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BSB | 6th Junior World Hit Festival | Mera, Besen

Where nations come together and discuss matters of varying degrees of importance. [In character]
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BSB | 6th Junior World Hit Festival | Mera, Besen

Postby Besen » Wed Sep 04, 2019 12:04 pm

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The lights fall gently as the countdown in the arena for live broadcast begins. The audience shouts out the numbers from 10-1, where at the end a giant avalanche of white confetti falls upon them, missing the stage for obvious reasons. The space feels dark, and the lack of lighting makes for tension before the main event starts. Across the world, the packed venue is showcased, in the first camera shot of the night. Graphics sweep across suddenly, and the camera appears to fly above the ceiling and into the clouds. Stars fly by, coloured with the national palettes of each country. They are followed down, as they shoot through the streets of Mera, showcasing it as though it’s a tourism advertisement. An instrumentation of the opening song starts playing, with the synths slow at first - melodic though. The camera is used again in the arena, beginning to reveal the large stage, with its tall pieces of infrastructure clearly in the back, shining with shimmer in blue highlight.

The back of the stage slowly opens, allowing smoke to build an unclear line of sight, as the two hosts of the evening make their way up onto the main stage. Alia is wearing a golden gown, which is carefully laced with yellow sequins, colliding nicely with the light that gleams down on it. Giorgio goes more classic, a tuxedo, but with a tie, coloured a similar colour to his counterparts dress. They both come out smiling widely, waving to the cheering fans, who wave their flags over their heads. Once around thirty seconds of greeting has passed, Alia makes an introduction to the contest, going through the well-known and documented rules, before Giorgio joins her to open the competition with the iconic line…

“Let the 6th Junior World Hit Festival begin!”

Then, the previous music pauses, and the sound of glass shattering plays as a sound effect - with the arena going pitch black again. A voice is heard out of the dark, “Let’s party!” Hannah Berelie is seen making her way across the stage to the front, as her song “Replay” begins. The parade of nations starts, as the audience cheers along.
Last edited by Besen on Thu Sep 05, 2019 10:23 am, edited 2 times in total.

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Postby Besen » Wed Sep 04, 2019 12:23 pm

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Hannah Berelie & ZUEM - "Replay"
Noah Cyrus - My Way


(Why are we stuck in…)
(Why are we stuck in…)
You make me wanna run, before it lingers
You know you get stunned (Get stunned…)
Get your eyes to the floor
No, no, you ain’t a winner
Must hurt that I won’t
Let you find me


You will be sulking at your momma’s tonight
But that’s none of my business, alright
As long as you don’t tell on me, tell on me
The truth is you really are a bore
The way you treat me, it’s too far
All of my friends keep on telling me, telling me


Why are we stuck in replay, replay?
Go find another, I may, I may
You think you are a winner
But you keep proving you’d never
Why are we stuck in replay, replay?
(Why are we stuck in…)
Why are we stuck in replay, repla-a-ay?
(Why are we stuck in…)
Why are we stuck in replay, replay?


Just try it one more time
Go on, I bet you might
Screw you, you lose
Just try it one more time
Go on, I bet you might
Screw you, you lose
Just try it one more time
Go on, I bet you might
Screw you, you lose
Just try it one more time
Go on, I bet you might… oh!


(Why are we stuck in…)
(Why are we stuck in…)
(Why are we stuck in…)
(Why are we…)
(Why are we…)
(Why-why-why-why…)


Why are we stuck in replay, replay?
Go find another, I may, I may
You think you are a winner
But you keep proving you’d never
Why are we stuck in replay, replay?
(Why are we stuck in…)
Why are we stuck in replay, repla-a-ay?
(Why are we stuck in…)
Why are we stuck in replay, replay?

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Postby Besen » Wed Sep 04, 2019 12:45 pm

1 Axuva
2 Besen
3 Kalosia
4 Tödlichebojoku
5 Estogium
6 Izmedu
7 Achaean Republic
8 Fromulya

9 Bayilan
10 Monaeroglisseurest Pleindanguillese
11 Merecendi
12 Togonistan

13 Darkmania
14 Britonisea
15 Vartugia
16 Polkopia
17 Mercedini

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Postby Besen » Wed Sep 04, 2019 12:51 pm

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Postby Besen » Wed Sep 04, 2019 12:54 pm

1 | Axuva
Kayla Kordeva - "Music is The Way"

Language(s): English
Tune: Tori Kelly - Don't You Worry 'Bout A Thing
Lyrics: Kayla Kordeva
Music: Kayla Kordeva

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[Verse 1]
It’s something that just makes me dance
The beat is just so tempting
The song is strong it gives a trance
The world loves music, so get up and dance


[Chorus]
Because music is the way
Music is the way, yeah yeah
Music fills your soul and gives
You joy inside, oh


[Verse 2]
Feeling down or feeling sad
Dont know where to go cause it’s so bad
But when the music lives inside
Your soul will feel happy after while so


[Chorus]
Music is the way
Music is the way, yeah yeah
'Music fills your soul
And gives you joy inside
I said music is the way
Music is the way, yeah
Come on!


[Verse 3]
Theres a tune that writes your life
It makes you feel so full
The song moves to your heartbeat
When it just gives you something brand new
Oh, oh, oh, oh, oh, oh, oh


[Bridge]
Music is the way, way
Music is the way, way
Music is the way, way
Music is the way, way


Pa-pa-p, pa-pa-pa-pa
Pa-pa-pa-pa-pa-pa-pa-pa
Pa-pa-p, pa-pa-pa-pa
Pa-pa-pa-pa-pa-pa-pa-pa


[Chorus]
Music is the way, way
Music is the way, way, Yeah yeah
Muisc fills your soul and gives
You joy inside, oh


[Outro]
Oh woah, ooooh, music is the way!
Last edited by Besen on Wed Sep 04, 2019 1:00 pm, edited 1 time in total.

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Postby Besen » Wed Sep 04, 2019 12:56 pm

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Postby Besen » Wed Sep 04, 2019 12:57 pm

2 | Besen
Adriana Rose - "Nothing I Can't Do"


Language(s): English
Tune: Carly Rae Jepsen - Now That I Found You
Lyrics: Sarina Nebuane, Taylor Blunel & Marc Fulso
Music: Madame V


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At 15 years old, Adriana Rose was scouted by producers, after her appearance on The Voice Kids, which she ended in 4th place. Her singing style has been described as theatre influenced and crystal clear - often earning her support by critics, as she approaches the beginnings of her musical career. Nevertheless, Adriana has halted from pursuing commercial success. Being the age she is, there is of course a barrier to her exploring themes and sonically throwing herself into the type of music she wants to make. Yet still, she releases songs on her blog - closely supported by a tightly communal fan base, who say she is the "next alternative artist to break through the mainstream".

Not much is known about her journey to the Junior World Hit Festival, just that her participation is based on the scouting of BSB and they knew they wanted her from the beginning. With the contest being in Besen, there is an added pressure to showcase the local talent, and especially artistic difference. Adriana is born and raised in Mera, making her the ideal candidate and poster girl for her country at the contest. Thus far, she hasn't made much public interaction, and has clearly kept her song top secret. She did however comment, "I am working on a project. I have to keep it secret, but I think it will reach a lot of people, and I hope it touches them."

"Nothing I Can't Do" is written by a team of writers that have previously worked under many alternative artists, although they have never contributed to a contest like this one - unlike the group of songwriters that often collaborate for artists that go to Worldvision or the senior World Hit Festival. Adriana isn't credited with any aspect of creating the track, but she said she paid very close attention to the direction of the song and made sure it fit her style completely. Categorised as a pop song, this has meant that the song has received a lot of radio-play and has indeed charted on BMC, with a peak of #17 before the contest. This has not happened in a while for WHF acts, and as Adriana will be the inaugural participant for Besen for the junior version of the contest, it has been aided by a
hype created by fans of the format.

Ultimately, coming into the competition, Adriana has stuck to her guns and is singing a song that is definitely true to her. "Nothing I Can't Do" discusses the feeling of confidence as you navigate your problems. It is packaged into a light sounding experience, that appeals to a young audience. Critics of the song call it "too cringy" for a child's competition, but the team behind it say it will be an interesting message that a lot of kids will connect to - even if the pop sounds are the only thing they find appealing.





Sitting atop a transparent bed shape, under a rainbow graphic, Adriana sets the microphone to her mouth, ready to perform. She wears dungaree's - classic and rather lovely looking. The scenery uses soft colours to present a beautiful element.
Living in monotone
All of my mornings
I wanna exist without regret
I’m suddenly falling
Every nighttime
I dream of the sunlight
‘Cause everyday is brand new
I feel something calling


The light is rising
I feel my hope arrive, yeah
I feel my hope arrive, it’s new
My heart awakens
I feel my hope arrive, yeah
I feel my hope arrive, it’s new


I’ll get to us
Say it won’t work
But now I got my rhythm
There is nothing I can’t do
I won’t fall
‘Cause now I got my rhythm
There is nothing I can’t do
Nothing I can’t do
Nothing I can’t do


I hear a battle cry
It’s deep in my heart
Maybe it wants to run free
Without any complications
I never deny my heart
So I don’t waste it
I step out into the day
I’m all I’ve ever wanted


The light is rising
I feel my hope arrive, yeah
I feel my hope arrive, it’s new
My heart awakens
I feel my hope arrive, yeah
I feel my hope arrive, it’s new


I’ll get to us
Say it won’t work
But now I got my rhythm
There is nothing I can’t do
I won’t fall
‘Cause now I got my rhythm
There is nothing I can’t do
Nothing I can’t do
Nothing I can’t do


I was dreaming of a world
Where anything is reachable
I live in that world now
There’s nothing I can’t...
There’s nothing I can’t do
There’s nothing I can’t...
There’s nothing I can’t do!


Say it won’t work
But now I got my rhythm
There is nothing I can’t do
I won’t fall
‘Cause now I got my rhythm
There is nothing I can’t do (Ohhh!)
Nothing I can’t do (Nothing I can’t do)
Nothing I can’t do (Ohhh!)
Nothing I can’t do, nothing I can’t do

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Postby Besen » Wed Sep 04, 2019 1:04 pm

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Postby Besen » Wed Sep 04, 2019 1:05 pm

3 | Kalosia
Felipo Salvator - "Kampežu"


Title Translation: Camping
Language(s): Kalosian
Tune: Een Tocht Door Het Donker — Thor!
Lyrics: Felipo Salvator
Music: Felipo Salvator


Felipo Salvator, born 2010, is a 9 year old. He was chosen to represent Kalosia at the 6th World Hit Festival through an online poll held on the RTVK website. Fortunately for him, there were not a lot of applicants this time 'round, so he was able to sail through with his self-penned song, Kampežu, beating songs by other entrants, many who were older than him.

The song, which translates to Camping, is about... well, just that. It seemed to have won the hearts and minds of the Kalosian populace, and after the results were announced, Felipo was off to prepare for the competition.

For the occasion, he was dressed in a buttoned shirt and shorts and a bucket hat. He is joined on stage with some of his friends, who will be singing along with him.

As the song begins, they all come on stage excitedly and sit across two logs forming a half-circle. They sway along to the music as Felipo sings.
Noj kampežamu, di-di-di di-di
Stamu ula naturë, di-di-di di-di
Ki stanu di arbeli, di-di-di di-di
Ma noj n’avamu porë, di-di-di di-di

Papa fa lë foku, di-di-di di-di
Sentamu lë kalor, di-di-di di-di
Avamu kestë kanžu, di-di-di di-di
E lo kantamu o~or

Felipo and his friends sang this next part together. It was a very cheerful atmosphere and that cheerfulness was very infections here in the arena.
Un, dwe, tre, katru!

Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di

Now Felipo took hold as the song came back to the verses.
Sedamu insemë, di-di-di di-di
Utornu lë foku, di-di-di di-di
E noj sto školtandu, di-di-di di-di
Ale storie di Papa, di-di-di di-di

In the next part, as Felipo sang about eating and drinking, the kids shouted "mmm!" and "yeah!" along with him, while making gestures mimicking eating and drinking.
Manǧamu lë marshmallow, mmm!
Bevamu tšoklatu, yeah!
Kantamu e baľamu, di-di-di di-di
Kantal kon me, vamu!

So infectious was the song that Felipo got the audience singing with him.
Un, dwe, tre, katru!

Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di

Felipo stood up from the log he was sitting on and walked a bit forward, putting him in the spotlight.
Ja voľu starë ki ula naturë
E ja pjašu kampežarë

Felipo gestured to his friends to come join him, and they ran towards him and formed a line, all of their arms on each others' shoulders, swaying from left to right. It was incredibly infectious, and the entire arena was singing along. The atmosphere was unbelievable.
Un, dwe, tre, katru!

Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di

Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di

And now Felipo was left to delivery the final line of the song.
Noj kampežamu!

The crowd went wild for Felipo, who was grinning ear-to-ear. He put the microphone to his mouth again as he said "gražia mama, gražia papa!" while he and his friends waved to the audience. Afterwards, they all went back together as it was time to prepare the stage for the next entry.
We are camping, di-di-di di-di
We are in nature, di-di-di di-di
There are trees here, di-di-di di-di
But we’re not scared, di-di-di di-di

Dad makes the fire, di-di-di di-di
We feel the warmth, di-di-di di-di
We have this song, di-di-di di-di
And we sing it now

One, two, three, four!

Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di

We sit together, di-di-di di-di
Around the fire, di-di-di di-di
And we listen, di-di-di di-di
To Dad’s stories, di-di-di di-di

We eat marshmallows, mmm!
We drink hot chocolate, yeah!
We sing and we dance, di-di-di di-di
Sing with me, come on!

One, two, three, four!

Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di

I want to be here in nature
And I like to camp

One, two, three, four!

Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di

Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di

We’re camping

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Postby Besen » Wed Sep 04, 2019 1:11 pm

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Postby Besen » Wed Sep 04, 2019 1:12 pm

4 | Tödlichebujoku
Sisu Hákkánen - "Rakkautemme Kruveejet"


Title Translation: Ruins of Our Love
Language(s): Taploukki, English
Tune: Robin ft. Kasmir - Milloin nään sut uudestaan
Lyrics: Sisu Hákkánen, Oiva Hákkánen
Music: Sisu Hákkánen, Šun Fukui, Inka Astravsks


Tödlichebujoku has had a rather spotty record at JWHF. Only recently has Estegoa100 been able and willing to devote full resources to the junior version of the World Hit Festival, and even then has had questionable success in its endeavors. During the broadcaster's joint hosting with VVMxD in JWHF3, Roch Madeira received 5th place in a field of 11, while in the latest edition Gerda Mizušima and Dimas Švangau achieved a disappointing 10th place out of 15. While Estegoa100 has consistently achieved better results than VVMxD's efforts (one was sent to a non-competitive edition, and the other achieved 14th out of 16), they have not been particularly impressive to the broadcaster's board of directors, the Tödlichebujoki public, or the international WHF fanbase. Thus, Estegoa100 launched the Iausnikset edition of Lauluküselü, assembling a lineup in order to choose the best candidate for the nation's next JWHF entry. The final resulted in Ainaarsi Pekkanen tying with Sisu Hákkánen, a tie broken by international audience representatives in favor of Sisu, who then accepted the offer to perform in Besen to represent Tödlichebujoku in the 6th Junior World Hit Festival.
Sisu Hákkánen was born and raised in a variety of locations around Tödlichebujoku and its allied co-planetary nations with his fraternal twin Oiva, the parents of the two being military personnel on deployment in various international bases. It came as a surprise when the two boys showed an inclination for performance and musical ability, as neither of their parents and none of their grandparents had shown any such talent. The military priest divined the boys as having been blessed by Váinámö, the patron deity of singers and musicians, and urged them to pursue a path of performance and creativity in order to best comply with the deity's unexpected gift. Thus advised, Sisu and Oiva's parents arranged for vocal training and pushed the two to become the best that they could be, their no-compromises mindset pushing the boys to star in and achieve success in various crystal shows before the age of ten, beloved by housewives and husbands across the nation.
This intensive training and do-or-die-trying mindset soon wore down the two boys, despite the efforts of their blood father to tone down the training regiment and rhetoric. At the age of eleven, Sisu and Oiva began to slow down in their progress, their stress levels spiking and triggering physical symptoms that baffled their mothers, and at times the two would even openly rebel, running away from home to camp out in the wilderness of whatever nation they were in. The dissolution of the parent-child relationship, and the ensuing media drama, reached a peak when the two were twelve years old, with a 2-week sojourn into the mountains of Calhostralha that caused a high-profile search and much consternation between the two nations. After an intensive series of meetings with a social worker, Sisu and Oiva's parents were convinced to loosen their tight training regimen on the two boys, and allow them to live fairly normal lives, with a much more casual music schedule. This allowed the familial relationship to heal, at least mostly, and the family dropped out of the media limelight until the two returned under the gleaming spotlights of Lauluküselü.
Sisu's song "Rakkautemme Kruveejet" was borne out of a relationship he had quite recently, one that had been very intense but ended in a very awkward note without closure. He was still reeling from the loss he felt in that breakup- almost more of a break-away, in how it happened- and with it being his first real relationship, Sisu was highly affected and inspired to put his experience down into words. The aspiring singer had also come across a stroke of luck in meeting and befriending a rising hotshot producer duo called Desparadores while visiting a studio in Sterblichengokai, who would later be instrumental (ha ha what a terrible pun) in helping Sisu produce his Lauluküselü track. The Hákkánen brothers also collaborated on lyrics- while they certainly were a competitive pair, they worked best when bouncing ideas off of one another and prized their relationship highly. Oiva, while certainly disappointed with his lackluster placing in Lauluküselü, quickly moved on to support his brother and together the two prepared for Sisu's big performance, before flying off to Mera. That impromptu 2-week camping trip must have helped in really cementing their relationship, it seems.

The stage's edge glimmers blue in the darkness, creating a serene initial scene. Sisu is barely visible at this point, only a faint outline of white light shines upon his head and shoulders. The camera starts off directly in front of center stage, zooming outward. Standing still in the center of the stage, gripping the mic stand nervously, he begins
Ooh, ooh
Ooh, ooh ooh

A soft light partially illuminates Sisu's face, seemingly impassive, but with a note of wistfulness creeping into his voice as he reminisces.
Pudotimme hosankaan, oh
We fell into a rhythm

Kaikki nuo páivát sulautuvat nüt ühteen
All those days now blend into one

With the camera close by, he glances at it for a second, as if at a loss with how to feel, how to process this abandonment, before taking a breath and gazing out and ahead, pleading
Álá unohda, ma
Don't forget, me

Kun muistat kaikki mitá oltiin tehneet
When you remember all that we had done

The slightly increased lighting level, along with the wider camera angle, allows the camera to take in his outfit, a leather hoodie and black pants, as he continues to sing at the mic stand. Sisu gazes longingly into the camera view during a close shot for a few lines before breaking eye contact and staring off into the distance. In reference to the lyrics, he places a hand on his heart, then gestures out to the audience
Ooh, ooh
My heartache is a minaret
Ooh, ooh, ooh
Calling to a long-lost lover
Ooh, ooh
You could stick around but you missed it
Ooh, ooh

With a sudden burst of passion and an expression of desperation, he lurches forward, grasping at the microphone stand
So guilty

A row of soft spotlights appears along the back wall, sweeping outward, as the camera view swoops in an arc around the stage. Eyes closed, he seems to calm down a bit, as mist floats up around him and a sketched-out animation of falling debris plays behind him, white linework on a black background. Before long he opens his eyes again and lets his gaze drift out, unfocused, eventually finally bringing his attention back to the camera ahead of him
Rakkautemme oli pokšta
Our love was a tower

Nüt katsomme sen hayoaa
Now we watch it fall it apart

Tukehtunut pölüpilvessá
I'm choking in the dust cloud

Ya en voi enáá náhdá sa
And I can no longer see you


Tapaammeko rakkautemme kruveejet üli?
Will we meet across the ruins of our love?

The lighting cuts back, leaving an effect where only half of Sisu is visible, the light being cut out along a stark line diagonally along his torso. As the verse progresses, the remaining light fades out, transitioning to a glow that illuminates him on one side. Sisu stands calmly, with a level gaze, keeping his composure steady, with a perhaps questioning look, trying to make sense out of this unresolved relationship
Náen sut varyoissa
I see you in the shadows

Katson sun háipüván viimeisillá sáteiltá
I watch you fade away with the last rays

Kuuletko ma?
Can you hear me?

Tuntuu kuin kaikki meillá oli on mennüt
It feels like all we had is gone

The glow is reciprocated on his other side. He turns away, off to the side, as if needing to take a moment to collect himself, before looking back to the audience with desperate eyes
Ooh, ooh
My heartache is a minaret
Ooh, ooh, ooh
Calling to a long-lost lover
Ooh, ooh
You could stick around but you missed it
Ooh, ooh
So guilty

The lights strengthen once more, and the soft spotlights from behind sweep up. A soft breeze from wind machines stirs up the surface of the fog layer as Sisu grips the mic stand close to him like he's trying to hold on to a fading love. This time, he stands and sings in a determined manner, with a more aggressive demeanor
Rakkautemme oli pokšta
Our love was a tower

Nüt katsomme sen hayoaa
Now we watch it fall it apart

Tukehtunut pölüpilvessá
I'm choking in the dust cloud

Ya en voi enáá náhdá sa
And I can no longer see you


Tapaammeko rakkautemme kruveejet üli?
Will we meet across the ruins of our love?

He closes his eyes, body close around the mic stand, and lets himself get lost in the rhythm for a bit. The camera view arcs close in around him, only catching the whirling mist and spotlights in the background
Ooh ooh, küa
Ooh ooh, yeah

Ooh ooh, küa
Ooh ooh, yeah

Rakkautemme kruveejet üli
Across the ruins of our love

With a quick motion, Sisu detaches the microphone from the stand as the surrounding spotlights and ambient lighting cut out, and he steps forward, eyes burning in the search for answers, for closure. He looks into the camera, looks up and out into the distance, before turning back to the camera view
Muistot kummittelevat mua yoka ilta
Memories haunt me every night

Oliko se mun süütáni, vai yotain muuta?
Was it my fault or was it something else?

Eikö sitá voi vain tiedetáán?
Can't it just be known?

Ei...
No...

Álá yátá mua pimeáán
Don't leave me in the dark

Eyes clenched shut, body tensed
So guilty

He releases his pent up energy and emotions as he begins the chorus again, at first meandering along the edge of the stage amongst the sweeping lights and swirling mist. The camera executes some wide shots, interspersed with some shots closer in, tracking him as he walks along
Rakkautemme oli pokšta
Our love was a tower

Nüt katsomme sen hayoaa
Now we watch it fall it apart

Tukehtunut pölüpilvessá
I'm choking in the dust cloud

Ya en voi enáá náhdá sa
And I can no longer see you


Tapaammeko rakkautemme kruveejet üli?
Will we meet across the ruins of our love?


Rakkautemme oli pokšta
Our love was a tower

Nüt katsomme sen hayoaa
Now we watch it fall it apart

Tukehtunut pölüpilvessá
I'm choking in the dust cloud

Ya en voi enáá náhdá sa
And I can no longer see you


Tapaammeko rakkautemme kruveejet üli?
Will we meet across the ruins of our love?

The light show becomes dazzling around Sisu as he comes to a stop, his eyes drifting shut for a few moments and his body moving along with the rhythm, the camera close in and around him
Ooh ooh, küa
Ooh ooh, yeah

Ooh ooh, küa
Ooh ooh, yeah

He falls to his knees as all other lights but one cut out, the contrast stark with his illuminated backside against the black background
Rakkautemme kruveešissá
In the ruins of our love

In a slow, deliberate movement, the deactivated microphone slides out of his hand rolls onto the stage floor, before the final spotlights cuts to darkness.

The lights take a moment before returning to normal. Sisu bows quickly, drops a quick and nervous "Kiitos Mera!" before exiting, eager to be wrapped in the ecstatic arms of his family.
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Inoffensive Centrist Democracy

Postby Besen » Wed Sep 04, 2019 1:16 pm

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Inoffensive Centrist Democracy

Postby Besen » Wed Sep 04, 2019 1:18 pm

5 | Estogium
Low15 - "Go Out With Friends And Party"


Language(s): English
Tune: High15 - No Drama
Lyrics: Ana Marelli, Brielle Houghston-Sangster, Cici Nationwide, Daria Calitch
Music: Ana Marelli, Brielle Houghston-Sangster, Cici Nationwide, Daria Calitch, Simon Baker, Jordan Zuvah


Image
Low15 aiming HIGH: Low15 is vying to win the Junior World Hit Festival, which would be Estogium's first major song competition win...


Representing Estogium at the upcoming Junior World Hit Festival are four girls from a city in the North of Estogium. Ana Marelli, Brielle Houghston-Sangster, Cici Nationwide, Daria Calitch - pictured above in the same order - will be carrying on Estogium's unbroken record of participating at the Junior World Hit Festival since they debuted at the 2nd Junior World Hit Festival. This makes Estogium the nation with the second most amount of Junior World Hit participations after Kalosia. With the 2nd Junior World Hit Festival being non-competitive, the third Junior World Hit Festival was the first time Estogium participated competitively coming 9th place with 4 points. At the fourth Junior World Hit Festival, Estogium finished 6th place with 17 points which was a major improvement from the edition before. Then, at the fifth Junior World Hit Festival, Estogium came 8th place with 12 points and so Estogium is hoping to do even better here in Mera, Besen for what will be the nation's 5th attempt to win. Can Estogium do it?
As soon as the postcard finished there was a huge applause for Estogium in the audience. Suddenly there was silence. The music came in very quickly with the lights flashing at the same time as the beat. The camera pointed itself to Daria who was the first one to sing...

I am I am I am getting older, yeah.
I won't stop growing, I'm am getting older
And I'm tired of being treated
Like I am just another kid

People round me they chat nonsense I don't like
Why don't you keep your nose out my business
I hate the way that I am treated
I know I'm young but I gotta brain.


For this bit, the girls went into a different formation, a new formation. It was a line. At the front of the line was the next person to sing Ana who started singing the pre-chorus leading up into the chorus. She swayed her hips and flicked her hair enjoying the song.

So I am gonna ignore momma
Cuz she don't want me to go out, no
Oh no no no, oh no no no no
So I am gonna ignore momma
Cuz she don't want me to go out, no
Oh no no no, oh no no no no

I just want to go out with my friends and party, go out with friends - party
Go out with friends and party
Go out with my friends and party, go out with friends and party
Go out with friends and party!


Image


They were all singing the chorus as you can see... The lights went a bit crazy here, especially the bars that you could see in the background. They actually went crazy! The kids must love this one. Screams from the audience were heard - they must've loved it. Cici was next to sing...

I'm gonna become better than you,
I am going to be a star, brand new
You're going to be irrelevant,
And I am gonna be relevant

Boy don't you cry, you can still change that
But haha I can't help you with that
You treated me like I am just dirt
And no way do I think I am dirt


All of the girls decided to sing in this section, getting into yet another formation. They all performed in a happy way as the cameras swirled around them. They looked at each other, smiling as they got into a trapezium shape, with the shortest girls at the back. They repeated themselves

So I am gonna ignore momma
Cuz she don't want me to go out, no
Oh no no no, oh no no no no
So I am gonna ignore momma
Cuz she don't want me to go out, no
Oh no no no, oh no no no no

I just want to go out with my friends and party, go out with friends - party
Go out with friends and party
Go out with my friends and party, go out with friends and party
Go out with friends and party!


Daria took this one coming up. The steadicam man entered the stage and circled around Daria as she stepped out in front of the other girls and took the limelight...

I am I am I am getting older, yeah.
I won't stop growing, I'm am getting older
And I'm tired of being treated
Like I am just another kid
I just want to go out with my friends and party, go out with friends !!!

At this section, they all sung together. Loads of different colours on the television screen and on stage bringing the whole performing alight. The kids loved it. The audience shouted as we went into the last chorus.

I just want to go out with my friends and party, go out with friends - party
Go out with friends and party
Go out with my friends and party, go out with friends and party
Go out with friends and party!
I just want to go out with my friends and party, go out with friends - party
Go out with friends and party
Go out with my friends and party, go out with friends and party
Go out with friends and party!


At the end of the song, all of the band members applauded one another before taking a bow. "Thank you very much" said Brielle in to the microphone. It was time for the next performance of the night from Izmedu...
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Inoffensive Centrist Democracy

Postby Besen » Wed Sep 04, 2019 1:23 pm

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Inoffensive Centrist Democracy

Postby Besen » Wed Sep 04, 2019 1:24 pm

6 | Izmedu
Vesna - "La bauda"


Title Translation: The Voice
Language(s): Izmeduan
Tune: Indila - Mini world
Lyrics: Vesna
Music: Vesna, Dijana Jelinic

“I try to write what I see and hear... I try to write with the words that I know. To feel everything I'm listening. It is not perfect, but still I try to make sense of everything I've experienced.” - Vesna

One could say that Vesna was more of a poet than a songwriter or an artist. That is what Vesna felt as she reflected upon her journey to Mera, Besen.

She couldn't help but reflect upon the things that made her different from the girls to which she followed. Vesna felt the most resonance with Lea Rogosic, being a young 14 year old disconnected from the music industry. Prior to being selected to the Junior World Hit Festival, Vesna's closest interaction to music was being part of a choir as part of an extracurricular activity. Otherwise, Vesna's interests were mostly academic in nature. She mostly lost herself in literature, and specifically, poetry. She couldn't articulate the true root of how she was attracted to poetry in the first place, especially emotionally charged lyrics that bordered on the existential. These interests coalesced as a salve in her mostly conflicted early adolescence to now, where she felt disenfranchised from peers. She found a way to connect to them, take them on as acquaintances, but someone to connect to... someone to share who she was, that was what she felt was missing.

Her personal life was guarded. Vesna was bringing to the table a song that wasn't connected to an equally conflicted childhood. Poetry served as an escape to an empty home life that she was loathe to try and retell. Vesna lived in a suburban household in Vodiznad with her brother, Josip, and a single (but often distant) father. For her whole life, all she knew was a constant sense of schooling, utilizing academics as a way to block out both the emptiness but also the latent pain of the house that she lived in. She wasn't privy to much of the events that caused her and Josip's brother to be the way he was. However, Vesna's early childhood to early adolescence was marked with a long and protracted divorce proceeding from their mother, the details of which to this day remain unknown to both children. Either way, there was a constant sense of back and forth in regards to the legal proceedings, a sense of uncertainty as to who or even what was the family. There was money in place to help ease the cost of living, and help ease the cost of Vesna's education, and of course... enough to satisfy the demand for material goods.

She tried to block these out while attending school, especially once she entered the Izmeduan secondary education system. Her early immersion into academics was what set the path down to her interests in literature and poetry, but it wasn't until her first months in high school was where those interests were truly provoked to the point where she felt the freedom to let them reign. Her immersion to education was marked with trying to become an omniglot of sorts. Vesna never felt herself to be any sort of genius or even someone of 'marked native force' as her father would try and constantly claim, yet she was foisted upon almost any subject that could be possible to learn. Music being one, the sciences, the classical languages, anything that could be learned, she absorbed like a sponge. And she didn't mind at first, knowing it was a good distraction. Yet, even the precociousness couldn't stop the constant feeling of emptiness that she kept enduring.

There was something wrong. She couldn't find the words to place it. But she knew there was.

It kept dogging at her mind persistently. The emptiness developed into a burgeoning melancholy, something that threatened to capsize not just the thread of happiness she held onto, but her will to attend school. It was through poetry, reading and writing with a greater sense of attention and care, and through literature was where she found a center of gravity to hold onto. At the tender age of 14, she began to write lyrics that extended beyond her age range. She had control over the word that astounded the teachers that would see her nascent writing, a control over both the Izmeduan and English lyric that had them flash this one warning sign, 'potential.' She didn't understand the attention at the time, feeling only a cathartic relief in letting out her emotions in a way that felt... healthy. She finally found a suitable outlet that wasn't simply contemplating her existence endlessly, or only bottling them up and letting them out through limited means by talking to her brother.

This identification of potential was how she was traipsed into the Junior World Hit Festival. The very genesis behind “La bauda” was based off a poem she wrote in those bursts of early inspiration that led to her literature teacher recommending her. The poems that she wrote, in a sense, began to resemble songs. They certainly weren't like conventional songs that one would hear in the Izmeduan airwaves. However, with some refinement, the lyrics that Vesna wrote could transformed into an actual, singable song. At first, the plan was for Vesna to submit herself as a songwriter to the RTI team... Considering that young singers the age of Vesna's and below were still an uncommon occurrence in Izmedu, Vesna was alright with the original plan. She saw the opportunity to go to the Junior World Hit Festival as another chance to escape her circumstances and as a way to exercise her craft. If she could write a song that the RTI committee would be satisfied by, that was job well done. If not, it was another opportunity to practice, and that would be the end of it.

That was, until her capability to sing was identified.

That was when the whole package in its current form started to inadvertently to come together. Vesna had never considered herself a professional-grade singer, much less anyone who was capable of putting on a stage show. Upon reflection, Vesna wasn't even sure where or how she got her singing capability. Was it genes? Was it the practice she did as a child upon occasion? Or luck? Either way, her capacity as a choir singer (another escape upon many) was seen as a boon to an RTI that was running out of suitable candidates to be able to succeed Lea Rogosic in her capacity as the Izmeduan representative. Now, from submission, to consideration, and now the screening process of being selected, Vesna now had a whirlwind and a choice in her hands. Not only was she now offered to be the songwriter for the Izmeduan entry, she was now the full face of Izmedu's entire representation.

It was more than what she bargained for, but it was something that she didn't mind. This led to a dramatic disruption of her schooling, knowing the more intensive schedule that was needed for this kind of participation. There was constant revision of the lyrics, briefings about stardom, briefings about public appearances, the need for vocal lessons, some form of stage presence, and stage control. It was a lot to take in a whirlwind, and also one fraught with compromises due to scheduling and limited resources. Regardless, a package had come together. It hit Vesna that the whole arrangement was 'for real' when she actually touched down on Besenian soil, taking in Mera for the first time.

On the night of the contest itself... She took in a deep breath and stepped forward when it was her turn. All of that haphazard training, those days and nights spent trying to prepare for this moment was now faced with the moment of judgment. This could pay off or this could backfire.

For Vesna... she could only hope that in the end, this would be something she would not come to regret.


Stage lights billowed down to the center of the MEB Arena, flashing in a brilliant white before simmering down to a chilling, pitch black darkness. The crowd were hungrily cheering, quieting down in anticipation for the entry. Vesna was situated right at the center of the stage, gripping on the microphone like a vice. The feeling of the crowd's energy was unlike anything she ever felt, one that she only got a rough approximation of in the rehearsals that led up to this point. She felt a certain feeling in her chest, a precarious one that could lead into either glory or disaster. She took a deep breath as the short buffer time between postcard to entry ended. Now, was the moment of truth...

The entry began by coating the arena in a haunting blue light. Wisps of smoke would begin to be released around the stage as the camera would take carefully framed wide views of the stage. Small specks of light would begin to appear on the six panels on the MEB Arena's back, looking almost like the faint outlines of stars if one were to look closely. The camera would tilt, approaching the stage as if it were like a new planet to be landed on. The view was framed as such that the stage looked far bigger than it actually was, creating a mood of quiet wonder and discovery for those watching back home. The instrumental intro would continue on in this fashion until the camera would focus on Vesna. Her eyes were closed as a faint spotlight would shine on her, disrupting the blue hues that coated the stage. The camera zoomed in closely on her, doing so in a slow manner that befit the slow pace of the instrumental. She would raise the microphone to her mouth and begin to sing, a calm, tranquil, yet high voice emanating from her...

Dekro me priče
Dekro me snove
Dekro me dolk
Pa mogu naučiti
Lutao sam la svita
Pronaći maj cre
Pronaći me
Jamo, pivam inam


There was a surreal ethereality to the way the first verse was delivered. The back panels would alternate between haunting colors and presentations, remaining dark enough to ensure that they were not intruding on the performance. The hues remained in their haunting blue color, but pared back enough so as to not detract from the spotlights shining down on Vesna. Vesna herself was selling these lines with as much subtlety and restraint as possible, while playing to the cameras that were trained in her. However, one could easily spot the lack of training from her demure visage and look. She was always just a touch late in capturing a camera's gaze, sometimes almost shyly looking at the camera and gazing into another, one that was perhaps not meant for her gaze at the time. Her tone was tentative, her arms reached out, and she was slowly moving forward. The alternating views displayed a Vesna that was alone on the stage and in the world, starting out her journey through the song. Each movement she made was made with care, making sure to be slow yet precise, and cautious to hide any potential shaking that could've been exposed by the cameras. The instrumental remained with its calm and explorative tone, slowly unfurling an orchestral bent as it progressed to the chorus.

Maja bauda, bauda, la bauda, bauda, bauda
La bauda, la jamna, jamna
La jamna, la bauda, bauda, bauda
Oni su maja snaga, la intrika
Maja bauda, bauda, la bauda, bauda, bauda
La bauda, la jamna, jamna
La jamna, la bauda, bauda, bauda
Oni postoje u meni, ultra izgleda


The camera faded to a closer view of Vesna as the song transitioned to its second chorus. Her hand and arm gestures, while not the most precise, were quietly passionate. She gently swayed her fingers around to the ceiling, utilizing them as a way to control her breathing and her diction. She would look towards the side as she sang, her eyes opening and closing at opportune moments of the song. Each time she would refrain the song's two key words, 'bauda' and 'jamna,' her eyes would remain closed, and there was a clear sense of concentration ladened in her expression to prevent any tongue-tied incidents. For the lines that were not part of the major refrains, she would open them and stare at the camera with a solemn expression, reaching out as they faded to closer views of her. The camera, throughout the moments where Vesna was singing the refrains, would occasionally also show wider views of the stage. These were timed to the song's orchestral elements being at their most apparent, the panels behind Vesna displaying constellations of stars that flashed through almost gradually, adding to the almost life-like presentation of the stage as if it were one big landscape. At the very end of the chorus, the camera would end the way it began, a focus on a close view of her as she sang the last line. Her eyes stared deep into the camera, a look that was a cross between piercing and vulnerable, a clear statement of intent behind her expression.

Pišem ova priča
Tražiti nada
Kauka stojim
Ispod la guarna
Moram ići se naprid
Nastiviti el san
Jamo miscam
Na-la zvuka maja cra


The camera looked like it would swoop upwards, making a dramatic fade to an upwards in time to the lights and instrumentation changing. The lights switched from a haunting blue to an almost warm yellow, evoking the imagues and feelings of dawn. Vesna was performing in a new day, which coincided with more varied and livelier movements from her body. She would tell the song's story through her arms and her expressions, her free arm making movements that suggested that just as she was singing this song, she was also 'writing' and documenting the song in her mind as well. The instrumentation itself would also intensify, adding a drum beat to the introduction of the second verse that gave a more cinematic take to the proceedings. Each other drum beat saw Vesna begin to make limited movements around the stage, while taking care to make sure she wasn't losing the camera and the audience. Each movement she made, from hand, to body, to arm, began to underscore an increasing sense of eccentricity to vulnerability. Her expressions were wide, yet her vocal delivery still remained unstrained. Her rawness was only revealed by each wider movement she made, yet Vesna made sure to keep it as controlled as possible. For the latter half of the verse, the camera would focus exclusively on her, with Vesna having found herself a touch closer to the audience than before. Her vocals would beign to intensify just slightly, a yearning tone being evident from the way she delivered them. She reached her arms to the audience, and then reached for the side, nearly 'leaping' forward as per the lyrics.

Maja bauda, bauda, la bauda, bauda, bauda
La bauda, la jamna, jamna
La jamna, la bauda, bauda, bauda
Oni su maja snaga, la intrika
Maja bauda, bauda, la bauda, bauda, bauda
La bauda, la jamna, jamna
La jamna, la bauda, bauda, bauda
Oni postoje u meni, ultra izgleda


For this chorus, the MEB Arena would flash an even brighter world, as the camera would take a brief view behind Vesna to display the vastness of the audience itself. The music itself, now moving beyond unfurling the orchestra and the drums, would also begin to reflect the increasing scale of the song itself. Vesna's vocal delivery complemented the slight angelic undertones to the slight increase in the background music's power. Her movements were more daring, but Vesna was careful not to overextend herself or to land in somewhere where the cameras could not catch her. She would step back, remaining in the center of the stage as she focused on delivering these lines as passionately and effectively as she could. The words flowed from her like rivers, becoming more and more natural as she began to embody the character that she played for this song and this lyric. The very delivery began to reflect even upon the panels, to which the very galaxy of stars that was present as a near static image began themselves to nearly 'flow' as well, as the panels would display the stars blurring by. The yellow lights would darken into a pastel, a progression fo time towards noon. The chorus itself did not end as the previous one did. Instead, it led to an instrumental interlude, one that saw the camera undertake a close bird's eye view of the stage. Vesna would still vocalize the proceedings, but the camera would slowly rotate as the lights around Vesna would dim into various colors. For those in the audience and at home, the constantly fading views and the changing lights reinforced the theme of the passage of time. These changes happened slowly, alternating between close and wide views of Vesna's singing, her eyes open and staring into the heavens. The lights would alternate between blues, oranges, and yellows, with almost 3 days that 'passed' from the beginning of the interlude until the very end of it. Once that interlude, and the chorus proper, ended, the camera returned back to Vesna.

Maje putovanje
Još nije gotov ipak
Le stale
Vode maja jamna
Počinjem razumiti
Ko, imprandrim maja bauda
Kroz života
Jamo leži u meni


The journey, for this song, may be coming to its eventual end. However, Vesna knew from the song this was only going to be the beginning. That notion was reflected upon her expression at the advent of this third verse. The instrumentation may have calmed, but there was a sense of exhaustion, a calm before the storm. Vesna looked as if left unchecked, she could well be on the verge of collapse, needing rest. However, she pushed on either way, knowing that time did not stop, even if the stage's passage of time had rested upon 'blue.' The presentation of 'stars' on the back panels would intensify in reflection of the lyrics. She would also intensify her vocals bit by bit, adding in more power as she was now truly lost in the song, comfortable with the persona of the character and performer she embodied. Her body swayed only slightly, her arms remained close to her. The camera would dramatically zoom in just slightly on her for the final few lines. Her vocals intensified, Vesna letting out a few vocal flourishes that would end the third verse. Suitably enough, there was a brief and soft orchestral flourish that would herald in the final chorus itself. The lights transformed from evening to yet another new day, a warm orange.

Maja bauda, bauda, la bauda, bauda, bauda
La bauda, la jamna, jamna
La jamna, la bauda, bauda, bauda
Oni su maja snaga, la intrika
Maja bauda, bauda, la bauda, bauda, bauda
La bauda, la jamna, jamna
La jamna, la bauda, bauda, bauda
Oni postoje u meni, ultra izgleda


Vesna unleashed her most passionate vocals for the final chorus of the song, finding as much of a conclusion as she could from the brief journey she hoped she took the audience on. The stage emphasized wider views, emphasizing a mood of the sublime and awe. She was rising on a new day. The stars had disappeared, but in place was a backdrop of a hopeful continuation of the journey she was on, a journey that would not find its eventual conclusion. The instrumentation and the vocals intensified in lockstep with each other. Vesna's movements were also suitably much more forceful, with the restraint from earlier finally being let out only slightly. These moments of an increased passion were the last vocals associated with the lines. The ending of them saw Vesna returned to the restrained movements for just a bit. These may have been the final lines of the song, but they were far from the end of it. The song would conclude with an instrumental interlude, which saw the stage once more progress to a night scene, the lights returning back to their blue hue. The song would end the way it began. Though there were no words, Vesna did not relent on her vocals, unleashing a series of notes that would climax into a dramatic final moment of the song. She belted out notes that sounded like 'yeahs,' arching into 'ohs' that would coincide with a mirroring of the song's most dramatic instrumentations. The song would then conclude with a moment of calm...

The stage had now fully darkened, the camera was now solely on Vesna. Her vocals remained ethereal, almost willowing across the stage as she sounded quite similar to a siren. At the song's conclusion, the spotlight on Vesna would darken, marking the official end to the entry.

Vesna was left frozen at the crowd's cheering. She wasn't sure of how to react, or how to proceed. Stage fright was one thing, but to see the reaction... She could only say a brief 'thank you,' before mouthing a 'wow' at the crowd before her. Vesna knew the proceedings were going to be quick, so she made sure to return to the delegations as soon as possible.

I... she started. However, she could not complete that thought except for the feeling of a fragile hope and a sense of fulfillment. She could only hope, and wished, for the best come the end of tonight.

Tell me these stories
Tell me these dreams
Tell me with sweetness
So that I can be taught
I wandered the world
To find my heart
To find myself
Now, I sing by heart

My voice, a voice, the voice, a voice, a voice
The voice and the soul, a soul
A soul, a voice, a voice, a voice
They are my power, the whole of who I am
My voice, a voice, the voice, a voice, a voice
The voice and the soul, a soul
A soul, the voice, a voice, a voice
They live inside me, beyond how I appear

I write this tale
Seeking hope
Here I stand
Under this ashened tree
I must move onwards
To continue this dream
Now I fly
To the sound of my heart

My voice, a voice, the voice, a voice, a voice
The voice and the soul, a soul
A soul, a voice, a voice, a voice
They are my power, the whole of who I am
My voice, a voice, the voice, a voice, a voice
The voice and the soul, a soul
A soul, the voice, a voice, a voice
They live inside me, beyond what I look like

My journey
It is far from finished still
The stars
They guide my soul
I begin to understand
That I nurture my voice
Through life
It all lies within me

My voice, a voice, the voice, a voice, a voice
The voice and the soul, a soul
A soul, a voice, a voice, a voice
They are my power, the whole of who I am
My voice, a voice, the voice, a voice, a voice
The voice and the soul, a soul
A soul, the voice, a voice, a voice
They live inside me, beyond how I appear

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Inoffensive Centrist Democracy

Postby Besen » Wed Sep 04, 2019 1:33 pm

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Inoffensive Centrist Democracy

Postby Besen » Wed Sep 04, 2019 1:37 pm

7 | Achaean Republic
Carla Pabón: - "Yo Te Ví"

Title Translation: I Saw You
Language(s): Spanish
Tune: Melody - De Pata Negra
Lyrics: Carla Pabón, Arístides Cintrón
Music: Arístides Cintrón, Temerario Pabón


It was the first time out of the country for Carla Pabón, a spunky twelve-year-old singer from the small city of Tiuna, in the outskirts of Corola. She knew her classmates back home were watching her perform in Besen, a strange, cold placer for her tropical sensibilities. She felt welcome, yes, but also homesick. The food wasn’t the same. The weather wasn’t the same. The people, as comfortable as they tried to make her feel, as much as her parents wanted to comfort her in every step of her musical journey, weren’t the same. She missed the smell of the morning dew hitting the plates of zinc in her grandparent’s Tiuna estate. She missed the hearty soups, the small tubers, and the small squirms of the cetí whenever she walked through the river. Oh, but was she ready to make small Tiuna proud with the very first-ever Junior World Hit Festival trophy––and that was her dream!

Young Carlota, as her father would call in jest––if only to slightly annoy her––came from a family of flamenco musicians. According to local folklore, her forefathers were famous cantaores from somewhere in Southern Spain, who were forced to leave their homeland to Corola, lured by the promises of untold riches in the new world. They may not have found diamonds––for that commodity was scarce and well depleted by the time they arrived to Corola––, but they discovered the power of music enchanted the bored and bustling city. Her grandfather was a talented bolero singer who mixed flamenco with his craft and sang in local bars around the Corola suburbs. Her father became a factory supervisor, moonlighting as a guitar player in a Tiuna restaurant some nights and driving Uber or Lyft in other nights. Her mother was a homemaker who took care of her two kids (young Carla also has a ten-year-old sister) who, until now, discovered she had a knack for numbers…which helped a lot when Carla suddenly became famous.

Her father filmed a video of her singing an old sevillana her grandfather used to sing in the Spanish countryside. Little did he know that, by when he uploaded that video to Facebook and Instagram, young Carla would become a viral sensation. For several weeks, she became the newest #TrendingTopic; signed autographs to cellphones and glossy passport pictures; was invited to audition for The Voice Kids Acaya (Sundays live on AS1!) with a bye to the finals; and was even invited to perform the Achaean national anthem at a Leones de Corola baseball game. She was enjoying her time in the spotlight, but her worried parents kept a tight leash on her appearances if only to avoid hurting her grades.

She was approached by Ernesto Velázquez, head of delegation of the World Hit Festival Steering Committee in the Achaean Republic. Carla was very surprised, but also confused––and so were her parents, wary that this old man might try to hurt their little baby by promising her the world on a silver platter. But no, he actually meant it: She can compete for the Achaean Republic in the Junior World Hit Festival! It took lots of negotiations and salary concessions (a parent has to provide for their kids, you know, and a shot at stardom for Carla was eating up their very thin finances!) to convince them, but it was all worth it in the end, and they flew to Besen with the hopes of providing a win for Achaea and a strong placing for Vázquez’s leadership hopes.

As the song begins, Carla walks on the stage, almost skipping, wearing a frilly red jumpsuit and carrying an ornamental red fan. She fans herself and walks to the beat of the music. Her hair is wrapped in two ponytails, also in a red band. Five young dancers are also on stage with their red fans, dressed in sneakers and smiling.

Desde Corola yo llegué
Allí yo te ví
Allí yo te ví
Comiéndote un helado
Con antojo, sí
con antojo, sí
En el parque quería jugar
Mas helado quería comprar
From Corola I have arrived
And there I saw you
And there I saw you
You were eating an ice cream
With such whimsy, yes
With such whimsy, yes
I wanted to play in the park


The camera switches to the flickering red, blue, green, and white lights surrounding the stage. As Carla moves in the stage, fanning herself while singing, her dancers also follow her around to the same beat.

Y ví nenes con dos conitos
de chocolate y amarillitos
de zanahoria o tamarindo
jugando un dos tres pescaíto

But I wanted to buy ice cream
And I saw kids with two ice cream cones
made with chocolate and yellows
of carrots and tamarind
playing One, Two, Three little fish


As the song's beat changes, Carla and her dancers slowly crouch as she sings, some of them making shush sounds and fanning themselves with their ornamental fans. Carla suddenly stands up and switches her fan from her left hand to the right, all the while moving her hands and elbows in a circular motion, her fingers moving within the contortions of her elbows. Like a true flamenco dancer, her elbow movements feel graceful and delicate, yet strong and forceful.

Y los nenes me empujaban
Y los nenes me empujaban
Que los nenes me empujaban
Entre los dientes decían:
Esta boba no hace caso
esta boba no hace caso
que esta boba no hace caso
y los empujé pa’ tras
pa’ poder contestar:

And the kids were pushing me
And the kids were pushing me
And the kids were pushing me
Gritting their teeth, they were saying
This dumb girl can’t pay attention
This dumb girl can’t pay attention
This dumb girl can’t pay attention
And I pushed the kids back
so I could answer them:


The camera retreats from the stage and showcases Carla and her dancers jumping to the beat. The stage lights flicker into a succession of green, white, and blue in marked contrast to the red dresses and fans of the young Achaean dancers. Carla sings as she moves to the stage, first to the left and then to the right. In one step of the song, she spins and twirls her wrists with the same flexibility she does when dancing flamenco with her grandfather.

Déjame quieta, déjame quieta
quiero un helado, déjame quieta
Déjame quieta, déjame quieta
quiero un helado, déjame quieta

Leave me alone, leave me alone
I want ice cream, leave me alone
Leave me alone, leave me alone
I want ice cream, leave me alone



Carla hurries to the center of the stage where her dancers are twirling and playing with their fans as the camera suddenly switches to the right. The stage lights transform into a panel of red-yellow-red, almost reminiscent of a sunset in the Playa de Beras, one of Carla's favorite Corola hangouts. One of the dancers, who actually has two fans, suddenly gives Carla one of she picked up from the floor. As she fans herself and the dancers jump around making silly expression––one was flailing their hands, another one was doing the Sprinkler, and still another one cupped her hands to her mouth in an expression of surprise and wonder as the young girl beside her did silly faces to the camera. The camera quickly switched to a wide-pan motion of Carla and her dancers, all reenacting scenes at the beach, for the next part of her song.

Desde Corola yo llegué
Allí yo te ví
Allí yo te ví
Fuimos a la playa de Beras
otras me comí
otras me comí
Tenía arena y un poco de sal
y de a poco me sentía mal

From Corola I have arrived
And there I saw you
And there I saw you
We went to the beach at Beras
I ate oysters
I ate oysters
They had sand and a bit of salt
And for a bit I didn't feel good


A new camera switch has Carla and her dancers assembled at one spot, with the young singer pretending to feel faint and one of them fanning her with two of her fans. Another dancer tries to hold her arms, and Carla crosses her eyes in a woozy motion. It was hard for Carla to pretend to be woozy; yes, she faked it once or twice to get out of school for a day or buy herself some time to "study" for a test. But in a stage with millions of children watching her? That was a whole different type of interpretation! Nevertheless, it goes off without a hitch.

Carla and her backup crew
Y me desmayé un poquito
bebí agua y comí pescao frito
con ensalada y tostoncito
Carlota, papá
Carlota, papá

And for a bit I felt real bad
And I fainted for a little bait
I drank water and ate fried fish
With salad and tostoncito
Carlota, daddy! Carlota, daddy!


Once again, as the song's beat changes, Carla and her dancers slowly crouch as she sings and the camera does a wide pan to a view of the stage within the crowd. The dancers, as before, make more faces and shush sounds and fan themselves with their ornamental fans. Carla plays with her fan gracefully and continues rotating her elbows as before, with the elegance of a young bailaora. She, as well as her backup dancers, keep switching fans from their hands and tiptoe from one side to the other. The camera follows suit. The contortions within her arms keeep being circular, graceful and delicate, yet strong and forceful.

Y los nenes me empujaban
Y los nenes me empujaban
Que los nenes me empujaban
Entre los dientes decían
Esta boba no hace caso
esta boba no hace caso
que esta boba no hace caso
y los empujé pa’ tras
pa’ poder contestar:

And the kids were pushing me
And the kids were pushing me
And the kids were pushing me
Gritting their teeth, they were saying
This dumb girl can’t pay attention
This dumb girl can’t pay attention
This dumb girl can’t pay attention
And I pushed the kids back
so I could answer them:


As before, the camera retreats from the stage and showcases Carla and her dancers jumping to the beat. A full-pan of the stage shows the lights flickering once more into a rapid-fire succession of green, white, and blue against the red dresses the Achaeans are wearing. The camera returns to see Carla sing and move as before, this time a bit shaky but with greater gusto, finishing the song with a high note.

Déjame quieta, déjame quieta
quiero una ostra, déjame quieta
Déjame quieta, déjame quieta
quiero un ostra, déjame quieta

Leave me alone, leave me alone
I want oysters, leave me alone
Leave me alone, leave me alone
I want oysters, leave me alone


Achaea's performance is complete. Claps, cheers, and hoots could be heard from the audience, and more so from a small group of Achaean fans inside the arena. People knew they were Achaean because they carried wooden pilones and cacerolas and kept banging on them with gusto, loudly speaking Spanish to everyone in their path. Carla, visibly shaken but also happy that she gets to relax, started waving to the crowd and hugging her friendly dancers. She says to the crowd, "Thank you! Gracias!" before leaving the stage, awaiting to be embraced by her loving family.

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8 | Fromulya
Krisnamurti Wijaya Putra - "Mari Berlibur"


Title Translation: Let's go on holiday
Language(s): Indonesian (standard)
Tune: Doroga K Solntsu — Vladislav Krutskikh
Lyrics: Krisnamurti Wijaya Putra, Nadhilah Sugandhi
Music: Nadhilah Sugandhi, Ryan Putra


Krisnamurti Wijaya Putra is a Fromulyan child singer. He was chosen to represent Fromulya at the 6th Junior World Hit Festival with a song that was penned in a collaboration with his music teacher, Nadhilah Sugandhi. She saw the talent in him and together they tried their luck by submitting a song to TVRF, which had opened submissions at the time.

After the song was chosen, the song was mixed and revamped by the help of a professional musician named Ryan Putra, who had helped mix songs for Fromulya's top pop singers.

For the special occasion, Krisna — as he likes to be called — was wearing a batik shirt, shorts, and a straw hat. He also has a backpack on him. Seems like he's already developed a sense of fashion coming into his teen years.

As the song begins, he comes onstage with some dancers. Throughout the song the dancers do beach activities, such as playing volleyball or sunbathing. It's done in a way that's dynamic and doesn't bore viewers. He also does gestures in line with the lyrics he sings.
Pagi ini cerah
Tak kurasa gerah
Angin yang berhembus
Terasa adem

Hari yang ku mimpi
Ini yang ku nanti
Perjalanan mulus
Dan pohon palem

Mari berlibur
Dan bertamasya
Menikmati
Pemandangan ini

Mari berlibur
Dan berbahagia
Saat ini saja yuk bersenang-senang

He discards his backpack and walks around the stage.
Tinggalkan bukumu
Tinggalkan sibukmu
Ayo duduk santai
Tak apa-apa

Passing by some of the dancers who are relaxing, one of them extends their hand, holding a camera, and they appear to take a selfie on stage before Krisna continues walking around.
Ayo berswafoto
Sambil makan soto
Menikmati pantai
Minum kelapa

Mari berlibur
Dan bertamasya
Menikmati
Pemandangan ini

Mari berlibur
Dan berbahagia
Saat ini saja yuk bersenang-senang

Now the dancers begin to pack their belongings and clear the stage of any props, including beach balls and chairs.
Namun saat ini
Waktunya kembali
Pada rutinitas
Ke realita

Pada kali lain
Ku ingin bermain
Dan beraktivitas
Bersama-sama

Mari berlibur
Dan bertamasya
Menikmati
Pemandangan ini

Mari berlibur
Dan berbahagia
Saat ini saja yuk bersenang-senang

As Krisna returns to the center of the main stage, he is joined by the dancers where they, in sync, do choreography together.
Mari berlibur
Dan bertamasya
Menikmati
Pemandangan ini

Mari berlibur
Dan berbahagia
Saat ini saja yuk bersenang-senang

Mari berlibur serta bersenang-senang

And right as the song ends, they pose. The crowd cheers. "Thank you, terima kasih!" Krisna shouts before leaving the stage to allow the next entry to be prepared.
This morning is bright
I don’t feel hot and humid
The blowing wind
Feels cool

The day I dreamed of
This is what I waited for
A smooth ride
And palm trees

Let’s go on holiday
And have a vacation
Enjoying
This view

Let’s go on holiday
And be happy
Just for now let’s enjoy the moment

Leave your books
Leave your busy-ness
Let’s sit and relax
It’s okay

Let’s take selfies
While eating soto
Enjoying the beach
Drinking coconuts

Let’s go on holiday
And have a vacation
Enjoying
This view

Let’s go on holiday
And be happy
Just for now let’s enjoy the moment

But now
It’s time to return
To our routines
To reality

Some other time
I’d like to play
And do activities
Together

Let’s go on holiday
And have a vacation
Enjoying
This view

Let’s go on holiday
And be happy
Just for now let’s enjoy the moment

Let’s go on holiday
And have a vacation
Enjoying
This view

Let’s go on holiday
And be happy
Just for now let’s enjoy the moment

Let’s go on holiday and enjoy the moment

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9 | Bayilan
Terio High School Of Arts - "Can't Stop The Sound"


Language(s): English
Tune: Camp Rock Cast - Tear It Down
Lyrics: Wissam Bishara & Taleya El-Mana
Music: Wissam Bishara & Taleya El-Mana


Haha
Tear it down
Yo dude, I need you to do somethin' for me
Come on

Give me any task, I can handle it
I’m already a star you just can’t mess with it
We’re taking over and you ain’t understanding

Own the floor rockin it you can’t handle it

Give yourself a chance just abandon it
I show the crowd what they need, outstanding
Just get up and move, start dancing

Take control give some more, we’re outstanding

Just get up and go
Let the song touch your soul
Killing the flow
We won’t leave you alone
Feel the sound
Feel the sound
We can’t stop the sound

You can’t stop the sound
We won’t end it now
It’s a party now
Let’s go and break it down
We can’t stop the sound

The groove
It’s awesome
The beat
We love it
Tonight,
We dancing
You can’t stop the sound
The sound
It’s awesome
The show
Has started
Right now
Just own it
You can’t stop the sound

The sound right now, it’s producing flames
Just keep in touch we got the good game
The beat feels so hot, nobody can complain

Got the game feel so hot nobody can complain

We can do this dance all night long
The party will not stop we having a ball
Ill take it easy on you , Just watch the recall

Show them what they can take we already great

Just get up and go
Let the song touch your soul
Killing the flow
We won’t leave you alone
Feel the sound
Feel the sound
We can’t stop the sound

You can’t stop the sound
We won’t end it now
It’s a party now
Let’s go and break it down
We can’t stop the sound

The groove
It’s awesome
The beat
We love it
Tonight,
We dancing
You can’t stop the sound
The sound
It’s awesome
The show
Has started
Right now
Just own it
You can’t stop the sound



Yes yes, I hope you know we the best in it
We can dance all night make it big
The final act just give it that
We showing you that
No competing games up against the game
We the best and ain’t no one complain
We show you what’s what
Show us some love
We taking the cup
So just give it up

Just get up and go
Let the song touch your soul
Killing the flow
We won’t leave you alone
Feel the sound
Feel the sound
We can’t stop the sound

You can’t stop the sound
We won’t end it now
It’s a party now
Let’s go and break it down
We can’t stop the sound

The groove
It’s awesome
The beat
We love it
Tonight,
We dancing
You can’t stop the sound
The sound
It’s awesome
The show
Has started
Right now
Just own it
You can’t stop the sound

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10 | Monaeroglisseurest Pleindanguillese
Onni Vandr Loca - "Iðat lotad!"


Title Translation: Never Grow Up!
Language(s): Monaerese, English
Tune: Nanul - Im Tsnundn E Aysor
Lyrics: Onni Vandr Loca
Music: Onni Vandr Loca, Mart Vandr, Uram Nerakkir


Image

10 year old Onni Vandr Loca, above, will represent Monaeroglisseurest Pleindanguillese at their debut JWHF


<ð> is pronounced as /j/ (english <y> as in yellow) pretty much throughout except for <soðum>, where it is pronounced as /v/
<sk> is nearly always pronounced as /ʃ/ (english <sh> as in ship)
<b>, <d> and <g> are pronounced as /p/, /t/ and /k/ respectively
Double consonants are aspirated
<io> and <eo> are both actually just one vowel (/y/)
Monaerese has unmarked stress which actually changes the quality of the vowels (think like Faroese, if you are familiar with it). This is mostly not important, but something I felt like raising.


As the song begins, the arena is illuminated in a slight pink tone, shining onto the back panels. The first camera shot shows Onni on the further back slightly raised section of the stage standing on a large box made to look like a chest, her back turned to the camera and the audience, as everything starts to slowly come to life. She is shown clicking her fingers with her right hand, and bopping so as to temporarily move her body weight onto her right leg, before coming back up to a full stance, to the beat of the music. She is wearing the costume shown above, minus the humongous hairpiece.

Iðat lotad
Never grow up

Iðat, iðat, iðat lotad
Never, ever, ever grow up

Iðat lotad
Never grow up

Iðat lo-ta-ad
Never grow-ow up



As the verse begins there is a slight temporary increase in the brightness of the lights so as to accentuate the moment, and Onni swivels around such that she is now singing towards the camera and the audiences across the multiverse. The first verse is kept quite simple (as, I must warn you, is a lot of this staging, mostly due to MonaeroTV having been forced into doing this mostly against their will anyway by Onni's fathers, and them not having much money. But, of course, this in fact to help keep the childlike feel. Totally. Yep). Onni mostly just moves along to the music, and the camera gave a series of shots of the stage at various angles. As the verse draws to a close, two children's heads (don't worry, they are connected to bodies, which belong to living children) appear on either side of the box, to join in her questioning - Onni has some friends to play with!

Mor entsyb gette emjas sok, so vu jitt
Having fun out in the sun, I love it

Morposk sijed goskir soðum kerun kan, s'vu tunn
Playing with friends all day long, I want to do it

Sonno vin kon siðe sonno tum tesub ykku vostkum
This is what being young is about

Som lot?
Why grow up?

Som lot, som lot, som?
Why grow up, why grow up, why?


The two backing singers/dancers, both girls, come around to the front of the box/chest and join Onni. They first just generally move about, but with the second line some synchronisation somehow emerges (how they got a bunch of ten year olds to do anything is quite beyond me). The two backing dancers point first to their left, then right, before putting both hands before them and, with their index fingers raised, shake them as if to say no. They then raise their arms up in the air and wave them, presumably trying for some audience interaction, whilst they swap sides around Onni, who is still singing. The cameras focus on Onni alone as she asks "Som lot?" (Why grow up?), before cutting away from her to show the two backing dancers, dressed in similar outfits, who sing the next bit whilst looking slightly confused.

Sok og sokjitt, hym losans tronniroz
Day and night, our parents have to work

Vu attan kon, vu eft kon, put iði entsyb ykku mys
Doing this, doing that, but they have no fun

So tet kerun kan ennarsjetis kon
I just want to party all the time

Som lot?
Why grow up?

Som lot?
Why grow up?

Som lot, som lot, som?
Why grow up, why grow up, why?


The camera view suddenly zooms in on Onni as she sasses everyone, having moved around to the lower level of the main stage. As she sings the first ling, she points to herself, then pulling her hand up and pointing into the air, sticking out one of her fingers and shaking it as if saying no, moving it to the beat, before seeming to push the camera away with her other hand, almost turning it around in a spiral.

Viotin ed, niðut ogs nist sum i vyt
Mum and dad tell me to be me

Ogs datta so ykku lotad
And so I won't ever grow up


As the chorus begins, Onni and the two young backing dancers, now stood slightly behind her, begin a sort of dance routine, as the camera view refocuses. Over the course of the camera, as shown by a series of panning shots giving various angles of the stage, the two backing dancers begin by miming that they are singing into microphones and rock from side to side, leaning forward slightly. They then turn around and put their thumbs up towards Onnr in the middle as they chant "yeah, yeah", as if showing their agreement with her. She then proceeds to turn to each in turn as she sings the next line, addressing them with her advice to never grow up, whilst they just dance and wave their arms in the air to the beat. Halfway through the next line, the two backing singers place both hands beneath their heads so as to mime that they are sleeping, each pointing in the direction away from Onnr, whilst she rests her head on her hands. They then all bring one hand before them, and stand forward with one leg, as they chant "Us, tjeo, sko!", showing 1, 2 and then 3 using their fingers, and rotating them with each number. They then proceed to pull the forward leg back and show simply one finger, again gesturing no to the beat. The two backing dancers proceed to do a cartwheel behind Onni as she grooves to the beat, thus swapping sides. Once they have done so, they then jump up into the air with youthful abandon. Following on, with the hand on the inside facing towards Onni on their hips, they raise the outside arm up and wave it about in the air, before bringing both together and clapping to bring the chorus to an end.

Ennag ogs morposk, vis i tunn?
Do you want to sing and play?

Yeah, yeah
Datta iðat lotad
Well then, never grow up

Losans, iði yktfunyb mys, je
Being a grown up is so boring

Us, tjeo, sko!
One, two, three!

Datta iðat lotad
So never grow up

Vis entsyb tunn?
Do you want to have fun?

Datta iðat lotad!
So never grow up

Vis entsyb tunn?
Do you want to have fun?

Datta iðat lotad!
So never grow up


The camera focuses on Onni as she turns back around during the beginning of the new verse, showing the audience behind her as she walked, before the steadicam operator turned around to show the box/chest once again. The two backing singers, standing behind both Onni and the box, opened the box and pulled out a series of costumes, as if for young children to dress up and play, matching those shown in the image and hold them around so that they are in front of Onni,such that it seems she is trying them on. She shakes her head at each, before walking forwards again. She moves about, but then pointing with both hands to herself. She is joined once again by the two backing dancers, all three of whom hold out their hands so as to gesture their question of "som".

Yes, I know there's so much that I could be
A doctor, a scientist, an astronaut
But why do all that when I can do what I want right now?
Som lot? Som lot? Som


As Onni sings the next line, she is lifted up by the two dancers, who them pretend to nearly drop her, leading them and Onni to pretend to laugh at their lovely youthish hijinks, bless. Beyond this, there is generally just bouncy movement across the stage, the backing dancers following Onni and dancing along, trying to get the audience involved, as they move from camera point to camera point in an attempt to hide just how little work has gone into this. Help.

They say growing up will be so much fun
But I look at the adults and I feel glad
That I'm going to stay young and have fun, why would I grow up?
Som lot? Som lot? Som


More sassiness, this time with her backing singers.

Viotin ed, niðut ogs nist sum i vyt
Mum and dad tell me to be me

Ogs datta so ykku lotad
And so I won't ever grow up


This chorus is pretty much a repetition of the first chorus, just with some different camera shots and lighting arrangements. Sorry to be quite boring

Ennag ogs morposk, vis i tunn?
Do you want to sing and play?

Yeah, yeah
Datta iðat lotad
Well then, never grow up

Losans, iði yktfunnyb mys, je
Being a grown up is so boring

Us, tjeo, sko!
One, two, three!

Datta iðat lotad
So never grow up

Vis entsyb tunn?
Do you want to have fun?

Datta iðat lotad!
Well then, never grow up

Vis entsyb tunn?
Do you want to have fun?

Datta iðat lotad!
Well then, never grow up


The lights darken, and redden slightly, and a series of searchlight-style spotlights begin moving around the stage, whilst the two backing dancers are joined by a third, this one a boy, and perform a much more slick, focused dance routine than the more bouncy, playful style of the choruses. Onni is nowhere to be seen, even though she is singing, as the camera remains focused on the dancing.

Iðat lotad
Never grow up
Iðat lotad

So ykku lotad
Iðat lotad
Never grow up
Iðat lotad

I will never grow up


The camera view finally turns to show Onni standing on top of the costume box from earlier on. A faint spotlight shines on Onni as she sings, bending down slightly towards the camera, which is looking up at a slight angle towards her. During the first line, she pounds her hand over where her heart is, before standing back up to full stand and slowly lifting her hand up during the "u-u-up" bit.

Mum and Dad tell me to be myself
Yeah yeah
So I'll never grow u-u-up


The camera shot suddenly shifts to show one side of the stage, where the boy and one of the girls - sitting on the end of the stage - move their legs about to the beat whilst looking awkwardly at each other during the first line. Then, with the number calling, they suddenly seem to get into the rhythm of things, signalling the numbers with their fingers before both pulling each other up and doing the arm lifted up/hand on hip thing from earlier.

Losans, iði yktfunyb mys, je
Being a grown up is so boring

Us, tjeo, sko!
One, two, three!

Datta so iðat lotad
So I will never grow up


This was all, to no one's surprise, a diversion, to allow for Onni to be lifted back down from the box and be brought forward to the front rounded extension to the stage, where we see her at the beginning of the final chorus, which is ushered in by a short burst of pyros. The boy and the girl dancers rush over and join the other girl dancer and Onni as they act out the routine, but arranged in a circle and facing outwards to match the area of the stage. There is a continous camera shot around the four showing each one dancing and singing along, and of course also showing off the audience and the rest of the stadium. As the 360 degree shot around them returns to show Onni, the others turn back around again. For the final line of the song, the three lift Onni up, which is accompanied by another burst of pyro. The song closes with a close-up shot of Onni as she sings the final "grow up".

Ennag ogs morposk, vis i tunn?
Do you want to sing and play?

Ha, ha
Datta iðat lotad
Well then, never grow up

Losans, iði yktfunyb mys, je
Being a grown up is so boring

Us, tjeo, sko!
One, two, three!

Datta iðat lotad
So never grow up

Vis entsyb tunn?
Do you want to have fun?

Datta iðat lotad!
So never grow up

Let's have fun
And never, ever grow up
Last edited by Besen on Thu Sep 05, 2019 10:04 am, edited 1 time in total.

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