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Worldvision Song Contest 72 | Lipa, Besen | IC

Where nations come together and discuss matters of varying degrees of importance. [In character]
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Besen
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Founded: Mar 01, 2018
Inoffensive Centrist Democracy

Worldvision Song Contest 72 | Lipa, Besen | IC

Postby Besen » Mon Mar 18, 2019 1:14 pm

Image
WORLDVISION SONG CONTEST 72
LIPA
MUSICAL EXCELLENCE

Welcome to Nena Arena in Lipa!

OOC Thread | Host Bid

Opening
Parade of Nations & Introduction
Offical Theme "Alive"

Nena Arena was lit up with 15,000 fans waving purple flashlights, cheering and clapping. A camera swooped round to show the space, but kept it's vision of the centre stage, which was currently jumping from colour to colour along with the beat of the opening theme. The claps of the audience were loud and abrupt, encouraged by the beginning of the Parade of Nations, where each nation's representative could walk along through the audience holding their flag and up onto the stage as a united group. Firstly a short blackout aided in the intensity of the atmosphere. All of the audience could be seen one by one screaming out in joy, a beautiful sight to behold.
And then, beginning with the first nation performing in the running order, an LED image of the country's flag flashed on the giant screen at the back of the stage. The music thumped as Eva Almost worked their way through the crowds, waving their nationality high above their head. A moment of pride for each competitor, one by one, they all were cheered for as they slowly began to form a crowd at the front of the stage. Arm in arm every country's performer gave support to the adding number of people.
18 countries were gloriously presented in front of the audience, ready for the time of their lives. The theme tune had begun to come to a close when a massive voice announced: "Ladies and gentlemen, please give a huge warm welcome to your host tonight, Marina Calita!"
Another blackout occurred, and quickly was replaced by an enormous ray of light pink engulfed the main stage and leaked back into the audience. Only screams could be heard from her masses of supporters, who were dying to see her. Differentiated now were Besenians and the international fans, as Besenians jumped out of their place at her entrance.
Marina was seen wearing a gorgeous red ballgown which hugged her waist but left room for a delightful sequin pattern at the arms and at the bottom of the dress. She simply looked astonishing, and came out from the back with a big smile, greeting the audience. She quickly said hello to all of the contestants as they drifted off back to the green room, which ironically was a shade of blue. She placed the microphone to her lips.


"Salut! Hello! Ciao! Hallo! How are you all?"
The audience cheers.

"So listen everyone, I'm your host Marina and-"
She stops as the crowd gets too loud for her to continue her speech. She laughs it off.

"Haha, thank you! So I'm your host Marina Calita, don't know if you know me? What a great crowd, wow!"
The camera focuses on the Besenian act, who laughs as the audience screams at her once again."

"Welcome to the 72nd edition of the Worldvision Song Contest in Lipa, Besen! I'm so glad that our country finally gets this opportunity to host this thing, it's huge! I have always loved this show, and I'm proud to say that it's coming home. For the international fans, we hope to impress and give you a fantastic experience tonight."
Cheers, claps and laughs make up the sound of the arena. The camera shows a man who actually cries with joy. Then it swings to show off the international flag-wavers, who interact with the camera.

"So- with all of that emotional stuff out of the way, let's get to some technicalities of tonight's show- let's take a look at how you can vote for your favourites once all artists have performed..."
On all screens at home, an image of the order of nations is shown, along with the specific numbers audiences are able to place a vote to.

"Are you ready Lipa?! I said, are you ready?! Let the Worldvision Song Contest begin!"
A swooshing sound effect embraces the arena as Britonisea gets ready for the first performance of the night.
Last edited by Besen on Sat Apr 06, 2019 3:39 pm, edited 4 times in total.

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Besen
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Founded: Mar 01, 2018
Inoffensive Centrist Democracy

Postby Besen » Mon Mar 18, 2019 1:15 pm

List of Competitors


1 | Britonisea

Eva Almast - "Public Enemy #1"

2 | Main Nation Ministry

Jessica Madden - "Rest in Popularity"

3 | Talvezout

Helena Jiang Lee - "Adiós Amor"

4 | Venkatanaros Imharajuvaripieta Rdraskska

Las Viejas - "Dime El Chisme (Por Favor)"

5 | Fatiman Federation

6 | Mister X

Filius Deorum - "Fighting"

7 | Antahbrantahstan

8 | Ekoz

Sanna Van Umsaak - "Can This End?"

9 | Vartugia

Flute-Man- "The Saddest Song In The World!”

10 | Polkopia

Elise Grace - "Over Again"

11 | Besen

Giovanni Able - "A menudo"

12 | Belgaam

Taña Uröch - "Need You in My Life"

13 | Izmedu

Gorana Sever - "Mržnja"

14 | Scotatrova

Andre Valerio - "Comon t'emá (How I love you)"

15 | Darkmania

Men In Leather (M.I.L)- "Ingen Skal Overleve (No one shall survive)"

16 | Nekoni

Étan - "Dulce et decorum est"

17 | Merecendi

18 | Tödlichebujoku

VUORENPALO - "In Control"

19 | Kalosia

Maria Guterës ft Fërnandu Kruž - "Man on a Mission"

20 | Saviera

Mario Condominius - "Let Me Stay"

21 | Mercedini

Ylinqar - "Occhi"
Last edited by Besen on Sat Apr 06, 2019 3:38 pm, edited 12 times in total.

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Britonisea
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Inoffensive Centrist Democracy

01 | Britonisea | Eva Almast - Public Enemy #1

Postby Britonisea » Mon Mar 18, 2019 1:22 pm

#01 BRITONISEA
Eva Almast - "Public Enemy #1"
Tune : Demi Lovato- "Confident"
Music: Jason Hills, Eva Almast, Kai Foster-Winters Lyrics: Eva Almast


Image


Eva Almast will represent Britonisea at the WorldVision Song Contest 72 in Lipa, Besen with her song "Public Enemy #1" inspired by her World Hit Festival 33 performance. She wants to prove to her musical excellence.

ORIGINAL BITC POST;
Ever since Britonisea's return, BITC has waited a long time to reveal their representative for the WorldVision Song Contest, and today it was revealed that Eva Almast will represent Britonisea at the upcoming WorldVision Song Contest in Lipa, Besen. Eva is the 33rd representative for Britonisea and the WorldVision Song Contest and has already made her way to Besen to start practising her song.

People might recognise Eva from her appearance on BVC's showing of the World Hit Festival 33, which was held in Normandy & Picardy. Despite being a favourite to take the crown, with her song "Letalio Diomhair" which translates to Lethal Secrets, she finished 11th place out of a field of 15 nations with a total score of 10 points. At the time of the 33rd World Hit Festival, it was the worst Britonisea had placed since the 19th World Hit Festival, and Britonisea since the 33rd World Hit Festival has failed to finish outside the top 7.

She had expressed severe disappointment and anger with her performance in Avranches and wants to make it up to the nation at the 72nd WorldVision Song Contest with a stellar song. "Public Enemy #1" will be performing #1 in the Grand Final in Besen.


After returning home to Britonisea after the World Hit Festival, life for Eva Almast almost halted. In the grand scheme of things, Eva's performance at the time of the 33rd World Hit Festival was seen as Britonisea going back to "how it once was" - a similar Britonish audience reaction when the nation finished 17th at the 46th WorldVision Song Contest after four editions of top 6 placings. Britonisea, since the 33rd World Hit Festival, has not finished on the right-hand side (10 participations have since passed since her performance). Shunned, Eva Almast found it difficult to crack into the Britonish music industry again despite releasing an album since her performance in Avranches. She thought that the only way to try and restore faith in her with the public of Britonisea was to get back on the stage and not finish on the right-hand-side of the scoreboard. She thought that she would go through the WorldVision Song Contest selection process with BITC, who is likely to be more open-minded that BVC who was reportedly angry at Eva Almast's team - especially Tess Philippa.

Eva Almast sees her competing at the WorldVision Song Contest as her final lifeline, which could totally ruin her career. Whilst in the past Britonish stars who failed to reach the top 10 still had a future in the music industry of Britonisea, the game has changed for the nation over the past 15 editions that Britonisea has participated in. Out of Britonisea's 9 top 2 finishes, 7 of them were attained in the last 15 editions that Britonisea participated in the contest with the nation finishing in the top 11 on every other occasion. Eva realises that Britonisea, as it was 30 editions ago, isn't how it is now and that a failure would not benefit her career. BITC - the broadcaster which produced 5 of Britonisea's top 2 placings since BITC took over from BVC at the 60th WorldVision Song Contest - has reiterated its desire to become the most successful nation in the contest - currently sitting 3rd in the medal table behind Polkopia and Todlichebujoku. BITC feels the pressure that it has set upon itself, but so does the public. Many people called for Britonisea to withdraw from the contest or replace Eva Almast. It had gotten to the point where a BITC offficial had to make a press release...

"We have decided to select Eva Almast to represent Britonisea at the WorldVision Song Contest. She has proven that she is worthy of putting on a good performance and her working with us at BITC will produce a great result for the country at the 72nd WorldVision Song Contest." assured a spokesperson at the BITC headquarters. "She will be performing everywhere and all the time to ensure that by the time of the Grand Final in Lipa, she will be able to change the minds of Britons and international fans. I personally love the song and I know that everyone at BITC does too."

Eva Almast was given the opportunity to perform at the second semi-final of Vha Mehlodhivestoile 2019, one of Britonisea's most popular television shows. The show recorded an average of 11.66 million viewers, making it the most watched show of the year so far in Britonisea. Moreover, millions of fans watched Eva Almast perform on the stage - many fans of which will watch the 72nd WorldVision Song Contest in Lipa. Her song, "Public Enemy #1" finally made a debut in the Britonish Top 40 Charts at #19 - but despite it being a rather low number compared to recent performances of Britonish WorldVision Song Contest acts in the chart, Vha Mehlodhivestoile is being blamed for that.

BITC are unsure how many people will be watching the upcoming WorldVision Song Contest in Lipa, Besen - a friendly nation of Britonisea's. Although it's expected that an audience of 10 million would tune in to watch a normal WorldVision, the Battle Stages of Vha Mehlodhivestoile happen over on BVC 1 which might make it harder for BITC to gain a big audience. TIme will tell...


ENTRY DETAILS
Below, you can find all of the main details about the entry...

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Duration: 3m25
Main Vocalist: Eva Almast
Lyricists: Eva Almast
Composers: Jason Hills, Eva Almast, Kai Foster-Winters
Dancer 1: George Dickson
Dancer 2: Jordan Younes-Smith


Eva Almast walked on to the stage during the postcard for the first act of the evening. She wore something similar to this, which made her feel right in the mood for the song that she was about to sing. Unlike in Vha Mehlodhivestoile 2019 where she had two female backing dancers, they were replaced for two male ones - George and Jordan who were wearing something similar to this, in keeping with the yellow plaid of Eva's outfit. As the postcard to her song finished, the audience cheered for the first performance of the night - the first time ever it being Britonisea.

As the song finished, the screens along the back wall were just red. There was no light coming from in front of Eva Almast and her two men so to those watching, they could only see three dark figures standing fiercely in front of the wall. The first shot was a low angle one, looking up at the musical excellence that was about to happen on the stage. This shot moved from the left to the right of the stage as she started to speak into the microphone...

Lipa, Besen - ha!
You have tried to drag me down and I've had enough.
You want attention, want to be on top?
Made me look like public enemy #1.


Her face was finally lit up by this point, bright lights showing her beautiful face to the audience and the millions watching at home. She walked forward, creating a triangle between her and her backing dancers behind her. She put her hand out towards the camera when she sang “public enemy #1”. The camera quickly zoomed out at this point from the widest point in the arena. As the song progressed, the three started to sway and dip along with the strong beat of the song - similar to how it was done in the national final. The two behind Eva really went for it, doing hand actions along with the lyrics that they were saying. Eva did a more subdued version of what the men behind her were doing. She continued, singing directly into the camera.

And now that I've made you cry, I'm the big bad wolf
I'm just stating facts, don't mean to be cruel.
You'd hate me even more if I was being fake.

Ahh! So please quit your self-pitying,
People can see right through you.
It's time that you're on trial, trial, trial!


When she sang “Ahhh!” the pyros came in rather earlier than a normal Britonish entry you would see at either the WorldVision Song Contest. They shot straight in to the air, being visible from the furthest corner of the stage. The stage was filled with fire as a shot from far away showed the whole stage being lit up with fire. She flicked her hair from one side to another and she sang the last bit of the verse. The LED wall flashed on and off during the “trial” bit, along with the flash of the lights in the arena. Eva then broke it down for the first chorus. Her two backing dancers ran to be in a line next to each other. They then all bent their knees and almost whispered the first chorus. Along with being bunched together, they all clicked their fingers together - with the audience clicking their fingers as well. The two men looked towards Eva as she looked out towards the public.

I'm sorry I have...
I'm sorry I have...
I'm sorry I have to do this.
But if I didn't...
But if I didn't...
You'd get away with murder, no, no more!


The camera shot that focused on them at the start of the chorus was a close-up, making it really intimate. However, as the chorus built up in tension (“But if I didn’t…”) a camera from further away zoomed into them, slowly increasing in speed as it got closer to them. Right before the next verse started, the dancers and Eva in the middle moved their bodies in a circular motion (a la Vlad Reiser) as the lights in the arena flashed again for the second verse. A camera from under the stage came up and over the happenings...

Have my actions surprised you? I'm reborn, now woke.
You gotta stand back - I ain't no doormat.
I know what you're like, but the world is on my side. (my side)

Ahh! So please quit your self-pitying,
People can see right through you.
It's time that you're on trial, trial, trial!


Eva started to walk towards one side of the stage while her two backing singers went to the other side. The fire followed Eva as she walked down the catwalk. Eva walked down the catwalk with such passion and attitude, it looked as though she was on a mission. The cameras swirled between either sides of the catwalks as the backing singers and Eva got closer together as the catwalks met in the middle. Similar to chorus before, the lights and stage LED flashes on and off before we went to the chorus. She got to the end of the catwalk during the end of the first section of the chorus.

I'm sorry I have...
I'm sorry I have...
I'm sorry I have to do this.
But if I didn't...
But if I didn't...
You'd get away with murder, no, no more!


A large Britonish flag (a la Denmark 2014) fell down from behind the end of the catwalk section in the stage as the wind machines started to blow it slightly backwards over the audience in the golden zone during the last bit of that chorus and the repetition of it. It’d be a fire hazard to keep the fires going along the catwalk, but that didn’t mean they weren’t still going on the main stage.

I'm sorry I have...
I'm sorry I have...
I'm sorry I have to do this.
But if I didn't...
But if I didn't...
You'd get away with murder, no, no more!


The whole arena turned dark except for the stage that they were on. There were these huge 6ft sticks laying down on the floor which the women picked up. White light was flashing furiously at what was happening on the island stage. Similarly to what happened at Vha Mehlodhivestoile 2019, the three that were currently on the floor were all fighting, moving in a very staccato way to the beat of the song. Moving every half second or so. The camera shots reflecting this madness, multiple shots were used from different areas of the arena.

At the end of this instrumental section, Eva banged her stick down on to the ground as the two men fell to the ground. A large male appeared from behind her and put a crown on her head before the shot lost focus. The man then ran off the stage when a shot from the side of the main stage, behind the Britonish flag, were shown.

Ahh! So please quit your self-pitying,
People can see right through your lies!!


As the chorus was coming again, the large sheets that were dropped down were quickly hauled back up. The camera was waiting for her on the other side. She was sitting on a throne that four men were holding in the air. Two of the men that were carrying the chair were George and Jordan from earlier and two other men from Besen who could pop over to help us out during the Britonish performance. She still had the stick in her hand and the crown on her head. As the chorus came back in, they started to move the throne towards the main stage.

(I'm sorry I have...) Yeah-ah!
(I'm sorry I have...) I am sorry I!
I'm sorry I have to do this.
But if I didn't...
But if I didn't...

You'd get away with murder, no, no more! Ohhh yeah-yeah!

(I'm sorry I have...) Yeah-ah!
(I'm sorry I have...) I am sorry I!
I'm sorry I have to do this.
But if I didn't...
But if I didn't...

You'd get away with murder, no, no more! Ohhh yeah-yeah!

Yeah! Oh yeah!


At the end of the song, they lowered the throne and she stood strongly off her dominance - the four women around her dropped to the ground. The audience applauded her furiously. “Thank you, Lipa! Thank you!” she exclaimed. We then went straight to the next performance of the evening.
Last edited by Britonisea on Sun Mar 31, 2019 10:26 am, edited 4 times in total.

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Main Nation Ministry
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Founded: Sep 28, 2016
Psychotic Dictatorship

Postby Main Nation Ministry » Mon Mar 18, 2019 2:05 pm

02: Main Nation Ministry

Jessica Madden - Rest in Popularity

Tune: Panic! At the Disco - New Perspective
Language: English


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Pictured Above: Jessica Madden

OOC Background:
This is probably the first time I had to add an OOC background to describe a song for this WV. This is also a version of song meanings that explains what the hell the lyrics mean. This song had some life back around when I was still in high school a couple of years ago. In the school library, I found a book named ghostgirl that was written Tonya Hurley. It would be sorta the idea of Jessica Madden's album that she mentions in the IC background. In terms of ghostgirl, it featured such magnificent examples in library, such as Bring Me To Life by Evanescence by quoted on the third chapter, a PC joke on the second chapter, tons of goth and emo references, a goth main character who happens to be a medium, and an ending that relates to completely nothing when the second book came out to sorely appeal to the teen demographic in 2008.

Goodreads and Amazon probably thought the book was too cliched, cheesy and somewhat surreal to be an interesting book.

I read the book and thought "there is some potential to use", seeing how I watched Becky Prim, which I thought had a plot similar.

Seeing how I had read 7 Habits of Highly Effective Teens back fall semester, I figured it would work in developing the song. The overall song theme is mainly about the concept of popularity in school and how it's different than people would imagine once they attend school. Jessica will explain more about the theme, however I decided to add some mentions towards things IRL, rather than the IC multi-verse. Jessica will explain that any other theme wouldn't be about what's happening in Main Nation Ministry, but in what she imagines to be "somewhere else" where similar events are happening.

The second set of verses might sound as a bit of a Luddite mention, but my interpretation would be covering on how teenagers are now more technology-focused rather than earlier years and the problems that can arise. Since social media and the internet is available to everyone, this can lead to people adapting trends from online. AKA the whole challenge shenanigans with tide pods and Walmart ball pit. However, there is also the major concern of people trying to have the lifestyles of famous internet celebrities. It's a bit of an uncomfortable subject to cover it more, since it covers how the media might pressure people to be perfect "role models", but it's important to know that you need to be careful on who your idols on the internet are. Especially since some of them can be rich egoistic jackasses.

After the chorus, the third set of verses explains the peer pressure that is given towards other teens, who only want to impress their own peers and friends, since they worry this will result in negative consequences. The last verse "But the kids these days focus on is the political divide" covers a subject that I think is worthy for it's own song. When Green Day's American Idiot was released, it covered criticism about the Iraq War and how the youth were disillusioned as they grew up during such many events. I feel like a similar problem is happening right now, where due to the political divide that formed, many teenagers have became disillusioned and uncomfortable post-2016 elections. They just want to live their lives, but they get pressure to pick a side in the divide, or face harassment from both sides. It fits Jessica's dislike for politics in general and serves as the main reason on why the Leader gets away with tons of stuff, seeing how he offers equality and a lack of important choice, in exchange for the removal of human rights and freedom.

The last set of verses before the final choruses talks about something I believe most kids would want from their friends and parents. They just want them to listen. A teen want their own parents to listen to them and explain their reasoning, which some parents might refuse, which only worsens the problem. This was why The Breakfast Club was a cult high school movie, the writers knew the hardships that teens were facing, so they showed it. This is why 13 Reasons Why was mentioned in the song. Even though, it discussed topics that people faced in school, the execution of the topics were poor. Going along with the criticism that the show glamorizes suicide, which is actually the opposite of Jessica does, (if you would learn a little bit about Jessica, even though some of her songs might seem death-themed, she actually want people to live), the episode "Bye" was mentioned since it's about the criticism of the sexual assault of a character being unnecessary and ending up being seen as shock value. Despite the show causing a social impact, it only caused some problems to arise as a result.

After the chorus, it mainly explores on how kids would be easily interested in wealth and status, rather than trying their best in school, which can backfire hard. The last verse of the song basically has Jessica explain that even though it's pointless to try to act popular, everyone will still get the concept of wanting to become popular, just to fit in.

Background:
And now, another interview with Jessica Madden..

"You want to know what's funny? I thought I would have a bit of a comeback at WV71, but I might have gotten a bit too comfortable. But, I was like "Well, fuck it!" where I just got the cider out, as the results went through. It was probably a good WV, since a lot of stuff happened in the nation that was didn't seem important at first, since the news were focusing on the Worldvision, but things really did change, where people didn't really understand what was happening, but we just immediately gotten used to it. I think I had this bit of an interesting idea while I was at an World Cup party. Let me give you some advice. I heard that rich people tend to do some philosophy, when they have everything they wanted."

"I did some of my own thinking and thought about an album I wanted to do. Seeing how I practically lived in a funeral parlor for my childhood, I throw in an album that talks about..well death. But this isn't going to be some edgy shit with skulls, I want to tackle some stuff by adding some themes into my songs, as well as giving my album a story. And even though some chick probably done a story like what I'm about to describe, I want to add my own spin to it. So the basis takes place in a high school, not like the ones in my nation. It's going to take place in a normal high school, where some girl feels left out and has a crush on this nice guy she known for years. Then, she dies in an accident and tries to still live her life, while trying to help others and get advice from other ghosts. It's a bit of a clusterfuck, really."

"This song is going to be one of the first songs in the album, where I did some adjustments, so it's family-friendly in terms of population. Basically no one dies in the performance. But the lyrics will be the same, no doubt. My song "Rest in Popularity" covers a trope that I feel is common in high-school movies or TV shows. You know of the whole popularity ladder, right? Ok, that's a bad example. But you know how their the whole slutty chicks that are admired and feared in school? The ones that are rich and get the hottest men? Many people would think they are common in real life, which is bullshit. Trust me! This song takes a jab at the whole concept of trying to be popular by saying that it's pointless. I also added some minor themes, which I figured would be happening in nations that not my own, but there are people going through similar issues."

When asked about a rumor that Jessica has relationships to someone romantically, Jessica started to blush. "Well.. I want to be discreet about it, since I don't want to embarrass them. But they will be a bit of an extra in the performance."

The Performance:

The postcard of Main Nation Ministry is displayed on the screen behind the stage itself, before the camera focuses from the postcard to the actual stage. The stage is already shown to have a visible change, as with the props set up, one might confuse the venue with another stage. The back of the stage was made to resemble a school hallway lined with lockers in the colors of red. A school bell can be heard ringing, as crowds of extras are walking from one end of the stage to the other. The drummer Frank was already positioned at the front of the stage pass the catwalk, getting his drumsticks ready. As the extras stop and chat around in the hallway, both the guitarist and bassist Tony and Gerald walk on-stage, as Tony starts the song with an opening riff.

The crowd in the back are shown chatting, though since the song is playing, they are only pretending to chat, as someone arrives behind the crowd. Jessica Madden appears, wearing a black and white varsity jacket, jeans and some sneakers as she held the mic and started to sing.

The schoolkids all want to fit right in
Towards jocks and preps to be akin
But where are the popular cool kids
Where those flashy kids been?

I see them at lunch with their phones
With digital screens in their zones
I might be a bit of a conformist
But they'll can turn to skin and bones


Jessica starts to walk on the catwalk, where she takes a glimpse at the audience on her left side.

They just want to rest in popularity.


A set of pyrotechnics go off from the front of the stage, as Jessica sings the chorus.

You're fine, show some rarity
The foolish want to rest in popularity
Only want to do what you love the most
And I guarantee you're not a ghost

Life might suck, but don't be so down now
They just want to rest in popularity
The schools that I once knew might have changed now
But the rules that everyone still use are gone


Jessica heads back to the catwalk, as she sings.

They just want to rest in popularity


Returning to the back of the stage, where Jessica leans against the lockers, as a new scene develops which the audience sees. Several jocks appear, where while their words are silent towards the audience, it's shown that they are talking to another boy, who looks nervous. Jessica starts to sing some verses on the subject of which the audience sees.

We get the pressure in our life from our beloved friends and peers
The anxiety builds up until we want to be sent in tears
We show our school spirit of youth with our young sports teams athletic pride
But the kids these days focus on is the political divide


Jessica starts to scroll to the catwalk, where she sings again.

They just want to rest in popularity


Cue pyrotechnics.

You're fine, show some rarity
The foolish want to rest in popularity
Only want to do what you love the most
And I guarantee you're not a ghost

Life might suck, but don't be so down now
They just want to rest in popularity
The schools that I once knew might have changed now
But the rules that everyone still use are gone

Everyone don't know the old rules are gone


Jessica puts on a more serious expression to fit the mature tone of the next verse, which does include the most serious themes of the song. The lighting switches to a light blue, which almost covers the stage.

We all want to be understood
As much as the young kids could
Struggles that are caused
Expectations that must be paused
There is more than several reasons why
To hate an episode called Bye
If you want us to understand you, you listen


After the verse is over, Jessica sings the chorus in a more positive tone, where she does for the remainder of the song.

You're fine, show some rarity
The foolish want to rest in popularity
Only want to do what you love the most
And I guarantee you're not a ghost

Life might suck, but don't be so down now
They just want to rest in popularity
The schools that I once knew might have changed now
But the rules that everyone still use are gone

It's not too late, shed some clarity
If there was anything else, they would want prosperity
The years of youthful days have past now
But the rules that everyone still use are gone


After the chorus ends, Jessica finishes off the lyrics, as she heads to the back of the stage, where the crowd are currently starting to walk again, as the bell was about to ring.

Yet the rules that everyone still use are gone
They just want to rest in popularity
We all just want to be popular.


The song ends, where Jessica and her crew takes a bow as the audience cheers. As she leaves, Jessica meets up with a female extra, where she gives a head pat, before they both leave together.
Last edited by Main Nation Ministry on Sun Mar 31, 2019 9:51 pm, edited 8 times in total.
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Talvezout
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Posts: 4824
Founded: Oct 05, 2014
Left-wing Utopia

Postby Talvezout » Mon Mar 18, 2019 2:33 pm

03 - Talvezout
Helena Jiang Lee - Adiós Amor

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Worldvision 72 marks both the return of Talvezout, and of the 20th anniversary of the end of the Three Years' War. For those are not Talvezian, the Three Years' War was a massive and bloody civil war that took part across Talvezout. Thousands of lives were lost, and part of the reason why Talvezout is in such a good shape right now is due to the sacrifices made by those who fought in the war. This song, "Adiós Amor", is a elegy for those who were lost in the war, for the families, communities, and cultures uprooted by all of the violence. Even though the war ended twenty years ago, the trauma and the violence still lingers - there are still villages that were abandoned or destroyed because of the war around Talvezout.

Helena Jiang Lee wrote the song after visiting the Red Fields outside of the Ypsilí Fylakí (High Prison, in Talfossian) on Akna. The Red Fields received their names from the red flowers that grow there now, as a result of the countless numbers of bodies buried there. The Red Fields were used as the killing fields for the Estado Antiguo, the neo-fascist regime that was in control over parts of Talvezout before and during the war. Due to the fact that the fields were soaked with blood and bodies, alongside the upturned dirt, fields of flowers and other plants began to grow in the area. When Jiang Lee visited the fields, she was greatly overcome with emotion, as she had lost her parents in the war. She began writing the song when she got back to her hotel room, and the entry was soon picked by TRT to represent Talvezout for Worldvision 72.

TRT picked the song because it captures the sense of great sorrow the nation has in regards to the lives lost. The song itself is partially based on the war poem "Memmorae", alongside Jiang Lee's own writing. The melody of the song is a melancholic folk ballad in the verses, before erupting into emotional catharsis during the chorus. Jiang Lee will be joined by several musicians on stage, alongside several other performers.

When asked about her feelings on performing in Worldvision, Jiang Lee responded with two words - "Very nervous." And frankly, who could blame her? This is Talvezout's first entry since Worldvision 63, not to mention that the Talvezian public is holding onto the hope that the nation will finally get into the top five again, maybe even the top three. Helena Jiang Lee has the whole weight of Talvezout on her shoulders, but the public are supporting her at every step, along the way.

My heart cannot forgive the past, no it can’t

Twenty years, long twenty years
And fields still run red
Watered by the endless tears
As the wind mourns their names

Long ago, yet long ago
There were no tears or cries
But that seems so long, oh
Their ghosts are still here

And when the wind rises and their soul cries
“Please do not let them forget us”

We cry:
Goodbye love
Goodbye little ones
We cannot forget them
No matter where they are


It’s been a long twenty years
And the pain still stings
As the mourning bell rings
And we sing

“We shall never forget you, never again,”
As the cherry petals fall, I start to sing

Goodbye love
Goodbye little ones
We cannot forget them
No matter where they are


May those who brought on this war be cursed
May those lost haunt their nights forevermore


Goodbye my loves
We shall never forget
As the wind blows again


The lights within the Nena Arena would all point towards the stage, before turning off. The all of the other performers on stage would be stowed off backstage at the moment, leaving just Helena at the end of the catwalk. Helena would be clad in a simple black long dress, one that would emphasize her shape while also staying simple and appropriate. In addition, she would have a cherry blossom pinned to her dress - being a symbol of remembrance of the violence. She would have a simple microphone placed within in its stand, with no props on stage with her. As the crowd would cheer for the artist, Helena would take a deep breath and get ready to sing.

A simple, stark, spotlight would shine on her, illuminating her completely. The camera would be positioned upstage, slowly moving downstage as Helena would sing the first line. By the time she was done, the camera would be positioned behind her, showing her in silhouette as she face the crowd.


My heart cannot forgive the past, no it can’t


The camera would rotate around Helena so it would face her front, showcasing her beauty as she would continue to sing. She would have a wistful, almost nostalgic and melancholic look on her face, as she was recalling the emotions she felt during her trip to the Red Fields. The spotlight would illuminate her as so to capture her expression perfectly. One of the backings would come onstage, holding a simple acoustic guitar. He too would be dressed in black, and he would have the cherry blossom painted onto his guitar. He would being to strum as Helena would sing, looking towards her in a similar expression of melancholy and nostalgia.

Twenty years, twenty long years
And fields still run red
Watered by the endless tears
As the wind mourns their names


The camera would zoom out to show the guitarist next to Helena, still playing as she would sing the next verse. Her voice would capture the pain and inner turmoil the Talvezians felt during the war, a feeling that many of those affected by the violence would remember well. Two other performers - one holding a violin, the other holding another guitar - would walk up and stand next to Helena and the other guitarist. They would also have the cherry blossom painted onto their instruments, and they would have expressions of regret and sadness - expressions that reflected the regrets of the Talvezian people for fighting such a bloody war. The camera would be focused on them during the entire time, as other spotlights would illuminate the three other performers on stage with Helena.

Long ago, yet long ago
There were no tears or cries
But that seems so long, oh
Their spirits are still here


The camera would cut back to the upstage as it would follow the four remaining performers - one carrying another violin, the other three being backing singers - slowly walking downstage to join the four up front. The stage would be illuminated in mellow blue purple hues, reflecting an atmosphere of melancholy. Helena's expression would change from the wistful look to one of determination, as she would remember the sacrifices of those who fought in the war. The rest of the performers would have similar expressions, as they too reflected on the lives lost. Helena's voice would slowly change to reflect the determination, as she would step forward from the rest of the performers. With the camera solely aimed at her, Helena would reach out at it, as if offering a hand to the audience watching. Behind her, the rest of the performers would hold hands.

And when the wind rises and their souls cry
“Please do not let them forget us”


Helena would close her eyes as she would ready to sing the chorus. The war poem, "Memmorae", would come back to her. Its elegy for the brave fighters of the war would come into her mind, almost filling her with emotion as tears would begin to well up in her eyes. The backing performers would raise their hands as they would sing alongside Helena, with the camera capturing them. As Helena's voice would sing the chorus, the camera would quickly, but smoothly, zoom out to show the stage suddenly being illuminated in red and orange hues. Behind the group, images of the people who died in the war would appear on the OLED screens installed at the back of the stage. They would all slowly rise up, slowly being lifted like lanterns towards heaven. The Talvezians in the audience would erupt in emotion at the sight of all this, as roughly 1/3 people were affected by the war. To see the faces of those lost would bring back the memories of the violence and sacrifices that were made to preserve the nation, and even those in the audience who know nothing about the war could understand the context of the song by now.

Lloramos:
Adiós amor
Adiós pequeños
No podemos olvidar que
Dondequiera que estés


The screens would all slowly fade back into black as the lights would fade alongside them. There would be but a single spotlight focused on Helena, as she would take the microphone out of its stand. She would walk alongside the catwalk into the audience, leaving the rest of the performers behind her. She would have some small tears on her face, as she tried to hold back the emotions she felt during the song. The rest of the performers would slowly join Helena in walking into the audience, finally stopping at the end of the long catwalk with her.

It’s been a long twenty years
And the pain still stings
As the mourning bell rings
And we sing


Helena would be surrounded by the rest of the group, as she would start to sing the pre-chorus again. She would close her eyes as the memories of her parents would flash back into her mind. They were among those who were arrested for being "subversive", and were killed in the Red Fields. For Helena, this song was as much as a elegy for them as they were for every other Talvezian who lost a family member, or a friend. The tears would once again start forming in her eyes as she sang, with every Talvezian in the audience understanding the pain she felt. The whole group would be illuminated in a soft, almost comforting orange, as if the light was mourning alongside them.

“We shall never forget you, never again,”
As the cherry petals fall, I sing


All of the performers would slowly reach out their hands and lay them on Helena, as the tears would begin falling off her. At this point, she was full on crying, overcome with the emotions that the song would bring. Several of the performers would have tears in their eyes when they sang alongside Helena, sharing the same pain that she felt. The camera, having been long since focused on the group, would spin around them before flying back into the audience during the chorus. Lights located all around the Nena Arena would slowly rise up into the air, as if the spirits of all those killed were finally at rest. The OLED screens would once again show the faces of those lost, with their names slowly scrolling by.

Adiós amor
Adiós pequeños
No podemos olvidar que
Dondequiera que estés


The camera would snap back to Helena and the performers, as they would now have faces of pure determination on them. They would all be recalling those who inflicted the pain on Talvezout - the Estado Antiguo, those who profited off the war, those who called for it. They would shout these lyrics, determined to curse those who brought on all of the pain and trauma. They would raise their fists in the air, before bringing them down to all hold hands at the end of the bridge. The OLED screens would now transition from the faces and names graphic to the Red Fields, with the flowers in the fields blowing with the wind.

Boreí ta onómatá tous na katarastoún gia pánta!
Boreíte na stoicheiónete ti zoí tous gia pánta!


All of the performers would raise their hands together, in a display of unity against the violence. A wind machine would come on, illustrating the wind mentioned within the song. One of the performers would raise aloft the Talvezian flag, as they would all sing the last words of the song. Their expressions still remained ones of determination, determination to never make the mistakes Talvezout made in the past. A curtain of sparks would fall behind the performers, bathing them in a beautiful golden glow as they would sing.

Goodbye my loves
We shall never forget
As the wind blows again


With the song done, the sparks would stop as the OLED screen would show a tree growing in the Red Fields - an illustration of hope spring from pain. Helena would have a look of relief on her face, as she had nailed the song in her performance. All of the performers would link their arms and thank the audience, before leaving the stage to make way for the next act.
Last edited by Talvezout on Tue Mar 19, 2019 11:23 pm, edited 6 times in total.
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Venkatanaros Imharajuvaripieta Rdraskska
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Postby Venkatanaros Imharajuvaripieta Rdraskska » Mon Mar 18, 2019 3:35 pm

4 - Venkatanaros Imharajuvaripieta Rdraskska
Las Viejas - "Dime El Chisme (Por Favor)"

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A golf cart carrying four old women of varying ethnicities would drive through the audience before stopping onstage; they would all get out and walk to the mic stands provided for them. All four of the women would be wearing elaborate showgirl costumes that probably weighed more then they all weighed.

Dime el chisme, por favor


A guy around the same age as the women would shamble on stage and try to feel up one of the women; she would slap him, and the same sequence would repeat as he would try to feel up the other women.

Juro por dior que no quise, pero está pegao
Era como una lixiviación
Yo era la otra, la tonta, será pringao
Ese bastardo sin corazón


Another old man would come onstage; one of the women would try to make out with him but he would slap her and slowly shamble away. She would be visibly mad at him, and she would throw one of her chanclas at him.

Para mí, mi hombre simplemente no
Tiene una personalidad agradable
Simplemente no puede amar ni hacerlo
Pero tengo mis miras dirigidas a alguien más


The ladies would all have cups of tea, and would drink them to the rhythm of the "si me dicen" part. They would raise the cups in the air, before lobbing them into the audience.

No es pecado para decir el chisme
Especialmente con noticias importantes
Sí me dicen, Sí me dicen, Sí me dicen


All of the old ladies would then lean in towards one of the women at the end, as if they were all gossiping with each other.

Dime la chisme, por favor


Another old woman and man would come onstage. They would do a cute little tango together to the rhythm of the song, with them both tangoing off stage.

Pasaron bailando las horas
Y él desesperao, en la barra toma que toma
Después de que fueron a su habitación
Y se sentó allí y bebió


A bunch of elderly couples of all sexualities and ethnicities would form a conga line behind the ladies; they would all join in at the "el chisme" part.

¿No es sólo una gran vergüenza?
¡Todo esto antes de su boda!
¡El chisme, el chisme, el chisme!

Dime el chisme, por favor


With the conga line continuing behind them and into the audience, the quartet would sit at the end of the stage and pretend to gossip and joke with each other, reflecting the lyrics of the song.

Bueno, sé que mi hijito no haría eso
Es pluscuamperfecto
Escuché que pasó sus noches follando
¡Qué mujer malvada!


The women would all pull out another cup of tea and spill out on the audience, once again reflecting the meaning of the song, a paean to spilling the tea.

Este té está perfectamente caliente
Te hará respirar fuerte
Y me dices, ¿qué punto que tiene el asunto?
Bueno, simplemente no entiendes chisme

Dios dijo que amaba el cotilleo
Es sólo nuestro deber compartirlo
Please tell me, please tell me, please tell me!

What’s the tea, por favor


The ladies would all give up and run towards the golf cart, with all of the jumping into it and starting it as this part of the song would end.

Again and again we share these things
It’s important stuff
Everything from pain to rings
No one is safe from the chisme


The four old women would drive the golf cart through the audience, carefully weaving through the crowd as so not to hit anyone. They would all still be singing as they drove.

Again and again we share these things
It’s important stuff
Everything from pain to rings
No one is safe from the chisme


They would park the golf cart at the end of the arena to sing the last line of the song, before driving out of the arena into the outside world.

Dime el chisme, por favor
Last edited by Venkatanaros Imharajuvaripieta Rdraskska on Wed Mar 27, 2019 11:26 am, edited 2 times in total.

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Fatiman Federation
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Postby Fatiman Federation » Tue Mar 19, 2019 1:15 am

05 - FATIMANA FEDERASTIKA | Radio Télévision Fatimana (RTV)
Danuff Sein (Space Danuta)
Louise Glimerickt Stuttgart


INFORMATION
Language: Rasmussenian
Date Released: 1984
Record Label: Germania Rasmussen Records S.A


Louise Glimerickt (Born Rasmussen City, Fatiman FSR March 21 1957) is an Rasmussenian Singer and Composer since 1978, Starting Singing when she Discovered Disco Sleeves and Playing it on Turntable, She Created many Songs in Nine Decades and Notably Making this Song in Rasmussenian, Allez, Allez Alex! in Fatiman and Le Eletrique Amour which it is the Another Fatiman Songs.

Learning in Ramseyian University, British Colony of Ramsey, Notably by Students singing some Electric Disco Songs and Playing Electric Keyboards in their Music Room for 12 Hours Straight.




(Performance and Lyrics Soon)
Fatiman Federation | Фатімана Федерастіка
Puppet of Indo States as Modern Nation

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Mister X
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Posts: 1109
Founded: Sep 25, 2013
Capitalizt

Postby Mister X » Tue Mar 19, 2019 1:56 am

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Filius Deorum - "Fighting"
Tune: Eric Saade - "Marching (In The Name Of Love)"





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After a couple of poor results for Mister X, the objective for this edition is quite straightforward, in that it's been decided to play it somewhat safe, typically Mister Xian, in the hope of, at the very least, getting back in the top ten. There was a time, between WV45 and WV56, where Mister X finished in the top ten on just two occasions out of 13 (including a best of), and there are major worries afoot at MRX Television that lightning may be striking in all the wrong places again. This song had once been an unreleased Mister Xian opening act when they failed to win the hosting rights for WorldVision 45, and so consequently this song has been around the MRX WorldVision department for donkey's years, and when the time came to internally pick a song (with "A Song For The World" producing an awful result in WV71), it was decided to have a "lucky dip" into the "bag of songs that have been lying around for ages that we want to use but haven't got around to using yet".




The camera starts facing Filius who is in a three-sided concrete box, like a prison cell, but it's completely tiny and only has enough room for Filius if the fourth wall were there. The box is facing the back of the stage, so the back wall is the one missing. The lights slowly go up - it's a low bank of natural-ish yellow-y light and a spotlight on the prison cell and on Filius, but overall the stage looks quite dark. The camera, on a handheld steadicam, tightens on Filius during the intro as if he's actually inside a prison cell. We can't see outside of the walls, it's almost as if this was filmed on location. The artist himself, Filius Deorum, is wearing an orange jumpsuit, like one sees in American prison films, with an ID number across the left side of his chest, although this appears to be all zeros. It doesn't really matter what the number is. The number in itself is indicative of human suffering in prison by means of a reduction of individuality to the extent that one's personal freedom has been reduced to a number. Moreover, the staging of the incarceration of Filius Deorum represents a movement of humanity which suppresses itself at any given opportunity and then forgets about it. The human race is the most adept being in the universe at its capacity for self-deception, matched only by its ingenuity in trying to destroy itself. Filius sings with a tinge of regret as he sits down, folded up against the walls with not even enough room to stretch his legs out.

What does it mean to come home, yeah?
Depends on what you call home, yeah
Yeah
Yeah


The walls of the prison slide away, Filius simultaneously removes the orange jumpsuit in one quick motion to reveal the suit with dark blue tie he is wearing in the picture supplied by MRX Television which was taken at the opening ceremony of the 72nd WorldVision Song Contest. Filius has been around a very long time, making his debut for Mister X way back in WorldVision 30, and despite having clocked up many appearances over time, after finishing 17th at WorldVision 63, and being beaten by Missus X for only the second time in history, herstory, and theirstory too, Filius was hung out to pasture like a cow who had displeased someone, or a television commentator getting the sack by an incoming producer only they have to stay around due to a fan backlash, like some sort of political prisoner, too annoying to live, yet too popular to kill. So, what do you do with political prisoners you've detained but can't get rid of? You have a show trial, of course. And like most trials, this song, it has been argued, goes on for far too long, silly costumes are compulsory, and the staging is probably too high-concept for the average man in the street to understand. The jury, of course, lie in their homes and will vote - literally. With their phones, they have the power to make the decision on the career of MRX's one and so far only WorldVision winner. Filius turns around as the walls slide away and lights go up on the stage, alternating from one light to another, not "flashing", but just alternating, creating a constant impression of movement and coagulation of movement and rhythm. The camera pans from a low angle from the front of the stage from left to right. Dancers start to emerge on the stage from both sides. For the second line, the camera cuts to a close up of Filius, before taking a wide angle from the far back of the auditorium on, then taking a super close-up from front-on for the final line of the song.

I find that all of the time, yeah,
Everyone's all moved on and gone, yeah
They've gone
All gone
And now I'm all out on my own


The lights all stop, and shine bright like a diamond-cut surface glistening against the eye of the sun. In many ways, this represents the visual cortex of Filius's WorldVision career, starting in the darkness before coming into the light. The light, of course, being that memorable win in WorldVision 62, the second place finish in WorldVision 52, and the third place finish in WorldVision 33 - to this day, Mister X's only podium placings at the WorldVision Song Contest. The camera takes a long shot of the back of the stage, which, in many ways, is perhaps indicative of a real sense of needing to look at the bigger picture - in this case a 16:9 picture, unless you're in less developed nation states where it's probably still only a 4:3 picture. Those looking in 4:3 cannot see the bigger picture of Filius's WorldVision career. One needs to look as wide as possible to see the whole story. But not too wide, because then you may end up seeing what you ought not to be seeing, at things that may or may not have happened yet. Time is in flux, of course. People assume that time is a strict progression of cause-to-effect, but actually, from a non-linear, non-subjective viewpoint, it's more like "a big ball of wibbly wobbly, timey-wimey stuff". We can't know what is in the future because the future has yet to be written. The past is obviously written into fact, but the future will depend on how will Filius does here. So if the picture is too wide, we can see one version of Filius's future which may or may not turn out to be his actual future. That is the allegory behind taking as wide as possible a shot in widescreen. There is a lot of passion in Filius's voice here, as though you can really feel every line of the song. The passion of his voice booms across the auditorium like some political leader or god, with an army of disciples following him and clinging onto every word he says. Of course, in the context of the MRX production office, he almost is like a god to some people, with every word he says clung to like a scared child clinging onto a teddy bear.

I find my friends, they're all alone
I see them scared and lost and found
Cower in fear, so far, so near,
Let's sort us out, let's all come on!


And the lights start alternating again as Filius advances down the stage slowly. It signals that by moving forwards along the catwalk bit of the stage that sticks out at the front, he is commanding the presence of the auditorium. The camera cuts to a closer shot of Filius, painting him as a giant striding amongst the ants of the audience.

And now it's time to get back up
And think about what we care for
We've got to start by fighting
By fighting for just what we love


And during the instrumental break the dancers all start dancing in a modern and complicated way.

I’m fighting for just what we love


For the second verse, Filius dances in a robot action.

I push them all down the line, yeah
For once, this isn’t a crime, yeah
Yeah
Yeah

And now we get up and go, yeah
We find our hearts in the road, yeah
For us
For you
You’ve got to fight back if you can


Because MRX only has so many ideas, the lights all go up again.

I find my friends, they're all alone
I see them scared and lost and found
Cower in fear, so far, so near,
Let's sort us out, let's all come on!

And now it's time to get back up
And think about what we care for
We've got to start by fighting
By fighting for just what we love
And now it's time to get back up
And think about what we care for
We've got to start by fighting
By fighting for just what we love


Dance break. Although this time the dancing continues until the end of the song.

I’m fighting for just what I love

And now it's time to get back up
And think about what we care for
We've got to start by fighting
By fighting for just what we love


I find that all of the time, yeah,
Everyone's all moved on and gone, yeah
They've gone
All gone


And Filius takes the applause. That was good. Very good. Shame the staging got writer’s bloc in the middle.
Last edited by Mister X on Mon Apr 01, 2019 10:28 am, edited 1 time in total.

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Antahbrantahstan
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Founded: May 29, 2014
New York Times Democracy

Postby Antahbrantahstan » Tue Mar 19, 2019 2:12 am

7. Antahbrantahstan

FDM-Temptation
Tune: Blackpink-Playing With Fire (Areia Kpop Fusion Remix)

WIP
"But I got a mind to show my strength
And I got a right to speak my mind"

-Christina Aguilera & Demi Lovato, Fall In Line (2018)

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Ekoz
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Founded: Feb 24, 2006
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8 | Ekoz | Sanna Van Umsaak - "Can This End?"

Postby Ekoz » Tue Mar 19, 2019 5:02 am

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Sanna Van Umsaak - Can This End?


Sanna Van Umsaak, 19, is the representative for Ekoz at the 72nd WorldVision Song Contest. She won the hugely popular 'Ekoes Soekke Vor Vinna' topping both the international jury vote and the domestic televote. Sanna is the younger sister of 27 year old Yohanna van Umsaak who is Ekoz's most successful artist in terms of sales, chart positions and overall success within the industry, representing the country at WorldVision achieving Ekoz's highest position to date.

Sanna currently in her second year of studies at the Royal College of Music in Carnise, the capital city of Ekoz and simultaneously juggles her music career, releasing her first single as a solo artist last summer, which topped the top of the Ekozian iTunes chart and reached #4 on the Ekoesestopplistan. She hopes to continue the success of her sister at the WorldVision Song Contest and uphold Ekoz's previous results within the contest, achieving top ten placings in all but two contests.

"Can This End", written and composed by Erik Johanssen and Adriana Aragusz "is about the struggle of not being able to keep on top of your emotions, be it because of a relationship, personal struggles or anything. I [Sanna] feel that a lot of people can relate to mental health issues and whilst this song touches upon that, actually, it barely scratches the surface on it, I still think it's relatable. I hope I can convey that at the contest at least.."

"Can This End" currently sits atop of the Ekoesestopplistan, making the song Sanna's first #1 single and second top five single in the country. She will perform eighth at the contest, held in Lipa, Besen.


Sanna dressed in a black crop top, high waisted black trousers, barefoot with long curly blond hair, stands centre stage behind her microphone. She is alone with three spotlights behind her, one central, and two diagonally pointing at her. As the piano begins, the camera pans slowly from a full view shot zooming into her face. Sanna gazes sombrely into the camera, sometimes looking down to the floor to show vulnerablitiy.

Time goes by so quickly,
but for me feels like eternity,
No, I, can't see this end,

Remember what you've done to me,
Filled me with so much misery,
No, I, don't see this end.


As she starts to begin the pre-chorus, the camera pans around to the audience from the left side of the stage. Sanna turns slightly to her left, looking deep into the camera. As she sings "What have I done?", she runs puts her hand to her head looking at the ground, before slowly raising her head and looks back at the camera. As the pre-chorus ends, the camera pans back onto a centre-stage view, zoomed directly in on Sanna's face.

What have I done?
I, thought that I could be strong,
and I, though that you were the one,
How did I read you so wrong, wrong?


As the chorus starts, the stage is still barely lit, with only one dim spotlight on Sanna. As Sanna sings the first part of the chorus, the staging stays minimal, with the camera still zoomed in on Sanna's upper body, as well as zooming in directly on her face. As Sanna begins to sing the second part of the chorus, the camera slowly pans out, offering both side shots and central shots of Sanna. As she reaches the high notes, the camera has fully panned out with a view of the Sanna, alone on the entire stage, and a view of the audience to highlight how alone she is on stage. The lighting remains dark and moody.

Can this end?
Will this end?
Stop this torturing me,
I can't cope,
I won't cope,
Can't surrender to this feeling,
surrender to this feeling,

Please just end?
Will this end?
This feeling; so heavy,
I can't cope,
I won't cope,
Won't surrender to this feeling,
surrender to this feeling,


The camera pans back into the stage. The camera shot shows the stage through a 'semi-circular' way, panning from left to right, though the camera is positioned low panning slowly throughout the entire verse. The stage floor begins to fill with fog, hiding Sanna's feet. Four singular white lights are placed circularly around Sanna and light up/turn off rapidly to each beat which through the fog create the illusion of a lightnight flash.

This distant dream of you and me,
is something that will never be.
How could I, have messed this up?


As the fog continues to fill the stage and rise higher, the camera pans back onto a centre-stage view of Sanna, showing her, the lights and the immediate stage. As she begins to sing, she looks directly into the camera, looking less sheepish and more determined.

I'll prove you wrong,
I hope I can be alright,
and maybe I'll see the light,
and rid this darkness inside...


Similarly to the first chorus, as Sanna sings the first part of the chorus, the staging stays minimal however the fog is more visible and shows Sanna almost being swallowed up by it. The camera is still zoomed in on Sanna's upper body, as well as zooming in directly on her face. As she begins the second part of the chorus, the camera slowly pans out, offering both side shots and central shots of Sanna. The four white singular lights also flash on the beat of the chorus. As she reaches the high notes, the camera has fully panned out with a view of the Sanna, this time with the lights and the fog, showing again how small she is in comparison to the stage and the arena itself. The lighting around the stage is dark.

Can this end?
Will this end?
Stop this torturing me,
I can't cope,
I won't cope,
Can't surrender to this feeling,
surrender to this feeling,

Please just end?
Will this end?
This feeling; so heavy,
I can't cope,
I won't cope,
Won't surrender to this feeling,
surrender to this feeling,


Following on from the far shot of the entire arena and stage, the camera pans back in onto Sanna. She is completely swallowed up by the fog which is now reached above her head, covering the entirety of the stage. A slight wind also builds around he, moving the fog into a slow 'tornado' effect.

Crashing to the ground,
Shackles hold me down,
Though I'm not so strong,
I will carry on,

Maybe soon you'll see,
What you meant to me,
Left me in this state,
Baby, it's too late.


As she finishes singing 'baby it's too late', the camera zooms in directly on her face. She finishes singing, she breaks eye contact with the camera and the music stops, the entire stage goes dark. During the few moments of silence, only the crowd can be heard. Sanna then begins to belt out her high note. As she does, the camera does a fast zoom back out to the full view of the stage. Sanna is still completely engrossed in fog and the wind has built up to a storm-like way, with Sanna's hair and clothes blowing in the wind. The background LED screens turns white, showing the fog and stage for the first time and stays on throughout the end of the song.

As she sings the second part of the final chorus, the camera pans to the front of the stage from the floor of the stage, looking up at Sanna as she belts the rest of the song. Her hair and clothes are still being blown around by the wind and fog. She she finishes her final sentence, the camera pans back out, starting and finishing when Sanna belts the final note. As she finishes, the white LED screen fades slowly. Sanna crouches slightly, holding herself. The fog slowly starts to disappear. The stage then fades to black.


Can this end? Yeah, yeah
Can't surrender to this feeling,
surrender to this feeling, oh, no

Can't surrender to this feeling,
surrender to this feeling,

Sanna: Thank-you so much Lipa! Takk!
Last edited by Ekoz on Mon Apr 01, 2019 7:14 am, edited 8 times in total.
De Ekoeses Køniksgrand
The Great Kingdom of Ekoz
WorldVisionEkoz

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Vartugia
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Posts: 106
Founded: Nov 12, 2015
Iron Fist Consumerists

Postby Vartugia » Tue Mar 19, 2019 6:11 am

09. Vartugia

Flute-Man- "The Saddest Song In The World!




Vartugia has a long tradision for their """""""""songs"""""""""". Now, here is a new reaon to hate them (Apart from their broken english)


The postcard has played, and flute man stands there awardly alone on the stage. He has a flute (of course he has) and the music plays. He begins to blow his flute.

*Plays the flute in Vartugain*

The entire audience looks awardly over Flute-Man blowing his flute (smirk).
*The flute solo continues*

Someone who sits at seat F49 begins to cry.
*The refrain gets fluted*

The entire world are watching him. And a other guy begins to cry aswel. Also, we lied. There is a drummer on stage that is now being revealed when the lights turn on.
*(Insert Flute RP here im lazy lol)*

Finaly, to remove fears that this one gets the DNQ`ed, a singer appears. She is dressed like the flute and sings just like a normal vartugian. Not very good.
We do not want to win this.
We want a null point

*Flute guy plays the flute while she sings and only then plays alone on the last line*

10% of all in the arena sheds a tear. And 90% of them are Izmeduans.
Sob. Cry.
*The flute never stops*

The long flute-solo plays while the first signs from the transition of the audience crying are now revealed.
The singer randomly just falls off the stage for no reason.
I just broke my legs

Tears begin to fall.
Help me!
*The flute-play dosent stop*

Even the producers of this contest begins to cry.
Send me some help!
*If you think the flute`s ending, think again.*

The flute players stops for a while just so he can play.

*Emotional flute with a note-crack*

The entire audience stands ups and claps while they begin to cry.
If you listen closely, you will hear that the flute suffers from depression.
Send me some help!
*If you think the flute`s ending, think again.*

*Let`s replay that note-crack again*


The flute guy plays the final notes and and everyone who saw this begins to clap and cry. The venue gets flooded by the tears.
The contest is delayed for a few minutes as the venue has been flooded by tears. But at least its not only the izmenduains this time. ;)
Last edited by Vartugia on Sun Mar 31, 2019 3:59 am, edited 4 times in total.
This is a puppet for Darkmania.

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


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Polkopia
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Posts: 2603
Founded: Jun 06, 2011
Iron Fist Consumerists

Postby Polkopia » Tue Mar 19, 2019 8:11 am



Elizaveta Murkovskaya, or more commonly known throughout Polkopia as Elise Grace, rose to fame in Polkopia when she participated on the Polkopian edition of The Voice when she was only 16. Although she was eliminated in the quarter-finals, she impressed many with her vocal abilities at such a young age. Shortly after her appearance on the show, she continued to appear on various talk shows and sporting events to sing covers of famous artists' songs until she was 19 years old, when she released her first single, titled Undone. The single soared through Polkopian charts and peaked at #6. She had already made a name for herself at the young age of 19 and was set to tour the nation, however she tore her ACL while rehearsing for one of her shows and her tour had to be canceled. She recovered, but didn't release any further songs until 23, where she released her debut album. Shortly after this, she went on a mini-tour, where she opened for some of Polkopia's more established artists who were performing in larger cities such as Peeto, Valinkova, and Restnov, and promoted the release of her newest albums in that way. One year later, she was set to go on tour by herself. On April 23rd, during her fourth day on tour, while performing in Daroban at the Arena Kalinkansaney, an accident occurred on stage, and the foundations collapsed into the crowd, killing three and injuring seven more. The incident caused the singer to cancel her tour and profusely apologize to her fans for the incident.

After the accident, Elise Grace took a brief hiatus from music in order to regain the confidence to go on tour again. In her mind, she was cursed and wasn't met to perform on the live stage, despite those around her telling her she was wrong. It wasn't until she was 27 years old where she released her comeback single, "You Don't Own Me," where she publically denounced her insecurities and urged her listeners to do the same. The song became an anthem for mental health and self-confidence, and she earned nation-wide regard for her attention to this. Months after the release of the song, she collaborated with Polkopian star, Mirela Santana shortly after her performance at the 68th Worldvision Song Contest, in which they held an event outside of Peeto and did a "mini-concert" and donated all proceeds to charities specializing in mental-health awareness. The concert raised a total of Ᵽ100,000, making it the largest charity concert even hosted in Polkopia. The following year, Grace declared her intent to compete in the Landa vy Polkopiya and was the first of ten acts to qualify for the show. Grace finished first in her semi-final, but placed second in both the domestic televote and the international jury vote. Despite this, Grace and her song managed first place overall and was therefore selected as Polkopia's representative for the 72nd Worldvision Song Contest in Besen.

After winning the competition, Elise Grace and her team worked tirelessly to come up with a spectacular performance for the Worldvision audience. Coming from a nation like Polkopia, expectations were high, and Grace felt every bit of pressure as she could have felt. Polkopia hadn't taken home a victory at Worldvision since WV50, despite the fact that the country has been one of the top contenders for winning the competition prior to the show. Since then, Polkopia's best placing was 3rd place, achieved three times since WV50, and many Polkopians felt as if though the broadcaster has lost its touch with the competition. While the support and hype for Elise Grace's entry remains high, the artist, according to an interview with the PNB, stated that "[she] wouldn't let the hype get to her head because it's easy to become disappointed with your results if you have high expectations going into the competition." She then stated that all she was aiming for was to give a great performance and give the audience an unforgettable show. She already released future plans for her career after the competition, citing that a new album was soon to come and her song, Over Again, was to be featured on that album. For the time being, however, all of her time and energy was spent on vocal training, dance practices, and countless other exercises that would ensure a flawless performance for the Polkopian representative.

In what seemed like an eternity to Elise Grace, the applause finally began to die down after the Besenian broadcaster showed the Polkopian postcard on the LED screens. The lights around the arena were colored in gold and white, two of the national colors of Polkopia and Elise immediately felt a sense of pride as she looked out in the audience. Her heart was beating rapidly, but she knew she couldn't let the nerves get to her. Not now. She did her best to forget about some of the previous accidents that happened while on stage, and focused on this performance, because this is the only thing that mattered now. She closed her eyes and allowed the screams and cheers of the crowd dim and repeated some words to herself that helped calm her down whenever she was in danger of letting emotion overtake her. "Girl, it's just you." She repeated to herself over and over again, reminding herself that there was nobody who could get in her way right now but herself.

As was typical prior to the performance, the stage was completely dark and nothing on stage was visible at the moment. Once the instrumentation played, the stage lit up. The background showed a beautiful sunset with the sunlight reflected over crystal blue waters. There were mountains on either side of this landscape, and the video panned out so that the LED screen began to show sand and rocks along the shore as well. Elise herself stood center-stage and wore a long, thin, pale-yellow outfit that resembled a dress, but stopped at the knees. In the back, waves and waves of ruffles fell behind her and in the torso, her chest was covered of course, though she showed only slight amounts of cleavage. Her shoulders were completely exposed as well, but the outfit was fashioned in such a way that the piece was connected by a bit of fabric that wrapped around the length of her forearms. Her long, black hair was in the same fashion as always - wavy and well-kept, which fell along her shoulders and down her back. She wore minimal makeup - save for a dull red lipstick and some blue eyeshadow, and blue sapphire studs were in her ears to match the color of the eyeshadow.

On-stage, Elise's dress covered a fan, which was positioned beneath her and blew upward, so that some of the ruffles of her dress flew up around her. With one of her hands, she grasped the hem of one of the ruffles, directing how it flowed to ensure they didn't cover her face and interrupt her performance. She slightly leaned a bit, poking one of her legs out in front of her as she did so, while her back leg was covered by the ruffles of her outfit. She carried the microphone in her free hand, which she would use to sing the majority of the song. For the first verse, the staging was set in this way. The first camera angle of this showed her before she sang, and the camera was positioned far enough away where the entirety of the LED screen was shown, with the artist in the center. Elise hung her head back slightly, taking a graceful position for the opening notes. Every two lines of the verse brough about a new camera angle. The first one came in from the right and moved swiftly around her. Elise started down the camera as it moved in front of her, and looked away as it passed. The next camera angle was similar, only that it came from the opposite direction. The last half of the verse was also split into two angles - with the first half being shot from the ceiling and the second being a frontal view of the stage.

Everything we've known since we were kids
All we've imagined,
Were just fairytales
That we've brought to life in this world.

Every pain and tear shed
Was worth it in the end
For every second I spend
With you, my best friend


The lights flickered slightly, drawing several cheers from the audience, and Elise's hand - the one holding the hem of her dress - threw the fabric above her and moved her hand so that it caressed the back of her neck and cleavage, almost flirting with the audience. The fan continued to blow beneath her, though it was at a much weaker setting than before, allowing for her outfit to flow behind her at a much more controlled rate. Four backup dancers, who were previously unseen by the audience, began to march forward. Two of them were shirtless males who wore black leggings, and two of them were females who wore black leotards. By the end of the bridge, they had all formed a horizontal line with Elise in the very middle.

Don't look back now, look back now, don't look back.
Keep looking ahead, I'll stay with you 'till the end.


With the chorus now starting, the background LED screen fluctuated between showing the same sunset landscape as before, and showing a zoomed in version of a male's face, whose eyes and surrounding features were the only body parts visible. The dancers, meanwhile, danced throughout the first half of the chorus, engaging in a series of twirls, coordinated arm and leg movements, and tumbles. At the moment Elise sang the first "We're high above the ground" the dancers crowded around her and lifted her up. The camera, meanwhile showed an overhead view of this, and Elise looked straight into the camera, smiling, extending her free hand out to her side, before being gently set down by the dancers.

If you fall
I'll be right beside you to pick you up.
We'll dance through the sunset, you and I.
We both know we're unstoppable.
We're high above the ground, all over again
High above the ground, all over again.


During the instrumental break, the dancers danced in the same horizontal formation as before and the camera did a full 360 around them. Elise, meanwhile, moved her hand to grasp the hem of her dress and she hung her head back, assuming the same graceful position as she did during the opening piano melody. When the camera moved in front of her, however, she moved her hand to her face and blew a kiss to the moving camera, before singing the next verse. During the next verse, the dancers moved so that Elise was at the end of the horizontal line of people on stage. The dancers all assumed a position one right after another in a way so that each of them adopted the same position a split second after the next. This went on for the entirety of the next verse.

Every mistake we've ever made,
We've done them together.
I don't regret a thing.
Let's do them all again.

But if we break down
We'll dust each other off
Tie up all the loose ends
And ride this wave 'till the end.


The camera whipped around Elise again, who wagged her finger at the camera, smiled, and winked. The dancers each grabbed a hem of Elise's dress and each moved to a different spot so the four dancers formed a square and Elise was positioned at the very center.

Don't look back now, look back now, don't look back.
Keep looking ahead, I'll stay with you 'till the end.


The dancers threw up the fabric and moved close to Elise to begin dancing the same routine as before. Instead of picking her up though, they picked up one of the female dancers, who flipped over Elise and landed on her feet behind her, before rejoining the group of dancers.

If you fall
I'll be right beside you to pick you up.
We'll dance through the sunset, you and I.
We both know we're unstoppable.
We're high above the ground, all over again
High above the ground, all over again.


During this instrumental break, the dancers engaged in a dance consisting of several arm-waving movements at a rapid pace. Elise moved her free hand in such a way that it was somehow in-sync with the dancers, despite the fact that her legs were hardly moving. Members of the audience, meanwhile, began to notice fog slightly creeping in from the edge of the stage and beginning to meander toward the center, where Elise and her dancers were positioned. Elise sang the bridge with the camera up close to her.

Don't look back now, look back now, don't look back.
Keep looking ahead, I'll stay with you 'till the end.


Elise unclipped a fastener at the back of her outfit, letting the ruffles fall to the ground as she walked forward. A rain of golden fireworks started from above the LED screen and fell to the floor of the stage. The dancers continued the same routine as before, meanwhile.

If you fall
I'll be right beside you to pick you up.
We'll dance through the sunset, you and I.
We both know we're unstoppable.
We're high above the ground, all over again
High above the ground, all over again.


For the instrumental break, the dancers lifted Elise up and flipped her, catching her on her back inches from the ground, resulting in a series of cheers from the audience. The dancers marched forward and clapped their hands above their head as Elise brushed the hair out of her face and laughed. Moments after this, the audience began clapping along in-sync to the dancers' claps, and soon after, the song was ended and Elise was the only visible element on stage. She placed both hands to her lips and blew a kiss to the audience.

"Thank you Besen, thank you so much!" She shouted into the microphone before hugging her dancers and leaving the stage.
Last edited by Polkopia on Thu Mar 28, 2019 1:12 pm, edited 9 times in total.
Anthem (Instrumental) Factbook Embassy
Check out the Polkopian Premier League

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

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Besen
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Posts: 167
Founded: Mar 01, 2018
Inoffensive Centrist Democracy

11 | Besen | Giovanni Able | 'A menudo'

Postby Besen » Tue Mar 19, 2019 9:32 am

11 | Besen
Giovanni Able | "A menudo"
TAEMIN - WANT
Music & Lyrics - Xavier Dole, Nancy Amber, Imogen Waren, Elia Ram

Image
Giovanni Able

Giovanni Able was born on the 21st of April 1998, making him 20 years old as of today. He was born to an Italian father and a Besenian mother, making him look and feel multi-cultured from a young age, which would prove to be a useful life lesson later in life. He's the brother of 2 older sisters, whom both became successful fashion designers, while Giovanni had always found his passions where with music.
He is most known for appearing on The Voice Besein, and then releasing his debut single, "Flame of Love" which peaked at #10 on the national charts. He has since not been in the spotlight, until he could announce his participation in Cana dor Besein for Worldvision 72, with the song "A menudo", written by Xavier Dole mainly, who sent him the demo to try and be the singer for. It all worked out, and Gio got a team together to give him the best chance to win. And not to the surprise of voters and his team, he ended up taking the lead in both international jury points and televoting.
The song itself, translating to 'Too Much' in English, talks about holding back from losing control in a relationship. Although Giovanni had no hand in writing the track, it fits him well, pairing with the real life break up he had earlier this year, which was closely followed in the media. Commenting on this he said: "Regardless of people knowing all about my private life, I think I can definitely personally relate to this track, it's lyrics speak to me directly. And I'm sure others can share the experience too, it's something that happens way too often."
Unbeknownst to Giovanni at the time, he would not have to pay to travel anyway as Lipa had won the host bid for the 72nd contest, something he was excited about. The feeling on stage anywhere in the world is great but when it's at home, it feels much more special. He's hoping to reach a new international crowd with his music, and when he steps onto Nena Arena's stage tonight, he wants the world to know he's talking to them.


The entrance of Giovanni and his three dancers is very dark. Smoke fills up the space, and the only thing that is seen is his sparkling red suit jacket. As the beat of the song kicks in, small flashes of the same ruby become the central lighting, and the three dancers in the back are seen wearing very risqué, revealing shirts, with holes mostly everywhere. As for Giovanni himself, apart from the jacket, he sports black, tight trouser wear and underneath the jacket, a classic white shirt with the top undone. He doesn't only look attractive but also mysterious when he steps out to his crowd. His voice, coming through by a microphone attached to his face, is delicate- but holds a strong consistency within it.
Mir salbo cita bone ne colé
​Trone colé
​Re pura quia, it's all in your head
​Bone mie gol, tende la monro
​Ne incide do mie fobechi tone la amora
​Neson adimé tu misotas, re vien loca
​Cuenda pes vata te pose en bane?
​Can mie gol, citoe sete do fro
​Ne incide do mie fobechi tone la amora
Our salvation lies within the heart
​Traitor's heart
​I think that it's all in your head
​Within my soul, holds this control
​The creation of my enemy towers this love
​Never admitting your mistakes, I go crazy
​How much can you pose as god?
​Killing my soul, seven years of cold
​The creation of my enemy towers this love​


Flashing red continues, but is met in the middle with a similar pink undertone, which mostly acts as a spotlight for the dancers, whom weave in between each other behind Gio. Although the smoke has dissolved into nothing by this point, there still remains a sombre, grey imprint by the floor. Giovanni takes advantage of the new found illumination and slides back into central view, joining his dancers in a routine that looks complicated, yet nonchalant.
Nen, nen
​Solvo la muri, mese quia re pes asra
​Cope, cope
​Hanrié o cope, perci tu colé é daman
​Nen, nen
​"Come stay with me", quia é la imporsa?
​Nen, nen
​Solvo la muri, mese quia re pes asra
No, no
​Solve this maze, more than I can handle
​Hide, hide
​Run or hide, because your heart hurts
​No, no
Come stay with me, is it this important?
​Solve this maze, more than I can handle​


At the end of the chorus, Giovanni and the dancers fall to the ground. He sounds breathless at this point in the choreography, but continues to fight the stage in a sense. He stains the ground with his words, and the camera swoops through the audience, up the front, and finally glides smoothly over the scene. Giovanni makes strong contact with this, and follows the shot until he finally grows tall again.
Cupan mesa é tode vien a menudo
​Cineto selundos camda ene la zona do guiere
​Por sole la? How so?
​Ne incide do mie fobechi tone la amora
Coping when it all gets too much
​Fifteen minutes left in this war zone
​For just this? How so?
​The creation of my enemy towers this love


The outburst of the second chorus brings a return to the strong smoky atmosphere, but it becomes more evident as lighting is poured onto it. Red, green, pink and everything in between shoots out into the crowd and comes 360 back to the stage.
Nen, nen
​Solvo la muri, mese quia re pes asra
​Cope, cope
​Hanrié o cope, perci tu colé é daman
​Nen, nen
​"Come stay with me", quia é la imporsa?
​Nen, nen
​Solvo la muri, mese quia re pes asra
No, no
​Solve this maze, more than I can handle
​Hide, hide
​Run or hide, because your heart hurts
​No, no
Come stay with me, is it this important?
​Solve this maze, more than I can handle​


The complex choreography comes back into view, but it's ramped up by the aggressive movements of the dancers, that now tug at Giovanni. The camera comes up for a close up shot, where one dancer wheels himself round and pulls the sparkling jacket off him, throwing it into the crowd. An erupting scream occurs.
Al me, al me
​Al me, al me
​Al me, al me
​Ne incide do mie fobechi tone la amora
To me, to me
To me, to me
To me, to me
The creation of my enemy towers this love


Back to the normal stance, the four figures remain mostly still. Smoke has stopped appearing from each side of the stage, and the lighting once again fades into obscurity. And without much of Giovanni's outfit left to glisten, it's difficult to see anything. And then, a sharp laserlight cuts right through the middle of his chest, a dark red shade.
Amora ojes stendeno por ne yeol
​Amora tove stendeno por ne povies
​Neco mie serai ne fin do mir ame
​Moving your body can only get you in trouble
Loving eyes standing for the darkness
​Loving touch standing for the highs
​Needing me will be the end of our desire


All of a sudden, the single laserlight multiplies itself into four different directions, which causes the audience to cheer once again. Passionate emotion can be heard in Giovanni's voice as he nearly shouts the final line of the bridge, busting out into the choreography again.
Mir salbo cita bone ne colé
​Trone colé
​Re pura quia, it's all in your head
​Ohhh
Ne incide do mie fobechi tone la amora
Our salvation lies within the heart
​Traitor's heart
​I think that it's all in your head
​Ohhh
The creation of my enemy towers this love


The dancing looks slick and sexy, and it's showcased when the camera settles at a right angle, forcing the dancers to position themselves at this. A volcano of emotive colouring makes its way onto the stage, spiralling everywhere. The scene looks almost manic but it all fits together perfectly. It's like the four men are synchronised with what's happening on stage in terms of technicality.
Nen, nen
​Solvo la muri, mese quia re pes asra
​Cope, cope
​Hanrié o cope, perci tu colé é daman
​Nen, nen
​"Come stay with me", quia é la imporsa?
​Nen, nen
​Solvo la muri, mese quia re pes asra
No, no
​Solve this maze, more than I can handle
​Hide, hide
​Run or hide, because your heart hurts
​No, no
Come stay with me, is it this important?
​Solve this maze, more than I can handle​


His voice is tired now, but he carries on to complete the song. A delicate happiness is clear from his singing, and his grin. He looks like he is having the time of his life, and this is aided by the thousands of screams coming from the arena, which now was an eruption of red, where fans had gotten their phones to shine in ruby.
Al me, al me
​Al me, al me
​Al me, al me
​Ne incide do mie fobechi tone la amora...
To me, to me
To me, to me
To me, to me
The creation of my enemy towers this love...


Deafeningly beautiful, everyone cheered and clapped at the end, supporting the home act. The signature "swoosh" sound effect then happened as the next act's postcard appeared on the screens.
Last edited by Besen on Tue Mar 26, 2019 6:46 am, edited 4 times in total.

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Belgaam
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Posts: 123
Founded: Aug 22, 2015
Father Knows Best State

Postby Belgaam » Tue Mar 19, 2019 10:03 am

12 - BELGAAM

TAÑA URÖCH - NEED YOU IN MY LIFE
TUNE: TAYLOR SWIFT - WILDEST DREAMS

Image

Taña Uröch, the Belgaamian WV72 representative.


When Taña won Tariña'o Melodi, she said this, "This is a dream come true, I used to watch WorldVision all the time when I was younger, hoping that my country would become a part of the contest and we did last edition but we scored a poor 17th out of 25th place. I'm so happy that I'm going to be representing my country in WorldVision 72 and hopefully I can get a good result and make people happy with my song."


Taña came third in the latest edition of the Belgaamian singing show, Żdiuñaj Iovþñia! (You Can Sing!) which made her rise to fame, before winning the Belgaamian ticket to WorldVision. The week after she won Tariña'o Melodi, "Need You In My Life" peaked at number 1 in the Belgaamian Music Charts. Now it's time for her performance, and she promises all her fans that she won't disappoint them.


Taña sits on a golden throne, and when she sings her first line, the cameras quickly zoom into her face.

You said you would stay, but then you left. They say "do the deed, then pay the price."
Do you ever think about our love? Now it's cut into pieces.


Taña then gets off the throne and the dancers lift her up onto a box.

And guess who's to blame now.
I loved you with all my heart, but you had to go with that other girl.
But you know I'll never give up, and when I close my eyes...


Taña then stands up on the box which turns red and is now flashing lights like crazy.

I just like to think 'bout the beautiful world we created together.
Baby I love you so, and I really think that I just need you in my life.
N-ee-eeed you i-in m-y-y-y l-i-i-ife. N-ee-eed you i-in m-y-y-y l-i-i-ife.


The cameras then zoom into Taña's face and she walks on the box which starts showing the Belgaamian flag.

If you want love, start getting it right. I know what you're doing but I couldn't care less.
I still love you and I want you back. Baby believe me.


Taña then walks off the box and the dancers then follow every step she takes.

Come back please, I need you now.
I loved you with all my heart, but you had to go with that other girl.
And still you know I'll never give up and when I close my eyes...


The box disappears and Taña is all on her own and the lights start flashing all over again.

I just like to think 'bout the beautiful world we created together.
Baby I love you so, and I really think that I just need you in my life.
N-ee-eeed you i-in m-y-y-y l-i-i-ife. N-ee-eed you i-in m-y-y-y l-i-i-ife.


Taña is now surrounded by lots of purple flowers.

You left me in here, I'm tryna forget about you but I can't.
I'm gonna tell you, wish that I loved you more but I'm still standing,
You left me in here, I'm tryna forget about you but (but) I (I) can't (can't)
I'm gonna tell you, wish that I loved you more but I'm still standing.


Taña then sings a line in Beglish while lanterns are flying up into the air.

Żiña garínsis, kiloñaż o goñi sakamoñfa lat mi íer.
Tyui lak go ni da. Je kilo zamakí. Kiloronta gh yamñża hjiloñlk jiżak.
Loving is the life, living that dream and then the fire burns.
I will love again. This is stupid. Winning and losing loving life.


The lights then flash like crazy and the cameras then zoom into Taña's face.

I just like to th-i-ink 'bout the beautiful world we created together.
Baby I love you so, and I really think that I just need you in my life.
Nee-eeed you i-in m-y-y-y l-i-i-ife. La la la la la la. Nee-eed you i-in m-y-y-y l-i-i-ife.
Wish that I just loved you more.
Nee-eed you i-in m-y-y-y l-i-i-ife. I just nee-eed you i-in m-y-y-y l-i-i-ife.


Taña bows to the audience. "Thank you so so much, I love you all so much!" She then makes way for the next act from Izmedu.
Last edited by Belgaam on Tue Mar 26, 2019 2:38 pm, edited 14 times in total.
71: 17/25
72: 9/18
73: 19/26
74: Did not participate
75: Did not participate
I AM NOTHING TO DO WITH BELGIUM. DON'T LET THE NAME MAKE YOU THINK THAT.
A link to the best song in the world!

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Izmedu
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Founded: Sep 09, 2014
Left-wing Utopia

Postby Izmedu » Tue Mar 19, 2019 11:36 am

13. IZMEDU
Gorana Sever - Mržnja

Translation: Hatred
Tune: LOBODA - Не нужна

“There is too much bound up in all of these feelings that I'm not even sure performing will be the kind of liberation I need... To tell you the truth, I don't know. I'm terrified, I'm afraid... What am I even doing? Years of this as a career... years of singing and dancing for this country. To think that my second chance at WorldVision is tied to a song that was ultimately meant to be locked away in all forms? I don't know...” - Gorana Sever

Gorana Sever was not used to being alone. She was used to seeing a troupe of dancers practice whenever she'd get ready for a performance. She was used to preparing to bust a move to make a rehearsal work. She was used to having a choreographer right by her side to reassure her that she still has a charm in her dances even as she ages and matures. She may not be the ruthless, avant-garde force in Izmeduan pop that she used to be, but Gorana assured herself she still had some sort of charm. The last time she was in a context like this, it was in Darkmania where she presented a song that was the very essence of her public image.

The dancer. The wildcard. Sexy. Sultry. In your face when needed, flashy when she has to be, but always kept it cool.

She wasn't any of that going into Lipa, Besen. Sitting with the Izmeduan delegation in the Nena Arena, she was terrified of going onto the stage as preparations were being made in the green room for the Izmeduans. She gazed at Taña's performance as a way to calm herself. Gorana knew deep within herself that she wasn't this nervous when she was about to perform Zaplesimo in Darkmania. She closed her eyes as she willed for Belgaam's performance to last just a little bit more, taking in each second of the song as the ticking clock until she had to be on stage. This was a different kind of nerves for Gorana. This was the kind of nervousness she experienced in the pit of her stomach before confessing. The very song she was bringing to WorldVision now was a moment of vulnerability she was not used to engaging in outside of intensely private moments. Singing this in Izmepisma almost felt like a breeze now. The fact that the entire multiverse would be watching, knowing her reputation and her accomplishments... The rehearsals that led up to this point were almost meaningless.

However, she knew she had to go on. She took a deep breath and started to think about the song's creation. The song itself was never meant for the likes of Izmepisma. “Mržnja" was a song she had been harboring for almost a decade and a half, having written the song as a young woman who was struggling to balance her newfound fame with the old PRIAMAIKI and balancing a young, passionate romance with another woman. She vividly remembered how that relationship went... While she was off being the face of the girl band, she'd fallen in love with that woman via a one-night stand. Gorana, in private, was a profoundly lonely woman then. For every tour around Izmedu, for every stop in those hamlets, Gorana would secretly break away from the band to try and find someone to connect. Often, that meant one-night stands where her libido and loneliness coincided and coalesced into constant flings. However, it was never the commitment that she yearned for.

It wasn't until that she met that woman. Marija. That was the name that Gorana remembered her by. It was a name that bought with it a dulled flare of pain and regret. A name that caused her to cast a distant recording of the tough memories associated with her brief, passionate, yet chaotic relationship with her. It was a relationship born by the fact that both her and Marija were lonely in a Mousiki summer night. Gorana was profoundly struggling with the facets of her career and newfound star as PRIAMAIKI's lead. Marija herself was lonely too, and was hyper-aware of Gorana's status. They were comforts for each other, strained by Gorana's commitments. The relationship itself lasted for a month, following premature declarations of commitment with Marija uprooting her life to follow Gorana. The fact that they started with one-night stands (nor was Gorana's penchant for them) was never revealed.

Of course, Gorana knew that such a complicated arrangement spelled trouble. That it did. She predicted the strains and problems like clockwork. Marija and Gorana were incompatible in the times they were together. Gorana knew she was not giving enough. Marija wanted more out of her. They wanted to be together for more than the limited time, but Gorana's fast acceptance of the reality of her work came off to Marija as an aloof distance and resignation. The passion between them was palpable, but it oscillated between a dead passion to one that fed into an anger and fury that Gorana knew only Marija could demonstrate. The relationship ended in an altercation. It was a rehearsal gone bad, with Marija going up to an exhausted Gorana and telling her in cold terms about what Marija wanted, and what Gorana failed to achieve.

There were no loud arguments. No loud scuffles or public displays. It was a silent anger that Gorana saw. An unrefutable list of faults, a reasoned argument, and an uncaring voice.

Painless and yet painful. Calm yet brimming with hatred.

Gorana didn't know how she was able to repress all of these memories so successfully. The song itself had a silent history, only being written when she was having quiet fits of emotions. She would break the boundary between the art she produced to make a point or a statement, or break the boundary of the cool image she producted. Gorana, for as far as she knew, was as emotionally honest as she could be because these are the words she'd never allow herself to show in public. Hatred went through drafts where Gorana knew where she wasn't being honest... It was first a protest song, then a song hating on society, using her hurt feelings over Marija as a projection of her frustrations.

It was only recently that the song's subject matter did begin to reflect how Gorana truly felt. Even then, she wasn't sure if she was satisfied with the product or scared. She found herself becoming almost irrational in the gestation of this song. Its submission to Izmepisma was suggested by her management, but the rest of it was in her words, 'an accident that I don't know should've happened.' Each step of the way, she thought she'd hit the ceiling. Picked for the live shows? Qualifying from the semi-final? She predicted last place in Izmepisma if those miracles ever happened. The opposite happened, and it was in this moment was where Gorana was truly at a crossorads.

Belgaam's entry ended. It was time. Gorana took a deep breath. In the clouds of uncertainty hanging over her mind, she hoped that the stage would be a way to find a sense of clarity for the brief time she would have. There was no longer a use for being scared. She'd sing her pain to the world and hope for the best.

With that in mind, she sauntered off to the stage...


There was a large crowd cheer at the advent of the Izmeduan entry. Stage lights billowed down right to the center, flashing in a bright white light before darkening. Gorana took another deep breath as she held her head down the entire time. She tried to get the crowd cheering and the pressure of her mind. She knew, that beyond just the story she bought with this song, the other things that were at stake with RTI. Either way, her mind was cleared, and Gorana had to confront the emotions behind this song with full force. There would be no hiding away in bedrooms, or pretending to smile until the problem would go away. Once she felt her earpiece beep and the instrumental of the song being made apparent not long after, the threshold of no return had been crossed.

The song started off with a somber, low note on the piano. The proceedings were suitably so. An imposing white light was cast upon Gorana as her head was buried downwards. The camera focused on strategic shots of her at each piano note, before settling upon a fixed camera view that would slowly zoom in on a close-up shot of her face. This solemn piano would continue until it made for a fuller instrumental. Background vocalists and soft drums would drive the song forward, coincided with a change in the light configuration. Gorana's face was now made more visible to the camera. Her face carried a stone-cold expression that was at once simultaneously vulnerable. She caught the camera's gaze and locked it in its place. She would then begin to sing...

La pol odbija prestati maje tilo
Maje cre razbija se-iz majih laži
Ne samo diši, govorim sebi još jednom
Mui ova istina ne može se poreći


She sang the song with an almost hushed tone. Her eyes were closed as her face was almost calm from the way she 'spoke' these lyrics with a rapid pace. The lights were calm, remaining static as Gorana's whole stature became a reflection inward. She stepped forward as she sang this first verse, the words almost blurring into each other. At the second line, she would open her eyes to stare down at the camera. The view itself too remained static, lingering onto Gorana's face as the viewers at home could see the complicated emotions just brimming within Gorana's eyes. At 'ne samo diši,' she would visibly clutch her chest and take an audible breath after singing that line, looking up into the camera with a gaze that grows only more desperate. She was at the precipice of a painful realization at th last line, reaching out to the camera with her hands slightly shaking.

I ljubav je mrtva, el kortial pustoš
U tebi je prezir i fujes prejaka
Ne stajanja


For this pre-chorus, the words no longer blurred as fast as they did for the chorus. The camera would occasionally switch views, emphasizing the lost and almost hopeless looks in Gorana's eyes as her gaze remained transfixed to the audience. The camera would occasionally switch to wide views of the stage, revealing the set-up to be barren for the performance. There were no props or even an active stage screen. There was copious amount of smoke on the floor, not looking too bright or even hopeful. Instead, the smoke looked like storm clouds lapping around Gorana's feet in perpetuity. The camera would return to a close view of her in time for the last line. The lights were off as she 'ne stajanja,' a moment in which she looked almost breathless; her hands were on her face and she was looking down at the end of this pre-chorus...

Sve ovo damno, tvaja mržnja
Poli nema kraja, poli nema kraja
Sve ovo damno, tvaja mržnja
Sve ovo damno, tvaja mržnja
Poli nema kraja, poli nama kraja
Sve ovo damno, tvaja mržnja


The chorus saw the Nena Arena lit up in white light as the instrumentation intensified. Gorana delivered this chorus as much as she could, her body writhing slightly as she would slightly crouch down during the first three lines. At times, she would clutch her chest both instinctually and knowing she needed to do so to prevent her voice from going off the rails. She gazed at the camera with a desperate look, that look one has before the moment where they cry. That look of someone who was on the brink of succumbing into purging their despair or getting further absorbed into it. Her vocals resonated with a strength that could only rise from despair, showing off the kind of vocals she never utilized in Zaplesimo (her past WorldVision entry). At the break right at the halfway mark of this chorus, Gorana would take a step back to visibly breathe as the background singers would carry the song for those brief seconds, reinforcing the emotions attached to this song. Gorana then would launch herself into the latter half, singing these words not as a mantra, but as a cry for help and as a way to let go of her demons. She was staring the camera down by the end of the chorus, closing her eyes and stepping back when the chorus was finished.

La pol odbija kao maj um krepune
Ju nisam anđeo, ju nisam čista žena
Con manama i li nesavršenosti
Ali bio sam odan, viran kao el fiar


The mood was maintained, perhaps intensifying even, as the song progressed to its second verse even if the music calmed down. A slight hint of guitar was added to the instrumentation. The camera would move back as Gorana would move towards the connected satellite stage utilizing the runway. Her movements were fast yet deliberate as she stepped towards the satellite stage at the pace of the songs she was singing. The camera would switch views accordingly, a brief front center view for the first lines, views on the side for the second and third lines, before ending on the same view that the verse started with for the last. These views emphasized what Gorana had written for both the original lyrics and the translation. She was a woman, flawed, near the end of her rope, but she's trying her best to navigate the turmoil on her own terms, even if that method of handling the turmoil was a look that was almost too inwards. By the end of this verse, she was now at the satellite stage.

Tko si ti? Zašto ovo? Zašto me povridiš?
Sam ponovno izgubljen, ne valar
Nema nade, samo tvaj prok takar
Ne stajanja


For this pre-chorus, a piano was added to the instrumental backing. The lights would darken and intensify on Gorana slightly as once more, there was a further desperation on her face. The camera would focus on her, the very movements she was doing almost timed to the hopeless-sounding piano that buttressed the reinforcement of despair that drove much of the song. She sang directly to the camera, asking these questions with the kind of resigned anger that would manifest from this immense sadness. There was a hint of fire in her eyes, one that was made more apparent where she would point towards the camera in an accusatory way. Whatever fire that was there was put out with the way her hands trembled and shook. With that first line of reaching outward towards confronting the person this song was meant for, she turned inward again. Her face looked downwards, her mood and expression beyond just being contemplative. The lights once more darkened at the final line of this pre-chorus, her eyes gazing into the camera once more.

Sve ovo damno, tvaja mržnja
Poli nema kraja, poli nema kraja
Sve ovo damno, tvaja mržnja
Sve ovo damno, tvaja mržnja
Poli nema kraja, poli nama kraja
Sve ovo damno, tvaja mržnja


The lights in the Nena Arena coalesced and intensified once more at the advent of this chorus. The camera would alternate between close and wide views, reinforcing and reemphasizing that Gorana was a lone presence on the stage. Even as smoke would lap around her, even if she was a small figure in a large stage, her emotions were no less intense of resonant. The movements she made, from the way she was letting herself crouch down to the floor and the way she used her entire body to strengthen her voice from the despair she felt both as a performer and as a human being. She reached out to the camera, not as a cry for help, but as a cry for someone to listen. There was an even further rawness as she moved through both halves of the chorus, her voice arcing and almost deliberately witling as she sang 'tvaja mržnja.' By the end of the chorus, the camera had focused purely on her and she was now sitting on the floor, having progressed from standing earlier in the chorus to her now crossing that verge, the uncomfortable line of keeping it together to a breakdown now having been crossed.

At the instrumental interlude, it was Gorana crossing that line performatively and in some ways, also personally. She faced the audience with a desperate look as the lights around her intensified, slowly hiding her face and receding into a ball onto the stage. The fact that she was performing didn't matter any less. She knew she'd done something like this in private, where the only comfort was to curl up and deny the world for a few moments to collect herself. The lights would conceal and make these actions somewhat hidden, the camera frenetically shifting views as the instrumentation would further intensify just a little bit more. Desperation coalesced into a resigned acceptance that it was now all set in stone. These emotions were here to stay, and Gorana had that on her mind when the music would soften.

La pol odbija prestati maje tilo
Maje cre razbija se-iz majih laži
Maj bože, maje cre razbija


This brief interlude had her doing a brief monologue with the lyrics. She now directly spoke these lines, the camera zooming into her as she would uncurl herself. She was now sitting on the stage, her knees up and her face down. She stared into the camera as she spoke these lines, her voice husky yet fragile. Her face was darkened from the way the lights were configured, but the outlines of her face belied the emotions she was putting across to the audience. Her voice would waver at the end of this interlude. What once was a calm recollection now turned into one of despondence. Gorana's spoke that last line with gnashed teeth, now looking up towards the audience to sing the chorus one last time.

Sve ovo damno, tvaja mržnja
Poli nema kraja, poli nema kraja
Sve ovo damno, tvaja mržnja
Sve ovo damno, tvaja mržnja
Poli nema kraja, poli nama kraja
Sve ovo damno, tvaja mržnja


For the last chorus, the Nena Arena once more erupted into a maelstrom of white and red lights that reinforced the darkness of the stage. These lights would pulse with the beat of the song, frenetically changing from the fast and passionate way Gorana was singing. Gorana threw herself into the chorus, the camera focusing on her as she remained sitting down. Her stationary position did not lessen her movements or even the desperation in her emotions. Vocally and physically, she let everything out into the table. She unleashed her most powerful and emotional vocals out for this chorus, extending notes, powering through them, and especially letting out a powerful belt at the second 'tvaja mržnja.' At the second half of the chorus, she would ad lib. As the background singers would sing the lines in her place, Gorana let out the kind of vocal power she hid from her first WorldVision performance. She was wailing, melodically, painfully, and augmenting the background vocals by providing that kind of vocal backdrop. She would then join the background singers for the last line of the song, nearly shouting the last line as one last cry, extending that one note for a few more seconds and pushing herself as far as she could go...

Gorana didn't know what to feel when the entry ended. She saw the crowd cheer and found herself blowing a kiss to the crowd after a few moments where she was looking down. She looked dazed and confused until she realized that the crowd was cheering.

"Hvala!" She said, her voice a bit strained but still there. She had no idea where that sudden gumption came from, the ways in which she knew her performer self was lingering for just a few seconds to smile at the audience. She knew that she'd be a much different person, much more closer to the actual song in the green room where she at least knew she'd be hidden within the delegation.

She gazed at the crowd one more time, walking back to the green room. I made it through this... there's just of the night... Deep breaths... deep breaths...

My body's pain refuses to cease
My heart shatters from my fantastical lies
'No, just breathe,' I tell to myself once more
But this revelation cannot be denied as a fantasy

Thus love is dead, a broken wasteland
Within you is a contempt and fury so strong
It can't be stopped

All this pain, and your pure hatred
It'll never end, it'll never end
All this pain, and your pure hatred
All this pain, and your pure hatred
It'll never end, it'll never end
All this pain, and your pure hatred

My mind ruptures with endless pain
I am not an angel nor brimming with purity
With flaws and too many imperfections
I was nothing but loyal, tethered to you like iron

Who are you? Why this? Why do you hurt me?
Lost once more, worthless
No hope, only your damned silence
It can't be stopped

All this pain, and your pure hatred
It'll never end, it'll never end
All this pain, and your pure hatred
All this pain, and your pure hatred
It'll never end, it'll never end
All this pain, and your pure hatred

My body's pain refuses to cease
My heart shatters from my fantastical lies
My god, does it shatter...

All this pain, and your pure hatred
It'll never end, it'll never end
All this pain, and your pure hatred
All this pain, and your pure hatred
It'll never end, it'll never end
All this pain, and your pure hatred
Last edited by Izmedu on Mon Apr 01, 2019 11:40 am, edited 1 time in total.
THE DEMOCRATIC REPUBLIC OF IZMEDU
WorldVision Song Contest - World Hit Festival

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Scotatrova
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Posts: 3713
Founded: Dec 28, 2013
Civil Rights Lovefest

Postby Scotatrova » Tue Mar 19, 2019 1:21 pm

14. Scotatrova
Andre Valerio
Comon t'emá (How I love you)

Tune: Hallelujah - Pentatonix

Image



Emerging onstage, Andre is wearing an outfit of an all black coat and black jeans. As a single spotlight shined on him, Andre stood centerstage, in front of a massive, screaming international crowd. Behind him stood two back up singers, ready for the cue that Andre was to give them before beginning. He stood there, breathing nervously. This wasn't like his regular performances, this was massive. Not to mention that representing Scotatrova was a great honor. The camera pans a couple feet away from his face, and he stares directly into it. With a deep breath, and cuing the singers behind him to start humming in melody, he began his song.

Do you remember when we met?
How we just sat and we watched the sun
I wish we could go back to that happy place
Don’t wanna leave here without you now
I would rather be with you now
All I want to tell you is how I love you
Comon t’emá (x4)


He stops as his backup singers begin to repeat that last phrase in harmony. Eventually, both continue their humming. The camera positions itself to Andre's right, with another then switching to a glimpse of his left side. The camera then slowly transitions back in front of him, with the lights around him beginning to shine brighter. The beat of the song also begins to start speeding up, with Andre keeping pace.

I can’t imagine a world without you
Can we just go and skip this part?
Where we act like we don’t know what happens next
A long night full of endless love
A time where it’s just the both of us
And all I’ll be saying is how I love you
Comon t’emá (x4)


The same continuous, melodius hums from the backup singers go on as they begin to clap in rythm of the beat. The camera pans above the three, before catching a glimpse of them from the side. Andre sang with such vulnerability and confidence that it made it impossible not to see what would come next. He emulated the song in his own unique way, and it was fascinating. The beat continuously began building up, just as it had before, and Andre's emotion along with it.

How could I have missed such beauty?
You were always right in front of me
I never thought that I would find this again
And it’s been way too long since I’ve seen you
And I will not give up until,
Until I get to tell you just how I love you
Comon t’emá (x4)


The camera panned out way in front of him, capturing what seemed to be his best angle. Andre was starting to feel more comfortable as the song progressed, and his voice was evidence of it. It started off as timid at first, but now was full of fire and passion. The other singer's voices also complimented his as they merged into a heavenly harmony. But, just as Andre's voice had risen to the occasion, suddenly, he fell back into the soft tone he first started the song off with.

Resu diere les broixes
ea míe promire emor
Tú et le cosle vo sempri emere
Si tú nel siopha, athór tú siopha
Ía tú vivra in míe corth
Until I get to tell you just how I love you
Comon t’emá (x4)

I am in the arms
of my first love
You are the person I will always love
If you don’t know, now you know
And you live in my heart


As he switched to his native language, his voice had so much more power. He was singing from his heart, and he gave it his all. He closed his eyes as he wielded his voice as his own, though not without finding himself harmonizing with his backup singers. Their voices all cohered into one, all singing with such a strong emotion that it emanated itself across that stage.

Comon t’emá (x8)


For this portion of the song, it was all Andre. His backup singers silenced themselves, while providing percussion with the stomping of their feet while clapping. The outro to the song, even though simple, was perhaps the most emotional part of it all. Andre's eyes were closed the entire time. The lights behind him were flashing with such intensity in sync with the beat, that it was such a beautiful sight. Once he had finished his song, he hummed the last verse with such calmness and intensity. As soon as he finished, he opened his eyes and the crowd was going crazy. He smiled, and put a fist in the air, shouting "Greixas! Thank you Lipa!"
Last edited by Scotatrova on Sat Mar 30, 2019 6:41 pm, edited 3 times in total.
Male, Hispanic, Liberal, L(G)BT

My nation is based on my own personal views

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

(Even though I have "People's Republic" in the title,
doesn't mean my nation is communist, authoritarian and/or totalitarian)

Scotatrova in WorldVision
WV72 - 13th
WV73 - 6th
WV74 - 8th
WV75 - 18th
WV76 - TBD

User avatar
Talvezout
Senator
 
Posts: 4824
Founded: Oct 05, 2014
Left-wing Utopia

Postby Talvezout » Tue Mar 19, 2019 2:23 pm

<special bits>
hey check out my dispatches and factbooks!
Don't Blame Me, I Voted for Helen Gahagan Douglas

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Darkmania
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Posts: 684
Founded: Oct 18, 2015
Inoffensive Centrist Democracy

Postby Darkmania » Thu Mar 21, 2019 1:06 pm

15. Darkmania

Men In Leather (M.I.L)- "Ingen Skal Overleve” (No one shall survive)




With Darkmania`s last apperence at the Worldvision, they got their best result with a repected 2nd place, only behind Antahbrantahstan. Given that if Darkmania had won the contest, it wound make then the third ever nation to win Worldvision, World Hit Festival and Junior World Hit Festival. So the reation on darkmanian social media when they lost to a "awfull, yet catzy song" were crowned the winner.

Men In Leather (Or M.I.L for short) are a trio of three men whose main goal is to "redpill the motherfucking world of the suffering of the world". They have become a name within the darkmanian border due to their borderline fascist performance, even of all three aren't even fascist. Ërÿk is actually a member of the Centre-left party "Labour Movement". Now, Ërÿk Lövermäk, Trevör Fëstepäm and Jänes Rëstmelÿr, will try to bring the long-awaited victory to Darkmania.



The stage is filled with darkness. Only Ërÿk, Trevör and Jänes are on the stage with the props. Out of nowhere, a voice can be heard.

Slåss!
(Fight!)


Suddenly, "soilders" dressed like those from a certan country who`s name will not be mentioned goosestepps on stage with a flag whos name shall not me named but its from the same country as the dancers who is dressed as soilders. Ërÿk sits on a thorne with a king`s crown and is dressed like this. Ërÿk also has a cape with fake fur in the end with "red coloured things". The camera has issues trying to showcase what the hell is going on and cuts to shots that makes this
Alt vi gjør er en løyn
(Everthing we do is a lie)

Fasade. Tom inni
(Facade. Empty inside)

Livet er bortkastet
(Life is a waist of time)

La oss fjerne dritten
(Let us remove the shit)


The king stands up from his throne and slowly walks down the stairs that the throne is placed atop on the stairs. The cape is ripped of when Ërÿk are on the stage-level, revealing a hidden 15 on the cape pained in "red coloured thing" on the otherwise black cape.

Ingen skal overleve
(No one shall survive)

Alle er rotten inni seg
(Everyone is rotten inside)

Alle sammen er en sviker
(Everyone is a traitor)

Røde elver nå
(Red rivers now)


Trevör, the one in the group who sings like an angle, sings. He is dressed like a poor farmer and he`s barefooted. His right foot has a giant red dot.

Alt det vi gjør
(Everything we do)

Ingen vei tilbake
(No way back)

Alt som vi er
(Everything as we are)

Ingen ting er sant
(Nothing is true)

Hva er vitsen med oss
(What`s the point of us)


Ërÿk, with a king`s crown, begin to command the soldiers to drop the flags (witch they do) and begin to attack Trevör. Jänës are the last soldier, wearing his mask.

Krig og elendighet
(War and rubbishnes)

Korrupsjon og pengevask
(Corruption and moneylaudnirng)

Ingen snakker sant lenger
(No one is talking truth anymore)

La oss starte en ny verden
(Let us make a new world)

La oss fjerne dritten
(Let us remove the shit)


The soilers begin to harras Trevör as they drag and abuses him.

Ingen skal overleve
(No one shall survive)

Snøflakk skal smelte
(Snowflake shall smelt)

Alle lyver
(Everyone`s lying)

La oss begrave oss
(Let`s burry ourself)

Sammen blir vi et
(Together we become one)


Trevör, down sings while the soilders drag around him.

Alt det vi gjør
(Everything we do)

Ingen vei tilbake
(No way back)

Alt som vi er
(Everything as we are)

Ingen ting er sant
(Nothing is true)

Hva er vitsen med oss
(What`s the point of us)


They throw Trevör to the centre of the stage and with all his power. The Soilders (and Jänes) backs off.

Alt det vi gjør
(Everything we do)

Ingen vei tilbake
(No way back)

Alt som vi er
(Everything as we are)

Ingen ting er sant
(Nothing is true)

Hva er vitsen med oss
(What`s the point of us)


One by one, each soldier, Trevör and Jänes falls and plays dead. This causes a pileup by "dead" people.

Ingen skal overleve
(No one shall survive)

En ny verden
(A new world)

Ingen skal overleve
(No one shall survive)

Alle er rotten inni seg
(Everyone is rotten inside)

Alle sammen er en sviker
(Everyone is a traitor)

Røde elver nå
(Red rivers now)


There is only one soldier left and Ërÿk points to him with a finger gun.

Ingen skal overleve
(No one shall survive)

Ërÿk shoots the lone soilder with his finger-gun and the dancer falls on the floor.
Last edited by Darkmania on Mon Apr 01, 2019 12:26 pm, edited 6 times in total.
22/M/NORWAY #DMN
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Not racist. The name has noting to do with racism.

Vermin Supreme 2020

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Nekoni
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Posts: 650
Founded: Jan 29, 2013
New York Times Democracy

Postby Nekoni » Thu Mar 21, 2019 2:54 pm

Entry No.16: NEKONI
Dulce et decorum est
Étan
Based on: When Is The Future? by VNV Nation

Nekoni have gone for internal selection again, because that worked so well the last couple of times. And this time, they've gone with 52-year old artist, Étan. It's an odd choice to have someone of that age enter a contest that skews young, but NTR are fond of taking risks. Whether or not those risks pay off is another matter.

Étan's big break came in 1986 in the dying days of the big synthpop boom. Whereas the electronic pop music of the era was moving from its cold, ethereal sparseness to the more marketable visages of neon and plastic, there was still a viable audience for those who wanted pop music that wasn't going to be played at someone's wedding reception or child's birthday party 20 years later, and that's when he stepped in, and his career hasn't really dipped. Consistently releasing albums for over thirty years in this style he almost ironically calls 'future wave', the public hasn't gotten tired of the 'scary bald suited man with his angry synths'.
Image




The song begins as the stage is empty, the camera focusing on the video displayed on the screen. Étan can be seen, with his shirt off, wearing only dark camo tracksuit bottoms, as he enters a dank, white room. The walls of the room are exposed, painted brickwork. The room contains a single reclining black leather chair and a desk with an array of what looks to be surgical implements. He lies back in the chair.

As the song begins, a taller man enters the room, carrying a tattoo gun with him. He is dressed in a white trenchcoat, and has a dust mask on. The camera cuts between first-person shots of both men and a scene containing both, as the taller man tattoos the Latin phrase "dulce et decorum est pro patria mori" on the left side of his chest, with close-up shots of the pen injecting into his skin interspersed with reaction shots, e.g. Étan's hands clenching the armrests of the chair in pain, close-ups of his face as he clenches his teeth in pain.

As the tattoo is finished (at 0m26), the artist stands up, takes off his dust mask, and smiles. As Étan stands up out of his seat, the artist immediately places a black flak-jacket on him. He silently nods to him as a helmet is placed on his head.

The verse begins in the arena itself. Étan appears on the main stage, dressed in the same outfit as was in the video. We can't see whether the tattoo was real due to the jacket covering it. As he sings, the screens behind him display tall, black skyscrapers, with helicopters flying between them.

(1m01)
Rifles on our backs
Spreading mud across our face
As we enter the city
Ravaged by the wars

There is blood on our hands
And we can't hear the screaming
Of the lives that we are ending
For the good of our cause


The camera points to session band members at the side of the stage here. We see on the left an electric drum kit, and on the right a couple of benches with tons of archaic-looking synthesisers on them. We can barely see the men behind them, but all are dressed in black generic dress shirts to be out of the way.

(1m20)
To the beat of the drums
Taught to hate our enemy
From the soles of their shoes
To the whites of their eyes

With our weapons drawn
Facing the target
We scream our battle cries
And run into the night


As the chorus begins, he begins to be flanked by ten soldiers dressed as him either side. They enter from behind the musicians' positions. Some of them are wearing gas masks, and all are carrying black assault rifles with white piping. The camera cuts to a wider shot and pans to display them entering as the videos show black and white legacy footage of war: bomb testing, soldiers running assault courses, that sort of thing.

(1m37)
It's a glorious thing
It's the meaning of life
I salute my flag
And for it I will die

For the king and country
We will lay down our lives
Destroying the present
For the sake of our future


At this point, the troupe has completely formed, all standing in one line of twenty-one bodies. It should be fairly obvious at this point that the rifles are discharged for drill use and cannot fire. We wouldn't be that reckless.

(1m55)
This isn't a game
No simulation or lie
There's no hidden meaning
What once lived now must die

For the king and country
We will commit our crimes
Destroying the present
For the sake of our future


Beginning the second verse, the troupe begin to march down the stage in formation: two rows behind Étan who is in the centre. The background screens continue their slideshow of war.

(2m22)
Even caught unawares
We are stoically moving
Into a waking nightmare
Of our own creation

Sleepwalking through the dust
A thick fog of war
Without a clear objective
But to protect our nation


As the troupe heads to the front of the catwalk, two female soldiers dressed in dark military tunics march between the two lines, each holding a large flag, one white, one black. Both are wearing peaked officer's caps and gas masks with spikes protruding from them.

(2m40)
For every man that falls
I'll take ten of theirs down
The numbers lose all meaning
When it's fight-or-flight

We toast our fallen friends
We had to leave behind
I can still see their faces
When I close my eyes


During the second chorus, the female soldiers have reached the front of the stage, and have unfurled their flags. They both have a generic military crest on them, with the Latin phrase "dulce et decorum est pro patri mori" stitched onto them. The screens display these words, erratically flashing each word in order.

(2m57)
It's a glorious thing
It's the meaning of life
I salute my flag
And for it I will die

For the king and country
We will lay down our lives
Destroying the present
For the sake of our future


The screens have now changed to the English translation of this phrase: "It is a glorious thing to die for your country."

(3m16)
This isn't a game
No simulation or lie
There's no hidden meaning
What once lived now must die

For the king and country
We will commit our crimes
Destroying the present
For the sake of our future


During the instrumental, the troupe of twenty soldiers all perform a synchronised drill with the rifles. It's a complicated thing, a lot of spins involved, but all of the movement is with the hands. There is no movement from any of the platoon's legs. The drill finishes with all the guns aimed vertically upward.

At the beginning of the chorus they all 'fire' their guns to the sky (again, no actual ammunition is used in these, they are for demonstration only). This is synchronised with a shot of pyro from the stage roughly just to the side of where each of the soldiers are.

(4m10)
It's a glorious thing
It's the meaning of life
I salute my flag
And for it I will die

For the king and country
We will lay down our lives
Destroying the present
For the sake of our future


A giant banner is unfurled from the ceiling at main-stage level, in white. It contains the phrase in Latin again, in large block capitals. Black and white tickertape rains from the sky, as the soldiers raise their free hands in the air and make a closed fist.

(4m27)
This isn't a game
No simulation or lie
There's no hidden meaning
What once lived now must die

For the king and country
We will commit our crimes
Destroying the present
For the sake of our future


During the outro, they silently march off stage, Étan included. There is no big bang ending, it is allowed to fade out, as the video screens show the continuation of the clip shown at the start, with Étan in his flak jacket and helmet, rifle in hand, walking towards the exit of the room, the bright aperture rendering him as just a shadow.
Last edited by Nekoni on Mon Apr 01, 2019 5:40 am, edited 7 times in total.
Yes, we are cat people. No, we're not Japanese. We're not that kind of cat people.

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Merecendi-
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Posts: 66
Founded: Jan 02, 2017
Democratic Socialists

Postby Merecendi- » Sat Mar 23, 2019 10:13 am

KAT UND CHIQUEEN
WITH POOTIE AND ZAHAHAHAHARA

A lifestyle and animal care show


POOTIE: Hie boosbghogeinbs!!! We are happy and here.
ZAHAHAHAHARA: Yes! It is true! We are a show! In Beseten!
POOTIE: LIPOSUCTION LAND!!!!
Opening Act

ZAHAHAHAHARA: I see people. People are boring.
POOTIE: This is ugly. I want fun singsong.
Britonisea

POOTIE: What is a "pubic enmity"????
ZAHAHAHAHARA: Silly, it's when your happy gets mad! That's why she killed him!
POOTIE: YAS EVA! KILL HIM WITH KITTY!!! Her kitty scares me.
Main Nation Ministry

ZAHAHAHAHARA: I don't know what this is. Why would you want to be popular.
POOTIE: I think it is like a fursona! I think I am a popular deep inside!
Talvezout

POOTIE: WHAT SHE SING???? I don't know!
ZAHAHAHAHARA: I think she sang about her kitty being lonely. Sad.
Venkatanaros Imharajuvaripieta Rdraskska

ZAHAHAHAHARA: Haha! That nation means "I like big bobs and I cannot lie!" in Merecendian!!!!!!!!!
POOTIE: Why they all sing nonsense? Are they us???
ZAHAHAHAHARA: I think they are!!!
Fatiman Federation

POOTIE: Who Is That They Are Ugly.
Mister X

ZAHAHAHAHARA: La la la, so fun! I am eating my friends.
POOTIE: You are so right! After my rooster has come, it has gone!
ZAHAHAHAHARA: That's right! I can't find it anymore, ha ha!
Antahbrantahstan

POOTIE: Where she go???
ZAHAHAHAHARA: To where all the wigs go. A happy head in heaven.
Ekoz

ZAHAHAHAHARA: What is an Ekoz? I have never seen such a thing.
POOTIE: I Think The Song Ended.
wip
Last edited by Merecendi- on Mon Apr 01, 2019 12:53 pm, edited 6 times in total.

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Todlichebujoku
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Posts: 4246
Founded: Feb 24, 2012
Left-Leaning College State

Postby Todlichebujoku » Sat Mar 23, 2019 10:14 am

18. _Tödlichebujoku_



In Control

VUORENPALO


Inspired by the style of VulkanišenYáán, VUORENPALO is a rock band from Seltsameboči that has intermittently topped the Tödlichebujoki charts.The band started in a decrepit garden shed, originally by guitarist Aldrik Ito and drummer Čou Lehtonen, before soon adding lead singer Raganhar Satou, bassist Harduvich Vatanabe, and pianist Jun Laaksonen. For years they performed locally at university events, bars, and clubs, before finding a breakthrough at a festival in Fleišlichenkanki where the opening Izmeduan act Zoran Milos was lost in a snowstorm. Soon after, they hit the charts with the debut single "Sotakrito" and their follow-up single "Romahdus", both reaching the top 5 of the Tödlichebujoki overall music charts. It seemed like the band's big break, the one to finally bring them on a long crest of success, as they found themselves performing at national music award shows and headlining festivals. But soon their expectations were doused as their following singles found a lukewarm reception, and the band's name plummeted in the charts. As their relevance declined, the band members found themselves focusing on their roots and what made them unique. This seemed all and well, but tragedy struck when Jun Laaksonen was killed in a crash while racing in the backcountry. Shocked and horrified by this, the band members put music on the back burner as they opted to pursue their different hobbies and goals.

So it seemed that VUORENPALO was dead and buried, and die-hard fans felt the gnawing of nostalgia as they listened to the past hits and albums, nearly certain that there was no return in store for the future. But in a surprise appearance at the Beiszendmizu festival from which they broke through, the band announced its revival and the addition of keyboardist Taavo Mákinen, and proceeded to roll into the Tödlichebujoki chart's number 1 spot with their single "Tulipalo Vuorella". Their return to the hard-hitting sound of their beginnings soon brought them back to the heights they had once reached, and even beyond, creating tracks for movies and winning one of the top entertainment awards in the nation. It was only a matter of time before TÖBUK, desperate for redemption, asked the group to represent the nation in WV72. And unlike several other top artists, VUORENPALO had a schedule opening, and as quoted, said, "why the powers not?"

The band's song "In Control" has its roots in the collapse-and-return experience of VUORENPALO itself. When interviewed, frontman Raganhar Satou shared that "the idea is that you're losing control, maybe in a project, maybe in your life in general, and you feel completely hopeless. But out of nowhere something happens. The strangest, smallest, most insignificant thing. By pure serendipity, perhaps the perfect alignment of mystic forces, you find the inspiration and drive to put the reins back into your hands and the wind back into your sails." Some observers have ventured that this seems eerily similar to how the broadcaster TÖBUK might have felt after WV71, but the band promises that they had never thought of such a thing. Either way, VUORENPALO is eager and excited to perform in Lipa, and hopes to make new friends and new fans along the way.

At first, the stage is entirely dark. Diffuse blue light then slowly fades on, outlining the shape of a humming choir robed in black along the back wall of the stage, before faint light illuminates the backsides of the members of VUORENPALO on center stage, so that their front sides are still dark. Light glints off the brushed metal of the instruments, some large drums faintly visible in the slight glow. Raganhar Satou stands ahead of the rest of the band, holding a microphone
I hear your call
Screaming for a miracle, something to save you now

There is no change in lighting, but the cameras capture a dynamic view of the currently static performance
I'm gazin' out
The stars will not align no matter what I find, hopeless

On cue, star-effect lights fade on from above and behind as a spotlight shines on to Raganhar, but just so it only illuminates his face and nothing else. For a second or two, he seems to look off to the side, far away, as if distracted.
There's no easy cheat
Looking at defeat, melting down faster in the heat
Weakened, no way to flee
To flee

A spotlight blinks on to illuminate the rest of Raganhar and VUORENPALO. He is revealed to be wearing a gray leather jacket over a white shirt, and black pants, with the rest of the band in similarly themed attire. The lights then shift up so that everyone onstage is only illuminated from the neck/shoulders up, aside from the black-robed and hooded choir members, as the background screen depicts a sparse starscape passing by, with the star effect lights continuing to glimmer. As the next stanza begins, all the band members appear distant, heads fixed in space, as if entranced or mentally gone
Lost in endless space
Drifting in this silence day by day
I can hear you fall apart, insane
Crashed into the chaos, losing aim

A rotating array of spotlights shines upon the shoulder/chest plane of the band, the camera view panning close to the level of the light beams and viewing the band's frozen faces from multiple angles.
Now we gotta face the facts and breathe

Raganhar breaks his entranced look and lets loose, bending forward as his face scrunches up due to the effort being put into his voice. Almost immediately after, the spotlights swing out and the stars of the backgrounds and accent lights whirl as if out of control
Cause we're not in control
Power's stripped to the bone
Held on but so alone
Embrace the black unknown

Along the edge of the stage, an array of speakers facing upwards launch metallic sand into the air to the beat in homage to Vulki's WV28 performance. Raganhar tours along the edge of the stage, behind a veil of jumping, shimmering sand. His body movement is very energetic, jumping and running short bursts as he sings
Cause we're not in control
I hear you in your soul
A frenzied fever note
No longer in control

As the chorus ends, the spotlights blink out, but now the stage is lit entirely from one side so that all on stage are strongly half-light, half-dark. With each beat of the verse, the lights flash in intensity, as the camera comes in for some close-in shots of band. Raganhar sings directly into the camera view with an unwavering gaze even as he moves and raises his chin to the beat
Don't hold your breath
I can stand and tell your lies, but we all know now that we're doomed to fail,
Trapped in our regret

The band members all subtly but visibly jerk their bodies to the beat as one, as if the beat is in control of them. A sketch of falling fruit, white pencil on black background, plays on the background screen, with worms and mushrooms consuming the fallen fruit.
Fruits of labor fall and rot, that's how it is even high above
The circle of life
So take a quick seat,
Humble, not an easy feat, is it

With the last line, Raganhar executes a quick eyebrow raise and cock of the head, gazing knowingly at the camera with the next line
These laws of life, don't play

The lights cut out on the band and Raganhar falls to his side as if thrown to the ground, singing the chorus as the stage floor plays an animation of rapidly whirling stars, what one would see from the perspective of a spaceship that is out of control
Lost in endless space
Drifting in this silence day by day
I can hear you fall apart, insane
Crashed into the chaos, losing aim

Now face up, he shouts with passion
Now we gotta face the facts and breathe

Raganhar gets back up, and the rest of the band is now visible whenever it is illuminated by a pulse of light during each drumbeat
Cause we're not in control
Power's stripped to the bone
Held on but so alone
Embrace the black unknown

Cause we're not in control
I hear you in your soul
A frenzied fever note
No longer in control

Raganhar has made it out to the projecting platform, where he falls to his knees into a fetal position on the stage floor. The lights fade out and only a soft spotlight remains on him. It's as if Ranganhar has lost all his energy and has lost himself to despair, only weakly looking up, his voice soft
Letting go now
The heart knows it's done
The heart knows

He maintains his position for the next two lines before rising to a crouch, reaching out to the fans at the edge
We're gasping for air, we're grasping
For a lifeline, a cure that can save, us now
Got to embrace it

He rises fully, before jumping as he returns to the chorus
We've got to embrace it

The glimmering sand flies high, higher than it did before as it shines in a million different directions due to an array of sparks firing up alongside it, along the edge of the stage. Raganhar is jumping, stomping, and hitting the stage hard with his passion and energy. The rest of the band members are visibly living on their own terms, heads banging to the beat, hair whipping back and forth
In control,
Power's stripped to the bone
Held on but so alone
Embraced the black unknown

So let's be in control
I hear you in your soul
A frenzied fever note
We can be in control


In control

One last go, Raganhar is at his knees and facing upwards, roaring into the microphone with his eyes closed in concentration
We can be in control
Last edited by Todlichebujoku on Mon Apr 01, 2019 11:59 am, edited 3 times in total.
早晨!ToBu for short. - some tunes -
Hladgos wrote:ToBu. I both hate, and love you.
Euskirribakondara wrote:2. Todlichebujoku, shut up and take my money. Your entry was pure art. I think we should bestow upon your song the title of "Best Worldvision Act Ever".
The Royal Kingdom of Quebec wrote: Tod. You never run out of interesting yet little bit controversial ideas..... :p
[violet] wrote:You are my go-to nation for long names.
On Sept 4th 2017, Izmedu wrote:tobuball is the resident wvball milk drunkard with moments of insanity

User avatar
Todlichebujoku
Senator
 
Posts: 4246
Founded: Feb 24, 2012
Left-Leaning College State

Postby Todlichebujoku » Thu Mar 28, 2019 2:48 pm


- F R I G I D E K A S A I N L E N T O L E H T I -



THIS WEEK'S TOP 20 SONGS
PRE-WORLDVISION CHARTS

Full Playlist




1 Hadit & NAUYA ft. NIISA - Uusi Maailmanyáryestüs
Tune: Krewella & Yellow Claw ft Vava - New World
Wow, what a sound! A three-way international collaboration leads the chart, with previous WV entrant NAUYA finding success at home despite a less than stellar result at WV71

2 Beninho Puxado & Arpia ft. Gerda Ferrero & Eglee - Gostoso
Tune: Yazz, Serayah, Jamila Velazquez - All Nite (Yo Gotti Remix)
Former Sinun Valintasi artists Arpia and Gerda Ferrero team up with star Eglee and producer Arpia for a song that's echoing through nearly every Tödlichebujoki party

3 VUORENPALO - In Control
Tune: Imagine Dragons - Natural
Tödlichebujoku's WV72 entry has gotten quite high for a WV entry, TÖBUK's efforts clearly resonating with the public in this case

4 Balodis ft. Biruta Purmale - Švīts
Tune: J. Balvin, Jeon, Anitta - Machika
The first fully international song, this duo from the Saulei nations has been a smash hit in the nation

5 Avaris ft. Amor Romo & Donatão - Keho Liikkuu
Tune: David Guetta ft. Nicki Minaj & Lil Wayne - Light My Body Up
Still high on the charts after a month, this track is one that's had lasting appeal

6 GL - Unohdettu
Tune: Witt Lowry ft. Deion Reverie - HURT
A surprise newcomer to the charts; music journalists predict that GL might find a receptive audience in Izmedu as well

7 Franšeska Lukrezi - Without You
Tune: Matoma ft. Josie Dunne - Sunday Morning
Kalosia's WV71 entry has been a hit with the Tödlichebujoki public, achieving the highest rank for a foreign WorldVision song in recent memory

8 Namazu & Ansgar Ibatu - Lumivüörü
Tune: Apashe ft. Wasiu - Majesty

9 Kaksoset - Aurinko tai Sade
Tune: Hunter Brothers - Born And Raised

10 Teemu Fukui - Pekarinen
Tune: SAKIMA - Daddy

11 Jadrana Bogovic - Wanderer
Tune: Halsey - New Americana
This Izmepisma entry has defied the Tödlichebujoki Izmepisma jury, finding broader appeal in the public sphere

12 Armor ft. Hadit - Ühdessá
Tune: KSHMR & Yves V. ft. Krewella - No Regrets

13 Gorana Sever - Mržnja
Tune: LOBODA - Ne Nuzhna
Gorana still ranks high though, despite the public's preference for Jadrana

14 Kuro Ozolinš - Láhempáná Sua
Tune: Dylan Schneider - How Bad Could One Kiss Hurt
Kuro has been a slow burner of a rising star, and has been tipped as a potential future WV artist by insiders

15 Jun-iči Hoch & Ekkehard Liinamaa - On My Own
Tune: Nick Jonas, Robin Schultz - Right Now
Tödlichebujoku's Vha Mehlodhivestoile act squeezes into the top 15 between two folkpop songs, and is rising as the show continues

16 Rudolf Korhonen - Uusiutuminen
Tune: Hunter Hayes - Dear God
Former WV entrant Rudolf focuses on the long-term effects of emotional pain in his latest single "Relapse"

17 Sampo Solak ft. Elfriede Matsuoka - Hüvásti
Tune: Chace ft. Yade Lauren - Something About You

18 Luurankoavain - Musta Saarsa
Tune: BEAST IN BLACK - Blind And Frozen
This band's surprising success has attracted the attention of TÖBUK's WorldVision branch; perhaps something will come of this in the future

19 Maitohači - Kolmipüorá
Tune: CupcakKe - Crayons
Maitohači, a popular crystal personality, has been catapulted into the top 20 by her loyal fanbase, with her song "Tricycle" promoting body positivity and sexual flexibility

20 Laila Khan - End of the Road
Tune: Hidden Citizens & Rånya - Strange Young World
The Tödlichebujoki top vote in Vha Meh's Semi 1 has found its way into the Top 20, and can only rise from here


早晨!ToBu for short. - some tunes -
Hladgos wrote:ToBu. I both hate, and love you.
Euskirribakondara wrote:2. Todlichebujoku, shut up and take my money. Your entry was pure art. I think we should bestow upon your song the title of "Best Worldvision Act Ever".
The Royal Kingdom of Quebec wrote: Tod. You never run out of interesting yet little bit controversial ideas..... :p
[violet] wrote:You are my go-to nation for long names.
On Sept 4th 2017, Izmedu wrote:tobuball is the resident wvball milk drunkard with moments of insanity

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Kalosia
Minister
 
Posts: 2544
Founded: Jan 09, 2013
Liberal Democratic Socialists

Postby Kalosia » Sun Mar 31, 2019 9:40 pm

19
Kalosia
Man on a Mission — Maria Guterës ft Fërnandu Kruž
performed in English to the tune of Baby — Clean Bandit ft Marina & Luis Fonsi


Following the third place success of Franšeska Lukrezi in the 71st WorldVision Song Contest, the executives at RTVK did not want to disappoint. This time round, they came across a man with an idea — a manager from a record label who submitted track that seemed to be a flamenco tune with a beat added on top of it. This person convinced the head of delegation that, with a bit more refining, they could be on to something big. And so RTVK accepted it. The flamenco tune was written by Palmañë-based songwriter Fërnando Kruž, with lyrics written by his colleague Maria Guterës. The track was refined, but rather than find someone to sing it, it was decided that the composer and lyricist could perform it for Kalosia.

For the occasion, Maria wore a very pretty yellow dress while Fërnandu wore a gray suit-like outfit that had a blue tint. Both outfits were inspired by the local traditional wear.

In Lipa, as the song began, the camera zoomed to a close up of a guitar being played. Then the stage lit up in all its colours, and Maria walked out. Also on the stage were two guitarists and one percussionist.
Standing here, feeling all the gloom
Your side of bed is no longer warm
This was once our apartment room
That kept us safe from the lightning storms

But then you stopped coming home
Living off of a cubicle
Couldn’t take this for any longer
We had to let each other go

The lights dimmed for a second.
Find me another place and time
If only you see the stars align
I couldn’t stop you and your heart’s ambition

As the lights came back, Maria walked down the catwalk.
So we had to part ways
We couldn’t go one more day
I will hold on to what you say
Thanks for your confession
But you were a man on a mission

She stopped. The wind machines came on and her dress flowed with the wind.
Miss you…
Feel you…
Want you…
You were a man on a mission

At this point, Fërnandu comes out on stage and walks down the catwalk to join Maria. The camera makes this known by panning to him as well as showing him in the blurred out background when focused on Maria in the next part.
All caught up in the way we were
I felt your hands slip away from mine
You said the words that I love to hear
But I could tell you don’t wanna ride

You kept talking about the grind
Like a man who has lost his mind
Couldn’t take this for any longer
We had to let each other go

Fërnandu taps Maria's shoulder and starts singing to her. He later takes Maria's hand.
Baby I know that it hurts for you because it hurts for me also
But the fate wasn’t in our hands and this thing is much bigger than us but don’t forget
Because you have my heart
You’re the passion of mine
And I’ll love you forever

Now Maria sings, looking disappointed. Fërnandu slowly steps back, still holding onto Maria's hand.
But we had to part ways
We couldn’t go one more day
I will hold on to what you say
Thanks for your confession
But I couldn’t take your hand

Fërnandu tries to pull Maria with her back to the main stage but Maria lets go.
And it’s such a shame
To walk away and let die our flame
We both know that deep down you feel the same
Hard to say it’s over
But you were a man on a mission

The cameras alternate between Maria and Fërnandu as the lights on the stage and the graphics in the background dance around.
Miss you… (Yes I know, yes I know)
Feel you… (But we'll be strong)
Want you… (So just hold on)
But you were a man on a mission

Lights dim, one spotlight on Maria.
I should’ve stopped you when I noticed all the signs
But I know you’ll be always mine
I promise this is not goodbye
But you were a man on a mission

Stage returns to all its glory.
Miss you… (We’ll meet another day)
Feel you… (And then I’ll promise to stay, promise to stay)
Want you… (We’ll be who we are)
But you were a man on a mission (Or it is not love)

In this final part, Fërnandu walks back up to Maria. Maria sees him come up, he extends his hand, and they embrace as the song ends.
Miss you… (I work hard the days and the nights and everyday I can’t stop thinking of you, babe)
Feel you… (I know you’ll be patient, my love, even if it cannot work for us right now)
Want you… (Because I must follow all the dreams I have held on)
But you were a man on a mission (And the time, it will pass… like three, two, one, zero)

The song ends and the audience cheer. The two bow; Fërnandu says "THANK YOU BESEN!!!" while Maria adds "GRAŽIA!!!" before the two leave the stage for the next entry.

User avatar
Saviera
Attaché
 
Posts: 93
Founded: May 16, 2012
Compulsory Consumerist State

Postby Saviera » Sun Mar 31, 2019 9:52 pm

20. Saviera
Let Me Stay, by Mario Condominius

To The Tune Of Mere Lapsed by Koit Toome

He is Just a Kid with a Piano. And He is Here to Sing

The snow is gently falling on my skin
But still my heart stays warm within
Thinking of all the places we have been
Cause we dared to begin

With every second passed, I miss your glance
The best that I have ever seen
And I hope you’ll give me a second chance
Cause that’s where we should be

I’m sorry that the birds don’t fly today
I’m sorry that the lights can’t find your way
I know what I did was not okay
So forgive me please and let me stay

Although these feelings, they may never fade
I know new memories could start
And I feel it’s not true that God forbade
The beating of our hearts

I’m sorry that the birds don’t fly today
I’m sorry that the lights can’t find your way
I know what I did was not okay
So forgive me please and let me stay

I hope you’ll listen to my song
I know we’ve got it all along
Believe that you’ll stay forever strong
I’m not afraid to say that I was wrong

I’m sorry I hurt you, that’s not okay

I’m sorry that the birds don’t fly today
I’m sorry that the lights can’t find your way
I know what I did was not okay
So forgive me please and let me stay

I’m sorry that the birds don’t fly today
I’m sorry that the lights can’t find your way
I know what I did was not okay
So forgive me please and let me stay


Everyone Claps. Mario Condominius Says: Thank You Lipa! God Bless Saviera! And Leaves the Stage.

User avatar
Mercedini
Diplomat
 
Posts: 912
Founded: Mar 05, 2016
Civil Rights Lovefest

Postby Mercedini » Mon Apr 01, 2019 8:58 am

#21 MERCEDINI
Ylinqar - "Occhi"
Tune: Mahmood - "Soldi"
Music: A. Titu, F. Gabrinelli, F. Vaunche • Lyrics: A. Titu, S. Borlaviac, F. Gabrinelli

Image

Following ample speculation from WorldVision Fan Groups across the multiverse, Ylinqar was confirmed as the Mercedinian representative for the 72nd edition of the WorldVision Song Contest with his song 'Occhi', translating to 'Eyes' in English from his native language of Mercedinian. Little is known about the Mercedinian vocalist, with Ylinqar holding little previous experience in the realm of international music, or indeed, the realm of music within Mercedini. The Mercedinian delegation have been quick to defend Ylinqar's lack of discography, and is working with the artist to perfect his song and the eventual show that will be performed on the night of the 72nd WorldVision Song Contest. Mercedini's fifth place finish in the previous edition held in the Main Nation Ministry was seen as a disappointment in some senses, with a record breaking number of nations giving Mercedini 12 point, but still falling a solid twenty-three points behind Izmedu, the eventual winners. WorldVision has been falling out of favour with the general public as of late, with dissatisfaction at the same nations at the top end of the leader board edition after edition. It's hoped ENM can finally join the top table of nations in terms of results, but also in terms of lifting the title which has alluded them for nearly a quarter of a century since their debut at the 48th editions. They have come close on numerous occasions in the past, but in the end it's the points that count more than anything in these types of competitions. Ylinqar finished off a multi-legged multiverse tour next week to familiarise his song with those nations who will ultimately pick a winner of the 72nd edition of the WorldVision Song Contest.


The song begins with the opening piano chords ringing around the Nena Arena in Lipa, with the camera making quick cuts to different angles, all showing Ylinqar on stage with the three primary colours flashing in sequence with the silhouette of the Mercedinian performer creating a black human form for the viewers at home. Ylinqar is wearing all-black combat outfit and stands in the main portion of the stage, he lifts his microphone to his mouth as the introduction fades away to allow Ylinqar to being the Mercedinian entry to the 72nd WorldVision Song Contest.

Three backing singers are located at the side of the stage to accompany Ylinqar with the vocals, with two leather armchairs located to his left which will be used for the choreography later in the song. A close-up of his face begins the performance, with his face barely lit with a simple deep red background behind him.

Due cuori insieme ma distanto
Il ghiaccio scorre nelle loro veno
Non osando guardarci l'un l'altro
Ma vogliono ancora una voltio

Il suo caffè, è diventato fredda
Il suo truccei è stato lavato via
Scende la notte, e loro odia

Two hears together, yet distant
Ice flowing through their vains
Not daring to each other
But they want one more time together

His coffee has since gone cold
Her make-up has since washed away
Night falls, and they start to hate


Ylinqar rocks side to side as he repeats any words in the second half of the first verse, with a short cut over to the backing singers before returning to the action on the main part of the stage. White beams of light all converge onto Ylinqar and flash with the piano chords of the accompanying music. The colours subside, leaving only the white lights to rise from the floor and converge of his hand as he lifts it up into a fist in the air. For the final third of this part of the song, cameras switch from a left-view to a right-view before the first verse comes to a conclusion with the camera zooming in on Ylinqar from a central point

E loro odia, odia, odia
"Perché odia, odia, odia?"

Per un momento, una scintilla dentro di loro si accendai
Due anime in guerra si fermano per un respira

Lento, si avvicinano
I secondi sembrano'ro
Le stelle si uniscono

And they hate, hate, hate
"Why do we hate, hate, hate?"

But for a moment, a spark within them begins to ignite
Two souls at war stop for a breath

Slowly, they approach
Seconds feel like hours
The stars come together


The first chorus begins with a wide view of the arena, with everyone flashing their phone lights in the audience with Ylinqar singing in the back ground. The white beams of light flash downwards for each drum slap that sounds inside the arena and in the television sets for the people watching at home. For the duration of the chorus, the camera work shows shots of the stage from far away to show the viewers the scope of the arena. The audience watch on as Ylinqar walks over to the two leather seats for the choreography of the second verse.

Cosa vedono?
Ameriti occhi, occhi
Nessun ei, comprendiosi occhi, occhi
Condine, nun esso prami puti, puti

M'aleve odia, odia, odia
"Smettila odia, odia, odia"

What do they see?
Through blackened eyes, eyes
Nothing felt as they cover their eyes, eyes
Blank stares, he sees nothing but a prostitute, prostitute

But they still hate, hate, hate
"Stop this hate, hate, hate"


The second verse choreography consists of the single shot viewing the two leather chairs which were alluded to before, the shot doesn't move and is fixed on the seat for the duration of the second verse. A Computer Generated filter on the shot adds a woman to the shot who is sitting opposite, with a number of children running around the two of them, both in front of them and behind them. Ylinqar looks at the woman sitting opposite (who isn't actually there) who simply sits there and listens. The Mercedinian vocalist stands up, which triggers a reaction in the virtual filter and the fake-people on screen, as the darken and crumble into dust as Ylinqar walks away into the centre of the stage for the lead-up to the second chorus.

Il giorno dopo, nulla cambio
L'ignarenza riempie la dimoro
"Hai sentito quello che senta?"
"Se'mi 'tissi ero all'inferna"
Inizia una giornata normale

E loro odia, odia, odia
"Perché odia, odia, odia?"

The following day, nothing changes
The air of ignorance fills the home
"Did you feel what I felt?"
"If I felt, I was in hell"
A normal day begins

And they hate, hate, hate
"Why do we hate?"


White lights return to the staging and flickers as the song's piano notes move up and down to become apparent in the performance. Mirroring the staging of the first verse, the camera move from left to right and from near to far to encapsulate the message in the song with direction and visual clues to the audience at home, some subtle, but some a lot more obvious to give the people at home a viewing feast for those who are switched on. Ylinqar steps forward as the second chorus begins.

Per un momento, una scintilla dentro di loro si accendai
Due anime in guerra si fermano per un respira
Lento, si avvicinano
I secondi sembrano'ro
Entrambi sono stati qui primo
Non importei

But for a moment, a spark within them begins to ignite
Two souls at war stop for a breath

Slowly, they approach
Seconds feel like hours
Both have been here before
They don't care


The Mercedinian performer walks along the long catwalk through the centre of the arena with all the frills and trimmings included in the staging which was included in the previous chorus' staging. Flags are waving as camera across the arena in Lipa track the Mercedinian as he makes his way past thousands in attendance. The primary colours flash and change with each drum beat that rings around the arena. Ylinqar covers his eyes as the screen fades to black to conclude the second chorus. We are well into the song with the audience getting more and more into it.

Ameriti occhi, occhi
Nessun ei, comprendiosi occhi, occhi
Lui vede quancun altri, altri

M'aleve odia, odia, odia
"Smettila odia, odia, odia"

(As they watch through) blackened eyes, eyes
Nothing felt as they cover their eyes, eyes
He sees someone else, someone else

But they still hate, hate, hate
"Stop this hate, hate, hate"


Ylinqar stands at the end of the runway and on the connected island as the lights flash violently around the arena, catching on the lens and blinding the audience at home with the sheer amount of light that is being emitted by the lights, mainly from the stage. The camera adds a quick cut which shows the backing singers all watching on with their hands on the microphone, singing along as Ylinqar stands stationary, the only stationary thing in an arena of action and energy. He lifts his hand up to conclude the interlude with the light all stopping motionlessly.

Mamma chi? Mamma chi? Chi e qui per noi?
Te ne sei andato, non c'e niente quira
Papa chi? Papa chi? Chi e lei, ti figli, per noi?
Avamo, avamo tutto, ora nienai

Nessun ei, comprendiosi occhi

Mother who? Mother who? Who is coming for us?
You left, now nothing remains
Father who? Father who? Who is she, your children, to us?
We had everything, now we have nothing

No feelings, as the cover their eyes


He now turns his back on the audience to walk back to the main portion of the stage, which is tracked by cameras from multiple angles. A manned-camera now moves up on to the stage and circles the Mercedinian performer with the lights from the stage on one side and the lights from the audience on the other. Ylinqar steadies himself for the final chorus of the song, with audience deadly quiet to listen to the song and not disturb the emotion of the song which the Mercedinian delegation is hoping to translate to the international audience.

Lento, si avvicinano
I secondi sembrano'ro
Le stelle si uniscono
Cosa vendono?

Slowly, they approach
Seconds feel like hours
The stars come together
What do their see?


He covers his eyes with one hand while he is holding the microphone with his other as the primary colours which were present at the start of the song now bleeds into the screen behind the performer as the lights which illuminate him now fade into darkness, in a near perfect recreation of the opening seconds of the song. The lights whip around the arena one more time to the sound of the drum beats.

The primary colours now flash one by one once again as Ylinqar takes a step back from the stage and towards the rear of the stage. No lights are illuminating the people on stage as they become silhouettes in the coloured screen which lines the back of the stage. The final notes ring out across the stage as Ylinqar throws one fist into the air to finish his performance, following a long night of music and energy.

Ameriti occhi, occhi
Nessun ei, comprendiosi occhi, occhi
Condine, nun esso prami puti, puti

Nel mundira, influsci piu di te stessa
Due amanti, caduti nel nulla
M'aleve odia, odia, odia
"Smettila odia, odia, odia"

Through blackened eyes, eyes
Nothing felt as they cover their eyes, eyes
Blank stares, he sees nothing but a prostitute, prostitute

In this world, you effect more than just yourself
Two lovers, fallen to nothing
But they still hate, hate, hate
"Stop this hate, hate, hate"


The crowd cheer following an accomplished performance from the Mercedinian, he takes a simple bow and walks forward to wave at the crowd and thank the Besenian crowd in English and in his native Mercedinian. "Grazij, Thank You Besen!!" A quick cut to a group of cheering Mercedinians are shown on screen before a transition is made to the next portion of the show, live from Lipa in Besen.
.................................................................................................................................
Novapax Founder • Host Portfolio • Trophy Cabinet
World CupBest: Group Stage ('77, '81)
Cup of HarmonyBest: Champion ('72)
U21 World CupBest: 3rd Place ('43)
U18 World CupBest: Champion ('4)
Independents CupBest: Champion ('5)
WC of HockeyBest: 4th Place ('35)
WJHCBest: Champion ('13)
WorldVision
Best Placing: 2nd (DUM '55)Most Points: 103 pts (Tampon Bay '69)

World Hit Festival
Best Placing: 1st (VDZ '34, GRA '36)Most Pts: 34 pts (Mousiki '31)
Junior World Hit Festival
Best Placing: 3rd (FAU '3, ZOL '4, TSH '5)Most Pts: 26 pts (Tushlark '5)
Mercedini in WVSC & WHFs

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