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AS1/AFT|76th Worldvision Song Contest|Rosario, Achaean Rep.

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Achaean Republic
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Founded: May 26, 2019
Civil Rights Lovefest

AS1/AFT|76th Worldvision Song Contest|Rosario, Achaean Rep.

Postby Achaean Republic » Mon Sep 02, 2019 1:43 pm




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“Please stand for the National Anthem of the Achaean Republic.”

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Arena del Sol, Rosario, Islas Fortuna


“Favor ponerse de pie para el Himno Nacional de la República Acayana.”

When both AS1, AFT and YouTube online transmissions began from the Arena del Sol, 12,500 fans from all over the Multiverse stood up in respect of the country’s anthem. By law, the national anthem must be played before every cultural, political or sports event in the country. The wavy LED-covered stage was covered with the green, red, and blue colors of the Achaean flag alongside the flag of the Islas Fortuna and the Municipality of Rosario. The Achaean men, with the exception of the expansive security detail alloted by both federal and local governments. They wouldn’t let a silly, fear-inducing hurricane derail their plans to host the Multiverse’s largest party––they waited 56 long years since the fateful days of Corola when they had to step in and host the show. This time, it was all theirs for the taking. It was time to show the world that Achaeans can break free from their long, self-imposed isolation and sing their hearts out. As soon as the anthem was finished, the audience clapped and hollered in respect, all waiting for the show to begin.

Another camera on YouTube showed an audience of about 60,000 on a hot-yet-wet Saturday evening in the Plaza del Rosario, all packed like sardines, anxiously waiting for the show to begin. Bars were packed. Airplanes were borderline grounded. Families congregated in houses throughout the Achaean nation––Corola, Santa Ana, Yatre-Emberá, Oriente del Rio, Alfaguara, and of course Rosario––with scrumptious delicacies and pool bets in order to see who would win some extra pocket money. Worldvision, if only for the time being, united the country and allowed them to forget the many problems Achaeans face on a daily basis. The Achaeans are known for being loud, proud, rambunctious, and above all very, very, extra. Now this will be the perfect time to show that.

Tres…Dos…Uno.

The Worldvision Theme Song could be heard on TV screens across the multiverse. After that, the screen went to black, and embers of fire could be seen. Pictures of young and old dancers were showing across the screen, reveling across the fire in a dark summer night. The music was mysterious and discomforting, and the voices also incomprehensible. Some wore loincloths, while others were naked (this was slightly blurred, of course, so as not to offend international sensibilities). Some women had flowing hair to their thighs, covering their breasts and chanting with their lungs. Even children were into the ceremony, dancing around the fire and shaking their maracas. They were adorned with collars made of rock and bones and shells they picked up from the beaches or the mountains.

It was an areyto, a ceremony to the Taíno gods. They wanted Yucahú to bless their crops. They requested the favor of Yúcahu to bless the women’s wombs in the forested jungles. They appeased Juracán so as not to bring any more disasters to their villages. This areito was special: It was a request to bless all the islands, the ones the Spanish would later call fortunate, the ones that would rape, pillage, and borderline exterminate all the Taínos and bring with them a host of slaves, asking the gods that they would be all right.

Two logos were then shown on screen:

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The image then cuts to present-day Rosario and enjoy scenes of a day in the bustling, Caribbean city. What follows are brief snippets of daily life in Rosario:
(Tune: Yuba Iré, Breve Espacio)

00:00-00:10: Sunrise in the Colonial Fort of San Antonio
00:11:00-16:A woman prepares food at a local fonda
00:17-00:22: A woman prepares coffee and talks with her daughters that live on mainland Achaea
00:23-00:28: A Catholic priest opens the doors to the faithful at the Rosario Cathedral
00:29-00:35: A Santeria priest initiates a ceremony
00:36-0:45: Youth play basketball in one of Rosario’s slums
00:46-0:56: An old lottery seller prepares his stand while a passer-by buys him a small cup of coffee and newspaper
0:57-1:04: A young couple kisses and walks holding hands through the alleyways of Rosario’s colonial zone
1:05-1:11: A tourist takes a selfie in front of the Parroquia de la Inquisición in Rosario’s colonial zone
1:12-1:20: Bakers make bread, oatmeal, and sweets for hungry locals in a local bakery
1:21-1:31: Students enter their classrooms and converse at a Rosario public school
1:32-1:40: A teacher in another classroom is talking with her students
1:41-1:50 A couple on the street is dancing guaguancó.
1:51-2:01 A group is dancing bomba, an Afro-Caribbean dance, in Rosario’s Colonial Zone
2:02-2:10 A young dance troupe in a Rosario street is practicing a soca dance.
2:11-2:20 A local man is making and selling piraguas, a shaved ice treat covered with fruit or syrup
2:21-2:30 Hotel guests enjoy a refreshing splash at a pool
2:31-2:38 People bathe in Playa Azul, some putting sunscreen on, others making cannonballs from a small fishing pier
2:39-2:47 A sailboating team enjoys the sights of Playa Azul.
2:48-2:56 A group of hikers travel through the Bosque Tropical de la Ciénaga, taking a zip line through the rainforest.
2:57-3:04 German Pascual, a local designer, prepares dresses for next Carnival.
3:05-3:13 A masquerade group is rehearsing for Carnival.
3:14-3:21 Worshippers at a Pentecostal church in Rosario sing, raise hands, and pray.
3:22-3:30 A view from the famous Rosario Kiosks, where people enjoy food, drinks, dance, and spend some time on the beach.
3:31-3:37 A local theater troupe rehearses in the Teatro Real, in Rosario’s Colonial Zone.
3:38-3:45 A horse race takes place at the Hipódromo Nacional.
3:46-3:51 A horse trainer takes care of horses outside the Hipódromo Nacional.
3:52-4:00 Sunset in the Colonial Fort of San Antonio.
4:00-4:03 Lights flicker on in the Rosario Colonial Zone, where passers-by walk to stores, bars, and restaurants.
4:04-4:11 People dance in the Champeta Club, in Rosario’s Colonial Zone.
4:12-4:20 A drone image of the Arena del Sol, the main venue of the 76th Worldvision Song Contest, with people from different countries singing, dancing, showcasing their flags, and taking selfies of themselves.

After the final shot of the Arena del Sol, the logo of the 76th Worldvision Song Contest appears:

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Tune: Petrona Martínez, Un Niño Que Llora en los Montes de María

A wide pan of the crowded Arena del Sol and a darkened stage appears. People are cheering on, raising their flags, singing, and dancing. Then, the stage lights focus on a barefoot, black woman dressed in white. Another camera suddenly focuses on her, singing the first verses of a a traditional bullerengue, an Afro-Achaean rhythm of her native Orogumilá, a small riverbed city on the other side of Rosario Island. The sounds surrounding her are those of the jungle: a small coquí frog showing its mating call; an iguaca parrot, the Achaean Republic’s national antimal, gallivanting through the trees; the faraway sounds of the cimarrones, escaped African slaves from their Portuguese or Spanish masters, playing their drums and celebrating their freedom.

En el riachuelo de Cañas, ocurrió grandes demores
lloraba una esclavita, la vendieron malhechores
//¿Por qué lloras, negra? Dime qué te pasa//
//Me tengo que ir de Rosario y dejar toda mi casa//

//Me llevaron al mercado y Alá no me dijo nada//
//Los blancos tenían mi cuerpo con jabón y seda blanca//
//¿Por qué lloras, negra? Dime qué te pasa//
//Me tengo que ir de Rosario y dejar toda mi casa//

//Mi niño besó el polvo, mi esposo bailó en el cuero//
//Y aún no sé si Alá escucha la voz de este mi lamento//
//¿Por qué lloras, negra? Dime qué te pasa//
//Me tengo que ir de Rosario y dejar toda mi casa//


The camera expands and features men and women playing drums and wearing colorful dresses. The men are wearing turned hats and clap to the beat of the rhythm, or carry colorful maracas made with the hide of goats and filled with hollow beans, dull rocks, or even dry rice. They are all barefoot and following the beat of the rhythm. Suddenly, one of the standing women leave the group and begins dancing, carrying her skirt and flipping it around. She dances in circles and raises one of her hands in the air and placing the other hand on her hip. Another male dancer leaves the circle, takes his hat off and begins to dance. He spins and raises his hat in the air, as if trying to call the female dancer’s attention.

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The camera on stage circles around the two dancers. He closes in on her, as if trying to kiss her. But she backs down and smirks––the dance of bullerengue is a dance of seduction, as one leading Achaean ethnologist compared, as if two birds of flight wanted to mate with each other, but felt beholden to their lovers.” She moves her hips. He tactfully shows the muscles in his arms, even if he has none, that the humidity of the crowded arena is more than enough a substitute of the humidity of the rainforest. The dance of bullerengue is also a dance of slavery, or at least a reminder of the hardships they suffered because of the color of their skin. It is joyous, yet sobering, like many things that happen in the islands. And still, they keep dancing.

The camera focuses on some Achaeans in the fan zone, also dancing and playing their own drums. Many came from the mainland––Corolanos, Candelarienses, Captialinos, Alfaguererenses, Santaanenses––but many of the crowd were also Rosarianos, those that grew listening to these rhythm. They know the call-and-response nature of the music. They know that this beat is intense, maybe borderline aggressive as the hurricanes they are threatened about each year. But it was fun, and they needed this respite.

A top camera follows the LED “river" stage being transformed from a searing white to wavy blue, with the dancers suddenly in a sandy “island,” stopping where the other team and the cantora were standing. This then switches to a wide pan of the stage, with a brief lull in the beat being picked up by the sound of claps and drums.

In the Cañas creek, many great delays occurred
A young slave girl was crying, evildoers sold her
//Why are you crying, honey? Tell me what’s going on//
//I must leave Rosario and leave all of my house//

//They took me to the market and Allah didn’t say nothing//
//The white men took over my body with soap and white silk//
//Why are you crying, honey? Tell me what’s going on//
//I must leave Rosario and leave all of my house//

//Mi baby kissed the soil, my husband danced with leather//
//And I still don’t know if Allah heard the voice of my lament//
//Why are you crying, honey? Tell me what’s going on//
//I must leave Rosario and leave all of my house//

The song refers to the sale of a slave by Spanish settlers in the market, to be shipped off to work somewhere on the Achaean mainland.

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Tune: William Cepeda & Choco Orta: Medley de Bombas

Immediately after the song finishes, the lights in the stage change to showcase bright colors, and suddenly a group of vejigantes appeared on stage, or costumed demons wearing colorful costumes and scaring people to sin, carrying sacks of cow bladders or balloons filled with tiny stones. Then also came gabariteros, black-bodied dancers dressed with a black, skull-like bodysuit and a sickle representing death, a common sight in the Rosario Carnival. There are also cabezudos, papier-mâché costumed figures that ridicule, humor, or exaggerate typical celebrities and politicians during Carnival. This time, the costumes satirize and doubly homage past Worldvision performers and archetypes, specially commissioned for the event.

The stage exploded in a vision of carnivalesque color and music. Reds, greens, whites, yellow, oranges, and blues. The LED “river" stage immediately transformed from an island coastline to one of the many cobblestoned streets in Rosario’s Colonial Zone. At the same time, a bomba dancer, barefoot and dressed in a frilly white dress and yellow decorations, moving and twirling her skirt with her bewitching cadence. Bombay is music for call-and-response, a game of teasing, where the dancer challenges the drummer to follow the pace and not the other way around. The dancer pushes the stamina of the drummer to his limit and backs off whenever she herself feels the tiredness of her feet. It becomes a conversation, almost a tense exchange between singer, drummer, and dancer, the former hitting the drums to the beat of the latter swinging her frilly petticoats. It becomes a sensual interchange, one that endures beyond the past yokes of slavery and into the heart of Africa to free their burdens.

As the music continues and the stage continues to be filled with color, the night’s performers are walking across the stage for the flag parade. This time, however, the performers don’t appear to carry flagpoles––instead, costumed bomba dancers accompany the night’s performers with their national flags hand-drawn in their dresses.

As the music ends, the performers scurry out of the stage.

“Bienvenidos to the 76th Worldvision Song Contest. Please welcome your hosts for the evening, Tamar de Andrade and Khaleb Nássar-Rodríguez!”

The contest’s theme song plays as the hosts walk through the stage on opposing ends, Tamar de Andrade from the left and Khaleb Nássar-Rodríguez from the right. De Andrade is wearing a decorated white kaftan with golden accents and gold-white heels. Nássar-Rodríguez is wearing a white dashiki with accented shoes, one typically used for Yoruba wedding ceremonies and coopted by Santería practitioners in Achaea. As they meet in the center, they kiss on the cheek and salute the cheering crowd.

Both: Welcome!

De Andrade: Welcome to the 76th Worldvision Song Contest, live from the city of Rosario in the Achaean Republic! (cheers)

Nássar-Rodríguez: It has been 56 years since the Achaean Republic last hosted Worldvision, and we are more than ready to welcome you all to the Black Pearl of our nation, where you can experience the best of our music and our roots.

De Andrade: That’s right! And just to keep you in your seats, we’ve got excellent performances from all around the Multiverse who’ve also taken the time, Khaleb, to enjoy some of Achaea’s most famous festivals and celebrations.

Nássar-Rodríguez: But just to be clear, only one performer will win this contest! Who will it be, the choice is yours.

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De Andrade: You can vote up to 20 times by the phone numbers on the screen, by the Worldvision mobile app, or by logging in to worldvision.tv and placing your country of origin. But remember––you cannot vote for your own country. But don’t vote yet! We’ll tell you when after the very last song has finished performing.

Nássar-Rodríguez: Guess I have to say it in French, huh? (Off-camera, De Andrade nods.) Vous pouvez voter jusqu'à 20 fois en utilisant les numéros de téléphone à l'écran, via l'application mobile Worldvision ou en vous connectant à worldvision.tv et en indiquant votre pays d'origine. Mais rappelez-vous: vous ne pouvez pas voter pour votre propre pays. Mais ne votez pas encore! Nous vous dirons quand à la fin de la dernière chanson.

De Andrade: Well, that’s been taken care of. Tán ready, mi gente? Are you ready, Rosario! (cheers)

Nássar-Rodríguez: Well, then… Why don’t you say it with me? Buena suerte to everyone competing––

Both: And let the Worldvision Song Contest Begin!

Both hosts leave as the drums begin, and the first performer begins to take center stage as soon as the postcard ends.
Last edited by Achaean Republic on Tue Sep 17, 2019 2:59 am, edited 8 times in total.

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Achaean Republic
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Founded: May 26, 2019
Civil Rights Lovefest

Participating Nations

Postby Achaean Republic » Mon Sep 02, 2019 1:44 pm

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Entry| Postcard| Music | Voting


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[7|Gaciadia]
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Last edited by Achaean Republic on Wed Sep 18, 2019 2:39 pm, edited 25 times in total.

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Achaean Republic
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Founded: May 26, 2019
Civil Rights Lovefest

Commentary and Commercial Breaks

Postby Achaean Republic » Mon Sep 02, 2019 1:46 pm

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Last edited by Achaean Republic on Sun Sep 15, 2019 8:03 pm, edited 1 time in total.

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

Postby Missus X » Mon Sep 02, 2019 1:48 pm

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Rick Leg - "Mournful of Age"
Tune: Chris Cook - "Tema do Felipe" (a cover version of "Tema da Vitória" by Eduardo Souto Neto for Rede Globo).





Rick Leg is back, back, BACK again. He wanted to perform something slightly more serious this time, to show the passage of time. Time doesn't go round and round in circles, you can't get on and off whenever you like, and it has flowed by. His song is about the passage of time and the way that time and life constantly flows by. To that extent, this song, originally written as a victory anthem when submitted to MSX, was changed and re-arranged to become a mournful funereal piece.

Rick sits alone at a singular oak grand piano in one single spotlight. A guitar stands alone further along. Some lights are turned on in the background of what is otherwise a black ambience, as though they are stars in the middle of a night sky. The camera softly fades in from black as the music stars on Rick's piano. It also zooms in from afar very slowly. The audience all have little hand-held lights which have turned on and they start gently wafting them from side to side although the music doesn't necessarily reflect that.

Then Rick starts singing.

Badly.

It sounds like an overly drink Rick Leg who's in the middle of a funeral. However, he keeps playing the piano as the camera keeps cutting to various angles of him.

Oh no
It's time for us to go
This contest is for show
And I don't know what to do

Ah-wooooooo
All these times and no wins
All these songs, all the tears
It gives me nothing to say, baby
"You fool"
Is what they would all say to me
And I have something to say
Yes, today


Rick starts another instrumental break and this time a man comes onto the stage and picks up the guitar. He plays it atrociously as Rick continues the piano, with the camera fading between the two.

Unfortunately, there is then a technical failure and some talking is heard behind the stage as he picks up the harmonica.

"I don't really care, man! Just get the microphone sorted out! The next act is due on stage very soon and I haven't got a clue what to do! ... Maybe I should do it then, you complete cockwombling great supine protoplasmic invertebrate jelly baby! ... No, I insist, I should do it myself! ... You complete bag of wa-"


The technical failure is fixed just as the crowd hears the final notes of the song. Rick's final piano chords go on for *slightly* too long, and the audience aren't sure when to applaud in the belief he may play another note. Finally the song comes to an end and Rick is finally given an applause.
Last edited by Missus X on Mon Sep 09, 2019 2:21 pm, edited 2 times in total.

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Scotatrova
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Founded: Dec 28, 2013
Civil Rights Lovefest

Postby Scotatrova » Mon Sep 02, 2019 1:58 pm

2. Scotatrova
Andre Valerio ft. Lila Cruz
Emor Ei Ondue Resto

Tune: Pentatonix - Can You Feel The Love Tonight
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WorldVision 72, WorldVision 74. These are the two editions which saw the debut of Andre Valerio and Lila Cruz to WorldVision, with Andre being Scotatrova's debut entry in the contest. Andre placed 13th in his contest, which wasn't a good look for a debut and the populace was rather disappointed considering his song was a national hit. However Scotatrova rebounded next time around by placing 6th in its next showing. Lila won the first National Final for Scotatrova to represent the nation in WorldVision 74. With her entry, which was very well received in Scotatrova, she dropped down to 8th place, once again landing Scotatrova in the top 10. Hoping to recapture their momentum, they will now represent Scotatrova together. Upon arriving in the Achaen Republic, Lila and Andre traveled to the city of Corola to attend the celebration of Las Mañanitas. Lila had described the celebration as "an interesting tribute to their saint, and very similar to the Festival of Nosre Fema, Reign ea Malecos that we have back home." Afterwards, they made their way to the venue. Andre talked about his second chance and "what an excitement it is to represent my nation again. It gives me, and Lila the chance to redeem ourselves from the first time around. Maybe the juries can come to their senses this time."


Just as the song is about to begin, a spotlight is shown upon Andre, who is located on the far left of the rather dark stage. In the faint shadows cast from the light, Lila can be seen, located opposite of Andre on the far right of the stage in the dark. However, even though the stage itself seems rather dark and empty, you could barely make out the outline of another single screen in the area centerstage to them. Andre has his head down looking toward the floor, but even though his face is barely visible, you could see his look of concentration. As he looks up to face the camera, his eyes do a quick scan of the crowd so that he can get a better feel of his environment, and takes a breath in as he begins his verses.

With every step we take
It feels like it is
Going to continue to grow
Before we know it
Let us just savor this
So we remember
All of the good times you and I have been through
When we're together


Le emor ei ondue resto (resto)
The love is where we are (we are)
With me here

Gomego axtia
You and I can be better than we are
We just need our love


With the conclusion of his verses and the beginning of a short melody, the screens behind him began to illuminate with light. The larger one was still black, but there was light emanating from it. The middle, smaller screen however depicted a small blip. That blip of green light manifested itself in the construct of a butterfly. Andre had walked up the screen, and when he did, it was as if the butterfly knew that he was there, because it began to move. The situation of the screen, and the camera's front angle gave the impression as if there was no screen there. The butterfly moved with such precision and grace you could swear it was real. Andre's interactions with it also helped, as when he held his hand out the butterfly seemed to position itself into his palm. He "let it go" just as Lila's verses began and retracted away from it, he now being the one to wait in the dark.

We were always great at it
How we'd never feud
If only we knew then what we
Know now it could change
You are my everything
And I know I'm yours
Together we can do amazing things
If we just believe


Emor ei ondue resto (resto)
Love is where we are (we are)
With me here

Gomego axtia
You and I need to see where we can go
From here on out, just us


Right as Andre's verse ended with a melody, Lila's did too, which gave her some time to interact with this light construct. The butterfly on the screen now interacted with Lila completely independent of when it did with Andre. This time, it seemed to have more of a curiousity in her. Lila herself even played the part, lifting her arm up as it flew overhead on the screen, as if giving the impression she wanted it to land on her hand. It just kept flying around her in a circular pattern, before it flys away off screen. The camera then zooms out from them and focuses on the larger LED screen in the background. Light yet again started to slowly appear on it as well. However, the way it manisfested itself was different than when it did with Andre. It too started out as a small blip, but instead of taking on a defined shape, it began to spread diagonally. Eventually, it became clear that this light was coming from a setting sun among a beautiful mountain range. There was a brilliant assortment of colors, but the most prevalent of them became orange. The lights around the stage also began to cast this orange light on the stage, and then both Lila and Andre became visible. They faced each other, with each of them giving the other this stare of admiration. This time, the two of them would sing the following verses together, not once breaking their gaze.

Emor ei ondue resto (resto)
Love is where we are (we are)
With me here

Gomego axtia
You and I can be better than we are
We just need our love


Emor ei ondue resto (resto)
Love is where we are (we are)
With me here

Gomego axtia
You and I need to see where we can go
From here on out, just us


As the verse began, the lights around the stage began to flash in unison, particularly in beat with the song lyrics occasionally. At the same time this happens, the middle screen depicts the return of the LED butterfly. Only this time, it has not come alone. Two, miraculously colored butterflies fly around the screen interacting with one another, and both Lila and Andre. While the butterfly sequence continues, Lila and Andre still hold their gaze as the song continues. Whether this was your first time watching it or not, you could not deny that there wasn't a sense of connection between the two of them. As they continued on, you could feel this aura the both of them were giving off, it felt nice, and it felt safe. They were comfortable with each other, and their performance showed it, you could see it in their eyes. After some time of flying around some more, the butterflies began to fly around each other in circular motions. The shapes of them began to blur as it sped up, eventually becoming two unidentifiable lights. They appear to move closer together, and then it happens. There is a quick flash, and then the shape of an even larger butterfly becomes apparent.

Emor ei ondue resto (resto)
Love is where we are (we are)
With me here
Our love
Is what we will take together
For the rest of our lives

Gomego axtia
Nosre emor
Ei que prendziro iunx
Par toth nosras vithas


The large butterfly construct disappears from the smaller screen and then two life like ones, with such beautifully colored patterns, fly onto the screen of the setting sun in the mountain range. Yet again, the two animations interact with each other as they fly off into the now fading sun that sets behind the mountains and disappears. As Lila and Andre finish the song, their voices merge into a melodious blend of triumphant symphony that echoes throughout the arena. The camera is positioned slightly above them, looking down as they break away from their eye contact to face the crowd. "Greixas! Remember to always follow your heart!" They each bow, and give each other a long, tender embrace and wave out to the crowd before making their way off stage, all the while smiling.
Last edited by Scotatrova on Sun Sep 15, 2019 1:04 am, edited 6 times in total.
Male, Hispanic, Liberal, L(G)BT

My nation is based on my own personal views

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


Scotatrova in WorldVision
WV72 - 13th
WV73 - 6th
WV74 - 8th
WV75 - 18th
WV76 - 11th
WV77 -

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Proluvia
Secretary
 
Posts: 32
Founded: Feb 28, 2016
Ex-Nation

Postby Proluvia » Mon Sep 02, 2019 2:12 pm

Entry No.03: PROLUVIA
Don't Stop the Music!
VST Raiders feat. DisKid
Based on: Buraikku Jikorizer by kradness


Last edited by Proluvia on Mon Sep 02, 2019 2:14 pm, edited 1 time in total.
Nekoni's bit on the side.

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Main Nation Ministry
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Founded: Sep 28, 2016
Psychotic Dictatorship

Postby Main Nation Ministry » Mon Sep 02, 2019 2:15 pm

4: Main Nation Ministry
Fred Walker - A Night at the Neon City
Tune: Panic! At the Disco - Death of a Bachelor
Language: English


Background: After the events of WorldVision 75, where the Leader had gotten some unfavorable votes for his performance, several meetings in the Ministry of Entertainment and Ministry of Foreign Relations had to be established. The Leader, despite looking like a teenager, had been suffering from an alcohol addiction, which was seen as a lingering effect from the Sasher incident. Princess Keller Harrington, being a cool head, since her role in power has issued an experiment to repeal a censorship law that was enforced by the Leader. Said censorship law was made, so no musician can bash the Leader or criticize the government or nation, which had led to most musicians in the nation going underground, though it is considered a dangerous hobby, due to raids by soldiers. After the law was repealed, several musicians returned to take their jab at WorldVision. Jessica Madden herself revealed, that she didn't know that the censorship law was repealed, until she was told by Keller, in a bit of irony, since Jessica believed that the Leader despised her and would censor everything she made.

According to sources, there was already tiebreakers throughout the voting processes, where it was chaotic since the Ministry of Foreign Relations was making sure that the 2nd stage of voting didn't end on a major tiebreaker, since roughly 3 songs were tied, until the last couple of votes put a musician on top. Entering the stage is Fred Walker.

Fred Walker grew up in Main Nation Ministry, though while he did some songs, he didn't see his big break until he gotten word about the repeal of the censorship law. Walker considers himself around the same genre of Jessica Madden's music and giving her credit for being a small inspiration in his music, though he sees himself as a pop rocker. His song "A Night in the Neon City" is based around the noir film genre, which he pays tribute to some films he knows that he managed to pirate from other nations. He goes this to say when getting the news of performing in WorldVision:

"Being chosen for WorldVision is somewhat of a honor in Main Nation Ministry. There's tons of musicians, not counting Sasher, who wanted to be on the big stage worldwide. I'm still new to this, but I'm giving it my big shot. Who knows? Maybe they take a liking to me. I did hear how Keller sounds, though if I don't do good, I already know who plan B will be for WV77."

Here's Fred Walker.

Performance:

After the postcard is shown, the cameras are applied a black and white filter. Fred, who is dressed in a old-fashioned suit and tie, along with wearing a vintage hat, is leaning against a streetlight at the end of the stage, as he was near a microphone on it's stand. Taking a step towards it, he adjusted his hat, as the band near him starts to play. He grips the stand, as he starts to sing.

Why ain't I happy?
I cast a shadow of a doubt
I want a detour, so I can smile
They see him up there
He's a mystery so notorious
Being victorious, what side am I even on?


Fred takes the microphone off of the stand, as he sings the bridge that leads to the chorus.

It's a blast from the past in a lonely place
Sweet smell of success from a warped life, have I gone mad?


Several spotlights illuminate Fred, as he does a slide from the end of the stage, where he starts to walk to the other end.

A night in the neon city!
Woah woah
In the top of the world
A night in the neon city!
Woah woah
Dancing with the moonlight
Black and white of strange horror (ahh)
I'm with the new limelight
A day of no regrets
A bizarre place in a night in the neon city!


Fred stops halfway on the stage, where he walks towards the audience, where he sits down on the edge of the stage, singing towards the audience.

If I'm just a stranger
Why do you come to me wearing a mask?
The attire isn't so trendy and the air smells of odd blood
Though you making me tense, is true love here cold and breathless
I'm good for a visit, happy nevertheless


Fred gets back up, where he again sings the bridge to the chorus.

It's a blast from the past in a lonely place
Sweet smell of success from a warped life, have I gone mad?


The spotlights appear again, as Fred does another slide, as he continues down the stage.

A night in the neon city!
Woah woah
In the top of the world
A night in the neon city!
Woah woah
Dancing with the moonlight
Black and white of strange horror (ahh)
I'm with the new limelight
A day of no regrets
A bizarre place in a night in the neon city!


Several strobe lights go off, as several dancers dance along with Fred. Seconds before the chorus starts up again, several pyrotechnics send sparks up in the air, as Fred sings the last chorus.

A night in the neon city!
Woah woah
In the top of the world
A night in the neon city!
Woah woah
Dancing with the moonlight
Black and white of strange horror (ahh)
I'm with the new limelight
A day of no regrets
A bizarre place in a night in the neon city!


Fred Walker lets the audience give his applause, as he takes a bow. "Thank you, Achaean Republic!" Fred said, as he left the stage.
Last edited by Main Nation Ministry on Sun Sep 15, 2019 7:10 pm, edited 7 times in total.
Local 19 year old Diet Coke Addict College Student Ruins Everything

Quote of the Week:
"What you are about to watch is a nightmare. It is not meant to be prophetic, it need not happen, it's the fervent and urgent prayer of all men of good will that it never shall happen. But in this place, in this moment, it does happen. This is the Twilight Zone." - Rod Sterling, The Shelter, The Twilight Zone, 1961.

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Besen
Spokesperson
 
Posts: 192
Founded: Mar 01, 2018
Inoffensive Centrist Democracy

Postby Besen » Mon Sep 02, 2019 2:24 pm

5 | Besen
Marietta | "I'll Always Love You"

Loreen - I'm In It With You
Music - Marietta Nemas, Frederico Miche & Erica Rodman
Lyrics - Marietta Nemas, Erica Rodman, Yusuf Maneit & Luca Ido

Image

Marietta has always dreamt of reaching an audience of millions, in pursuit of a career in which music would be the only thing she had to worry about. At the young age of 23, she has set her sights on Worldvision. A contest where communities come together and the power of song unites the nations of the world. But her journey here isn't so simple. Following your dreams comes at a price - and for her, family is the cost. Her father told her she needed to find a husband and settle down, laying out the foundations of a life for a submissive housewife. She said no, and lost him forever; leading her to the city of Lipa, where she made friends with producers and songwriters that have encouraged her for her whole career thus far. But still, she regrets how things turned out and wishes she could have proven to him that she really was passionate about her ambition.

Her first release came in November of 2017. She had written the track herself and had had it produced by Federico Miche (the eventual producer of her song for Worldvision), in hopes of it reaching mainstream recognition quickly. Accompanied by a stunning, simplistic music video, "Amora dor Due", peaked at #43. It got her signed in the end. Her record label saw her potential as the next big female pop star, and rapidly started marketing her as such. Heavy promotion for her follow up single occurred, and in January of the next year, "Fiera" was released. It's her biggest hit song to date, reaching #2, and becoming her first and only platinum single. Her promotion went a little quiet after that, and rumours were started that she was in a relationship with the controversial film star Damien Elabar, who has been criticised for his comments regarding LGBT individuals in Besen. She rebuked this rumour, stating that she is "only interested in his catalogue of films, which inspire me deeply in the music I create." She received backlash for this, but in the end was praised for the release of her third single, "RAINBOW" which covers themes of diversity and LGBT rights. The gay community has followed her closely since then, and she gained 150,000 followers on Instagram following the song's appearance. Nevertheless, she took a little break and said she was working on her debut album, due to come out October of 2018. This album was apparently finished in a few months, but she kept it top secret. She revealed that the album title would be "Golden" in an emotional interview with Besenian Vogue, where she discussed the upsetting nature of her relationship with her parents, and her loneliness growing up as an only child. Thousands took to twitter to thank her for sharing her story. Her debut album was then released on the 10th of October 2018, debuting at #1 the following week, selling 190,000 first week, and managed to stay at the top position for another week, before falling down the chart slowly. This success greatly motivated Marietta in her work and she didn't stop the releases there: "Tresa" came out in March 2019, and is the last song she has made public. It had moderate success at #17. Afterwards, she made it known that her next move would be to go to Worldvision, a shocking move in the eyes of her fans and her label, but she had promised that the song would be her "most emotional yet".

"I'll Always Love You" is supposedly an outtake from her album that she kept aside because she felt it lowered the celebratory tone of the project. According to co-writer Yusef Maneit, the session was the hardest to complete, as Mariette kept getting upset from the lyrical content she was producing. The song is about her previous partner and her acceptance of her feelings towards him, regarding her inability to let go completely from the relationship. She recruited Erica Rodman, the first ever participant for Besen, to create a sound that would appeal to an audience like the one at the contest. They met to discuss the track in a YouTube interview - where Marietta acknowledged:

"Without Erica, I couldn't have made this record as chilling as it is. I really like it - it's probably one of my favourite songs I've had a hand in piecing together. The process was so difficult but I'm glad we did it, and I hope that it reaches someone and lets them know that I have felt the exact same feelings as them. I want them to know that love is so hard. Because you feel attached to it, and it becomes an addiction - love is a drug."




Marietta stands alone in a growing mist floor - the background coloured a soft grey. She bares her shoulders in a red trench coat-esque look, with her hair wet, hanging low. As the music builds, she picks her head up from it's fixed glance towards the ground, and embraces the camera with a long shot of her soft stare, singing with power and grit. On the word 'weak', she turns to the side, and the shot shifts into a wide angle which reveals the entire stage. It appears long and empty, due to its cohesiveness - very light yet without visual clarity. Two female dancers, dressed in similarly coloured jumpsuits join her on the left and the right. They both place themselves a small bit ahead of Marietta, approaching the pre-chorus area of the song.
I took your heart, you found the truth
You would never find someone else
You loved me weak, I made your world
Such a shame that we were in hell


She sings with larger intent to project emotion. There is a closer shot and image of her eyes, clear use of mascara and light blue eyeshadow, making her look almost majestic. Her memories of the lyrics are evident, she nearly chokes up on some of the lines. The dancers form formations with their bodies - appearing like arrows, while Marietta takes the centre. Then, a single white spotlight drops down onto her, as most of the mist from the beginning fades away. This is followed by a large change in the colour scheme, with the back of the stage projecting a single shade of dark red.
Where were you going?
I had to get gone
All of the pain seeped through
Why were you leaving?
You shouldn't have ever showed,
Me that same fear, you knew


Marietta's voice is huge in the chorus, taking away from the rest of the stage design and the intricate performances from the two dancers. It feels as though it is just her alone, giving her whole world into it. She doesn't shy from tiny cracks in her voice, reflecting the painful illustration of the story. The camera swings back around to the left, giving the dancers an opportunity to get to their next cue - but Marietta maintains eye contact with the lens, following it as it makes its journey. She falls back to her original position in the centre as she reaches the refrain.
If I was to call, you wouldn't come
But if you said my name, I'd give my heart
I'll always love you
I'll always love you


The two dancers shift themselves across the floor, nearly grinding to the right side of the stage, where Marietta follows them, and she places her leg upon one of the girls backs, whom then crawls up into a little ball. The camera comes to join them in this position - as does the spotlight - and Marietta leans into the view of it, like she is singing directly to someone.
Said it would last, it went too quick
I wish you knew how much I made you
But stuck in shadows, you and me
You showed that I could never trust you


The shot does a 360 spin, while Marietta follows it around. The mist begins to appear just slightly across the ground, where her two dancers still remain, crouched into tiny figures. Each of them are hidden in the shadows of the spotlight on Marietta - which evidently has grown in size, somehow irrelevant compared to the high key purple in the back.
Where were you going?
I had to get gone
All of the pain seeped through
Why were you leaving?
You shouldn't have ever showed,
Me that same fear, you knew


Quickly, all three of them on the stage form a line at the very front of the stage, Marietta in the middle, and the dancers either side of her. They appear strong yet wounded, and the stage is dark, illustrating the mood of this moment. In addition, a small amount of backing vocals are layered atop of Marietta's towering voice. Still though the whole scene carries weight - furthering a plot that feels almost too surreal for the stage. It is used well.
If I was to call, you wouldn't come
But if you said my name, I'd give my heart
I'll always love you
I'll always love you


The camera slowly approaches Marietta's face, a single tear falling from her eye. The mist has almost risen to her ankles by now as well, broadcasted by a swift showcase of her body. The emotions of the song become heavier than ever - even though sonically it has started to calm down a bit. Marietta helps this. Her voice is softer; more vulnerable. Not angry, just truly broken, yet still accepting it. She begins to build the chorus up once again, gaining momentum within her own body. The dancers have left the stage, insignificant to the final grand act of the performance. There are shades of purple drawn all over the stage.
And that's the sad part
I'll always love you
I'll always love you


Alongside the mountain of vocals (strong and steady), the destination of the production is massive, and packed with little elements that make the whole thing feel unique for each tiny moment. At the same time, they're very simple and effective at evoking the emotion required to impact a viewer. Observing it from the arena is just as powerful as watching it at home. The lighting creates a sense of urgency, flashing like lightning in that familiar purple/pink scheme. Towards the end of the vocal section of the last part, Marietta begins to fully belt her lines, which isn't only beautifully projected, but is technically imperfect - allowing the entire design to piece together, like a giant puzzle. The track ends with Marietta barely holding in tears, but barely showing a smile for the audience. Her new audience: she captures the moment for herself for a moment.
If I was to call, you wouldn't come
But if you said my name, I'd give my heart
I'll always love you
I'll always love you
If I was to, if I was to
Oh, I'll always love you, yeah
I'll always love you, you
I'll always love you


She blows a kiss, emotionally distraught. Although, now she has a beaming smile on her face. So she waves and leaves the stage quicky.

User avatar
Ruritane
Secretary
 
Posts: 38
Founded: Mar 06, 2019
Corporate Bordello

Postby Ruritane » Mon Sep 02, 2019 2:35 pm

6. Ruritane
Anastasie— "Kill the Peas"
"Honor to us All" from Mulan



Anastasie, the cyborg artiste of Ruritane, comes onstage with her backup dancers, also cyborgs. The audience is confused.

The background is pea-green, and some of the backup dancers are dressed like peas.

Everyone knows peas are evil
There's nothing worse than them
So we should all form a big army
And eat all of them


The backup dancers begin doing cringeworthy 80s dance movies.

If we don't kill the peas
The world will think that we can't please
I had a feast and served up peas
I ate all of the damn peas

Once you know
How it is
You will understand this song's purpose
Peas are evil
But they're tasty, so
You must eat all of the peas

Peas have the saddest fate you know
The only way they go
To their new bodies
Is thinking they can please


The background turns dark and spooky, and the lighting lowers to a candle's flame.

Peas are reincarnations
Ghosts
Thinking
They think a lot
If you eat them
Before they sprout
The peas, they will go out


The background turns pea green again, and the lighting turns bright again.

It's the best thing for everyone
It's not just having fun
We're doing a mercy
To the honest pea

When we have
Have a feast
The feast, it will be
The best, not least
And we'll doing a
Kindness to these
We're doing a kindness to the peas


Anatasie and her backup dancers sit down at a table and have a mock dinner party. They have some conversation that neither the audience nor the television viewers can hear, and then they sing the next verse.

Peas peas peas peas peas peas
Peas peas peas peas peas peas
Peas peas peas peas peas
Kill the peas
Peas peas peas peas peas peas peas


Anastasie gets up. The backup dancers drag the table away as Anastasie sings this verse.

Fellow friends
Hear my prayer
Grant me success in this endeavor
And to host many dinner parties
And destroy all of the peas


The backup dancers come back on stage and join Anastasie in these verses.

Peas contain departed souls
We should eat them, that I know

You might think it is strange
But it's necessary in our age
Everyone will think that we can't please
If at our meal we don't serve peas

Lets please kill all of the
Kill of the
Just kill all of the-a
So, just
Lets kill all the peas


They all take a bow to the audiences' boos. Anastasie keeps her chill, and says, "Thank you! Thank you all!"
Last edited by Ruritane on Mon Sep 02, 2019 5:00 pm, edited 3 times in total.
Puppet of Voxija.

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Gaciadia
Bureaucrat
 
Posts: 56
Founded: Aug 27, 2013
Ex-Nation

Postby Gaciadia » Mon Sep 02, 2019 2:43 pm

07. GACIADIA
Xelema -Soon to be revealed
Tune: Huntza - Kalabazak (Pumpkins)

WIP
Last edited by Gaciadia on Mon Sep 02, 2019 2:47 pm, edited 4 times in total.
THE PLURINATIONAL REPUBLIC OF GACIADIA
GAZIADIA UICAMAANE REBUBLICI


[align=center]
20, Male, INTP

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Axuva
Spokesperson
 
Posts: 137
Founded: Feb 22, 2018
Liberal Democratic Socialists

Postby Axuva » Mon Sep 02, 2019 3:01 pm

Intro: https://youtu.be/8OuO9EC-aLE
Song: https://youtu.be/Z5jWsM07fuI

Both members stood on opposite sides of the platform as it dangled in the air above the crowd, it was dark and the choir sang below them




[Intro:
Oh
It’s always hard to love
It’s always hard
Just hard to love
Oh
I can’t do it anymore
I can’t do it, oh
I can’t do it anymore

They started to walk towards eachother and they sang, getting close to eachother

[Drop: ]
Cause it’s always hard to love oh
Can’t do it anymore
Yeah-eah, yeah-eah
They both dropped to the ground, crawling towards the edges of the platform and it began to tilt slowly
[Verse 1: ]
No food in the kitchen(Craving ,craving)
Please show me the way (Go and count your blessings ).
Pockets on empty (Nothing in me)
Things just ain’t the same (It just ain’t the same)
Feeling alone now (Falling, Falling )
Lost in a land (All on my own)
I don’t know what’s wrong no (Listen, mother)
Just give me a chance (No, you cannot stop me )

As it stopped tilting, the other member began to fall and it would shock the audience. He held onto the edge as the other member ran, trying to catch and save him, but he fell into the choir in the aisles of the arena, and they held him up in the air and pushed him to the stage

[Pre-Chorus: ]
Hey (Oh, oh, oh, oh, oh, oh)
It’s out my control yeah(Oh, oh, oh, oh, oh, oh)
Just leave me alone (Oh, oh, oh, oh, oh, oh)
Just give me a sign (Oh, oh, oh, oh)

She stood in the middle of the platform and it tilted and she held on as long as she could and as it tilted she just ended up falling into the same spot in the choir and she sang

Hey (Oh, oh, oh, oh, oh, oh)
Cant do anything but try (Oh, oh, oh, oh, oh, oh)
Just give me a key(Oh, oh, oh, oh, oh, oh)
Of living this life (Oh, oh, oh, oh)

They were dropped by the choir and they sang the following lyrics

Taking or leaving it
Your time is getting it, you’re missing it
You aren’t believing it
Just give yourself away and take it all

They were surrounded by by the choir as they continued to sing and the spotlights went on them, they danced as if they were dancing in a romantic movie

[Chorus: ]
Yeah
It’s always just
Yeah
Its always hard to just love
Can’t do it anymore
Hey, aye

People in the choir were layered on top of eachother on opposite sides and he climbed up on them,

[Verse 2:]
It’s consumed me all at once and it all comes crashing down
Can I really take this
The question remains unanswered

The other member climbed on the other side slowly, stopping and laying on the side

Give me the joy I had before my soul sank all in
Into that pressured fear
Just give me the real life,real life, real life, rea life, real life

they were almost reaching the top and they continued to climb and they reached the top

[Chorus: ]
It’s always hard to love oh
Can’t do it anymore
Yeah, yeah

They fell into the pits that the choir created.
Last edited by Axuva on Mon Sep 16, 2019 10:20 am, edited 3 times in total.
Axuva Today Network [ATN] Today we announce that the Axuvian Government now recognizes The Russian Language as an Official Language, Korean and English were spoken in the beginning, but there were Russians too, russians were forgotten and their language were not recognized due to the things they did in the past, but now their language is a official language of Axuva, and there will now be 3 official languages instead of two.

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Malta Comino Gozo
Civil Servant
 
Posts: 9
Founded: Oct 31, 2016
Left-Leaning College State

Postby Malta Comino Gozo » Mon Sep 02, 2019 3:25 pm

9: Malta Comino Gozo
Language: English
To the tune of Hold Me While you Wait

Lewis Sarucino: That Lonely August Evening

Image
As the first bars of the song begin, the stage is completely blacked out apart from 12 dimly lit yellow lightbulb's hanging down from the top of the stage, reaching the height of Lewis'a standing microphone, they all are scattering the performance area. Each lightbulb has "save me" written on it in ink. The one drummer and 4 backing singers are on stage but can't be seen because the lights are not on them, Lewis is bathed in a single yellow spot light with all the bulbs around him.


As the song begins, the camera pans out from one of the bulbs, showing the words "save me". The camera then pulls away from the bulb and blurs and switches to a close up of Lewis centre stage holding a guitar that hooks over his shoulder.A slight barely dense fog moves across the stage. Lewis is wearing a black jacket, white tshirt and black jeans.



The song begins:

It all began,
On a lonely, August evening
But still she,
Is in my thoughts.
I think about,
How it all changed, on that evening,
That lonely, August evening.


Throughout the whole first verse the camera is focused just on Lewis's face, Lewis begins singing looking down at the ground before slowly making eye contact with the camera before the end of the first verse.

At this moment, the camera pulls out showing the whole stage and the stage lights bathe the stage in a red glow. The screen behind Lewis, shows's the word lonely in English at the centre surrounded by the word Lonely in several other languages before fading to a reddish sunset colour. Each bulb is still on stage glowing yellow. The camera focus back on Lewis but this time his whole body not just face

So tell me, can you turn this around
I need you here, to set me right
Please tell me, can you turn this around?
Either way
She grew so desolate.


12 spotlights then appear face down and quickly turn from the stage floor bathing the audience in a dim yellow glow. On the first word of the chorus the stage bursts into a fiery reddish and yellow glow, the audience can now see the drummer and 4 male backing singers who are stood, two centre back, one far left and one far right on the stage, they are all dressed in back shirts and ripped jeans.

Why can't you be mine
If only I could be your one
Light me up, light me up, light me up, light me up
Wont you save me!


The camera pans out showing the entire stage, whilst Lewis sings the next verse. The background stays a sunset red. The spotlights on the audience dim and turn off

I met her
At our local downtown bar.
I can still recall, that blue dress she wore.
She was just so beautiful,
and I knew forever, she'd be mine


The camera switches back to Lewis this time singing whilst closing and opening his eyes, his face is painful with emotion

Why can't you be mine?
If only I could be your one
Light me up, light me up, light me up, light me up (The spotlights swoop over the audience)
Wont you save me!
I promised I'd stay with her forever
She told me there was no other man


Light me up, light me up, light me up, light me up
Wont you save me!

ImageWith the guitar still hanging over his shoulder, all the bulbs go out and 8 deep white spotlights all from different angles focus on lewis who is now crouched down bathing him in a white glow.
This pain is, this pain is breaking me
Is it true? My soul is shaken, but I still believe
We can be, we can be we, this is all we need
So wont you save me


Lewis stands back up and continues to play the guitar the spotlights disperse dramatically turning yellow and swooping over the audience (The backing singers all take a step forward into their own spotlights as they sing
(She grew so desolate.)
This time a huge yellow floodlight from behind lights Lewis up from the back as the camera pans out all you can see is his silhouette. The floodlights stays on until the end of the verse.
Image

Why can't you be mine
If only I could be your one
Light me up, light me up, light me up, light me up
Wont you save me!
(Backing Singers)She grew so desolate


Image

5 pyrotechnics fountains all at the edge of the stage now all switch shooting sparks into the air for the entire last verse
The camera briefly switches to a camera that's in the pit at the edge of stage looking upwards at Lewis before switching to a camera that pans out slowly showing the stage and pyros in all its glory.

Why did you do this to me
We knew we were meant to be
Light me up, light me up, light me up, light me up
Wont you save me, save me, save me!
(Sung by the backing singers whilst Lewis sings save me) This pain is, this pain is breaking me
Is it true? My soul is shaken, but I still believe
We can be, we can be we, this is all we need, but still, she is in my thoughts)
And I think about how it all changed that evening,
That lonely August evening.


Four huge confetti cannons at the top of stage stage shoot red confetti over the entire audience and its rains down slowly as Lewis finishes the last few chords of the song. A huge cheers erupts

"Thank you so much." Lewis shouts emotionally whilst wiping away a tear of joy
Last edited by Malta Comino Gozo on Mon Sep 09, 2019 3:04 pm, edited 3 times in total.

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Polkopia
Minister
 
Posts: 2609
Founded: Jun 06, 2011
Iron Fist Consumerists

Postby Polkopia » Mon Sep 02, 2019 3:38 pm

10. Polkopia


Sergey Borisčev - Praktika


Sergey Borisčev was born in the town of Hariskko, located in the northwestern part of the country and is only one of a select few towns to speak primarily Viitso, a Uralic language. The language itself is considered to be endangered, after many native speakers were forcibly displaced, killed, or put in work camps under the harsh rules of Fyodor and Malcom Polk. While efforts are currently being made to revitalize the language and encourage linguistic diversity across minority groups within the country, many groups have found the damage to be irreversible and several native languages have already gone extinct across Polkopia. For Borisčev, Viitso was his native language and he grew up speaking it exclusively, never really caring to learn Polkopian, English, Russian, or any of the official languages in Polkopia. Borisčev attended Jõgipakk High School in Hariskko and involved himself in the theatre and several other musical groups, where he became affiliated with some of the town's most prominent singer-songwriters. These artists worked almost exclusively with the Viitso youth in order to promote their culture and language among the younger generation, hoping that their traditions would remain ingrained in them for their entire lives. During Borisčev's junior year, his family moved to the city of Dovgoridia, where he was to resume his studies at a Polkopian high school, Dvingo High School. This proved to be an enormous challenge for the young Borisčev, as he and his family spoke very little Polkopian at the time and had to adjust to their new surroundings quickly. His family hired a private tutor, and after many months of intensive language training, Borisčev found himself increasingly more confident in his abilities to understand Polkopian and subsequently joined several musical groups at his new high school. After graduating, he landed an internship at a local record label, where he tried to pitch ideas about promoting minority groups' culture, which was firmly rejected. In his spare time, he posted Viitso covers of the record label's releases on the internet and was immediately dismissed from the company.

Being only 18 years old, Borisčev really didn't care to pursue any further education for himself and chose to work at an entry-level retail job rather than pursue any sort of advanced degree of any sort. He remained passionate about music, however, and occasionally wrote original songs and posted them online, or uploaded Viitso covers of popular Polkopian songs. His cover of Mirela Santana's Rise, which was Polkopia's official Worldvision entry in the 68th edition of the contest, held in Axuva, attracted the most attention from viewers, and within a few days, his video accumulated over a million views. He soon became an internet sensation, with many Polkopians finding appreciation for his original sound. He landed partnerships with several educational companies, who worked with Borisčev in order to promote their new Viitso programs, and used his videos to gain an outlet. By the time Borisčev was 22, the app, DvaYazika - Polkopia's most popular app for learning another language, had 40,000 regular users enrolled in their Viitso program, which was more people than there were who spoke Viitso as a first language! From this, Borisčev became an activist for the language and often reiterated the importance of keeping endangered languages alive, not only in Polkopia, but across the multiverse. He was invited on many talkshows for interviews and later invited to do gigs at small venues, performing some of the original songs that he had written in the past. He then released Polkopian and English covers of his Viitso songs, with some of these songs actually being featured on Polkopian radio and crept into the charts. His song, Hraska peaked at #73 and was his most successful entry prior to his decision to write a song for the Landa vy Polkopiya. The decision to do so came from him being a fan of Polkopian acts at Worldvision and him wanting a chance to represent his home country on the international stage. His first song, Uus Altimo, was immediately rejected by the PNB on the basis that every entry submitted to the Landa vy Polkopiya had to be sung in one of Polkopia's official languages (English, Polkopian, Russian), a rule that was implemented several years prior. In protest, Borisčev pulled out and spoke out against this unfair rule on social media. The PNB faced harsh criticism from Polkopians, but refused to change the ruling on this and thus he was not allowed to send an entry in Viitso.

The following year, after much deliberation, Borisčev wrote Praktika and submitted it to the PNB to be considered for the Landa vy Polkopiya, as it filled all of the necessary criteria in order for it to be considered. Much to his surprise, the song was accepted and was shortlisted to be one of the ten competing songs to be performed live during one of the semi-finals. The main issue for Borisčev was that he wasn't a dancer, and the song itself required an intense choreography in order for it to be performed correctly. With the semi-final months away, Borisčev concluded that he would have to dance some intense dance lessons and hire a choreographer in order for him to deliver the performance as he'd envisioned it. After several months of practice, Borisčev was confident that he had the ability to dance to the song properly. He performed a gig in Dovgorodia, where he released the song to the public and performed it for the first time. The reaction from the crowd was mixed; while most people loved the song itself, some were puzzled as to why Sergey Borisčev - an artist who predominantly sang ballads or mid-tempo songs, would stray so far out of his comfort zone in order to perform at the Landa vy Polkopiya. While this was true, Borisčev took it as a challenge and saw himself capable of performing music of all different genres. He was invited to tour throughout the nation and promote his song, which he did, but had to cancel the tour in the middle of it all, due to severe exhaustion which he faced from non-stop traveling and dancing, something that the young artist was not yet used to, and he used the weeks leading up to the Landa vy Polkopiya to recover his strength and fine-tune some of the elements of the performance that he believed could use some improvement. When the night of the performance came, Sergey found that his nerves were unusually high, as he had never performed in front of such a large crowd and it had been a while since he last performed the song, but he gave it all he had and much to his excitement, he advanced to the Grand Final. After the Semi-Final performance, his song shot up to #11 in the Polkopian charts and was the clear favorite to win the Grand Final. On the night of the Grand Final, however, fate decided that Sergey would not be traveling to Kalosia and Anna Viktoreevna won the Grand Final, with Borisčev coming in at a close second.

While he didn't win the competition, he was delighted at the recognition that the Landa vy Polkopiya brought him, and performed concerts at Polkopia's largest cities in venues that were completely sold out. Another thing that the Landa vy Polkopiya brought him was the chance to meet his competitor at the time, and future love interest, Anna Viktoreevna. The two had spent a lot of time together and given joint interviews during their preparations for the Landa vy Polkopiya, and from this, they had developed a close friendship. On the Grand Final, Anna had failed to hit a high note during her performance and became the victim of severe ridicule on various social media platforms. In addition to this, fans of Sergey launched a petition to replace Anna's song with Sergey's, calling Anna's song cheap and a disgrace to the Polkopian music industry, something which Sergey whole-heartedly disagreed with. He called out his fans for their behavior and asked the petition to be removed. While the petition wasn't ever taken down, the PNB opted to send Anna's song to represent Polkopia at Worldvision in Kalosia. After this, Anna fell into a huge depression and shied away from public life, and Sergey was one of the first to reach out. He even went so far as to encourage therapy for Anna and hired a therapist for her during this time, sometimes accompanying Anna to these visits in order to make sure she was on the right path to recovery. Once she felt confident enough to resume her Worldvision preparations, her and Sergey were almost inseparable. The two were spotted in various restaurants, cafes, and public venues around Peeto, and the two were rumored to be dating, however these rumors were not confirmed by either party. Only when Sergey accompanied Anna to Kalosia did these rumors become official. Sergey became a member of Anna's delegation and witnessed her victory in Kalosia, which was Polkopia's first victory at Worldvision in twenty-five editions. Anna became an incredibly popular artist in Polkopia upon her return home and her and Sergey's relationship remains as strong as ever.

When it was decided that the PNB would have a special event for the upcoming Landa vy Polkopiya, many had already hypothesized that it would mean that the most popular songs in recent editions would be competing again to vie for a second chance to represent Polkopia at Worldvision. At first, Sergey was hesitant to do so, as he had already achieved a major goal in his life and was comfortable where he was at, but pressure from his friends and family forced his hand and he ended up re-submitting Praktika to the Landa vy Polkopiya. He easily made it through the semi-final but found himself surrounded by immense talent in the Grand Final, surrounded by people he had idolized and aspired to be like. He expressed extreme humility and admiration for those around him, often telling journalists that he was honored to even be performing in the same venue as them. When the Grand Final was over, Sergey found that he won by an incredibly large margin with the largest pot of international juries in recent editions of the contest. To him, it was almost unreal. To beat such iconic Polkopian artists like Aleksis Viktorsnatch and Mirela Santana was an unbelievable accomplishment for him, something which was almost as satisfying as winning Worldvision altogether. He immediately accepted the opportunity to perform at Worldvision and began drawing up the perfect performance for his song alongside the PNB and his girlfriend, Anna Viktoreevna.

Once in Achaea, the Polkopian delegation received a bit of a culture shock, as the normal Polkopian way of life, that being relatively cold, reserved, and cynical, was not in effect at the moment, and the Polkopians found themselves surrounded by the loud and extravagant Achaean crowd. As the delegation arrived a week before the actual rehearsals began, everybody had a chance to explore Achaea and take in the new culture as a part of their Worldvision journey. At first, the Polkopians felt super out of place and seldom left the comfort of their own hotel, but at the request of Sergey Borisčev, the artist representing the nation, the delegation explored the city and immersed themselves into Achaean culture to the best of their ability. Borisčev was able to explore the historic fort in San Antonio and swim in the sapphire-blue waters of the Playa Azul within his first few days in Achaea, posting various pictures of himself with Anna exploring the country and encouraging Polkopians back home to visit the country some day. After a week of enjoyment and relaxation however, Sergey knew why he had come all the way to Achaea to begin with, and he wasn't going to lose focus of his goal. He was set out to deliver the performance of a lifetime and do his nation proud. He had a week of rehearsals and last-minute preparations before the night of the final, and he was determined to make use of every second so his performance would be the absolute best that it could be.



During the opening instrumental, the camera traveled along one of the runways of the stage. As it moved, the LED's lit up in its path, illuminating the stage as the camera traveled. Dark red spotlights illuminated Sergey and would be present for the entire performance. At the end of the runway, viewers could see Sergey, standing with his back toward the camera, his head turned toward sideways with his eyes closed. He wore a tight-fitting white T-shirt whose lower hem hung lower than a typical T-shirt in the back. He wore gold studs in his ears and blue jeans, with modest, black shoes. Overall his styling wasn't too extravagant, as the performance called for high mobility and his decision to keep a simple styling allowed for more mobility throughout the duration of his performance. Right before he started singing, a hand (the person was not visible in the camera shot) grabbed his shoulder and spun him around, at which point he faced the camera, pointing occasionally as he sang, whilst also making his way down the runway toward the center stage. The camera moved backward, meanwhile.

Esli vraš praktiku
If you want practice

Zakrai vaši oči i primai moyu rudku
Close your eyes and take my hand

Opustai, ya zaladu v otsudu
Relax, I'll take it from here

Dal vaš, pezvolim sami corpi falat skažestu
We'll let our bodies do the talking for us


By the end of the first verse, Sergey managed to walk to the part of the stage where the runway met the main platform of the stage, at which point a female dancer appeared behind him and ran her hand down his chest. Sergey took her hand in his, while his other hand still held his microphone, and guided her hand along his torso. This all happened during the first line of the pre-chorus. For the second line, the two of them moved their hips three times, in-sync with the beat. During the third line, he extended his arm forward and stepped forward, whipping his arm around him while his background dancer moved back and twirled out of sight. For the fourth line, he raised his hand to his chin and winked at the camera. Six dancers stepped into the frame, three on either side of him.

Možem falat eto snova
We can do this again

Ničoe timpo ti biy khotila
Any time that you'd like

Mežu dugaštiy noč, p'tomu
Through the long night 'cause

Praktika pofalaet perfektu
Practice makes perfect


The LED screen showed animations of golden saxophones zooming in and out of view in front of a black-and-white striped background. Sergey and the six dancers began to dance the main choreography. For the first set, the group threw one hand in the air, then their other hand, touched their shoulders, and dropped to the floor. Then, they slowly got up, moving their bodies side-to-side meanwhile, focusing mainly on their hip movements throughout this choreography. When the 'hey' sounded, all seven of them shot a hand in the air and the camera rapidly zoomed in, but only by a little amount. The next set of dane moves had the group stick their hands out to the side, their palms facing inward, and they were all positioned so that their palms touched the abdomen of the dancer adjacent to them, with the exception being the two dancers at either end of the formation, who's hands weren't touching anything. They all moved slightly backward, pumping out their chests four times as they did so. Then, the dancers spun, paired up, and held each other. The dancer in the beck held his or her hand along the inner thigh of the dancer in front of them. The camera panned to Sergey right as the moaning sound was heard, and zoomed in on him, who mouthed the sound and cocked his head slightly, smirking as he did so.

The dancers shifted their body side-to-side in three-counts three different times in-sync with the beat of the first line. Then, for the second line the dancers walked out of the frame and by the third line, Sergey was alone in the shot. He held his arm out to the side and shrugged as he sang the third line, flirtatiously smiling and winking as the line concluded.

Možem falat... možem falat... možem falat... eto snova
We can do... we can do... we can do this again

Mežu dugaštiy noč, p'tomu
Through the long night 'cause

Praktika pofalaet perfektu
Practice makes perfect


The camera spun around and the dancers were once again in the camera shot with Sergey. As he sang, he remained stationary for the most part, only pointing and extending his arm during the verse unless otherwise specified. The dancers, meanwhile, swung their arms to either side of them during the first line, before doing a body roll for the last few beats of the line. For the second line, they ran their hands over their chests, moving their hands down toward their stomach, flipping their heads to the side as their hands reached their lower abdomen. During the third line, they moved their hands to their chests and rapidly pumped their chest in and out, before extending a hand out to their right. For the fourth line, they all turned their backs to the camera and Sergey turned to the side.

Noši dovicari, noši golosi
Our movements, our voices

Na galrikh orachakh, oni biy landali
They may fall on deaf ears

Bada-ba-ba-bada miy popedaem vyes noču
Bada-ba-ba-bada, we'll go all night

I dyes-več ni-koto možet nas oprinovit
And tonight nobody can stop us


The camera switched angles and Sergey walked through the dancers' formation, pointing and singing at the camera while he did so. The dancers, meanwhile, did a basic dance routine involving pumping their arms to the side and shifting accordingly. For the boom boom boom boom part, the dancers paused their routine and Sergey put his hands near his groin and thrusted four times. Fog started to creep out from the edges of the stage and fill up the main platform, where Sergey and his dancers were. The camera turned to focus on Sergey and it was positioned in a way so one couldn't see a member of the Polkopian delegation run up to the dancers and pour water over them to get them ready for the following verse.

Otpušcai tvaya naprečnost'
Release your tension

Prost' pezvoli tvoyu corpu dai
Just let your body go

Boom boom boom boom
Pezvoli noč davat
Let the night go on

I u tebya net ni-čito požalat
And you'll have nothing to regret


With the dancers soaking wet now, thy each paired up and ran their hands up and down each others' bodies. The camera moved in slow motion and this effect, combined with the wet bodies of the dancers all added to the overall intimacy of the atmosphere on the stage. The camera faded out as it transitioned from one pair, to another, to another again. Sometimes it switched to Sergey, who cocked his head and smiled as he sang, but the main focus was on the dancers here and their movements.

Možem falat eto snova
We can do this again

Ničoe timpo ti biy khotila
Any time that you'd like

V serdsekh est' eta ogna
There's this fire in our hearts

Čem vidmovaet pedit pora
That refuses to go away



Bidinno, čem zveri noču
Fighting like beasts in the night

Sognanno drug druga tepolo kholonyu
Keeping each other warm in the cold

Mežu dugaštiy noč, p'tomu
Through the long night 'cause

Praktika pofalaet perfektu
Practice makes perfect


The dancers and Sergey repeated the same choreography as before, only this time, a dancer approached Sergey and placed her hand on his inner thigh just before the moaning sound was heard. Again, Sergey mouthed it in the same way as before, and the rest of the choreography went on as planned.

Možem falat... možem falat... možem falat... eto snova
We can do... we can do... we can do this again

Mežu dugaštiy noč, p'tomu
Through the long night 'cause

Praktika pofalaet perfektu
Practice makes perfect


For the breakdown, the dancers all switched between bending over and shaking their butts, or pumping their chests out. They positioned themselves in two columns of three, with Sergey positioned in the middle of it all.

Miy dai boom boom, miy dai boom boom
We go boom boom, we go boom boom

Praktika pofalaet perfektu
Practice makes perfect

Miy dai boom boom, miy dai boom boom
We go boom boom, we go boom boom

Praktika pofalaet perfektu
Practice makes perfect

Miy dai boom boom, miy dai boom boom
We go boom boom, we go boom boom

Miy dai boom boom, miy dai boom boom
We go boom boom, we go boom boom

Miy dai boom boom, miy dai boom boom
We go boom boom, we go boom boom

Praktika pofalaet perfektu
Practice makes perfect


The dancers all crowded behind Sergey and moved their hands over one another and over him as well. Sergey circled his head back, closing his eyes and singing. For the fourth line, he held the last note and bend forward to hold it, while a background singer who was out of view started to sing the fifth line. Sergey joined him part-way through it, and continued the same motion as before.

Možem falat eto snova
We can do this again

Ničoe timpo ti biy khotila
Any time that you'd like

V serdsekh est' eta ogna
There's this fire in our hearts

Čem vidmovaet pedit pora...
That refuses to go away



Bidinno, čem zveri noču
Fighting like beasts in the night

Sognanno drug druga tepolo kholonyu
Keeping each other warm in the cold

Mežu dugaštiy noč, p'tomu
Through the long night 'cause

Praktika pofalaet perfektu
Practice makes perfect


"Thank you! Muchas gracias Achaea!" Sergey said while the dancers all hugged one another and departed from the stage.
Last edited by Polkopia on Mon Sep 09, 2019 9:18 am, edited 26 times in total.
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Amuaplye
Minister
 
Posts: 2874
Founded: Dec 07, 2014
New York Times Democracy

Postby Amuaplye » Mon Sep 02, 2019 7:24 pm

11 - AMUAPLYE

Jeremy Barker - The Traveler

Tune: Shawn Mendes - If I Can't Have You
Lyrics: Andrew Porter
Music: Jeremy Barker


Image


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

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

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

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




Jeremy walked up to the stage. He was extremely nervous, the hundreds, perhaps thousands of people looking at him. He took a deep breath, perhaps 2 more, then tightly gripped the microphone. After a few seconds, which seemed like an eternity, he yelled, "1! 2! 3! 4!" then gave a thumbs up, as the cutout of the Sydney skyline laid out for him lit up. The music started, the camera focusing on his face.

I can't wait until I finally go home
Homesick, I'm missing everyone
But there's one thing stopping me
This city is wonderful but I'm missing them


Jeremy walked up and down the stage, singing his lines as loudly and as clearly as he could, the nervousness getting worse and worse as he started singing, but then it slowly dissipated, as the cameras followed Jeremy as he sang. His sweater was unbuttoned, revealing his white sleeveless shirt. The fast-paced theme of his song made sure that he didn't have time to. However, it almost certainly worked in his favor.

I'm in a hotel and I watch people
Realizing that the people they love are right here
I'm miles away, missing everyone
I just want to go home to see you all


He mimed wearing binoculars, as he sang the first line, as the lights behind him tinted from white to purple, his nervousness and stage fright transforming into enthusiasm, impacting his singing for the good. He was happy that he was going out there, making Amuaplye look good in front of everyone. They had moved on from the coup and 4/21, and this is how they showed it. The camera panned towards the audience, showing their varied reactions.

There is so much to do here in this place
But it feels empty without the people I love
But there is one thing I need to say
This city is wonderful but I'm missing them


At the first line, Jeremy set the microphone down, standing, there. At the end of the second line, he made a heart with his hands, raising them over his head, it transforming into dancing, as the stage lights changed yet again, causing the Amuaplyean flag to shine over the cutout of the Sydney skyline. The camera followed Jeremy, but cut to the skyline once the lights changed.

I can't wait until I finally go home
Homesick, I'm missing everyone
But there's one thing stopping me
This city is wonderful but I'm missing them

I can't wait until I finally go home
Homesick, I'm missing everyone
But there's one thing stopping me
This city is wonderful but I'm missing them


At the beginning of the chorus, the Amuaplyean audience (including PM Bishop himself), started loudly singing, as 8 background dancers entered the stage, dancing and making a circle around Jeremy, as he made his way towards the audience, the camera following him. His happiness was off the charts, he was determined to win this edition, or die trying.

I'm so sorry that I'm stuck in this place
And I won't be able to move on, I miss them
I like this great city, but I miss them
I want to return to that place, my great home


8 more background dancers enter the stage, creating a triangle with Jeremy at the top, the camera panning upward showing it. The dancers, at the end of the last line, the Amuaplyean audience (all sitting in 1 giant space in the arena), all grab cards, and hold them over their heads, creating the Amuaplyean flag. The camera pans over the audience doing just that.

There is so much to do here in this place
But it feels empty without the people I love
But there is one thing I need to say
This city is wonderful but I'm missing them


The cards are set down, choreographed so that each row puts down their cards one after the other. The camera cuts back to Jeremy, with a large smile on his face, as the dancers spread apart from their pyramid power, forming a line spanning the length of the stage, as Jeremy danced himself.

I can't wait until I finally go home
Homesick, I'm missing everyone
But there's one thing stopping me
This city is wonderful but I'm missing them

I can't wait until I finally go home
Homesick, I'm missing everyone
But there's one thing stopping me
This city is wonderful but I'm missing them


9 of the dancers start to leave during the chorus, 6 during the first one, and the next 3 once the lyrics are repeated, leaving only 7. They form the line again, trying to cover the width of the stage, as Jeremy starts walking from side to side, the camera still following him.

I just need to go home
The ones I love might be hurt
They might not be OK, so hurt
They might not be OK, so, so, hurt
I just need to go home
The ones I love might be hurt
This city is wonderful but I'm missing them


From the second to the sixth, the pyramid reforms, so that it becomes a 4-2-1 pattern. This symbolizes the fact that money will be raised per vote given to the Amuaplyean delegation, for the charity Peace, ran by Deputy Prime Minister Frankie Bradley. (This is to help Amuaplye recover from its various disasters and whatnot) The pyramid goes back to the line on the last line.

I can't wait until I finally go home
Homesick, I'm missing everyone
But there's one thing stopping me
This city is wonderful but I'm missing them

I can't wait until I finally go home
Homesick, I'm missing everyone
But there's one thing stopping me
This city is wonderful but I'm missing them


The 9 dancers return, making the line a bit of a tight fit, but gave Jeremy tons of room to walk around and sing. As soon as the last singing of the chorus starts, Jeremy stops in the center of the platform, and sings the chorus. Once he's done singing, he tilts the microphone stand, and raises his fist, to much applause.
Last edited by Amuaplye on Mon Sep 09, 2019 9:48 pm, edited 2 times in total.
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Also, call me Amuaplye, not Amuapyle, or Amu.

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Britonisea
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Posts: 7755
Founded: Oct 29, 2012
Inoffensive Centrist Democracy

12 | Britonisea | Ria Aristide ft Mabel Mae - Don't. Lie.

Postby Britonisea » Mon Sep 02, 2019 7:37 pm

#12 BRITONISEA
Ria Aristide ft Mabel Mae - "Don't. Lie."
Tune : Ella Eyre, Banx & Ranx ft Kiana Ledé - "Mama (Official Audio)"
Music: Ria Aristide, Norman Banks, Zaide Cravendale Lyrics: Ria Aristide, Janice Reece-Suez

Image


Britonisea returns to the WorldVision Song Contest after a sudden withdrawal from the 75th edition in Kalosia, now under previous broadcaster BVC.

Brityunik Vefecosoin Cairkovoin were in charge of picking those who would be the ones representing Britonisea in the upcoming WorldVision Song Contest which we found out would be held in Rosario, Achaean Republic. This was a change from Britonisea International Television Company who were in charge of picking Britonisea's representative for a total of 15 editions - with the previous broadcaster reaching more than what BVC did during its reign. For a short time now, BVC will be in charge of the delegations for both the WorldVision Song Contest and the World Hit Festival for the next few editions of each competition. The last few editions in the WorldVision Song Contest have been rather turbulent for the second best nation at the WorldVision Song Contest in terms of medal tally, with it being a very long story from start to finish.

I. The Last Participation

Britonisea last participated in the 74th WorldVision Song which took place in Polkopia - the nation who has won the WorldVision Song Contest the most amount of times. Coming off the back of winning the 73rd WorldVision Song Contest, Britonisea were ready to replicate the success of the 63rd and 64th WorldVision Song Contest when the nation secured the first back-to-back win since Kishrael at the 33rd and 34th WorldVision Song Contests. Going into the WorldVision Song Contest, Britonisea had decided - for the first time ever - to use an act that hadn't won international hit national final, Vha Mehlodhivestoile, to represent the nation at the WorldVision Song Contest. Performing in the same position as the nation will perform at the 76th WorldVision Song Contest, Todlichebujoki-Britonish duo Jun-iči Hoch & Ekkehard Liinamaa were picked to represent Britonisea at the WorldVision Song Contest. Britonisea did want to score their sixth win in Polkopia drawing the nation one behind Polkopia in the tally (eventhough now Polkopia has managed to push themselves further away from the pack). BITC had noticed that Jun-iči Hoch & Ekkehard Liinamaa had received the 1st place in the International Jury Grand Final when a mass of fourteen juries voted - around half the amount of nations that participated in the 74th WorldVision Song Contest which provided the broadcaster a good picture of how well the pair would do at the WorldVision Song Contest. It wasn't Britonisea's decision but it was the decision of the internationals and so despite BVC's invitation for the duo to perform at Vha Mehlodhivestoile 2020 which they still will do, they were invited to represent the nation at the WorldVision Song Contest in Polkopia.

Britonisea had received points from multiple different nations, including a ten points from Tödlichebujoku and 12 points from three different nations with Britonisea finishing with a total of 113 points and sitting in second place, Darkmania taking the crown with an 11 point victory over Britonisea. Britonisea had a lot to celebrate at the 74th WorldVision Song Contest. For one, it was the first time in the nation's 43 edition history that they had scored two 100+ scores in a row, something the nation nearly achieved during the 60s era but never quite reached there. Britonisea had another silver medal as well, bringing Britonisea's total up to 6. Though, there were mixed reaction with some Britons disputing Darkmania's victory as Britonisea failed to score any points to Darkmania and with many fans thinking it was too reminiscent of another WorldVision song that did very well in WorldVision Song Contest prior to this entry. BITC were more than grateful. They hadn't received the result they actually wanted but it was good enough and so they went on to the next chapter of the WorldVision Song Contest which was the 75th WorldVision Song Contest which some people would guess would take place in Kalosia of all places.

II. Britonisea looking ahead...

Britonisea wanted this decade to be the nation's most successful which was a very hard thing to achieve because the 60s era were really good. BITC used an average of placements to judge how well the nation was doing, taking into account how many nations participated in each WorldVision Song Contest edition. With the 1st and 2nd place the nation had just scored, it seemed as though the 70s era was proving to be the peak of Britonish success at the WorldVision Song Contest as the nation started to make its move for the title of the marshal of the WorldVision Song Contest. Britonisea wanted to select a recognisable face for the upcoming WorldVision Song Contest in an iconic country such as Kalosia and so BITC had went for Eleanora Buckingham who was an older figure that had done pretty well receiving an audience internationally, especially in the Izmeduan market - where she was particularly favoured for her Vha Mehlodhivestoile debut song in 2018. Vha Mehlodhivestoile, yet again (for the third year running) was to provide another artist who the broadcaster thought was ready for the big stage. Eleanora Buckingham, despite her age, had more exuberance and readiness to go to the WorldVision Song Contest to represent her country than most of the younger participants for Britonisea and so she, in the eyes of the broadcaster was more than ready to go to the WorldVision Song Contest. And on the plan she flew.

Eleanora Buckingham's song had quite a few Britonish fans divided as to whether it would do well on the international stage or not. People thought that the song, which was set to perform in the second half in the 24th position, was too bland and forgettable whilst others likened it to Izmedu's WorldVision Song Contest 61 winning entry, Luka Brekalo & Tatjana - A Way Out which was rather mellow yet somewhat enjoyable and was good enough to win the WorldVision Song Contest. Some people thought that Eleanora's song was being rather critical of how young people live, the establishment as she sings about how people are "ruthless", with the song she's singing about telling those who listen to it that they have forgotten about her with seems, with most of the lyrics being rather self loathing and negative which didn't sit with a few people. People thought that it was lyrical genius and much better than the bog-standard rather bland lyrics of Alyxhia Willis - Want You Home which, quote from the Northern Observer was the lyrics from a "silly, insecure and clingy" compared to "truthful, honest and rather brilliant" lyrics from Eleanora Buckingham. Though, things took a turn for the worst whilst the delegation were in Kalosia...

III. Withdrawal and the Aftermath

Eleanora Buckingham was reported hospitalised on the 5th August 2019 which was a matter of days before the events around the WorldVision Song Contest, held in Kalosia. With no one really understanding the situation, a lot of the media from Britonisea were focused on Kalosia and what had happened with Eleanora Buckingham with the media already pointed the finger at Kalosians and their organisation of the WorldVision Song Contest. Britonisea and Kalosia has had their fair few amount of tiffs in the media when it comes to the hosting of international song contests, with Britonish headlines never being content at Kalosia's servings at each contest with what was happening at this current WorldVision Song Contest only being another addition to what Britonish media could hit against the nation. Soon after, it was announced that Eleanora Buckingham had an accident whilst at the hotel, Il Gran Palazzo Mediterraneo, which involved her and stairs with police suggesting that an action of malice happened which resulted in Eleanora Buckingham being injured. Multiple media outlets suggested that either a member of another broadcaster, including the Estogians, pushed Eleanora Buckingham down the stairs in order to restrict her from participating at the 75th anniversary of the WorldVision Song Contest. Some people thought that it was down to staff who left out cleaning supplies out or wiped the floor without leaving out a caution wet floor sign out which may have led to her fall. Some people didn't blame anyone else but the Britonish thinking they had something to do with it but this information wasn't released to the media which most certainly would've meant them having a field day with such information.

BITC had announced that they would withdraw from the WorldVision Song Contest which of course resulted in a fine which BITC felt as though they didn't have to pay because of the circumstances. Luckily, however, BITC didn't receive the maximum penalty of banishment from the current and next WorldVision Song Contests which meant that the nation could still broadcast the 75th WorldVision Song Contest which in the end received rather poor viewership because of Britonisea's absence which wasn't mentioned during the live broadcast. Meanwhile, back in Britonisea there was chaos as the Buckingham family launched an investigation into Eleanora's fall which resulted in The BTVB suspending BITC's position of choosing Britonisea's act for the WorldVision Song Contest and broadcasting rights too until the case is settled. BITC were surprised with the decision, but went along with it and urged the public that it took all the necessary precautions needed to protect its acts, something that BITC had been doing since the 61st WorldVision Song Contest.

For the first time in 45 editions, Britonisea withdrew from the WorldVision Song Contest and also didn't have a broadcaster to pick up the WorldVision Song Contest. It was assumed that IGBK and C4 wouldn't do anything because of their coverage of the World Cup which didn't go anywhere for the Britonish team with the broadcasters feeling the burn of paying out a huge amount towards the rights but failing with viewing figures. BVC were swamped with World Hit Festival 47 hosting and the upcoming organisation of the Junior World Hit Festival 6 which would be held in Mera, Besen. However, a day before the cut off for the WorldVision Song Contest in Achaean Republic, BVC announced that they have signed a two edition contract to be the ones to be in charge of Britonisea at the WorldVision Song Contest for the first time in nearly 20 editions when they last selected runner-up Mello Cinde. The news came with happiness that Britonisea would continue to participate but some people thought that this would be the end of Britonisea's unstoppable success at the WorldVision Song Contest. BVC were doing well at the World Hit Festival and thought that the success they had there they could translate that over to the WorldVision Song Contest here in the Achaean Republic. For the next two editions they have a lot to prove - are they just as good at WorldVisioning as BITC? Only time will tell...

IV. Preparing to go again...

BVC are under a lot of pressure to deliver for the 76th WorldVision Song Contest as they don't want to tarnish the reputation gained since BITC took over from BVC but also, they wanted to send a good act to the WorldVision Song Contest but had little time to prepare for this. Luckily for the broadcaster, they had quite a few contacts and so got speaking to a few of their producers such as Norman Banks and Zaide Cravendale who would both go on to co-produce the backing track to the WorldVision Song Contest 76 effort of Britonisea. BVC wanted to go for a song that reflected the nation they were going to, Achaean Republic - somewhat. The pair decided to spend a whole 24 hour period making a song - a rather watered down version of "Don't. Lie." Which needed input from whoever would be the singer and songwriter. Employing Janice Reece-Suez, who is known for her so-called in Britonisea, "backstreet" writing, BVC thought that they were making the right decision hoping to go for a funky and fresh return to the WorldVision Song Contest. They then had Ria Aristide come into the studio to perform the song "Don't. Lie" with the producers and songwriter thinking she was a perfect match to the song. Ria also had some input with the song, wanting to change it slightly to make sure that she was comfortable singing the song herself. She also wanted to add a close friend of hers to the track, Mabel Mae, who would come into the song during the bridge section and would appear on the stage during this time too.

"Yes! I'll be flying that Britonish flag really high in Achaean Republic - I'm ready to PARTY!"
-Ria Aristide


Ria Aristide is a 22 year old from Araparta who didn't start off singing, but actually started off dancing first. She eventually moved towards singing when she found she had a talent for it when taking music class - a class she didn't initially want to take in the beginning. Taking it, she realised that whilst she loves dancing and still to this day she still does, she also loves singing and merging the two - something she hopes she can achieve on the WorldVision Song Contest stage come the evening of the Grand Final in Achaean Republic. Singing with her is friend Mabel Mae who is from further up North, Alshkan. The pair met at University in Doportedas with the pair, despite their slight cultural differences because one came from the North and the other from the South - gelled rather well together and became inseparable - dancing and singing together. Ria wanted Mabel Mae to be a part of her WorldVision Song Contest journey too - she'd make sure of it.

Everyone was happy with the song in the end and quickly rushed the song to the Head of Delegations meeting with Britonisea confirming, officially, that they'd participate. Once the song was released - very late compared to other Britonish WorldVision song releases - there were mixed reactions to the song. The song isn't something of usual Britonish taste and if it were coming from other nations outside of the usual nations that make an impact on Britonish chart, it may not even chart itself. However, some say that the song has a Britonish flare in the song which brings it back to Britonisea - a certain likeability which will hopefully transcend national borders while also being a bit hit in the host country. BVC seem to be very happy with the song, posting casual updates on what is happening with Ria Aristide and Mabel Mae preparing for what is expected to be "an amazing performance" from Britonisea. There is a lot of expectation for the nation and BVC certainly wants to meet it. Will it?

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

Image

Duration: 3m13
Main Vocalist: Ria Aristide
Featuring: Mabel Mae
Lyricists: Ria Aristide, Janice Reece-Suez
Composers: Ria Aristide, Norman Banks, Zaide Cravendale


The act from Amuaplye had finished performing with it being the postcard from Britonisea now beginning to play in the arena. Ria Aristide and Mabel Mae got themselves on to the stage. BVC managed to convince the hosting broadcaster to bring a car onto the stage for the song and while we weren't able to bring on a working full-sized car, the Britonish delegation opted for a smaller car that would be able to be bought on and off the stage and would fit in with the theme of the song. Ria was wearing this on the stage - with her frizzy hair complimenting her outfit. She sat on top of the seats in the back row of the car which was currently off stage. As the Britonish postcard finished playing, an applause came in as the nation got ready for the Britonish effort. Also on the stage were LED beams that were on either side of where the car was going to be parked. Suddenly, a single red line was shown on the LED screens on the stage amongst the rather dark setting. "Aristide" was heard right before Ria came in to start singing. The audience applauded once again, particularly the Britonish contingent, as people looked up to see the screens around the arena to understand what was happening. Smoke started to fill the stage as the cameras got to work...

The car came rolling in onto the stage with three women in the car. Sitting in the driver's seat was Mabel Mae, a dancer was sitting in the first passenger seat with Ria sitting in the back on top of the seat of the open-top car. As the car came in and Ria started singing, in order to build up tension, the camera was slowly fade in and out of certain sections of the car such as the wheels driving into where it was supposed to be parked (between the LED 6ft beams), the hand break being pulled upwards, the key being turned off or even the moving of the mirrors. This happened all the way through the introduction of the song.

Boy you deserve what is coming your way
It's so bad, it's something you can't escape
Try and run boy, you can't hide - you can't hide!
Be a man, stand on trial - fuck your pride


The camera then quickly zoomed in on Ria Aristide sitting in the car before abruptly grinding to a halt as the camera reached close enough to her in a midshot with her looking directly into the camera. Ria smiled as the camera stopped in front of her and as she started to sing the next part of the song. As the car was parked in the middle of the stage with the red beam also in the middle of the stage, because of the camera position, it looked as though the line was coming down on her. When starting the first line of the song, the line that she was sitting in front of in the car slowly started to widen and darken.

You tiptoeing around town?
You think I don't know what's down?
Heard stories on the grapevine,
Found out you're not only mine
I'm just tenth in your long line.
Ahhh uh...


As she sung the lyrics "I'm just tenth", you could see that in the back, the line that was behind her started to move back on its axis, making it seem like the stage was bigger behind her with 9 outlines of women in black (with the line being red) standing behind her. Ria Astride slightly looked over her shoulder before looking back at the camera before smirking and rolling her eyes. The camera then zoomed out slightly to notice the two women who were sitting in the front in a tableau with Mabel's hand still on the screen. As Ria moved into the next part of the song, another camera joined her as she turned herself around to face the door of the car. She looked at the camera as it zoomed up from the floor to her level. Following the lyrics with action, as she was playing with her fingers and touching her heart as she sung about "finger" and "respectively". The backing vocals were provided by those who were in the car...

Yeah,
You had me wrapped round your finger
Made me into a sinner
(Woah-oh-oh, oh-woah-oh-oh)
Now I am unforgiving
I don't want your apologies


The picture of the 9 women that were standing behind her had transformed into each letter of the word "APOLOGIES" in black with the a white "NO" being plastered on top of it. There was a longshot of the stage with the car being shown in the middle of the main section of the stage with the LED showing this. The smoke was persistent with the LEDs beams around the car becoming more and more intense in the colour red as the only other light being provided on the stage was the red and white coming from the screen behind them. She bit her lip as she got closer to the chorus of the song with the LED beams now flashing the red light with the camera slowly zooming in on the action. The car itself slightly started jumping up and down as Ria flung her arm in the air before slightly wiggling herself in her seat, enjoying the beat of the song.

Boy you deserve what is coming your way
It's so bad, it's something you can't escape
Try and run boy, you can't hide - you can't hide!
Be a man, stand on trial - fuck your pride
Don't. Lie.


At the beat of the last bit of the chorus "your pride. Don't. Lie", there were three different shots - all still shots of the three women on the entry with all their eyes catching on to the camera as the camera moved from one woman to the next. The camera zoomed out as some of the lights around the arena joined in on the flashing with the car continuing to bounce. Soon enough, the camera was far enough, slightly lowering itself to pass flags there were being waved in front of it such as flags from Achaean Republic and Britonisea. Suddenly, the lights died as we moved onto to the next bit of the song. Waiting for her audience outside of the car, slightly leaning on it, two Steadicams were used on the stage, with a similar effect to Norway's ESC2017 double Steadicam movement with each of the Steadicams moving in and out of her with her looking at both of them as they took turns showing her to the multiverse. The colours slowly turned to a more royal purple in the background with the 6ft light beams flashing white at each time you could hear a clap. Members of the audience also decided to join in on the clapping also just for the sake of it.

Did you think you'd get off scot-free?
Where you going, baby?
Boy you cannot not leave me,
It is not that easy.

I can't help but feel sorry
Poor boy think he can just flee
You won't forget 'bout me
I'll live on in you dreams
(Your dreams, your dreams)


With the Steadicams happening for quite some time through that bit, probably ending when Ria started to sing "poor boy think he can just flee" as the cameras now started to cut between Ria Aristide and Mabel Mae who had gotten herself out of the car and slowly made her way around the car bonnet before meeting Ria by the time Ria was singing "I'll live on..". As the camera switched between the two, when the camera focused on Mabel, she never once looked at the camera and the camera focused closely on features rather than her herself. As "Your dreams" was sung, Mabel put her hand around the neck of Ria Aristide as the two women sung and started to move forward down the long path of the stage which connected the stage to the Greenroom...

Yeah,
You had me wrapped round your finger
Made me into a sinner
(Woah-oh-oh, oh-woah-oh-oh)
Now I am unforgiving
I don't want your apologies


The women suddenly stopped walking as the reached the middle of the stage on the walkway section. The camera pull focused and moved below them with the two women looking down on the low angle shot making them appear a lot more powerful than before. The expressions on the women's faces were serious and fierce before the pair looked at each other. As the camera focused on them, the stage behind them were cleared off. The lights circled around the pair with smoke building up once again. The chorus was now back and they were in the middle of the arena, surrounded by people enjoying the song.

Hey!
Boy you deserve what is coming your way
It's so bad, it's something you can't escape (it's so bad, it's so bad)
Try and run boy, you can't hide - you can't hide!
Be a man, stand on trial - fuck your pride
Don't. Lie.
Ohohoh!


During the instrumental section of the song, the two women starting dancing with each other together. Mabel Mae stood in front of Ria Aristide before bending over and almost dutty wined on Ria with the Achaean audience certainly liking that aspect of the performance. An aerial shot captured this moment as Ria danced from side to side flicking her hair from left to right. You could hear the audience applauding loudly as the camera swings around the stage past them. The Steadicam came back in a similar fashion to before as Mabel Mae stood back up and Ria two-stepped around Mabel to stand side-by-side to her.

All them girls you been pulling (Don't.)
All of them been recording (Lie.)
1 by 1 they be coming (Don't.)
Telling me 'bout your cheating (Lie.)

Suddenly you're sorry (Don't)
Well you weren't sorry last night (Lie.)
You tell me that's she's lying. (Don't.)
Boy! You are caught in a lie!


As the Steadicam went in between them during the first bit of the bridge section, the two women were holding each other, twirling with each others hair etc. The lights were going a bit crazy here with the red lights increasing and decreasing in intensity being helped with the flashing lights and the constant changing in the camera and also the addition of the smoke made it quite a hectic atmosphere which is what those at BVC were aiming for. Mabel walked away from Ria to the end of the stage as the lights in the arena turned lighter with effects used on the screen to make the atmosphere seem suddenly heavenly as the steadicams were removed from the stage. Everywhere else was dark as Mabel took centre stage under a spot light with Ria being lit in dark behind her with her being visible in each rotation the camera did around Mabel.

You had me wrapped round your finger
Made me into a sinner
(Woah-oh-oh, oh-woah-oh-oh)
Now I am unforgiving
Don't want your apologies!


At the last bit of the song Ria walked slowly up to Mabel Mae, joining her by putting her arms around her as the pair sung the last bit of the song together. They then both started to dance, smiling with each other as the camera crew worked around the pair of them. Sparklers were going off in the bag to add to the telespectacular.

Yeah-ah-ah-ah!
Boy you deserve what is coming your way
It's so bad, it's something you can't escape
Try and run boy, you can't hide - you can't hide! (You can't, you can't, you can't!)
Be a man, stand on trial - fuck your pride,
Don't. Lie. (oh boy no you cannot lie! No!)

(Yeah - Don't. Lie. Ah-ah-ah
Betta stand on trial)

Boy you deserve what is coming your way
It's so bad, it's something you can't escape


At the end of the song, the pair stood at the end of the stage as the lights went down and the spotlight focused on them. The camera slowly zoomed in and stopped as they sung the last bit of their song. The pair hugged each other as Achaea's arena descended into madness. "Thanks so much, Achaea, thanks Ria!" said Mabel as she embraced Ria with her replying, "No, thank you! Thank everyone!". The pair moved off the stage as we moved to the postcard of Izmedu...
Last edited by Britonisea on Sun Sep 15, 2019 6:40 pm, edited 9 times in total.

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Postby Izmedu » Mon Sep 02, 2019 8:08 pm

13. IZMEDU
Lea Sabolic - Breaking Free

Tune: Celine Dion - Flying On My Own

“When I told my team I'd be sending this song to Izmepisma, you'd needed to be there to see those looks of horror on their faces. They thought I was going mad! I received songs like 'Breaking Free,' production-wise and lyric-wise separately, almost all the time. However, there was something about the way 'Breaking Free' spoke to me and the fact that it's both a dance track and an inspirational song in one package. As someone who's been in this music industry for so long, has become almost synonymous with a movement concentrated on love ballads, this song... It did speak to me in that part of me where I felt like I could'nt move forward with my career or my sense of artistry. I found myself in it, and I hope to spread that message of hope, of being able to move forward the way you want, with this song.” - Lea Sabolic

The almost seeming conventionality of the entry hid the normative breaking nature of it when it came to the kinds of entries that Izmedu often sent to contests like WorldVision and the World Hit Festival. The artist, Lea Sabolic, was someone that Izmeduan fans thought would never even touch either contests, partly due to the very complicated relationship she has with Izmeduan music critics and tastemakers writ large and to very tragic events that rocked her personal life in her more personal years. There was also the fact that the song broke Izmeduan convention by, for the first time in quite some time, where the singer did not have any part in crafting the song either through its music production or its songwriting credits. If one were to look through the music credits most often present in WorldVision, 'L. Sabolic' does not appear at all. It is a small detail, but it is significant in a country where being a singer-songwriter is largely the norm, and where being purely a singer is often an uncertain path. In fact, the song itself also broke convention by looking as if it were written 'by committee.' Most Izmeduan entries to WorldVision or the World Hit Festival (and the kinds of entries that often won Izmepisma) would often have the artist solely produce and write the songs, in occasion bringing in a co-writer or co-producer. 'Breaking Free' had extensive credits that were expected in Izmedu's more general pop scene, but not for competitions like WorldVision.

The ability to be able to 'own' a song was something taken for granted by Izmeduan singers. How can someone do that with a song that was presented to them as a package to sing?

Part of this is due to Lea Sabolic's status as a venerated singer herself. She is a veteran singer with a career of over 40 years in the business, having found much of her popularity in the post-Izmeduan revolution years. This status as a venerated singer is itself a bizarre and largely an exception to Izmeduan music, as Lea's success came primarily from her voice and her voice alone. In terms of both emotive-ness and raw technical prowess, Lea's vocal ability to this day still remains unmatched amongst those who are currently active in the Izmeduan music industry. And in fact, it was that voice was what led her down to the path of success that she was currently in. Part of her longevity in the business is the fact that she's been singing and making records (per the Sabolic's family help, of course) at the ripe age of 11 years old. Her vocal abilities began to manifest around the time she would hit puberty, which was where her voice truly began to exhibit the kind of power, prowess, technical movements, but most importantly, the dramatic emotions that would be associated with her brand throughout the years to come.

She would meet her husband through the Sabolic's family aggressive marketing of her young voice (her husband of course, would eventually become her future manager). Lea was initially introduced as a young ingenue who sang ballads in Izmedu's mother tongue, Izmeduan. She had an innocence to her aura that belied the soulful, yet perfectly clear voice that emanated quite a lot of power. However, the development of her practically not singing her own material would take root here. Her early attempts at songwriting were reflected in her most earliest recordings, but these would soon change as Lea's fame rocketed to higher levels through her adolescence, as well as constant jostling of both development and record deals (or package deals, which Lea would take the latter when she became of age in Izmedu at 18). The songs she sang were not hers, the words she sang didn't really come from her, but her voice was the vehicle for those words regardless. The constant vocal training allowed her voice to become an instrument of its own believability, even if Lea the singer sometimes felt scared that she was singing lyrics that were too far ahead of her own life experiences.

Back then however, as a younger singer, these kinds of worries about her artistry never really came to fruit. She was mostly known still to a much more local audience within the city of Vodiznad that quite literally watched her as she grew up from a young child singer that could've well been eligible for the Junior World Hit Festival to a young adult. It was when she made the journey to adulthood and subsequently, changed her singing language from Izmeduan to English was when her work began to endure the greater scrutiny that led Lea to really question whether or not it really was right to continually sing songs she has never written herself, especially since Izmeduan music at its core binds both singing and songwriting as inseparable arts, in which it is necessary for an Izmeduan in the industry to have the capacity to do both. To specialize in simply just one is a rarity (historically, Lea is the rare exception of a runaway singing success). Thus, when Lea would release her first set of records in the English language...

Her rise to the top of the popularity chain in the Izmeduan charts coincided with the beginning of the lukewarm reactions to her material, especially from Izmeduan music critics. At first, she didn't quite mind, as Izmeduan pop by its very nature will almost always incite mixed critical and audience reactions from listeners. The reaction was nothing new, but as Lea's success began to grow and grow and as her records keep selling by the literal truckload... The critical reaction went from lukewarm to one of almost constant bashing if the critical language wasn't so professionally written. Lea was loathe to try and remember the specific wording on the music she produced in her 20s and 30s, but safe to say... She could probably bet that she certainly made it on some worst of lists for those respective years. While she was largely insulated from having a rather large public following, it certainly wasn't if the larger public were completely lapping up the material either.

Lea Sabolic's music was sometimes a part of 'bile fascination' for music fans to listen to. For Lea, she sort of saw the point upon reflection of the way she approached music-making. For her, it was almost as if the studio was a conveyor belt. She was fed songs, she sang them the best way she could, she tried to make the best technical use of her voice, and she didn't have much of a care in which the eventual albums would be accepted. She did just enough work to make sure that she was able to embed herself into the songs and deliver a believable rendition of the songs that were given to her by modicum of songwriters. The results, while mixed, would often get the job, and Lea thought she was doing an okay job with the proceedings of her career and with the trajectory of where it was going. It wasn't until she was older where she realized just how... almost robotic she felt? She began to ponder how her music must've felt to someone who was expecting a deep emotional connection, only to find... a perfectly competent but not entirely satisfying song that stayed at a base lyrical level.

Now, older and hopefully a touch more wise, she now knew why (at her peak) she didn't quite get a lot of kudos. For as long as she knew for most of her 20s and 30s, she spent almost two decades producing non-stop albums, singing, touring, and doing everything possible to promote her music to as wide of an audience as possible. She knew her albums well enough, sure, and while she was proud of the music that she produced as part of her career, at the same time... It was sometimes hard to distinguish between different eras, albums, and campaigns, as if they were quite literally one big one over such a long timespan. Lea Sabolic had quite literally reached critical mass. It was in her late 30s, when illness befell her husband, was where Lea would take a break from the music industry and where touring, album releases, and promotions were far more sporadic. Instead, releases from here were now staggered, and an album once a year or every two years was no longer now guaranteed.

The recent event that led almost directly to the entry was the death of her husband. Lea's husband was a topic she didn't quite like to speak about in public too much, preferring instead to keep the nature of their relationship just between themselves. Even with the Izmeduan media having quite the track record of being able to attain great cover stories, the close relationship between Lea and her husband was one she was able to keep under the wings outside of the general knowledge that he was her manager. It was through him was how Lea was able to keep affording the connections, the success, and the capacity to become further exposed to more and more singers and songwriters that would help build Lea's network throughout the music industry. Her husband was the one with the moxie to help Lea soldier through the rougher spots of her career, including very much the period of her stratospheric success where her music did not find favor with a lot of critics.

The loss of her husband was profound. She may not have agreed to his decisions all the time, but Lea was also a fan of stability, safety, and being able to have a full family. She had one child with him, but the loss of him was almost too much to bear at one point. It really wasn't until Lea received a few songs with Breaking Free's message was where Lea realized how she needed to move on from her husband's passing. The sporadic releases and the fact that she was now at a lower profile helped aid her mental health. The success no longer felt like it was choking her into retreating into a studio, she felt emboldened to take a risk, and to not fear that risk failing. Lea knew that she was lucky enough to be in a position where she literally did not have a lot to lose. She owed it to herself to take that risk though, and one of those risks was to finally break out of that shell of hers in the first English-language release she would have without her husband's managing in tow. One of those risks was of course, 'Breaking Free,' itself. The song itself came to her by way of a connection she fostered with one of Izmedu's production scenes, in which the two composers/producers of the song were working on a demo that had test vocals for 'breaking free.' Lea, liking the lyrics and the production she heard, made a note to send out some 'feelers' staking an interest in the eventual track. This led to those same producers wanting to send the track, once it was done, to Lea herself. Since Lea had just released an album full of mostly softer ballads in the Izmeduan language just earlier, the turn towards dance-pop was almost a complete 180 from the soundscape that many were expecting her to take in her next release in the English language.

Breaking Free was both her and not her. Lea did her fair share of some dance tracks, but they were much, much longer ago when the standards of production weren't quite the same as now. WorldVision was thought to be out of reach for her, especially since WV has often tended to go for younger names or more daring projects. Lea, for the longest time, was seen as someone who really and truly had no business in the WorldVision Song Contest. That is, until she sent 'Breaking Free' to Izmepisma and had the fortune of winning it. Winning the national final itself was a surprise she never thought would ever happen, especially for an artist like her that was thought to have been long past her prime. Yet, in some sense, it was perhaps fitting that her time in the limelight would be represented with a music show that she herself witnessed the creation of. She found a new audience within the country to which to expose her music to, but this time, with her own pace, her own prerogative, and in a style that she knows she has full control of. To her, taking a risk like Izmepisma and WorldVision was quite alright for her no matter the outcome, as long as she knew that each effort came from her. The very fear of feeling she needed to seek critical approval would gradually lessen. For her, the victory was in the 'being here' in the Achaean Republic.

The song may not have been truly hers as far as credits. However, Lea was feeling embodied with the words. A connection that she hoped would translate to the stage in Rosario.

Lea took a deep breath and walked to the stage...


Stage lights billowed down to the center of El Soleao at the advent of the Izmeduan industry, bolstered by a crowd cheer that was timed to the flashing lights. The arena was now bathed in a complete darkness as Lea was situated at one of the sides of the stage. The unique setup necessitated some thinking as per the staging team, considering the song relied upon the traditional stage set up of having the LED in the back. However, the stage being in the shape of the river was in fact a groundswell of many possibilities for the song. Lea took a deep breath as she felt the in-ear mark the beginning of the song, the muffled strains of the song's electronic production now seeping through El Soleao. The arena was bathed in a soothing hues of blue, darkened at first. The camera sweeped through the river-like stage almost cinematically, slowly moving through the twists and turns as the lights pulsed to the music. The floor would have ethereal patterns on it, acting as sort of a 'rail' for the slowly moving camera as it led itself to Lea's position at the very edges of one of the stage's sides. In some sense, the camera was 'flowing' through the stage, eventually finding Lea at the eight second mark. She was stood, looking down, the screens behind her showing a gray pattern that looked almost faintly like it was rooting her to that spot. The spotlight would shine on her, looking a bit worn down, exhausted, but there was a will to keep fighting on in her eyes. She took a deep breath, knowing that it was time for her to sing...

There's somethin heavy in my heart
Like chains holding me down
Feel like I got nowhere to go
Trapped and lost all alone


She sang these lines with a mixture of both conviction and softness, deliberately making sure to conceal the true power of her voice. In this first verse, she used the dramatic overaffectations to her advantage, each and every arm movement, nigh-exaggerated expressions, adding to the graphics displayed behind her. The gray patterns, once the camera angled itself to a precise angle, looked as if they were bearing down on her shoulders, a great weight upon her that was reflected within the lyrics itself. The movements she made during the song were first and tentative attempts to shake off this burden, with the camera sometimes fading between this view of her and a dramatic zoom-in (from her arm) to the wider world of the stage, with the rest of El Soleao representing the wider world of possibility that was lying in wait for her. However, the burden of the chains bearing down on her from the graphics (part from the screens behind her from her position with minor bits of augmented reality) was what stopped her initially. She would take a step forward at the end of the first verse, but she was stopped in her tracks, with one last shot brief shot of her in the darkness with the graphics behind her that nearly looked as if the song was about to take a much darker turn than intended, however...

I take one step forward
Never looking back now
I'll keep pushing onwards
Away from my past


This hook, while brief, now saw the narrative movement forwards. Each movement she made was timed to the graphics almost precisely, with one shoulder budge backwards that was aiding in the process of dissolving and perhaps even breaking the chains behind her. The gray graphics would gradually disappear, only doing so the more she moved. As appropriate, she took one more step forwards again, this time, her feet now touching the liminal space between the platform she stood on and the very center of the stage where she was yearning for the possibilities of freedom and new experiences. The more she sang these lines, the more Lea's eyes would lit up with the hope of new possibilities, an inner strength that was beginning to manifest with each movement she made. In tandem with her actions on the stage, El Soleao's lighting system would also begin to see some use, with the light configuration changing from darker hues of blue to much more lighter ones. A new palette of colors would begin to manifest throughout the arena, darker hues making way for gradually brighter ones. However, there was a visible struggle still, a conflicted expression of contemplation and hope in Lea's eyes as she finished off this bridge. The camera would linger in front of her in preparation for the next part of the song, the chorus...

Baby I'm breaking free
To find my own freedom
Baby I'm breaking free
To find my own freedom


The instrumentation took a turn for this part of the song. While this was indeed the song's chorus, the production made it clear that was simply a build to the eventual pay off. There was a clear sense that the song was still holding back, from the way Lea was still only taking tentative steps towards the center of the stage and from how she was still holding back her vocals, going off to her almost siren-like falsetto. A slight reverb effect was added to her vocals, aiding the camera in its attempt to try and find a happy medium between making sure that the audience at home was still connecting to Lea's singing closely, while making El Soleao's stage and interior look like epic new worlds still waiting to be explored and discovered. The camera shots would alternate between a close focus on Lea and a sweeping shot of the interior once more, making sure that the the stage floor (especially on the center parts) was lit up to look almost like flowing water patterns that would change color with the beats and the changing light scheme of the arena. There was a clear build up to the true chorus of the song, one that saw both camera views nearly blur to each other as Lea gained a greater confidence in walking to the stage. The statement that she was singing would slowly but surely become more true the more she sang it... Turning it from a mantra to a statement of resolve. At the final line, the camera would zoom into her as the lights would cease flashing and the graphics weighing her down returned back as part of augmented reality. Thus, when the chorus of the song hit...

Baby I'm freaking free
(To find my own freedom)
Baby I'm breaking free
(To find my own freedom)


For the chorus, Lea was truly 'breaking free.' With one dramatic arm swipe and a strategic steadying of her body movements to make sure she was in a prime vocal position to utilize the full extent of her voice, she belted out the song's primary chorus line and put as much power behind as she could. As she dramatically swiped her free arm and held it, the augmented reality behind her dramatically broke in a snap, causing El Soleao to roar into life. The dance break and her vocals worked in tandem with one another, the production itself causing the arena to practically break into a rave. Thus, the strobe lights were brought out for the occasion, while the river-like stage almost flowed like a river. The color palette shifted across as many lights colors as possible, with Lea carefully walking down the stage in the free moments where she wasn't utilizing her voice. However, even so, she wanted the crowd to feel the almost stratospheric energy she was feeling. She looked towards the audience as she belted each iteration of 'baby I'm breaking free,' wanting them to jump up and down during this dance break. The chorus would then end, the camera closing in on Lea who now had a much more revitalized look and expression.

Letting go of what brings me down
A weight lifted off me
For once I no longer feel the fear
Of having to hide myself
I'll keep pushing onwards
Never looking back now


For this second verse and the truncated hook, Lea would strut down the stage with confidence. The stage effects around her calmed down, and the camera effects weren't quite as frenetic as earlier. However, the stage didn't return back to its earlier darkness, with Lea looking towards the center of the stage with a newfound resolve and a swiftness of movement versus the much more labored first verse. Each step she took almost felt effortless, with the camera finding her 'flowing' alongside the watery graphics that were practically perpetual on the floor. In some sense, it looked as if Lea was walking on rather artificial and colorful water, the camera angle sometimes presenting the illusion that she was visibly affecting the graphics themselves as she walked. Each step she took as she sang these lines exuded an almost innocent confidence and bravado, almost as if she was born again. She treated the river-like stage almost as a runway, especially as she would accentuate her leg movements and her singing both in lockstep with one another. Her vocals were also a touch more powerful for these verses as well, and she certainly wasn't afraid of letting a few affectations and slight belts out as well. For the very brief that constituted the last two lines of these blocks of lyrics, she did a slight wink to the camera as she sang 'never looking back now' arching her vocals upwards, utilizing a powerful belt instead of letting the song simmer through a softer register. At the end of these combined lines, she would finally reach center of the stage, just in time for the chorus...

Baby I'm breaking free
To find my own freedom
Baby I'm breaking free
To find my own freedom


Once more, the song would repeat the pattern of building up to the dance break instead of launching straight into it. Lea would repeat the same routine earlier, except this time, she now looked far more confident and more energetic doing so, instead of fighting a force within her that was threatening to bring her down. This time, she wanted to engage the audience even more, as she would occasionally sing right at the edge of El Soleao's stage and hype the audience up. The camera, accounting that Lea's emotional arc was closer to its conclusion and realization, would also spend most of this chorus surveying the stage, flowing between Lea, the audience, and the rest of the stage cinematically as the song flowed through its build-up. The strobe lights would pulse to the production once more, the build-up to the dance break beginning in earnest in the middle of these lines. At the last line, the camera would settle itself on Lea once more, with her stepping back towards the center as the song's dance break was imminent...

Baby I'm breaking free
(To find my own freedom)
Baby I'm breaking free
(To find my own freedom)


With the song's second dance break, Lea and the stage were quite literally firing on all possible cylinders to make sure that this would be an unforgettable moment on stage. Lea let out her trademark vocal belting, creating a clean, yet powerful vocal as she would let her voice soar to its most powerful resonance at 'breaking free.' However, the staging that was planned was holding back from earlier as well. On top of Lea's belting and careful camera positioning, the water-mirrored walkways were now deployed during the dance break. While this did impede the view at those at home, cameras that were safely located on the stage would help augment the background that Lea was singing against. In nearly a flash, she was first singing against the strobing lights of the arena and now she was singing against a water-aided technicolor background. The graphics that were overlaid on the water-mirrored walkways (which were aided by the strobe lights) were almost parallels to the graphics that were displayed on the floor. However, the graphics on the water-mirrored walkways were displayed in a much greater variety of colors, looking as if Lea was singing against a portal. The way she sang and angled herself made it appear that Lea was moving forward the portal, flying freely, and towards a new world of possibility. These graphics would remain, but in a much calmer fashion as the chorus ended...

I dance to my own beat, to my own rhythm
They can't take that from me
My newfound spirit
My newfound spirit


The camera would rotate around her as she sang this bridge. Around her, the graphics on the water-mirrored walkways would reflect the lyrics she sang, with the flows pulsing to the beat and the rhythm, the graphics looking quite like an aesthetic equalizer before Lea's (and the audience at home's) very eyes. Lea's vocals flowed with a sense of fulfillment, knowing that her journey is now much closer to its conclusion than before. Once more, a reverb and echo effect was lightly added, ensuring that her voice would help echo throughout the arena while taking great care not to overdo it. She would look up to El Soleao's ceilings, her eyes harboring that trademark innocence from earlier. Each time she would sing these lines, the water-mirrored walkways that provided the backdrop from the earlier chorus would slowly dissipate as the arena was now coated in darkness. The camera would pause as it was now in front of Lea, preparing for the hook of the song once more. The bridge would end, but the song wasn't over yet...

I take one step forward
Never looking back now
I'll keep pushing onwards
Away from my past


The arena was coated in darkness for this last reprisal of the song's hook. Her vocals, while resonating with much more strength, was almost a contrast for the nearly fragile staging, looking as if she were for a moment singing a ballad. She would track the camera with her own eyes as it would make a short survey of the stage, fading to a position just slightly upwards of her. The floor screens were active, dulled to make sure that the contrast in the darkness wasn't too extreme. As the camera would move towards closer to her once more, the renewed feelings and demeanor on her were now more evident as this was now a moment just between her, the audience, and the viewers at home. Instead of these being lines that sang to invoke the inner strength within her, she now sang as if she were recounting a story. The lines resonated with an ever greater truth now, the weight of experience behind her eyes, and now the feeling of someone who truly felt free to take on what they wanted to. She walked closer to the camera and in consequence, much closer to the audience. She looked up at the final line, preemptively preparing for the final chorus...

Baby I'm freaking free
(To find my own freedom)
Baby I'm breaking free
(To find my own freedom)
Yeah I'm breaking free, I'm breaking free, I'm breaking free now
I'm breaking free now baby, yeah, yeah
Yeah I'm breaking free, I'm breaking free, I'm breaking free now
I'm breaking free now baby, yeah, yeah


For the final reprise of the chorus, it was all about exuding as much energy on the stage as possible. Lea let everything out on the table from her vocals, to her movements, and to the energy she wanted the crowd to feel. The strobe effects were set to their highest with the augmented reality even effects even getting their time in the spotlight. On the floors, the 'river' effects were strobing at their most intense, pulsing to the beat and reflecting the lights that were continually changing color. For Lea, she was at her most jubilant at this part of the song, now having truly broken free and having found the freedom she was seeking. All of the energy of being in a country she has never been to before, of doing many firsts in Achaea, of meeting the people around here was now being reflected upon the lyrics. Now, the very chorus that she sang as first as a statement of resolve was now a cry of joy, a proud statement proclaiming the new phase of the life she was beginning to stake out for herself without the shadow of the past hanging over her head. The colors remained bright, her movements carried with them the exhilaration she felt. Each time she belted out these lines, especially at around the latter half (where the chorus would deviate slightly) felt like a triumph. Her vocals remained resonant, with Lea using some techniques she learned to maintain her voice throughout the strenuous period of constant belting. She may have remained transfixed on some parts of the stage, but the way she moved her arms and body was signaling to the audience to move along with her. The camera would alternate with views between her and the audience on the arena itself, the atmosphere in the arena almost electric. However, the song was now nearing its conclusion...

Baby I'm breaking free...
(To find my own freedom)
My newfound spirit...
My newfound spirit...


The song's outro was a calm one, with Lea ceasing her movements and taking on a confident pose, looking towards the green room. She would sing these lines with an almost ethereal tone of voice, singing the very last line of the song twice before letting it echo throughout the arena. The El Soleao, for the final strains of this entry, was now coated in the colors of the morning sun. The palette was now a warm yellow-orange, suggesting that Lea had finished her song right as it became dawn. With a strategic camera and staging placement, she would place herself in front of one light, the shadow of her face staring into it. The camera was situated right behind her head as the song ended, zooming slowly past her face and towards the light once the production faded.

She held a hand to her mouth as the entry finished. The excitement, the adrenaline, and the feeling all caught up to her as she tried to process the crowd cheer that was happening right at this moment. She briefly held the microphone to her mouth.

“Thank you all so much!,” she shouted, shaking and nearly in tears from the performance.

The next entry from Pambudia was imminent, so Lea knew she needed to leave the stage quickly lest she finds herself forcefully be put somewhere backstage or in the green room. She savored this feeling of being finished, of the excitement. It was a strange in-between, knowing she still had all of the results left waiting later on in the night. In many ways, performing itself was the victory, and to have a chance to be here when years ago, something like WorldVision was almost off-limits to someone like her was a poetic victory in and of itself. Just like the lyrics of the song, perhaps Lea too has broken free of her past. She couldn't do much introspecting, knowing that soon she would be with her delegation and enjoying the rest of her night.

No matter what happened, she swore to never forget these feelings.
Last edited by Izmedu on Mon Sep 16, 2019 11:39 am, edited 3 times in total.
THE DEMOCRATIC REPUBLIC OF IZMEDU
WorldVision Song Contest - World Hit Festival

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Pambudia
Diplomat
 
Posts: 816
Founded: May 14, 2014
Inoffensive Centrist Democracy

Postby Pambudia » Tue Sep 03, 2019 3:19 am

14 | P A M B U D I A

Participant: Nazaret
Song: ♪ All About Our Memories ♪
Tune: Peterpan – Tak Ada Yang Abadi

Image


It snowed in December
Cover deep experience
It snowed in December
I will never come back again


The towering cliffs cover the light from the east
Lost swallowed by the coming snow
And for a heart that has been awake all this time
Please just let me go forever


All about our memories
All about our memories
All about our memories
All about our memories


Oh ...
Pleace accept
Last flower for you
That I brought
From a snowbank that melts


It snowed in December
Cover deep experience
It snowed in December
I will never come back again


Melting snow in the spring leaves us both here
Get ready for winter tomorrow


All about our memories
All about our memories
All about our memories
All about our memories


All about our memories
All about our memories
All about our memories
All about our memories
Last edited by Pambudia on Tue Sep 10, 2019 4:01 pm, edited 4 times in total.
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Bersama - sama kita bersatu dalam ideologi Pancasila

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Vartugia
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Posts: 108
Founded: Nov 12, 2015
Iron Fist Consumerists

Postby Vartugia » Tue Sep 03, 2019 3:47 am

15. Vartugia

Big Anime Titties- "A spiritcual journey you didnt expect from us to post, yet got somehow from a country whose record is just awfull. The Song.




Big Anime Tittes are a bunch of loners who somehow wrote a song. And no, they are not weebs. Its the guy who reads this line right now.


B.A.T natrutoruns on the stage and begin to dance a dance.
We. You. Fuck. Anime. Girls


The audience as confused af

Yeeeeeettttt


Someone on a fan-driven chat server starts making jokes about this entry being the best and that Vartugia has improved massively since their last one.

Yas. Forget to vote for us, or we take your left leg

A giant piano falls from the roof and crushes one of them, killing him.

We gonna get rekt by our waifuses now
We are not into anime


The sound randomly cuts so we end up saving our ears from these weebs.
Last edited by Vartugia on Mon Sep 16, 2019 8:29 am, edited 2 times in total.
This is a puppet for Darkmania.

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


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Ertzei Kishim
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Posts: 13
Founded: Aug 12, 2019
Inoffensive Centrist Democracy

Postby Ertzei Kishim » Tue Sep 03, 2019 7:04 am

. : 16 - Ertzei Kishim - أراضي الكيش - ארצי כישים : .
Dikla Romanova ft. Natanui - Hunger

Language: English, Hebrew

To the Tune Of - Within Temptation - And We Run


Kishrael had achieved another success in the previous contest held in Kalosia - Tatyana Shapsugh had achieved an impressive fourth place, coming from the Kdam-WorldVision format. The directors at RESHET saw no reason to change this successful format, and so Kdam returned for the 76th edition held in the Achaean Republic. Dikla Romanova was a Polkopian-Jewish singer who previously fronted the successful rock band "From Ash", entering Kdam as a way to launch her solo career with a bang. She did just that, with an enormous victory, finishing in the top four of every international jury's ranking. She was accompanied by Ethiopian-Jewish rapper Natanui, also famous among certain circles, particularly the Ethiopian underground scene in cities like Rakaphy. Combined, they created an interesting rap-rock fusion that clearly appealed to the international juries. Both were ecstatic and happy to take the invitation to the contest in Rosario. RESHET were once again confident of a good result and so sufficient budget had been provided for a stage show to impress the audiences at home. The Achaean Republic was a nice change for Dikla, the heat certainly didn't bother the Kishi delegation, at least Tiferet was known for it's humid heat, much like Rosario, and thus, except for the language barrier, the team felt right at home, and felt made at home by the locals who were clearly excited to be the hosts of the WorldVision Song Contest.

The stage design in Rosario had caused a number of problems for the Kishi team, as its strange shape meant that it was impossible to create a cohesive stage show. A number of ideas were proposed and thrown out until a more static idea was agreed upon, relying more on Dikla's stage power to carry the performance rather than making the stage show overtly elaborate. In the end, the strange shape allowed for a more dynamic rift off of Natanui and Dikla as the two style met, and this was to be expressed in the stage performance, or this was what the staging team hoped at least.

For the start of the performance, the stage was dark. On the stage a large crystal like structure with jagged irregular edges stood on a podium. Inside the crystal was Dikla. She was dressed in a leather two-piece, with the appearance of sludge effect, as the leather she wore hung over her body in a dripping motion. In her eyes she had a white contact lens in one of her eyes, dark black lipstick, and a hard black makeup around her eye. The song begins with a close up of Dikla's almost monstrous face. She pulls the microphone up to her mouth and begins singing the song with all the power that her voice was known for.

It breathes into your heart
An earthquake in the sea
And so to that we feast
On the taste of sweet agony


In the next part, she raises her hand which is covered in similar black sludge leather with an effect that makes it swing as she raises it. As she does this, a visual effect appears on screen of black sludge in two pillars spraying outwards, almost like snake venom. The camera then turn back to Dikla's face as she stares down the camera with a vicious grin.

Dancing, in the sound of the silence
Laying on a bed of marble
I’m your queen of a ruined kingdom


Dikla moves her head to look left, moving her other hand around her face while keeping her eyes closed. She gives you hand choreography like you've never seen before (or maybe you have, I don't know your life). Then the screen for those watching at home fades to a quick black as the crowd begins to scream in preparation for the chorus.

I won’t sacrifice the little things
That keep my sanity and pride
So leave the excuses, and I walk free


The camera pans around Dikla standing in the crystal in the centre of the stage. The stage cracks with electric white lights in time with the violins of the pre-chorus. Lifting her hand she looks up, following the line of her arm. Bringing her arm down, using camera effects for the viewers at home, a light is super imposed into her hand. As Natanui prepares his part, she clenches her hand into a fist, the light smashing like glass as Natanui bursts out for his part.
And I won’t, let it pull me down
As the flood, comes crashing in
And I won’t, let the hunger win
And I won’t, let you fall alone
Despite, everything you’ve done
‘cause I know, you won’t let the hunger win


Bursting out from the other side of the stage, Natanui is wearing a snakeskin blazer with white glistening flecks of colour draped across it in an almost explosive pattern starting from his right shoulder and dissipating across his body (it looks like the blazer I'm wearing on instagram for New Year's Eve but less ASOS-y). The camera follows his face as he sings his part of the chorus, then the same camera cuts back to Dikla who stares it down, but gives as much attention to the camera itself as Natanui did.

Timshekhi oti, yoter karov
תמשכי אותי, יותר קורב

Harosh chazak, shalvah lo ba'ah
הראש חזק, שלווה לא באה

Bamilchamah karah, ein lalev sikui
במלחמה קרה, אין ללב סיכוי

Az timshekhi oti
אז תמשכי אותי

Yeah, yoter karov
יה יותר קרוב

And I won’t, let it pull me down
As the flood, comes crashing in
And I won’t, let the hunger win

Pull me closer
The noise is loud, inner peace isn't coming
In this cold war, hearts don't have a chance
So pull me (yeah), closer


For Natanui's rap he stands in the centre of the stage with the crowd either side of him. The camera goes for a mid angle, as he raps within himself, looking down slightly. As the beat picks up, he looks up (and Dikla's backing vocals can be heard too). This sets up a shot of him standing a few metres in front of DIkla (almost on the other side of the stage), and the camera begins to focus on him, before switching focus back to Dikla in the background who is still selling the evilness of her part of the performance, all in the same frame. As it picks up even further, Natanui begins to stomp around the stage, interacting with the crowd in a somewhat superficial way. As he ends the rap, he stomps his foot on the stage and a crack of white lightening is released across the stage. An overhead camera picks up this effect for the viewers at home.

They say that love leaves before it gets too old
That it devours itself, carnivorous to the core
Maybe because of our own mistakes
But tell me what you feel
When you listen to your heart, when you look in my eyes?
I won’t let you drown, I won’t let you fall, I won’t let you starve
Even if there’s no love no more
No matter how heavy your crown, that you built for yourself
From the palace on the hill, I’ll still answer the call for help
Come rain or shine, valley or peak
Because that’s what I promised you that day
And you’re someone of your word
There’s love in my veins, won’t ever be the same
But I still trust, I still believe
That if anything happened to you or me
Then you’d be there, I’d be there
Because I know you won’t give into the hunger


Natanui seems to disappear off the stage as the camera zooms in from directly in front of Dikla from afar. Graphics behind her give the appearance of black shimmery wings (think Conchita, it's like the CONCEPT of wings but not actual wings). She plays along with this, moving her arms elegantly as one might expect from an avian. As she sings the long note, she "breaks" (preplanned, of course) the crystal which she is in. This reveals that she has a long flowing leather dress. She begins to walk out as Natanui bursts back on the stage to sing his next part.

And I won’t, let it pull me down
As the flood, comes crashing in
And I won’t, let the hunger win
And I won’t, let you fall alone
Despite, everything you’ve done
‘cause I know, you won’t let the hunger win


Natanui's vigour in movement while rapping his nicely contrasts with Dikla's stoicism and slowness as she slowly moves forward towards the front of the stage where Natanui is already hyping up the crowd with his part. As she reaches him she sings her part, looking at him directly and then moving her leading arm around towards the crowd, singing to them as she moves with it. Natanui moves around her singing his part as she stands tall and still, serving an almost defeatist posture, as the gooey sludge hangs beautifully off of her slim figure.

Yeah!
Timshekhi oti, yoter karov
תמשכי אותי, יותר קורב

Harosh chazak, shalvah lo ba'ah
הראש חזק, שלווה לא באה

Bamilchamah karah, ein lalev sikui
במלחמה קרה, אין ללב סיכוי

Az timshekhi oti
אז תמשכי אותי

Yeah, yoter karov
יה יותר קרוב

And I won’t, let it pull me down
As the flood, comes crashing in
And I won’t, let the hunger win
Timshekhi oti, yoter karov
תמשכי אותי, יותר קורב

Harosh chazak, shalvah lo ba'ah
הראש חזק, שלווה לא באה

Bamilchamah karah, ein lalev sikui
במלחמה קרה, אין ללב סיכוי

Az timshekhi oti
אז תמשכי אותי

Yeah, yoter karov
יה יותר קרוב

Pull me closer
The noise is loud, inner peace isn't coming
In this cold war, hearts don't have a chance
So pull me (yeah), closer


With the end of the song there is a huge crash and the stage goes from black to bright white. The light is so bright that the stage is completely obscured for a few seconds. As the bright light clears, the crowd goes wild as Natanui and Dikla stand there, hand in hand with fists in the air, both of them also looking up at the roof. "Thank you Rosario!" Dikla shouts with a gruff and still powerful voice, in spite of her vocal performance. Natanui adds a "gracias", before they make way for the next act to follow them on stage.
Last edited by Ertzei Kishim on Mon Sep 09, 2019 6:03 pm, edited 5 times in total.

User avatar
Natanya
Envoy
 
Posts: 336
Founded: Nov 15, 2011
Left-wing Utopia

Postby Natanya » Tue Sep 03, 2019 11:45 am

.
Last edited by Natanya on Mon Sep 16, 2019 3:43 pm, edited 3 times in total.
GENERATION 33: The first time you see this, copy it into your signature on any forum and add 1 to the generation.

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

User avatar
Achaean Republic
Attaché
 
Posts: 84
Founded: May 26, 2019
Civil Rights Lovefest

Commercial: Correos de Acaya

Postby Achaean Republic » Tue Sep 03, 2019 6:31 pm

Image

Tune

Desde Corola...
Desde San Juan de Ocampo...
Desde Santa Ana...

Correos de Acaya es más que un correo. Somos la mayor proveedora de cheques, giros, y servicios de manejo y envío para toda Acaya... y el resto del Multiverso.

Correos de Acaya: Cargamos los sueños de millones de acayanos.


From Corola...
From San Juan de Ocampo...
From Santa Ana...

Correos de Acaya is more than a post office. We are the largest provider of checks, money orders, and shipping and packaging for the whole of Achaea...and the rest of the Multiverse.

Correos de Acaya: We carry the dreams of millions of Achaeans.


Image

User avatar
Antahbrantahstan
Envoy
 
Posts: 266
Founded: May 29, 2014
New York Times Democracy

Postby Antahbrantahstan » Wed Sep 04, 2019 4:27 pm

18. ANTAHBRANTAHSTAN



m & l: Miroslav Sekulić, Mélanie Magrin, Alexandra Weber




Ruslan is already well-known in the Anturian music industry, known for training with FOUR before debut (and thus being close friends with them), he would then set his mark on the Anturian music industry with his debut studio album, Summertime, the album sold a modest 150.000 copies at the time of the writing, which is very common in Antahbrantahstan.

Born to an Izmeduan father, Miroslav Sekulić, and an Anturian mother, Triana Ambarwati. Ruslan becomes the second ever Anturian representatives to be a mix-blooded person, the first being Sara-Lorena Huntington, who is of Anturian-Britonish ancestry, however, Ruslan dislikes it when people keep talking about his parents, as he wants to be known for his music rather than gossips.

Ruslan always loved rock music from the start, he already submitted songs to MGP Anta many times, but he was rejected, this song, however, becomes his lucky charm as the song successfully got selected as one of the 20 semifinalists, and won the show.

Ruslan will try his best to represent his nation and his voice at WorldVision, so, he hopes for success this time, good luck, Ruslan!





My bones are dried out
And my visions are gone
I just wanna get out
But i will be alone

I'm inviting you
To join me on this ride
I'm inviting you
To some place that i know


Where we can rest a bit, where we can just relax
Where we can rest a bit, where time has finally stopped, oh, oh


Sanctuary
People said i can't
I'll turn "can't" into "can"
They might be true
I'm going nowhere
And now i'm lost
But i will try to find it

(Find it out)
(Search it out)
(Look it out)


WIP
Last edited by Antahbrantahstan on Sat Sep 07, 2019 6:39 am, edited 2 times in total.
"But I got a mind to show my strength
And I got a right to speak my mind"

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

User avatar
Normandy and Picardy
Ambassador
 
Posts: 1610
Founded: Aug 11, 2014
Democratic Socialists

Postby Normandy and Picardy » Fri Sep 06, 2019 9:41 am

Entry Withdrawn
Sorry about that - confirmed on the OOC thread by the way
Last edited by Normandy and Picardy on Mon Sep 16, 2019 8:37 am, edited 4 times in total.
"Listen. Strange women lying in ponds distributing swords is no basis for a system of government. Supreme executive power derives from a mandate from the masses, not from some farcical aquatic ceremony"
- Monty Python and the Holy Grail

User avatar
Voxija
Spokesperson
 
Posts: 154
Founded: Jan 17, 2019
Civil Rights Lovefest

Postby Voxija » Sat Sep 07, 2019 3:31 pm

20. Voxija
klark- "Remnants"
Tune: "Vincent" by Don McLean



Born Klark Agaburu to poor parents in the tiny town of Huriñu, klark never thought he'd hit the big time. When klark was young, he'd sing while doing his chores. Everyone thought he had a great voice, but klark never got his hopes up. Klark's older brother had gone to the big city to try and make his fortune, but he got cheated by a big record company and died in an alleyway.

When klark was twenty years old, he left his small town to go to Vañeta, the city in Voxija best known for its music. Vañeta was very busy to klark, who was unused to the big cities. Klark met a man who rapidly became his best friend, Elmer Harrio. Elmer supported klark's career, coming up with his image of a folk singer who sang enotional songs. It was Elmer who got the idea of changing the capitalization of klark. Klark changed his first name from Klark to klark.

When klark was still at the phase of singing gigs at restaurants, he decided to enter himself into the selection for the third WorldVision that Voxija was participating in. Honestly, why not? Klark was very surprised that the judges picked him, with the song klark wrote himself, "Remnants".

Klark enjoyed himself in the Achaean Republic. The weather wasn't much of a surprise, nor the exuberant culture, but oh, the food! It was the best, especially for klark, who had grown up eating his grandmother's bland pali.




Klark sat casually on a stool, looking at the audience nervously, holding a microphone. Klark'd never sang at a concert this big before, and he wanted to win.

The background was a dark blue. A spotlight shone upon klark, and he began to relax. The music came on, and klark began doing what he liked best.

I look upon the world
Hoping it will all pass soon
Gazing lonely at the moon
With terror in the headlines and the heart
Madmen at the door
Greedy men robbing the poor
It makes any good person sad


The background changed from a dark blue to more of an indigo color.

I don't understand
How the world is so unkind
And how it's been filled with insanity
It wasn't the best it could be
But it did seem better, truly how
Yet we're all remnants now


Klark got out of his stool and stood up.

I look upon the world
I don't know how it swiftly changed
It was nice, we weren't pained
When my country stayed out of world wars
Leaders were just bores
Not the madmen they seem now
It seems they never listen now
To the people they try to defend


Klark sat back down on his stool and held his face in his hands. The background changed to rain. Klark got up out of the stool and started singing again.

I don't understand
How the world is still unkind
And how it's been filled with insanity
It wasn't the best it could be
But it did seem better, truly how
Yet we're all remnants now


The background changed from rain to a royal blue color.

We are remnants, true
But I don't feel blue
There is still hope for the world
The remnants will resist
But I still hope for a future that is good
But we were only remnants
Of a past with potential
I hope life won't be grim


Klark sat on the stool again, and the background turned purple.

I look upon the world
Promises that never were
Crazy mobs and angry blurs
The shattered past is dead and gone
Better than what's going on
We are the remnants of the past
A simple time that didn't last
The wonder gone, it left too fast


The background changed to a starry night sky, the stars moving slowly.

I still don't understand
How the world is so unkind
How it's been filled with insanity
It's not the best that it could be
I hope they listen, but I ask them how
Why are we remnants now?


The spotlight blinked off with no theatrics.
Last edited by Voxija on Fri Sep 13, 2019 1:38 pm, edited 6 times in total.
IC pretitle: The Republic of Voxija (pronounced: Voshiya)
✡️ Jewish. ✡️ Trying to learn French and failing. Secret pyromaniac?

my politics are confused and muddled
I actually have an IC historical reason for using this flag.
Being on mobile is a bad excuse for my factbooks looking bland.
I actually don't speak Basque. I just think it's a cool language.

User avatar
Britonisea
Powerbroker
 
Posts: 7755
Founded: Oct 29, 2012
Inoffensive Centrist Democracy

Postby Britonisea » Sat Sep 07, 2019 3:36 pm

BVC ONE
The 76th WorldVision Song Contest

Brityunik Vefecosoin Cairkovoin




Live Coverage of the 76th WorldVision Song Contest in Rosario with your hosts Zeke Lemondey and Rigas Jengiz
Last edited by Britonisea on Sun Sep 15, 2019 7:27 pm, edited 1 time in total.

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