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49th World Hit Festival | Draft Thread | CLOSED

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Britonisea
Powerbroker
 
Posts: 9478
Founded: Oct 29, 2012
Inoffensive Centrist Democracy

49th World Hit Festival | Draft Thread | CLOSED

Postby Britonisea » Sun Dec 15, 2019 2:38 pm

Image

WELCOME TO THE 49TH WORLD HIT FESTIVAL DRAFT THREAD
Alshkan, Britonisea & Estogium


WHF NETWORK - OOC THREAD - IC THREAD



These dates are only provisional and are subject to change;
Sign Ups for the 49th World Hit Festival Close - 22nd December 2019, 23:00 GMT
Draft Thread Closes, 24 hours to make last changes - 29th December 2019, 23:00 GMT
LIVE Draws and Running Order - 29th December 2019, 23:10 GMT (subject to change)

Voting lines Opens, the IC Thread is Available - 31st December 2019, 12:00 GMT
Voting lines Closes - 6th January 2020, 20:00 GMT
Results Day 1 - 7th January 2020, 21:00 GMT Phase 1
Results Day 2 - 8th January 2020, 21:00 GMT Phase 1
Results Day 3 - 10th January 2020, 21:00 GMT Phase 2
Results Day 4 - 11th January 2020, 21:00 GMT Phase 2


Entries


Important Information: As written by Kalosia for WHF26: The host (Britonisea) reserves the right to make alterations to your RP when copying it over to the IC thread. However, these alterations will be limited to cleaning up the formatting as well as adding (not deleting) RP regarding the situation in the arena (i.e. how the audience reacted). Substantial/major alterations will not be made without written permission, and any further changes to an entry within the IC thread will only be done upon written request by the user behind it, and with host discretion. This also includes audience reactions at the end of the entry...

Helping Your Host: I am most probably going to use my own formatting for everybody's entry, to make it look uniform, which has been done in other editions, my previous edition of hosting included. I would appreciate if you could keep your formatting of your entry very simple (just text and the 'BOX' tag would be fantastic, no need for colours, bold, italics and underlining - unless they are keys or backing singers etc). You can align everything to the centre if you want to keep in neat, but it would help me very much to keep it quite minimalist. If you don't though, it doesn't matter.

PLEASE LEAVE TRANSLATIONS AT THE END OF YOUR POST UNDER A SINGLE SPOILERS. It incredibly slows down the process of making all entries uniform. It really does.

WIP Entries: It would also help a lot if you put a "WIP" or Work In Progress sign somewhere obvious, preferably in the subject or at the top of your post if you don't want me to notice that as finished (but this will not come in to play by 29th December 2019)...

What is a Complete Entry?: A complete entry, by technical definition, is an entry on the draft thread with a usable tune and a complete set of lyrics (all stanzas, verses, and etc. covered). Which means, I can transfer a post with just pure lyrics onto the IC thread and mark it as a complete entry. However, I encourage all nations to put in RP to your entries. It makes the entry look far more complete than just lyrics on the page, and while it won't guarantee higher points, it will signal to the WHF community that you are putting in effort than just beyond lyrics. However, I understand that time is a crunch (I once was in that same position myself). What will not be transferred is an entry with incomplete lyrics or just a header.

Headers: Well, below you will be able to find a format of a very, very simple header that will help me in the long run.

Code: Select all
[align=center][box][size=200]COUNTRY NAME HERE[/size]
[size=150]ARTIST(S)[/size] - [size=150]"SONG NAME"[/size]

[b]Trigramme:[/b] (Your nations three letter code, eg. Great Britain GBR)
[b]Translation of Title:[/b] TRANSLATE IN ENGLISH, IF NOT ALREADY IN ENGLISH.
[b]Language:[/b] LANGUAGE NAME
[b]Music:[/b] NAME OF IC MUSIC COMPOSERS
[b]Lyrics:[/b] NAME OF IC LYRICISTS
[b]Tune:[/b] LINK HERE (ALTERNATIVE LINK HERE, IF THERE IS ONE)[/box][/align]
[hr][/hr]


In alphabetical order;

  1. Achaean Republic
  2. Axuva
  3. Bayilan
  4. Besmenien
  5. Britonisea
  6. Estogium
  7. Fatiman Federation
  8. Fromulya
  9. Izmedu
  10. Kalosia
  11. Lagoa
  12. Llalta
  13. Natanya
  14. Nightom
  15. Normandy & Picardy
  16. Talvezout
  17. Teesdexxia
  18. Todlichebujoku
  19. Vartugia


Reminding You and Miscellany


Nations who have expressed interest to participate will receive a telegram 24-48 hours before the Draft Thread closes. Also, nations that are yet to vote will receive a telegram 24-48 hours before the Voting Lines close.

The IC information is below...


THE 49TH WORLD HIT FESTIVAL
About the WHF49 Stage!





This edition, there has been an emphasis on how expensive looking the stage will be. As you can see from the performances above, you'll be able to tell that the stage will be not be in the conventional way we are used to stages being (with the stage being at the top end of the arena). This edition, the stage will be along the side of the arena which means that while only 14.5k can fit in an arena that could fit upto 6k more, the stage will be huge and will be fit with loads of different effects that will make it look fantastic on television. An example of this is that along the top end of the stage there will be an LCD screen which will also be on the floor of the stage too, along the end of it which means that - similarly to the performances you can see in the link - you'll be able to realistically interact with a huge LCD stage floor. As you can see at 03:05 of Mabel's video, you can see the tens of birdie lights that will be fitted along the top and side of the stage's right hand side which will look otherworldly on television. There will be LCD screen strips along the sides of the seat stands as well which make the whole arena set alight. Finally, if you're lucky enough to get to stand near the stage - which you could argue is very catwalk-like, you can go on either side of the stage (in front of the main audience on the stands or in front of the back wall full of the birdie lights). You can see this at 02:25 of Mabel's video if you'd like to visualise it. In addition to this, the hologram package will be included as ever. If you'd like to use rain effects we can do that, but if you'd like to use actual water from the rigs, you will need to be placed nearer the LCD screen right at the left side of the arena. A diagram will be made in time for the Draft Thread to give you more of an idea of what everything will look like.

An odd stage but there's so many ways you can use it - conventional, unconventional? Whatever will win you the trophy and the chance to host the 50th anniversary of the World Hit Festival!
Last edited by Britonisea on Mon Dec 30, 2019 7:03 am, edited 15 times in total.

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Indo States
Minister
 
Posts: 3317
Founded: Jan 05, 2018
Authoritarian Democracy

Postby Indo States » Sun Dec 15, 2019 5:31 pm

Fatiman Federation (Indo States)
Angelica Magsaysay - Jamais N'Dêixar Cesterin Flané

Trigramme: FET
Translation of Title: Never Stop Following You
Language: Fatiman
Music: Andrea Magsaysay (Piano), Cedric Umali (Drums) and Angelina Magsaysay (Synth)
Lyrics: Andrea Magsaysay
Tune: Sonia - You'll Never Stop Me Loving You




Image


Remember Angelica on WHF45? Angelica Magsaysay is an Famous Filipina-Fatiman Vlogger, And Singer-Actress who composed L'amour Nassiêr Lucién (Lïmond Sëldefer). And Now, she is returning to World Hit Festival Festival her tour.




Interlude

Angelica was wearing Maje Royani Bonded Lace Dress plus black dollshoes and pink sunshades so she looks beautifully in gloom and she was rehearsing yesterday at her Older sister's Resthouse. But now, she's excited. Andrea had take a break on DZBB and After an hour or day to alshkan, she was now arrived today at 12/16/19

Duration: 6m53s
Main Vocalist: Angelica Magsaysay
Female Vocalist 1: Natasha Mariacapastol-Crimieliyev
Lyricists: Andrea Kate Magsaysay Junior
Composers: Cedric Umali, Andrea Magsaysay
Props Manager: Catherine Rogers
Sound: Julia Nolasco, Maria Perrez
Video: Jean Elise "Misty Dawn" Allenston
Backup Dancers: Camillo Reyes





The Performance

Before the Performance, The Video plays where Melissa Maliamenne-Garner from RTV Overtime interviewed Angelica magsaysay. the intro was the train (TGV) Bound from Lechinsk arriving Fatima City Main Station while the instrumental music from the tune and Angelica Greeted to Viewers.

"Hi! I'm Angelica! And Welcome to Fatima City! Today, I'll show my house, look at RTV Headquarters and The Behind the Scenes!"

The Video Takes 3m31s and the cameras focused on the stage.

The Tune was Played, and Background Dancer started up Dancing while the Intro was Begining, Angelica stared to appear and sing after the intro.

Même si vous êtes ici à la maison,
Vous ne voulez pas écouter sur ma radio,
Quand je vais au restaurant du dîner,
Vous n'avez pas bien parlé,
Vous ne rentrez pas chez vous.

Even if you are here at home,
You do not want to listen on my radio,
When I go to the dinner restaurant,
You did not speak well,
You do not go home.


Comme je vous vois taper sur votre ordinateur,
Peut-être cette fois pour vous détendre,
Parfois, vous et moi travaillons ensemble,
C'est la vraie raison pour laquelle tu m'aimes,
Je peux plus vous suivre,
Vous pouvez peut-être changer votre temps,

As I see you typing on your computer,
Maybe this time to relax,
Sometimes you and I work together,
That's the real reason you love me,
I can no longer follow you,
You may be able to change your time,


Angelica Started Dancing while Singing.

Cleré Lust' Jamais N'Dêixar Cesterin Flané
Je ne sais pas pourquoi tu ne respectes pas
Jamais N'Dêixar Cesterin Flané

But You'll Never Stop Following You
I do not know why you do not respect me
Never Stop Following You


Angelica Stopped Dancing while the background dancer walking around in circles slowly.

Quand je sais que tu es seul,
je me demandais si tu rentrais à la maison,
et attraper l'éclipse des étoiles,
Il semble que ce soit une bonne idée pour vous,
Vous méritez ce qu'est l'amour,
Bien sûr, avec vous.

When I know you're alone,
I'm wondering if you're coming home,
and catching the eclipse of the stars,
It seems like a good idea for you,
You deserve what love is,
Of course, with you.


Que vous êtes tellement occupé à travailler dans vos papiers,
Je mets la note que nous nous réunirons à 5 heures dans l'après-midi,
Peu importe, demain ou aujourd'hui,
Mais tu n'es pas venu,
Et aucun moyen de vous refuser de venir et nous parlerons,
Je n'arrêterai jamais de te suivre,

That you are so busy working in your papers,
I put the note that we will meet at 5 o'clock in the afternoon,
No matter, tomorrow or today,
But you have not come,
And no way to to refuse to come and we will speak,
I will never stop following you,


Angelica and Her Background Dancer Started up Dancing again.

Cleré Lust' Jamais N'Dêixar Cesterin Flané
Je ne sais pas pourquoi tu ne respectes pas
Jamais N'Dêixar Cesterin Flané

Oh, Woah, Cleré Lust' Jamais N'Dêixar Cesterin Flané
Quoi que vous ayez quitté notre maison, Je peux te suivre partout
Jamais N'Dêixar Cesterin Flané

But You'll Never Stop Following You
I do not know why you do not respect me
Never Stop Following You

Oh, Woah, Never Stop Following You
Whatever you left our house, I can follow you everywhere
Never Stop Following You


Oh, Woah, Oh, Woah,
Jamais N'Dêixar
Jamais N'Dexiar Cesterin
Oh, Woah, Oh, Woah
Jamais N'Dêixar
Jamais N'Dêixar Cesterin

Oh, Woah, Oh, Woah,
Never Stop
Never Stop Following
Oh Woah, Oh, Woah,
Never Stop
Never Stop Following


Comme je vous vois taper sur votre ordinateur,
Peut-être cette fois pour vous détendre,
Parfois, vous et moi travaillons ensemble,
Vous pouvez peut-être changer votre temps,

Cleré Lust' Jamais N'Dêixar Cesterin Flané
Je ne sais pas pourquoi tu ne respectes pas
Jamais N'Dêixar Cesterin Flané

Oh, Woah, Cleré Lust' Jamais N'Dêixar Cesterin Flané
Quoi que vous ayez quitté notre maison, Je peux te suivre partout
Jamais N'Dêixar Cesterin Flané

As I see you typing on your computer,
Maybe this time to relax,
Sometimes you and I work together,
You may be able to change your time,

But You'll Never Stop Following You
I do not know why you do not respect me
Never Stop Following You

Oh, Woah, Never Stop Following You
Whatever you left our house, I can follow you everywhere
Never Stop Following You


After the Performance, Angelica Thanks in Fatiman.

Premé Delasché!

Thank You!
Last edited by Indo States on Sun Dec 22, 2019 4:12 am, edited 5 times in total.
Fédération Fatimanienné - Fatiman Federation
Country of Freedom and Education


I DO NOT USE NATIONSTATES STATS

User avatar
Axuva
Envoy
 
Posts: 264
Founded: Feb 22, 2018
Liberal Democratic Socialists

Postby Axuva » Sun Dec 15, 2019 9:00 pm

Axuva
Imani Rozhdestvensky - "Fortune"

Trigramme: (AXU)
Language: English
Music: Imani Rozhdestvensky
Lyrics: Imani Rozhdestvensky, Luana Povich
Tune: https://www.youtube.com/watch?v=7Fmpz-wIkPY





Imani stands infront of the backdrop and he is infront of a mic stand and it shows a big red dot that colors change to orange, yellow, and green and has alien like tentacles coming out of it


I dont know what it is but you have done something to me
Is there a secret that you are keeping from me
Give me your aphrodite, and I’ll be your crystal
What is it you’re doing to me, I can’t describe it
Show me it , show me it eh, eh, something that I wont forget, eh
It’s so bad that I cannot take it
Just let me know what you have in me


He rips the microphone from the stand and lifts his gold covered hand up in the air and it is taken off stage and the backdrop rises revealing the stage and all of the backup dancers start walking up to him slowly. They grasp onto him and pull on him on both directions. The circle on stage emits a blue light behind them.



[Pre-Ritornello]
Show me what you hold, let me see
Just let me see your fortune, and just know that it lies all in me
Not worth money, it is secret something secret I wont tell
Just come and show me your fortune, let me know I wont tell

They let go and all start to dance in a circle as Imani is in the middle of the circle, standing still and the camera switches to a birds eye view.




[Ritornello]
Cause you’re fortune is so powerful
Cause your fortune is so powerful
Cause your fortune is so


As he stops dancing he holds his hand in the air again, bringing it down to his body and the camera follows it. Then it extends out to him and the dancers and they are walking slowly around Imani
[Strofa 2]
The force is so strong it’s really like im all addicted
What is it you’ve done it’s like I have felt you’ve cast a spell on me
What are you doing to me? I’m hypnotized by your body,
I cant let go, I’m sorry, I think I need it
Show me it , show me it eh, eh, something that I wont forget, eh
It’s so bad that I cannot take it
Just let me know what you have in me

They repeat the same actions done earlier, tugging on him from each direction and the stage circle emitted a blue light and it flashed slowly to the beat

[Pre-Ritornello]
Show me what you hold, let me see
Just let me see your fortune, and just know that it lies all in me
Not worth money, it is secret something secret I wont tell
Just come and show me your fortune, let me know I wont tell


[Ritornello]
Cause you’re fortune is my powerball
Cause your fortune is my powerboll
Cause your fortune is my


[Bridge]
Why, do you do this to me
Ooh, I cannot take it
Why.. You have trapped me tell me why, why why


[Pre-Ritornello]
Show me what you hold, let me see
Just let me see your fortune, and just know that it lies all in me
Not worth money, it is secret something secret I wont tell
Just come and show me your fortune, let me know I wont tell


[Ritornello]
Cause your fortune is my powerball
Cause your fortune is my powerball
Cause your fortune is my powerball
Cause your fortune is my powerball
Last edited by Axuva on Sun Dec 29, 2019 3:57 pm, edited 1 time 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.

User avatar
Britonisea
Powerbroker
 
Posts: 9478
Founded: Oct 29, 2012
Inoffensive Centrist Democracy

XX | Britonisea | Michael Turner - Unguided

Postby Britonisea » Mon Dec 16, 2019 5:11 pm

Britonisea
Michael Turner - "Unguided"

Trigramme: BRI
Language: English
Music: Guy Autriche, Tom Stardust, Quince Smith
Lyrics: Michael Turner, Kayla Gordon
Tune: Bad Wolves - Zombie




Image
Topless & Fearless: Britonisea's Michael Turner will be gracing the staging topless in "gritty, boisterous' performance...


After Britonisea's impressive fourth win in its twelfth consecutive entry into the World Hit Festival, the nation is returning for their thirteenth consecutive entry in Alshkan with Michael Turner.

BVC's recent success at the World Hit Festival is a success that Britonisea had never experienced with the broadcasted before. The days when Britonisea struggled to get into the World Hit Festival top 5 are no longer here as the broadcaster won the World Hit Festival 48 which took place in Llalta, only a single edition after Britonisea last hosted the Festival. The World Hit Festival, because of it, has returned to the Overseeing nation for fourth time in twelve editions, which means that the Britons have been getting their fair share in hosting the World Hit Festival - whereas other nations haven't been quite as lucky. There is a lot of wonder about why Britonisea is doing very well at the World Hit Festival since the 37th World Hit Festival, with some people thinking that Britonisea is simply in the swing of sending entries and knows what appeals to a World Hit Festival audience to pull out a win when needed. Some think that due to BVC's appointment of Overseer, the nation has a stronger hold over the World Hit Festival - something that could be argued for Izmedu's RTI who had multiple successes during their time as Overseer between the 30th and 41st World Hit Festival. BVC's World Hit Festival are unsure, but it seems as though there is direct competition with BITC's WorldVision Song Contest delegation, who has scored three wins since they came together for the 61st WorldVision Song Contest. Upon their return to the 80th WorldVision Song Contest, insiders say that the World Hit Festival delegation will be working hard to stay in the top 5 to keep the viewers in.

BVC's budget is ever dwindling. While BVC isn't the poorest of broadcasters participating and has a fairly large budget, the broadcaster isn't able to pick when it wants to bid for the World Hit Festival with the Festival being elected based on who won the previous Festival. BVC hosted the 38th World Hit Festival - their third edition without too many problems. Britonisea's win at the 37th World Hit Festival was rather unexpected - with the festival being hosted in a stadium rather than BVC's preferred choice of hosting in a music arena - which the broadcaster has done on 8 of 9 occasions it's hosted an international song competition. Britonisea does make concerted efforts to win the World Hit Festival during certain editions as the broadcaster does save money for those editions. A prime example of BVC making a concerted effort to win was the 40th World Hit Festival when Izmedu hosted the largest World Hit Festival since the 3rd. Here, Britonisea entered the Semi-Finals which was another reason to send a good entry. The plan was for BVC to win the 40th World Hit Festival and go onto host the 41st World Hit Festival, in similar vein to the 41st WorldVision Song Contest in Quickenden. BVC won the 2nd Semi-Final with 36 points - it's highest ever win total to this day, but when it came to the Grand Final, Izmedu deservedly won the 40th World Hit Festival with 48 points, compared to Britonisea's still record-breaking 45 points. While deliberation between Izmedu and Britonisea to begin as to whether the nation should pass it's hosting rights to Britonisea ensued, BVC insisted that RTI host again with Britonisea wanting to win the 41st World Hit Festival - though this plan fell through.

After Britonisea's 7th place at the 41st World Hit Festival, the broadcaster sent Evangeline Hope, a household favourite, to the 42nd World Hit Festival which gave Britonisea its first win of the 40s decade. The budget for what was supposed to be Quickenden '41 went to Burgendore '43; which was a modest show - the cleanest BVC had ever hosted due to the extra two editions BVC had to prepare. Since then, BVC's hostings haven't been as clean, with the 46th World Hit Festival being an overly ambitious effort to host the World Hit Festival. BVC wanted to win the 47th World Hit Festival in similar vein to the 47th WorldVision Song Contest, but instead won the 46th World Hit Festival which meant that the budget for what would've been Britonisea '48 was bought forward hastily which was mocked during the opening VT showed at the 47th World Hit Festival. Due to BVC's underestimation of its budget and the unexpected increase of nations participating at the World Hit Festival - from 15 to 24, making it one of the largest World Hit Festival Grand Finals ever - BVC overspent with a contest that while BVC are proud of, could've done more efficiently. World Hit Festival 47, the edition the nation wanted to win, similarly to WHF41, landed the nation in 7th which reportedly infuriated BVC bosses leading them to pull Gigi Vadeboncoeur from the WorldVision Song Contest (where she was supposed to represent Britonisea with Estogium's eventual entry) and enter the 48th World Hit Festival in the hope of stabilising Britonisea's results back to Top 5.

Unexpectedly, BVC won the 48th World Hit Festival, further infuriating BVC bosses who didn't understand why they couldn't have won the 47th World Hit Festival but managed to win the two editions sandwiching it. Moreover, the broadcaster made an effort to win the 6th Junior World Hit Festival, where if you win there's no strings attached. The nation finished 2nd behind Polkopia in Mera, Besen. While nations outside of Britonisea see this as great luck for Britonisea, the irregularity of when the nation wins is driving the broadcaster crazy, making them wonder how RTI managed to do it. Despite this, BVC wanted to honour the win by hosting the following edition - a tradition that hasn't yet been broken during Britonisea's Overseership. This time, however, BVC asked RVC (who recently hosted the 73rd WorldVision Song Contest and 2nd place entry) to co-host with them in a World Hit Festival first. The nation is now hosting alongside Estogium for the 49th World Hit Festival with its smallest hand-in budgetwise to the World Hit Festival ever.

The 50th World Hit Festival had been billed to be BVC's push for it to be the largest World Hit Festival ever. Fabio McAlpine, the Overseer, announced that Britonisea will be trying hard in the run up to World Hit Festival 50 which it has done by selecting Michael Turner to represent Britonisea with his song, "Unguided". Due to a change of clause, the top five of the 49th World Hit Festival will go ahead to automatically qualify for the Grand Final if the threshold of 35 is met - which it could be. Britonisea is aiming, undoubtedly, for the Top 5. While BVC would never not aim for the win, Britonisea's main focus is avoiding another Semi-Final situation like the 40th World Hit Festival which put the delegation and reputation of BVC on edge.

Also, Britonisea's performances at home World Hit Festivals have been rather dismal compared to their other placings pushing them to send Michael and his tune "Unguided" as explained in the original BVC post.

ORIGINAL BVC POST;
Unguided: 31 year old Michievelihan, Michael Turner, will represent Britonisea in Alshkan this edition...

After the nation placed 7th at the 47th World Hit Festival in Kyvivre, Britonisea, Britonisea went back to basics and sent a song which could only be described as typically Britonish. Gigi Vadeboncoeur won with her song "Let Yourself Free" which saw Britonisea place 1st with 34 points with a higher percentage than Evangeline Hope, making the 48th World Hit Festival Britonisea's most successful World Hit Festival. The nation is set to host the upcoming 49th World Hit Festival alongside neighbour Estogium at the Halvenhavlve Arena in Alshkan where both Estogian and Britonish fans will be in the hordes cheering on all the participants in what had been described as the run-up to the 50th World Hit Festival.

Britonisea is hoping to win for the sixth time in Alshkan which may seem against the odds. At each of the previous Britonish hostings, the nation finished (in order of hostings) 9th, 5th, 2nd, 7th, 7th with the 7ths and 9th place being amongst Britonisea's worst placing entries. Despite this, BVC are confident of their entry this time around citing that like all nations participating in this upcoming World Hit Festival, they will be pushing hard for a sixth win and a seventh hosting for the 50th World Hit Festival.

The nation's World Hit Festival taste has changed drastically over the last few editions - especially since the nation took the leadership of the contest. The genre of the song which Britonisea will be sending is alternative rock which has been present in Britonisea's choices of song ever since the 38th World Hit Festival - ten editions ago. Before, the nation hadn't sent any songs which had any rock elements in them. Since The Retribution's 2nd place in Doportedas, another rock song was sent for the 45th World Hit Festival due to AUTUMN's 2nd place at Vha Mehlodhivestoile 2019. The nation placed 4th here. The 46th World Hit Festival saw the nation win with an orchestral-rock ballad by Vhe Qí who won the competition with 28 points. Taking a break for the 47th and 48th World Hit Festivals by sending female ballads, BVC thought that going back to the what BVC was turning Britonisea's World Hit Festival record into would be perfect going into Alshkan for the upcoming World Hit Festival.

Michael Turner's song "Unguided" will be available on most musical streaming platforms as of December 2nd 2019.


It will be interesting seeing what comes of the World Hit Festival 49 and Britonisea's hosting of it. BVC said that fans shouldn't be able to feel anything different due to the Festival having massive funding from Estogium's side which means that little is being spent on the Britonish side this edition. BVC has received criticism from home and international media for its choice of song amid fears that World Hit Festival could make BVC broke, though BVC Professionals have assured fans that this won't happen. For now, eyes then to Michael Turner who sends a thrilling song to the World Hit Festival in a bid to keep Britonisea's average placing up.

"I want my song to resonate win men suffering in silence like I did, but also to women too - this is a universal message.”

-Michael Turner


Michael's song, "Unguided" is a change of emotion from the one that we've seen winning the 48th World Hit Festival which was happier and optimistic. This edition, Britonisea seems to be going for moody with "Unguided" about being alone - ostracised from society and those that you love. The song speaks about suffering in silence as well, which is a common issue amongst men not just in Britonisea, despite the nation's openness, but transnationally also. Michael is hoping that with the song, he can make an impact with men, but women also who are suffering too. Personally, Michael Turner speaks from experience of suffering alone. He didn't know how to express what was going on in his head as he was growing up as a kid in school which lead to him lashing out on other pupils, teachers and even his family. During time in secondary school, Michael was put under cognitive behavioral therapy (CBT) which worked for a while, before he lost his mum aged 18. Suffering from panic attacks almost daily for a few years, he stayed quiet unsure about what to do or who to speak to without being judged. Eventually, one day, a panic attack happened whilst he was out, causing him to lash out in public with him getting sectioned by 22. Since, Michael has been in and out of mental institutes trying to out his life back on track with him, ever since he turned 30, feeling much better and human again which is a feeling he's craved for song long.

Will his story resonate across the Multiverse? We will soon found out in Alshkan...


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

Image

Duration:
Main Vocalist: Michael Turner
Dancing Male/Vocalist 1: Zaire Hillingdon
Dancing Male/Vocalist 2: Harry Bitterling
Lyricists: Michael Turner, Kayla Gordon
Composers: Guy Autriche, Tom Stardust, Quince Smith


For the sixth time since the 27th World Hit Festival, the Britonish act was the home act. Although one might expect that performing at home would mean that there would be no pressure to perform in front of a crowd that would probably cheer you on regardless, for the six acts that had the honour of representing the nation during the nation hosting would most definitely agree that the pressure of representing Britonisea when hosting is very high. Both the broadcaster and the act can fall to the pressure; with Britonisea's track record of success when they're hosting the World Hit Festival being pretty bad - at least compared to BVC's hosting-placement record in the WorldVision Song Contest. It was now time for Britonisea's performance to ring our across the arena as the lights reacted, lighting up the arena as the LED screens around showed what was going on there.

Down on the stage were the stage presence getting the scene ready for the Britonish act. Many Estogian and Britonish stage personnel rushed onto the stage and placed what seemed to be a large mirrored box in the middle of the stage which was surrounded by barbed wire on wooden polls around of it. When looking from an aerial shot, it looked as though the barbed wire was circling the glass box like a solar system. In addition to this affect, another circle was placed there - which would be able to shoot up fire (similar to Emma's Circle of Light - UMK2016) when it needed to. In the glass box, which was placed on a podium which was considerably higher than the rest of the set (we will call this the volcano), was Michael Turner who stood tall in the box with a mic attached his body. In addition to the staging that was the main focus, there were other things such as plantation, nodding to him being in a "forest" all alone. The man was topless, slightly oiled and wearing tight - but not too tight - ripped jeans with boots on. His haircut and beard; a masculine, dark and strong look in keeping with the theme of the song. It looked as though the make up team made the edges of his eyes darker as well, in order to make Michael seem intimidating slightly, with the song being performed in a rather frustrated angry way.

Joining him on the stage were two more men on either side of the solar system design that the Britonish delegation had going on (outside of the barbed wire and fire circle) BVC decided that the stage would face the audience instead of facing the front (since the oddly stage stage has the front not being towards the tiers) with Michael standing strong on the volcano in the middle of the stage. Fog started to fill the stage as the end of the postcard neared and the personnel scattered away. The other men that joined him on the stage, who were also oiled up and topless looked at each other before looking up at Michael high up on the volcano, all giving each other nods and well wishes as the stage went dark for the start of the performance. The music begun, a solemn start. The box in which Michael stood was brightly lit in red with the stage beneath being slightly lit by white light, showing the other two men standing fiercely on either side.

Walking solo, all alone
Through the forest of death
No one's there to guide me, no one
I've gotten lost - help me.


In silence the audience watched on as the scenery didn't change much. The camera during the section before slowly moved in on Michael from afar with him looking deep into the camera that was making its way closer and closer towards him. Michael sung with one of his hands up against the top of the glass box with his muscles being apparent as the shot moved closer and closer to him. As the camera moved over the audience to go to him, the white mobile phone lights disappeared as we moved over the stage covered in fog and plantation. Michael's face became more apparent as the camera reached him and he finished the chorus. There was a slight change in the music as we came closer to the chorus and more explosive part of the song.

At the change of the song, the bars of light which forms part of the staging started lighting up in blue behind him, a very dark blue, which slightly made the effect of the Britonish colours but also bought a coldness to the performance. Another camera shot moving from one side of the stage to the other was used as we saw the two dancers/singers on either side of him, outside of the solar system design turning their bodies from around the audience to him, looking up at Michael as though he were a God. The fog looked thick still as we went into the pre-chorus of the song.

But I am - used to it
Don't show me your pity
Don't pretend, don't pretend
That you care now...
I want you, you to know
You to feel, what I've felt
For years now; unguided
So let me go


As Michael sung "you" for the first time, the camera sharply changed to Michael pointing at it face-on. The camera stayed on him as he straightened up his positioned in the box while looking at the camera on him in a rather angry way. This camera position was used for quite some time as the white lights on the men below him start raising in intensity. As soon as Michael sung the words "So let me go", the cameras quickly flickered between one another between him, and the two men below him with all of the lights flickering between the three of them with the whole scene made to look intense in that small section between the pre-chorus and the chorus of the song.

The lights then responded to the beat of the drum which bought the chorus on, by turning off and on with each beat of the drums. The camera then zoomed out from mid-arena of the stage to the back, showing the audience swaying with their camera phone torches and lights flickering from international press. The men on either side of Michael, on the ground, did a series of powerfully strong movement each four beats in the song. Michael stamped his feet along with each beat as he sung the chorus.

So let me walk all alone
I will, I'll try, try to survive
Don't shed a tear if I'm found dead
Show me, show me, show me
That you don't care - oh


At the end of what seemed like a short chorus, the lights in the arena darkened down again, with him still being in the box. The fire circle around scenery begun to start showing fire now, but it was very tame - almost dreamlike. The men were now standing on the inside of the fire circle, and during the verse which Michael is about to sing, would start to walk around to each other, walking at a very slow pace. The camera on a crane started being focused on the fire being lit up to moving up and over to Michael as he begun to solemnly sing the next verse by himself; still stuck in that box of his. The scene was still quite red and the fire, now that the fog started to disperse, made the scene look a lot more tribal than it once did.

Let the vultures follow me
I am their next supper
When the lightning strikes the treetops
Bathe me in hot cinders


During the verse, the camera would flicker between being focused on Michael who was looking down at the men, and the men themselves reaching one another. Throughout the verse, the camera focused on either men walking, by having a close up of their eyes looking towards each other or their gait. As the two men reached the centre and reached each other (right in front of Michael who was in the centre but behind them on the podium), the camera had a close up of the two of them joining hands before cutting to a low angle shot of them, which (similar to the crane shot earlier of the fire) showed them before zooming up to Michael who was still in the box by the time the pre-chorus once again started.

As the camera came closer to Michael, he watched it as he begun to sing the pre-chorus. The audience watched in delight as Michael clenched his fists and they saw the two men on the ground below facing one another. The scenery around them showed ounces of blue on Michael's level with white light also flickering stage level where the men were.

I just like the pain, it's
what I'm conditioned to
Don't pretend, don't pretend
That you care now
I need you, you to know
How I've been, left alone
All alone; unguided
So let me go


An aerial shot of the scene was shown as Michael sung "How I've been", with the shot slowly moving towards him from on top of him. You could see on the ground below him that the two men, who were facing him had also turned to face Michael now, with the audience seeing those two looking up Michael on top of the volcano. The flames, during this section, also started to grow more and more furious.

As Michael sung "So let me go" once again, the two men who were below Michael sprinted around the stage in the section that they were in, sprintingly away from each other with the cameras following their movement, flicking between the men as they ran past the cameras. The lights flickered white, red and blue as the two disappeared from audience view, behind the podium where Michael was on.

So let me walk all alone
I will, I'll try, try to survive
Don't shed a tear if I'm found dead
Show me, show me, show me
You don't care - oh

*Guitar solo*


During the guitar solo, there were a load of shots following different things that were happening on the stage during Michael's performance, with the camera quickly cutting between the men who were making their way past the barriers that held them between them and Michael to Michael headbashing profusely and the crowd also reacting to what was happening as well. As this all happened, the lights flickered a lot with on screen graphics of forests burning and flames showing during the shots making everything seem much more chaotic that it actually was in the arena.

However, as we reached the section where Michael sung again (the bridge you could say), the whole scene managed to calm down with the read beam of light now being the main source of light in the arena. Michael was focused on once again as he started singing still in the box. He stood strong. Suddenly, the two men appeared on top of the podium with Michael, but they were on the outside of the box that Michael was in. There was an aerial shot as the two walked on either side of Michael before there was a closing in shot in front of the three topless, muscley men. The flames grew beneath them. As the camera neared and the blue on the stage now became apparent, Michael looked to his men who both nodded to him at the end of the chorus.

I want you, you to know
You to feel, what I've felt
For years now; unguided
So let me go


As we reached the end of the bridge and hit the chorus for the final time, Michael really shouted the words "So let me go" - a phrase that he kept on repeating throughout the song. At this section, the two men on either side of him pulled ropes at the back of the box which were once hidden to the eyes of the audience. As the two men fiercely pulled back the rope, the box that Michael was in fell apart with the three men now standing together on top of the podium together with Michael in the middle of them. The camera quickly zoomed in on him from below him and over the men in a frenzy as there was a power struggle between the blue and red lights in the arena which tried to overpower one another through strobing.

So let me walk all alone
I will, I'll try, try to survive
Don't shed a tear if I'm found dead
Show me, show me, show me
You don't care - oh!

Oh oh oh oh oh yeah yeah


At the end of the song, the lights died down and a shot from a far place across the audience was used to slowly start zooming in. The audience cheered as the song neared its end. The camera moved over the now darkened audience, only lit by the lights from mobiles before moving over where the set with the fire still burning alongside the returning smoke as we neared the three men who looked smokey beyond the on screen graphics of flames. At the end of the outro, the camera faded away with the audience coming in with a loud applause.

Normal lights filled up the stage as Michael thanked his audience. "Thank you all! Much love!" They then started to get off the stage as the Britonish and Estogian team prepared for the next proceedings.
Last edited by Britonisea on Sun Dec 29, 2019 9:48 am, edited 4 times in total.

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Vartugia
Envoy
 
Posts: 255
Founded: Nov 12, 2015
Iron Fist Consumerists

Postby Vartugia » Tue Dec 17, 2019 10:38 am

Vartugia
A Random Homless Guy I Found On The Street - The Shitpost Song

Trigramme: VAR
Language: Engrish
Music: The makers of the toy who we used to present our song
Lyrics: The makers of the toy who we used to present our song
Tune: Chinese Toy Phone for 5 min (Its being shorten from 1 hour so you dont lose you sanity.)



Vartugia is like that bootleg movie; never wanted by anyone yet are breathtaking amazingly bad at anything. Sadly, they are here with a "song". How Vartugia entered the WHF is a mystery we don't fully know, but one thing is known. We know our last place already. And its the homeless guy with the toy-phone.


The postcard is finished. And there is only some bloke we stole, dressing like he`s having a drug abuse. He has a pink-ish toy flip-phone. He then moves the toy in front of the microphone and flips up the phone. We are gonna have a looooooong time with this one.

*Ringing effect*
Howdy y`all?


He then flips it back and then up again.

*Ringing effect*
*Sound of pussies woffing*


He then flips it back and then up again.

*Ringing effect*
Hey Hey everyone. We are gonna smash this ...
Hey Hey everyone. We are gonna smash this ...
Hey Hey everyone. We are gonna smash this ...


*Ringing effect*
Howdy y`all?


He then flips it back and then up again.

*Ringing effect*
*Sound of pussies woffing*


He then flips it back and then up again.

*Ringing effect*
Hey Hey everyone. We are gonna smash this ...
Hey Hey everyone. We are gonna smash this ...
Hey Hey everyone. We are gonna smash this ...



...
*Ringing effect*
Howdy y`all?


He then flips it back and then up again.

*Ringing effect*
*Sound of pussies woffing*


He then flips it back and then up again.

*Ringing effect*
Hey Hey everyone. We are gonna smash this ...
Hey Hey everyone. We are gonna smash this ...
Hey Hey everyone. We are gonna smash this ...


*Ringing effect*
Howdy y`all?


He then flips it back and then up again.

*Ringing effect*
*Sound of pussies woffing*


He then flips it back and then up again.

*Ringing effect*
Hey Hey everyone. We are gonna smash this ...
Hey Hey everyone. We are gonna smash this ...
Hey Hey everyone. We are gonna smash this ...


He then flips it back and then up again...

4 minutes and 58 seconds later


He then flips it back and then up again

*Ringing effect*
Howdy y`all?


He then flips it back and then up again.

*Ringing effect*
*Sound of pussies woffing*


He then flips it back and then up again.

*Ringing effect*
Hey Hey everyone. We are gonna smash this ...
Hey Hey everyone. We are gonna smash this ...
Hey Hey everyone. We are gonna smash this ...


*Ringing effect*
Howdy y`all?


He then flips it back and then up again.

*Ringing effect*
*Sound of pussies woffing*


He then flips it back and then up again.

*Ringing effect*
Hey Hey everyone. We are gonna smash this ...
Hey Hey everyone. We are gonna smash this ...
Hey Hey everyone. We are gonna smash this ...


As he is to flip the phone, it breaks up and falls on the ground. The man then just look at the broken toy and then just walks off the stage like it did not happent. Everyone has fallen asleep as the cleary drunk man had fliped the phone for like 562435 times.

Next nation arent that bad, right?
Last edited by Vartugia on Tue Dec 17, 2019 11:03 am, edited 1 time in total.
Puppet of 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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Achaean Republic
Diplomat
 
Posts: 780
Founded: May 26, 2019
Left-wing Utopia

Postby Achaean Republic » Sat Dec 21, 2019 7:38 pm

ACHAEAN REPUBLIC
DALILA PONCIO - ”MI SOL, MI VIDA, MI SANIDAD”

Trigramme: ACH
Translation of Title: MY SUN, MY LIFE, MY HEALING.
Language: SPANISH
Music: ANTULIO FIGUEROA, MIGUEL CÉSPEDES
Lyrics: CARLOTA ROMERO, DALILA PONCIO
Tune: Ivette Cepeda- Tú eres la música que tengo que cantar




Image


At 45 years old, physics schoolteacher Dalila Poncio thought she didn’t need anything else to add to her plate. As a mother of two and a twenty-year wife to local entrepreneur Juan Domingo Martínez, Poncho was well-known in her native city of Guandú, on the outskirts of Buonásera, for her stern but fair teaching methods she learned from a bevy of local schoolteachers and educators that have essentially formed the adulthood of the vast majority of its citizens. But people also knew her as a chanteuse of sorts, always humming jazz classics from those old vinyl discs she inherited from her father. She enjoyed the beautiful voices of Ellen Fitzgeralnd and Frank Sinatra, and had fun trying to catch the melody of Billie Holiday’s songs. Even though she had no knowledge of English whatsoever, she was more than happy to hum along Nina Simone’s “Solitude" while grading her papers.

On Sundays, she sang at the Parroquia San Adriano Mártir in Guandú, where she celebrated Mass with her local friends and parishioners. An active member of the local church, Dalila always used her voice––one she never considered to be a moneymaker, only using it for the Lord––to entice people, especially the younger ones, to go to church. Whenever she sang “Ave Maria” in a wedding, people would suddenly burst in tears due to her strong, yet motherly and tender voice.

It was, in fact, during a rendition of “Ave Maria” at a local wedding where someone, perhaps a teenager, recorded Dalila Poncio’s singing and posted it to his Facebook account. The video quickly became viral and spread throughout Guandú, and then to the whole state of Buonásera, and then to the rest of Northern Achaea, and then to the rest of the country, where she became a national trending topic for at least three consecutive days––an eternity in this age’s fast-food social media-frenzied culture. For the next couple of weeks, she became both victim and benefactor of serendipity: she was invited to news interviews, press junkets, daytime talk shows, news reports, Playboy invites for millions of corcinos to post naked as a sexy MILF, and even a few record deals until she decided to try her hand at part-time jazz (with the explicit encouragement of her husband, children, and ridiculously extended family) in a small piano bar in Buonásera. She never stopped teaching, even though she essentially had two money-making jobs: one that gave her stability, and another one that gave her exposure.

It was during one of those nights that she was approached by Ernesto Vázquez and his team of scouts for the World Hit Festival, always looking for the next big hit. After Achaea’s somewhat middling performance on the past contest in Llalta, the goal was to look for homegrown talent and finally send an entry completely in Spanish.

For several weeks in the summer of 2019, Poncio traveled to AS1 Studios in Corola City to perfect her voice and record her very first album, Galaxias (“Galaxies”), a musical repertoire of jazz classics covered in Spanish, including a special track created by Buonaserense poet Augusto Charbonier, Desde Hace Tiempo (“A While Ago”), which was musically reworked as Mi Sol, Mi Vida, Mi Sanidad” (“My Sun, My Life, My Healing”). She chose to musicalize this poem because it was everything she wanted to portray in her album––and her future trip to Alshkan: love in its purest form, emotion in its most beautiful portrayal.
________________________________________________________________________________________________________________________________________

The song begins with the low-pitched sounds of four flugelhorns in four bars, followed by the sounds of two trumpets, flates, and a small cello. These sounds come from the students of the Rosendo Matienzo High School in Guandú, where Dalila is a physics teacher. She even taught some of her senior students who are about to graduate and move on to universities, colleges, professional courses, and maybe even do nothing else but bask on their very first trip to the world outside their small town. There were brass instruments, wind instruments, violins and drums. There were keyboards and guitars, congas and güiros to provide the Caribbean touch such a homegrown musical piece needed. Overall, there are 24 seniors (all of them are at least 18 years old at the time of performing in Alshkan. They are all dressed in shiny gold jackets and black pants. The shiny gold jackets are reflective, as such that small, glistening patterns occur when reflected across the stage lights.

The borders of the stage begin to glow in Achaea’s typical red, blue, and green along with gold (in reality, the “gold" was sparkly trimmings of yellow LED lights). The colors flow through the seat stands as covering Other than these shimmering reflections in the orchestra’s jackets, the border lights and the reflecting lights of smartphone cameras throughout the arena, the stage is pitch black. As the music starts, a silhouette of a woman with short, frizzy hair carrying a microphone appears. She is wearing a long, flowing gold dress with golden earrings that very much complement her fire-red hair. She is serious, yet smiling; looking downcast on the floor, but also wiping away any tears on her eyes––not because of emotion, but of sweat and makeup running down on her face, as she never knew the blinding backstage lights could make the stage as hot as a Buonaserense summer night.

Unlike past Achaean stage settings, this one is minimalist and emotive, taking advantage of the long catwalk and accurately timing Dalila’s every step in order to evoke a river of precious metals behind the floor––gold, silver, rubies, sapphires, diamonds. Her long dress is mean to carry these jewels to the end of the extensive catwalk and slowly light up the stage. Her smile would be infections. Her laugh would be contagious.

The spotlight shines on Dalila’s frame, and she begins singing stoically for the first four verses. The music, once stopping for her voice, resumes to the cadences of her strong, yet tender voice for the next four verses as she walks across the stage and the LED river of precious metals starts forming under her feet.

Desde hace tiempo anhelé soñarte
Quisiera besarte de cara en cara
Haciendo honor a tu figura blanca
Que mis manos toman sangre en una vara
Anhelé tocarte desde un principio
cuando me hipnotizó tu mirada
Es la abertura de mi inexperiencia
y aún así te espero en la alborada


The camera suddenly switches to a wide pan of the slowly lightened-up stage, with Dalila’s grave voice filling the room and thousands of flags decorating the stage as she walked. Another quick change of the camera showed a singer playing his güiro and another one beside him with a wooden clave keeping track of the song’s subtle beat. On another side camera shot, a few trumpet players and violinist were dedicated to their craft once the chorus arrived. Still another camera focused on the Achaean contingent, always loud and vibrant, waving their flags, singing to their heart’s content, cheering their performers and annoying the other fans on the arena.

Once again, the camera moves back to a radiant Dalila, smiling and waving her free right hand, at the same time she sings her chorus while opening her hands. She wants to show openness and freedom, warmth and tenderness to the public, and more so to her longing Achaean fans and students. This part of the chorus allows her to be more open and emote with better depth in her eyes and voice as the cameras and the stage interacts alongside her and the stage grows into a brighter illumination without it being harsh on the eyes.

Así es que hoy quiero anhelarte tanta felicidad
Consolar tu cama cuando sientas soledad
besar tu boca llena de intimidad
Eres mi imaginación hecha realidad
Eres la razón de mi libertad
espero verte abnegada en tu humanidad
Mi razón de existir y mi cantar
Tú eres mi sol, mi vida y mi sanidad


The orchestra’s sound in the second stanza grows louder and more triumphant. Dalila's hand gestures are delicate, yet strong and forceful, just like her powerful voice. She attempts to caress the camera that follows her face as it turns around her body, her somewhat portly frame, and her glowing golden dress atop the LED river of precious metals. The strings follow the sound of the woodwinds. The brass, leveling their power atop the music, stretch the flow of the percussion. A small guaguancó elevates the sounds of the second stanza as a small, yet strong student of Dalila’s plays the congas and another one plays the drum with gusto.

All the while, Dalila is smiling to the camera, playfully evoking memories of her life with her husband, Miguel. She wants the audience to know she is full of love despite her many flaws, that she is the conductor of her own story––and in fact, there is no conductor guiding them, instead Dalila’s own movements suddenly dictating the orchestral instruments to be played next.

Confieso que nunca tuve tantas voces
invadiendo el cuero de mi cabeza
todas las veces que yo te hecho daño
y aún así me llenas de entereza
Porque el amor es ciego y justiciero
traicionando la cordura y la destreza
y así, mi amor, tú te expresas hermosa
soñando de placeres con belleza


The orchestral music becomes much more potent, emotional, subtle, and contradictory Latin as it heads to a second reading of the chorus. Dalila’s voice and movements grow much more potent, emotional, subtle and contradictorily Latin as well. She looks at the camera in front of her longingly and tenderly, as if she misses her dear husband’s touch––even though she knows he is sitting in the front with their dear children and family back in the green room. But she wanted him beside her, hugging her, kissing her, caressing her body as the first time they met at that fair. She wanted to ask forgiveness for all the mistakes in their life, all the rotten attitudes, all the misplaced perceptions. She wanted to let him know, her beloved husband, that

As she finally reaches the other side of the walkway to sing the chorus again, the stage suddenly grows into a burst of light. The bird’s eye view of the camera shows the stage beaming with light as soon as Dalila reaches the end of the walkway. The LED walkway filled with gold and precious jewels flowing from her dress would suddenly appear in the LED screens way behind her, giving more light to the orchestra of students. Another camera angle focuses back on Dalila quickly placing her microphone on the stand while surrounded by waving flags of many countries. In a blink of an eye, she could quickly point out the fire-emblazoned Achaean flag.

Así es que hoy quiero anhelarte tanta felicidad
Consolar tu cama cuando sientas soledad
besar tu boca llena de intimidad
Eres mi imaginación hecha realidad
Eres la razón de mi libertad
espero verte abnegada en tu humanidad
Mi razón de existir y mi cantar
Tú eres mi sol, mi vida y mi sanidad


In the few seconds before the final refrains of the song, Dalila raises her hands to the sky while trying to maintain the high note. The orchestra behind her continues to play their instruments with passion, gusto and dedication as a camera continues to focus on the many flags and clapping hands surrounding Dalila to the beat of the music. It is organized chaos, a symphonic cacophony of musical notes interwoven with a story she loved to sing about. The stage continues to show brightness and color––gold, silver, rubies, sapphires––and a sheen flows over Dalila’s golden dress.

Mi razón de existir y mi cantar
Tú eres mi sol, mi vida y mi sanidad


The strings play the final bars and, immediately the song is complete, the stage immediately fades to black. All lights in the arena, bar the ones coming from flash-induced smartphones and professional-grade cameras, are turned off. The stage erupts in raucous shouts and applause and even greater shouts in Spanish from the Achaean fans on the arena––or, at least, the ones that could be picked up from the cameras and microphones around the stage. The lights briefly turned on and Dalila bows her head in a signal of thankfulness, wiping away what looks to be either a tear or a drop of sweat on her eye. The student orchestra behind her also stands with their instruments and bows and waves to the cheering crowd. Some of them hug each other before leaving the stage.

The camera back to Dalila, she waves to the crowd and says, “Thank you so much! ¡Muchas gracias, Alshkan!” before leaving. She is more than content with her performance––she is more than happy.


For a while I’ve been dreaming of you
I wanted to kiss you face to face
Honoring your white figure
That my hands take blood in a cane
I desired to touch you from the beginning
When a look hypnotized me
It is the opening of my inexperience
and, even so, I wait for you in the dawn


So today I want to wish you so much happiness
Comfort your bed when you feel loneliness
Kiss your mouth full of intimacy
You are my imagination made reality
You are the reason of my freedom
I hope to see you selfless in your humanity
My reason of being and my song
You are my sun, my life, and my healing


I confess that I never had so many voices
Invading the skin of my head
All the times I have hurt you
And you still fill me with fortitude
Because love is blind and fair
betraying sanity and dexterity
and even so, my love, you express yourself so lovely
dreaming of pleasures with your beauty


So today I want to wish you so much happiness
Comfort your bed when you feel loneliness
Kiss your mouth full of intimacy
You are my imagination made reality
You are the reason of my freedom
I hope to see you selfless in your humanity
My reason of being and my song
You are my sun, my life, and my healing


My reason of being and my song
You are my sun, my life, and my healing
Last edited by Achaean Republic on Sun Dec 29, 2019 2:04 pm, edited 5 times in total.

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Estogium
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Posts: 513
Founded: Apr 27, 2015
Ex-Nation

XX | Estogium | Scott Brodeur - With One Touch

Postby Estogium » Mon Dec 23, 2019 3:47 pm

ESTOGIUM
Scott Brodeur - "With One Touch"

Trigramme: RWH
Language: Englsih
Music: Scott Brodeur, Georgina Herrold
Lyrics: Scott Brodeur, Timothy Jordan, Tiana Barker, Quincia Ewans
Tune: Jaagup Tuisk - Beautiful Lie




Image
Young & Beautiful: 19 year old Scott Brodeur is to represent Estogium at the upcoming World Hit Festival after the nation's best ever result in St Christopher.


It had taken Estogium a total of 21 editions to finally make their way into a podium finish at the World Hit Festival, with the nation ending their bad spell of results by coming second place in St Christopher, Llalta for The 48th World Hit Festival. Coming off the back of Estogium's poor result of 15th place by Tony Alanis at the most recent Britonish hosting of the World Hit Festival - 47 - there was yet another push for Estogium to send a good entry to the 48th World Hit Festival. With Estogium's 5 edition strategy at the WorldVision Song Contest coming to an end soon with no top 7 placing, it seems as though the Estogian music department are at odds to what appeals to the wider consumer market. Upon hearing Britonisea's withdrawal from the WorldVision Song Contest 77 and Gigi Vadeboncoeur (the person who sung for Britonisea at WHF48 and subsequently won) decided to sell off the song which was nabbed by RVC. RVC had Zala Marelli sing the song penned by Gigi Vadeboncoeur and performed well on the stage. During the final nation voting reveal, the race was very tight. A few nations could have won, but the focus was on Estogium and Britonisea who were 1st and 2nd on the scoreboard. Estogium had more chances here of winning, breaking the tie (so if Britonisea received no points, Estogium would've won) or Estogium received the final set of five points. In the end, however, Estogium was nabbed the win by Britonisea but still the nation placed 2nd which is, to date, their best result at the World Hit Festival. It also matches their best result at the WorldVision Song Contest with a question of which contest will Estogium come first in first now being asked around the country.

BVC, the public broadcaster for Estogium's Eastern neighbour, approached RVC asking them as to whether they would be able to host the World Hit Festival in what would be a joint effort between the two nations; Britonisea and Estogium. RVC, off the back of Estogium's WorldVision hosting, agreed to joint-host with BVC. With this in mind, Estogium broadcaster RVC wanted to send something good to their upcoming World Hit Festival and they decided to go for young lad Scott Brodeur who will represent the nation with song "With One Touch". The song for the upcoming edition has been labelled as minimalistic but powerful with the tune sounding very gospel-like with the backing singers and dramatic drums. The song is about a boy falling in love with somebody they thought that they weren't able to love.


It was now time for the Estogians to grace the stage of their people. Britonish and Estogian fans cheered loudly as the Estogian postcard begun to play as the stage personnel rushed on to the set. Estogium wanted to go for quite a simple staging this time round and so that's what they did. They decided to use the upper end of the stage for this performance, near the LED screen with Scott Brodeur - who decided to just walk on with his mic pack on him - standing in the middle of a very low pool where water would fall on to him. Scott decided to wear a white T-shirt and off white trousers which was rather minimalist but in keeping with the production around him. Scott stood there as the stage personnel rushed off the stage leaving him behind. There were other men on the stage, hidden in the darkness, who would provide vocals for Scott during the song. Water started to fall delicately from the rigs to the pool that he was stood in. He took a breath in as the audience once again cheered for the performance to start. There was a silence as rainwater started to be the first thing that you could hear. Eventually, you could hear the sound of men humming in the back as the camera shot, which was blurred, moved closer to Scott as it moved into focus.

Scott was looking deep into the camera as it came close to him. The bright white light along with his white outfit shone brightly in the arena. No other light was coming from anywhere. He started singing after the men hummed for a while. The camera focused on his delicate voice being heard for the first time.

Hmmmmmm
Hmmmmmm
I felt nothing before you
And one may argue I still don't
But I am sure that I felt you
Touch my heart, you made it so warm


When the heartbeat effect was heard in the arena, the camera shot changed to a wider shot, with him being in the middle of the LED which rapidly showed a dark red heart among darkness beating in time with the beats in the song. He looked out towards the audience as his hand slowly followed down the side of the microphone stand. He closed his eyes and turned his neck a bit as he felt the lyrics he was singing. He slightly smiled as he sang "you made it so warm". Along with the music, the light drastically cut out with the music. There was a moment of darkness and nothingness. You could still hear the water falling - a rain effect.

As Scott said "You stopped my heart with" there was still darkness until he continued singing "one touch" where light beams appeared around the young man. Similar to Sweden 2014, the light beams that appeared around him, lowered itself over the audience in front of him. As he sang the chorus, he looked forward, with some camera shots catching his glimpses as he followed the shots around. The lights which lowered were a blue and dramatically cut out 01:06 a spotlight slowly focused on him once again.

You stopped my heart, with one touch.
Then repaired it.
You had taught me how to love once again
I never thought I could love again
And from this I've learnt
That it's you that I love you


As he sang the last line of the chorus, "That it's you that I love", around the water falling from the rigs was snow with a woman who was wearing pink. As the high pitched piano played during the section between the chorus and the next verse, she ballet danced and pirouetted in front of Scott Brodeur who looked at the woman as she appeared and disappeared. He looked as though he was entranced by her beauty, infatuated by her. The camera followed focused on her movement and elegantly moved along with her before fading out of focus.

At the start of the next verse, the lights remained the same as the snow stopped around him. There was a camera which came from behind him. He didn't pay any notice to it, rather closing his eyes and singing as though he was thinking such beautiful thoughts in his head. The steadicam circled around Scott Brodeur who started to get wet from the splashed of water hitting him as it landed in what seemed like a puddle below him.

You pulled me in, I can't push out now
I want your love, it's so addictive
Why can I not just resist?
You make me weak , vulnerable.


When Scott sang the lyrics "resist", there was a wide shot of the whole arena as a few members of the audience decided to cheer after Scott's perfect falsetto. It looked beautiful from afar as all members of the audience had their phones out and even the stage floor glistened with stars to make it look as though Scott was completely surrounded by a sea of stars with the rain falling where he was. As the heartbeat sound came back, similarly to first time, the heart once again appeared on the screen and beat. Along with this, however, the spotlight that was on Scott was reacting to the heartbeat by increasing and decreasing intensity. The camera quickly zoomed in to Scott from afar as he sung the lyric "You stopped my heart"

Slowly, another camera from a different delicately moved outwards at an angle as the light beams moved down over the audience. The woman who was on the stage with Scott the first time came pirouetting back on to the stage. The next few shots that we saw were of the camera angle showing what was happening in weird angles - dutch angles - but focusing on Scott's expression towards the woman dancing around him. The snow fell on the dancer as she danced around him.

You stopped my heart, with one touch.
Then repaired it.
You had taught me how to love once again
I never thought I could love again
And from this I've learnt

That it's you that I love you


As he sang this all-important line, "And from this I've learnt" the lights in the arena switched off like the first time we hit this line with the stage devolving into nothingness. Though this time was slightly different as this chorus lead into the dramatic bridge section. He continued singing the line "That's it's you that I..." and as soon as he reached the lyric "you", the stage turned white with the stage floor and screen all turning white. The woman, who was wearing pink, ran up to him from the back and jumped on Scott Brodeur who managed to hoist her into the air despite singing the next line of the song...

The camera rapidly zoomed out as the woman ran up to Scott and jumped on her. As the camera moved out, you could see and hear - in force - the men who were singing along with Scott, making the song sound powerful and gospel. During this section as well, the water that was falling from the top became very powerful as Scott and the woman who was now hoisted into the air appearing to be soaking wet.

It’s you that I love you.


Along with the sound of the drum at 02:25 and 02:32, for the viewers at home, the camera shot changed a total of four times between one another, showing different angles of the ballerina in the air. Scott Brodeur turned around as, in the soundbox, they used Scott's mic and mic pack in the hope his vocals will be picked up without the use of the microphone. The boy gently let the woman down as we neared the final chorus. Scott put her down as she hugged him gently from behind. He continued to sing the song as the white seeped away from the stage floor and the stage behind him leaving him under a single spotlight once again...

Safety is when I am nestled in your arms
But there's nothing I can do to win your trust
You pulled me in, I can't push out now
With one touch I now know I love you.


At the end of the song, the camera slowly zoomed in as the spotlight decreased and decreased in intensity as the woman turned his face and moved in for a kiss. However, as the two reached each other's lips, the pair was in the dark. The audience came in with a huge roar for Scott Brodeur. As the lights came back up, Scott shouted to the audience, "Merci Brityunik!!!! Merci Rwhitton!! Thank you World!" We then quickly moved onto the next proceedings...
Last edited by Estogium on Sun Dec 29, 2019 8:54 am, edited 4 times in total.

User avatar
Besmenien
Spokesperson
 
Posts: 148
Founded: Nov 02, 2019
Inoffensive Centrist Democracy

Postby Besmenien » Mon Dec 23, 2019 4:26 pm

Besmenien
STEVEIAN92
"Du bist nicht so
schlecht wie ich dachte"
Trigramme: BES
Language: German
Translation of title: "You are not so bad that I thought"
Music: STEVEIAN92
Lyrics: STEVEIAN92
Tune: https://youtu.be/a-SaoaXfz6E


Ich kannte dich seit Ewigkeiten
Ich lernte dich in einen Club kennen
Du und ich verstanden uns nicht gut
Wir haben uns gestritten und beleidigt

Doch mit der Zeit verstanden wir uns
Wir haben uns versöhnt
Wir haben über unser Leben erzählt
Wir haben gelacht

Du bist nicht so schlecht wie ich dachte
ich dachte anfangs, du wärst ein Depp

Du bist nicht so schlecht wie ich dachte
Ich finde wir passen gut zusammen

Wir haben Bier getrunken
und über unsere Probleme diskutiert
Wir sind über unsere Streitigkeiten weggekommen
Du und ich sind nun Freunde fürs Leben

Du bist nicht so schlecht wie ich dachte
Wir haben vieles gemeinsam

Du bist nicht so schlecht wie ich dachte
Du bist einfach der beste

Du hast mich auf eine Party eingeladen
Ich hab mich sehr gefreut
Wir tranken sehr viel Alkohol
Es war eine coole Nacht

Du bist nicht so schlecht wie ich dachte
Du bist echt in Ordnung

Du bist nicht so schlecht wie ich dachte
Ich hab dich für mein Leben gern



This song is based on a real story. In 2013, STEVEIAN92 was in a club and met a guy he didn't like at first, but over time the two got along and became best friends. When his friend died in a car accident in 2018, STEVEIAN92 wrote this song.
Last edited by Besmenien on Tue Dec 24, 2019 2:59 am, edited 1 time in total.

User avatar
Normandy and Picardy
Ambassador
 
Posts: 1995
Founded: Aug 11, 2014
Ex-Nation

Postby Normandy and Picardy » Tue Dec 24, 2019 11:17 am

Normandy and Picardy
Margritte Laffaire and the Beauvais Music Collective - "Une Chanson"

Trigramme: NPR
Translation of Title: A Song
Language: Normand French
Music: Margritte Laffaire,Marc Dellan, Loic Matisse, Jean-Baptiste de la Salle
Lyrics: Margritte Laffaire, Anais Hollande
Tune: Mon Laferte - El Beso



Image
Margritte Laffaire, 34, (above), a highly popular singer in Normandy and Picardy, will perform alongside the Beauvais Music Collective at WHF49 in Alshkan



As is traditional Normand fair, the stadium is unsurprisingly quite dark as the song begins. The first camera shot shown is Magritte's silhouette cast upon the floor of the stage. Then, as the percussion elements join in, a series of different relatively rapidly changing wide shots of the stadium are shown as there are flashes of red lights and rectangular 'waves' or red are shown passing over the back screen and the LED floor, creating a somewhat sultry tone tinged with a slight menace, an odd feeling to elicit I know but work with it. We eventually return to the silhouette, with the camera then turning around to show Margritte dressed something like this, with a rose, slightly wilted, in her hair. The stadium remains dark beyond spotlight shining on Margritte as she sings into the camera, up until the first call of "non" by the backing singers, who of course are not shown, at least not for now. Will they be? Depends if I could be bothered, and SRNP could find the money to send them along with Margritte. But let that not concern us now, back to the entry at hand. Margritte, who had been close to the end LED screen, begins walking down the walkway towards the central round bit, with the cameras keeping a relatively close shot. There was a general ambient lighting, the usual sort but with a slight hint of red, and as Margritte walked along in the background, starting from behind her head and sprawling out, a floral pattern, made to look sort of like tattoo-art, mostly made up of black, white, and red (red roses emerging from the black and white stems and thorns etc., you can probably imagine it) spread across the back LED panel, which could be seen within the walking camera shot.

Dites moi
Si t'as l'envie de moi
Pas <<peut-être>>s, pas <<pas sûre>>
Noooon (Noooon)
Chantez
Et essayez d'ne pas sourire
En chantant ces mots
Noooon (Noooon)


Margritte continues to walk along, but sticks one of her hands out to the side above which, thanks to the wonders of technology, appears a tattoo-style image of a heart with a banner across it, simply with "d'amour" on it as she sings the first line, and with the second line appears to swat it away with her other hand whilst winking cheekily at the camera. She then raises both her hands above her head, coming to a stop as she does, with the palms facing outwards; we can see her hands are covered in intricate patterns, with a red rose in the centre of the palms of each. She then pivots around, the camera following her as she does so, and pulls her hands back to her sides, ending with a slight bending of the knees, not a full on squat but you get the image (doesn't sound attractive I know, but it is, trust me). With the line "On connait la chanson", she brings her hand to her mouth before mimcking pulling something out of it (not full on and graphic, just with the hand), as if mocking the object of the song, before putting before her hands back out to the side again with a look on her face so as to suggest she is simply thinking "Whatever".

As this section of the song carries on, Margritte proceeds to carry on moving her body to the music, oozing class as she does so; she is that b*tch and is fully in control of the situation. Towards the end though, two young women, dressed in similar outfits appear, one on either side, and tap her on the shoulder to get her attention, and point out the table in the middle of the stage in the more circular bit (based on the videos Brit provided, anyway) around which a series of people with various instruments, unsurprisingly mostly brass and percussion, and all members of the Beauvais Music Collective, can be seen, and she proceeds to walk along with them towards it, pretty much reaching it as the chorus is just about to begin.

Une chanson d'amour
Ou une chanson paillarde?
Une chanson de geste?
Non, une chanson à boire
On connait les paroles
On connait la chanson
Et la refrain, c'est toujours la même

Une chanson Normande
ou peut-être tropicale?
Chans' 'riginale?
Non, tu est tout en plastique
Les paroles en masse
Les hits sans fin
Mais ta chanson, ce n'est pas phare pour moi


The two female backing dancers lift Margritte up onto the table, wooden and made to look old and battered, on which there are various bowls, plates etc., as the chorus begins. Around her, the people sat around the table with their various instruments seem to play along. A series of camera shots, taking in the whole 360 degrees of view allowed for with shots over the audience on both sides of the stage, etc., help add a bit more movement to the chorus. It can also be seen that the tattoo-like tangle of roses and thorns has spread along the LED floor across which Magritte had walked, and is slowly moving towards the table and everything in the centre. At the end of the chorus, Margritte falls backwards from the table and is caught by the two female backing dancers. The cameras turn around to show a man walking down from the other end of the stage from that which Magritte started at, dressed in a very expensive looking if rather loose-fitting suit (showing, for those whom it may concern, the gym-honed body beneath) and his tie loosely on (this will be important later), with (when a close up shot is given) quite a steely look in his eyes.

Chantez
Chantez une chanson neuve
Quelque chose avec un peu de vie
Un peu de vérité
Et j'me pourrais que j'puisse encore une nuit
Mais demain matin je devrai quitter
Avant que tu puisses m'attirer
Avec ton chant des sirènes
Maint'nant, chantez à moi

Chantez à moi
Chantez à moi
Chantez à moi


The man reaches the table as the next verse begins, standing with a slight bend in one of his legs and just genuinely looking very attractive, if ever so slightly greasy. Margritte can be seen to be completely fine with her backing dancers, as the roses and thorns spread beneath their feet and in a circle around the table, one which will enclose the table and spread further along by the beginning of the next chorus. This next verse mostly consists of varying shots of Margritte and the man, who slowly walk around the table, with the two female backing singers providing back up for Margritte and pushing her on in this battle of wills (ok, that might be slightly hyperbolic terminology, but you get the point). And don't worry, I haven't forgotten about all those instrumentalists that were there during the chorus; they all went off stage whilst the camera was focused on the man in the post chorus instrumentally "chantez a moi"-y bit; we love the tricks of the trade.

Donnez
Me donnez un spectacle
Et cette fois vous donnez aux tes mensonges
Aux tes histoires
Me faites vouloir entièrement croire à eux
Tu me fais devenir folle par tes mots
Ou peut-etre en dépit d'eux
Alors dites moi que tu veux m'entendre
Dites moi que je veux entendre


Unsurprisingly, this quasi-call and response section is shown to be carried out between Margritte and the backing singers on one hand and the man, providing the response, on the other hand. They start on opposite sides of the table, both of them with their hands down and trying to show their control and dominance over the situation, but as the section progresses Margritte leaves the two female backing singers and, following her with occassional cuts to the man for his 'response' (actually sung mostly by backing singers off stage), until she is standing behind him him, hands on his chest.

Juste dites moi (Juste dites moi)
Montrez moi (Montrez moi)
Dites vous-même (Dites vous-même)
Montrez moi


The two sway from side to side as one as she sings the first line to him, before he turns around and grabs her, letting her fall slightly backwards pointing away from the table, although of course supporting her. She then lifts herself back up and puts one foot up on the table, with the man then being forced to lean backwards over the table, and then they do some other similar choreography based on dancing around the table which I am in no way qualified to describe, if you'll forgive me. She then breaks free of him, toyfully plucking the rose from out of her head and dropping it at the mans feet, before walking back towards the two waiting backing dancers (the same two from earlier). The man picks up the rose with a smirk on his face, shaking his head, before the cameras return to focus on Margitte and the backing dancers.

Venant de toi, les paroles perdent tout sens
Mais je veux encore ecouter ta chanson
Une chanson romantique
Ou automatique?
Poursuivez quand même
Parce que je ne m'en fais

Une chanson Normande
ou peut-être tropicale?
Chans' 'riginale?
Non, tu est tout en plastique
Les paroles en masse
Les hits sans fin
Mais ta chanson, ça suffit pour moi


As the second, and indeed final, chorus, begins, the design on the background and the floor has finally reached around the entire table and part the way beyond towards the end of the stage. The chorus itself was pretty uneventful really, you can probably blame either a lack of money to pay a decent choreographer or something at this point, or maybe they spent lots of money but just on a mediocre choreographer anyway. All this is of course, however, filler, to account for the lack of ideas. Throw in a few camera shots from various different angles, mention the fact that some dancing took place, something happened with the lights, yadda yadda yadda... Anyway, where was I? Yes, the chorus. As I described, of course. Now, swiftly move on to the final section.

Chantez
Chantez une nouvelle chanson
Quelque chose avec un peu de vie
Un peu de vérité
Et j'me pourrais que j'puisse encore une nuit
Mais demain matin je devrai quitter
Avant que tu puisses m'attirer
Avec ton chant des sirènes
Maint'nant, chantez à moi


As the song comes to an end, we return to the table, with Margitte seated at one end, whilst the man, Margritte's rose held between his teeth, leaps up onto the table, then gets down on all fours and starts slowly crawling towards her, a devilish look in his eyes. Margritte acts all coy, fanning herself with her hands and looking slightly aloof as he approaches. We get several shots of this from both perspectives until just before the final "Chantez à moi", with the man getting quite close to Magritte, she suddenly appears to snap into action, grabbing him by his tie and - in a sexually charged, aggressive but not overly so manner - pulls him towards her. The last shot we get is of Margritte at the head of the table, holding the man's tie in one hand (he is lying on the table), and blowing a kiss at the camera as the final trumpets sound. And that is that, the performance is over.

Chantez à moi
Chantez à moi
Chantez à moi
Chantez à moi
Chantez à moi


Tell me
If you want me
No "maybe"s, no "not sure"
Noooo (noooo)
Sing*
And try not to smile
Whilst you sing those words
Noooo (noooo)
*Here used in a figurative sense as a synonym for dire; this usage is the basis for the main thrust of the song, as will become obvious. See the le Trésor defintion of chanter for more

A love song
Or one that's bawdy?
A chanson de geste?
No, a drinking song
We know the words
We've heard it all before
The refrain, it is always the same

A Normand song
Or perhaps tropical?
Something original?
No, you're all plastic
The mass-produced words
The hits without end
But your song, it's not a hit with me

So sing
Sing a new song*
Something with a bit of life
A bit of truth
And I might even stay for one more night
But in the morning I will have to leave
Before you can lure me in
With your siren song
Now, tell me**

* Note here the use of neuve rather than nouvelle in the French lyrics - Margritte does not want a song that is simply new to the subject of her musical tirade, rather she is making clear she wants something completely new, different, that no one has had before
**Here the figurative use is made most clear and explicit


Sing to me*
Sing to me
Sing to me
* Or "tell me", or perhaps even "say it to me" a bit more loosely

Give
Give me a show
And this time put your all into your lies
Into your stories
Make me want to believe in them
You make me go crazy with your words
Or perhaps in spite of them
So tell me what you want me to hear
Tell me what I want to hear

Just tell me (Just tell me)
Show me (Show me)
Tell yourself (Tell yourself)
Show me

Coming from you, the lyrics lose all meaning
But I still want to listen to your song
A romantic song
Or automatic*
Carry on anyway
Because I don't care about that

* This might seem a strange choice, but is meant in relation to the idea of the "songs", perhaps to be thought of more of as excuses which is another aspect of the song - the woman here is calling out the man on his lies, but remains conflicted and asks him to give her a reason to stay - as being "plastic", "mass-produced" etc., ie. devoid of any actual emotion or meaning

A Normand song
Or perhaps tropical?
Something original?
No, you're all plastic
The mass-produced words
The hits without end
But your song, it will do for me

So sing
Sing a new song*
Something with a bit of life
A bit of truth
And I might even stay for one more night
But in the morning I will have to leave
Before you can lure me in
With your siren song
Now, tell me

* Note now that neuve has been replaced with nouvelle - she simply wants to hear him say something different to what he normally does, she just wants something new to come out of his mouth rather than what he usually says, regardless of if he is sincere or just borrowing it from elsewhere, or if even she has heard it elsewhere. The difference is subtle admittedly, but I think still notable


Sing to me
Sing to me
Sing to me
Sing to me
Sing to me
Last edited by Normandy and Picardy on Mon Dec 30, 2019 7:13 am, edited 16 times in total.
Northern French Names but with a general Western Med vibe, welcome to N&P

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Todlichebujoku
Senator
 
Posts: 4979
Founded: Feb 24, 2012
Civil Rights Lovefest

Postby Todlichebujoku » Tue Dec 24, 2019 6:28 pm

Tödlichebujoku
Yulimi - "Solo"

Trigramme: TBJ
Language: English
Music: Aina Oširo, Attalav Tačibana
Lyrics: Aina Oširo
Tune: VaVa - Rainbow




Image
Image

Once part of the girl group 7-Kohtalottaret, rapper Yulimi (real name Aina Oširo) split from the group just as it fell apart in a messy and dramatic affair. While she managed to leave before the drama truly spun out of control, she was still dragged into the finger-pointing and accusations by her former group members and could not escape the subsequent media and fanbase attention. The young singer struggled to keep silent, or at least low-key, through the ordeal, and has only recently dropped a track in response to her former peers. Upon hearing the new single, "Solo", Estegoa100 quickly arranged to meet with Yulimi and have her represent Tödlichebujoku in the 49th World Hit Festival. While there has been a mixed response to having what is essentially an unrelated diss track represent the nation in this international competition, Yulimi, having spent much time absorbing international media and culture, has publicly stated that "bitches are everywhere" and the subject is relevant to a wide spectrum of people across the world. She hopes to help those stuck in toxic relationships to find the courage to speak out and step out, to fly solo and free.


The stage is wreathed in darkness at first before being sliced by twin arrays of blue lasers from each side of the stage. Yulimi stands facing backwards on a pedestal, lit by a single blue spotlight from the back of the stage. The lasers arc downwards in a continuing motion as Yulimi stands motionless, the camera centered and slowly drawing backwards. Pulses of blue light subtly emanate from the stage with the bass drumbeats, and an arc of spotlights along the stage edge flash and flicker as the music begins to intensify
Flyin' free
Flyin' free, step off
Flyin' free, flyin' free
Fly, fly solo
Flyin' free
Flyin' free, step off
Flyin' free, flyin' free
Fly, fly solo

Flyin' free
Flyin' free, step off
Flyin' free, flyin' free
Fly, fly solo
Flyin' free
Flyin' free, step off
Flyin' free, flyin' free
Fly, fly solo

Yulimi spins around as she is illuminated by white light, dressed in a colorfully-patterned jacket (somewhat like the ESC2020 logo) and executes a dance routine with a circle of dancers who have risen from the floor around her. Every move she makes is very practiced, her determination quite visible on her face as she claps and raises her arms with the dancers. Meanwhile, the lasers transition into a fluid spectrum of colors, arraying out over the audience in a fan formation
I'm solo
Go suck it
I'm solo
Hop off

Yulimi breaks formation with her dancers to look straight into the camera with a daring countenance, aligning just in time to execute a dance moves with the dancers before speaking again, as she slowly makes her way down the steps in front of her pedestal to the stage floor
I'm solo
Yeah, suck it
I'm solo
Go off

Her dancers are arrayed to each side of her as they all sink down to a squat. The dancers are no longer illuminated, becoming silhouettes before the bright red background screen behind them, while Yulimi herself is lit. She glares into the camera view as she begins her verse, backed at points by unseen singers. She looks stunning
Wassup
I hear your mouth talking mad (talk mad)
Is it another dumbass bottom fad (shut it!)
'Cause I know the beat's droppin fat (fat drop)
But all I'm hearing is your whine falling flat

Yulimi and her dancers lean to one side and swing their legs out so that they are all reclining on one side, heads tilted up. Yulimi rolls her eyes as she drops her next stanza, gazing at the camera dismissively with side-eye afterwards
Damn, girl I'm glad I ditched this life (ditched this life)
Sayin' you sound good, bitch I'd really rather die (rather die)
Make as much noise as you're makin' girl you can't be talkin' real, you gotta know you're gonna flop (gonna flop)

They whip one leg around so that they are all sitting with their knees splayed out to either side, before hopping up into squat and rising, hands patting thighs to the beat. The spotlights dazzle about the stage and dancers around Yulimi, but the lighting on Yulimi herself is constant as she becomes increasingly aggressive with her delivery and demeanor
Talk to me again baby you'll be history
Look at me again, you'll be pushin' daisies
Try to touch me once, they'll never find your body
So baby boo, don't you ever try to cross me

The camera goes for a close in of Yulimi as she gestures out dismissively and looks down on the camera, looking ready to smack the camera down. She doesn't, as she's already doing that with her words
I got some thoughts for a happy ever after
Just take a seat and you won't be a disaster
I put yo momma there, learn from what you ask her
You might be quick, but remember that I'm faster

Yulimi and her dancers snap in unison, before clapping in orchestrated movements, the background screen blinking between different colors, and the spotlights alternating between various orientations behind them
Flyin' free
Flyin' free, step off
Flyin' free, flyin' free
Fly, fly solo
Flyin' free
Flyin' free, step off
Flyin' free, flyin' free
Fly, fly solo

Flyin' free
Flyin' free, step off
Flyin' free, flyin' free
Fly, fly solo
Flyin' free
Flyin' free, step off
Flyin' free, flyin' free
Fly, fly solo

Lights sweep out as Yulimi & co return to their dance sequence, puffs of brightly colored powder firing up along the stage edge in a sequence, the dancers becoming hit with multicolored splashes while Yulimi remains unscathed
Fly, fly solo
Can't stop me
Fly, fly solo
Don't try

Fly, fly solo
Can't stop me
Fly, fly solo
Don't try

A series of diagonal spotlights alternates directions as the ambient lighting switches to a mix of white and blacklight, with only Yulimi lit in white. She poses and preens, looking unbothered as she turns to face the camera to her side. Around her, the paint powder glows in brilliant neon upon the floor and her dancers, who continue to move in unison
All these hoes that want to fight me, Chun-Li
Every time I end 'em with my glamour Fenty (flawless)
They come in thinkin' I'm a diva, fancy
I can't relate to bitches who perform and get a "Who's she?"

She turns away and waves the camera away dismissively, as she strides forward along the stage, her dancers following in a V formation behind her, arms gesturing out and in before all turning to slap their own backsides with the relevant line
Why twist my words while I'm reaching for the top end
Try to wipe your booty off before you go and hit "Send" (wipe yo booty)
You on that dumb bitch juice they got you always sippin'
Hater hater haterade, a fake friend

Yulimi and her dancers all turn around and stand with their backs to the audience, legs wide in a confident pose. As they clap, the ambient lighting and background screen switches from color to color as the camera view switches from angle to angle, close in, further out, forward, and behind
Flyin' free
Flyin' free, step off
Flyin' free, flyin' free
Fly, fly solo
Flyin' free
Flyin' free, step off
Flyin' free, flyin' free
Fly, fly solo

Flyin' free
Flyin' free, step off
Flyin' free, flyin' free
Fly, fly solo
Flyin' free
Flyin' free, step off
Flyin' free, flyin' free
Fly, fly solo

The ambient lighting and background screen cut out as arrays of blue lasers and white strobe lights flit about behind and over the performers, the dancers lit in blacklights and Yulimi lit in a spotlight. They turn to one side, heads facing the audience, as they sink into a split before whirling around and holding one another's backs, with Yulimi soon stepping away from her dancers and striding confidently away
Got out of the freak show
Makin' moves on my own
Don't try to lowblow
Pipe down for my solo

Her dancers crawl behind her in a mass as Yulimi reaches the end of the stage, turns around for a few seconds, before huffing and turning back toward the audience and the spotlight, embracing the energy and attention in the room
Got out of the freak show
Makin' moves on my own
Don't try to lowblow
I'm flying high, I'm solo

Sparks fire out from the edge of the stage as the dancers rise and continue their dance sequence. The portion of the stage Yulimi is on is lifted into the air with cables mounted to spools on the ceiling. As she rises, she stands stoically, appearing resolute and determined, gazing occasionally into the camera
Fly solo
Can't stop me
Fly solo
Don't try

Sparks burst from Yulimi's platform as a spotlights focus upon her, while all else goes dark

"Thank you so much Alshkan, I love your energy here!" she shouts as she is lowered and joins her dancers.
Last edited by Todlichebujoku on Mon Dec 30, 2019 10:40 pm, edited 12 times in total.
早晨!ToBu for short.
[violet] wrote:You are my go-to nation for long names.
Oct 16 2018- Indo States wrote:YOU'RE FALSE TOBU
Apr 21 2020- Llalta wrote:omg tobu you’ve literally given me asthma with ur art

User avatar
Talvezout
Negotiator
 
Posts: 5381
Founded: Oct 05, 2014
Civil Rights Lovefest

Postby Talvezout » Wed Dec 25, 2019 1:14 am

Talvezout
Matcha - "Come and Go"

Trigramme: TVT
Translation of Title: N/A
Music: Matcha
Lyrics: Matcha
Tune: Greentea Peng - Mr. Sun (miss da sun)


Image

Matcha would be standing in a giant three-sided white box. As the beat started, Matcha would sway with the lilting melody of the song, slowly making her way from the walls of the room to the microphone standing at the front. As she would sing, the white walls of the room would fall apart to reveal a lovely Talvezian garden, thanks to the power of projection mapping. Matcha would start to walk in place (thanks to a just below the camera treadmill), and the garden would move with her.

Woke up today and knew it was gonna be extra fine
Said hey world, "Now it's my time"
Just came back from the brink
The worst things always make you sink
But I'll never have no fear
Because the sun will shine again
The light always feels so near
The darkness will always end


The treadmill and the moving garden would stop; Matcha would take the mic out of it's stand and she would slowly make her way downstage, as the camera would swirl around her. After the camera had completed three slow revolutions around her, it would zoom out to reveal that the walls around her had changed; she was now in some rainy downtown square, and the square would move with Matcha as she would move forwards. Thunder would peal and rain would fall around Matcha, alongside some rather gusty winds.

Cosas malas van y vienen
Cosas buenas van y vienen
Kratísei to kefáli sas epáno
Kratísei to kefáli sas epáno

You say, well hey
I've had bad things all my life
What will change today?
There's just too much shit, all strife
I say well, don't look dead
The sun is shining all over your head
Birds are singing and the world is smiling
Just hold on strong and you'll see what I mean

Estas cosas buenas van y vienen
Estas cosas malas van y vienen
Na perpatás tin agápi mou
Na perpatás tin agápi mou


With a single flick of her hand, the wind, rain, and thunder would all stop. As Matcha would start to sway again with the music, the background would start to bend and twist with her. Various copies of Matcha would appear in the square, copying her fluid and graceful movements. The camera would slowly zoom onto Matcha's face as she would sing the verse, with the walls behind her transforming into psychedelic swirls of hazy color.

Trust me, I've been there
The dark times where the world just ain't fair
I'd say "I can’t see ya"
"Mr. Sun it ain't that lean"
"I don't want to give up on ya"
But I got out of it
It'll happen to you, you'll feel fit


The camera would zoom out of it's tight shot on Matcha, with the slow zoom ending as Matcha would finish singing the song. The background behind her changed back to the Talvezian garden from before, but this time it's sunny and full of life. Thanks to some camera trickery, Matcha would appear to bend down and then pop up on the background behind her. She would slowly walk through the garden, with her back towards the camera, as the walls slowly faded to black.

Ta kaká prágmata érchontai kai févgoun
Ta kalá prágmata érchontai kai févgoun
Cosas buenas vienen al final
Las cosas buenas vienen al final
Last edited by Talvezout on Sun Dec 29, 2019 2:27 pm, edited 2 times in total.
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talveziobiblio.org.tz


User avatar
Bayilan
Lobbyist
 
Posts: 14
Founded: Aug 12, 2019
Ex-Nation

Postby Bayilan » Fri Dec 27, 2019 10:16 pm

Bayilan
Aaliyah Bilal - "The Light"

Trigramme: (BAN)
Language: English
Music: Jalail Alsadoon
Lyrics: Aaliyah Bilal
Tune: https://www.youtube.com/watch?v=UF-zPMPSkMY




Image


As the stagee was dim, the camera zoomed in to the stage slowly and then she started to sing.
Image
Image

Dododododoooo.. Dodododododoo, do doo..
Dododododoooo.. Dodododododoo, do doo...


Image

She starts to sing and rocks side to side to the beat slowly as she stood at the mic stand on the platform.
[Verse 1]
Sometimes it feels like
I am crushed and alone
And no ones here to comfort me
Cause the pain that I am enduring and
And when times get rough, I remember your love
I see the light so easily
Please show me the way and give it to me



[Chorus]
I need your love, something tonight
To lift my spirit up to the sky
All of the stress thats in my life
Is hurting me so, can I survive?
Just be my light, Just give me hope
I want the world to leave me alone...



Dododododoooo.. Dodododododoo, do doo...
Dododododoooo.. Dodododododoo, do doo...


As she continued to sing, the chior slowly walked on stage and started to sing along with Aaliyah.

Image

[Bridge]
(Chior)

Just lead me on, lead me on....
Dododododoooo.. Dodododododoo, do doo...

Just take me right on high
Give me your love
Give me... your love.. tonight..

Because of you, I’ll be alright…..
Cause.. of you.. I'll be... alright..


The lights on the stage would get brighter and the chior would start rocking side to side to the song and so would Aaliyah.

Image

[Chorus]
(Aaliyah)

I need your love, something tonight
I need your love, oh love oh love,

Something to lift my spirit up to the sky
Lift me on, lift me so high

All of the stress thats in my life
Is hurting me so, can I survive?
Just be my light, Just give me hope
I want the world to leave me alone
Just, please leave me alone.... oh.. hey!


Aaliyah takes the microphone off the stand and starts walking around the stage as she sang

[Chorus]
(Chior)
(Aaliyah)

I need your love, something tonight
Iiii neeeed... oooh

Something to lift my spirit up to the sky
Lift me higher oh lord

All of the stress thats in my life Oh,
all the stress in my life

Is hurting me so, can I survive?
Just be my light, Just give me hope
I want the world to leave me alone


She starts to walk back to the microphone stand placing the microphone back on the stand and she starts to sing the song with all of her might

(Chior)
Just leave me alone, just leave me alone, hey!
(Aaliyah)

Just be my light, my light, my light
Ahhhhhhhhh....!

Just be my light, my light, my light
I need you to be

Just be my light oh, Just be my light oh,
Just be my light oh lord

Just be my light my light, oh
Just be my light oh lord

Just be my light, my light, my light
Yeyeyeyeyeah.....

Just be my light, my light,
Oooooooooooooh.... oooooh please

Please be my light oh lord!



Image
Image

As they progressed to the end of the song they all extended their arms and Aaliyah extended her arms and she closed her eyes, looking to the sky and a white dove would fly on her hand.
Last edited by Bayilan on Sat Dec 28, 2019 6:03 pm, edited 2 times in total.

User avatar
Llalta
Chargé d'Affaires
 
Posts: 359
Founded: May 09, 2018
Left-wing Utopia

Postby Llalta » Sat Dec 28, 2019 5:04 am

Llalta
Esther Winterbourne - "Fonn Amháin"

Trigramme: LLA
Translation of Title: "One Desire"
Language: English, Irish
Music: Esther WInterbourne, Mason Clark
Lyrics: Esther Winterbourne
Tune: Orome - Oonagh




Image
Esther Winterbourne, Llaltese singer-songwriter and Llaltese entrant for the 49th World Hit Festival.


Llalta has had a somewhat roller coaster ride during it's appearances in WHF. From 17th in debut to 2nd and so on and so forth, Llalta solidified itself as a serious contender and not a country to be underestimated. This was especially true since the small nations victory in WHF47, in Kyvivre, Britonisea. Where Chiara Albanthia brought victory home for the first time ever, with her operatic symphony, "Timeless". A victory for the ages no doubt, especially in a contest where anyone could win. It gave the tiny island nation confidence that even they could win. And so, as a result of their victory they hosted for the first time ever in St. Christopher. Where Britonisea took the crown for the third time in the 40s. Llalta on the other hand, placed 9th out of 15, which, while still top 10, is not particularly impressive. Thus, the LBN knew they had to bring something different to the table. After 5 editions of ballads, a bop was definitely necessary to bring home yet another victory. Something powerful but with a Llaltese twist. The LBN and the people of Llalta would particularly enjoy a win or top 5, coming off of such a disappointing place last edition and due to the fact it was nearing the end of the 40s of WHF, where a win would be a fantastic way to end. In order to get the perfect entry however, who would sing such a song? Of the few with singing talent in Llalta, Esther Winterbourne, despite her being busy on her degree, was the one who would be most comfortable onstage. After all, she'd entered 3 times with impressive results, 2 of which being 2nd places. So, together with the Llaltese Folk Orchestra conductor and composer Mason Clark, a traditional Llaltese, with the pounding of the drums and flute belting, dance song. And so forth, "Fonn Amháin" was born.

"Fonn Amháin", (which means "One Desire") is a traditional Llaltese festival dance song, about how one should fiercely protect ones own views and make your mark. The words "Fonn Amháin" are actually and old Llaltese saying passed down for century, which translates to "one desire", means "when the world speaks as one". The staging will be present with a many a pyrotechnic to match the fiery rhythm and heart of the song, and many dancers.

Esther Winterbourne, 19-year old Llaltese singer-song writer, was born in the tiny village of Lilliannes. She is very well known throughout Llalta, being one of the biggest artists behind Evergreen. From the age of three, one of her favourite pastimes was singing, where she would sing songs 24/7. At four, she started school at St. Christopher’s Academy, where she stayed at the school until she was 18, the school teaching almost every Llaltese child. From four to eighteen, she participated in many school talent shows and open mic nights at pubs, where she became ubiquitous for her singing and piano playing. The piano she learnt from 6, from the renowned John Marshall of the Evergreens.

Now 19, Esther Winterbourne is currently taking a gap year to focus on her music career and travel the world before going to Britonisea to study at the University of Telm, where she will study Healthcare and medicine. She says that, “While I love making music and singing and so on, I want to do something more with my life, helping people and others in need.” She plans to get her degree and become a doctor back in Llalta to help those less fortunate than her. “I want to make people happy; save lives; make Llalta stand out for it’s amazing healthcare.” She said in an interview. However, now her music career has really set off, boasting two second places at the World Hit Festival. Despite this and being a commercial success abroad, she still believes that being a doctor is her dream, and to help people. However, she couldn’t be more thankful for what World Hit Festival has done for her. She said, “The World Hit Festival Really has changed my life. Like, people know who I am and you know. I just can’t put it into words how... thankful and glad I am for the opportunities and having the chance to meet amazing people I wouldn’t had met before. It really is surreal.” As of World Hit Festival 42, the rising starlet has had three consecutive contests, two of which gave her podium positions, as well as WorldVision 69 and 71, gaining 5th and 9th respectively.




The postcard ends, and silence descends on the ever-darkening arena. The information on Llalta and the entry at hand are shown on screen for the viewers at home. The heavy drums of the song begin, the stage bathed in a deep, blood red. The camera zooms in on muscled topless men, adorned with colourful paints in various patterns on their skin, who batter the rather tribal-looking drums to the beat. They appear to be the only people onstage as their bodies are gloomily lit with red. On the edge of the stage lay flame lit torches which are spread evenly apart. There is a tribal, almost pacific island atmosphere to the performance. A large drum can be seen at the back on a rostra, a man ready to beat it, stood in front. The camera takes a couple more dynamic shots of the men banging away at their drums, the dark and gloomy lights adding intrigue. As the introduction ends. the drummer strikes the large drum, building up to the song, and bright white lights flash manically to each strike of the drum. Not only that, but each strike is coupled with flame rising from the edge of the stage, sending the flag-waving audience into a frenzy.

As the tin whistle begins to play, the stage isn't bathed in a deep, blood red. Rather a bright red, with a tinge of orange, like a flame, which arrives in the dim flash of colour. With every beat, a set of flames shoot from the edges of the stage, alternating with each beat. Not only this, but the LEDs at the back show flames dancing wildly to the beat, coupled with Celtic-looking inscriptions. The lights are also constantly rising up like how a flame would, giving a very upbeat, fiery atmosphere. Furthermore, the biggest addition to the stage are the dancers, whom of which are dancing in sync, with heavy usage of their legs and hands to stomp and clap, as if they were making the music. One might notice Esther in the centre, dancing as if she'd been dancing her whole life. With smiles, the female dancers wore a dark red, knee-length dresses which looked un-ironed in a tasteful way. Some wore beads, bracelets and anklets, whilst others were adorned with braids and natural hair pieces. The men on the other hand, were shirtless with red skirts. They too had bracelets and anklets. The dancers also had face and body paints in various colours and patterns. Esther wore a saffron dress in the same styling as the female dancers, however had a red scarf-belt which allowed her to stand out even among the wild flurry of lights and flames. The dancers and Esther continued to dance, arms out to the sides as they spun. At the front-left of the stage was a girl, whom of which wore the same as the female dancers. Her chestnut hair was braided with flowers of varying colours. She was playing the tin whistle, and, despite being still, managed to keep up with the liveliness of the dancers and performance. As the introduction near to a close, the dancers and Esther skip to the back of the stage, and onto the rostra. Their journey to the back is overseen by the camera, who follows them from a birds eye view.

As Esther begins to sing the first verse, the dancers and Esther are all placed in varying positions, all facing the ever closing camera. Some are crouching, whilst others are doing lifts and leans. Esther stands in front of the large drum, which has a fiery pattern painted on the drum face. The lights are a dim red colour, similar to the lights at the beginning of the entry. The camera slowly zooms in on Esther as she sings, conveying the message to the viewer. She sings fiercely, the dancers changing position with each line. On the fifth line, everyone stands up in line on the rostra and those with mics begin singing. A celtic looking inscription begins growing on the LED screen, its tendrils working its way up the screen. The dancers begin doing a small dance, like the haka as they stand proudly in their line. The camera pans the stage, so the dancers and Esther are all seen as one, and many flags can be seen waving, even one Llaltese flag. There is a fire in the air, like they are readying for war. As the verse draws to a close, the dancers, with Esther leading, skip and walk to the front of the stage. There is a close up of Esther, as she scowls playfully at the camera, reflecting the lyrics.

If the world just stopped turning
And the darkness reigned
Would you cower in submission
Would you fight with flame?
Step up be the lioness
That you've honed inside
Don't let the midnight sway you
So let them hear your roar!


The chorus begins, and pyros on the edges of the stage begin shooting out to the heavy rhythm of the song, alternating with each beat. The lights billow outwards, and spread a fiery crimson red light out across the whole arena. The LED screens show bright flames licking the darkness and the celtic symbol, withstanding the flames. Red and golden yellow lights pulsate to the beat, giving the stage a general upbeat, rhythmic feel. The dancers and Esther perform yet another dance, heavily involving their hands and legs to create a rhythm, as if they were creating the music themselves. And yet they all still manage to sing and chant the chorus. The drummers can be seen also, pounding their drums with their faces stoic as stone. As they do so, the dancers smile and cheer at each other, giving off a very community and Llaltese feel. There is a general sense of fun with the entry, even amongst the powerful drum-driven song. They whip their hair often, and do kicks, an energetic dance if anything. The intensity of the song, seem to have gotten into the audience too, seeing as many begin to sing along to the easy lyrics. The camera pans the stage, showing all the performers hitting each move with precision and power, even Esther. The camera then pans to the audience, jumping up and down a fierce frenzy of ecstasy.

Let it burn, let it blaze like a fire, to our heart desires, fonn amháin!
Let it burn, let it blaze like a fire, find the flames inside, fonn amháin!
Let it burn, let it blaze like a fire, to our heart desires, fonn amháin!
Let it burn, let it blaze like a fire, find the flames inside, fonn amháin!


The chanting section of the chorus begins, and Esther and her fellow dancers begin the powerful chant. They begin to change position too, Esther singing to the audience for a little while, before being lifted so that her body faces the ceiling. The camera takes a birds eye view of the stage, where it's seen that the dancers are creating a ring around Esther, whom of which smiles into the camera as she sings. The men who lifted her up place her on their shoulders, so that she rises above the circles which are ringed around her. As she sits and sings, the audience sing along with her. The dancers which have created a ring around her, do strings of leaps and twirls around her in succession, creating a manic frenzy around Esther. The camera does another birds eye view of the stage, the full impressiveness of the dance in view. The dancers are all so tight and precise, all of which are seen in a full view of the stage. As the dancers scatter, moving offstage in a flurry leaving all but a few dances, Esther jumps off the two men's shoulders, and strides forward, taking the almost empty stage for her own, something she's done before. She stands in front of 5 dancers, comprising mostly of the female dancers. The audience's flags can be seen as they prepare for the second verse.

Oo fonn amháin!
Oo fonn amháin!
Oo fonn amháin!
Oo fonn amháin!


As the music becomes quieter, the lights dim into the dark, blood red lights that were on in the beginning of the entry. The pyros have turned off and the general red glow of the arena is less harsh. Esther and her five dancers slowly move forward as one, crouching low to fit the not so energetic section of the song, almost giving the viewer a break from all the flames and energy. Their a couple dynamic shots of the drummers striking their tribal-esque drums, their bodies defined by a deep red glow. The celtic inscription on the LED screen burns away into ashes on the screen, the flames licking away at the symbol. As this short section nears its end, a small flash of bright white lights introduces the verse, and almost as if it gave Esther a boost of energy, no longer are the striding slowly crouched down. Her and her group stride towards the right of the stage, where she sings passionately into the camera, smiling cheekily. Esther and her dancers do a short little dance, rocking their bodies and whipping their hair side to side. With a wink, Esther strides over to the other side of the stage, the dancers smiling with each other and leaping and flipping as they make their way across. Once there, the camera takes a shot of them doing another short choreographed dance, this time more tribal, doing more moves involving their arms and legs. On the fifth line, Esther and her group move to the centre and become a line, and the dancers return to the stage and join their line. They slowly walk to the front of the stage, singing the backing part of the song. The camera takes a close up of Esther who reaches out into the camera before flinging her arms out.

Stoke the flames you created
Set our hearts alight
Spread the sparks and go forth
Let them know your name
Go fight like the lioness
That's slept deep inside
Go forth conquer all that is yours
And let them hear your roar!


There is a flash of bright yellow and white lights which play to the drums which build up to the chorus, followed by red and yellow spotlights which quickly billow outwards, bathing the stage in a crimson red colour. The LED lights show large flames dancing, and spotlights of gold and scarlet pulsate to the beat of the song, giving the song yet again, a march-like atmosphere. The dancers in their line perform their dance, using parts of their body like percussion mixed in with kicks and movements. The dancers often do tricks with the person next to them, such as doing flips off of another's back. However, it is all in perfect sync, with the audience in a frenzy with each trick. Not to mention the shot of fire which rings the stage with each beat. The camera pans the line of dancers, stopping at Esther to zoom in, as she passionately sings the song, staring right into the camera. She glances over to the dancer next to her, and they exchange a smile, as if talking to each other telepathically. As the camera pans the stage, the frenzy of fans can be seen waving their flags.

Let it burn, let it blaze like a fire, to our heart desires, fonn amháin!
Let it burn, let it blaze like a fire, find the flames inside, fonn amháin!
Let it burn, let it blaze like a fire, to our heart desires, fonn amháin!
Let it burn, let it blaze like a fire, find the flames inside, fonn amháin!


The tin whistle player, steps to the front of the stage and begins softly playing her instrument, the camera circling around her. The audience can be seen as it happens, waving their flags and dancing to the music. Esther and her dancers on the other hand, begin performing a Llaltese river dance, kicking in perfect sync as they do so. The camera takes many dynamic views of the dance, as well as the tin whistle player. Some of the dancers change position from the line, creating a cross of dancers onstage, and, like a wheel, begin spinning round as one. Another birds eye view of the stage is taken, showing all the dancers in their crossing formation. With each bar, they go the opposite direction. As the backing singers begin singing in their deep voices, they move into two lines and begin river dancing, sometimes swapping lines and performing tricks with the people nearby. The camera spins around the huge block of dancers, taking in each smiling face and move. Eventually, the camera lands on the tin whistle player, who performs a couple impressive notes. Then, as her tin whistle solo ends, she retreats to the mob of dancers.

Fonn amháin!
Fonn amháin!
Fonn amháin!
Fonn amháin!


The arena is bathed in a vast wash of deep, blood red to match the music shift. The pyros stop and the lights stop pulsing to the beat. The camera focusses instead on the drummer at the back, playing his large drum as if it were nothing. The dancers used this time to move to their next places, in a pack like position. However, as the short section draws to a close, the big drum at the back is struck in order to build up the final chorus. These rhythms are coupled with a flash of white and golden lights, which strike the camera with a sun-like glare. As well as the flash of lights, pyros that ring the stage fly out in a fiery frenzy. Then, as the final chorus begins to play, red and gold spotlights billow outwards, followed by the ring of pyrotechnics, flying out on alternating beats, creating a dazzling display of fire, as if they were dancing with the dancers. Not only pyros, but a dazzle of sparks fly out from the ceiling to give the entry a grand finish. The LED at the back displays a large spiralling, twisting tree of iron growing, flowers of amber and crimson on the branches. Flames also appear on the screen, dancing to the rhythm. Esther and her dance group do yet another Llaltese style dance, all in time dancing as one. The camera pans the stage, taking in all the dancers. Esther is still singing as well as she always does, despite the intense dancing. As the chorus draws to a close, Esther subtly winks into the camera a skips to the centre of the stage from the front.

Let it burn, let it blaze like a fire, to our heart desires, fonn amháin!
Let it burn, let it blaze like a fire, find the flames inside, fonn amháin!
Let it burn, let it blaze like a fire, to our heart desires, fonn amháin!
Let it burn, let it blaze like a fire, find the flames inside, fonn amháin!


As the LED tree grows it's tendrils outwards on the LED screen, the flowers blossoming in vibrant scarlets and ambers, the lights pulse in the similar fiery colours. The sparks still fall like rain from the ceiling, and the pyros are fiercer than ever. On the other hand, the dancers begin moving backwards, still performing the Llaltese festival dance, however just in smaller groups. Meanwhile, two beefy men from both sides of the stage, do impressive acrobatics to the opposite side of the stage, before turning and breathing huge blasts of fire, sending the audience into a shocked frenzy. Once their fiery antics are done, the viewer may notice that all the dancers are equipped with two long sticks, fire on each end (apart from Esther who only holds one, the other hand holding a microphone). They then continue to dance, however this time flipping and turning their sticks of flame. Each dancer, spinning their sticks with precision and passion, even so with the tips wrapped in flames. At one point, they pass their sticks to the person to their right, spinning it as they throw. The combined effort of stage effects and dancers create a dazzling show, truly emphasising the thumping drums that create the beat and Esther's well honed vocals. Esther smiles as she sings, truly passionate about the song its message. Her eyes alight, not only by the mass of dancing flames that surround her but the joy she feels as she sings. As the final section of the song ends, the dancers retreat near the back of the stage, leaving the front of the stage empty except for the two drummers on either side of the stage and the lit torches that surround the stage.

Oo fonn amháin!
Oo fonn amháin!
Oo fonn amháin!
Oo fonn amháin!


As the music begins to fade, the dancers cartwheel and trick their way to the front of the stage, Esther not so skilled choosing to skip, but doing so with a smile. Then, as the song ends, Esther is lifted by two men and put on their shoulders, and she lifts her lit stick to the sky. Other dancers land in the splits or a dynamic position, some high, some low. They all face the front, smiling no doubt, and into the camera which glares straight at them. The song ends with a prolonged burst of flames and a flash of gold from all around, dazzling the audience. The dancers stay in this position for a couple moments, smiling passionately to the audience and viewers at home, before relaxing, congratulating each other for such a great show. Esther goes to leave, before remembering to address the audience. She scuttles back to the front of the stage, her dancers behind her slowly making their way off, and says, "Thank you world, and thank you Britonisea and Estogium! Fonn amháin! One desire!" before joining the rest of her group. She knew that Llalta would be proud no matter the outcome.

Fonn amháin = One desire
Last edited by Llalta on Mon Dec 30, 2019 3:57 pm, edited 11 times in total.
~*✧*~
どんなに怖くたって目お逸らさないよ
全ての終わりに愛があるなら
~*✧*~

User avatar
Nightom
Spokesperson
 
Posts: 102
Founded: Sep 02, 2014
Ex-Nation

XX | Nightom | Kaeala - Your Sweet Tongue

Postby Nightom » Sat Dec 28, 2019 6:01 pm

NIGHTOM
Kaeala - "Your Sweet Tongue"

Trigramme: KNI
Language: English
Music: Timothy Worthy, Reece Norwood, Jayne Eyren
Lyrics: Kaeala Sharkscroft
Tune: Julia Michaels - Heaven




Nightom returns to the World Hit Festival after Nightom's 13th place at the 47th World Hit Festival in Kyvivre, Britonisea. The nation placed at the top of the right-hand side with the 47th World Hit Festival being one of the largest World Hit Festivals ever.

Nightom last participated in the 47th World Hit Festival which was held in Britonisea and with the song "Nothing" by Sam Rixton. Sam Rixton performed after Vartugia and before Axuva in eighteenth position. They were the last ABEN nation to perform on the night with a lot of love going towards them in the audience. Their performance was energetic and dubstep almost, and managed to get 13th place in the end with 14 points which were the second-best performance of ABEN, with Estogium finishing under them and Britonisea above. While Nightom wanted to perform in the 48th World Hit Festival, in the end, the nation took a pass as they thought that not as many people would watch the Festival as the edition before. With now Estogium AND Britonisea hosting this time, Nightom is back with sultry song "Your Sweet Tongue" by Kaeala. Let's see how Nightom does...




On the stage, which was rather simple, were three chairs with three men who were topless (simply just borrowed two of them from the Britonish performance) sitting on them. The chairs were faced away from the audience. Right before the performance started, three women walked on to the stage with the middle woman being Kaeala - the singer of the song. The three women sat on top of the men who were sitting on the chairs before the audience cheered. Slightly leaning over the shoulder of the men was Kaeala who the camera was focused on at the start of the song. All fo the women's long hair flopped to the side as they moved to the side of the men so not to be blocked by then. The music started...

ooooo
ooooo
ooooo

Wrapped round your finger
It's you I worship
You are my God,
My temple and my heart
To me you cannot do anything wrong

Fell so hard in love, call me a doctor
Boy took me over, look, now I am his slave
And yet somehow I don't see the wrong in this


The women turned around from the position that they were once on, so now they're sitting directly on the men. A steadicam came on to the stage and walked past one of the women before focusing on Kaeala and moving around her chair. As the steadicam moved around her, the steadicam operator zoomed into the man's face when it came around before zooming out, with Kaeala on the floor, holding onto the man's thighs before sexily moving her way back up and flexibly moving her leg over one of the man's thighs before taking a seat. Kaeala looked at the camera while doing this, with a bit of her lingerie showing as her gown slightly lifted up as she moved her leg over.

Come trace your hand down me
Feel my body - ripe
I am ready for your good loving
I know you've waited long for this
So with your sweet tongue
Drink me till you're full.
Don't stop coming after you've come once
Keep coming; then I'll come for you


Her face was cheeky as she smirked by the end of the chorus. The last happenings before the steadicam operator moved was of the masculine hands of the man putting his hands on Kaela's lower back as she sat on him. The steadicam operator zoomed off the stage as we saw the other woman in the same position as Kaeala. Another shot of Kaeala on her man was shown as she clicked her fingers during the next verse. The camera slowly swept into her. The colour was purple and gold - royal colours but colours which also represented Nightom apart from its national colours.

The love I've got for you, got me psyco
You've tried and tried, finally I have cracked
Can't keep your allure at arm's length no more
Kiss me like this is your last time kissing
Cusp me by the waist, so strong, masculine
Have no regrets, go wild and don't you stop


There was a shot of all three of the woman on the chair. All of them, at the same time, stood up together and held the head of their men before - what seemed like - forcing their heads down as all the men held on to their women's hips. There was then a close up of Kaela who smiled and looked down in the camera as she sung the lyrics "Have no regrets, go wild and don't stop".

There was a moving shot through the stage of everything happening as we moved to the chorus of the song. There was a close up of one of the men making their way, with their hands, down the body of one of the girls, starting with their neck before moving in between their bosoms and down their stomach during the chorus.

Come trace your hand down me
Feel my body - ripe
I am ready for your good loving
I know you've waited long for this
So with your sweet tongue
Drink me till you're full.
Don't stop coming after you've come once
Keep coming; then I'll come for you


As we moved to the bridge of the song, the women moved around the men and stood in front of the chairs which were faced away from the audience. As Kaeala sung the words, "Town down the lights" the lights in the arena all dimmed as we focused on what would happen. The men, after a while, all tall and beckoning stood up behind the women now in front of the chairs before standing up on the chairs. They all looked down at their women. Kaeala and the women started to slide their way down the chairs, with Kaeala doing it without the assistance of her man (but the other women used their men's hands to make their way down).

ooooo
ooooo
ooooo
Turn down the lights, stand and watch me undress.
Dictate which item will be the one off next
Make the first move, and I'll make the next.


Kaelea sung while down on the floor for the rest of the bridge section before making her way up. She then turned to face her man who was standing on the chair. With the height different now looking intimate, she held her microphone in front of her mouth and now by his crotch with the camera shot being blurred out - with the audience seeing Kaeala holding something phallic by a man who was on the chair. As the camera moved into focus, we could make out that it was her microphone and not anything else! She moved around the chair as the man got down.

Come trace your hand down me
Feel my body - ripe
I am ready for your good loving
I know you've waited long for this
So with your sweet tongue
Drink me till you're full.
Don't stop coming after you've come once
Keep coming; then I'll come for you


The last shot was of the women twirling into the arms of the men, who turned them around and sat down on the chair again in a similar position they were in at the start. The audience applauded the performance as Kaeala thanked the audience. With their chairs, they walked off the stage as the stage personnel got ready for what was next.
Last edited by Nightom on Sun Dec 29, 2019 9:34 am, edited 3 times in total.

User avatar
Lagoa
Lobbyist
 
Posts: 23
Founded: May 20, 2019
Ex-Nation

Postby Lagoa » Sun Dec 29, 2019 2:52 am

LAGOA
As Dicarnixas - "Les Poiot"

Trigramme: LGA
Translation of Title: The Forest Sings
Language: Zirnhese, Lagoan
Music: Valtimaro Rios, Nuno Silveira, Tibúrcio Albero
Lyrics: Valtimaro Rios, Nuno Silveira, Tibúrcio Albero, Imastutscha Raptis
Tune: Celtic Woman ft. Oonagh - Tír na nÓg




Doce Utcina, Scaidrita Chèveçova, Graça Soares, Olhga Volcova,and Imastutscha Raptis make up the Zirnhese girl group As Dicarnixas. After a string of singles, they have released their new song "Les Poiot" featuring their latest member Imastutscha. As the primary Zirnhese musicians in Lagoa, As Dicarnixas was a natural choice for MTL to showcase a different side of the Lagoan identity, the music of a long-repressed culture quite different from the manufactured pop of mainstream Lagoan industry.

Mist is on the stage, the ambient lighting is blue-green, texture of fine leaves on the background screen. Figures in long dresses are visible through the fog as they sing
O, vè budete sluchath, cac oni poiut?
O, vè budete sluchath, cac lesa poiut?
O, vè budete sluchath, cac mè vshe poiem vè-meste, cac nach les poiot?

A golden light pierces the fog to reveal flower-crowned maidens. Scaidrita steps forward, elegant and graceful
Drevní les chepçhet pesni
Voda teçhiot cac meçhtè
Daite vshe, çhto mnhe nujno ssdesh
Vhse çhto ia hotel

Olhga takes her place by Scaidrita, they hold hands
Sledui sè-mnoi i budem jith
Ne ssabudhte ssapomnith
Ia i tè mogli bè bèth
vè-Sèçhasthe, vè-Lhubvi

The stage is suffused with golden light as the leaves flutter and a soft wind blows
O, vè budete sluchath, cac oni poiut?
O, vè budete sluchath, cac lesa poiut?
O, vè budete sluchath, cac mè vshe poiem vè-meste, cac nach les poiot?

O, vè budete sluchath, cac oni poiut?
O, vè budete sluchath, cac lesa poiut?
O, vè budete sluchath, cac mè vshe poiem vè-meste, cac nach les poiot?

The ladies join hands in a circle and slowly whirl
Lesa poiut, o tom, cac mè budem jith veçhno
Oni poiut, poiut, davaîte tacje podpevath

Doce finds herself in the middle of the circle, which ceases to spin. The other ladies reach out to her
Ohvatite teni i svet
Ussor imeiet vach otvet
Tac chepertai na étih lugah
Na solneçhnhì svet

She steps out, followed by Graça, who begins to sing, gesturing outwards
Esche rass, do denh ugasaiet
Macai vè-sladci ruçhei
Pogrussish vè-svoiu pesnhu
Egho jivosth i potoc

The women form a line, their dresses flowing in the breeze and ruffling the petals and leaves in their crowns
O, vè budete sluchath, cac oni poiut?
O, vè budete sluchath, cac lesa poiut?
O, vè budete sluchath, cac mè vshe poiem vè-meste, cac nach les poiot?

O, vè budete sluchath, cac oni poiut?
O, vè budete sluchath, cac lesa poiut?
O, vè budete sluchath, cac mè vshe poiem vè-meste, cac nach les poiot?

This time, they form a U shape, each member facing outwards toward the audience on all sides, holding hands
Lesa poiut, o tom, cac mè budem jith veçhno
Oni poiut, poiut, davaîte tacje podpevath
Sluchaite lesa poiut

Imastutscha, at the center of the U, begins, as they all sway
Mágoa vem cuando afastamos
Crecendo até atgrestamos
A noite cai, como um plívra
Balsões, eles são nós?

The U closes into a circle, the women all facing outwards and performing a slow dance with leg lifts
O, vè budete sluchath, cac oni poiut?
O, vè budete sluchath, cac lesa poiut?
O, vè budete sluchath, cac mè vshe poiem vè-meste, cac nach les poiot?

O, vè budete sluchath, cac oni poiut?
O, vè budete sluchath, cac lesa poiut?
O, vè budete sluchath, cac mè vshe poiem vè-meste, cac nach les poiot?

The colors are gold, green, sky blue as the mist on the ground mimics a stream, and the leaves on the background screen almost appear 3-dimensional, opening up to reveal a misty woodland glade
Lesa poiut, o tom, cac mè budem jith veçhno
Oni poiut, poiut, davaîte tacje podpevath
Sluchaite lesa poiut


They turn to step toward the background screen and into the "glade", before disappearing into mist

"Spassibo, obrigado Alshkan!" they chorus, before leaving the stage. Not through the background screen, but the normal way.

Will you listen to them sing
Will you listen to the forests sing
Oh will you listen to how we all sing as one, like how our forest sings?

The ancient forest whispers songs
Water trickles like dreams
Give me all that I need here
All I've wanted

Follow me and we shall live
Don't forget to remember
You and I could be
In Fortune and in Love

Will you listen to them sing
Will you listen to the forests sing
Oh will you listen to how we all sing as one, like how our forest sings?

Will you listen to them sing
Will you listen to the forests sing
Oh will you listen to how we all sing as one, like how our forest sings?

The forests sing, about, how we'll live forever
They sing, they sing, let us also sing along

Embrace the shadows and the light
The pattern bears your answer
Go dance upon these meadows
Into the sunlight

Once again, before the day fades
Dip into the sweet brook
Lose yourself in its song
Its vitality and flow

Will you listen to them sing
Will you listen to the forests sing
Oh will you listen to how we all sing as one, like how our forest sings?

Will you listen to them sing
Will you listen to the forests sing
Oh will you listen to how we all sing as one, like how our forest sings?

The forests sing, about, how we'll live forever
They sing, they sing, let us also sing along
Listen to the forests sing

Heartache comes when we drift away
Growing until we return
Night comes, like a veil
Voices, are they us?

Will you listen to them sing
Will you listen to the forests sing
Oh will you listen to how we all sing as one, like how our forest sings?

Will you listen to them sing
Will you listen to the forests sing
Oh will you listen to how we all sing as one, like how our forest sings?

The forests sing, about, how we'll live forever
They sing, they sing, let us also sing along
Listen to the forests sing
Last edited by Lagoa on Tue Dec 31, 2019 4:59 pm, edited 16 times in total.

User avatar
Fromulya
Spokesperson
 
Posts: 182
Founded: Aug 16, 2012
Ex-Nation

Postby Fromulya » Sun Dec 29, 2019 12:44 pm

Fromulya
Aylin - "Tatapanmu"

Trigramme: FRM
Translation of Title: Your Look
Language: Indonesian
Music: Mehmet Böhárev, Rahmat Hadinegara, Salim Momáliyev
Lyrics: Rahmat Hadinegara, Aylin Qipçakova, Wayan Sudhipa
Tune: Izin Korem — Zhanar Dugalova




Aylin Qipçakova is a 29 year old singer from Suyeshyia, a country that was heard of by Fromulyans for the first and last time when it competed in the 11th World Hit Festival in Folkand 7 years ago. Although Aylin had just taken off as a singer at the time, she has little memory of ever hearing about the festival. She found out about WHF when she was doing some research ahead of a vacation to Fromulya. The 11th World Hit Festival was in fact the main high-profile interaction that had occurred between the two states.

Long story short, she fell down a rabbit hole and, after becoming the country's only WHF fan, determined that she was interested in competing in the World Hit Festival. She pleaded the Suyeshyian national broadcaster to make a return, but they refused, citing that the festival was not in line with the philosophy of the broadcaster and promoted content that went against the nation's values. Other broadcasters refused as well, revealing that by national law, only state institutions are allowed to represent the country in festivals and competitions abroad. So she devised a plan.

When she finally went on vacation in Fromulya, she was a bit different from most tourists who came to enjoy the sea, sun, sand, and surf. Aylin made time to stop by the offices of Televisi Republik Fromulya (TVRF), bringing her management with her to make her case. There, she pointed to TVRF officials how Fromulya had been out of the contest for a few editions already, and deserved to continue to make a name for itself on the international stage. When she was told that TVRF was prioritizing its funds elsewhere, Aylin offered to fund the entire participation herself, as she could afford to do so. She made a lot of other concessions as well, including proposing to sing in Indonesian, the national language of Fromulya.

Her timing was right, as a few days later TVRF were having their monthly high-level internal meeting, where this was brought up. Aylin again made her case, and the directors at TVRF decided to accept a Fromulyan return to WHF, on the condition that Aylin fund the entire participation, sing in Indonesian, and include Fromulyan traditional music elements in her entry (the first two of these were offers from Aylin herself). Delighted, she went to work right away.

When the details of Fromulya's WHF participation were first announced, the public were skeptical. How could a singer from a country virtually unknown to Fromulyans suddenly fly the country's flag at a relatively prestigious international event? But when the song was revealed, people were mainly pleased or satisfied. "Tatapanmu," as the song was called, proved to be a hit among Fromulyans, although the style of music was not what people had been accustomed to. Being something completely fresh from the island country, there was talk that this could be Fromulya's best placing entry ever, surpassing the current record of 4th place.

As of the night of the WHF final, Aylin has not opted to make a version of the song for the Suyeshyian market yet. In fact, she has done little to publicize her WHF participation back home. Although she is known back home by her full name — Aylin Kipçakova — she has decided to only use her first name as her stage name here, as Fromulyans have found her last name tricky to remember.

For the big night, Aylin was wearing an outfit inspired by traditional Dayak culture. As the song began, she kneeled at the foot of the stage, but faced the right (this stage was being used horizontally rather than vertically, therefore she was to the audience's left). The spotlight mainly focused on Aylin and the camera made semi-wide pans of the stage, mainly surrounding Aylin, who sang the next part with her eyes closed in order to channel her inner peace and to activate her imagination, as reflected in the opening lines.

Kadang-kadang aku membayangkan
Mawar-mawar yang segar bermekaran
Anak-anak yang riang gembira
Pohon-pohon menjadi tempat berteduh


Aylin gradually rose, and as she did so, she extended her hand towards the heavens. These verses, above and below this sentence, reflected the admiration that Suyeshyian society had towards the natural world, but she was careful to write it in a way that made sense in Indonesia. The stage lights turned blue, but the camera was up close and personal with Aylin as she attempted to establish a personal connection with the viewers at home.

Bagaikan lautan
Cinta berdatangan, seperti gelombang
Hingar bingar zaman kehidupan
Kurasakan ketika ku melihatmu


The pre-chorus had become somewhat of a meme among Fromulyans as it contained an aspect of Suyeshyian singing. But Aylin kept singing full of determination. Extending her left arm (her right hand was holding the mic), she shook her head ever so slightly as her body swayed carefully with caution. The camera angles switched dramatically ever so often, changing between showing the whole stage, mid-distance shots, and close ups.

Bernyanyi diril-dirildeydi
dirildeydi, diril-dirildeydi
Inikah jatuh cinta lagi?
Impiannya hati

Bersama: diril-dirildeydi
dirildeydi, diril-dirildeydi
Semua ini bagi
Sebuah gerakan hayati


As the chorus came on, the camera panned rapidly across the audience before returning to Aylin. You could see various flags being flown by members of the Britonish-Estogian audience and international fans, but the most prominent ones were those being waved by proud Fromulyan fans. On stage, there were flashes of light meant to emulate lightning, which continued throughout the chorus.

Tatapanmu, tatapanmu
Ku rapuh menghadapimu
Tatapanmu, tatapanmu
Kuat seperti ragamu


The camera returns to Aylin. From her facial expressions you could tell that Aylin was really putting an emotion of heated passion into the performance, reflecting on her determination to make those who had depended on her proud, but also reflecting on the meaning of the song, which tells the story of a woman who pines over a man, whom she wants to be her lover.

Jika bulan dan bintang-bintang
Tertelan matahari
Jika suatu hari aku berlari
Kepadamu, lindungi aku


The camera went on to show a bunch of Fromulyan fans enjoying their time, waving the flag proudly. Indeed, the arena was full of the contagious ardour that Aylin radiated, her energy captivating the hearts and minds of the audience.

Tatapanmu, aku menatapmu


As the camera returns to show Aylin, she takes a few steps forward and dramatically raises her left hand as if in prayer.

Tatapanmu


The camera zoomed out from Aylin's view and showed what was going on in the round part of the stage, now exposed. There were 12 large fans arranged in a circle, blowing towards the middle. Inside this circle was a piece of cloth known as poleng, which was of great cultural significance on the Fromulyan island that Aylin visited on her vacation. This cloth flew seemingly freely, without aim, free from the stresses and worries that life bears upon those who inhabit the face of the earth. As the camera angles focused on the circle, intrigued, Aylin hunched over slightly in her passion as she continued to sing.

Kalau galau aku memikirkan
Lagu kamu yang terdengar sangat merdu
Suka duka dapat ku rasakan
Luka-luka lama dihilangkan kamu


She did the thing again where her left hand was extended and she carefully swayed with caution as her head exhibited quicker movements. But she was more energetic now, building up from the intensity of the song. Her facial expressions exhibited these strong emotions, almost as if she were angry.

Bernyanyi diril-dirildeydi
dirildeydi, diril-dirildeydi
Inikah jatuh cinta lagi?
Impiannya hati

Bersama: diril-dirildeydi
dirildeydi, diril-dirildeydi
Semua ini bagi
Sebuah gerakan hayati


A (Fromulyan) man was now seen jumping into the circle of fans, wearing only a white shirt and white pants. Going in barefoot, he seemed to wrestle with the piece of cloth in his dancing. This symbolized how the man has gotten himself caught in Aylin's passionate feelings, and as he fights the piece of cloth, he gets to become familiar with the ardour that Aylin's heart contains, and becomes accustomed with the new state of life he is about to face. The crowd cheered loudly.

Tatapanmu, tatapanmu
Ku rapuh menghadapimu
Tatapanmu, tatapanmu
Kuat seperti ragamu

Jika bulan dan bintang-bintang
Tertelan matahari
Jika suatu hari aku berlari
Kepadamu, lindungi aku


The dancer throws the piece of cloth upwards, separating himself and seemingly 'winning' the fight, but the dance continues. As the lightning lighting flashes continue, in all of her emotion, Aylin gestures in all directions within her natural choreography.

Tatapanmu, aku menatapmu
Impiannya hati
Tatapanmu, aku menatapmu


Although the lights that paint the stage in colour do not dim, the flashing lights that thunderously gave life to the performance subsided for a moment as Aylin kneeled to sing the next part.

Bernyanyi diril-dirildeydi
dirildeydi, diril-dirildeydi


The camera briefly switches to a silhouette of a man walking onto the stage, drawing in cheers from the crowd, before the camera returns to Aylin for the next part.

Denganmu: diril-dirildeydi
dirildeydi, diril-dirildeydi


As Aylin lets out a long note, the cameras switch to the silhouette who is on the other edge of the stage. As the cameras circle him, we can see that he is wearing the traditional dress that corresponds to the Fromulyan island where Aylin went on holiday. He has with him though, a traditional string instrument that comes from another region of Fromulya, and we can well see that he is strumming it furiously with all his passion. As the flashes of lightning return, the crowd cheers loudly.

The camera pans around the stage; we get to see the dancing man who is now dancing alongside the checkered cloth from earlier in addition to two more pieces of cloth — one being red-coloured, the other white. In the next part, Aylin sings more energetically than ever (and the turbulent movements of her jewellery certainly reflect this), but the camera switches between different performers on the stage.

Jika bulan dan bintang-bintang
Tertelan matahari
Jika suatu hari aku berlari
Kepadamu, lindungi aku


The camera focuses on Aylin for a sec.

Tatapanmu, tatapanmu


And then goes back to the musician as he performs a short solo. The camera then goes back to Aylin.

Tatapanmu, tatapanmu


Back to the musician again, and after his solo the camera goes back to Aylin. In this next part, the camera pans dynamically throughout the stage, and we even get to see what appears to be the musician playing the instrument backwards!

Jika bulan dan bintang-bintang
Tertelan matahari
Jika suatu hari ku berlari padamu


As Aylin delivers the final blow, the camera focuses on her as her voice is more powerful than ever:

Lindungi aku!


The camera dramatically zooms out, displaying the entire stage. The crowd erupts in thunderous applause and cheering, as Aylin takes a bow. In this ocean of emotion, she takes a second to believe that she has done both her Suyeshyian supporters back home as well as her newfound Fromulyan family very, very proud. A tear streams down her face as she is overwhelmed by this thought, which was echoed by such a warm reaction from the audience. Finally, the three leave the stage as it is then cleared and prepared for the act from Axuva.

Sometimes I imagine
Fresh roses blooming
Children who are cheerful
Trees become a place to seek shelter

Like the sea
Love comes, like a wave
The frenzy of this era of life
I feel it when I see you

Singing diril-dirildeydi
dirildeydi, diril-dirildeydi
Is this falling in love again?
A dream of the heart

Together: diril-dirildeydi
dirildeydi, diril-dirildeydi
All of this is for
A movement of life

Your look, your look
I am frail facing you
Your look, your look
Strong like your physique

If the moon and stars
Are swallowed by the sun
If one day I run
To you, protect me

Your look, I look at you
Your look

When I am yearning, I think of
Your song that sounds very harmonious
I can feel joy and sadness
You disappear my old wounds

Singing diril-dirildeydi
dirildeydi, diril-dirildeydi
Is this falling in love again?
A dream of the heart

Together: diril-dirildeydi
dirildeydi, diril-dirildeydi
All of this is for
A movement of life

Your look, your look
I am frail facing you
Your look, your look
Strong like your physique

If the moon and stars
Are swallowed by the sun
If one day I run
To you, protect me

Your look, I look at you
A dream of the heart
Your look, I look at you

Singing diril-dirildeydi
dirildeydi, diril-dirildeydi

With you: diril-dirildeydi
dirildeydi, diril-dirildeydi

If the moon and stars
Are swallowed by the sun
If one day I run
To you, protect me

Your look, your look
Your look, your look

If the moon and stars
Are swallowed by the sun
If one day I run to you
Protect me
Last edited by Fromulya on Mon Dec 30, 2019 10:38 pm, edited 1 time in total.

User avatar
Natanya
Diplomat
 
Posts: 569
Founded: Nov 15, 2011
Liberal Democratic Socialists

Postby Natanya » Sun Dec 29, 2019 12:44 pm

NATANYA
Nathanaele & J.D.X - "Everything You Do"

Trigramme: NTY
Language: English
Music: J.D.X
Lyrics: Nathanaele Kochench
Tune: https://www.youtube.com/watch?v=V9tVbP8fdxc




Image
Nathanaele


The song opens with the stage in darkness, with a dim light flashing in the background. Once the vocals start, the camera zooms on Nathanaele’s face, as the verse transitions the camera pans around him.

We got heat like a fire,
But that just burns our spite,
Yeah, are we gold or are we dire,
First, we’ll be in love, then we start a fight.
We’ve been playing a love game,
Lost sense of reality,
Yeah, don’t know if I’ll be the same.
Will you drain my life or give vitality?


Into the pre-chorus, beams of spotlights descend upon the stage down the side which is facing the main stands, creating a roof of lights.

Everything that you do,
I really don’t know how,
I’m hung up on it all now.
I can’t say that we’re through,
Oh, I’m being analytic cause everything you.


In the chorus the arena is filled with bright neon colours emanating from the L.E.D wall and the lights around, for the chorus, the camera snaps around revealing a set of modern hip-hop inspired dancers.

Do-ooh-ooh,
Yeah,
Do-ooh-ooh,
Cause everything you do-ooh-ooh,
Do-ooh-ooh,
Everything you do oh.


For the beginning of the second verse, the stage briefly goes dark, showing a headshot of a laid down Nathanaele, with a sole spotlight focus on him. Further into the verse, the camera shows and angle from the stage floor, but turned 90° as is he was standing up right. He gets helped up by one of the dancers, who go on to surround him.

Can we just try being honest, (then maybe)
Then maybe we’ll get somewhere, yeah.
My mind is enveloped in thoughts of you,
I’ve gotten addicted.
To you,
Yeah, your beautiful eyes,
Yeah, your beautiful lies,
I’m crawling back, reprise,
Yeah, right into your life.
What’s really going on in your mind,
I really gotta know if I’m gonna survive,
First, we’ll be in love, then we start a fight.


This pre-chorus the camera pans around Nathanaele while multiple dancer dance towards it. The transition into the chorus follows the same before, bright neon colours and dancing.

Everything that you do,
I really don’t know how,
I’m hung up on it all now.
I can’t say that we’re through,
Oh, I’m being analytic cause everything you.

Do-ooh-ooh,
Yeah,
Do-ooh-ooh,
Cause everything you do-ooh-ooh,
Do-ooh-ooh,
Everything you do oh.


For the big break in the bridge, the neon colours briefly calm, and as the beat builds up towards Nathanaele’s big note, spotlights flash repeatingly and quickly. On the big note, there is shots of fire pyro, and on the second big note, confetti is shot into the crowd. On the first big note, the neon colours return.

Everything that you do,
I really don’t know how,
I’m hung up on it all now.
I can’t say that we’re through,
Oh, I’m being analytic cause everything you do.

Cause every-,
Thing you do, ooh-ooh,
(Cause everything you),
Cause every-,
Thing you do, ooh-ooh
Everything you do,
Oh Woah-oh oh,
No-oh!
Cause every-
Thing you do, ooh, oh-ooh,
Cause every-
Thing you do, ooh.
Everything you do, oh.


The staging ends with the dancers posed around Nathanaele, then a shot of Nathanaele who smiles at the camera before thanking the crowd.
Last edited by Natanya on Tue Dec 31, 2019 4:53 am, edited 1 time 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
Kalosia
Minister
 
Posts: 3168
Founded: Jan 09, 2013
Democratic Socialists

Postby Kalosia » Sun Dec 29, 2019 1:48 pm

Kalosia
Maria Karmen - "Veramentë"

Trigramme: KLS
Translation of Title: Truthfully
Language: Kalosian
Music: Fernandu Arago, Maria Karmen
Lyrics: Maria Karmen
Tune: Malamente — Rosalía




Maria Karmen is a 20-year old singer from Palmañë, Kalosia. She won the 43rd Festival dele Melodie Kalosiane and won the right to represent Kalosia at the 49th World Hit Festival. She became known for her unique sound, which takes inspiration from traditional music from the western regions of Kalosia, including influences from flamenco.

She is seen as a rising artist who may go on to become one of Kalosia's biggest stars. The song, Veramentë, sounds much like modern pop but with influence from flamenco in a way that makes it incredibly alluring. Many fans believe she has what it takes to win the contest.

For the big night, she is wearing a metallic pantsuit while her backing dancers are wearing dark blue suits with pants.

As the song begins, the background shows metallic shards much like this (but darker and with a blue tint). There are dim lights scattered, pointing towards the crowd light at a nightclub/disco, moving slowly.
The crowd cheers, and the camera angle, from the back of the venue, slowly moves toward Maria who is standing at the back of the stage with 2 backing dancers to her left and two more to her right. They are standing in an arrow formation and it takes a while for the camera to get close.
Unë kolarë di perlë
Ventiuno rože rose
Komë lë vetru pežatu
Provi polirë kestë amurë (Uh!)

Aj fatu keste makle
Kadë tornavi tardi
Ušitavi kestë pašio
Voľu školtarë a tia eškusë

The camera is finally close enough to show a close up of Maria, which then quickly backs up as Maria and her entourage walk in sync to the beat, intimidatingly. The parts in brackets are shouted by different backing singers, who are each wearing a headpiece while Maria has a handheld mic. During the "tra tra!" of the second line, Maria and the backing dancers make a gesture with their hands in which the hands quickly move outward twice (resembling the act of shooing away someone).
Veramentë (Lo esëz?) (Dobitu)
Veramentë (Tra tra!)
Në kredu, kredu, kredu, kredu (Videl!)
Veramentë (Lo mereta)

During the third line of the next part, the camera continues to zoom out while Maria and her dancers, having reached the end of the stage, stop walking.
Veramentë (Lo esëz?) (Falsu!)
Veramentë
Në kredu, kredu, kredu, kredu
Veramentë (Uh!)

The camera switches to another angle in which Maria and her dancers immediately stare at, singing the first line of the next part. In the second line, the camera dramatically changes angle three times in rhythm with the three knocking sounds made, followed by two claps. In the third line, the backing dancers scatter a bit while still aligned in formation.
April toje porte grandë
Kë ajëz tu per kašerë?
Kesti tšoklati fondonu
U kestë amurë brušantë

Maria and the dancers start moving to the left and to the right repeatedly (see tune video for reference), after "Bah!", though, the backing dancers squat to strike a pose while Maria stands, also striking a pose, before delivering the last line of the next part.
Se kestë es unë grandë
Montañë di mezoñe (Videl videl videl videl)
Se mi laši ula notë (Bah!)
Ja në sentiru rëmorsu

Maria gets up, and she and the dancers quickly turn back and start walking again, a camera following them from in front. Again they do that gesture for "tra tra!"
Veramentë (Lo esëz?) (Dobitu)
Veramentë (Tra tra!)
Në kredu, kredu, kredu, kredu (Videl!)
Veramentë (Lo mereta)

Maria and the dancers turn back again, take 4 steps, and then plant their right feet in the ground behind them while rotating their right ankles, also extending both arms behind them and rotating their hips as well (around 1:53 in the tune video for reference). This lasted 4 beats and then they did a few more dance moves that were rigid and to the beat.
Veramentë (Lo esëz?) (Falsu!)
Veramentë
Në kredu, kredu, kredu, kredu
Veramentë

The dancers crossed their arms and posed while the lights mainly focused on Maria as she sings the next part, also while she slowly walks forward. The other lights and background screens went dark for this moment. It is this part particularly in which Maria makes use of cultural singing techniques inspired by western Kalosian singing.
Semprë sta un kaminu
Ma maj unë fuǧë
Frontël tiu ažioni
Ja n’au besoñu toji regali

As she continues, Maria's voice becomes softer, exposing the raw personal emotion she is trying to channel.
Ja voľu la veritë
Sapu tu ti proteǧi
Ma kelu a mi fa mal
Per favor kapil

The backing dancers move forward as Maria sings this next part.
Poj or voľu ja školtarë a tia eškusë

Now as the lights and screens come back to as before, and Maria and the dancers performed more of that rigid choreography that resembles hip-hop movements. They took some steps forward and some back in accordance with the dance moves they have practiced, but in general they were gradually moving towards the front of the stage.
Veramentë (Lo esëz?) (Dobitu)
Veramentë (Tra tra!)
Në kredu, kredu, kredu, kredu (Videl!)
Veramentë (Lo mereta)

Veramentë (Lo esëz?) (Falsu!)
Veramentë
Në kredu, kredu, kredu, kredu (Videl!)
Veramentë (Lo mereta)

Veramentë (Esëz?)
Veramentë (Tra tra!)
Në kredu, kredu, kredu, kredu
Veramentë (Lo mereta)

By the third line of the next part, Maria and the dancers have reached the front of the stage. They all cross their arms, and as the lights focus on them (with emphasis on Maria), she delivers the final line of the song with a satisfied look on her face.
Veramentë (Lo esëz?) (Falsu!)
Veramentë
Në kredu, kredu, kredu, kredu
Veramentë

The crowd goes wild. "Gražia, thank you!" Maria yells before she and her dancers start clapping and then come together for a hug. They leave the stage as the song from Britonisea is to be prepared, which coincidentally is met by louder cheers from the host audience.

A pearl necklace
Twenty one red roses
Like broken glass
You try to clean up this love

You’ve made these stains
When you returned late
You killed this passion
I want to hear your excuse

Truthfully (Is it so?) (I doubt)
Truthfully (Tra tra!)
I don’t believe (Look!)
Truthfully (He deserves it)

Truthfully (Is it so?) (False!)
Truthfully
I don’t believe
Truthfully (Uh!)

Open your big doors
What do you have to hide?
These chocolates melt
In this burning love

If this is one
Mountain of lies (Look look look look)
If you leave me in the night (Bah!)
I won’t feel regret

Truthfully (Is it so?) (I doubt)
Truthfully (Tra tra!)
I don’t believe (Look!)
Truthfully (He deserves it)

Truthfully (Is it so?) (False!)
Truthfully
I don’t believe
Truthfully

There’s always a path
But never an escape
Face your actions
I don’t need your gifts

I want the truth
I know you are protecting yourself
But that hurts me
Please understand

So now I want to hear your excuse

Truthfully (Is it so?) (I doubt)
Truthfully (Tra tra!)
I don’t believe (Look!)
Truthfully (He deserves it)

Truthfully (Is it so?) (False!)
Truthfully
I don’t believe (Look!)
Truthfully (He deserves it)

Truthfully (Is it?)
Truthfully (Tra tra!)
I don’t believe
Truthfully (He deserves it)

Truthfully (Is it so?) (False!)
Truthfully
I don’t believe
Truthfully
Last edited by Kalosia on Mon Dec 30, 2019 8:23 pm, edited 2 times in total.

User avatar
Izmedu
Ambassador
 
Posts: 1546
Founded: Sep 09, 2014
Left-wing Utopia

Postby Izmedu » Sun Dec 29, 2019 2:04 pm

Izmedu
Franjo Kozina - "Life's Passed Me By"

Trigramme: IZM
Language: English
Music: Franjo Kozina
Lyrics: Hana Brgan
Tune: Lewis Capaldi - Someone You Loved



“You ever felt that feeling where?... You feel so much at once and you don't. You're supposed to feel something, but you don't. You're scared that you don't, and you feel like you can still feel something. It's not like apathy where I don't care. It's something like... There's this weight on my chest that feels like it literally stops me dead. In that moment... life practically stops. I'm just staring up into my ceiling and everything that I want to do becomes meaningless. I'm in that weird stasis, I guess... I don't know how to get out. I can force myself to, make it appear like everything's somehow okay. I've lied to myself so many times about this I can sometimes even convince myself that things get better. I focus so myself on trying to 'be better,' whatever the hell that means, only to realize that I wake up feeling empty again...” - Franjo Kozina

Thinking about the song just moments before going on the song oddly reminded Franjo about what it was like to begin a long string of therapy sessions. Where do you begin? Where do you start? There's so many places to begin, so many threads to work through, and so many implications to sift through. It was paralyzing even thinking about it.

Franjo felt like he existed in a liminal with the entry, an in-between he couldn't ever resolve. He established himself primarily as a singer-songwriter in the Izmeduan music scene. He was a dime a dozen amongst many other singers that were drawing upon their personal experiences to create and hope to make a living out of music. He entered the industry when being a singer-songwriter was the expected trope of those hoping or even expecting to make a dent in the Izmeduan charts. If not commercial success, then being able to write one’s own songs was a basic barometer for critical respect amongst peers and the music review press. This was the realm that Franjo existed in and made limited success in putting his material out there. The fundamental problem that Franjo encountered was… It was writing and singing to his own songs that proved fundamentally difficult and perhaps even cumbersome. There were moments as he was writing that his own words proved unsatisfactory. He, in an almost cruel twist of irony, couldn’t live in his own words nor did he believe what he wrote. He only felt the contours of the feelings he wanted to express and write to. Yet, there was an indescribable ‘something’ that was holding Franjo back. He refused to believe that the problem was so fundamental, that it’d be his own songwriting that would hold him back from being able to reach a larger audience. He thought the problems he faced while trying to assemble his material were simply the growing pains of an Izmeduan musician.

He wished then he knew what he now was able to absorb. As it turned out, his struggle with songwriting was two-pronged, a struggle that made him reconsider if staying in the music industry was a wise choice for someone already living a precarious personal existence. Franjo knew that, in technical terms, his penchant for songwriting didn’t come out of any raw talent of trying to thread together words in the hopes that it may reach a surprise profundity. It took an immense amount of practice, working through a life that he felt was hollow, and closely following the styles of artists he admired to reach the position of having a proper discography to present a catalogue to the music consuming public. There were many moments where he felt as if Franjo was reaching towards surprise and past successes as overused templates. He felt comfortable writing in the same set of themes. Grief, loneliness, existential doubts, reckoning with an uncertain life. These were themes that were a dime a dozen across Izmeduan pop and indie, and certainly Izmeduan music as a whole. The other prong was one that scared him the most…

He felt most at home singing the lyrics of others. While not something that would warrant being persona non grata in the Izmeduan music sphere, people writing their own songs had become such an assumed practice for newer artists that songwriting by committee where the singer was not involved or people simply working as solely as songwriters aren’t a particular norm except for those working with older pop artists or in the realm of general Izmeduan pop. It’d become such a norm that not to write’s one own songs would, especially in the harshest of critics, would pre-suppose that said artist either does not understand the unwritten rules of the Izmeduan music industry or is simply not talented. Franjo, being young, seeing music as the only path towards having something of a life, and feeling that music was the only way out of the hollow life he led, wasn’t sure what to do in the wake of a modestly successful but not groundbreaking extended play. When he recorded demos of songs either claimed as ‘open’ by songwriters or taking on proposals from other songwriters, those that overheard him or knew of his work stressed just how ‘alive’ he became when he sang those songs.

He found the words in others that he couldn’t find within himself.

Upon reflection, he felt silly worrying over not being able to write. Yet… the ability to write’s own music was one of those unstated expectations of acceptance as not just as a credible artist, but as being part of a community of like-minded people who shared the same fears, joys, and lives. Growing up mostly alone with a distant relationship with his family, alongside being mostly by his lonesome during school, Franjo had a deep desire within him to find somewhere he could belong… Somewhere where he didn’t feel the pressure to learn every single unwritten rule and to conform to what he thought people expected him to be. It just so happened that his penchant for music led him down to the path of going into the emotionally driven singer-songwriter path. He found inspiration in artists like Katarina Zunic and Anja Krajacic. He wanted to be able to express his own feelings into words and songs, into a performance that he felt was genuinely his and his alone. To be around people that chased for that same ideal… It was almost too good to be true. In months and years trying to run away from his own pain, he felt that sense of emptiness lingering within him. It was an emptiness that went beyond apathy, but an emptiness that kept cutting at him.

He left this unaddressed until he encountered a song written by a Hana Brgan. Franjo had only barely recognized the name, only knowing her as a new songwriter who was able to buck the usual trend of being someone new in such a small group within the Izmeduan music industry. The song she wrote was the very entry that he’d be bringing to the World Hit Festival in Alshkan. “Life’s Passed Me By,” as it was written then, spoke to what he’d felt but couldn’t exactly write down. Hana Brgan found the words he wanted to say. However, now the other part of trying to write a song appeared… The words were there, but an arrangement was still yet to be developed. Hana’s lyrics were a song yet to be sung. Franjo, overtaken by a rush of inspiration, began to develop tentative arrangements and melodies to the sung. From the way it was written, Franjo knew that the song could only be a ballad, stripped bare of any other instrument except the barest hint of an orchestral production. He got to work on a rough demo of the verse, helping finesse the words that Hana wrote into his own tics within his singing. Soon enough, Franjo had enough material that he felt he could send to Hana… In a leap of faith, he sent his interpretation of the first verse plus chorus.

Hana found Franjo’s demo, emotionally sung in a way she never imagined. There was a raw pain to his voice and delivery that suggested that he not only felt these lyrics, he lived through each single word. Both met in a chilly Vodiznad day, with a chance sending of a rough demo turning into a two to three month long workshopping of a song and a budding friendship between them, where each shared the very circumstances, insecurities that led them to the points in their lives. Franjo was forthcoming about the desire to belong, having focused on that for so long to the point where he nearly lost sight of life itself. Hana discussed the regrets that led her to write a song like ‘Life’s Passed Me By,’ confessing the ways in which she herself tried to find her place in an uncertain world, unknowingly hurt others that she loved, and trying to find a cause to support and fight for as a way to build an identity that was never there. Despite the differing roads they took, they all led to a similar a destination. It led to a realization that was inherent in the song’s title itself. They led lives that escaped them, only finding the strength to reflect after every single regret was cemented into reality.

Thus, when both had free time, Franjo and Hana would continue to finesse and develop the song from lyric to full-fledged record. Hana would edit the song as she got used to the contours of how Franjo would sing each word, adding and deleting as necessary. For Franjo, he let go of every inhibition while recording, and felt comfortable singing Hana’s words. As the song took shape and finally began to crystallize into a releasable record, both realized there was an opportunity at hand here. Career-wise, both Franjo and Hana were in fairly similar positions. Franjo was still a fledgling singer-songwriter with only one EP to his name. Hana had songs released to other singers, and even found some success in the Izmepisma format by coming 4th as a songwriter with Anita Spehar’s ‘Stay.’ Both tried to caution themselves when contemplating the possibilities, but there was ‘something’ that could arise from the song being released… As luck would have it for the both of them, the submissions for Izmepisma were opening right as Franjo recorded one of the last takes that was a candidate for the master recording. Seeing as the song was nearly finished, Hana suggested that the song be sent. Her reasoning was that it’d sidestep the usual expectations for an artist like Franjo. Hana herself had already seen success with the Izmepisma format and it’s not unusual for singers to participate while only being lightly involved with their song’s production.

It was through Izmepisma that Franjo and Hana found themselves in Alshkan in Britonisea and Estogium’s joint hosting of the World Hit Festival. Though they didn’t win, the song secured a placing that neither of them ever thought would be possible. It was a second place against the immense hype that Ljubica was surrounded with during that particular Izmepisma. Franjo didn’t want to take any chances. After the dust was settled in the national final, he elected for the song to be placed in the long list of reserves that the WHF team often maintained for Izmepisma runners-up and submission backlogs that were built up throughout the years. With the help of Hana’s songwriting and the months of work that led to the entry, as well as the additional time spent waiting, here he was now in Alshkan… Sitting nervously next to Hana in the Halvenhavlve Arena as he was waiting for the Izmeduan entry to be called up.

The whole experience of representing Izmedu, even if he knew that there was a team behind the delegation and that the song’s existence is owed to its songwriter, was a pressure cooker for Franjo. There were moments in the press journey and conferences where he looked like he was about to crumble. Though he has yet to say anything that caused controversy, his shy demeanor amongst the participating delegations and especially the press caused worries. For RTI, this was Izmedu’s return to the contest after a one-edition break due to circumstances in the channel. Could Franjo handle the pressure while singing? Could he handle the pressure of representing a country where many others before him have gone on to dramatic and wild success?

Franjo took a deep breath. He glanced at Hana one last time, exchanging a silent glance with her as it was Izmedu’s time to go onto the stage.

In the end… Despite the external circumstances and pressures, it was the music that mattered to Franjo. He coursed through the memory of being a scared 20 year old just trying to wade through the industry. He waded through the moments, the regrets, and the fears of never belonging and never being enough. To have a song that he felt he could sing to… To have a song where he felt that he lived not just through the words, but within them.

And just like that, his mindset was back into the studio. The words, printed on paper, were right in front of him, waiting to be sung.


Just my voice alone... Nothing else except the backing track. Audience members in all directions...

Franjo took a deep breath as stage lights billowed down to the center of the catwalk-esque stage in the Halvenhavlve Arena. He stood right at the center of that stage, the camera making a brief pan across the whole stage as the arena was enveloped in total darkness. A microscope stand was situated right in front of Franjo's position. His hands gingerly rest upon the stand that held the microphone up. As soon as he heard the cue go off on his ear, the soft instrumental intro played. Thus, the Izmeduan entry finally began in earnest, starting off with a gentle spotlight shining on Franjo. His eyes were closed as the camera closed up on him, the audience cheer from earlier quieting down. His expression was neutral, yet belied a faint sorrow. The piano led intro was soft, yet quick. It gave the audience a sense of the melancholy imbibed in the song. As soon as the intro appeared, a faint array of lights began to appear on the sides of the catwalk-esque stage. They broke the thick darkness that surrounded Franjo, illuminating the audience in the camera shots that were to be transmitted to the audience back at home. Franjo opened his eyes as soon as he instinctively felt the first set of lyrics approach. His eyes were tired, exhausted, and he nodded towards the camera, as if he no longer had the strength to even be able to interact with the camera. He tentatively grabbed the microphone, the barest hint of a shaking hand on his person. It was there that Franjo began to sing...

I'm wading through the sea of the words I should've never spoken
I'm fighting against the days that blur into each other
I couldn't slow down and think, couldn't stop myself
I let myself go, I let myself down
I couldn't take it, when life finally crashed
What it truly meant for nobody to care for you


Outside of the array of lights that would light up the stage's length, the camera solely focused on Franjo for this first verse. The environs around him were still dark, the outline of his face aglow with the ethereal stage lights, accentuating that he was singing this alone. His vocals were soft for the first two lines, moving through the long lines of lyrics with an almost easy cadence. Even with the seeming ease of the way he sang, and the more conversational tone he kept, Franjo had an expression of loss beginning to become apparent in his face. These lyrics became the first utterances of there being something wrong. The camera would slowly fade to various angles that displayed Franjo's face throughout this first verse, never once showing the audience in Halvenhavlve Arena. After the second line of this verse, Franjo's vocals changed in their tone and delivery. He let out a slight falsetto for the third through fifth lines. The weary man that sang with an almost relative ease was now bearing the gravity of the situation. His expression slowly became more distraught as he sang these lines. Each line made the sorrow only ring more true. He began to clutch the microphone with both hands, doing so right in the middle of the fifth line. The falsetto would serve as the build up to the moment at the end of the verse' final line. As soon as he reached that final line, Franjo sang it with a passionate belt, serving as a taste of what's to come and the first moment of catharsis. There was a visible wince when Franjo sang the line, a visible physical manifestation of a pang of regret. As soon as the first verse ended, the song's chorus immediately started.

My life's faded before my eyes
Clutching what's left of every fragile thread
I'm alone and scared with no one to lean on
I'm lying broken realizing that life's passed me by


Franjo belted out this chorus, clutching his chest softly as if he were weakly hugging himself. The lights slowly lit up the Halvenhavlve Arena, casting an ethereal and soft white hue over the arena. The camera would pan out to gradually wider shots, especially making use of the birdie lights that allowed for ghostly views of the mostly monochrome and empty stage set up. These views were only made for select parts of the chorus, with most of the focus on Franjo as he passionately sang these lyrics. His eyes were closed at some parts, almost too overcome to 'track' the camera as it slowly focused on him. It was at the third line was where he slowly opened up, his eyes opening just slightly but his face still laced with a desperate expression. His eyes were then held by the camera's gaze, and his body language was only subtly performing the lyrics. At the final two lines of the chorus, the lights were re-arranged to give the appearance of Franjo singing in a pitch black void, with the lights that dotted that catwalk-esque stage slowly turning away and turning off. The camera did a slow close up as he sang the final line of the chorus, trembling slightly midway through that specific line. His body curled forward slightly, as if he were turning inwards to himself and trying to hold onto himself as if he were lying on the floor. After that line, Franjo stepped back slightly, his face distraught and his head slightly down. The chorus would end quickly, but there was only just one second of rest before the next part of the song began.

I'm holding onto every precious memory of what remains
I'm fighting against the nights where I'm reminded of my nightmares
I couldn't slow down and think, couldn't stop myself
I let myself go, instead I fell further
I couldn't take it, when life finally crashed
Cause it finally hit me that I was hurting you


Franjo's back was slightly hunched as he sang the second verse. The song's production remained steady and sparse, and he returned back to a softer kind of vocal delivery for the first two lines. The camera views once more focused on close shots of him the lights gradually re-appearing and only faintly outlining the stage. He remained close to the microphone stand as the camera would focus on more sideway shots. His focus was on the opposite end of the stage, singing not to the camera, but to the person he was imagining singing this to. There was an audible between the first and the second line, one that was accentuated with Franjo taking a deep breath and a slight tremble. He weakly gripped the microphone after the second line with both hands. He inched closer, closing his eyes in an almost deliberate 'rookie mistake' of a singer. He was caught between the need to express and protect himself, unsure of whether to let people in or to try and reckon with his own emotions. He reached for his falsetto in the middle of this second verse, singing almost to a lilt. This only made the beginning of the cathartic release at the final line of this verse only more powerful. The appearance of a sudden belt after maintaining just that falsetto came as a dramatic contrast. Franjo's eyes were open, his face distraught, and the camera view now directly right in front of him. The viewers at home now caught his desperate expression that came at the realization of what he was singing. There was now a profound guilt laced in his eyes, with the vocal change symbolizing the narrative turn of someone being broken. Broken enough to the point where it hit them that they were unintentionally hurting those they were close to. There was no respite as the song immediately went into the chorus once more.

My life's faded before my eyes
Clutching what's left of every fragile thread
I'm alone and scared with no one to lean on
I'm lying broken realizing that life's passed me by


For this chorus, Franjo's vocal delivery was a touch more intense emotionally. He went from receding inwards and holding himself from earlier to an uncontrollable catharsis. He was holding onto the microphone stand for dear life, being careful to maintain a distance to prevent any unintentional feedback from the microphone. The Havlenhavlve Arena once more lit up, with more of the birdie lights being used and the arena being caked in a brighter, monochromatic white hue. The brightening of the stage set-up continued to emphasize just how alone he was. The fact that stage was on the side of the arena allowed for a bit more experimentation with the camera angles and with the direction of where Franjo sang to. The lights danced around him and built up to an ethereal wall, and the camera remained affixed to keeping Franjo up close and personal with the viewers back at home. He clutched the microphone stand close to him, the equipment acting as a metaphorical anchor that kept him as steady as he could possibly be. His eyes caught the camera, but once more, his style was never to control and lock the camera into its gaze. Instead, his expressions, his slight actions in some lines (especially in the second and third) involved reaching for the camera. There were cries for someone to listen to his words, for someone to sit down with him and have this catharsis be recognized as such. The walls of light would disappear as the chorus ended, leaving Franjo unsure if anyone was witnessing his pain, and the darkness still literally left in the dark the entire time. Again, there was only a brief chance to rest after this chorus, with Franjo taking a visible breath as the song quickly transitioned into its bridge.

And I know that saying sorry will cut deeper
I don't seek forgiveness
All I ask is for someone out there to hear me


This bridge was brief, but saw Franjo unleash his strongest belts. He let his voice soar, perhaps almost scream, to the strongest extent that his voice and and the song could logically go. One could visibly hear his voice strain slightly as he reached his upper register, an almost gravelly sound resonating within those higher notes laced with both the technical struggle and emotional pain behind them. He lingered on each word, directly catching the camera with his eyes. This was the first moment in the performance where he was deliberately playing to the camera. The final line of the bridge saw him lock the camera with his eyes, hoping he was speaking directly to the viewers at home. He sang that final line of the bridge with as much strength as he can muster, hoping that someone out there was hearing what he was singing. The line between this being performance and the person that felt each and every single emotion during the writing process was beginning to blur. The lines darkened at the end of this bridge...

So my life's faded before my eyes
Clutching what's left of every fragile thread
I'm alone and scared with no one to lean on
I'm lying broken realizing that life's passed me by


For this chorus, the production was sparse. The lights were turned off. The camera view alternated between fade-in and fade-out shots of Franjo's lone voice and the sparse piano carrying this chorus. On the screen, the lyrics began to be slowly written onto the LCD. They were 'handwritten' and faded as soon as they appeared. Abstract patterns of broken threads began to appear, appearing with the faintest hint of dark grey that nearly blended in with the darkness of the Halvenhavlve Arena. Each line appeared to mold and break those threads, with Franjo's face occasionally superimposed on those lines. At the final line of this chorus, these stage effects disappeared to a side view of Franjo. His face was only barely lit up, his face away from the camera. His body was visibly trembling as his hands were off the stand. His hands were reaching out for help, reaching out towards the darkness. The camera would do a slow rotation at the end of the chorus, going behind him slowly at the moments his hands started reaching out.

And my life's faded before my eyes
Clutching what's left of every fragile thread
I'm alone and scared with no one to lean on
I'm lying broken realizing that life's passed me by
I'm alone and scared with no one to lean on
I'm lying broken realizing that life's passed me by


The sparse production returned for the final chorus. The Halvenhavlve Arena once more lit up, staying in the monochromatic white light arrangement. Regardless, the camera kept a close focus on Franjo as reached out in vain to anyone that could be out there. The sparse production complemented the exhausted yet still emotional vocals. It was clear that he'd reached his limits, that emotionally and physically, he wasn't sure how much more he could give. Yet, he wanted someone, anyone to listen. The did its rotation for the first four lines, stopping when it was right in front of him. He was clutching his chest with one hand as he sang, the camera inching closer and closer with each line. His eyes were open, his face molded into an expression of someone wanting to be found. Being so close to the song, his trembling and shaking was just a touch more visible to those watching closely to his body language. This was even more pronounced as the song's production was pared back for the last two lines of the song. The light show had slowly faded into complete darkness, leaving nothing but a lone spotlight Franjo as he closed off the song. Except for the barest hint of piano, he was practically singing nearly a ca pella for those last two lines. His voice tangled in both fragility and strength. He had one hand raised, shaking and reaching once more into the darkness. His eyes were the most open they've been, his voice ringing with a clarity with the way he enunciated the lines just a touch more slowly. The title of the song stood out even more with the way he delivered that final line. It lingered for a few seconds, before being capped off by a simple piano note. The spotlight on Franjo faded and the entry was complete...

Franjo was breathless as he took in the crowd cheering. He could scarcely believe he'd just performed this song, finished a WHF performance and was still standing. He was too overcome to say anything, only weakly muttering a thank you and realizing that he was too in shock for his speaking voice to work. Izmepisma was intense, but this?... This was something else. He kept mouthing a thank you, willing for his voice to work but there was still too much adrenaline. There was a lot to think and talk through.

He left the stage for the green room. Even things went badly... he wouldn't forget performing in a night like this.
THE DEMOCRATIC REPUBLIC OF IZMEDU
WorldVision Song Contest - World Hit Festival

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Teesdexxia
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Posts: 95
Founded: Apr 13, 2019
New York Times Democracy

Postby Teesdexxia » Sun Dec 29, 2019 3:48 pm

TEESDEXXIA
Femmes Forte - "The Beat up on The Street"

Trigramme: TDX
Language: English, some Latin
Music:
Lyrics:
Tune: Girls Aloud - Sound of the Underground




Image
Femmes Forte


Staging Matches This Video

Music playing time to start the show,
Feel the rhythm deep in your soul,
Time is ticking so you betta not stall,
Your face is flushing, losing your self-control.
Heart’s racing, your blood runs faster,
No one has a single thing to say,
I can’t tell if this’ll be a disaster,
To find out there’s only one way,
The rhythm rings, the bassline gets deeper,
The chorus gets ready to go,
And then it sneaks up like the Grim Reaper,
Play some Quid Pro, play some Quid Pro Quo.

It’s the beat up on the street,
Baby boy, can you handle all this heat,
Drinks start to overflow,
It’s time to start, better reap what you sow,
Move in the glowing lights,
Let the tune kick in and give you a fright,
The sound brings to heat now,
It’s the beat up on the,
Beat up on the street.

Adrenaline rush, a natural cocaine,
Makes you wanna let out and go insane,
By your side, non infra dignitatem,
Et lupus non timet canem latrantem.

Heart’s racing, your blood runs faster,
No one has a single thing to say,
I can’t tell if this’ll be a disaster,
To find out there’s only one way,
The rhythm rings, the bassline gets deeper,
The chorus gets ready to go,
And then it sneaks up like the Grim Reaper,
Play some Quid Pro, play some Quid Pro Quo.

It’s the beat up on the street,
Baby boy, can you handle all this heat,
Drinks start to overflow,
It’s time to start, better reap what you sow,
Move in the glowing lights,
Let the tune kick in and give you a fright,
The sound brings to heat now,
It’s the beat up on the,
Beat up on the street.

The rhythm rings, the bassline gets deeper,
The chorus gets ready to go,
And then it sneaks up like the Grim Reaper,
Play some Quid Pro, play some Quid Pro,
Play some Quid Pro, play some Quid Pro Quo.

It’s the beat up on the street,
Baby boy, can you handle all this heat,
Drinks start to overflow,
It’s time to start, better reap what you sow,
Move in the glowing lights,
Let the tune kick in and give you a fright,
The sound brings to heat now,
It’s the beat up on the,
Beat up on the street.

Let the tune kick in and give you a fright,
It’s the beat up on the,
Beat up on the street.
Let the tune kick in and give you a fright,
It’s the beat up on the,
Beat up on the street.


Quid Pro Quo = What for what/This for That (Means to doing something in return for something else, a mutual agreement).
Non infra dignitatem = Not below one's dignity.
Et lupus non timet canem latrantem = And a wolf is not afraid of a barking dog.
Last edited by Teesdexxia on Tue Dec 31, 2019 4:29 am, edited 1 time in total.


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