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World Hit Festival 45 - Vodiznad, Izmedu | IC Thread

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Izmedu
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World Hit Festival 45 - Vodiznad, Izmedu | IC Thread

Postby Izmedu » Tue Apr 30, 2019 12:30 am

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WHF Network - OOC Thread - Draft Thread

20:00 IZMEDUAN TIME


Lucky number 45. The World Hit Festival was maturing even further as a contest, cementing itself as a prestigious, distinguished, and consistent stalwart in multi-versal music. A new overseer was now in charge of the contest and future possibilities are always abound.

For Izmedu, this was the eighth time lucky for them as hosts. The World Hit Festival returns back to Izmedu after a surprise victory in Anollasia. No one at RTI had expected to host so soon after the country retired from the overseership, with many expecting the hosting mantle to go to other countries. When the hosting mantle was right back in Izmedu's hands, there was a sense of trepidation and fear amongst the channel. However, after taking a look at the legacy built so far, as well as the timing, how was Izmedu to say no? And thus, here we are now. The WHF returns to Vodiznad for the first time since the 34th World Hit Festival, holding in the largest audience that the country could possibly afford. The electricity and atmosphere was electrifying, breathtaking, and surreal. The audience were cheering hungrily for the show to start.

Those managing the show in some corner in the temporarily renovated, 27,000 strong La Cianta Arena. Even so, there were fans that were clamoring for more seats. The excitement was palpable as a countdown to the show began to start. RTI producers glanced at their Britonish counterparts, feeling that familiar sense of excitement from hosting the festival. The clock on the screens would slowly tick down to zero. The cheering would get progressively louder the closer it ticked down to 0.

Before long, the 45th World Hit Festival had truly begun...

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Anita - I Believe
Tune: Joy Williams - Welcome Home

The broadcast proper began in silence. It showed first a scene of a quaint mountain in the outskirts of Vodiznad. The sound of wind began permeate in the broadcast (this was also projected in the arena as well). The camera would zoom out to reveal a young woman wearing a thick jacket, looking out into the distance. The landscape that the viewers and that she herself was one that was almost sublime, awe-inducing. It was Izmedu's vast natural landscape presented in the best possible shot, an almost overwhelming valley of greens and modest peaks that was devoid of any human presence sans the woman standing on the mountain. With an angle shift that showed her face only from the nose down, she can be seen smiling wistfully.

With that smile, the view would 'freeze' as an orchestral backing track would start playing. The broadcast would then apply a gradual gradient on the screen, mirroring that of the show's official logo. The words, 'I believe,' stylized like in the logo, would appear on the screen sans the World Hit Festival markings. As the instrumentation gradually swooned, a familiar scene began to appear on the screens... Kalosian fans watching at home would especially recognize the two people currently being shown on a stage in Polumisec. They were Corpus Calosum.

Zdravo, my beloved old friend
Your eyes are gaunt, your young heart feels so heavy
I sense that all hope has been lost, all torn and broken
And all I have are these small pleas, so take my hand and trust me...


The voice of a young woman (the singer's name Anita) would began to play over an effect-laden 'recap' of Corpus Calosum's win in Polumisec. Her voice would play as the backdrop as scenes can be seen of their successful victory, from the reprise to the passing on the hosts. Scenes from the 42nd World Hit Festival would play on the screen as an impactful collage of memories. Throughout the first verse, one can see images of Kaapo Séélinen, Esther Winterbourne, and the eventual winner herself, Britonisea's Evangeline Hope. At the final line of the verse, silent recaps of Britonisea clinching the scoreboard lead can be seen, prepping up to the moment of the chorus...

I believe
I believe
Hold onto the strength you have
I believe


With a soft bang and as soon as Anita sang 'I believe,' the view would focus on a scene of Evangeline Hope reacting to the revelation of her win in Altan. The music crept to an almost still silence, with only a set of strings and a domineering piano helping the proceedings. Anita singing the chorus was the very background that played host to a collage of Evangeline accepting the trophy, before fading into iconic black and white images of her win. By the end of this chorus, we were in Burgendore. The gradient taking over a subtle recreation of the template provided by the 43rd World Hit Festival.

Ju znam, it's easy to give up
Stay strong, even in your darkest days
Know that you are free and loved, free to fly and soar
This world may not believe in us, take my hand and say with me


Images and video clips of the WHF in Burgendore began to play in the screens as Anita sang the second verse. Shots of their opening sequence would play alongside this verse. As flags from various nations appeared, from Polkopia, to Normandy's, to the Britonish, and to the appearance of the Britonish hosts, Anita would sing over these sequences as audio clips of Elias and Evangeline's would occasionally play over her singing. These audio clips had an echo applied to them, as if Anita was singing over a distant memory. At the second half of the verse, we'd start to see the contestants take their turn. Marie Agent, Anna Kisdeminn, Les Pompiers, and Anima would all appear.

I believe
I believe
Hold onto the strength you have
I believe


The second chorus intensified in its instrumentation and delivery, especially matching the way Anima had passionately performed as they would showcase the very brief bits of their entry. During this chorus, we would then start to see Anollasia's rise to victory; the instrumentation further intensifying the more points Anollasia had. By the end of this chorus, Anima's (and Cael's) victory was now properly wrapped into the braodcast and made apparent from the 'recap' of the recent World Hit Festival. Just in time for the bridge, the World Hit Festival was now turning towards Jefferton for its 44th edition, the gradient turning light blue and white in Anollasia's national colors.

Don't let go of your dream, stand tall with no regret
Remember who you are deep inside
You are worthy
Hold on to love


The instrumentation kept to its consistent crescendo, showing scenes from the 44th World Hit Festival in Jefferton. In time to the 'climax' of this opening theme, there were shots of the Good Fellows performing the Anollasian Opening Act. Then, we would get the contestants themselves. From Daniel O'Callaghan, Rafael Tunisi, to Leonardo Nesita, Queens of Diamonds, and finally... the reason why this World Hit Festival is happening in the first place, Dorotea Viskovic & Nenad Niskic.

I believe
I believe
Stay strong for us, my beloved
Trust me when I say this...
I believe


For this final chorus, it was a brief but short reprise of Dorotea's victory. Anita's crooning of 'I believe' was interspersed with a black and white image of Dorotea holding the trophy and looking up, a few tears brimming from her eyes if one closely looked at the image. At the closing lines, the shouts of the audience would begin to be heard... The gradient now looked more familiar, and we went from Jefferton to Vodiznad. At the final note of the song, the full logo of the 45th World Hit Festival was now revealed on the broadcast.

The logo would linger on the screen for a few more seconds until all effects faded, blurring into a shot of the La Cianta Arena's interior. The 27,000 fans in the arena were all cheering loudly for the commencement of the show. Even if the opening act was shrouded in mystery, those who were familiar with Izmedu's hosting style had a feeling of what was going to come next. La Cianta pulsed with silence just for a few more seconds, before the brief set of lights that were giving off a haunting hue also all turned off. It was time for the opening act of the 45th World Hit Festival...

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Helena Alic & Petar Pribanic - Ponos
Translation: Pride
Tune: Elvana Gjata ft. Flori - Kuq e zi je ti

Just one pluck of the guitar from the backing track, the crowd was already going wild.

On the screens, which was the queue for the crowd to quiet down as much as possibly could considering the example, was a poem in Izmeduan being recited within the song itself. The words were brief, appearing in cursive text as soon as they were spoken in the song as if being shouted through a megaphone. The words were spoken quickly, going as fast as they even appeared. A rough translation went as thus:

For too long we have stood in plight and suffering
Now is the time to resist the darkness that resides within us
Within us is a voice, it must be set free!
This is the time to take back what was ours
To find a light within the wilderness
And burn brighter than the sun


The last words echoed throughout the arena, almost to the point where it even resonated and appeared within the broadcast itself via a special effect. Each echo caused the camera angle to change before stabilizing into one that was directly horizontal with the main stage. The light configuration was now a haunting red hue that would continually linger until the introductory instrumental ended. For just a second, the arena would lie quiet and dormant...

The La Cianta roared to life at the commencement of an anthemic drum beat. The crowd cheered loudly as the arena was imbued in a huge of red and white. Right on cue, the camera would switch to a dynamic bird's eye view of the stage would slowly move outwards. People bearing the flags of the participating nations of the 45th World Hit Festival can be seen running in pairs from opposite sides, confluencing at the middle of the stage before pausing briefly once they reached the edge of the stage, performing a bit of choreography to herald the entrance of one of the two main singers of the song. There were 16 flags on the stage, with the flagbearers utilizing their bodies and dynamic movements to create some flashy and dramatic choreography to introduce Helena Alic. She marched on to the stage with hard eyes and a troupe of other dancers behind her, looking at the audience with determination. The camera would focus on her and she would begin to sing...

Idemo, idemo!
Trči divlje conmaic
Pivati, pivati
Odbimo tak biti
Budite el tuni
Pauze vaše zidov
Zajedno pivamo
Za ova proslava


Helena and her dancers/backup singers had their arms raised as she sang this first verse with a triumphant and defiant tone. Behind her, the dancers stood stock still as the flagbearers would still circle around them. She delivered this chorus with an intensity in her eyes, marching forward in opportune moments (with her troupe following suit). The lights would flash white to the beats, pulsing down on the persons on stage. Helena would then execute some light choreography at the hook, the camera zooming in on the stage to focus on her and the dancers before briefly taking a wide view. For a brief instrumental interlude, colored smoke can be seen wisping around the stage.

Ganeči con mnom, sam ponos
Sam slobodan, sam ponos
Večeras mi slavimo
Mi smo vuk, svitili od saul
Večeras mi slavimo
Mi smo vuk, svitili od saul


The chorus of the opening act saw the audience cheer as the camera would take a close view of Helena and her dancers for just a few seconds. She would sing the first few words stock still, before engaging in stomping-esque choreography at 'sam ponos.' The camerawork and the lights were frenetic the entire time, the views shifting from the audience waving their flags in time and rhythm to the beats or for Helena and her dancers stepping and moving forward in lockstep. Either way, the excitement did not let up, and Helena did not allow herself to lose breath as she led the dancers and the audience through the high-energy act. The flagbearers, Helena, and the dancers would regroup at the end of this chorus, all going in formation as even more colored smoke (in the varying colors of the participating countries) would parade around the stage.

Sam ponos! Dođi! Dođi!
Sam ponos! Dođi! Dođi!
Sam ponos! Dođi! Dođi!
Sam ponos!...


In this chant, it would be one of the flagbearers that would lead them through. At each beat, they would clap their hands in the air twice in unison, perform some light choreography when 'Dođi' was chanted, and would clap once more when 'sam ponos' was yelled. The crowd chanted alongside those on stage, up to and including the 'ohhhhh' build up at the last iteration of 'sam ponos.' After that, it was pure pandemonium on stage as the dancers, Helena, and flagbearers were getting the audience to jump up and down with them. Some were seen performing intricate routines, almost to the point of nigh-breakdancing on stage. This was accentuated with a constant chanting of the beat, with the camera equally focusing on both the dancers on stage and the audience. As soon as the instrumental interlude ended, the dancers would get back into a regular formation. Someone from the dancing troupe would 'unexpectedly' step out, revealing himself to be Helena's co-singer for the opening act. It was Petar Pribanic, an artist long thought to have been retired.

Nemoj oklivati
Mui, opusti se
Idemo, idemo
Ovo naš trenutak
Budite el tuni
Pauze vaše zidov
Zajedno pivamo
Za ova proslava


Petar situated himself right next to Helena as both looked at each other with a mutual camaraderie. For one line, they would glance and nod at each other before Petar would look towards the audience for the rest of the second verse. His voice definitely recounted the kind of Izmeduan tradition/throated-singing that many older Izmeduans were accustomed to hearing. He carried the song with a sense of both excitement and solemnity. He would walk as close he could to the audience. The stage configuration may not have made true stage interaction possible, but he would sing directly to those in the front row and pump them up with excitement as best he could. Once his verse done, he and Helena shared one more knowing glance, smiling at each other. It was time for Helena to take control of the song once more...

Ganeči con mnom, sam ponos
Sam slobodan, sam ponos
Večeras mi slavimo
Mi smo vuk, svitili od saul
Večeras mi slavimo
Mi smo vuk, svitili od saul


Helena sang the chorus with full force, engaging once more in a smilar choreography as she did earlier. Her and her dacners' movements were just a touch more intricate and passionate, taking in the extended energy from the crowd. This was where the colored smoke ceased its effects. The stage was now clear, but the lights still remained a maelstrom of red and white. At the end of this chorus, the camera would switch from its various angles of wide and close to a static shot of Helena and the dancers once more going in formation.

Sam ponos! Dođi! Dođi!
Sam ponos! Dođi! Dođi!
Sam ponos! Dođi! Dođi!
Sam ponos!...


Another chant. This time, it was the audience dominating the proceedings. Each chant of 'sam ponos' saw the camera angles and the lights flash in time of the words. It alternated between shots of the audience and the dancers, with some invested audience members also following along with the choreography (especally the tighly timed clapping). Clever camerawork would involve timing both the audience's clapping and the dancers' with alternating shots, especially at each 'sam ponos.' At the end, the dancers would disperse once more, preparing to send off the opening act with one last hurrah...

Ganeči con mnom, sam ponos
Sam slobodan, sam ponos
Večeras mi slavimo
Mi smo vuk, svitili od saul
Večeras mi slavimo
Mi smo vuk, svitili od saul


This time, the choreography was far more informal, and Helena, Petar, and the dancers/flagbearers were now all huddled together as much as possible. They would all have their arms raised at opportune moments, standing stock still as a testament and statement. Helena passionately sang out the last parts of the song, being ably supported by Petar and the dancers. Once the song was done, Helena, Petar, and the dancers would quickly disperse from the stage.

Let's go! Let's go!
Run wild with me
Let's sing, let's sing
Refuse to be silent
Be loud like thunder
Break your walls
Together we sing
For this contest

Shout with me: I am proud!
I am free, I am proud!
Tonight we celebrate
Burning brighter than the sun
Tonight we celebrate
Burning brighter than the sun

I am proud! Come on! Come on!
I am proud! Come on! Come on!
I am proud! Come on! Come on!
I am proud!...

Do not hesitate
Let yourself run wild
Let's go, let's go
This is our moment
Be loud like thunder
Break your walls
Together we sing
For this contest

Shout with me: I am proud!
I am free, I am proud!
Tonight we celebrate
Burning brighter than the sun
Tonight we celebrate
Burning brighter than the sun

I am proud! Come on! Come on!
I am proud! Come on! Come on!
I am proud! Come on! Come on!
I am proud!...

Shout with me: I am proud!
I am free, I am proud!
Tonight we celebrate
Burning brighter than the sun
Tonight we celebrate
Burning brighter than the sun

The audience cheered loudly, almost to the point where the announcement of tonight's World Hit Festival host was drowned out by the cheering. Tonight's host was another media and TV personality, and the one burgeoning mastermind of VodiFest in particular. His name was Toni Tomic, the man picked to help facilitate the hosting of the 45th World Hit Festival on the TV screens. He came out onto the main stage after a minute to let the stagehands prepare the proceedings and for the calm to crowd. He had a quip ready, some witty remark and a pointed glance at the crowd. However, the cheering never seemed to find any end. Instead, Toni was left in a stunned supor when he was face to face with the crowd after countless rehearsals. It was there where he knew that he was gonna have to do a bit of improvising. Either way though, he let the surprise within him play out as he took a step back. He pointed towards someone manning the camera, and it was agreed to let this crowd cheer until the broadcast really needed to push the show forth. Once there was a semblance of silence, Toni felt comfortable to begin the show.

Toni: What a crowd, huh!?

That caused quite the chuckle and another cheer from the crowd. Yep, this show was going to definitely run over the perscribed length. Toni took a deep breath, smiling at the audience with an almost jokey look.

Toni: So we're just gonna keep cheering? Ok, ok don't take the bait! Alright, let's get this show started.

Toni: Welcome, everyone, one and all, from the Izmeduan watching near the TV to those tuning in all around from the multiverse. Welcome to the 45th World Hit Festival!

There was cheering here, the camera panning out to the audience for just a few seconds.

Toni: For quite a few of us, we've all been here before. We know what this contest is about, what it entails, and what we're going to do here. However, for someone who's not in the know... Well, I'm happy to explain!

Toni would take a step forward as a podium was raised for him in front of the stage right on time. He carried his cue card as producers gracefully exited the stage, only being barely caught by the camera's gaze.

Toni: The World Hit Festival is one of the oldest singing competitions in the multiverse. Simply put, if you ever wanted to watch nations battle it out for musical glory, this is the festival for you. However, it's more than just whoever gets that first place trophy.

Toni: Have you ever wanted a festival where you actually get to see different styles of music that you've never been exposed to, get largely televised like this? Some of the nations here bring some styles of music that one doesn't get to hear everyday. Not only do you get to see nations battle it out, this is also expanding your musical horizons as well. How's that for marketing?

Toni: Anyway! I know I've waffled on enough, but just one more thing...

The logo of the 45th World Hit Festival appeared before him on the screens, causing the crowd to cheer.

Toni: The big number 45? This contest is definitely long in the tooth. And let's not forget, this is RTI's... my god, is it really the 8th time we've hosted this?

Somewhere in the arena, the general-director is silently weeping.

Toni: We've built quite the legacy here. Let's keep this going. We have 16 nations ready to present their entries here. Only one of them can win, but we'll worry about that when the times comes!

Toni: Alright... our lucky number one is... Estogium! Hey! Elias! You ready?

The camera would fade to the first frame of the Estogian postcard as the audience cheered loudly. After an opening theme and act, the 45th World Hit Festival had now truly began in earnest.
Last edited by Izmedu on Wed May 01, 2019 3:21 pm, edited 10 times in total.

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Postby Izmedu » Tue Apr 30, 2019 12:31 am

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Last edited by Izmedu on Wed May 01, 2019 12:18 pm, edited 5 times in total.

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Postby Izmedu » Tue Apr 30, 2019 12:39 am

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Last edited by Izmedu on Tue May 07, 2019 7:58 pm, edited 3 times in total.

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01 Estogium

Postby Izmedu » Tue Apr 30, 2019 12:39 am

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Tune: Tom Grennan - Run in the Rain

01. Estogium
"Tired of Lying" - Elias Nordin

Language(s): English
Lyrics: Elias Nordin, Kieran Whiters, Pheobe Williamson
Music: Kilburn Lewis, Gilbert Johansen, Andra Bandas
Tune: Tom Grennan - Run in the Rain

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Elias Nordin in Izmedu: Elias was intially meant to represent Estogium at the 40th World Hit Festival in Mousiki, but never got to. He now has another chance at an Izmeduan World Hit Festival...


Estogium returns to the World Hit Festival for the fourth time in a row, finally sending Elias Nordin with the song, “Tired of Lying” in the hope to score Estogium their first ever victory at an international singing competition.

For the first time since World Hit Festival 34, Estogium will participate at the World Hit Festival for the fourth time in a row after the nation made an appearance at the Festival in Altan, Burgendore, Jefferton and now Vodiznad in Izmedu. This marks the 6th time that Estogium will be sending a delegation to Izmedu for the World Hit Festival in the 18 editions that Estogium has participated in (⅓ of all participations).

In the participation at the 44th World Hit Festival in Anollasia, Estogium sent a duo to the competition for the first time since the 31st World Hit Festival. RVC sent Ola Ruah and Jayden Adams with the fresh, young and modern song “Cold River”, with the hope that Estogium would improve on its failing reputation at the World Hit Festival. In the editions before Anollasia’s, Estogium placed a low 16th and 15th place in Kalosia and Britonisea respectively making those two entries two of the worst entries Estogium has ever sent to the World Hit Festival. RVC thought that by sending something that is a bit more current in the form of the pair Ola Ruah and Jayden Adams, Estogium’s chances of winning would be significantly increased.

At the World Hit Festival in Jefferton, Anollasia, Ola Ruah and Jayden Adams were cheered on by many fans that had travelled to Jefferton from Estogium and neighbouring nations such as Britonisea and Aloquirbe. Their song was popular amongst nations within the region, but the support transnationally might not have been as high as they wanted it to be. When the voting came around, it became clear that Estogium was not going to be a contender to take the victory but was on course to improve their results that they received at the 42nd and 43rd World Hit Festival and ultimately, they did. Overall, the pair placed 8th place with a total of 12 points - the best Estogium has done since the 40th World Hit Festival in Izmedu when Estogium had to battle against 14 other entries in the Semi-Finals to qualify to the Grand Final to place 8th with 29 points. While RVC did not exactly achieve what they wanted, they were happy that they had improved on their results.

With viewership of the World Hit Festival going up and down, RVC - at the end of the 44th World Hit Festival - had to find a way to try and bring in the audience to watch the Festival with the hope that the nation could win the festival. It has now been 26 editions since Estogium debuted at the World Hit Festival and in 18 participations, the nation has failed to even crack the top 3 on any occasion. With fatalism setting in the minds of Estogians nationally (this sense of fatalism is also felt for a certain other song contest that shall not be named), RVC are hoping that through the personality that they are going to send to the 45th World Hit Festival, Estogium’s faith can be restored and other nations in the WHF-Sphere will begin to take Estogium more seriously as a contender for the title.

Initially, Estogium had planned to send Hunter Malden with the song “Remercio Teis” (Thank You), but as Junterapten’s World Hit Festival HQ announced that the World Hit Festival 46 would be specifically an orchestral edition, RVC assured Hunter Malden that this edition would be a better edition to send Hunter, who has been waiting a long time to represent Estogium at any song contest with his song which has been released now ages ago. Instead, RVC contacted Elias Nordin to represent Estogium at the 45th World Hit Festival, sending his song “Tired of Lying” which has already been quite a hit in Estogium.

Elias Nordin might be a familiar name to some avid fans of the World Hit Festival. Elias Nordin was initially selected to represent Estogium at the 40th World Hit Festival with his song “One Step Ahead” which received fair appraisal from home but most cruically, from other nations such as Mercedini and Britonisea. In light of the announcement that Semi-Finals would be introduced into the 40th World Hit Festival, Estogium’s broadcaster decided to drop Elias from participating at the 40th World Hit Festival and instead send Viv Rumie who had previously represented Estogium at the 38th World Hit Festival. Elias spoke about how disappointed he was to be dropped by RVC and explained that the broadcaster did it in “a very cold and harsh way, but it was outlined in the contract that I happily signed.” Estogium did go on to qualify at the 40th World Hit Festival which was mentioned above.

It is almost as if karma has worked in his favour for the 45th World Hit Festival, however. He was invited to participate at the World Hit Festival 45 by RVC and had initially thought that RVC was joking with him. Though, RVC seemed to be much more positive this time around than the time before and explained that the song that they would end up sending was one that they had faith in regardless of whether there was a Semi-Final process again or not. Elias, after reading over the contract and noticing a change clause which said that Estogium’s RVC will have to send Elias to a World Hit Festival before approaching any other artist, he realised that if he signed this contract, he would have complete power over Estogium’s participation at the World Hit Festival this edition and in editions to come. After spending time to think about it, especially with his lawyers, he decided that he would say yes and go ahead with representing Estogium at the World Hit Festival. He said that “this is [his] time to prove what RVC missed out on all those editions ago.” Indeed, Elias is here to prove a point at the World Hit Festival this edition.

Elias Nordin is a 28 year old musician from Jorsvik which is a city in Northern Estogium where people are from the Brityunikosphere and migrants from Kalmarlund usually reside if they choose to live in Estogium. In fact, Elias Nordin has heritage from the nation of Kalmarlund, regularly visiting the nation over festive periods in order to remain true to his roots there and also back home in Estogium. Elias has had mixed success making music over the past ten years, with his success mainly being focused in Estogium alone, never really making an impact on neighbouring nations where the music industry is a lot harder to crack. Elias Nordin has also appeared on multiple different shows in Estogium where he has been a host of shows on smaller channels. He says that “he is not too famous, he’s able to go to the shops without being dragged out by screaming fans.”

He realises that this could change depending on how he does at the World Hit Festival, and both he and RVC believe that they could do very well in Vodiznad, Izmedu.


italics - also sung by male vocalists along (could be with Elias or without)

He walked on to the stage during the postcard for Estogium with the microphones strapped around his body. He put in the in-ear piece as he held the microphone in his right hand. He stood right in the middle of the stage waiting for the postcard to end. He wasn’t wearing anything too extravagant, opting for a grey long-sleeve jumped and grey ripped jeans. He also wore a chain with a cross over it - he wasn’t particularly religious or anything, but he thought that it looked pretty good with the outfit that he was wearing, but it might also be a little charm for him going forward at the World Hit Festival. The man was hopeful, he was wishful that he would do well in the capital city tonight.

The fog was turned on and as we got closer and closer to the start of Estogium’s performance at the 45th World Hit Festival, there was a slight chill in the air on the stage as the fog surrounded his feet and made way up his body. The postcard finished and the roar of the audience almost deafened him. He put his head down as the lights in the arena lit up signalising that it was the start of the performance. There was a silence before the song started with an odd person shouting “Elias!!” in the arena.


Hmmmm….
Hmmm…


Everything was dark, the lights on the stage slowly turned on and focused on Elias as soon as the music started. The camera panned from one side of the stage over to Elias out of focus. For the audience, they could see a man standing strongly in the middle of the stage as the humming was happening around him. The fog billowed from the bottom ports at the edges of the stage, with it following a trail over his body. He held the microphone down at the start of the song, but as he was about to sing the first section of his song he lifted the microphone to his face. The shot changed to another one which was a close-up to his face. As he started to sing, his raspy voice echoed in the arena. The camera shot became clearer, with Elias looking directly into the camera...


The man about town,
Let's nobody down
So reliable,
Never would I frown.
Gotta live up to what the world wants you to be
Yeah, It’s your duty.


The same shot was focused on Elias as he sang the first verse. Elias sang straight into the camera but showed emotions to it - thinking deeply about the words that were coming out of his voice which of course makes everything seem much more real to the audience watching at home. Along with the guitar sound that was playing gently in the background, there were little flickers of on the screen that was behind Elias. As he sang “It’s your duty”, the camera went out of focus as he lowered his head and faded to black…

There was then another shot that was slightly off to the side but at a similar distance to where the other camera was. He looked over to the right where the camera was without moving his body, speaking to the audience, telling them to think of him if they have a problem. The lights in the arena hardly changed either, still keeping it very dramatic for the audience watching at home...


When you have a problem
Think of me, I'll solve them
Do you want to cry?
I will give you my warm shoulder
But what about me?
I'm crying inside.


Elias looked back to the front of the stage, where he was looking before, as he sang the words “But what about me?”. The shot was slightly further back that how it was before and this time the camera was always in focus. The fog seemed as though it was getting more heavy, with his ankles being completely covered for the audience that are currently in the audience. As he sang “I’m crying outside”, he looked away from the camera, showing those at home his side profile. He then went on to sing the pre-chorus, with the camera zooming slowly out to reveal his whole body and outfit standing on the stage.

Along with the change of song and the shot, the lights that were focused on him all pointed towards the audience, with secondary lights making sure that Elias was still lit despite some of the lights now being focused on Elias. Elias sang the pre-chorus with a bit more gusto than he had in the verses as though what he was saying, he really felt.


Can no one see that I'm hurting?
Walking charity; take more from me
But I guess it doesn't matter…


He looked back at the camera which was still zooming out as he sang the final line of the pre-chorus. As the chorus softly rolled around for the first time, he sung in to the microphone, looking up and slightly holding the microphone away from his mouth as he belted the word “living” out into the audience. The screens behind Elias had different designs on it that were in keeping with the overall mood that was created by the staging already. Another shot from further away went from the left to the right of the stage on a track, showing those watching on television the audience swaying from left to right all together...


I'm tired of lying,
I have had enough!
I've put others before me, I don't regret it
It did some good.
But I've forgotten how
To love myself !
If I don't love myself, how can I expect others to love me?
How can they love me?


At this point, the fog started to get less thick, with it slowly dispersing. The second part of the song was a bit brighter than it was before, with him walking slightly forward towards everybody in the arena. As he finished singing the last line of the chorus, he placed his free hand over his heart, looking directly at the camera which was closer to his body. That camera lost focused and faded into the next shot which was to the side of him.

He turned to face this camera, slowly walking towards it as it moved back. As he sang “Throw you a wide smile,” Elias smiled cutely at the camera before looking down and continuing to sing. As the song continued to thicken in texture, the staging and lighting did too with it becoming more in touch with the music. The lights to the back of him were slightly increasing and decreasing depending on how fast the hi-hat sound of the drums was. Elias was really focused on the words that he was singing...


Throw you a wide smile,
Stay with you for a while
No, it is not as if I have somewhere else to be.
Don't you worry, it's not about me.


Elias looked at the camera as he said “Don’t you worry” but he turned around towards the main bulk of the audience at the front, almost flicking away the camera that was focused on him. Another camera zoomed in to the stage rather quickly as he sang “it’s not about me”.

And as Elias sang “I am underwater”, he dropped to the floor dramatically with the camera (from the same shot that zoomed into him) quickly tilting up. The whole stage quickly transformed to a pool, you could say, with the lights on stage turning to a royal blue along with the screens behind him and the floor. As the camera tilted up, there was a large splash that you can see on the screens, which followed all the way and to the floor where Elias was. The colour of the blue got deeper and deeper around Elias who was crouching down on the middle of the stage.


I am underwater,
Trying to swim through the tide
But I cannot cope, it is too hard
Now dying’s on my mind
It’s morbid but
It will ease the pain!


The camera zoomed away from him as he sang the last section of that verse. He managed to get himself up and stand in the same position that he was in when he started off the song. Elias shook his head and stamped his foot on the ground as he got more and more into the song that he was singing. He started to feel a tiny bit emotional based on the words that he was singing - really, they would make anyone who had those thoughts very emotional.

As the chorus came, there was a shot on the track, which now panned from right to the left of the stage (the opposite of the shot going from left to right earlier). Elias almost was leaning over and he belted the start of the second chorus of the song. It was getting closer and closer to the end of the bridge section and the dramatic finish to the song. The backing male vocalists joined the man singing during the second chorus making it seem so much more full than the first time he sang the chorus. The cameras shots were from far away and closer up, with the delegation using a variety of shots to show Elias’ emotions through his body and his face...


I'm tired of lying,
I have had enough!
I've put others before me, I don't regret it
It did some good.
But I've forgotten how
To love myself
If I don't love myself, how can I expect others to love me?


He had finished singing the chorus, with the water now falling from the top of the stage, keeping with the nautical theme that was set when he sang about being underwater. The blue was still very present in the staging and the water now falling from the top made it seem so much more dramatic. There were orange sparks with flickered around the stage’s screen amongst the blue. Elias started to get more and more soaked as he continued to sing the bridge section...


I’m tired of losing, I am tired
I’m tired of loving, I am tired
I am tired of living, I am tired
I’m tired of lying, I am tired
I won’t be alright,
I have had enough…


During this small break in instrumentals at “I won’t be alright”, all of the lights turned off on the stage except for spotlights that were focused on him with the water still falling over him gently, all of his clothes now soggy and his hair flattened by the water. He looked deeply into the camera, nodding, before he belted “I have had enough”, with the camera quickly zooming out to the further point in the arena.

Blue and orange lights (the same orange from the sparks created in the screen behind him now using the lights around the arena), flashed on with him singing “I’m tired of lying” once again with the blue behind him, changing gradient and the orange sparks behind of him increasing and decreasing. RVC also used the royal blue and orange colours as the two colours are the most prominent colours in the Estogium flag - so the team were being quite patriotic when deciding the colours to use in this performance….


I'm tired of lying,
I have had enough!
I've put others before me, I don't regret it
Yeah, it did some good.
But I've forgotten how
To love myself
If I don't love myself, how can I expect others to love me?


The water falling from above him increased, with the rain falling pretty hard over him. As he belted the start of the final chorus, the camera shot zoomed out once again, with there being wide shots of the orange and blue filling the stage spectacularly amongst the falling water. He used strong hand gestures when singing, beating his chest and he sang and stamping his foot with the splashes of water going everywhere.

The male vocalists were really carrying the song as Elias belted notes over them, Elias was in his own world as he lead the song from the front through the soaking that he was getting from the water falling over him...


I'm tired of lying (I have had enough!)
I can lose no longer (maybe it's all my fault - what did I do?)
Maybe it's my fault
If I don't love myself, how can I expect others to love me?


At the last bit, the lights in the arena died off with the spotlights and fog coming back in akin to how it was at the start of the performance. A camera quickly zoomed in for the last line of the song...


Yeah, I've had enough...


The camera then went out of focus and the lights faded out. The audience came in with a huge roar. Elias smiled and shook his head to get the water out of his hair. “Thank you, remercio teis everyone, thank you!” he put his hands together and bowed for his audience. He then slowly walked off the stage. He realised that for him, that performance felt rather cathartic for him. The audience were cheering and the Izmeduan stage personnel were busy drying the mess the Estogian delegation made to the beautiful stage...
Last edited by Izmedu on Wed May 01, 2019 11:27 am, edited 3 times in total.

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Postby Izmedu » Tue Apr 30, 2019 12:40 am

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02 Kalosia

Postby Izmedu » Tue Apr 30, 2019 12:42 am

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Tune: Tango do balčak — Duke Bojadziev

02. Kalosia
"Susuri d'amurë" - Alešandru Mireli

Title Translation: Whispers of Love
Language(s): Kalosian
Lyrics: Alešandru Mireli, Domeniku Meraľu
Music: Alešandru Mireli, Bastianu Kruž, Silvestro Taľone, Zefania Korsikanë
Tune: Tango do balčak — Duke Bojadziev

Kalosia's participation in the 45th World Hit Festival in Vodiznad was rather interesting. For the first time, the entry was a song that was shortlisted to compete in Festival dëla Kanžu Kalosianu (FdK), an song contest run annually since 1962. It is Kalosia's biggest domestic musical event of the year (and the biggest overall until the island nation started to host WorldVision and the World Hit Festival). It is often compared to Festival dele Canzone Sanremo in neighbouring Italy, or Festivali i Këngës in rather distant Albania. Somehow, despite years and years of quality music, there had never been an overlap between it and Kalosia's participation in the two international song contests, although all three are managed by the same broadcaster.

However, although this song was initially shortlisted to compete and released as such, it ultimately did not take part in the festival. After the list of competing entries was released along with the previews of the songs, members of the public as well as professional musicians were quick to point out that portions of this song resembled a Kalosian folk tune written in the 1950s. Faced with public criticism, the singer and songwriter Alešandru Mireli withdrew the song from competing, though he was soon invited to enter it in Festival dele Melodie Kalosiane, the Kalosian national final for the World Hit Festival, where there is considerably less scrutiny.

Perhaps because of the difference in the type and quality of songs that compete in FdK and FMK, Mireli easily blew all his competition out of the water and he left the show with a ticket to Vodiznad.

For the special occasion, he wore an all-white outfit (like this but a bit more fancier and less streetwear-like), and was joined by 3 backing dancers — two of them holding percussion instruments and another holding a traditional instrument — as well as a violinist and a female dancer doing ballet-style choreography. Everyone was dressed in white.

As the opening notes of the song played, the stage was rather dark. A spotlight shone on Alešandru as the rest of the stage was dimly lit.

Sto gardandu a l’ošanu
Apre li bikeri di vinu
Sentu il ventu
E ul momentu
Školto ali susuri d’amurë

Now the camera showed the backing singer playing the traditional instrument before panning out back to the singer.

Penšandu di moje ažioni
Perdonandu toji spaľi
Ma ja në pošu lo kontrolarë
Lë pasatu në pošu kañarë

The camera then showed the dancer, occasionally going back to shots of the singer.

Afonda la lunë u lë mar
E swana le stele ale nuve našentë
Es tropu tardi

Ma la navë a lašata
Moje speranze pežate
E la distanzë es nia sëfidë

Now the stage lit up a little. The background showed what appeared to be a perilous stormy sea. Everyone was playing their part.

Afonda la lunë u lë mar
E swana le stele ale nuve našentë
Es tropu tardi

Ma la navë a lašata
Moje speranze pežate
E la distanzë es nia sëfidë

Now the lights started to dim again and the camera showed only Alešandru.

Ma au fedë u l’amurë
Në es la finë

The camera briefly showed the violinist as he started to play, which then went to the dancer, dancing during this instrumental break. The audience cheered. The way the staging had been set up had made it quite an emotional entry so far.
And then the camera went back to Alešandru.

Kez pošu farë per gwarirë
Mia animë e tiu koru?
Në së lašatu una notatë
E sto ki u l’oskurita

It was now a stage wide shot.

Afonda la lunë u lë mar
E swana le stele ale nuve našentë
Es tropu tardi

Back to Alešandru, and back to the stormy sea.

Ma la navë a lašata
Moje speranze pežate
E la distanzë es nia sëfidë

As the singing part had ended, Alešandru went over to the dancer and started dancing with her. The backing singers had similarly left their post and started performing behind Alešandru and the backing singer. With a "uno, dwe, tre, hajde!" the music became upbeat and so did the dancing, and in fact the backing performers had started to groove along to the beat. At the same time, the waves in the background had turned into clouds, which was supposed to symbolize the 'dream' that the singer had expressed of reconciling with a lost love.

Finally, the final three steps of the dance ended in everyone taking the final pose. The song was over. The crowd cheered. "Thank you, gražia!" Alešandru said. The performers soon left the stage only for the audience to cheer louder — it was the host country Izmedu next!

I am looking towards the ocean
After the glasses of wine
I feel the wind
And in the moment
I listen to the whispers of love

Thinking of my actions
Forgiving your mistakes
But I can’t control it
I can’t change the past

The moon sinks into the sea
And the stars fade into newborn clouds
It’s too late

But the ship has left
My hopes are shattered
And distance is our challenge

The moon sinks into the sea
And the stars fade into newborn clouds
It’s too late

But the ship has left
My hopes are shattered
And distance is our challenge
But I have faith in love
It’s not the end

What can I do to heal
My soul and your heart?
You did not leave behind a note
And I stand here in the darkness

The moon sinks into the sea
And the stars fade into newborn clouds
It’s too late

But the ship has left
My hopes are shattered
And distance is our challenge
Last edited by Izmedu on Wed May 01, 2019 11:27 am, edited 6 times in total.

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Postby Izmedu » Tue Apr 30, 2019 12:42 am

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03 Izmedu

Postby Izmedu » Tue Apr 30, 2019 12:44 am

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Tune: Zeljko Joksimovic - Lane moje

03. Izmedu
"Sturi-Misni" - Dejan Mlakar

Title Translation: Moonrise
Language(s): Izmeduan
Lyrics: Dejan Mlakar
Music: Dejan Mlakar
Tune: Zeljko Joksimovic - Lane moje

“What's there that hasn't been said? I've had almost 40 years in this business. I've written the book on what the Izmeduan ballad has sounded like, pumped out albums and spent so much time in the studio even when I felt like I no longer humanly could. I only had the strength to do so because I always chased for what we, as a country, would always sound like... To put to music and to put into the studio the sounds I heard in the streets when the Izmeduan singer was only paid a mere pittance. I was one of those singers when I started out, and I always feel that way even despite the way the past 40 years have turned out. This, this song, this entry... It is and it isn't 40 years into 3 minutes. It's my way of figuring out what this all means when I know that I can't control my image anymore. This is my love letter to a past I know won't come back, and a realization that my days too, are numbered. This is my coda.” - Dejan Mlakar

Dejan Mlakar knew that, to Izmeduans, his own reputation preceded who he was personally.

He is a figure steeped in the mythos of Izmeduan superstars from years past. To say that his popularity is huge in the domestic sphere would be arguably be described by Izmeduan music historians as to be underselling his impact. Dejan knew that someone, either a fan or someone that invested in the contours of the music industry's history, had compiled all of those numbers from record labels and sales into some stunning list. Just recounting it was almost surreal, but it was only at there that he processed the scale to which his music went beyond just the studio. He could barely remember... He was the best-selling music artist in Izmedu in the past 40 years, with his albums (which he knows he's produced a lot, almost to the point of oversaturation), and the amount of Dejan Mlakar albums in circulation is more than any other Izmeduan artist. He was also responsible for codifying what the Izmeduan pop ballad meant and sounded like. He was the man that proved, even when Izmedu was struggling to form its identity in the wake of a brutal dictatorship, that tradition and popular forms can gracefully meld together to create 'Izmeduan pop.'

Modern Izmedu's music practices in its Izmeduan-language sector could arguably be traced back to him in some form. He may not have been the 'original' form, but it was Dejan that put Izmeduan pop in the map in his own country. However, it's his complicated relationship to the murky history of the beginnings of Izmeduan pop as defined by today and his fast-rising and somehow enduring popularity is what has defined his complicated, often criticized, and yet vaunted music career. Despite Dejan's peak position as one of the enduring 'Kings' of Izmeduan music, he was nowhere near this revered or even renowned during his years. The first 10 to 20 years of Dejan's career were described as him putting up with the accusations of being the very bottom feeder of the Izmeduan music industry. He was, at the time, seen as as the worst and best of the Izmeduan music industry all at once. A sacrilege and a breath of fresh air, safe and yet rebellious.

To return to the beginnings of Dejan's music career is to reckon that he never fit the mold of today's current Izmeduan singer. He was born at the Izmeduan border in the Varajic Alps; particularly in an unincorporated community that was not very far from Sastavak. Informally called 'El Zemlje-kraj' (translation: Land's End), Dejan's beginnings in Zemlje-kraj were described as both humble and tough. His family (and his community) was discriminated against from coastal Izmedu for sticking closer to their more slavic roots than embracing the gentrification and the 'high culture' that cities Vodiznad constantly aspired towards being. Thusly, Dejan often grew up in an Izmeduan context that is profoundly far more traditional than even today's most staunchly loyal Izmeduans. He remembered the tamburica, the kaval, and the kind of traditional vocal that was more faithful to the kind of slavic culture that dominated Izmeduan life more than klapa.

Dejan's early childhood was marked with these traditional influences. He would often be one of the youngest public singers trying to practice his craft with the older Izmeduans, publicly performing in Zemlje-kraj, Sastavak, and even as far the twin districts surrounding the Jeblenica river. He gained enough renown that those he was close to were supporting a move toward Vodiznad to 'pierce' the elusive city. Dejan, young, adventurous, and daring, thought didn't have much to lose by staking a career out into the 'big city' of Izmedu. Thus, he moved to Vodiznad at the age of 20, starting his music career in earnest after landing a small scale gig in one of Izmedu's many bars. It was from there that he attracted the attention of his one and subsequently, only manager, Danijel Kosanovic.

It was from there that Dejan transformed from the shy, yet demure singer to the daring and yet devil-may-care persona he is known for. Danijel, a then renowned A&R manager, saw an undying potential within Dejan he wanted to tap into. Subsequently, what started off as a singles-only deal would turn into multi-album contracts as Dejan's popularity began to skyrocket almost overnight. For 10 to 15 years, Dejan would dominate the Izmeduan music with an album every 2 or 3 years, touring extensively and releasing a bevy of music. With Danijel at the helm of his career, Dejan's music repertoire almost expanded into a genre roulette. From the ballad, to funk, to at times even dance, Dejan the image began to inform. In a sense, Dejan had began to lose himself. He represented what it meant to be a daring, dashing, and to be an Izmeduan 'bad boy,' but lost within performing to the public was losing his roots and losing his own sense of identity.

The latter half of his career was where Dejan's career vaulted him from a dominant pop star to the legend that he is today. After 15 years of pop dominance, there was a considerable genre shift after one successful VodiFest where he surprised the local scene with a song that could only have been made from someone in Zemlje-kraj (which would form the basis for the WHF45 entry 'Moonrise'). That dominant VodiFest win bought about the era of the traditional ballad in Izmeduan music. Dejan was at the forefront of bringing the sounds of Western Izmedu to the fray, representing not just Zemlje-kraj, but the districts of Jeblenica, Sastavak, Stari-Pozemia, and others. It was here where his music turned towards interpreting the old Izmeduan lore that informed the settlement stories of Izmedu's founding. It was through Dejan that the movement towards the traditional ballad had taken full force, and many other artists would turn suit.

From a daredevil devil-may-care to a singer that knows when to look solemn yet smolder his eyes to the camera, Dejan felt an immense amount of fulfillment during the latter half of his career. For almost 20 years, despite the ebb and flow of controversy, rabid fans, and the deliberate lack of clarity surrounding his influences and the ubiquity of his music, Dejan cemented his place in Izmeduan music. He produced some of the country's still sung daily anthems during those latter 20 years. Yet, like with all things, this kind of intense popularity could not last forever. Even as his star remained strong, the genre he was most associated with began to wilter and fade from the Izmeduan consciousness. The effects of Vodiznad being the primary hub of Izmeduan culture and music were irreversible, and Dejan knew that almost acutely.

He saw his fellow artists burn and fade out, and knew he was next. Despite his tendency towards being a bit more traditional than more contemporary peers, seeing Izmedu mature and turn towards other types of music was in a sense a source of more relief than despondency. No form could last forever, and that was the line of thinking he bought not when he would be performing back 'home' for the World Hit Festival or trying his hand at Izmepisma. He wanted to have one last hurrah with “Sturi-misni,” itself a song that is a re-interpretation of a much older ballad of his. While Dejan kept his personal life and emotions guarded, he was often surrounded with the contexts of heartbreak and misery when he was a young boy in Zemlje-kraj.

The song he was bringing to WHF is a distilled re-telling of a man who he saw weep in a clear, full moon night. He didn't know the context of it, but he remembered the specific words that the man said, with Dejan's memory clear enough that he weaved in the man's weeping into the lyrics. It was a cry against the moon after heartbreak, after having been deserted by a lover. It was a cry against the uncaring ways of nature, how one can feel isolated in a world where there are so many to be around with. Dejan, while himself remaining perpetually single, felt that fear almost acutely even years after he witnessed the weeping man in the outskirts of Zemlje-kraj. That was the first of many experiences he could recount that was the basis of so many of his songs, but this specific one is what he was remembering just minutes before he was up.

One last hurrah and one last coda. Dejan took a deep breath as he could feel the excitement of the Izmeduan audience. He shared one last glance with the head of delegation, Pavao Sintic, and both smiled slightly at each other, saying silently what has been said so many times earlier.


For Izmeduans in the audience and watching at home, this was a chance in a lifetime.

La Cianta Arena was in a frenzy, with Izmeduans there cheering louder for their home act than even in comparison to past Izmeduan hostings. Those keeping track of the sound levels were trying their best to keep things reasonably low. However, the excitement surrounding this, both in part having the festival back in Izmedu and the very scale/fame of the participant, made it impossible for the audience and sound levels to clamp down. The lights pulsed a bright white and then to the pulsations of the Izmeduan national colors. These lights would then simmer down to the center of the stage, flashing white for a second with a slight 'boom' sound effect before the arena was now enshrouded in total darkness. The crowd cheer would finally simmer down as the graphics/headers effects disappeared from the screen for the viewers at home.

The sound of an Izmeduan Kaval, played live, began to permeate around La Cianta. The audience would cheer quickly before dying down to a rapt attention, the sounds of the Kaval playing a solemn melodical line that would form the basis of the song's calling card. A dim spotlight would shine on a man playing that instrument at the center of the stage, dressed in black clothing that was loosely inspired by traditional Izmeduan dress. He played the melody a ca pella, the intricate melodies and ad libs of the song being first showcased on broadcast and to the audience. The sounds would echo and reverberate slightly, emphasized as the camera would often prioritize wider shots of the stage. That brief section would come to an end as the notes went downward and when the camera faded to a close shot of the Kaval player. It was after that instrumental that the entry truly began in earnest...

Dark blue lights would begin to emanate from the backside of La Cianta's stage. Accentuating the blue light was a wide view of the stage and the appearance of a simple 'starry night' background on the floor and back screens. A basic beat was added to the song as the pace increased, causing the crowd to cheer in earnest as Dejan himself made his appearance to the stage. He sauntered to the stage looking calm, timing his footsteps to the intricate notes and melodies that the Kaval player maintained. He walked with an almost calm grace, his face nodding towards his fellow person on the stage as both, just for a brief microsecond, acknowledged each other's presences. As soon as Dejan was in full sight of the audience and the cameras, a brighter spotlight shone on him. He was right on time, with the instrumental introduction having ended as he reached the center of the main stage. The camera focused on a close view of him timed to when he began singing. Once Dejan felt the cue on his in-ear ring, he knew it was time...

Ova sčora noćna
Tako saran-i-lipa, kontiant
Skriva se poli, kroz iluziju
Ne-el postoji odobnost


Duje locked the camera with his gaze, looking at once calm and peaceful, yet his eyes were brimming with some sort of tale or story behind him. His voice was laced with that kind of Izmeduan affectation that was common in Izmeduan klapa, marked with a simultaneous smoothness and yet it was clear that he was using a minor form of throat singing to great effect. Behind Dejan, his vocals and lyrics were marked with a subtle visual presentation of a starry night background. The effects him behind were subtle, seamlessly blending into the background and being distinctly arranged to make it look like Dejan and the Kaval player were standing in an empty park under a haunting night sky. Accordingly, Dejan's vocals and expression carried off a dreamy tone that belied a sense of extant pain. The brief verse was marked with Dejan staring down into the camera that was directed towards him, sometimes occasionally fading into brief shots of the wider stage (to reveal the background effects) or to side views. Once the verse was done, Dejan took a visible breath as a moon began to manifest on the screen behind him.

Sturi-misni progoni me
Sjaji na-ko ostaci
Maje razbine uspomene
I nuestra slomljena ljubaur


In an almost illusory effect, depending on where one glanced, an alternate spotlight began to shine on him from where the moon manifested on the stage. For this first half of the chorus, the starry night background turned from a dark blue to an almost pitch black, taking the stars with it too. The instrumentation swelled slightly, orchestras and tamburicas providing the soundscape for Dejan's singing to smolder with the kind of pain that was now more important. Dejan's singing maintained its throated affectations from the earlier verse. He would reach out to the camera, his hands trembling slightly and his face transforming from one of a haunted, yet eccentric man to one whose cracks were slowly being revealed. This was made more apparent as the camera emphasized these expressions when it faded to close views of him, the spotlight effect from the moon accentuating the seeds of insanity and pain being laced about in his eyes and face through the relative shadows cast on his visage. He ended this half of the chorus looking almost desperate, reaching out and pleading with his eyes as his eyes followed the moving camera.

Sturi-misni ismava me
Redre se maje poli
Tražim maje odrišenje
Nalazim samo bidu


Dejan's eyes were closed as he sang the latter half of the chorus. His vocals melded with the background track almost seamlessly, creating a smooth soundscape that contrasted with the growing insanity and pain in his eyes. He clutched his chest softly as the camera would survey the stage, moving slowly in a half-circle. The 'moonlight' effect intensified, shining further down on Dejan as the background around was 'decaying' to a nightmarish image. The starry night background, the grass, even down to the artwork of grass and the small cities on the screens, were fading into those nightmarish images into an almost nothingness. By the end of this chorus, Dejan was basically singing in almost a black void, with what only remains being ghostly outlines of the starry night effects wisping away into nothingness. At the last line of the chorus, the camera would fade to a close up of his face, the intense spotlight casting a shadow on his face. He ended the chorus by holding out the last syllable, his lower lip trembling and his eyes holding a greater sense of pain. Once he was finished, he took an audible breath and stepped back, the spotlight on him softening.

The camera faded to a female violinist positioned stage left from Dejan. The initial view of her was a slanted dutch angle, a spotlight shining on her quickly as she gracefully stepped forward towards Dejan. Each step she took, from the way the camera would occasionally fade to a bird's eye view of the stage and to slightly wider views of the stage, was 'tracked' by the LED floor. Ghostly whisps would follow her footsteps as she approached Dejan. By the time, she would play a few lines, she was right nearby Dejan. Both would glance at each other with glazed looks, with Dejan looking at her with a simultaneous horror and acknowledgment. The violinist danced around Dejan almost like a ghost, as if she too were a walking representation of what was haunting Dejan's mind. She played the violin with grace, moving her body and her feet to each line without compromising the quality of her playing. Once she was finished, the 'starry night' background appeared once more as the song subtly changed its key. The night sky was still pitch black, but the city was darkened, and the 'grass' graphics on the floor returned, wilted and decaying.

Sturi-misni progoni me
Sjaji na-ko ostaci
Maje razbine uspomene
I nuestra slomljena ljubaur


The key change had truly kicked in for the final chorus, now evident that this was final and climactic moment of the entry. Dejan put more force and strength in his voice, acclimating to the new key almost instantly. The pain in his eyes that was almost dream-like from the first half of the song now intensified into a man that looked like he was at the very edge of madness. His vocals modulated almost to an intense degree, timed accordingly to La Cianta's stage lights and effects intensifying. The 'moonlight' effect was now fully on Dejan once more. The Kaval player and the violinist were helping drive the song as the instrumentation swelled to a louder volume, moving and swaying around to the beats, surrounding Dejan to the side. The camera switched between sweeping close and wide views of the stage, with the camera focusing on Dejan as he ended this half of this chorus through belting out the final line. He stepped forward as the chorus' first half ended, his face teeming with desperation and insanity.

Sturi-misni ismava me
Redre se maje poli
Tražim maje odrišenje
Nalazim samo bidu
Nalazim samo tvaja


This was the home stretch. This final half of the chorus saw Dejan's most intricate vocals and the Kaval player's accordingly intricate set of notes. Dejan's vocals swelled as he ad-libbed some of the lines, letting his voice soar to a falsetto at the second line, then unleashing a belt that reinforced the climactic nature of the last 30 seconds of the song. Even as he was standing still, one can see his hands trembling and his body swaying just that little bit forward. He would reach forward to the camera at each ad-lib, his eyes glazing, and his face creased at each syllable he sang. By the third line, he would grip his hand to a fist to control his vocals and stepped back. The camera, timed to that moment, would cut to a wide view of the stage for only a few seconds. For those final two lines, Dejan gave it everything he had vocally. He held his chest and belted out 'nalazim samo bidu' as if his line depended on it, his eyes almost closed. At the very final line, the camera would slowly zoom in on him as he held out the final word, 'tvaja' for as long as he could. The song would end with a bang with all effects disappearing simultaneously, and Dejan visibly took a deep breath.

To say that the Izmeduan audience was in a frenzy would be in an understatement. Dejan nodded to the violinist and kaval player as a way to get a couple of seconds to regain his bearings before he was overwhelmed from the crowd response. He staggered back with a shocked expression from just how loud it was in the La Cianta Arena in the mere seconds after the entry was over. This was a feeling he knew he wouldn't be able to forget, feeling this kind of energy from the crowd and his home. He blew a soft kiss to the crowd first.

“Hvala!” he shouted, waving to the crowd.

It wasn't long until he knew that he had to go before the stage hands would prompt him to go back to the delegation. He had no idea what would happen by the end of tonight, but he didn't want to forget the feelings he felt just from that performance alone.

40 years... I guess this is what it led to, huh?
Oh fair and dark night
A serene and beautiful fulfillment
But it hides misery through its illusion
For there is no relief

The moonrise haunts me
Shining on what remains
Of my shattered memories
And our broken love

The moonrise mocks me
Laughing at my pain
As I try to seek absolution
I find an endless abyss

The moonrise haunts me
Shining on what remains
Of my shattered memories
And our broken love

The moonrise mocks me
Laughing at my pain
As I try to seek absolution
I find an endless abyss
I find only you
Last edited by Izmedu on Wed May 01, 2019 11:27 am, edited 3 times in total.

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Postby Izmedu » Tue Apr 30, 2019 12:48 am

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04 Kalmarlund

Postby Izmedu » Tue Apr 30, 2019 12:49 am

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Tune: Korpiklaani - ''Ievan Polkka''

04. Kalmarlund
"Unlucky Sailor Song" - Einherjar

Language(s): English
Lyrics: Arvi Finson
Music: Arvi Finson, Emil Björklund
Tune: Korpiklaani - ''Ievan Polkka''

Image
From left to right: Emil Börklund (drums), Arvi Finson (guitar), Edgar Janson (guitar/vocals), Anders Sörensen (violin), Magdalena Berg (keyboards)


Einherjar is a viking folk metal band originating from Malmberg, Kalmarlund. Chosen by K×T through internal selection, Einherjar, having already represented Kalmarlund once during the 39th World Hit Festival in Örkendrem, Darkmania, was granted the right to represent the nation again in the 45th edition.

Performance:

Band members are scattered across the stage. They start playing their instruments and begin to chaotically wave their heads (and their long hair). The whole stage theme is dark with light strobe lights constantly flashing throughout the whole performance. The whole band is dressed accordingly to their usual Viking theme.

Me and my dad we built this ship
now to the bottom of the sea it sank.
Viking can sometimes be unlucky
and now we're all wet and dirty
Now we're the village's laughing stock
but we don't really give a fock
Me and my dad we built this ship
now to the bottom of the sea it sank.


Anders runs to the middle of the stage and starts doing some folk dance moves with his feet, while using his hands to play the violin at the same time.

We went to loot and plunder
but we got caught in a thunder
Viking can sometimes be unlucky
and now we're all wet and dirty
Now we're the village's laughing stock
but we don't really give a fock
We went to loot and plunder
but we got caught in a thunder


Edgar and Magdalena grab around each others elbows and start dancing around in circles.

We were on course to the northern pole
but suddenly in our hull there was a hole
Viking can sometimes be unlucky
and now we're all wet and dirty
Now we're the village's laughing stock
but we don't really give a fock
We were on course to the northern pole
but suddenly in our hull there was a hole


Emil and Arvi, both having acquired large wooden beer mugs from the backstage assistants, hit them together and quickly drink them to the bottom.

We board the ship with our whole big crowd
but all of a sudden our mast fell down
Viking can sometimes be unlucky
and now we're all wet and dirty
Now we're the village's laughing stock
but we don't really give a fock
We board the ship with our whole big crowd
but all of a sudden our mast fell down


Anders is seen quietly nodding his head while playing the violin

We geared up and sharpened our swords
but then the ship turned upside down
Viking can sometimes be unlucky
and now we're all wet and dirty
Now we're the village's laughing stock
but we don't really give a fock
We geared up and sharpened our swords
but then the ship turned upside down


Arvi has acquired a large wooden bucket, which he raises above his head and flips upside down, pouring a lot of water on himself.

Me and my dad we built this ship
now to the bottom of the sea it sank.
Viking can sometimes be unlucky
and now we're all wet and dirty
Now we're the village's laughing stock
but we don't really give a fock
Me and my dad we built this ship
now to the bottom of the sea it sank.

Me and my dad we built this ship
now to the bottom of the sea it sank.

Hey!


Crowd applauds politely to their peformance, Einherjar members all line up and bow to the audience, before sending out a big Viking chant and leaving the stage.
Last edited by Izmedu on Wed May 01, 2019 11:30 am, edited 2 times in total.

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Postby Izmedu » Tue Apr 30, 2019 12:49 am

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Postby Izmedu » Tue Apr 30, 2019 12:51 am

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Tune: TARABAROVA - ЦУНАМІ

05. Natanya
"Say to Me" - Elva Kohln

Language(s): English
Lyrics: E. Kohln, Alessandra Melini
Music: E. Kohln, A. Melini
Tune: TARABAROVA - ЦУНАМІ

Elva, her dancers are in white jumpers, sweatpants and trainers.

As the starts, red flashing lights go off around the arena. Elva walks towards the camera on the dimly lit stage.

I want you to say it to me,
I want you to speak those crucial words,
I want you to say to me.
Say them words to me.


In the first two lines of the verse, the camera pans around Elva and then turns to a freestyling dancer, for the second two, it does the same, but from the other direction.

Feelings inside me burn like a match,
It’s growing into a blazing fire,
Building pressure, oh, building pressure.
I’m ready to up and explode.


For the breakdown in the verse, Elva and the dancers gather in a V formation, with their arm and leg on one side moving in and out in time with the beat.

Look me straight in the eyes,
I want you,
To speak these beautiful words, Say to me.
Something magical for us, don’t you see.

This heat is going melt my heart!


For the chorus, the stage lights up totally white. The dancers move into a M formation as the camera focuses on Elva whom is singing straight too it.

I want you to say it to me,
I want you to speak those crucial words,
I want you to say to me.
Say them words to me.


For the post-chorus dance, firstly the dancers do the leg dance from 2:11 in the video, then Elva moves back and some dancers move forward in a staking movement to create a W shape. Then for the next two "lines" of music, they shuffle their feet, firstly side to side, and then in front of each other.

Say to me!
Say to me!
Say to me!


For the second verse, Elva and her dancers out of formation move around the stage, before getting in the V formation again.

You and I, worlds collide,
Pulling us to unseen extremes,
A hot wreck, oh, a hot mess,
A beauty from our dreams!
Look me straight in the eyes,
I want you,,
To speak these beautiful words, Say to me.
Something magical for us, don’t you see.

This heat is going melt my heart!


For the chorus the staging repeats.

I want you to say it to me,
I want you to speak those crucial words,
I want you to say to me.
Say them words to me.
Say to me!
Say to me!
Say to me!


In the breakdown, the stage goes black with random spotlight flashing.

You know that I love you.

Say-ay to me.


For the rap part, Elva and her dancers huddle together with the background flashing red, then afterwards do the dance again.

I want something that I can hold on to,
I want dive and go on full frontal,
We don’t have to wait or queue,
Breathe new air in my lungs,
Look at me and speak in tongues,
Take my hand and hold me dearly
Hold my heart close and sincerely,
Say to me your love, declare it clearly.

Say to me!

I want you to say it to me,
I want you to speak those crucial words,
I want you to say to me.


For the final part, the dancers continue with the dance but Elva skips around the front of the staging looking out to the audience, with the camera following her.

Say them words to me.
Say them words to me.
I want you to say to me.
Say them words to me.
I want you to say to me.
Say them words to me.
I want you to say to me.
Say to me!


The song ends with Elva and her dancers in formation, she then thanks the audience for their hospitality.
Last edited by Izmedu on Wed May 01, 2019 11:38 am, edited 4 times in total.

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Postby Izmedu » Tue Apr 30, 2019 12:52 am

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06 Astoria

Postby Izmedu » Tue Apr 30, 2019 12:56 am

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Tune: ABBA - Ring Ring (Bara Du Slog En Signal)

06. Astoria
"beep beep" - WWL

Language(s): Astorian (Asturi)
Lyrics: Annie Lungtsag, and Joseph Waters
Music: Robyn Warner
Tune: ABBA - Ring Ring (Bara Du Slog En Signal)



This song is about unrequited love, with both of the protagonists never seeming to be able to pick up, or be around to answer their phones. Much confusion and heartbreak develops amidst a ring of misunderstanding. Can these two sweethearts ever get a chance to be both simultaneously on the phone?

*crescendo*

The curtains open to a split scene, in which a living room with a conspicuous telephone is seen in one scene, and the interior of a sedan car in the second scene.

Verse 1, sung by Lungtsag: Suftans ang gaag a'a l'huna
Sangung aftnuts ftuka a nutka'x
Ne's taft ang tax ga'ftung nugh at xuia gug
E'a'xshung ut tu ghiauas agaunts ftaru'a
Nem una knuthkt un nx guu'
Was as'atsag na guat nus san'l, ne, at us tuiafteg
Nušung aniatat na 'ughs nugh
Nem una afta šiats xuia...

Translation: Silent and dead is the phone
Standing almost like a mockery
Don't call and say "darling" now, as you did before
Everything's so quiet unlike before
No one knocks on my door
What attracted me does not tempt, no, as it should
Nothing amuses me right now
No one else but just you...


Chorus, sung by both singers: Caft beep, unftx xuia ftaas a tugnaft
Beep, beep, tuftanta ut tu susaft
Caft beep, gutlaft sha ianaatunat at a sanftasa
Ir I gus a tugnaft, I suuk a ftaal
Ta haa's naga a 'ufts, gung-gung ftung-ftung
Ir xuia beep - beep - taftag una suna
Ir xuia beep - beep - taftag una suna...

Translation: Calling beep, only you beat that signal
Beep, beep, this silence is so overwhelming
Calling beep, dispel the uneasiness
If I got a signal, I took a leap
My heart made a volt, ding-dong bing-bong
If you beep - beep - called one time
If you beep - beep - called one time...


Verse 2, sung by Waters: Tas a l'huna tan fta
Jiats at ghiauas a'a'x gax
Ir us gha'a tu, sha'a ghat tunašung gh'ung anxghax, ftias ianru sianasax
Ir us šiats taug a ft'aacta
Ir us ghatn's šiats ghiauas
Ir I gus anx tafta'x ru' anx una l'axa' r'un uia' Lu'gu
Nušung aniatat na 'ughs nugh
Nem una afta šiats xuia...

Translation: That a phone could be
Just as quiet every day
If it were so, there was something wrong anyway, but unfortunately
If it just said a breeze
If it wasn't just quiet
If I got any salary for any one prayer from up high
Nothing amuses me right now
No one else but just you...


Chorus, sung by both singers: Caft beep, unftx xuia ftaas a tugnaft
Beep, beep, tuftanta ut tu susaft
Caft beep, gutlaft sha ianaatunatt at a sanftasa
Ir I gus a tugnaft, I suuk a ftaal
Ta haa's naga a 'ufts, gung-gung ftung-ftung
Ir xuia beep - beep - taftag una suna
Ir xuia beep - beep - taftag una suna...

Translation: Calling beep, only you beat that signal
Beep, beep, this silence is so overwhelming
Calling beep, dispel the uneasiness
If I got a signal, I took a leap
My heart made a volt, ding-dong bing-bong
If you beep - beep - called one time
If you beep - beep - called one time...


*a faint telephone ring is heard*

Both of the protagonists come towards the stage, moving away from the stage props.
'Thank you, Izmedu!', they both shout at the same time.


*curtain falls*

speakers drums (R) speakers
A pre-recorded synthesised tone plays while the performance goes on.
scene 1 (A) | scene 2 (J)
stage floor
-------------------------------------------------------------------------------------------
a u d i e n c e

Both of the singers have clip-on microphones, in order to allow for easy
movement.
(NB: text marked with a letter, eg. (A) denote the person's first name.)
Last edited by Izmedu on Wed May 01, 2019 11:39 am, edited 1 time in total.

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Postby Izmedu » Tue Apr 30, 2019 12:57 am

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07 Fatiman Federation

Postby Izmedu » Tue Apr 30, 2019 12:58 am

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Tune: Ta Plus Belle Insomnie - Barbara Opsomer

07. Fatiman Federation (Indo States)
"L'amour Nassiêr Lucién (Lïmond Sëldefer)" - Angelica Magsaysay

Title Translation: Love is Blind (White Roses)
Language(s): Fatiman
Lyrics: Fernando Mariacapastol, Janine Adamson
Music: Natalia Kursheniv, Natalia Khersoviskova
Tune: Ta Plus Belle Insomnie - Barbara Opsomer

Since Season 1 of Le FatimanienChanson, Angelica Magsaysay was Qualified and Entered the World Hit Festival, She had Experienced for the First Time.

Angelica Magsaysay (Born February 14 2001, Valenzuela City, Philippines) is an Famous Fatiman Youtube Actors and Recently Learning at Our Lady of Fatima University, She is Just an Vlogger but She Make more Songs.




Performance:

Performance Information:

Angelica was Worn in Maje Dress, And Props are Managed by Ivan Izhoveskova. For Sound, Igor Hasheniv and Terry D'Allens are Managed the Sound Design and For Video, Graphic Designer Jean Elise "Misty Dawn" Allenston are Managed the Video Design.

The Full Perfromance:

Allier la Schentacheur,
Quende Alla m'élachazer
J'aveux Lïmond Sëldefer N'avel
Quende tyu t'enfeuis
Le Jeveux su Lucièlè
Je ne velux paz Restner Majênellé
Maçeulle le Îflenesku
I'Javiéré ves aun Prézënt
J'aime la Danesé
Chandelieré des Natalina
Instûcteter Primarkele

Ét quende ie Densé
le sontenè glieusse
Entreska méss Hancheuses

Mon jeu doukemente se Balancia

Natalia ét Nataniel

Revez suere moie
des Éclavora qui montanska
suere méss doidts

Le Chemeré
Qui voliante en Éclatske
Soleile soues méss drapaska

Sinn de Feilasenke da L'amour Nassiêr Lucién
C'est Avierre d'Ledifiants et Coeur Avecen

Sinn de Feilasenke da L'amour Nassiêr Lucién
J'en Éscelt L'Avierre, J'en du Désér à Cérmielle

Je Melle
N'Arvez L'Carivellé

Cett' Visorea Jeux
Mon C'ammer Balaye

Et ce Joures
Le Pyremaglier
Je seis da moss
Pour é Charsov

Baton' C'est le Hanneschewiz
Faleur de Noch'
En Solairette

Ét quende ie Densé
le sontenè glieusse
Entreska méss Hancheuses

Mon jeu doukemente se Balancia

Natalia ét Nataniel

Revez suere moie
des Éclavora qui montanska
suere méss doidts

Le Chemeré
Qui voliante en Éclatske
Soleile soues méss drapaska

Sinn de Feilasenke da L'amour Nassiêr Lucién
C'est Avierre d'Ledifiants et Coeur Avecen

Sinn de Feilasenke da L'amour Nassiêr Lucién
J'en Éscelt L'Avierre, J'en du Désér à Cérmielle

(Et Vouz Prassier nos amitie Sontte en Fusch,
Quende je Meilagne les Santses)

(Et Quende Paz)
(Quende Paz)

(Et Quende Paz)
(Quende Paz)

(Je Meur la Land et Les Se Merre,
M'electriquez de Millez faschons)

(Et Quende Paz)
(Quende Paz)
(oh Quende Paz)

(Et Quende Paz)
(Quende Paz)
(oh Quende Paz)

Sinn de Feilasenke da L'amour Nassiêr Lucién
Je Amie de le decendesta,
Je Amour Vexes de L'Aksion
Et paz de L'Recce

Sinn de Feilschent dett Voygerre de Minutesse
J'en Éscelt L'Avierre, J'en du Désér à Cérmielle

Sinn de Feilasenke da L'amour Nassiêr Lucién
Je Amie de le decendesta,
Je Amour Vexes de L'Aksion
Et paz de L'Recce

Sinn de Feilschent dett Voygerre de Minutesse
J'en Éscelt L'Avierre, J'en du Désér à Cérmielle


English:

Since when i met you,
White Roses is Died, When we Broke Up.
I've Experienced Dramatic Emotions.
When we meet up Again,
Feels like i am Free.
I Loved Him.
Kissing Together, The Good Times Begin
I've Experienced Romantic Times when ever seen.
An Times that i was in High School.
Instructions of Prime.

And when we date,
The Problems Back.
Seems going to be Saddest Days I've Dealing and Spent this.

My Love isn't Balanced with him.

Natalie and Nathaniel

That movie is feeling going to past.
So, Why is it this Film Bringing me back to the past?
No, My Imagination doesn't Effective.

The Imagination of me,
Who Busted my Lovelife that Isn't Solved.
Depression Times is Beginning.

Since i said Love is Blind
What does Mean? That means you're loving someone makes you unable to see your Faults to.

Since i said Love is Blind
Then don't break up with me, that's how i love you much.

The Next Day,
We're Texting.

We Wave, We Talk or We Love after Waking Up or at Night.
The Times that i was happy again
He Planned to Date with me again.
It's Seems good for me, Feels like throwback.

While we're Dating at an Nice Restaurant,
We're Talking, Smiling, and Kissing.
At Night, With Nice Food and Drinks.

And when we date,
The Problems Back.
Seems going to be Saddest Days I've Dealing and Spent this.

My Love isn't Balanced with him.

Natalie and Nathaniel

That movie is feeling going to past.
So, Why is it this Film Bringing me back to the past?
No, My Imagination doesn't Effective.

The Imagination of me,
Who Busted my Lovelife that Isn't Solved.
Depression Times is Beginning.

Since i said Love is Blind
What does Mean? That means you're loving someone makes you unable to see your Faults to.

Since i said Love is Blind
Then don't break up with me, that's how i love you much.

(And my friends are arguing at you,
We can Solve this Together.)

(And I Break up with you)
(Break up with you)

(And I Break up with you)
(Break up with you)

(Your Apologizes aren't Work,
While i have Depression.)

(And I Break up with you)
(Break up with you)
(Oh Break up with you)

(And I Break up with you)
(Break up with you)
(Oh Break up with you)

Since i Take Hard Breathe because of you
Then don't break up with me, that's how i love you much.

Since i said Love is Blind
I Don't want Downed on Earth
I Don't want someone take action against me
I Love Him, I Will free from Depression

Since i Take Hard Breathe because of you
Then don't break up with me, that's how i love you much.

Since i said Love is Blind
I Don't want Downed on Earth
I Don't want someone take action against me
I Love Him, I Will free from Depression
Last edited by Izmedu on Wed May 01, 2019 11:41 am, edited 3 times in total.

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Postby Izmedu » Tue Apr 30, 2019 12:58 am

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08 Britonisea

Postby Izmedu » Tue Apr 30, 2019 1:01 am

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Tune: Pagan Fury - Stormbringer

08. Britonisea
"Mercy From Above" - AUTUMN

Language(s):English
Lyrics: Abi Terras, Jane Terras
Music: Abi Terras, Jane Terras
Tune: Pagan Fury - Stormbringer

Image
VM2019 Runner-Ups: AUTUMN came 2nd place at Vha Mehlodhivestoile, missing out by a single point, with 167 points in total


Britonisea's will be sending their fifth Vha Mehlodhivestoile song to the World Hit Festival, with a song by AUTUMN called "Mercy From Above" hoping to replicate the success of Dean Boyst at the 37th World Hit Festival.

Ever since Vha Mehlodhivestoile 2017's third place act, Dean Boyst, participated and won the 37th World Hit Festival in Kalosia, Britonisea and BVC have participated at the World Hit Festival edition after edition without taking a break. This will be the 9th edition in a row that Britonisea has participated at the World Hit Festival, making it the longest consecutive participation by Britonisea at any point at either the World Hit Festival or the WorldVision Song Contest. BVC's commitment towards the World Hit Festival has been unprecedented and has landed fantastic viewing figures to the broadcaster (around the 13 million mark for the most recent hosting in Burgendore) alongside fantastic results. Over the past eight editions, Britonisea has participated, the nation has placed in the top 2 on four different occasions [twice first and twice second] and while the record isn't as good as the current host nation, the result is one of the best out there and Britonisea has a lot to be thankful for. In the 9 editions between the 37th and the 45th World Hit Festival, Britonisea will have sent three Vha Mehlodhivestoile acts and this time we are sending the duo AUTUMN.




For the first time in Vha Mehlodhivestoile history, an act which included more than just one person (duo/group) has placed in the top 2. The previous record was set at the 2018 edition of Vha Mehlodhivestoile when Giselles came fourth which lead to an increase of duets performing at this year's Vha Mehlodhivestoile. In the end, two duos performed in the Grand Final, both appearing in the top 3, coming 2nd and 3rd. AUTUMN's success in Vha Mehlodhivestoile saw them become £50,000 BPS reacher and gain international exposure in Vodiznad which is expected to be a fantastic show. Giselles came in 2nd place with 167 points and a total of 63.2% of the total votes from Vha Mehlodhivestoile 2019 - which is still much higher than Taron Woods' winning percentage at VM2019, with that providing a level of optimism for those behind the BVC act. "Mercy From Above" has had success at home, which is agreed by this BVC article written at the time of their second place...

BVC ORIGINAL POST;

Tonight's Vha Mehlodhivestoile Grand Final has seen AUTUMN come 2nd at the largest Vha Mehlodhivestoile to have taken place. They came 2nd with a total of 167 points...

A total of 14 different international juries voted in this year's Vha Mehlodhivestoile and then 8 Britonish Areas voted, with there being a total of 22 12-points available, an increase of four from the edition before. The winner was Alyxhia Willis with her song "Want You Home" with 168 points - a single point above AUTUMN's effort. She will go on to represent Britonisea at the 73rd WorldVision Song Contest. AUTUMN received 12 points from Normandy & Picardy and Togonistan in the Grand Final's international vote, along with receiving 12 points from East and South Britonisea.

The song has recently reached the Top 10 in the Britonish Charts and it is expected to rise going into the next few weeks.


Speaking more about who AUTUMN is as a group, though, a pair of sisters called Jane and Abi Terras who both hail from the city of Tonesk which is a city described to be the heart of Britonisea, due to the city being the main thoroughfare between major cities (such as the route from the two largest cities, Telm and Doportedas or Kyvivre and Junterapten) and therefore, Tonesk is usually a busy city that a lot of people are used to. Tonesk, however, isn't known for its music industry, being known as a rather industrial city that exposes art and creativity such as Quickenden and Kyvivre. Though, this did not stop the sisters, Jane and Abi, from wanting to pursue a career in the industry. They were most interested in the dark pop and rock genre, which has been rather successful in Britonisea but never as popular as your everyday generic pop which has always had the upper hand in Vha Mehlodhivestoile. However, there was a change this edition when they entered. While songs that would be considered dark were kicked out at the Semi-Finals, AUTUMN were the ones who made it through to the Grand Final, placing 2nd overall.


The two rushed up on to the last stage during the postcard for Britonisea. They did have a lot of experience performing on stage - after having performed three times in three different locations in Britonisea - but they were both still very nervous to see how the crowd from Izmedu would react towards them. So far, the crowd outside the arena seemed to like them since they were rather well known in the nation already thanks to RTI broadcasting Vha Mehlodhivestoile on their main channel - receiving a huge percentage per show that was broadcast. The Izmeduan audience were busy watching the postcard as everything was set up on the stage. On the stage, there was a ring of fire that was placed on the floor from which the pair would be in between as the song started. In addition to this, there was a large staircase that was on the ramp, yet to be bought on (it was going to be brought on during the performance). The two sat on the floor in the middle of the ring.

The two women wore these dresses, in different colours to each other. They both smiled and looked at each other as it was the end of the postcard for Britonisea. The Izmeduan audience started to applaud as AUTUMN's song was about to begin. The arena went dark for a few seconds. As the music started, the ring of fire turned on with their faces lit by the orange hue from it. The first shot was from the far end of the arena, with the camera slowly moving forward before rapidly increasing in pace as the song got closer and closer to the sudden hit by the music. As the instruments came in, there was another shot from one side of the stage and then one from the other - flickering between each other in a frantic way before someone walked on with a steadicam, circling around the two women on the stage. The steadicam holder then focused his attention towards the women in front of him, facing his back to the audience.

Abi Terras and Jane were seen kneeling down as though they were praying with their hands together in a praying motion. Abi looked up to the camera in front of her and started to sing in to the microphone that was attached to her face.


I'm lonely, I'm alone,
I'm broken, got no soul.
I need a miracle!
And I know just the man...


The man holding the steadicam moved out of the way as Abi sang "I know just the man...", with the frame being cut to another shot, tilting from the top of the stage to the bottom where they were located. As the camera reached them, both of them were standing up and looking into the audience. At this point, the fire that was coming from the ring that was located around them grew in intensity as the lights in the arena frantically flashed on and off - with the screen behind them also following suit to make it really dramatic. The pair turned smiled almost simultaneously as they moved on to the next part of the song.


Help me, God! Where is he?
I need him, help me, please.
Time's running out for me.


In the beat before the silence joining the pre-chorus and the chorus together, the pair did a cross on their bodies before lowering their heads down. As they lowered their heads, the lights in the arena all went down and the fire ring around them all suddenly died down too. The audience cheered loudly as the arena was plunged into darkness. As they started to sing once again, they walked out of the ring and further up to the end of the stage and started to sing the chorus. There was a load of light which flashed suddenly on as they started to sing. The camera quickly zoomed into their faces and then zoomed outwards with a different camera.


I’ll search up and down for him,
You can’t hide from me
I'll build a staircase up, yes, I'll climb that high
He can try and run from me, I’ll just run faster.
I want your mercy from
From Above


At the end of the chorus, Jane threw her hand up in to the air in a fist. The camera quickly zoomed in on her hand before dramatically stopping. There was a flicker of orange light before everything died down and the camera faded out before the next verse.

Abi, who started off singing the verse, started to walk towards one side of the stage with the camera tracking her movements. She was singing into the microphone but looking into the camera, speaking to the people at home watching the Festival. The screen in the back was making a motion in the way Abi was walking. Half way through the verse, Jane took over and was doing the same thing that Abi did, but she was walking in the opposite direction. The screen behind her had an animation going the other way. By the end, there was a shot which showed the women far apart from each other. They drastically turned as the camera quickly shot them away.


He's got a magical touch,
So wonderful, it's healing.
He's my only medicine,
I'll sip, then I'll drink non-stop.

Help me, God! Where is he?
I need him, help me, please.
Time's running out for me.


The two women were facing each other from each end of the stage, with their hands out towards each other. As the song progressed, the lights started to flash quicker, with the stage's LED filling up with smoke displays. The camera kept on cutting between Jane and Abi very frantically, increasing as they went through the chorus. Furthermore, the stairs are brought on here and so the camera not focusing on the women would mean that those watching wouldn't see them bring it in.

The stage's addition, the staircase, stood around 8 foot in the air, without any handles on the side of it. At the top of the stairs was a 2x2 metre platform that the women will stand on for the final section of the song. The staircase fit in with the colours that were present on stage - black and grey.


I’ll search up and down for him,
You can’t hide from me
I'll build a staircase up, yes, I'll climb that high
He can try and run from me, I’ll just run faster.
I want your mercy from
From Above


The pair look towards each other they sang the last bit of the chorus, "I want your mercy from", holding each other's hands and staring into each other's gaze, giving each other strength for the next part of the song. For the last part of the song, Jane Terras took the lead on it, singing "From Above" and going into the bridge section. As she sang this bit, she slightly tilted her head and lowered her body as she belted "From Above" into the audience. The camera zoomed in quickly to her face as she closed her eyes and sang her bit.

As Jane moved on to the bridge of the song, she quickly looked and bounced up before looking to her left where a camera met her eyes. She held her hand out and sang directly into the camera. As she started to move towards the camera, her sister moves out of shot. Jane didn't seem to react as Abi moved out of the shot, rather focusing on the beckoning camera. Abi, while she was out of the shot, started to climb the large pile of stars that was put up on the stage. The camera quickly cut to Abi as she joined her sister singing the words "with your help!" together - Abi smiled into the camera before it moved back to Jane.


The night will be set alight with your grace, with your help!
Stop my suffering - my pain!
I’ll search up and down for him, mercy from above? Hmmm...
Build a staircase to heaven, you can’t hide from me.
Don’t stop me, don’t try me.


Jane sang "my pain!" by singing a long note into the microphone. As soon as she sang this, there was a camera which zoomed out from the microphone and her mouth right to the back of the arena, showing how frantic the stage was at the moment - with plumes of fog and smoke filling the stage alongside the pyros going crazy around the stage (fire cannons going off, sparklers going off behind them as well). Jane, when the camera was zoomed outwards, ran up to the stairs to join her sister who was already standing strongly in a tableau, waiting for her sister to join her on the stage.

Suddenly, as she started to run on to the pile of stairs, there was a herd of men wearing something similar to this ran up on the stage and started to follow the pair to the stairs, which was pushed forwards during this section. However, as soon as the men reached the stairs, it was almost as if they couldn't climb the stairs. The girls held each other, looking down at the men below. At the end of the crazy section, going back into the chorus, there was a camera than focused on them before zooming slowly outwards to show the men waiting on the ground in a row... As the song built up once again, the pair stamped their foot hard on the stairs which jolted the men backwards each time they did it. Throughout the chorus, they then made their way down the stairs to face the line of men.


I’ll search up and down for him,
He can’t hide from me
I'll build a staircase up, I’ll climb that high for him
He can try and run from me, I’ll just run faster.
So give me your mercy from above!


As they reached the bottom of the stairs, the men lifted the pair of them up above their heads, before hoisting them up into the air, holding them by their feet only. The women were both around 7 foot in the air...


He can't hide!


The lights flashed on and off as the pair slew the stage from on top of the men holding them in the air. Another camera zoomed into them from afar, with the shot being interrupted by other shots from in front, behind and around them. The sung the last notes before they fisted the air and the lights turned off and a spotlight focused on them. The audience came in with a huge applause, "Thank you everyone!" they both screamed into the microphone.
Last edited by Izmedu on Wed May 01, 2019 11:48 am, edited 2 times in total.

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Postby Izmedu » Tue Apr 30, 2019 1:03 am

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Last edited by Izmedu on Tue May 07, 2019 8:08 pm, edited 1 time in total.

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09 Kishrael

Postby Izmedu » Tue Apr 30, 2019 1:04 am

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Tune: Rita Ora - Radioactive

. : 09 - Kishrael - كشرائيل - כשראל : .
Chaya Riback - Im Hayiti Shayyetet (If I Were a Sailor)
חיה ריבק - אם הייתי שייטת

Language: English, Hebrew

To the Tune Of - Rita Ora - Radioactive

Chaya Riback is a 25 year old singer from the capital of Rakaphy in Kishrael. Jewish in background, she rose to fame after featuring on a remix of the dance classic "I Realise" by Tabitha Shamaimah that peaked at number 5 in Kishrael. From this, her route to fame was not direct, nor was it easy. A number of planned solo projects fell through, and Chaya eventually returned to her studies as a part time student while working on her music. Upon hearing of an open call for submissions from RESHET, she decided to apply, submitting a demo version of her song "Our Love's Alive" which was well received by producers for WorldVision at RESHET. Given some editing, rewriting and mixing, Chaya has ended up with a WorldVision ready dance classic. In an interview with 'Kishrael Hayom' she said "I'm really pleased with my song, and it would be amazing to bring the crown back to Kishrael... I know that these days Kishraeli dance pop isn't a guarantee like it was in the past, but I think this track references some great things that we did in the past in this contest and hopefully modern enough for the current WorldVision audience." That was then however, and with the festival being held in Main Nation Ministry, for safety and security reasons, RESHET and Kishrael felt it would be better to withdraw from this contest. As a result, Kishrael received a fine and a one edition ban from the contest, and Chaya didn't have the opportunity to sing. Not until RESHET offered her the chance to sing at the World Hit Festival in Izmedu. While not as big of an audience as WorldVision, being its little brother, WHF had given many artists jumps in their careers, albeit in a different direction to those who competed at WorldVision. Having peaked at #3 in the Kishraeli charts a number of weeks ago, the song had slowly climbed back to relevance, sitting at #20 pre-contest. In the meantime Chaya had the opportunity to record more music and put things out, enjoying moderate success - this festival wasn't a make or break moment, but a good result would certainly help with Kishraeli enthusiasm for the contest, especially after the great result from Tatyana Shapsugh a number of editions before that.

The cheering dies down as the Kishraeli entry is about to start. The stage remains dark as Chaya prepares herself to give the performance of her life. She is lying on a rotating circle, which, as soon as the song plays, begins turning. The stage erupts into dark purple and blue lighting, and an electric pulse of lighter purple runs through the floor with every beat of the song. Smoke begins to fill the sides of the stage. Chaya is wearing a leather jumpsuit, she is surrounded by 2 female dancers and 2 male dancers. The females are also dressed in leather jumpsuits with rabbit masks like so. The men: tanned, presumably handsome and shirtless are wearing leather pants and boots, and the same rabbit masks. All the women are wearing a deep read lip. As the offstage backing vocalist begins, Chaya stands up with the help of her male backing dancers, and begins to walk down the steps to the stage.

יד לשמיים, מאוחדים - Yad Lashamayim, M'uchadim
מסובכים ולוליניים בדמדום הזה - M'subakhim, v'lolinim badimdum hazeh
אהבתנו חייה - Ahavatnu Chayya

(סבבה ביץ' סבבה ביץ') - Sababah Bitch


Chaya stands in the centre of the stage, first with the camera below her, elongating her legs. Her four dancers lay around her, moving their legs to the beat of the song. Chaya pretends to flirt with the idea that she is controlling their legs by moving her non-microphone hand in time with the beat. The camera does a slow curved angle, far away so you can see the dancers legs, then moves closer to Chaya's face.

He is disobedient and wild
In his eyes a thousand years of struggle
His hands start fires than can’t be extinguished
Yet we’re in the ocean, drowning in the atmosphere
Breathing me in with every thousand shekels
Feelings, and I lie to myself-self-self-seeelf


As the build up begins, Chaya looks straight forward and the camera zooms in from afar into her face. A wind machine gently blows her hair back. The stage is illuminated with white strobe lights cutting through the darker tones on the stage. The dancers rush up to stand around Chaya, touching her body in somewhat sexual ways.

אם הייתי שייטת, הייתי מנשקת מליון חתיכות - Im hayyiti shayettet, hayyiti m'nasheket milyon chatikhot
מבקשת מליון מקומות, מרגישה מילון דברים - m'vakeshet milyon makomot, margishah milyon dvarim


At the point of the chorus, the camera pans out over the arena with white strobes and purple undertones seeping through the crowd. The camera shows Chaya dancing on the stage with a smile on her face, lifting her hands up and encouraging the crowd. It then cuts to the crowd jumping, dancing and smiling. Some, mainly superfans or Kishraelis are also singing along to the Hebrew chorus.

יד לשמיים, מאוחדים - Yad Lashamayim, M'uchadim
מסובכים ולוליניים בדמדום הזה - M'subakhim, v'lolinim badimdum hazeh
אהבתנו חייה - Ahavatnu Chayya
יד לשמיים, ביחד - Yad lashamayim, b'yachad
אתה הולך שמאלה, אלך ימינה ללילה - Atah holekh smolah, elekh yaminah lalaylah
נפגוש בסוף - Nifgash Basof


Chaya squats down first, then goes onto her knees. Her dancers lay around her, moving to the beat, Chaya leans back as a camera catches her from above, she looks into the camera while singing, then rises back up to her knees, then feet while singing "self-self-self". Her dancers also climb up at this time and join her, beginning to move back up the stairs to the spinning ramp.

Leave your excuses and come to me free
How many times do you think about it
How many times did you tell yourself-self-self-self


As the pre chorus starts again, the strobes begin, and she turns back towards the steps. There is also wind blowing her from the side so that at the end of each line she turns to the side and moves her body, the wind blowing her hair in a pretty darn hot and sexy way if you asked a straight person.

אם הייתי שייטת, הייתי מעשנת מקטרתי כל יום - Im hayyiti shayyetet, hayyiti m'asenet miktereti kol yom
פותחת את ראשי עם העישון רוקד - Potachat et roshi am haisun roked
סוגרת את עיניימי ומרגישה את הביט - Sogeret et aynayymi u'margisha et ha'beat


Standing now at the top of the spinning circle, Chaya belts out the chorus, widening her gate to give a more impressive stance and sound. The circle spins so she goes from behind to the front, so people can see her face. The dancers around her strikes poses at the four corners of the frame that is holding the circle in position.

יד לשמיים, מאוחדים - Yad Lashamayim, M'uchadim
מסובכים ולוליניים בדמדום הזה - M'subakhim, v'lolinim badimdum hazeh
אהבתנו חייה - Ahavatnu Chayya
יד לשמיים, ביחד - Yad lashamayim, b'yachad
אתה הולך שמאלה, אלך ימינה ללילה - Atah holekh smolah, elekh yaminah lalaylah
נפגוש בסוף - Nifgash Basof


As the song slows, Chaya sits back, kinda like an Egyptian. All the dancers around her strike poses, moving and holding it with each clap. The lights darken with a warm light behind them so only a silhouette is visible. Chaya lifts the microphone up above her mouth to sing, creating an elegant shape, while the dancers create angular shapes, mainly with their arms and hands.

My sails blow me, around the world
My sails blow me, around the world
Our loves alive-live-live-live!


For the final chorus, as the voice effect made her voice echo, she stands up and marches down the stairs, with offstage backing vocalists taking some of the vocal slack so she can pose fiercely for the camera, putting her hand on her hips and pouting as her dancers do the same in a variety of sharp poses, yet still cohesive. The strobes blast out onto the stage and throughout the arena, and the wind sweeps her hair back in a sexy way.

יד לשמיים, מאוחדים - Yad Lashamayim, M'uchadim
מסובכים ולוליניים בדמדום הזה - M'subakhim, v'lolinim badimdum hazeh
אהבתנו חייה - Ahavatnu Chayya
יד לשמיים, ביחד - Yad lashamayim, b'yachad
אתה הולך שמאלה, אלך ימינה ללילה - Atah holekh smolah, elekh yaminah lalaylah
נפגוש בסוף - Nifgash Basof


As the backing vocalists repeat the final verses phrasing, Chaya takes the opportunity to get into formation with her backing dancers to finish the song. They pose like they had been, the camera finishing below them and lengthening their legs. At the end, Chaya shouts "Thank you world! The wait was worth it!"




יד לשמיים, מאוחדים
Hands to the sky, we unite
מסובכים ולוליניים בדמדום הזה
Tangled and twisted in this twilight
אהבתנו חייה
Our love's alive

(סבבה ביץ' סבבה ביץ')

He is disobedient and wild
In his eyes a thousand years of struggle
His hands start fires than can’t be extinguished
Yet we’re in the ocean, drowning in the atmosphere
Breathing me in with every thousand shekels
Feelings, and I lie to myself-self-self-seeelf

אם הייתי שייטת, הייתי מנשקת מליון חתיכות
If I were a sailor, I would kiss a million girls
מבקשת מליון מקומות, מרגישה מילון דברים
Visit a million places, feel a million different things

יד לשמיים, מאוחדים
Hands to the sky, we unite
מסובכים ולוליניים בדמדום הזה
Tangled and twisted in this twilight
אהבתנו חייה
Our love's alive
יד לשמיים, ביחד
Hands to the sky, together
אתה הולך שמאלה, אלך ימינה ללילה
You go left, I’ll go right for tonight
נפגוש בסוף
We’ll meet in the end

Leave your excuses and come to me free
How many times do you think about it
How many times did you tell yourself-self-self-self

אם הייתי שייטת, הייתי מעשנת מקטרתי כל יום
If I were a sailor, I’d smoke my pipe all day
פותחת את ראשי עם העישון רוקד
Open my mind with the dancing smoke
סוגרת את עיניימי ומרגישה את הביט
Close my eyes and feel the beat

יד לשמיים, מאוחדים
Hands to the sky, we unite
מסובכים ולוליניים בדמדום הזה
Tangled and twisted in this twilight
אהבתנו חייה
Our love's alive
יד לשמיים, ביחד
Hands to the sky, together
אתה הולך שמאלה, אלך ימינה ללילה
You go left, I’ll go right for tonight
נפגוש בסוף
We’ll meet in the end

My sails blow me, around the world
My sails blow me, around the world
Our loves alive-live-live-live!


יד לשמיים, מאוחדים
Hands to the sky, we unite
מסובכים ולוליניים בדמדום הזה
Tangled and twisted in this twilight
אהבתנו חייה
Our love's alive
יד לשמיים, ביחד
Hands to the sky, together
אתה הולך שמאלה, אלך ימינה ללילה
You go left, I’ll go right for tonight
נפגוש בסוף
We’ll meet in the end
Last edited by Izmedu on Wed May 01, 2019 11:49 am, edited 2 times in total.

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Postby Izmedu » Tue Apr 30, 2019 1:05 am

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Last edited by Izmedu on Tue May 07, 2019 8:09 pm, edited 2 times in total.

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10 Tödlichebujoku

Postby Izmedu » Tue Apr 30, 2019 1:07 am

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Tune: RAIGN - The Is The End

10. Tödlichebujoku
"Aion Kostaa" - Voiyt

Title Translation: I Will Avenge
Language(s): Taploukki, English
Lyrics: Daina Saikava
Music: Daina Saikava, Esvieta Torres, Farvald Takahaši
Tune: RAIGN - The Is The End

"Voiyt", of course, is just the stage name of Daina Saikava, a native of Eisige-ka on the west coast of Tödlichebujoku. As a child she had always been enraptured by theatrical scores in movies and swore on her life to be a singer, inspired in particular by the Lavrado series of spy movies. Writing her own songs from the beginning, she was frankly quite cagey about her musical passion until she began to live independently and found herself with like-minded friends eager to discuss and create music. Despite many public performances at nearby bars and seasonal festivals, she struggled to gain any sort of real recognition beyond the local level until she auditioned for a spot on the nationally syndicated show Taploukkun Esikuva. While she didn't make it to the finals, she was later re-invited to perform on the show after her debut single "Yátá" hit the top 40 on the charts. Not long after, she was invited by TÖBUK to compete in Sinun Valintasi for the chance to become the nations WV64 (due to a time skip, in reality WV65) entry with the song that was to eventually become "Aion Kostaa", placing second by only a couple of points. The exposure granted by this appearance allowed Voiyt to really take off in the nation, reaching the top 10 with her next single and setting off on tour. She started to become a go-to for crystal show producers as her music blossomed on dramatic and emotional scenes, to the point where it was mildly becoming a meme picked up by crystal personalities to accentuate every faintly emotional point of their daily lives. Even so, the decision for SterGo100 to pick up a revamped version of Voiyt's silver-placing SV entry to send to WHF was received warmly, and Daina herself has been excited at the prospect. She had always wanted to visit Izmedu, and now was her chance.


The beautiful Mediterranean sun shone fiercely as Daina stepped off the dragon onto the airport tarmac. Direct flights from Vodiznad to Sterblichengokai were regular at this point, and it was the unfortunate convergence of events that prevented her from visiting any earlier. But here she was, and what a sight already! She had already seen the red-tiled roofs of the old city from the air, and now that she was on the ground the great presence of the dark forested mountains really made themselves noticeable. Walking inside felt like what she imagined a walk through a Daskoxyani spaceship felt like- appropriate considering that the Izmeduan government generously spent on the tourism sector what it didn't invest on the music industry. During the Indo States funded train taxi ride, Daina admired the glimmer of the ocean among the delightfully aged stonework of the city. Amazing that it's only taken 60 years for the city to look so historic! she considered as the taxi rattled on the cobblestone road past buildings that looked positively Venetian. As the driver skillfully directed the singer's vision toward the shining waterfront and away from the upcoming dilapidated well-worn housing blocks visible through the pine and olive trees, the roof of the La Cianta Arena ("the the Cianta Arena," how lovely!) peeked out from the tangle of picturesque buildings. It didn't seem real that soon she would be standing within, performing to the world, as she pressed against the glass of the taxi...


A deep blue glow permeates the stage area, before Voiyt is illuminated by a harsh light, draped in a flowing metallic silver cloak, with dramatic shadows across her features and her pendant earrings glinting in the light. Barely visible drummers beat behind her, a lightly thudding, dark beat that promised much to come. Head tilted slightly forwards and down, in a threatening pose, she takes a breath and begins, feeling her voice carry through the arena

I see you in the shadow of the empty night
Frozen hearts, they burn inside

She lifts her head to fully face the camera view, grasping at the vintage microphone stand. Her wistful eyes track the camera as it retreats across the audience, depicting her illuminated isolation within a sea of darkness. The crystals on either side of the stage glow a deep purple, as if they are blacklights

We stand apart but gaze with yearning eyes
No fortune falls to bridge divides

The drummers are now somewhat visible, but behind them, the outline of a choir can now be seen, and soon a warm rippling, pulsing light like fire rises from behind them on the background screen. Voiyt briefly fades from view as the attention is on the backlit drummers and choir, but soon she returns as she continues, arms extended outwards, her draping sleeves glimmering in the light

Tear down the walls to crush their might

The stage lights rapidly pulse before the crystals and the rippling glow of the background screen turn to a flickering white like lightning. The backing choir and drummers are wreathed in a light mist, and then the camera view focuses on a close-up of Voiyt as she lets loose and projects her voice, arms raised upwards as if summoning great power, a light breeze blowing through her hair and across her cloak

Olen, tuhannen mürskün ukkonen
I am, the thunder of a thousand storms

Aion kostaa
I will avenge


Oh, en pelkáá valtaa kenenkáán
Oh, I'm not afraid of anyone's power

Aion kostaa
I will avenge

Aion kostaa
I will avenge

Flames shoot out along the stage edge as the crystals and background screen transform into a deep, thudding orange-red, reflecting off of the many parts of Voiyt's cloak that are not lit by the harsh spotlight. She moves her shoulders faintly to the dark and heavy beat, and she stares determinedly forward into the camera view, and you can almost see flames in her eyes as she sings the next verse

The ashes whisper sordid tales of hateful crimes
Bear my witness to stand behind

The fiery glow on the background screen grows ever higher, and a low wall of flame in front of her lights up her shimmering cloak

No torture ends my path to break you free from harm
Endure the fall to rise again

The orange flame and lighting effects then cut out as a flash of brilliant light illuminates a puff of smoke that falls from above, yielding a smoke bomb that falls directly behind her and detonates smoke laterally along the stage floor. Now more evenly lit and stepping through the layer of smoke at her feet, Voiyt unclasps the microphone from the stand and carries it along toward the edge of the stage. She kneels down, looking toward an audience member below, and sings to that one person before eventually raising her head back up. The stage is all monochrome now, whites and silvers and black among the low mist, a silvery rippling effect on the background screen

Rikon ketyut
I break the chains

Hengitán
I take a breath

Mullaon ikuisuus polttaa
I have eternity to burn

He pelkáávát
They will fear

Niin sauda
So cry out

Laupiišana, ya nouse voittoon
Havoc, and rise victorious

The lights flash brilliantly, then cut to darkness with the background screen following suit, with only a single beam of watery light shining upon Voiyt from directly above. Now standing, she is alone but confronting the darkness, light softly radiating from her and her silvery cloak and jewelry

Oh, en pelkáá valtaa kenenkáán
Oh, I'm not afraid of anyone's power

Aion kostaa
I will avenge

Aion kostaa
I will avenge

A low fire arcs across the stage edge as a procession of fireballs pop out along with it, and the fiery glow along the background screen rises once more. The crystals shine like sparks of gold and orange, as smoke rises from the flanks of the rear of the stage. Voiyt sheds her cloak, which burns up as it falls, revealing a slim black dress with lightning bold motifs that stretch along the length of the dress and light up and down in flickers and streaks. She strides along the stage with power and elegant energy, stopping at the second stanza where she gestures to the audience and flicks her head up before bringing her gesturing arm back toward her chest

The fires burning bright
Sparking, set alight
That solemn fortress in the sky

Hold your head up high
Victory is nigh
And I will take back what is mine

The lights of the crystals and the background screen, and the fire at the edge of the stage, pulse in time with the beat. They are interspersed with flickers and flashes of sharp white light, accompanied by animations of lightning on the background screen. Voiyt flings herself to her knees before getting right back up, wind tossing her hair and earrings, and the bits of her dress that flow loose

Olen, tuhannen mürskün ukkonen
I am, the thunder of a thousand storms

Aion kostaa
I will avenge

The backing choir, now seen to be clad in black robes, is swaying and stomping to the beat, and Voiyt is going round the stage edge again, but this time she is letting the music take control, softly stomping as she continues, head thrown back and eyes closed. Mist is now whirling up into the air, driven by the wind machines, looking like smoke as it rises behind the flames. The rising mist parts around Voiyt, letting her shine in the spotlight

Aion kostaa
I will avenge

Ohhh, ohhh, ohhhhh

As she sings the last "ohh," she bends over, extracting the last of her air, then rests with one hand's fingers holding her up from the stage floor. Her head is down and eyes closed as the lighting and effects fade to darkness with the music, the fire extinguishing in an arc and the mist seeping off the stage in the now-calm air

"Kiitos Vodiznad, kiitos kaikille!" she shouts joyously. She'd never thought she'd make it here, representing her nation, but here she was. The intense spotlights and cheering felt surreal, even after she had retaken her very comfortable seat and Margot of Normandy and Picardy began to sing. While her pulse calmed down, the rush of performing still remained to last.
Last edited by Izmedu on Wed May 01, 2019 11:54 am, edited 3 times in total.

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Postby Izmedu » Tue Apr 30, 2019 1:09 am

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Last edited by Izmedu on Tue May 07, 2019 8:18 pm, edited 1 time in total.

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Left-wing Utopia

11 Normandy and Picardy

Postby Izmedu » Tue Apr 30, 2019 1:09 am

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Tune: Indila - "Tourner Dans Le Vide"

11. Normandy and Picardy
"Des Rêves" - Margot Lafiere

Title Translation: Dreams
Language(s): English, Normand French
Lyrics: Margot Lafiere
Music: Margot Lafiere, LUDUM
Tune: Indila - "Tourner Dans Le Vide"


L'enfant soleil, pourquoi pleurez-vous?
Child of the sun, why do you cry?

Les nuages disent tout, même dans leurs silence
The clouds tell it all, even in their silence

Et maintenant le ciel, il pleure
And now the sky crys

Les âmes inondent un cœur très fragile
The tears flooding a fragile heart


Et à bord du lac vieux
And next to that old like

Vous ne m'attendez plus
You wait for me no more

Et dans la place où il y avait amour
And in the place where there was love

Il y a de l'espace vide pour mes regrettes
There is now only an empty space for my regrets


Je me souviens de l'été sans fin
I remember the summer that seemed without end

Ta royaume sans frontières, et l'hiver au loin
Your kingdom without limit, and winter far away

Et quand le premier gel a pris forme sur l'herbe
And when the first frost formed upon the grass

Ta chaleur n'a jamais semblé si loin
Your warmth never seemed so far away


Mais je te vois encore dans rêves, mes rêves
But I still see you in dreams, my dreams

Je te sens dans mes rêves, mes rêves
I feel you in my dreams, my dreams

Ta lumière intense, la force solaire
Your intense light, with the force of the sun

Mais c'est juste dans rêves, mes rêves
But it is just in dreams, my dreams

C'est juste dans mes rêves
It's just in my dreams

Alors je rêverai pour toujours
So I will dream forever


Des rêves, des rêves
Dreams, dreams

Des rêves, des rêves
Des rêves, des rêves
C'est vrai dans tes rêves
It's real in your dreams


Des rêves, des rêves
Des rêves, des rêves
C'est vrai dans tes rêves


I still see you, faint, in the twilight
A shadow floating away into the night
Upon the winds that shattered my heart
And left me alone, standing in the rain


And do you still shine now
In that foreign land
Where you fled so long ago
Or do the storm clouds roll over your soul as well?


And how does it feel to see the morning light?
To hear the birds sing in the trees above?
And have you found yourself a new lake just like ours?
Have you found a moon to share the sky?


And I still see you in my dreams, my dreams
Still see you in these dreams, these dreams
Your light still shining on like a thousand suns
And do you dream like me, like me?
Oh please tell me you dream
Just like I will dream forever


Des rêves, des rêves
Dreams, dreams

Des rêves, des rêves
Des rêves, des rêves
C'est vrai dans tes rêves
It's real in your dreams


Des rêves, des rêves
Des rêves, des rêves
C'est vrai dans tes rêves


Mais je te vois encore dans rêves
But I still see you in dreams, my dreams

Je te vois dans rêves
I see you in dreams

L'enfant de soleil
Child of the sun

Avec ton cœur qui est en flammes
With your burning heart


Oui, je rêves encore
Yes, I still dream

Et je rêverai
And I will still dream

Pour toujours, sans cesse
Forever with out end

Pour voir ton image
To see the image of you


Je te vois encore
I still see you
Last edited by Izmedu on Wed May 01, 2019 11:56 am, edited 1 time in total.

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Izmedu
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Founded: Sep 09, 2014
Left-wing Utopia

Postby Izmedu » Tue Apr 30, 2019 1:10 am

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Last edited by Izmedu on Tue May 07, 2019 8:23 pm, edited 1 time in total.

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