doportedas from Junterapten in the following few days, she began preparation on her entry imminently, working with the shiny new delegation behind Llalta's WorldVision 101 success.


~♥~ THE ARTIST ~♥~


OLYVIA KINGSINGTON
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Age 19 (born 14th April 2004)
Born in St. Christopher, Llalta, Olyvia Kingsington is a Llaltese singer-songwriter, student and former Junior World Hit Festival contestant. Attending St. Christopher Academy like every other Llaltese child, Kingsington was an extremely shy and quiet girl, who tended to keep her head down, studying diligently, for little reason other than to pass time often. However, growing up, Kingsington had always had a passion for singing, taking lessons from Evergreen's John Marshall, Llalta's premier music teacher, from age 6. Though she had sung for a long time before the Junior World Hit Festival, she had never performed live due to her shy nature, until Marshall suggested she try the 'National Final' that would decide who would be sent to the show. Though she initially objected the notion, she eventually caved in to her own curiosity and the idea of being able to sing on the world stage. With Marshall's guidance on the art of performing live to an audience, she took to the stage, performing an emotional rendition of Esther Winterbourne's "Free", which represented Llalta at the 40th World Hit Festival. Her performance stunned the audience, who had known nothing of this girl before that day. The LBN were captivated also, not expecting to find such talent in the youth of Llalta. After winning the show in a landslide victory, securing over 75% of the audience's votes, she became the first singer to represent Llalta at the prestigious song contest in their debut edition. Her performance also garnered the attention of Esther Winterbourne, who, stunned by Kingsington's interpretation of her song, offered to work with her in writing the entry. It was here that Kingsington discovered her passion for songwriting, something she held sacrosanct to her music career everyday after those few weeks. Alongside Winterbourne, Kingsington had written her very first song, "My World", which would represent Llalta at the 5th Junior World Hit Festival at age 14.

For the song, she first explored the depths of her mental psyche, of her insecurities and the chains that were holding her back. At the Festival, in Tushlark, Togonistan, she performed to the world for the very first time, losing herself in her melody as her powerful vocals filled the arena with her lyrics. After a lifechanging performance, she ended the night 2nd with 30 points, 2 points behind the winners, Izmedu. Though she didn't win, she won the battle in her mind, proving to herself that she could do anything she dreamed of doing, as long as she had the confidence to give herself the chance. After the festival, many noticed a change in her demeaner, far happier than before, as well as far more confident. Despite this, she never seemed to pursue any music following the contest, apart from a few local live events. However, she remained happy, doing regular, though less often, music lessons as she had done before. For the next few years, she focussed on her studies, aiming to enrol at a Biology course in Britonisea. Though she enjoyed music, she didn't see it much as a hobby due to the challenges of being a singer in Llalta, with most only performing at live events and pubs on the side, whilst another job paid their bills.

At 18, she travelled to Britonisea to study Biology in Junterapten. However, she soon found the shift to urban living to be especially challenging, feeling isolated and homesick, only further pressurised by the mounting workload. However, it was in this environment that she found peace in music once again. Despite not having been an active singer for over 4 years, she joined a local university choir, where she found herself a new family and home. After a performance with her choir, Kingsington was scouted by a Britonish music producer, who encouraged her to contact his label. However, she was rejected, and she was returned to real life once again, the weights of her course visible again. Despite this, she got herself back on her feet, handling her work better than ever before. A few months later, she was contacted by the label, who wanted her to become a backing singer part time, and, being a poor university student, accepted without thinking about the consequences of her actions. Turning up for her appointed time, she became reacquainted with Esther Winterbourne who it was revealed that she would be singing for. Though they remained professional for the training session, after her job was due and done, reconnected with at Carla's Confectionary. Ensuing discussions brought about the idea of a future in music for Kingsington, which brought her back to the time as a child when she would dream for hours on end about her artist lifestyle, performing for thousands who had come to see her and her alone. However, she chose to take it slowly, perhaps working with Winterbourne as a backing singer, training under her wing before signing to a major label. This plan of hers was halted when Winterbourne's manager heard Kingsington's voice during a vocal warm-up, choosing to sign her in late 2022. Though she did not want to rush into the industry, she took the opportunity with both hands, much like she did with the Junior World Hit Festival.

Currently, she is still enrolled at her course in Biology at Junterapten, though is now only a part-time student, with half her time focussed on studies whilst the other is on her blossoming singing career. Based in both Junterapten and Doportedas, she is no stranger to Britonisea, having lived their now over a year. After a few months of training, recording and writing "ALL IN" is her debut single, officially released on the 20th of May 2023, where Kingsington performed the song alongside her JWHF entry "My World" on LBN Radio 1 LIVE.



~♣~ THE SONG ~♣~


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"ALL IN"
"ALL IN" is a up-tempo electronic dance song written by Olyvia Kingsington, Esther Winterbourne & James Embankment, performed by Kingsington. The song is about a couple vying for power within the relationship, the two viewing love as "a game to be played and won". However, the two are bored of the stalemate, going "all in" in a last ditch attempt to gain dominance over the other. The song uses the semantic field of poker to represent the all or nothing gamble which Kingsington sings of. To the two however, winning or losing is unimportant as the risk of losing everything to each other gets them high, their similarity drawing them together. This tense stand off is shown through the constantly thumping beat, the different sections representing the ups and downs of a conflict. The song also remains fun with a bouncy bass and an hectic instrumental. Kingsington's voice, powerful and confident ampliphies the fun energy of the song. Featuring a thumping beat with influences from genres such as latin and EDM, the song is an eclectic party of sounds, creating a strong and unique sonic identity.

For "ALL IN", well... Esther hooked me up to James Embankment one day and they showed me this crazy beat they had been working on. I mean, there's nothing like it at all! I was floored, gagged, gooped... I mean, listen to it! The way the beats lay on top of one another creating a thick, luscious soundscape. Ah... heavenly. So when I got to the track they were like, 'omg, omg, Olyvia we know this isn't like, your thing but this would be perfect for your voice' - 'cus you know I have quite a rough, strong like, thick voice. So they told me, you know, we've been working on this a while with you in mind and I was sold, like, woah, these two accomplished songwriters wrote this FOR me. So I knew I had to hop on, like, put my own spin on it, write some lyrics and release it! ... Although I never thought about sending it to WorldVision until, I overheard Esther during a session talking about how the LBN were calling her up for links and connections, desperate for artists haha, and I put two and two together like... this song would be transcendent onstage! So after talking with Esther I was like 'yeah, this is the direction I wanna go'.
Olyvia Kingsington on LBN Radio 1


Released on the 20th of May 2023, "ALL IN" is 3m25s long, initially released as a digital single after being announced by both Olyvia and the LBN over social media a day prior. Written originally before Vha Mehlodhivestoile 2023, during a writing session between Winterbourne, Embankment and Pryce, whilst writing music for Winterbourne's participation in VM, the song was side lined due to the song straying far from Winterbourne's musical style. However, Winterbourne recommended the song be given to Kingsington instead. The song was then completed in collaboration with Kingsington, written and recorded in Telm City, Britonisea. The song marks a sonic departure from Kingsington's Junior World Hit Festival entry, far, far more energetic, bouncy and fun. The song also marks her major label debut, her first single since signing a dual contract under a Britonish label and LBN Records.

Though it failed to dethrone Esther Winterbourne's "My Journey" on it's debut, it reached #1 on the LBN Hot 20 only a week later. The song has also reached 500 thousand views on YouTube within two weeks of release, and amassed 220 thousand streams on Spotify since release. Many critics have noted Llalta's 180 on previous entries, "ALL IN" considered Llalta's first step into contemporary and modern pop music in WorldVision, which many have applauded as a step in the right direction.

The song was then released as a physical single two weeks later on the 3rd of June, featuring the B-Side "When Nobody Remains" written by Kingsington, Winterbourne and Embankment, as well as instrumentals for both tracks. There is also a Limited Edition version which includes a DVD featuring music videos for both songs.

Performed by Olyvia Kingsington
Music by Olyvia Kingsington, Esther Winterbourne, James Embankment, Jamie Pryce
Lyrics by Olyvia Kingsington, Esther Winterbourne

Recorded & Produced at Ryker Studios, Telm City, Britonisea



~♦~ THE PERFORMANCE ~♦~


POSTCARD
Kingsington Family Home Garden (Llalta) & The Evergreen Botanical Gardens (Britonisea)

The postcard begins with a shot of a summer blue sky, panning down to a quaint garden enclosed by dry stone walls that tower over the plots of flowers and arches intertwined with climbing vines, adorned with dainty white flowers, like stars upon a sky of green. Rusted white chairs are strewn across an overgrown lawn, dandelions and daisies flecking the green with colour, flora from designated plots spilling over into the lawn. From beneath the grass, a cobblestone path can be seen, thought just barely, it too embroidered by the weaving blades of grass and blossoms of flowers. Then, Olyvia Kingsington can be seen, sat on the floor in an enclosed space of garden, originally a metal frame now consumed my nature to create a dome of vines and clouds of forget-me-nots. Dressed in an outfit reminiscent of Alice from Alice in Wonderland, she gets up, peering round the corner before walking towards the end of the garden. There, a section of wall has crumbled, exposing a view of the Llaltese seas, a patchwork of fields before that. The seas is a sapphire blue, and Olyvia sings a note of her song, the camera turning to the sky once more.

As the camera lowers again, we visit The Evergreen Botanical Gardens in Telm City, Britonisea. Upon a patio, a view of the sea can be seen from the oceanfront in Maynard, though Olyvia is nowhere to be seen. The camera then pans to the left, where Olyvia can be seen running through rows of beautiful roses of reds and whites. As she runs, her hair billowing behind her in the wind, the heads of the Britonish dancers pop up from behind the rows of roses, their eyes following her as she runs, a smile on her face. Twirling, she reaches a large green where cherry blossoms surround the area, their petals scattering in the breeze. The Britonish dancers then run into view, Olyvia in the centre. The shots are then composed of the dancers, all dressed in neat white suits and flowing knee length dresses sing and dance her song amongst the confetti of petals. Though "ALL IN" is powerful, dance song, the composition (though you cannot hear it) has opted for something far softer, the dancers swirling and leaping joyously. They then hoist up the LED screens as the shot zooms out from the ground. The lights flicker on to reveal the Llaltese flag, which is then imposed onto the screen in the arena.


As the postcard finishes, the Arena de Banqués is plunged into darkness. The Britonish crowd quietens down, readying for the song. Onstage, Olyvia Kingsington steadies herself, breathing deeply as she enjoys the last few moments in quiet she has, the few moments she has before her life changes once again. In her in-ears, the countdown begins, jolting her from her semi-sedated state. 3. 2. 1.

The song opens with Kingsington singing the first line, "Come on, let's go ALL IN", the lights onstage illuminate instantaneously, revealing Olyvia to be perched at the top of a set of staircases, covered in LED panels which sits at the back of the central stage. She is sat almost on her side, her arm rest atop her bent leg, the other lain straight on the platform. Furthermore, the large lighting rig of the stage is lowered, as seen in the bid, and faces towards the stage at first. She wears a cropped black suit jacket so that her midriff is exposed and matching wide-legged trousers that taper at the ends, creating a smart yet stylish appearance which allows for movement, something key in a song like this. Underneath her jacket is a bright red sports bra, as if she were a fighter. Her long brown hair is tied up into a slick-back high ponytail, tied with a thick red rope like the rope of a boxer's ring, tied in a bow. As for jewellery, upon her wrists are red sweatbands with lots of gold rings upon her fingers, featuring many thick bands and intricate engravements. Her make-up isn't exactly heavy, but it's noticeable, with a bold mascara being one of the focal points. Her shoes are bright red, gold and black trainers which feature a thick white sole to create a fun, bouncy yet sporty look. The shoes are embellished with a gold chain and the laces feature a thinner variant of the red rope that ties her hair. She also wears a pair of oversized black frameless shades, with a bold rectangular shape that covers her eyes completely. For the entire performances, she uses a face mic to allow the best possible movement.

She sings the first line confidently, a steadicam opening the song with a shot of her sitting proudly on the top of the staircase. At first, she turns to the side, showing off her side view, before turning to the camera as a classy smile begins to grow on her face. The LED screens upon the back wall display the ripples of a red velvet curtains, like those from a theatre. The LEDs upon the staircase however display rows of bright gold lights, mimicking a realistic light rig. Apart from a few spotlights focussed on Olyvia, the others roam the stage and audience aimlessly, replicating stage lighting used to draw anticipation from a crowd when something is about to be revealed. For the opening lines of the song, Olyvia begins to play with the steadicam, gesturing the viewer to go "ALL IN" with her as she beckons. As the camera slowly zooms out, a few of the backing dancers are revealed, 2 women and 2 men all dressed in similar suited outfits to Olyvia, wearing a similar but slightly smaller pair of shades to match. They are arranged on the sides of the staircase all fake-playing trumpets as if announcing her arrival. By the line "are you ready for the show", Olyvia swivels round smoothly so that she is sat facing the camera, her feet planted to the first step below the platform. As she taunts the audience, boldly singing without missing a beat, she throws off her shades to the side on one quick, well rehearsed movement. She then stands up, and steps down one step. As the first gunshot is heard, a multitude of lights flash white, a spade (like the card suit) shaped bullet hole appearing upon the red curtains. Olyvia kicks to the side, the male backing dancer on the first step having pre-dropped his trumpet to kick in sync with Olyvia. With every gunshot, Olyvia moves down a step, this pattern repeating with the lights flashing white as another card suit shaped bullet hole appears on the red curtain. Each subsequent dancer joining in with each gunshot, they also join in Olyvia moving down a step, performing every single move after their first. This creates a canon effect, as more dancers join into the routine, ending when they reach the final step, jumping down to the main stage. Throughout this section, at first the steadicam follows Olyvia down the staircase, before transitioning to camera 1 which zooms out as Olyvia and her 4 backing dancers reach the main stage.

Once she reaches the stage, camera 4 swoops over the audience, like a sea of lights and flags, and zooms into the stage, where Olyvia is surrounded by her 4 dancers. The shot is then switched to camera 1 which rapidly zooms into Olyvia, who sings the final line to the camera, sneaking a wink as she does. As she sings the final word, "now", however, the track begins to repeat the syllable, the lights switching off and on to the beat to create a trippy effect. The red curtain displayed behind also begins to flash on and off, although in the brief moments it is lit up displays the curtain being burnt into smoke. To match the energy, the shots flick from camera to camera: from camera 7 to 13 to 22 to 6, each quickly zooming into Olyvia for a brief second.

Come on, let's go ALL IN
All in, all in, bet everything let's begin
Are you ready for the show
All or nothing
Draw your cards and
Let's start the game
Let's go ALL IN, ALL IN
No turning back now-ow-ow-ow


Transitioning into the first verse, the multitude of noises and drums are paired with flashes of various lights in gold and white, adding to the chaos. As the beep sound is heard, a steadicam turns to Olyvia who mimes the honking of a car horn with her hands with a grin, before reaching out and spinning the camera to the right, transitioning to the next shot.

For the verse, the lights spring back into action, various lights flashing in red, gold and white to the beat, igniting the stage in colour. Upon the LED screen, a checkerboard pattern of dark red and white appears, with a different card suit symbol within each square in an alternating pattern. These squares shake to the rhythm, the screen constantly jittering and zooming in and out creating an eclectic pattern which rivals the music. This pattern is replicated onto the LED staircase and floor also. The lighting rig, which is still lowered to surround the stage, flash intensely to the beat and the booming bass, which resounds throughout the arena. Around the stage, spotlights pulse to the rhythm. Another steadicam follows Olyvia as she struts forward proudly, glaring at the camera fiercely, spitting out each syllable as she is joined by her back-up dancers 2 by 2. When she reaches around the centre of the stage, by the line "searching for a weakness", the backing dancers jump back from Olyvia, matching the various cheers in the backing track, signalled by her flinging her arm up excitedly, her eyes darting from side to side. This moment is caught by camera 6, which trucks the stage from right to left. Camera 2 zooms into her as she sings the line after, grinning into the lens, flicking her hair out her face as she does. She then sidesteps and turns, the camera zooming out to reveal a female backing dancer, stood back to back with Olyvia. The two raise their upstage arm and lower their bodies in sync, as if there were a wall between them. As they reach close to the floor, they turn to face each other, the shot closed in to add to the intimacy. Olyvia approaches her crawling sensually, eye to eye, before turning her attention to the camera, who she blows a kiss towards. She is then lifted by her 2 male dancers who grab both arms, lifting her up in a cross position. As she sings the final line, "just another game to play", she flicks her head, sending her ponytail aloft, and leaps out of the two male dancers arms with a powerful kick, landing gracefully on one knee. She playfully sings to a steadicam, lowered to meet her gaze.

Eyes tracing each other's poker face
Searching for a weakness
But you & I both know, oh
These smiles are just for show
We play the game of lovebirds
Acting out the motions, like
When we kiss, nothing to it
Just another game to play


For the 2nd stanza of the verse, she jumps up, and begins to strut towards the left of the stage, followed by her 4 backing dancers to form a diamond formation. At first, she is followed by camera 5, who pans from right to left, following her movement so that she remains centre of the shot. However, as she gets closer to the edge, she is greeted by camera 4, who zooms over the audience to the stage, Olyvia gazing up to look directly at the jitacam. As she sings the lines, "give it to me, all or nothing, risk everything", camera 2 zooms into her and her dancers, who each pull a different pose for each of the 3 phrases, turning towards one another and enjoying the upbeat rhythm and lyrics. Whilst camera 15 zooms into Olyvia, who turns slightly to face the camera, using her hands to notion turning up the heat, her backing dancers retreat from the left of the stage.

As she sings "spotlight", she is trailed by a steadicam who focusses on her, the shot consisting of her waist upwards. For this tense, more rhythmic section, she performs a tight choreography directly to the steadicam, using her body to replicate the lyrics. As she sings the first line, she draws a large circle with her finger, the steadicam keeping her finger as the central point, thus moving in a circle. She then points forward and creates a square with her hands, mimicking how artists use their hands to frame an image. As she pulls the square to her face, her face casual yet fun, as if teasing the viewer, the steadicam also moves closer and then out. As the line "eyes down" is sung, she swirls her wrists rapidly before drawing an imaginary line downwards, the camera also moving down in a blurry movement. However, when the camera comes back up, Olyvia is suddenly surrounding by 2 of her back-up dancers, who surround her in intricate hand movements, similar to the style of vogueing. Throughout the short sequence, the shot is kept close in with Olyvia, highlighting her tight choreography and dynamic camera movements. The beat then stops entirely, Olyvia singing acapella for a moment or two, marked by the lights and LEDs in the arena turning to black, except for a bright set of spotlights all directed towards Kingsington. Camera 7 zooms into her quickly in the moment, of which Olyvia turns to, part of her face concealed by 2 joker cards, held up by the 2 backing dancers. Once the beat returns however, the stage erupts into lights, the LEDs displaying their original pattern pulsing, and camera 1 zooms into Olyvia who twirls, grabbing the 2 cards. However, when she reveals them to the camera, holding them up by her middle and index finger, the 2 jokers have turned into 4 aces. After flinging the cards into the air, camera 5 pans from the right of the stage to the left, opposite of Olyvia who bounds excitedly from left to the centre, the camera and Olyvia aligning at centre stage. She smiles gleefully towards the camera, her eyes darting from the camera to crowd and back again, waving her hands before turning around.

Yeah, let's ride or die
Kick it up a notch, let's raise the bet
Give it to me, all or nothing, risk everything
You know I like the heat
Can you handle me?

Spotlight
Focus on me
Eyes down
Tell another
White lie
You thought you caught me off guard
Ha, I know you too well
Try next time!


As the prechorus begins, she looks over her shoulder into camera 1, which zooms into her as she now stands centre stage. Upon the LED screen, two geysers of blue smoke erupt from the bottom of the LED screen and outwards, towards the top 2 corners of the stage from the centre. The smoke is placed upon a black screen, with a subtle glitchy effect over the top, warping and distorting to the trap beat. After each line, a new bloom of smoke erupts upon the screen. Matching the different tone of the section, the lights create a far darker atmosphere, with lights opting to flash sparingly to the beat and with less intensity. Kingsington's expression are far less energetic also, her bright smiles replaced with a more serious yet sly smirk. Her voice begins the prechorus softly, however, as the tension rises in the music, so does her voice, crescendo-ing in the final lines of the stanza. At first, she is surrounded by her 2 female dancers, performing a slower routine, though she still beckons towards the camera frequently, matching the lyrics of the song. By the 3rd line, "take it to the next level", Kingsington swings her head, flinging her ponytail round, before raising her arms up, trailing her body as they reach her sides again. As the gunshots enter the soundscape once more, the smile returns to her face, little by little, the 2 male dancers entering the frame as camera 5 pans from right to left, Olyvia now performing more intense choreography, despite her singing remaining strong. With each gunshot, the lights around the stage flash white, the LED screens briefly showing large white versions of the symbols for card suits with intricate patterns flashing and burning within the blink of an eye. As camera 10 takes a short panorama of the stage from the back of the arena, camera 1 zooms into Olyvia as the music builds up. As she sings the final line, she beckons her dancers inwards, who all gather around her as she bends over, pushing herself to sing the final line in one big breath. She finishes the note and flips her head back up.

As the prechorus transitions into the chorus, the music begins distorted, the lights matching by strobing gently around the arena, the LEDs upon the stage, floor and stairs turning black. The 4 backing dancers, now just silhouettes both obscured by the light and shadows, begin to pull out tricks to create interesting shapes and dynamics, such as handstands, aerials and body bending skills. Kingsington, surrounding by the dancers, goes into a back walkover, supported by 2 dancers. The cameras quickly flick from shot to shot, camera to camera, only adding to the hectic atmosphere. As the transition continues however, the lights begin to synchronise to match the thumping, marching like beat, slowly billowing outwards to visually build up the tension. After Olyvia finds her feet, the camera zooms into her amidst the chaos of lights, where she sings the final line before the chorus, smiling brightly into the lens, spires of flames erupting from the edges of the stage, sending the audience into a frenzy, the lights flashing a multitude of colours as the chorus begins.

Come on, let's go ALL IN
All in, all in, bet everything let's begin
Take it to the next level
All or nothing
I'm ready for you
It's my time to raise
Let's go ALL IN, ALL IN
No turning back now

All or nothing, ALL IN


As the chorus begins, the lights that surround the stage and upon the rigs burst into a bouquet of white, red and gold, billowing outwards to the rhythm the song, filling the arena with colour. Upon the LED screens at the back, as well as the stairs and floor, a cascade of spiralling patterns in various ornate styles in the colours of red, black and white emanate from the centre of the LED screen, featuring patterns associated with poker, most notably the card suits, which are integral to the theming of the staging. These spirals, arcs, spades, hearts, clubs and diamonds are interwoven with a plethora of abstract neon streaks and lights, matching both the fun, modern style of the song but also referencing the bright aesthetics surrounding gambling culture.

Whilst lights pulse around the arena, synced to the beat, Olyvia, alongside her backing dancers chant the first section of the chorus. Olyvia looks into the crowd smiling as the crowd sings along to the "oh oh", herself waving her arms to the beat. Meanwhile the backing dancers perform a routine where they dance with a partner, as if it were a stand-off. Performing a multitude of hip-hop and contemporary inspired steps and moves, they dance facing their partner, mirroring their moves, sometimes alternating moves. A couple moves are influenced by that of a boxing match, with dancers ducking under the others 'punches'. The cameras however, mainly focus on Olyvia, who incorporates some of the backing dancers moves in her own, punching and kicking, swirling her arms around her head before pointing to the camera, far simpler choreography, not to compromise on vocal performance. Whilst camera 10 shoots a full pan of the stage, the eclectic fight of lights, LEDs and dances all competing for the attention of the viewer, Kingsington's stage presence is shown, her cheeks slightly red from exerting so much energy, despite it only being the first chorus, her fun energy translating to the crowd also, seen jumping and dancing. As the chorus draws to a close, the backing singers form behind Olyvia, where they spread their arms out to the side in canon, welcoming the audience. Before jumping into a line behind Olyvia, of which, is zoomed in on by camera 1. She winks to the audience as she sings the final line, giving it her all, almost shouting the line. Grinning, she nods her head before kicking forward, just before the 1st dance break.

As the dance break begins, camera 1 zooms out rapidly, a burst of flames coming from the edges of the stage as the LEDs and lights turn completely black, the flames just barely lighting up Kingsington, stood centre stage. Then, as the beat drops, the lights flourish into a chaotic mess of white, red and gold strobes, completely igniting the audience into cheers. Whilst the LED screens display only black at first, the lighting rigs provide the most powerful lighting, flashing behind Olyvia and the backing dancers to outline them silhouette in a colourful ring. As the dance break begins, the dancers burst out from behind Olyvia using their arms and hands to create a flower like formation, while Olyvia performs some choreography of her own, kicking and dipping. The dancers then slide out from behind and begin dancing alongside her, the group dancing in almost complete synchronicity, performing powerful moves of stomping and spinning to match the power of the music. The dancers often deviate from Olyvia's routine, creating rapid fire dance sequences for each and every rhythm. Throughout the dance break, the camera shots are eclectic, taken from various angles, though mainly using pans of the stage so that the intricate array of lighting can be enhanced, especially in conjunction with the dancing. As the drums switch up however, pyrotechnics begin to erupt from the sides of the stage to the rhythm, finally lighting up Olyvia and her backing dancers in a warm orange glow, creating an almost ghostly, hellish look as they dance entrancingly. To match the change in drums, the lights also switch their flashing patterns, the LED screens and floor displaying bursts of large flames to tower over the dancers. The dancers stomp and twirl, before moving to a circular formation, where they circle Olyvia. As the drums return to the first rhythmic pattern, the lights return to the original lighting of flashing lights without pyrotechnics, and Olyvia and the dances continue their dance break, pop and locking before hitting the floor, spreading their legs as they roll into the next piece of choreography. As the drums switch back, the pyrotechnics return, alongside the LEDs displaying bursts of fire. As they dance the final piece of choreography, a jump into a kick, they move into their next formation, with 2 dancers of different genders moving to the right of the stage alongside Olyvia, the rest moving to the left.

Oh oh, oh oh
We're one in the same
Playing the same game
Only one can win, it's all or nothing
Oh oh, oh oh
It's me against you
Everything to lose
Let the show begin, let's go ALL IN!


While the music returns to normal, camera 12 takes a birds eye view shot of the stage, where the viewer can just see the dancers running to their new positions. On the LED floor, the checkerboard tiles of card suit symbols can be seen creating the floor once again, materialising from a black abyss into the positions. However, as Kingsington's vocals are distorted, all the card suit symbols switch from one symbol to another rapidly, the borders of each square violently distorting as if the form of it's very shape was about to fall apart. At the right of the stage, where Olyvia is stationed, she is situated between the 2 dancers who face each other done. Trapped in their dance-conflict, she walks through them, before the steadicam turns around her so that her back faces the audience. After playing with the camera a bit, putting her hand on her heart to mimic beating, she walks towards the centre of the stage. There, she bumps into the male dancer, who she performs a brief ballroom style duet with, before he twirls her onto the female dancer, right as she begins to sing, "eye to eye". She brings herself eye to eye with the female dancer, before holding her waist and singing over her shoulder, like a vampire about to bite. She then twirls around to be in front of the dancer, where the two perform this choreography in sync, the routine highlighting the similarity of the two lovers in the song. As she finishes the routine, she slides to the centre of the stage, maintaining eye contact with the camera as she moves towards the base of the LED staircase.


You know there's no fun, in just love, just
A game to be played and won but
You bluffed through me, a wild card
Put rhythm in this cold heart

Eye to eye, like lions
We won't back down, like fighters
The tensions rising, take me higher
Win or lose, we play on, round 2!


As the 2nd part of the verse begins, the LEDs turn significantly darker, changing to depict black and white swirls and patterns, like the ones that adorn the symbols of ace cards. As the patterns swirl and interweave on the screen and floor, the lights follow the half-time beat, flashing with longer intervals to match the song. Olyvia arrives at the base of the LED staircase, climbing to the 2nd step before sitting down casually, lurched over to give an intimidating air. As a steadicam moves closer to her, the 4 backing dancers, some standing and some sitting, are positioned in front and around on the stage and the 1st step, as if they were listening to her. Olyvia sings powerfully to the incoming steadicam, the dancers singing the 'response' of the melody. On the line "I guess that's what draws us together", she stands up slowly, the camera zooming in some more to exclude the backing dancers from the frame, who use this opportunity to get their next position. Her tone during this section of the song is more subdued than usual, showing the more 'reflective' nature of the lyrics with her softer, more serious tone. Despite this, she still smiles with pride, due to playing her character or enjoying the performance. She thrusts her body towards the camera as she growls the last syllable of the line, before she sings the next line, twirling her hands around her head to notion craziness before stomping her foot lightly to each "blood", kicking it out for the last word. The shot then transitions to another steadicam positioned at the top of the staircase on the platform, who she turns her attention to as she takes a few steps up the staircase. She softly sings the next line as she reaches the top of the staircase, turning around as camera 4 zooms into the stage towards her. She then bends down slightly to sing the line "everything", belting the last note with everything she has, camera 5 zooming into her.

At the trail end of the note, the music begins to pick up once again, building up to the 2nd dance break, lights around the stage pitter-pattering to the quickening beat. The camera zooms out to display the whole stage, where the LEDs begin to display the same checkerboards of card suit symbols flashing on and off to the beat. A wide pan of the arena from camera 19 is shot before camera 1 zooms into Olyvia who sings the final line, her strong voice growling the long note. The lights begin to further intensify, a few flames bursting from the stage to build up to the 2nd and final dance break. After she finishes the note, the camera zooms out in the ensuing silence, so that the whole stage can be seen, now pitch black apart from a single spotlight on Olyvia, who is seen as a silhouette. From there, the 'pop' noise signals a synchronised flourish of light with every spotlight in the arena, the pyros also bursting out all at once.

The 2nd dance break begins and the stage erupts and chaotic war of lights in red, gold and white, coming from every angle. Unlike the first dance break however, the dancers are not almost entirely concealed, with designated spotlights for each of the dancers as well as Olyvia. On the LED screens on the back and the floor, black and white spades, clubs, hearts and diamonds appear, flickering on and off with the speed and intensity of the strobe lights to the beat of the song. Alongside the symbols, the phrase "ALL IN" appears a multitude of times in various different fonts, appearing and disappearing in between the other symbols within the blink of an eye. Overall, the effect creates a far more hectic yet stunning lighting sequence. Onstage, the backing dancers appear centre stage again, dancing and flipping intensely. Their moves are sharp and strong, able to do a multitude of other dance moves in the absence of Olyvia, who is at the top of the platform dancing her own routine, similar to that of the dancers but simpler. The dancers then turn to one another replicating a dance battle, a confrontation, with 2 dancers versus the other 2. Interchanging moves and trading rhythms, they begin to perform latin style dances also, performing ballroom lifts as the male dancers twirl the female dancer around their waists. As the dance break begins, camera 10 pans the stage so that the chaos of the stage can be viewed at home, before transitioning to an eclectic mix of shots from camera 1, 2, 3, 5, 6, 7, 8 and 9, some shots lasting no longer than a second. A steadicam is also used to circle the dancers, showcasing the Britonish audience bouncing up and down to the beat, engulfed in the strobe lighting. As the drum switches, as before, the lights change to sync with the new rhythms. Furthermore, a chaotic array of flames burst from the edges of the stage, lighting the stage in bright oranges. Upon the LED screens, distorted and abstract fireworks explode to the rhythm, creating a festival aesthetic. Camera 1 then zooms into Olyvia on the top of the staircase, who then performs a solo dance section, surrounded by a circle of flames protruding from the staircase. Her grin is plastered all over her face as she hits every beat, incorporating all kinds of dance styles into one high energy dance sequence. She ends the section by kicking into the splits, a dance move that sends the crowd wild, seen as camera 20 flies across the arena to capture the whole barrage of lights.

As the dance break returns to the first section, as before the lights and LEDs reconfigure to that rhythm, the pyros now replaced with fountains of sparks on the edges of the stage, engulfing the dancers in sparkles. Unlike the first section however, Olyvia can be seen, integrated into the camera shots and dance moves. Their dance routine is as before, featuring high energy moves, the dancers playing along with one another, enjoying the intense beat. The dance break then changes again, returning to the firework/festival aesthetic with pyros bursting to the rhythm. The focus is more on the dancers however, who perform flips and tricks across the stage, or hyping each other up when they have the chance.

Locked into a stalemate
'Cus you & I we're the same
But I guess that's what draws us together
Fighting for the top is in our blood, blood, blood, blood
So show me all of you, everything
Let's go ALL IN!


The dance break ends, and the bridge begins, the music consisting of stomps and claps as the song builds up to the final chorus, the lights upon the rig intensely flashing in sequence to the beat. As camera 10 zooms out from the stage, trucking from left to right, the whole stage can be seen, the dancers spreading out across the width of the stage, clapping over their heads to signal the audience to clap along also. Upon the LED screens, 3 spotlights (one to the left, one to the right and one in the centre) encasing a silhouette of Kingsington are display, enlarged to fill the whole screen as if there were 3 spotlights pointed at Kingsington from below, flashing with each beat. Olyvia can be seen atop the staircase, which now begins to spin slowly, revealing a black backside holding some kind of concealed device. Camera 22 then zooms into her as she sings the line "come on let's go ALL IN!", Olyvia singing out to the whole audience, raising her hand up as if to raise the waves. As the music builds, the shots grow ever more quick and chaotic, the lights building up in intensity and speed. At the back of the stage, the LED panels on the wall begin to spin to reveal the impressive lighting rig behind, already pulsing in red and gold to the building rhythm. After finishing her note, which becomes distorted through her mic, she yelps, punching the air. The camera again zooms into Olyvia who begins to shout her "yeah" a multitude of times, shouting them out with everything she has left, stomping her feet as if it to ground her electricity, her excitement. At this point, the lights have become entirely strobed, the back lighting rig blasting beams of strobe lights into the audience, far harsher than the strobes before, showcasing the best of Britonisea's technology. As the camera zooms into Olyvia, she is almost entirely drowned by bright white lights, where she shouts her final yeah, screeching into the arena as the music stops.

As the beat drops, camera 10 zooms out of the stage entirely, so that the audience can all be seen, the stage now frozen in time. As camera 12 takes an aerial view of the stage, Olyvia turns around on her platform and falls back, her arms flailing (unsafely but stylishly) as she falls back into the arms of the backing dancers, who run in just in time. Around her, the LED stage floor depicts a circle of black and white ornate patterns with visual themes of playing cards emanating from where she fell, then exploding into a dazzling array of neon fireworks, the same as the ones from the 2nd dance break. The final chorus then begins, the fat brass bass blaring throughout the arena, paired with a flash of red, gold, white and bright blue. Spires of flames also erupt from the stage with each brass hit, alongside camera 10, which begins trucking from left to right, originally zoomed in before zooming out to each brass hit until the beat returns to the music, enhancing the drama of the moment. For the final chorus, while the LED screens upon the floor showcase fireworks graphics, now fully visible unlike the dance break, the lighting rig behind the LED screen pulses brightly to the beat of the song, illuminating the stage and arena. The back of the LED staircase begins to spring to life, revealing a massive catherine's wheel, like a rose of sparkling light. It begins to spin instantaneously behind Olyvia and the dancers, who have now made their way to the front of the stage, spreading themselves out equally from width to width at the very front of the stage. Rather than perform a fixed choreography as before, Olyvia and the dancers focus on performing to the crowd, Olyvia in particular who sings to the crowd and camera. The dancers jump and clap along to the beat, hoping the audience picks up on it too. The stage is surrounded by an ever-erupting army of pyrotechnics, which flare up larger than ever. Overall, the final chorus is a dramatic spectacle of lights, matching the chaos of the song perfectly, enhancing every beat, rhythm and lyric. Wider shots of the stage from cameras 1, 10, 15, 17, 22 are also featured, capturing every corner of the 'festival' onstage. Lasers also periodically pierce the light-scape, shining in rainbow colours overheard, to add light ambience. Throughout the final chorus, Olyvia's energy is unmatched, constantly jumping, her voice rarely wavering from her movement. Nearing the end of the chorus, she begins riffing, her voice slowly losing it's power, drained from consistently growling and screaming the lyrics throughout. Even so, she gives it everything she has, her eyes gleaming in the multitude of lights that flood the arena. Wider shots of the stage showcase the response from the crowd, singing along and dancing and jumping and leaping. Thanks James Embankment!

Come on let's go ALL IN!

Yeah yeah yeah yeah

Oh oh, oh oh
We're one in the same
Playing the same game
Only one can win, it's all or nothing
Oh oh, oh oh
It's you against I
One ace left to play
Gimme a good fight if it's my last

Oh oh, yeah, oh oh
It's time for the finale, let's go!
Oh oh, oh oh
To win or to lose
I don't care at all
Gimme a good time girl that's all!


As she sings the final lines, camera 1 zooms into her torso upwards, Olyvia tilting her head whilst giving a subtle shrug, playfully taunting the viewer. She grins as the final syllable leaves her lips. As the music draws to a close, the final few beats playing, the LED screens slowly revert back to their initial position, though it does not matter too much given it can barely be seen from the viewers perspective, the LED displaying a checkerboard of playing card symbols. Olyia twirls, pulling out the Ace of Spades from nowhere, revealing it to camera 1 which rapidly zooms into her. The lights then slowly gather into Olyvia, the spotlights all focussing on her as the dancers join her in the centre of the stage, where they begin to create a throne out of their bodies. She sits back into the 2 male dancers arms as they lift her up, using their other arms to create the back of the throne. The 2 female dancers also contribute, adding details, as well as creating a crown atop Olyvia's head using their hands to recreate the shape. Sparklers around the stage then erupt from in front of them, Olyvia crossing her legs and tilting her head upwards slightly to really appear like a queen.

As the song ends, the crowd begins to cheer loudly for that bombastic performance. Breathing heavily, her serious face breaks into a wide smile as she attempts to say something to the crowd before sputtering into laughter, from relief and exhaustion, having put her everything into that one performance. Eventually, with the help of her backing dancers who help her down from their human throne, she utters, "Thank you WORLDD!! AAAHAAAYYAYAGHGH-", before he mic is flung off by the excited raising of her arm.
Last edited by Llalta on Mon May 29, 2023 3:03 pm, edited 36 times in total.

User avatar
Kalosia
Minister
 
Posts: 3128
Founded: Jan 09, 2013
Democratic Socialists

Postby Kalosia » Sun May 28, 2023 8:33 am

40
Kalosia
Strangers, Friends, to Lovers — London Sights
performed in English to the tune of Carpe Diem — Joker Out


The sudden lights on London Sights were cast following their announcement as Kalosia's entrant to the 107th WorldVision Song Contest, right here in Doportedas. I had been excitedly following WorldVision since the news broke that we were going to host it! I caught up with the 40 or so selected entries and it so happens that this one is my favourite. I like their song "Strangers, Friends, to Lovers", which is a summer pop-rock track about rapidly falling in love, so I hope it does well, if not win.

I vaguely knew about Kalosia—in editions past I would hear our commentators say that they are among the most committed nations to this show, having sent more entries than anyone else. For me personally, their hosting of the 100th edition some time ago also left an impression for me. There was plenty of hype here especially as Doportedas was also a candidate city to host that contest. I was a little bummed when we didn't, but now I'm more than glad that our chance has finally come!

Although, to be honest, the reason I'm most excited is because I will get the chance to be involved behind the scenes! My name isn't Oliver Joyce, B.A. for no reason—with my degree in Television Production and a couple of years experience in local productions, I am ready to take my expertise to the next level. Of course I signed up as soon as the opportunity arose, and despite the countless hours of hard work and sleepless nights spent making sure no detail was left ignored, it has been really worth it so far!

As the weeks went by, I had started to become a bit drawn to Kalosia as a nation. Maybe when a WorldVision song leaves a really good impression on you, you start to get interested in the country itself. Sam, a friend of mine from primary school, is volunteering at the WorldVision Village. He told me about all the acts that are coming to perform there and, other than the local Britonish names who I've all but heard of before, it was the Kalosian ones that caught my attention. Of course London Sights was gonna be there, and I think one of their winners from many years ago will make an appearance too. But it is the appearance of the hot catgirl from WV100 that has me the most jealous! My friend later told me that he found out Eva will be performing on the day of the final, which means I won't be able to be there. So I'll just hope I bump into her on my way home or during my lunch break one of these days.

The only day I could visit the WorldVision Village was actually the day of the Titian Carpet. It was my only day off before the contest, so I went to the venue of that event first in hopes that I would catch a glimpse of the acts, especially London Sights and our very own Ella Lockwood. But it was sooo crowded, so I didn't bother and just went for lunch with my friends. Later in the afternoon did I stop by at the village, and I have to say the vibe was great.

The next day, my supervisor called our team in for a meeting. Our colleague José, who is more senior than me in the team, suddenly withdrew entirely from the project, citing a family emergency. As a result of his sudden absence, and because it is too late to hire a replacement, we had no choice than to take up his responsibilities. "Oliver", my supervisor said, "you've seen how the camera room works. I'm sure you've also seen how José has run the equipment. Can I trust you with that?"

And what answer could I provide other than a resounding yes? I was so excited to have greater involvement in the camerawork of not only the participating entries, but also the show as a whole. After another week of rehearsals and late night practices, finally came showtime.

My faves were drawn to perform towards the end, so I had to patiently work on the other 30+ entries while waiting for my faves to arrive. But alas, the time has come for London Sights to shine the stage. For the big night, the team members are dressed up in a way that they look like they are models for a hip Nordic fashion label's summer product line. As their postcard plays, I can see the stage crew preparing a traditional band setup. I look over to the big screen in the camera control room, playing the Kalosian postcard, as the boys explore a library in their hometown of Monterra. Later, the scene morphs into a library in North Doportedas, which I recognize because my cousin used to work there. To be clear, London Sights aren't performing inside this library, but they are at the front of the building. The façade is absolutely stunning, so kudos to them for choosing a great location.

I look over at the stage again and they have finished setting it up just in time for the postcard to end. The title card is shown and soon the entry begins. Okay, let's go through this, I'll be sure to not fuck up my faves' chances.

As the lead singer, Andreu, begins to sing, a transition fades from black to Camera 1, which zooms in enough to close up on him. I admit he looks quite handsome here, I'm sure the girls and gays are all over him.

The morning sunshine is for lovers
A day goes by, then another
And then the night’s for you and me


Now we briefly switch to Camera 2 which I have set to close up on the drummer as he briefly plays this musical transition, before we cut to Camera 7, focused on Andreu, and I'll control the camera so it slowly tilts upwards, showing his full body. Andreu sings the first two lines of the verse, before I go ahead and cut back to Camera 1.

Living in a world where I’m missing you everyday
I try my best to go through it
People say my dreams are in books and in fairytales
But still I’m trying to reach it


Meanwhile, my teammates have set up Cameras 2 and 3 to be focused on specific band members, who provide backing vocals (in brackets). Camera 1 is focused on Andreu. In this next part, the transitions are in the following order: 1) Camera 2 to the guitarist Ǧovan 2) Camera 1 to Andreu 3) Camera 3 to the bassist (Camera 2 is shifted slightly so that the other guitarist, Daniél, is in view) 4) Camera 1 to Andreu 5) Camera 2 to guitarists Ǧovan and Daniél 6) back to Camera 1 and Andreu. This rapid succession of angles keeps things interesting, and because they are close ups they help build intimacy between viewers and the band members.

(Here’s my offering)
I’m all pride, no prejudice
(You could end my suffering)
I could grant your every wish
(Ah, ah, ah)
I’m not like other fish


Although some bits are fast-paced, I appreciate how this performance is not as technically demanding as some others we've worked on tonight, allowing me to enjoy the performance and especially the music. Overall, there is a red ambience for the stage lighting, and the band have their logo on the background screen, which remains statically in place but has moving effects on it that make things dynamic. Andreu takes a step forward and faces Camera 7, which is closed up on him. He makes eye contact as he offers to come with his love interest in the context of this song.

But if you want to run away
In a heartbeat I would come if you say yes
Say yes!


The lights briefly pause before they swing back into full motion, but not before we switch to Camera 4, which, while pointed at the stage, moves away from it and pans over the audience. The audience looks like they're loving it by the way! And so am I.

The morning sunshine is for lovers
A day goes by, then another
And then the night’s for you and me


We switch to Camera 8 which is zoomed out enough to show the audience, as well as Andreu interacting with them.

I know we barely know each other
We could be strangers, friends, to lovers
For just this moment in time


As we enter an instrumental bit, the singer can catch a break, but not me! The band members kinda scatter across the stage, and several camera transitions happen. Cameras 4, 5, 6, 7, 8, 9, and 20 were utilized here. Some time later we finally return to the verse. The lights became still, and a steadicam was on stage, which Andreu was following. The camera closed up on him as he walked slowly, singing this next part.

How’s it me that needs to get a grip
When you’ve become my reality, my script?
People think I’m acting on a whim


Andreu "slaps" the camera aside and quickly turns to walk away. We switch to Camera 9. One of my team members are tracking Andreu's movement as he walks through the stage, while slowly zooming out so you could see the audience in shot.

But time goes on, we’re counting days
If you take a chance on me, we’ll find a way
To make love stay


We get another aerial shot, but this time it's from the spideycam (Camera 20). It is a pan as the camera moves forward.

The morning sunshine is for lovers
A day goes by, then another
And then the night’s for you and me
(And then the night’s for you and me)


We also get Camera 5 panning across the stage.

I know we barely know each other
(But this day is for you and me)
We could be strangers, friends, to lovers
(And then this life’s for you and me)


This is followed by a quick succession of camera angles: 7, 20 (showing a wide shot of the stage), and 9—one for each line in this next part. Andreu vocally sounds passionate as ever, as he makes an emotional appeal in this bit, which also happens to be my favourite part of the song.

For just this one moment in time
Please say you’ll be mine
My heart is on the line


Finally, we switch to Camera 1, which closes up on Andreu but gradually zooms out. Looking out at the stage, he is standing at the front of it, and the other members are coming to him slowly, forming a line. Even the drummer has gotten up and walked over. The lighting crew have also stopped the movement of the lights, and have shone a spotlight on the boys. This is the last camera angle of this performance.

I know I seem like any other
But if you would accept my flowers
Then I could be the best man in your life you’ve ever had.


At this point, the boys of London Sights are in line with their band logo seen in the shot behind them. The audience cheered, no, they went hard for Kalosia! You could feel it even in the camera room. I quickly glanced over to the stage to see them take a bow, before my team switched to camera angles of the audience. Andreu thanked the crowd, I'm pretty sure, but at this point I was focused on finding the right angles to switch to—it can be rather unpredictable after a performance as the audience goes wild.

Phew! I hope London Sights and the Kalosian delegation are satisfied with the technical production of their performance. I am absolutely proud to have played a part in its success. Now, as the postcard for the next entry plays, I look out at the stage and see that the stage crew have already brought out the props and are setting up for the next entry. We get a few moments of rest as the postcard plays before we have to do this all over again, with a different set of angles and in a different order, with a different song.

But honestly, that performance was amazing. I hope I can find London Sights in the hall and briefly talk to them after the broadcast is over.
Last edited by Kalosia on Mon May 29, 2023 2:03 pm, edited 3 times in total.

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