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AS1/TVS|World Hit Festival 54|La Cañada, Achaean Rep.|IC

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Achaean Republic
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Civil Rights Lovefest

AS1/TVS|World Hit Festival 54|La Cañada, Achaean Rep.|IC

Postby Achaean Republic » Mon Sep 28, 2020 4:05 pm

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It was the most complicated of times in Achaea. The coronavirus pandemic is still raging around the world and, in the small island nation, over 55,000 residents were affected, with more than 2,000 dying—easily outnumbering even the most affected nations in the Caribbean. Another epidemic, the tropical retrovirus, was affecting the country and claiming its share of lives as well. Schools were still shut, the national Department of Education taking a piecemeal approach to reopening with half the country winding back up, only to wind back down when an outbreak would affect both students and teachers alive. It was the height of hurricane season, a perennially perilous time to live in the Caribbean as the islands of this beautiful archipelago were always cast in the good Lord’s mercy of guessing whether or not they would be affected by one. Politically, the nation faced the first round of a dissonant, divisive and complicated election that threatened to separate families and tear communities apart. Millions of Achaeans are facing debt, foreclosure, utility cutoffs, hunger, fear, loathing, and anxiety in a year not unlike any other since the return of democracy over seventy years ago.

And then the World Hit Festival came roaring into town.

It was a moment of perplexing serendipity, then, that The Intermissión won the nation’s very first competition in a very close tie with a competition legend, endearing the country—and the money-raking broadcaster—with many firsts: The first Achaean victory; the first entry completely sung in Spanish; the second Spanish-language tune (Izmedu claimed that some twenty-something contests ago); and Tamar de Andrade’s very first victory which, of course, meant a bigger budget for choosing an Achaean performer and a significant salary increase for accomplishing the feat. Such a victory lifted Achaean spirits at an uncertain time like this one, filling themselves with a bit of fueguero pride and the invincibility of a resilient nation.

Now, the whole journey has led over 4,000 lucky souls to congregate in the Francisco Calderón Sports Palace on a humid Saturday evening in the homely city of La Cañada with flashy banners, eclectic costumes, cheap beer tucked away in uncomfortable places, face masks (the State of Corola granted broadcasters AS1 and TVS an exemption to indoor performances amidst stringent social distancing requirements, but the audience was required to use face masks except when eating and drinking)—and, one cannot forget, panderos, timbales, claves and enough pipes on their throats to break a few glasses.

While the main arena held the stage, the nearby cancha bajo techo[i] was converted from a makeshift storage room-cum-basketball court into an additional indoor arena where the green room was being held. There, the nervous performers from across the Multiverse sat waiting for their moment to shine on stage, surrounded by over 1,000 socially distanced fans cheering them on. The nerves of many were significantly frazzled when they heard the jubilant, boisterous Achaean crowd that, despite the masks and the dissuading, were performing a few decibels above the already-sound music that was even deafening the loudspeaker’s droning precautions—in English, French and Spanish no less—to keep social distancing. Some took pictures on social media. Others hid under the pillows. Still others tried to keep up with the pace and dance, trying to faintly mimic the audience’s chants in what little Spanish they knew. And others in their respective delegations clapped politely, waiting for the show to begin. Little did they know that the Achaeans never kept quiet and never followed the rules for no one.

In a brief moment, the audiences in both sectors calmed down and started counting down in Spanish:

¡Diez! ¡Nueve! ¡Ocho! ¡Siete! ¡Seis! ¡Cinco! ¡Cuatro! ¡Tres! ¡Dos!
…¡Uno!




The World Hit Festival Theme Song was being shown across screens in the Multiverse—the first time this happened in Achaean soil. Both AS1 and TVS teamed up to provide this production to the world, the second time their partnership was on the spotlight after this spring’s Junior World Hit Festival in Juana Díaz and Urbania. (Off-screen, both executive producers were high-fiving each other, eagerly awaiting how the production would turn out.)

Next up, a few black-and-white stills of the past World Hit Festival in Bovingdon were shown with various participants. These would slowly gain color as they showed images of Achaeans in their homes watching the various contests in their homes, livestreaming through their tablets or computers or phone, nervously eating many delicious Achaean staples as they waited for the results. They were foreboding as they waited the results and cheered loudly when the Achaean Republic was called to the Grand Final. Some hugged. Others cried. Still others started shouting and waving any [i]fueguero
-laden flag or piece of clothing or anything they could grasp their hands on in their euphoria. For the next few days until the final, many streets were shown filled with people across the nation going about their socially distanced lives, wearing masks with the imprints of La Intermissión, buying Quédate CDs and bootleg DVDs ripped off someone’s computer and eating frituras on a side street beside a busy thoroughfare with a car laden with random The Intermissión memorabilia.

As the background music picks up, the images of Achaeans watching the World Hit Festival in their screens on houses, rooftops, balconies, (somewhat-legally open) bars, and even dangerous thoroughfares in the midst of a tropical storm across the nation. Eagle-eyed viewers could see small glimpses of Achaean culture in their screens: the old abuelas crossing themselves on a corner, carrying their rosary beads to their chests. The teenagers on Twitter, half-glistening their attention to the screen and half-posting the most recent memes on their Whatsapp feeds. The old men drinking, giving a chuchazo with their dominoes, arguing about the quality of the music as much as they argue about the latest cheater in the game. Many plates of food and drink. Laughter and joy and sadness and anger. Music and dancing and even more music dancing. Many even perched their fueguero[i] flags atop their balconies and car hoods and chalk-covered pathways washed away by the rain and emblazoned [i]fútbol jerseys.
And then it happened. The Achaean Republic won the World Hit Festival for the very first time.

You could see stills and screenshots of many Achaeans jumping, screaming, crying and overall celebrating the victory. In the midst of the rain, many started doing impromptu caravans with music and low-driving cars in torrential rains. Others began dancing and joining their neighbors to dance. Water-filled cacerolas and pilones were used as percussion instruments while celebrating. Back in Bovingdon, the Acheans in the crowd were ecstatic, celebrating the vitory with such jubilation that the few user-generated videos couldn’t do justice to the raucous immersion of joy in the people. From the press conference to the exit, it was non-stop celebration the only way Achaeans know how to do.

For a moment, the music and the euphoria stop. The screen fades to black. A young man with a flame-emblazoned Acaya scarf was standing the middle of the empty R.A.F. Bovingdon hangar, all alone. It was empty and spacious with all the chairs stacked on one corner to be returned to storage, leaving only the sound of his steps, his breathing, and the expansive echoes of the hanger-turned-venue. He looked at the Vortex, the complex thingamajigs and contraptions that made it work—now, that was just empty screens and lighting. The sides were also empty, devoid of chairs and screaming fans. The arms of the center pieces were being removed by stagehands who just so happened to be taking a break. Looking at this scene, a scene quite ephemeral and devoid of life, made him exhale deeply. Outside the hanger, the sound of a honking car could be heard echoing through the hanger. That was his ride, duh! He slapped his forehead in incredulity when he heard the sound and ran outside before his ride would leave him.

The ride, in fact, was the same hopper bus that picked up The Intermissión and Evangeline Hope in the edition’s Achaean postcard—talk about serendipitous coincidences! A line of people was forming, all standing six feet (two meters) apart and wearing masks as they tried to get in. He almost forgot he needed to have a mask on, duh! Once again, the young man quickly checked his back pockets to find a fueguero flag cloth mask and waited for his turn to ride. Once he got in, he sat in the middle next to a partitioned seat facing a window. He shimmied his body trying to be as comfortable as he could—Achaean buses were handy, but weren’t known to be the most comfortable, even though this is changing with the SITUC (Metro Corola’s integrated public transport system, said to be the most advanced in the Caribbean), but not so for the buses in the city’s metropolitan outskirts that oftentimes lack air conditioning. Regardless of that, the bus driver changed gears while people are still standing inside the bus, leaving some to spill their coffees, lose some pages of the Spanish-language newspaper to the wind, or some women with their ruined makeup and painted teeth out of the bus driver’s brusque moves. For the young man sitting on the bus, this was an oddly reminder of his acclimation back home. Resigned, he nodded and looked towards the window to appreciate the hills of Bovingdon for one last time, the smooth roads, the sleekly-dressed populace for a summer’s day, and he noticed two children playing baseball on an open diamond, one of them with a Britonish flag T-shirt and another with an Achaean flag T-shirt and gloves. Hmm, he didn’t expect that Britonish were into baseball! Nevertheless, he shrugged this sudden sight as he slowly rested his head on the window and drifted himself to sleep while listening to an old bachata song the bus driver put on the radio.

The screen faded to black with the Achaean hopper bus driving on the right of the road, while the Britonish cars were maniacally swerving to the side, if only to avoid an accident.




The screen slowly regained color with the same bachata playing on the radio and the guagua carrying over and showing a somewhat dilapidated welcome sign that said BIENVENIDOS A LA CAÑADA (“Welcome to La Cañada”) on the top, the city’s coat of arms on the side and another sign that says CIUDAD DE LAS CUEVAS (“City of [the] Caves”) and a small electric alarm that says 01:54 PM, a not-so-subtle and quite obvious reference to both the end of lunchtime in the city and the harbinger of events that would be unfolding soon. Beside the welcome sign, two men were smoking on a corner next to a no-smoking sign in Spanish, while teenagers were sitting under the sign fiddling with their phones.

As the hopper bus zipped and zoomed past the bumps in the road, one of them jolting the young man awake and lightly tapping his head to the windowpane. Shaking his head and trying to get his bearings, he looked on the window and saw the city’s hilly terrain and beautiful grasslands, the crisscrossing roads and the smile of the peoples driving in the road. There were two or three citizens once in a while walking through the dangerous ledges beside the roads, perhaps to visit a runaway colmado to buy some supplies or a barrita perched near the barranca to grab some rum. There were many trees with their roots overstretching the concrete and breaking the road, which forced the bus driver to make quick swerves to avoid them—or, at least, not crash into them so forcefully.

As the guagua passed by the city, the young man appreciated more views of La Cañada as it reached its final destination: the small Roman Catholic church as the priest entered the doors in order to start Holy Mass beside a small Evangelical church where the pastor was greeting worshippers—and some of his Catholic brethren as well.[/url] An old man on the side of the road selling many kinds of fruit and vegetables and eggs on the side of the road at cheap prices coming from his finca on the outskirts of the city. A billetero selling décimas or tenths of lottery tickets for players hoping to strike it rich with a (no-longer) tax-free jackpot, drinking a small cup of coffee and waving at passers-by on the side of the street. A group of men playing dominoes and drinking beer while a woman was preparing some tostones or twice-fried plaintains. He missed the lovely display of Achaean longing and familiarity, the constant celebration and exuberance for life. Far away from his view, overlooking the city, was the famous La Cañada Caves National Park, the Caribbean’s largest natural cave system and one of the nation’s largest underground aquifer systems that supports potable water for two out of five Achaeans. Then, the guagua would travel to the pueblo where a collection of colonial and neoclassic buildings constructed as refuges for the Corola aristocracy would be preserved as private homes, hotels, casinos, community centers, schools, homeless shelters and government offices.

But the young man couldn’t help but notice that a man was walking around a clearing with a young woman beside him. It was a dry, dusty road heading near the famous caves at La Cañada. He was wearing a bone-white tunic and sandals made of leather and coconut. There was a faint trail of blood behind him, one that grew larger and larger as they walked towards the caves. She remembered the deep holes in his hands, the prickly wounds in his chest, the damp smell of iron and sweat and water and flesh discharging from his body. But it never smelled as his skin was putrefying or his veins were rotting in and of themselves—no! It was him and her, walking together through the dusty road, over a cave shaped like a pentagon and a very heavy rock sliding behind him as he walked inside it.

This was a strange sight, one that shocked him. What was he doing? What was his mystery…?


Last edited by Achaean Republic on Mon Sep 28, 2020 6:19 pm, edited 1 time in total.

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Civil Rights Lovefest

The Intermissión: Quédate

Postby Achaean Republic » Mon Sep 28, 2020 4:09 pm

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The scene turns to a pitch-black arena, the Francisco Calderón Sports Palace, with the cheers and waves of over 4,000 socially distanced fans cheering for their entry. They and the ones in the greenroom from a light rain that covered the city and the surrounding Corola Metro region. For many in the Multiversal audience, the sound of light raindrops was a refreshing reminder of this edition’s tropical setting—if only it didn’t rain when they had to leave! Almost everybody, of course, was wearing masks (as required by the state of Corola when handing out an exceptional permission to host the event in the midst of pandemic times; even so, the state and federal Departments of Health were gracious enough to combine forces and provide an “isolation booth” of sorts for those fans who couldn’t get in the venue but still needed to be treated for pandemic illnesses). Regardless, the atmosphere was dark but electric as both Achaeans and foreigners made themselves known.

One of the cameras on the other side of the arena opposite the stage focused on a young woman sitting atop a small box, resting her head on the feet on her thigh and sticking her legs while crouching. She wore a loose, crinkle white dress and has red Converse All-Star sneakers she bought at a boutique shoe store in Britonisea. It does, however, show Marianne’s intricate butterfly ankle tattoo, for those eagle-eyed viewers at home. Her hair is looking ruffled and messy, half-partitioned with bangs on her forehead. But this time, she was not holding a microphone to her chest; instead, there was a tiny microphone atop of her forehead tucked in between her bangs. Her voice sounded clear and crisp, more so as she carried the pathos of the music.

This was Marianne Rivera, one-third of the Intermissión, the winning group responsible for winning last year’s World Hit Festival and bringing the contest to the Achaean Republic for the very first time.

Sé de algún particular
Que fue un profeta al despertar
Había hecho tantos hechos

Tenía gracia sobre mí
Y no se hablaba hasta el fín
¡cuán integro y derecho!

Mas, cuán cruel fue el despojar
Un poco de su humanidad
En sangre, carne y hueso

Esta historia tan feliz
Terminó en triste frenesí
La vida fue un silencio


Marianne inconspicuously stood up from the box. At the first strings of the electric guitar, a wide pan of the stage opposite her revealed an impressive array of split-second light shows surrounding the stage and the arena. Every time Marianne sang a line, the light show grew even brighter and more intense, engulfing the crowd with waves of light and then dying down on command. Beside the yellow light focusing on Marianne, it also marauded around the crowd. But unlike last time, no holographic “mist” was needed to provide the necessary ambience for the performance—instead, it was palpable to let the humidity do its work.

Ven, quédate; ven, quédate
Te esconderás en la noche
Ven, quédate; ven, quédate
Te esconderás en la noche


A wide pan of the arena showed the fully lightened stage to the cheers of the crowd—and especially, the Achaeans who recognized the polygonal images pursuant to the city’s famous caves. In the stage, Marianne’s husband, Thomas C. Greene, was playing the electric guitar. Her cousin, David Cortijo, was banging at the drums. Jessica Cortijo, on the other hand, was playing the piano in the center as she usually did. In fact, she decided to take a pause on her nursing studies and return to play to the band shortly after their win in Britonisea. And Amina Castro, young musical prodigy and polymath that played the violin at Britonisea, was also hitting the same notes; as a thank-you gift, however, the band decided to hire her as a full-time member and both Thomas and Marianne agreed to finance her studies at the Berklee College of Music in Massachusetts. With five members, the band grew strong and its prospects even more.

Back in the floor, Marianne started darting towards the invisible steps below the stage, slowly lifting up her dress and darting to the cheers of the (socially distanced) crowed beside her. He hair was buffeted by the wind of the race. Her shoelaces this time wouldn’t untie themselves due to carelessness. Behin her, the camera caught an LED trail of “blood” reminiscent of the past performance and the now-famous dream that inspired everything.

Once the drums ended, Marianne finally took a seat on the stairs and sang once again. She tried to look graceful, yet rueful, evoking the same emotion as before while trying to catch a breath and sing effortlessly at the same time as Camera 4 glided around her from right to left. She played with her hair, locking her curls with her hands, moving her bangs while trying not to hit her microphone.

Tanto parecido a él
Con pelo largo, lleno de fe
Tan joven y tan tierno

Y esas venas correrán
Sangre y vinagre, agua y cristal
Y esas heridas luego

¿Has estudiado el pesar
De mi frustrada realidad,
Las piedras en el suelo?

¡Qué pobres fuimos, y padeció
Y aún así arde el corazón
Cuando brillan tus luceros!


But it was not time to reminisce yet. They had a performance to show, a trophy to win.

Ven, quédate; ven, quédate
Te esconderás en la noche
Ven, quédate; ven, quédate
Te esconderás en la noche

Ven, quédate; ven, quédate
Te esconderás en la noche
Ven, quédate; ven, quédate
Te esconderás en la noche


A cowboy shot of Marianne’s waist shows a picture of her tired eyes. Those were the eyes of a woman that couldn’t sleep but not for the reasons you’d think. Thomas on her side, she could open his heart to him and talk about everything she wanted. But not about the dream—no, it was too painful, even to sing it. But instead of tears, all you could see in her face was tiredness. Almost as if the prayerless morning and rudderless evenings in worship were only enough of a routine to perhaps keep her emotions at bay. But would it last? And why was she singing about it like a dirty little secret? Was she that afraid that a little dream without an answer would undermine her relationship with God?

A gaze above them, and the cameras captured an enthralled audience screaming and cheering for The Intermissión, just like they did in Britonisea and back in the Achaean Republic when they returned with the trophy. They couldn’t help but smile for a bit, for their joy was more than palpable. Even if Marianne tried to match the pleading tone of the song’s refrain, she couldn’t help but smirk a smile for a bit or two, maybe try to stifle some laughter for a bit, as she sang. The LED markings behind them, a much smaller and compact presentation than the one they were shown in Britonisea, yet it showed an explosion of color, a juxtaposition between night and day.

No camino sin ti, aún te puedo anhelar
No me dejes en vilo, llega la oscuridad
Me escucharás por fín y tal vez algo más
Mis ojos ya cansados, no te vayas jamás


Just like before, everything else fades to black, and the stage as well. Camera 2 circled on the stage, barring the thunder and the small speckles of light that reflected on both the floor and the beams of light on the vortex. One could only see Jessica, once again a full-fledged member of the team, playing the piano slowly, silently and intently as she used to when she was in the band. Each piano key translated to the sound of roaring thunder. A thunder that would be projected on both screens. This time, instead of faint cheers and flag waves, it was much more raucous. There were people with panderos and pilones and claves playing on the arena as if it were a typical Achaean celebration. Maybe it was. They needed a moment to distract their very diverse troubles. In the end, though, all the 5 members of the expanded band joined hands as soon as the stage lit up again. From left to right: Jessica, Amina, Marianne, Thomas, and David. They took a bow and quickly hugged each other. They became an even stronger family that loved and cherished each other, picking themselves up when they needed it most. That was the true gift of the World Hit Festival.

“Gracias! Welcome to La Cañada! Welcome to the World Hit Festival!,” Marianne waved to the audience and shouted. “Welcome to our hometown, bros!,” declared Thomas before quickly leaving and the logo of this year’s festival.

I know of this person
That was a prophet awaken to
He made so many wonders

He was graceful over me
And he would not talk till the end
¡How upright and wholesome!

But oh, how cruel it was to strip away
A bit of his humanity
In flesh and blood and bones

This somewhat happy story
Ended in such a sad frenzy
His life went so silent

Come, stay with us; come, stay with us
For you will hide into the night
Come, stay with us; come, stay with us
For you will hide into the night

You look so much like him
With long hair and filled with faith
So young and so tender

And in those veins will flow
Blood and vinegar, water and glass
And in those wounds later

Have you studied the pain
Of my frustrated reality,
The rocks on the floor?

How poor are we, and he suffered
And even so our hearts are burning
When the heavens are shining!

Come, stay with us; come, stay with us
For you will hide into the night
Come, stay with us; come, stay with us
For you will hide into the night

I can’t walk without you, and I still desire you
Please don’t leave me hanging, the darkness is coming
Will you finally listen to me and maybe something more
My eyes feeling tired, never leave me evermore
Last edited by Achaean Republic on Tue Sep 29, 2020 7:18 pm, edited 2 times in total.

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Civil Rights Lovefest

Welcome to La Cañada!

Postby Achaean Republic » Mon Sep 28, 2020 4:11 pm

As the theme music began, a voiceover noted:

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“Welcome to the 54th World Hit Festival! Please welcome your hosts, Vania Fernández and Nadine Tanóus!

Both Fernández and Tanóus walked down the small stairs to the front stage, waving to the crowd and throwing air kisses to the crowd and each other. Fernández, on the left stairs to the camera, wore an elegant, sleeveless red lace dress. Tanóus, on the right stairs to the camera, woe a blue sleeveless lace panel dress with blue-gray heels.

Vania Fernández: Ladies and gentlemen…

Nadine Tanóus: Madames et messieurs…

Fernández & Tanóus: ¡Bienvenidos al World Hit Festival!

Fernández: Good afternoon to the Multiverse, and welcome to the city of La Cañada, the famous City of…I don’t know…(looks at her cards) Lots of caves!

Tanóus: We are here in La Cañada, a few minutes away from the City of Corola thanks to hometown heroes The Intermissión and their excellent song, Quédate! We love you, habibis!

Fernández: But let’s introduce ourselves, shall we? (Nadine nods in agreement.) My name is Vania Fernández, and I am a proud hometown cañadiense. I grew up not so far from here, on Barrio Solis, close to Nana’s Tortas, a famous sandwich shop.

Tanóus: Nana’s Tortas!? (Fernandez nods in agreement.) Mija, lemme tell you, her tortas are delicious! I had one with lamb and chicken with some shredded cheese and that was to (claps) die (claps) for (claps)! (The audience laughs, especially the hometown cañadienses who enjoy Nana’s Torta’s as well.)

Fernández: But aren’t you gonna introduce yourself?

Tanóus: Oh, right! Hehe, sorry! Merhaba, my name is Nadine Tanóus. I am not from La Cañada, but actually my uncle Ayman opened his first small knick-knack store next to the caves. Hmm-hmm, right when he arrived from Lebanon.

Fernández: Cute tchotchkes?

Tanóus: Yep—cute tchotchkes.

Fernández: And… I think we’re missing someone else, right?

Tanóus: , I think we’re missing someone else. (Taps her headset lightly) Adriana, me escuchas? Are you listening to me?

There is a boisterous sound in the green room, with a crowd playing music and dancing—despite being socially distanced for as much as possible—and surrounding the contestants who were seated in their couches. The servers were providing drinks and food while wearing masks and black gloves. Adriana Rivera is in a corner, dressed with a short, sequined rose gold dress and golden heels.

Adriana Marie Rivera: Of course, I’m here, Nadine and Vania! My name is Adriana Rivera, and I am here in the green room just a skip and a hop away from all the action on the main stage at the Francisco Calderón Sports Palace. ¿Cómo están, mi gente? I’ll be your greenroom host for tonight, and I’ll get to learn more about you guys’ Tweets using #WHF54, WhatsApp videos, Multiversal viewing parties—of course, I hope you’re being safe!—and we’ll get to learn a little bit more about tonight’s contestants. One of them will win and, who knows? Maybe we’ll get to do this again, haha! But I digress. We need to talk very important stuff.

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Rivera (voiceover): All countries will perform their songs and you will get to vote on them at the end of the very last song. So, don’t vote for your countries just yet, or you may get charged in your country’s phone line—so we’ll tell you when you can begin. You can also vote up to 20 times by text message, online at http://www.worldhitfestival.tv, the World Hit Festival App or if you’re in select countries such as the Achaean Republic, you can vote through WhatsApp through 60054 by—and this applies to every line—keying in the number on the screen and adding your favorite country’s name. Please remember, you can’t vote for your own country. Señora Tanóus, may we please get the French part?

Tanóus (voiceover): Ah, yes! Tous les pays interpréteront leurs chansons et vous pourrez voter sur elles à la fin de la toute dernière chanson. Par conséquent, ne votez pas pour votre pays pour le moment, ou vous pourriez être facturé sur la ligne téléphonique de votre pays. Nous vous dirons donc quand vous pourrez commencer. Vous pouvez également voter jusqu'à 20 fois par SMS, en ligne sur http://www.worldhitfestival.tv, l'application World Hit Festival ou si vous êtes dans certains pays tels que la République achéenne, vous pouvez voter via WhatsApp via 60054 par - et ceci s'applique à toutes les lignes: saisissez le numéro à l'écran et ajoutez le nom de votre pays préféré. N'oubliez pas que vous ne pouvez pas voter pour votre propre pays. Is that good?

Fernández: That is perfect, Nadine ! Well, I think it’s time to begin.

Tanóus: Claro!

Fernández & Tanóus: Ladies and gentlemen, let the 54th World Hit Festival…

Rivera: Begin!

Fireworks simultaneously burst in both venues, eliciting the applause and excitement of the crowd and the performers, cheering on their favorite entries. Now, the contest would officially begin with its first performance…
Last edited by Achaean Republic on Wed Sep 30, 2020 7:41 pm, edited 1 time in total.

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Civil Rights Lovefest

The Entries of World Hit Festival 54

Postby Achaean Republic » Mon Sep 28, 2020 4:22 pm

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Last edited by Achaean Republic on Tue Sep 29, 2020 7:33 pm, edited 1 time in total.

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Civil Rights Lovefest

01|Natanya: Postcard

Postby Achaean Republic » Mon Sep 28, 2020 4:28 pm

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Civil Rights Lovefest

01|Natanya|Leonardo da Vinci - "Multiple Colours in the Sky"

Postby Achaean Republic » Mon Sep 28, 2020 4:30 pm

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The main members of Leonardo da Vinci, with Jinta seen on the right


Leonardo da Vinci are a Natanyan indie-rock band, formed by singer Jinta Kuuderov and guitarist Tsudon Yanderov in the rural northern town of Chincheren. Chosen by NTV for the 54th World Hit Festival, lead singer Jinta said that their song for the contest is one about a friendly relationship with an uncertain future, and the doubts one has in themselves once they start overthinking about things. In the song they are joined by vocalist Meiko Medvedev. Once they found out they were performing first, the band did not seem too phased by having to open the show, saying that they like the idea that they'll be seen without any expectations to meet from the performances beforehand, with viewers being able to properly focus on their performance. Not talking much about how they expect to do, just before going live, Jinta gave one last update on social media, saying that the band were ready and excited to show the world their music.




The band positioned themselves relatively centre stage, with each of them around a metre apart from one another, except for Jinta, the band’s lead singer, who was stood near the front of the stage. Once the music began, the shot changed from camera to camera to match the tune of the song, as did the spotlights descending from the back of the stage. When the vocals start, the shot changes to a straight-on full body shot of Jinta who sings the first verse into the camera, onto the second the camera the camera aims up slightly, while an evening’s sky with many colours appears on the backing LEDs. In the third verse, the camera focuses on multiple close side views of Jinta, with the final line being a close head-on shot.

Sometimes I think about the future,
I have dreams about everything that I face,
Dreams that last for hours,
With multiple colours in the sky.

Sometimes you’d be stood under that coloured sky,
Spending my fictional future in a journey with you,
I can’t say that I’d object to it,
Us walking through towns and trails, day or night.

Eventually I’ll snap out of my daydreams,
Slowly I breathe a sigh as I realise,
Am I crazy for having such long dreams about something that may never happen?


As the song transitions into the chorus, the camera quickly switches to a zoomed out view of the stage that pans across slowly, a flurry of lights descend into the audience. The camera focuses on Jinta's face for the last line, before fading for the next verse.

Maybe I’m a thousand miles away from you,
But you feel as if you are right here next to me
Just like that I feel the space between us dwindle,
Maybe I’m getting ahead of myself here.
Do you even feel the same?


The camera in the next verse is positioned on a shot over Jinta's shoulder, showing the band's female lead, Meiko, stood facing the camera from further back in the stage. The camera's focus changes from Jinta's close up face, staring into the distance and Meiko, singing straight at the camera. In the small instrumentals in between some of the lines, the camera goes back to the panned views of the stage.

You remember so many little details,
Like how I smile or all my favourite colours,
Sometimes we’ll chat all through the night,
You’d say things that’d make me feel so warm inside.
Maybe I’ll throw back some hints of my own too,
私達はどこに行くの?
They will probably backfire but it’s worth the shot,
ここに着くまでどれくらい?
Surely you must also feel the same.


For the next verse the camera focuses on an overhead shot that gradually moves downwards, with the spotlights ticking on and off in time with the music. And in the next verse again, the camera follows much of the same, but instead is level with stage and pans from left to right.

I need to take a step back and think about this,
Try and ground myself in reality,
But even if I’m mistaken,
Well as long as I’m with you, that’s fine by me.

All the good times that we have,
Nothing between us could possibly change them or take them away,
We don’t really need anything extra,
To continue just being ourselves.


For this verse the camera switches to another head-on view of Jinta, who looks up at the camera and sings passionately towards it as it slowly zooms out. Right at the end of the verse, as the camera is zoomed just past the front of the stage, a single firework shoots up from the front-centre point of the stage, with the camera quickly turning upwards to follow it.

I start to get lost in my imagination once again,
Slowly, I breathe a sigh as I realise,
There’s no reason to fear,
Wherever fate takes us, at least it’ll take me to you.


Into the chorus, the arena darkens somewhat as the backing LED fills with fireworks. A wind machine blows a gentle breeze on the band as Jinta passionately sings to the audience, with the camera taking multiple angles and shots of both him, the band and the stage as a whole. For both of the last lines, the camera solely focuses on an upper body shot of Jinta.

Maybe will won’t even actually meet,
Though these doubts I just can’t really see,
I’m sure we’d find some way around the distance,
I hope that someday we won’t need to even think about it,
You are my everything.

Maybe I think of you holding me tight,
In a future where we’ll be together,
I always do tend to get way ahead of myself,
But should I really tell you all about this?
I think for now I’ll keep those 3 words private.


Light slowly returns to the arena as the backing LEDs slowly fade to footage of commuter trains and life in a quiet rural town. The camera shows these different clips, and during each line will fade in a shot of Jinta from an angle, before focusing back onto the footage.

You remember so many little details,
Like how I smile or all my favourite colours,
And I’ll remember all those little things about you too,
So when we meet we’ll have more to learn.


The footage in the back now stays on a clip from the back of a train, with tracks moving away from the stage. The camera slowly comes from an upper shot of the stage showing this clip, moving towards where Jinta is stood from a slightly upwards angle. On the final two words of the lyrics, Jinta looks up at the camera, with a curious expression on his face to match the question being asked.

Will you step into the future with me?


After the music ends and the arena returns to it's neutral setting, Jinta and Meiko thank the audience for their warm reception as their band members wave from a distance. The camera fades into the next postcard as the band start to make their way off the stage, proud of their performance.

Watashitachi wa doko ni iku no? Where are we going?
Koko ni tsuku made dorekurai? How long will it take us to get here?
Last edited by Achaean Republic on Tue Sep 29, 2020 7:17 pm, edited 1 time in total.

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02|South Alezia: Postcard

Postby Achaean Republic » Mon Sep 28, 2020 4:32 pm

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02|South Alezia: KAY WATTEFS - "I HATE EVERYONE

Postby Achaean Republic » Mon Sep 28, 2020 4:35 pm

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Image

(Slowly and wobbly, Kay descends from the sky... The camera zooms at her face. Kay "raised" her head, faced the camera in a truly scary dark stuff, and said)

So let us win, now


(Slowly again, the strings got cut. Oh no. Kay fell face down lol.)

I hate everyone! (15x)


(The camera zooms to her head again, muffled, Kay said while raising her hand)

So let us win, now


(Kay didn't do any kind of dance. She just lay down there like any classical South Alezian singer (except for Tulsi Vasarao that is), and on the screen appears a list of words which are apparently name of the countries, plus a large rolling text that write "I HATE EVERYONE" blinking each split second. It does mention a lot of countries, even those who don't even participate! There's just a lot of them that listing them here is impossible...)

I hate everyone!
hahahahahaha
hahahahahaha

I hate everyone!
hahahahahaha
hahahahahaha

(Can it, can it, can it, can it)

I hate everyone!
hahahahahaha
hahahahahaha

I hate everyone!
hahahahahaha
hahahahahaha

I hate everyone!
I hate everyone!
I hate e- I hate e-

So let us win, now


(Again, the list of countries rolls like what you see in credits. the name "North Alezia" is apparently bigger in size and highlighted in red.)

I hate everyone!
hahahahahaha
hahahahahaha


(The song is so bad that the upgraded version of Kay Wattefs destroyed her own voice box... Luckily her cosmetic shape isn't affected. So when South Alezia got their much deserved 5 points, viewers won't have to sleep with nightmares included after looking at Kay's "hot and beautiful" face)

Note: This is only a joke, I didn't mean to spread hate or any similiar negative activities.
Last edited by Achaean Republic on Tue Sep 29, 2020 7:16 pm, edited 1 time in total.

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03|Beepee: Postcard

Postby Achaean Republic » Mon Sep 28, 2020 4:36 pm

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03|Beepee:ASHI N - "WALK A MILE"

Postby Achaean Republic » Mon Sep 28, 2020 4:38 pm

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As is customary, and for the ease of reference, here are the lyrics in a full set uninterrupted by staging or performance.

Single Cover

Walk A Mile

Music and Lyrics by Otto Tune
Tune Kim Begović - Rhythm Back to You

I tried my best, but it wasn't enough, ooh
I tried my best, but our love turned to dust,
Now I can't believe you're judging me,
You gotta stop it now,
No I cannot change it, I can't change the past

In my Louboutins,
Or these new Jimmy Choo's,

Just walk a mile in my shoe--------s
Just walk a mile in my shoe--------s
Just walk a mile in my shoes
Just walk a mile in my shoes

You'll never know, how you're hurting me now, yeah
You'll never know, 'cause you don't give a damn
There's no empathy 'tween you and me
You cannot take it back,
No you can't undo it, it don't work like that

In my Louboutins,
Or these new Jimmy Choo's,

Just walk a mile in my shoe--------s
Just walk a mile in my shoe--------s
Just walk a mile in my shoes
Just walk a mile in my shoes

In my Louboutins,
Or these new Jimmy Choo's,

Just walk a mile in my
Just walk a mile in my
Just walk a mile in my shoe--------s
Just walk a mile in my shoe--------s
Just walk a mile in my shoes
Just walk a mile in my sho------e--------s
Just walk a mile in my shoes.


BEEPEE AT WHF

Beepee, the proud yet incompetent nation, has performed admirably over its previous four attempts at World Hit Festival. Despite a faltering start to its WHF experience where the nation failed to qualify to the grand final at the 50th Edition, confidence and self belief have grown over the cycles and Beepee now flourishes in it's distinct style walking a line between cringy and downright dreadful.

Beepeeans take much pride in the last three entrants and were delighted to qualify for the grand final last cycle in Bovingdon, Britonisea. Indeed, as a result of qualifying for the final, Britney C, the pride of Mela Leuca, was welcomed home with a 'victory style' parade through the central business district, despite finishing 15th.

Past Results

WHF50 "Inside Me" Eileen Dover - DNQ
WHF51 "Love Me" Betty Wont - 5th
WHF52 "Little Bird" Mike Oxlong - 14th
WHF53 "Sing Along With Me" Britney C - 15th


Although other nations often bristle at the musical choices, and naive lyrics, Beepeeans take the competition most seriously.

This cycle, Beepee will be represented by newcomer to the international scene Ashi N

ARTIST BACKGROUND

Ashima Noggin, who goes by the stage name Ashi N, was born 4th September 1993 in Silver Wattle Bay, Beepee.

Trained at the prestigious Conservatorium of Music, Ashima honed her craft, graduating with honours in Bouzouki and Baglama.

In February of this year, she released her eponymous debut album with a mixture of new tracks in English and Beepish and covers of famous Achaean pop tracks including AmbiDextra's "Al Amanecer" (To the Morning), Narinho's "Tabacaria" and Martina Jara's "¿Por Qué?".

The album was released to mixed reviews:

Rolling Stains Magazine Review:

ASHI N - ASHI N

☆☆☆☆☆

Newcomer Ashi N's debut album suffers from a split personality, in an album that promises much but ultimately fails to deliver.

The opening track, a cover of AmbiDextra's Al Almanecer,never seems to the rise to the same standard as the original. However, it remains a strong opening standard in comparison to tragic Show Me Your Souvlaki, Look at my Loukoumades and Spin me like your Spanakopita. The album reads like a delicious Greek restaurant menu.

However, Ashi N hits her straps with ¿Por Qué?, although, and in keeping with the food theme, Ashi N's pronunciation make it sound like she's fat-shaming the listener.

The album itself closes on a sour note with It's Gonna Get Mezze, which is a childish and immature piece of drivel.

Tabacaria clearly shows Ashi N's ability to cross genres, but without better writing Ashi N is likely to be consigned as a one album wonder.


Ashi N was chosen to represent Beepee at WHF54 after an internal selection.

Otto Tune, songwriter and lyricist behind Beepee's last entry Sing Along With Me was also chosen to write this cycles entry.

Otto describes the song as an 'empowerment song' of learning to honk your own horn, even when others are putting you down.

JOURNEY TO LA CAÑADA

For the first time, Ashi was going to leave Beepee and see the world, and she couldn't imagine a more exciting venue than the City of Caves.

A lack of direct flights between Beepee and the Achaean Republic meant that BONC had to charter a plane especially for the trip however a mistake by a junior booking clerk meant the plane was only chartered to Ciudad de Corola.

Landing in Corola, Ashi was amazed by scale of the metropolis which is much larger than her hometown.

Leaving the airport she jumped a cab to the train station to catch a train to La Cañada. On arrival Ashi learning the next train is at 9am, she beds down in a local hotel.

The next morning, an unseasonably cold September morning, Ashi catches the train and sits in her third class cabin.

A young man joins her, sitting in the seat opposite. He is neither particularly handsome, nor striking different. His only noticeable feature is his average-ness. It is unlikely that one could find anyone more average.

Ashi inspected him, his dark hair and olive skin. Perhaps twenty-eight she thought. She could tell he wished to talk, but he appeared nervous and hesitant to strike up a conversation. She gazed out the window

"Dreich." She said, as neither a question nor a statement.

"I'm sorry".

"Dreich. Miserable. The weather.", she said in short bursts, before turning back to him.

"I imagine it will be cooler in La Cañada. The days are always cooler there from what I recall."

"You're returning there?"

"Oh yes, but it has been many years."

The conversation continued, and the man told of La Cañada, the caves, the history, places to see and visit. He answered her questions genuinely and with humour.

She told him of her excitement a the upcoming Festival, her passion for music, her optimism and fears for the show.

He told her of his story of how he had met the great love of his life at the Carnival in Corola, and that he followed him to Santa Ana. But that his loves wealthy family did not approve of a 'poor little creole boy' from Corola. Whilst they had tried to make it work, their differences in class and standing meant they had to part ways.

Ashi could tell that there was genuine sadness in her companions face when he talked of his lost love. She offered him consolation, which he accepted freely.

The pair continued in their cabin talking amicably. Ashi ordered food from the dining cart and the two feasted on local delicacies, as conversation returned to the man's lost love. He informed Ashi that he was travelling to The City of Caves to make his fortune and improve his standing to win back the heart of his lost love.

It was reaching 11pm, the sun had long since vanished from the sky and the moon struck eerie shadows over the forest outside the train window. But the pair continued to talk, eventually the train began to pass the outskirts of a town which grew more dense.

"La Cañada." he said, nodding as the train pulled into the station.

"La Cañada." She repeated, disappointed that her new friend would soon be parting ways.

The pair began to collect their belongings, silent now for the first time since they met. Ashi unfolded a carnation pink shawl from her bag and swept it over her shoulders. As she untucked her hair caught under the scarf, she discovered her friend had gone. She quickly rushed to cabin door and looked down the passageway, but he was nowhere to be seen. A wave of melancholy washed over her, as she finished packing,

As she disembarked the train the cool night air sent a chill through her and she clutched her shawl tightly. It was certainly cooler in La Cañada.

THE CAVES OF LA CAÑADA

La Cañada is famous internationally for its gorgeous scenery, its nature and its complex and elaborate cave system.

The schedule of WHF is such that there is very little spare time for artists, between the rehearsals, wardrobe fittings, choreography lessons, local and international press interviews and side concerts. Despite this, Ashi was keen to see the wonders of the region.

She sat in her ample hotel room skipping through the welcome pack and her schedule. She was delighted to find that there was one free day, when she was not required. This, she determined, would be her day of exploration and discovery.

As Ashi read through tourism brochures of the area, she read of the La Cañada Caves National Park. It piqued her interest. She read of the local wildlife and the limestone aquifer caves. One of the most famous of these caves, Cueva del Pentágono, which serves as inspiration for the staging at this cycles WHF.

Ashi considered other adventures, perhaps a trip to one of the many shops or the local museums. However, none interested her as much as the thought of some spelunking. She contacted her hotel from desk and booked a car and tour of Cueva del Pentágono.

Ashi's anticipation he as the morning of her adventure arrived. Despite some tiredness from the strains of performing and rehearsals, she was awake before the dawn. She packed some provisions, a warm jumper and began her drive to the National Park.

The drive didn't take too long, only a few hours. As she left the bustling and cosmopolitan metropolis, past the suburbs with their mixture of traditional and modern housing estates, on past the farms and small holdings, she drove down into the canyon. The sides were steep and the road winding. She continued through a canopy of trees, before the vista opened into the broad base of the canyon. Ashi was awestruck by the magnificence of the view.

A short drive further she reached a small rangers hut where a friendly ranger directed her to the tour departure point. She arrived with plenty of time, and took some photographs of the local flora.

As the time for the tour approached a small collection of locals and tourists gathered, no more than five or six.

A genial ranger introduced himself and informed the group they'd be heading into the caves. He noted there would be some low areas where the visitors would have to duck to get through the system and provided them with hard hats. He explained the significance of the Caves, their importance in forming part of the Greater Corola Acquirer system, cleansing the water as it flows to the mighty Guadalupan River.

The ranger stood before the entrance to the impressive Cueva del Pentágono, its five sided entrance, towering behind him.

The group entered the cave. The base of the canyon was cooler than the rest of the city, but in the cave there was a warmth a little trapped sunbeam perhaps.

As the group walked deeper into the limestone cave, the light stone lit by electric light, Ashi could see massive stalactites and stalagmites. Water dripping from the roof bringing minerals and diluted stone and creating spectacular columns and pillars.

As she looked along the walls of the cave Ashi saw the tiny cemented remains of tiny fossils. Corals, strachiopods and croinids, Ashi was informed by the Ranger. She ran her fingers one the walls wondering what the world must have looked like then.

She allowed her mind wander, as the Ranger continued pointing out the various features of the cave.

Ashi followed the group as they ducked under a giant shelf. Millions of tonnes of rock above their head. As she looked at the floor she could make put the patters of waves of erosion from the water in the caves.

Eventually, the shelf rose away and Ashi was able to stand upright again. The space opened into a giant cavern. The cavern was many hundreds of feet high. The lights highlighted the spectacle. Veins of blue, orange and black swept across the cavern.

It was awe inspiring.

The Ranger informed the group they would now experience scientific darkness. The way they had walked in was such that outside light could not penetrate, without the electric lights the cavern would be dark. He walked over the electrics box and switched off the lights.

Ashi felt herself gasp, quietly to herself, as the whole cavern went dark. No light. It was a strange sensation. Even after a few seconds, she could feel uneasy. However, after the fear passed she felt a warmth and comfort in the dark.

The Ranger turned the lights on again and there was a collective murmur of relief from the visiting group.

The Ranger lead the group back out of the tunnels. What had seemed like a ten minute tour had taken almost three hours.

Ashi thanked the Ranger for the tour and headed to the gift shop to purchase some mementos of her visit. She spent some time choosing gifts for her family and getting postcards of the national park and the caves.

She had enjoyed her day relaxing in the Caves, but now the work towards trying to perform well at the WHF truly began.

Beepeean Televisual Commentary

Again, Hugh Jakeman (actor, thespian, lush) provides a cool and contemporary commentary for Beepeean viewers and over the interwebs.

Now then it's time for the Beepeean entry, "Walk a Mile" and I know the feeling. It's about that far to get to the bar in this place. This venue is huge, half the audience can't see this show I tell you.

Ashi N is singing for us this time, and she can fairly belt out a tune.

We've gone upbeat this year and we'll be hoping the international juries want to tap their high heels along to this.

Here she comes a vision in emerald green...l let's cheer her on in word and gesture.


PERFORMANCE

Ashi will be joined on stage by two backing artists, Otto Tune and Ivor Biggun

As the postcard ends, the stage is set in darkness.

Ashi stands centre stage with Otto and Ivor to the rear of the stage at either side, both dressed in cream cotton trousers and emerald green t-shirts to match the emerald green of Ashi's outfit.

From the darkness the music begins and Otto and Ivor begin to hum. Just as Ashi begins to sing the first line, the set lights in golden hues.

The camera focuses on a head shot of Ashi as she sings.


I tried my best, but it wasn't enough, ooh
I tried my best, but our love turned to dust,
Now I can't believe you're judging me,
You gotta stop it now,
No I cannot change it, I can't change the past


As she sings "love turns to dust", the camera pams to a full body shot, and Ashi pulls out some glitter from a hidden pocket in her dress, and sprinkles it on the floor.

As she sings "No, I cannot change it...", Ashi lifts her hand up yo the sky before swooping it down as she continues....


In my Louboutins,
Or these new Jimmy Choo's,


As she sings the above, the camera follows Ashi's sweep and focuses on her dangerously high stiletto heels.

With the end of the bridge, the camera angle pulls out to a full stage shot and the stage set lighting turns the colour of Louboutins sole, and begins flashing in different hues as Ashi continues the chorus.


Just walk a mile in my shoe--------s
Just walk a mile in my shoe--------s
Just walk a mile in my shoes
Just walk a mile in my shoes


As she sings the chorus, and Otto and Ivor provide depth to the vocals by harmonising, Ashi walks, nay stomps, to the front of the stage. Squeals of joy from the audience can be heard as she slays her way to the front of the stage. And particularly as she growls the third line of the chorus.

The camera focuses, once again, on the face of Ash, as she sings the second verse.

As she sings "You're hurting me", a small lock of hair falls across her face, which she brushes elegantly way tucking it to the side.


You'll never know, how you're hurting me now, yeah
You'll never know, 'cause you don't give a damn
There's no empathy 'tween you and me
You can't take it back,
No you can't undo it, it don't work like that


As she sings the second verse there seems to be an anger and aggression in her voice which works well with the song. As she finishes the verse, the camera pulls out slightly; as she sings "It don't work like that", Ashi wags her finger at the camera scolding the audience and winks.

As Ashi sings "it don't work like that", Ivor cascades an ooohh, which seems to work surprisingly well.

Ashi continues...


In my Louboutins,
Or these new Jimmy Choo's,
Just walk a mile in my shoe--------s
Just walk a mile in my shoe--------s
Just walk a mile in my shoes
Just walk a mile in my shoes


As the second chorus begins, it is Otto and Ivors turn to strut to the front of the stage, positioning themselves slightly behind Ashi. The audience squeaks with delight as the see the two backing performers also wearing high heeled stilettos. Whilst Otto seems less comfortable in the heels, it is the more muscular Ivor who televisual viewers will find amusing as he teeters in the heels.

The final chorus begins and Ashi sings.


In my Louboutins,
Or these new Jimmy Choo's,
Just walk a mile in my
Just walk a mile in my
Just walk a mile in my shoe--------s
Just walk a mile in my shoe--------s
Just walk a mile in my shoes
Just walk a mile in my sho------e--------s
Just walk a mile in my shoes.


As Ashi sings, she struts in her heels walking back and forward again, stepping in time to the music. The camera cuts between a number of angles and distances. Otto and Ivor provide echoing "Just Walk a Mile" throughout this chorus which adds some vocal interest to what could be a simplistic lyric.

As she sings her final line, Ashi turns and walks back and choregoraphically clotheslines the two backing singers. Otto and Ivor fall to the floor (semi-dramatcally) and Ashi turns back to the camera and audience and smiles.

The song now over, Otto and Ivor return to their feet and the three performers take a bow.

Ashi shouts "Thank you La Cañada, thank you", although her microphone isn't at her mouth and its only picked up in the general concert hall microphones. The three walk of stage, happy with their performance and await the completion of the Festival.

Beepeean Televisual Commentary

As the song ends, for Beepeean televisual viewers and for those watching on the interwebs, Hugh Jakeman returns to he airwaves.

"Well you don't get many of the them to the pound. An interesting choice there, I'm not sure how the more conservative nations will take to that, but enjoyable none the less. And to the two eejits I say "never wear heels on a soggy lawn".

Now that we're out of the way, I'm going to open the red wine which, thanks to budget cuts, this year comes from a box! The horror!"
[/quote]
Last edited by Achaean Republic on Tue Sep 29, 2020 7:16 pm, edited 1 time in total.

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04|Pemecutan: Postcard

Postby Achaean Republic » Mon Sep 28, 2020 4:41 pm

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04|Pemecutan-PUTU SUTHA - "SAHABAT SEJATI"

Postby Achaean Republic » Mon Sep 28, 2020 4:43 pm

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Entry Selection Process

Pemecutan can be said as a fresh newcomer in World Hit Festival competition. Debuted in 53rd edition, the country made a shocking result by advancing to Final stage after finishing 1st in the Second Semi Final Group. In the Final, they finished at 6th, a great result for a newcomer.

Following their previous success, PRIA (Pemecutan Recording Industry Association) in collaboration with Ubung Broadcasting Company (UBC) conducted an internal selection for the 54th World Hit Festival which will be held in La Cañada, Achaean Republic. From numerous songs, the organizer selected 5 songs that they see fit for the competition before being sent to online voting. The vote lasted for a week throughout the country (including the new annexed territory, Soracana Islands). The result was officially announced two days after the vote was closed. The winner is Putu Sutha with his song Sahabat Sejati (True Friend).

During the interview, Putu Sutha feels shocked with the result as he is not anticipated that he will win. On the other hand, he also feel honor for being selected.


Artist Information
Image

Putu Sutha Wijaya, known for his stage name as Putu Sutha, was born at Ubung around 34 years ago (15 September 1986). He begin his professional career in 2004 after winning a national singing competition.

Putu Sutha has shown an interest in music from young age. He pursue his hobby in singing during his school years. He joined Music club in his middle and high school years. He was known to represent his school at Ubung Students Sports and Arts Festival, an annual sports and arts festival which held by the city of Ubung for students of middle school and high school. Putu Sutha actively entered in Male Single and Choir category of the festival throughout 6 years spanned. He won 4 times, 3 as Male Single and 1 from Choir category.

He took a break from college to compete in the 3rd edition of Akademi Pemecutan (Pemecutan Academia), a national singing competition (Idol-like singing competition) which was broadcasted by GBC (Giri Broadcasting Company). He ultimately win the competition and also given a record deal from the sponsor. After the win, he had to divide his time between his professional career and his education.

After his two failed albums, he decided to focus on his education until his graduation. His record deal was also canceled because of his bad albums sales. He still continue to singing off stage while taking care of his family business. His singing career turn better after he released his third album in 2010 (4 years after his last album) independently. The album gets a mild success but become a new sensation in online streaming. For this success, he received a nomination for Best New Artist at Chakra Music Award in 2011. He continued to create his music independently and release his singles online. In late 2015, DMC Records approached him for a 5-years record deal which he happily agreed. His highest success was in the year of 2017, when he was nominated for 3 awards at Chakra Music Award, all in Pop category.

Putu Sutha is came from a business background. His father is the owner of WiTex, a well known textile company in Pemecutan. Fortunately, his choice to focus on his singing career professionally is being supported by his family. Rumour says that his contract in DMC is being extended after he is being selected as Pemecutan representative in 54th World Hit Festival.

Song Information

The song, Sahabat Sejati (True Friend) is included in Putu Sutha's latest album, Teruntukmu. The album is his 7th album and the second under DMC Records. It was released in December 2019 with the first single, Karna Ku Bisa.

Sahabat Sejati is the second single that was released under the album. The song was released in mid-August 2020. The song went viral after the video of the song was released. There is a speculation over the end of the music video where Putu Sutha is hugging a man. On an interview, it is revealed that the man he was hugging in the music video is his long time friend and high school mate. Putu Sutha is initially dedicated the song for his long time f
riend for his support and encouragement during his hard time which is basically what is the song meaning is.

Although already being clarified, but the speculation remain still. It is based on the second bridge of the song's lyric, "Walaupun diriku berbeda" (Even though I am different), which makes the speculation doesn't goes off. The rumour remain still as Putu Sutha also not clarifying about this. But no matter what the controversies surrounded the song, it is become Putu Sutha's most successful song. The selection of the song as Pemecutan entry to the 54th World Hit Festival also increase the song's and the album's sale.

Road to La Cañada

Following the performance night, Putu Sutha decided to go to La Cañada earlier than the show day. He prepare everything that he needed together with his manager and his crew. A representative from PRIA will also follow suit to accompany him throughout the competition. This will ensure overall support from the organization for Pemecutanian delegation in the competition.

Exactly 10 days before the show day, Putu Sutha, his manager, crew and PRIA representative are departed from Ubung-Satria International Airport for their destination Ciudad de Corola, the capital of Corola State in which the host city is located. The flight took several hours. They have to transit one time before heading to Achaean Republic. After a long flight, they finally arrived at Ciudad de Corola. They then charter a mini bus that will drive them to La Cañada, the host city.

Arriving at La Cañada, they feel fascinated with the surrounding. The city have a great view, a combination of classic and modern touch. On the first day, they decided to take a rest to replenish their energy after a long and tiring journey. The second day, they decided to take a look at the city. Visiting the most iconic part of the city including the phenomenal cave. They are visiting the festival venue during the third day. Seeing the last preparation of the show night and familiarize with the stage. They are also being introduced to the back singers and the band.

The next three days are fill with rehearsal whether with the band and the back singers or staging act rehearsing. Putu Sutha change his staging act several times to get the best way to perform. He is a renowned perfectionist especially when it comes to live performance. He also having a talks with the stage manager over the camera sequence, the lighting's and others.

He take a break from a hefty rehearsal and try to enjoy the city again. Fortunately, the weather is quite similar with Pemecutan although Ubung have a higher humidity. But the similar condition makes him easier to adjust with the weather here. He is also taking an interview with local and international media. The festival is very famous. It drive the media attention to this little city.

Following the performance day, he is back to rehearse again. Perfecting his vocal, checking the wardrobe, finalizing the stage act and the last rehearsal with a complete band and back up singers. He rehearsing several times until he is satisfied. Putu Sutha then take one day break before the performance night.



At the preparation room, Putu Sutha is adjusting his outfit while the make up artist doing her job for a simple make up and hair do. For tonight's performance, he choose to wear a brown long sleeve shirt with batik pattern vest combine with maroon trouser and brown fedora hat. He is also take his acoustic guitar with him for tonight's performance. His room door is being knock. One of the stage crew ask him to go to the stage as his performance slot is near.

Putu Sutha accompanied by his manager is following the stage crew walking quite a distance from the preparation room to the stage. He is ask to wait at one the corner on the back stage while the hosts are still talking to the current performer. Putu Sutha is getting nervous as it is his first international performance. The hosts then introduce the next performer which is Putu Sutha. The postcard is being display. The stage goes dark after the postcard display. Putu Sutha walk to the center of the stage while the stage crew are preparing his performance property.

The light suddenly back on as Putu Sutha playing his guitar for the song intro. There are only the head spotlight that shine from above and 2 stage spotlights from his back which gives a glowing aura around him. Camera 1 and 2 give a view from above and shifting to other cameras along the stage to give a circling view of Putu Sutha. The audiences gives a welcoming applause as he begin to sing.

Putu Sutha sing the first verse. He is sitting on a stool gracefully with a guitar on his lap and a microphone attached to his ear for a better movement. The first verse is only accompanied with a simple guitar.

Ku telah terbiasa dalam kesendirian
S'lalu saja ku pendam segala apa yang kurasakan
Disaat engkau datang merangkul tanpa tanya
Tak dapat kulukiskan getaran yang tak pernah ku kira kan ada

The drum give another beat to the music as Putu Sutha begin singing the first bridge. The back lights are also goes on and gives an interchange lights colors. Another stage spotlight give a light descending from above. While Camera 4 took a zoom out to give a wider view. Camera 7 and 8 together give the side view of Putu Sutha.

As he sing the first chorus, the front stage spotlight shine upward, making the stage brighter. Camera 4 moves sideways to give a good look of Putu Sutha. While the other cameras gives a good view of the audiences who is getting moved by the song.

Hadirmu membawa harapan
Buatku selalu bertahan
Walau banyak penghalang yang datang
Kuingat s'lalu ada mu bersama
Membuat ku mampu berjuang

Dan lagu ini persembahan ku dari hati
Tak pernah cukup t'rima kasih yang ku ucapkan
Dan diri ini beruntung dapatkan seorang berarti
Tak terpungkiri
Kaulah satu
Sahabat sejati

The lights getting dimmer as Putu Sutha sing the second verse. The headlights gives a wider light while the back lights still give an interchange lights colors. The other stage lights are off. Camera 5 and 6 gives a wider view of his performance from the side of the stage. While the audience cameras give a good look of how the audiences are getting hook by his performance even though most of them don't understand the lyric.

Pandangan yang berbeda s'lalu saja kan ada
Tak pernah ku hiraukan ejekan yang selalu terdengar
Ku coba tuk bertahan walau hati terluka
Teringat s'mua kata darimu dorongan tuk selalu melangkah, yeah

Camera 4 again show a close up look of Putu Sutha as he sing the second bridge. The backlights dance away following the beat of the music together with the front stage spotlights giving a brighter view. Camera 10 and 12 gives a closer look of the audience who are swaying following the music vibe.

Putu Sutha down from the stool and walk to the front as he sing the second chorus. He walk energetically from side to side as the cameras following his every movements. He still able to control his voice even though he is singing while moving quite fast from side to side which makes the audiences give a round of applause.

Walaupun diriku berbeda
Kau s'lalu kan ada disana
Berikanku segala nasehat
Agar ku dapat selalu bertahan
Jalani hidup ku yang berat

Dan lagu ini ketulusanku ku dari hati
Tak pernah lelah t'rima kasih kan ku ucapkan
Dan diri ini kan berikan sesuatu yang berarti
Karna ku tahu
Kaulah satu
Sahabat sejati

Putu Sutha standing at the center of front stage while he singing the coda. The cameras shifting one to another to give a 360° view of Putu Sutha's close up look. While the lights getting dimmer again to give an intimate atmosphere. The audience are moved by the deep expression from Putu Sutha which is captured by the cameras.

Tak pernah lelah dirimu hadir tuk jadi penyemangat ku
Tak akan kubiarkan siapapun menyakitimu, ku lindungimu
Ku kan menjaga dirimu seperti kau jagaku
Tak kan ada yang jadi gantimu...hu uh...

Putu Sutha hit the high note at the end of the coda clearly as all the lights are back on and the audiences give a round of applause. He sing the last chorus wholeheartedly which send chills to the audience. Camera 4 took a zoom out to give a wider view. Other camera took the view of Putu Sutha from every angle. Camera 9 and 11 also captured the cheering audience for the performance. Until suddenly all the lights are off with only one headlight shine on him. The music also goes off with only the sound of Putu Sutha's acoustic guitar that can be heard.

Dan lagu ini persembahan ku dari hati
Tak pernah lupa segala doa yang kupanjatkan
Dan diri ini kan jadi seorang yang paling berarti
Hanya untukmu
Satu satunya
Sahabat sejati

Camera 4 zoom in to Putu Sutha, giving a close up look of him while he is playing his guitar for the ending. The shoot descending from his face into his guitar until the sound is ended and the lights goes off.

A round of applause can be heard throughout the hall with some of them gives a standing ovation for the performance. The stage lights are lighten back and Putu Sutha is bowing for the positive reaction from the audience. The hosts are coming to the stage. They are giving a quick hug for Putu Sutha and congratulate him for his performance. They wish him a good luck and ask the audience for another applause. Putu Sutha is.bowimg again before turning to the backstage.

At the backstage, he is approaching his manager who give him a big hug and congratulate him for his performance. He feel relieved after the performance. A stage crew then escorted him and his manager back to the preparation room.


I am used to being alone
I always keep everything I feel
When you come to embrace without asking
I can't describe the vibrations that I never thought existed

Your presence brings hope
For me to always survive
Even though there are many obstacles that come
I remember always having you together
Make me able to fight

And this song is my offering from the heart
It's never enough the 'thank you' that I said
And this self is lucky to have someone who means
Can not be denied
You are the one
True friend

There are always different views
I never bothered the insults that were always heard
I try to survive even though my heart is hurt
Remember all the words from you the urge to always step, yeah

Even though I'm different
You're always there
Give me all advice
So that I can always survive
Live my tough life

And this song is my sincerity from the heart
I'll never get tired to say thank you
And this self will give something meaningful
Because I know
You are the one
True friend

You never get tired of being there to be my encouragement
I will not let anyone hurt you, I protect you
I'll take care of you like you take care of me
No one will replace you ... hu uh ...

And this song is my offering from the heart
Never forget all the prayers I said
And this self will going to be the most meaningful person
Just for you
The only one
True friend
Last edited by Achaean Republic on Tue Sep 29, 2020 7:15 pm, edited 1 time in total.

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05|Polkopia: Postcard

Postby Achaean Republic » Mon Sep 28, 2020 4:54 pm

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05|Polkopia: Sokol - "Ayoka"

Postby Achaean Republic » Mon Sep 28, 2020 4:55 pm

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Although there were three members of the group, Sokol, only one - the lead singer Ana Sofiya - was visible onstage. She wore a heavy black-and-blue leather outfit (similar to this, different color scheme). She stood center stage looking directly into the camera as it slowly panned into her from afar. Around her, fog crept in from various parts around the stage and there was minimal lighting so that only Ana was visible at the moment. This bit was carried on for a few moments until the beat dropped. Once the beat dropped, the camera spun and transitioned to a different angle so that the entire stage was visible. The lights on the geometric background shapes were colored a deep navy color and several spotlights flew around the stage. Background dancers in black hooded cloaks came onto the stage, hunched over, and circled around Ana as she sang the first verse. In front of Ana stood a microphone stand, which she held as she maintained a stoic expression, looking straight forward as she sang.

Ayoka zdes', i bolbes igraet v zovne
Čorniye khrami okrogut v derevne, oh yeah
To viyskavka
I miskavka
I kak ona pogaet nedačnakhi slanovi c srakha


The background LED screens were black during this verse as well, however now there were moments where the lights would flicker, imitating lightning. The background dancers moved their arms outward and then back inward as they continued circling Ana as she sang, still hunched over. Part-way through this verse, (When she says, "za bezpeku".) they stood up straight, looked up behind them and placed their hands on the sides of their head. Then, during the next line, they all looked at different directions, still keeping their hands on their heads. As Ana sang the last line, the dancers resumed their earlier circular formation, only moved much, much quicker.

Ayoka zdes', i naves zavakrenno
Vmeste sami se-pyatut i oni se-molut
Za bezpeku
Za vygodku
I ždan, i sami drug drugu dražut tvorno


During the first chorus, the camera rapidly zoomed around the stage, circling around Ana to start with, and then moving all around the stage. Here, it was seen that the dancers all had their faces painted white with black areas around their eyes and lips, and thin black trails moving downward from their eyes. Each of them had a terrified expression as they moved around the stage. Meanwhile the win picked up, blowing Ana's hair behind her face and dark, ominous clouds could now very distinctly be seen moving across the LED screen, with the lightning effects being evermore prevalent.

S ayokami cmert'.
Ne možem eto izbežit'.
No možet-byt' stini se-deržut do zavtra.
I zvyozi padayut.
I ni'kto ne zasonet'.
No zavtra miy počinim derevnu v komu, čem biyla


During the instrumental bit, the camera moved to look at the stage from an aerial angle. Ana looked up and swayed her head back and forth, gently closing her eyes, where meanwhile, the dancers around her took three or four steps, looked up at the camera with their hands on the sides of their heads, and continued for three or four steps before doing the same thing. Once Ana started signing again, the dancers dropped to the ground and slid away from her so that for now, it seemed as if Ana was alone on stage. The camera panned to Ana's facial expressions, which were stoic and calm before, but now showed traces of alertness and concern as she sang. She moved her eyes rapidly around the stage as if she was prey looking for signs of their attacker.

Ayoka zdes', i zveri ves izbežut.
Miy v odno i neč se'stalkam eto vmeste.
V čore.
Čerez noče.
I svet luni poprovodit nebi ver-to v utrom.


The dancers returned to the stage and maintained the same formation as they had done so before, moving in a clockwise circle around Ana. The wind machine picked up and blew a strong wind around the stage that kicked up the fog and spun it around in the background so that it looked similar to a cloud bearing down on stage. The lighting centered on this area as well, coloring it in very deep purple and gray hues so that it resembled a terrifying cumulonimbus cloud on stage. The background LEDs, though not as easily visible as before, as the dark-colored fog was in front of it, flashed much more often so that it looked as if lightning was present in the 'cloud' onstage. At certain times, if the dancers circling Ana ventured too close to the storm, an unseen force would grab them and violently pull them inside the storm and that dancer would never be seen onstage again.

S ayokami cmert'.
Ne možem eto izbežit'.
No možet-byt' stini se-deržut do zavtra.
I zvyozi padayut.
I ni'kto ne zasonet'.
No zavtra miy počinim derevnu v komu, čem biyla


S ayokami cmert'.
Ne možem eto izbežit'.
No možet-byt' stini se-deržut do zavtra.
I zvyozi padayut.
I ni'kto ne zasonet'.
No zavtra miy počinim derevnu v komu, čem biyla


During the last chorus, the 'storm' onstage seemed to subside and the clouds began to dissipate. the LED screen in the back was still a black color, however the geometric shapes outlining the screens transitioned from a dark blue to a pleasant peach-color. The three dancers that were left on stage moved much slower than before and began to stand up straight, dusting themselves off and recovering from the violent storm that occurred on stage. Ana, meanwhile, maintained the same stoic expression as before, though toward the end she allowed herself to smirk, as if she expected this the entire time. By the end of the last chorus, the fog had completely dissipated and the few dancers that had disappeared onstage were still nowhere to be seen. On the floor, leaves and branches were scattered in a seemingly random pattern.

S ayokami cmert'.
Ne možem eto izbežit'.
No možet-byt' stini se-deržut do zavtra.
I zvyozi padayut.
I ni'kto ne zasonet'.
No zavtra miy počinim derevnu v komu, čem biyla


S ayokami cmert'.
Ne možem eto izbežit'.
No možet-byt' stini se-deržut do zavtra.
I zvyozi padayut.
I ni'kto ne zasonet'.
No zavtra miy počinim derevnu v komu, čem biyla

As the closing instrumental notes sounded, the dancers backed away from Ana and the camera closed in on her. She looked at the camera and maintained the same malicious smirk as before until the song ended and the lights faded into black. The performance was over.

The storm is here and the idiot is playing outside
Black clouds are surrounding the village, oh yeah
It's a show
And the lightning
And how it fills the poor villagers with fear

The storm is here and the shutter is closed
Families gather together and they pray
For safety
For comfort
And as they wait, families hold each other tightly

Death comes with storms.
We cannot avoid it.
But maybe the walls will hold up until tomorrow.
And the tears will fall
And no one will sleep
But tomorrow we'll fix the village to what it was before.

The storm is here and the beasts have all fled.
We are all alone and must face it together.
In the darkness
Through the night
And the moonlight will guide us to the morning

Death comes with storms.
We cannot avoid it.
But maybe the walls will hold up until tomorrow.
And the tears will fall
And no one will sleep
But tomorrow we'll fix the village to what it was before.

Death comes with storms.
We cannot avoid it.
But maybe the walls will hold up until tomorrow.
And the tears will fall
And no one will sleep
But tomorrow we'll fix the village to what it was before.

Death comes with storms.
We cannot avoid it.
But maybe the walls will hold up until tomorrow.
And the tears will fall
And no one will sleep
But tomorrow we'll fix the village to what it was before.

Death comes with storms.
We cannot avoid it.
But maybe the walls will hold up until tomorrow.
And the tears will fall
And no one will sleep
But tomorrow we'll fix the village to what it was before.
Last edited by Achaean Republic on Tue Sep 29, 2020 7:14 pm, edited 1 time in total.

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06|Yaakovistan: Postcard

Postby Achaean Republic » Mon Sep 28, 2020 4:57 pm

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06|Yaakovistan: Naimanzuunnadintsetseg Millen-"A Long Dark W

Postby Achaean Republic » Mon Sep 28, 2020 4:59 pm

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Through the dark of the night
Through Whiskeys to a gutter side
I drunk my fill and I lost again
And went away on my own

Through the dark of the night
With sorrow i spiralled down last night
And went and fell down from such a height
To the depths of a lonely heart

For just a little while
I thought i might breathe again
But just as ever
I drown in the warmth of a lie

Through the dark of the night
Through Whiskeys to a gutter side
I drunk my fill and I lost again
And went away on my own

For just a little while
I thought i might breathe again
But just as ever
I drown in the warmth of a lie

Through the dark of the night
Through Whiskeys to a gutter side
I drunk my fill and I lost again
And went away on my own
Last edited by Achaean Republic on Tue Sep 29, 2020 7:02 pm, edited 2 times in total.

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07|Estogium: Postcard

Postby Achaean Republic » Mon Sep 28, 2020 5:03 pm

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07|Estogium: Georgina - Knagater Deseu

Postby Achaean Republic » Mon Sep 28, 2020 5:04 pm

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Georgina will be flying the Estogian flag in Achaean Republic: Georgina will be singing her uptempo banger, "Knagater Deseu" in La Cañada. This is the first song Estogium has sent that contains Britonish since World Hit Festival 46.
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Estogium's performance as of late has been relatively okay, peaking at the 52nd World Hit Festival where Estogium managed to reach the podium for the first time since the 48th World Hit Festival. Off of the success at the 52nd World Hit Festival, Estogium decided to enter the 53rd World Hit Festival which was being held for the seventh time in the neighbouring nation, Britonisea. There was excitement as Estogium thought that this could be the time in which they could finally take the gold and bring the World Hit Festival back to the nation after 5 editions. Estogium has yet to the World Hit Festival but on two occasions has come very close to winning. As the Estogian act was revealed, there wasn't as much hype as the edition before with some people suggesting that RVC took a risk not sending the 52nd World Hit Festival act the the 53rd World Hit Festival. Many thought that due to Estogium's previous record at the Festival; especially the Semi-Finals in which Estogium has come 5th and 2nd on the last two occasions, Estogium would be able to swim through the Semi-Finals easily, despite having a relatively weak song. Estogium was drawn to participate in the 1st Semi-Final once again, with Britonisea there in that Semi-Final to support the nation. However, as more and more nations were being announced as qualifiers, Estogians were coming to the realisation that for the first time ever, their nation would be banned from participating in the Grand Final of the World Hit Festival. After a while the confirmation that Adelene would not be making it to the Final, she recalled herself sitting in the Greenroom both crying to herself wondering what exactly she did wrong. It was confirmed that she had placed 12th in the Semi-Final of 16, with only 8 points by her side. Many thought that Estogium was being underrated as per usual, but some thought that Georgina's position was correct. As Adelene returned home to Estogium, while most people congratulated her from trying, some people were left angry at the Estogian efforts, and sent hate to both Adelene and the broadcaster. The broadcaster says that they are trying to win the World Hit Festival, but they don't necessarily know how. RVC said that they'd be going for a different route next edition, the Festival is only "a bit of fun at the end of the day".

With that being said, RVC opened applications for both WorldVision and World Hit Festival as the broadcaster is in charge of both acts and picks from one pool. Estogium's song pool isn't as wide as neighbouring nation, Britonisea - who's nearly double Estogium's population total. RVC received a few songs that they were happy with, but announced their withdrawal from the WorldVision Song Contest due to very poor results there and other problems that weren't explained. RVC said that the World Hit Festival would be their main priority for the 54th and 55th editions to try and find their footing before it gets too late. As the broadcaster sorted through some of the entries, they remembered that their 3rd placed entry was quite upbeat and edgy, two things that can actually take a nation to the left hand side of the scoreboard and even challenge a win. Most of the songs that RVC received were ballads, from both genders, and so RVC had to cancel out a lot of songs which they argued all sound the same. However, they noticed that four songs were songs that they thought the broadcaster could get behind. One of those songs were written by Edna Parish and Sean Barker-Phillips, with the song called "Knagater Deseu" - a Britonish language song which translates to "Rise Above" in English. At the time, the song was written completely in Britonish and the singer was only a demo version, not intended to be the World Hit Festival act. RVC decided to bring in Edna and Sean for a chat about their song, with both of them saying that they had somebody in mind to sing the song, which they can arrange for them to sing in person. RVC agreed but said that they were working on a tight schedule. In a few days, Georgina was introduced to the RVC officials. The RVC officials noted that Georgina seemed very confident, sure of herself and looked perfect for the role when thinking about how the song sounded. Edna and Sean said that Georgina would perform two versions of her song, one in English and Britonish, and one solely in Britonish. They said that they wanted Britonish to be heard no matter what, which RVC agreed with. After singing both versions of the song, the RVC officials thought that the match between "Knagater Deseu" and Georgina was perfect, preferring the English/Britonish mashup as it seems cooler and more edgy but more people across the globe would be able to understand what she was singing.

Georgina was thus picked to represent Estogium at the 54th World Hit Festival in Achaean Republic, who had at the time recently confirmed that they would be hosting. With the coronavirus figures in Estogium dying completely (well, at the time she was picked), going to Achaean Republic wasn't going to be an issue for Georgina whatsoever. Georgina is a 28 year old woman from Darlington, the capital of the country. She usually works in a tech firm as a manager, with her job mostly being sat down looking at innovative projects from people who just wanted a chance. Georgina felt like when she was singing her songs to the RVC officials, her role was completely swapped and only acted how she felt people acted towards her - excited and energised about her project, which indeed she was. Preparing for the World Hit Festival was a lot for Georgina. She had to take extended leave from her workplace despite her job piling on the pressure especially after the pandemic. She felt as that after working through much of the summer, not being able to enjoy it, Georgina decided to take the leap of faith and accept Edna and Sean's proposal. Flash forwards and Georgina was on an aeroplane to one of the major Achaean Republic cities. She felt as though this was her time to shine and to hopefully help her nation's performance.

And so her time on the stage to perform was here. She felt quite excited about coming onto the stage but she did feel the nerves. This was the performance that could decide how her country sees her. She was hoping for the win, of course, she was, but she would be happy if she placed on the left hand side of the scoreboard. What she did not want to do was a flop as badly as Estogium has been flopping in both the World Hit Festival and WorldVision Song Contests. "Knagater Deseu", she thought, was definitely a song that the crowd would get behind when she was performing it and thought that as she performed it, she would be able to go come into her own skin. It was time. You could hear the people cheering as we had one of Achaean Republic's fruity and thoughtful postcards playing. Georgina ran onto the stage and got herself ready to start the song. Georgina was wearing something that she thought would fit well with the song, opting for a holographic jacket wearing short black clothes beneath it which you could see as the jacket was transparent. She had dancers, female dancers, on both sides of her wearing a similar outfit to her but obviously a little toned down from her to keep that attention on here. Georgina wasn't particularly a fan of having abstract LEDs behind her and wished that it was just one screen similar to how it was back in Bovingdon. However, she was happy that the broadcaster hosting was able to accommodate to how she wanted her performance to look on this grand stage. She stood in front of the main pentagonal LED screen, with the other two dancers, socially distanced from her, stood in front of the stairs.

The lights were rather lowkey, with RVC opting for a purple and pink, with hues of dark blue being thrown in because why not. There were silhouettes of palms trees and whatnot in the main colours of the lighting too making it look perhaps just as tropical as the setting outside of the arena. The performance was about to start as Georgina put on a pair of sunglasses, before popping out a dark lipstick, smoothing it over her lips in a mirror that she got from inside her trousers. She quickly tucked them both away as the lights went down when the cameras came into the live arena. The few thousand in the arena cheered as it was time for Estogium to perform on the stage. After the audience died down, the music started, with the colours fading it once again. You could hear the sound of Estogian men shouting out into the audience which ignited cheering from the audience members. The men then started to say Britonish charms very quietly as camera Z, as they call it in Achaean Republic, was stationary in position, facing towards the centre of the stage where Georgina was standing with her hands sassily on her hips. The camera slowly moved inwards before Georgina smiled, with her pearly whites contrasting with the dark lipstick she was wearing. The camera sped up as it got closer to her before it stopped suddenly. Georgina quickly placed the microphone up to her mouth and started singing...

I am a queen seven days a week
There ain't no stopping me, oh.
Keeping you on your toes, you can't find me,
I'm a woman of mystery.
My heart is not for you, there is no key
You can't make your way to me
I know you know nothing but how to win
Well boy that's about the end


As Georgina started singing, the camera was never really on her for a long period of time. The camera went from one person on the stage to the other, especially when the dancers next to her - both of whom had microphones on them - would sing in between each of the lines Georgina was singing. As the cameras sharply cut from one shot to another, they all looked at the lens with a slight smile. Georgina, who was slightly facing towards one side of the arena, had turned herself completely around to face the main audience in front of her. As she started singing the line of her song, "I am a queen", her raincoat slightly fell off her shoulder and she started grinding - lowering herself slightly as she sang the next few sentences. There were some shots through camera three, which was used for special effects which RVC thought was pretty cool. There were some shots of Georgina from above slightly, with Georgina being surrounded by money and gold bars around her. As Georgina looked up at "You can't make your way to me" before moving her lips over her teeth. She then quickly snapped her neck forward where another camera caught her. The dancers moved in the shot as Georgina took a few steps forward.

The colours remained the same throughout the verse until we hit the pre-chorus in which some of the lights around the arena got slightly warmer for those watching. There was a camera which poked its head from the floor, lifting itself upwards to point towards Georgina and her dancers. She lifted her free arm in the air and she moved her head back, rolling her eyes in enjoyment as her song hit a euphoric note. As we continued into the pre-chorus, we heard some Britonish from those behind her, "Knagateus eyk vhe soile" (Rise like the sun), with some members of the audience cheering at the sound of Britonish which hadn't been sent to the World Hit Festival for quite some time. Georgina smiled as she rose with her queendom, with the LED's behind her having an woosh effect of a silhouette of ancient ruins behind her from the palm trees that were once on the LED screen behind her.

My queendom's rising (Knagateux eyk vhe soile)
The choir's singing (chanteux mehlodhis gloires)
The people, they're cheering (wilkomeux'un neue'aube)
Na vhostes tuereux requoile, vhe phuter tes hurge


However, the LED behind her didn't only change once! As she went through the lines, switching between English and Britonish, the LED behind her changed each time. As we moved to "Chanteux mehlodhis gloires" (singing songs of praise), there was an outline of a choir with their hands in the air, still with the lighter colours and theme as before, swooping from the ancient ruins before. As they moved onto the next line, "wilkomeux'un neue'aube" (Welcoming a new dawn), we then saw an outline of people together in one ground, but the camera was positioned to make it looked as though they were tiered behind her in what was a low angle shot. She looked down and smiled once again as she sang the final line of the pre-chorus in Britonish, twisting her wrists and shaking her hips the Britonish language flew out of her month.

There was silence for a bit as all of the colours in the stage quickly seeped away. All you could see was flashing white lights now amongst a black backdrop. As you saw the flashing lights, you could see Geogina moving and doing a series of movements with the girls behind her. She gazed upon them for a quick second and they looked back and nodded, obviously signifying them. The male backing vocalists came in with full force by the time Georgina then came in to sing her bit of the song. Similarly to this section in Oscar Zia's "Human" at Melfest 2016, along with the beat of the drum right before the chorus, the camera quickly cut forward and backwards along with each bang of the drum and to spice it up, they even included completely different shots of the dancers too to make it look even crazier.

Blink and you'll miss her, she's gone
The future's here, oh believe what you hear
Prepare yourselves for a new dawn

Blink and you'll miss me, I'll fly,
High in the sky, such a feast for the eyes
Got my army by my side
A forced not to be reckoned with... so bye!
Knagater, oh ma gens! Knagater deseu vhes autres,
Knagater, oh ma gens! Knagater deseu vhes autres!


After the crazy camera shot, Georgina and the dancers started grinding near each other - but not touching one another (close enough to look like they were dancing together). The cameras were going from different positions in the hall which fit in with the fast-paced music which needed dynamic camera shots like the ones RVC was providing to make the performance look even better than it actually was. Fire plumes shot from the sides of the stage as the three on the stage started dancing. Georgina stuck her tongue out as she felt the beat of the song go through her body. She was singing with some strength as well, she wanted to put forward how important she was now she has her queendom. As she sang the lyrics, "high in the sky,", Georgina looked up into the sky before looking back down for "such a feast for the eyes", with the camera quickly zooming into the eye in which she pointed towards, with the next shot fading out from their hair (which was dark) to quickly swerve round to see the behind shot of the three dancers from an aerial view and the audience they were performing in front of. Georgina was really getting into the song that she was singing - she felt like it was her last ever performance of the song.

As she kept on repeating the word, "Knagater", she kept on bending over before (with her free arm), lifting it into the air with the dancers behind her copying her actions but obviously with both hands since they both were free. The LED screens below showed a similar screen to how it was before with silhouettes of people rising behind her and waving a flag in the air, filled with the blue, pink and purple colour theme on the stage. It was then the end of the chorus with Georgina taking a power stance as the wind machines blew her hair over her shoulder. You could hear the horns, which were slightly louder in the live performance. Georgina quickly turned around to her right, where she was joined by another camera going straight into the next verse...

The world's waiting for my presence...exciting
No, no, no, no more hiding.
Boy, you better step aside and give way, don't steal my limelight
Bow your head to me out of courtesy and get used to it
Hope you know I ain't going nowhere,
Boy, I am here to stay.

My queendom's rising (Knagateux eyk vhe soile)
The choir's singing (chanteux mehlodhis gloires)
The people, they're cheering (wilkomeux'un neue'aube)
Na vhostes tuereux requoile, vhe phuter tes hurge


As she started singing the second verse of the song, Georgina was walking and talking with the dark colours from right at the start of the song reappearing on the screens below her. The two dancers were following Georgina behind her, looking at one another, putting their hands to their mouths, chatting and twirling their hands and Georgina was singing into the camera which was moving outwards. As Georgina sang, "No, no, etc", Georgina moved her index finger in a "no" expression, with the camera focusing on that before panning slightly upwards back to her face. As Georgina continued singing and reached the line, "don't steal my limelight", for a split second, the whole stage plunged into darkness with Georgina having a literal lime light pointed on her with her looking upwards as though she was praying. A long shot of the arena broke this camera shot, as we could see the thousands of people cheering Georgina and her two-woman dance crew on. As we moved into the pre-chorus once again, a similar thing to the first time happened with the LED's behind her but this time a steadicam joined her on the stage circling around her and the two other dancers who all were facing away from each other in a triangle in the middle of the stage where they were all at.

As they all sang the last line, the two dancers were once again flanking Georgina as the steadicam made its quick departure from the stage. You could hear the faint sounds of the Estogian chants in the background as we moved into the chorus with the lights going back to black once again with flashing white lights behind them. The girls all got their lipstick out of their pockets before putting it on their lips as the fans came on with full force here. They all then struck a pose and waited for the main section of the chorus in which Georgina started singing. What happened on the stage during the chorus was similar to what happened the first time around, with Georgina dancing in the middle of the stage how she sees fit as the cameras whizzed around her....

Blink and you'll miss her, she's gone
The future's here, oh believe what you hear
Prepare yourselves for a new dawn

Blink and you'll miss me, I'll fly,
High in the sky, such a feast for the eyes
Got my army by my side
A forced not to be reckoned with... so bye!
Knagater, oh ma gens! Knagater deseu vhes autres,
Knagater, oh ma gens! Knagater deseu vhes autres!


With camera Z being RVC's best friend during this performance, the broadcaster decided to opt for this camera at the end of chorus two. As the last two lines were being sung, we kept on going back to camera Z, who was zooming in before fading to black over and over again for a few seconds, going closer and closer to Georgina's face each time we cut to it. As Georgina sang the last line of the chorus, she held out her hand which stopped the camera from starting over again and zooming in. It was now time for the for Georgina's personal favourite part of the song - the dance break.

As you could hear the faint male voices singing, the lights started to flash again behind her, but the colours on the LED remained the same. You could also see the use of lasers too. The three women who were on the stage all walked in a circular way, all clapping their hands in the sky as they listened to the build up of the dance break. Suddenly, there was a snap in the song before Georgina and the dancers went into full dance sequence mode which looked edgy and funky especially with the blinding flashing lights which accompanied the dance moves.

[DANCEBREAK]

Blink and you'll miss her, she's gone
The future's here, oh believe what you hear
Blink and you'll miss her, she's gone
The future's here, oh believe what you hear
Blink and you'll miss her, she's gone
The future's here, oh believe what you hear
Blink and you'll miss her, she's gone
The future's here, oh believe what you hear


oooooo
oooooo
oooooo
oooooo


Georgina sweeped her hair behind her shoulders again after one could see her getting her breath as she went into the final chorus of the song. She looked back towards the dancers behind her slightly. The lights returned to how it was for a chorus, but this time with added pyrotechnics, such as gazers shooting up gas and whatnot. It was a fun and crazy atmosphere which the cameras did a perfect job of capturing on screen.

Blink and you'll miss her, she's gone
The future's here, oh believe what you hear
Prepare yourselves for a new dawn

Blink and you'll miss me, I'll fly,
High in the sky, such a feast for the eyes
Got my army by my side
A forced not to be wreckened with... so bye!
Knagater, oh ma gens! Knagater deseu vhes autres,
Knagater, oh ma gens! Knagater deseu vhes autres!


At the end of the song, there was a huge bang - a pyrotechnic blast. The song immediately finished with a huge audience applause. "Thank you everyone! Gracias!" Georgina shouted into the air to the sound of the horns.

---

[PRE CHORUSES]
My queendom's rising (Rising like the sun)
The choir is singing (Singing songs of praise)
The people, they're cheering (Welcoming a new dawn)
There is no turning back, the future is now here

[IN THE CHORUS]
Rise my people, rise above the others
Rise my people, rise above the others
Last edited by Achaean Republic on Tue Sep 29, 2020 7:02 pm, edited 2 times in total.

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08|Togonistan: Postcard

Postby Achaean Republic » Mon Sep 28, 2020 5:07 pm

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08|Togonistan: Anahera - "Calm Silence"

Postby Achaean Republic » Mon Sep 28, 2020 5:08 pm

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Anahera is representing Togonistan in the 54th World Hit Festival

Anahera is a 24-year old Togonistani singer born in Ascendia. Music has had an important place in her heart since childhood, as she studied in a music-oriented school. However, she gained wider popularity after participating in the 2nd season of The Voice: Togonistan, where she ended up on 4th place. 1 year later, she signed a contract with a local label Amstaff Records, and released her first solo album.

Anahera got approached by Lucky 7 to represent Togonistan in the 46th World Hit Festival, the first orchestral edition held in Izmedu, with a song ''Ata Murore''. However, due to management and communication errors in the broadcaster headquarters, Togonistan withdrew their entry on the last minute, thus crushing Anahera's WHF hopes.

3 months ago, she contacted a singer, songwriter and music producer Eliah Hamous for a joint project. Anahera's father had passed away due to heart attack, and she wanted to write a song to honour his memory. Eliah agreed and thus, in the following month, they released ''Calm Silence'' which was a calm ballad. Due to previous ties with the broadcaster, Eliah was able to contact Lucky 7 and sent a demo version to them. After short consideration, it was agreed that the song is going to represent Togonistan in WHF 54.

The song went through a slight rewamp during the preparations for World Hit Festival, which included extending the song's length from 2minutes 30seconds to 4 minutes. Also, Grace Lekker was invited on board to provide backing vocals for the chorus.

''I am very excited to represent my homeland here in La Cañada, and I am incredibly grateful to have received another chance to be part of the spectacular show that is World Hit Festival'' Anahera said in an interview given before the concert.

Performance:

Anahera is standing in the middle of the stage. She is wearing a long grey dress. Her hair are set loose and are somewhat messy, with parts of it partially covering her eyes. She clings onto a microphone stand in front of her. Stage is rather dark, with beams of cold light constantly sliding across her face after a certain interval. She puts her mouth close to the microphone and starts singing, with camera taking multiple close-up shots of her.

Hot summer breeze and the tides are turning
I am on my own
Trying to smile, but I feel so empty and gone

Just me and my thoughts, as I sit here alone
And I'm on my own
I'm lighting a candle
For you to see which way to go


More light beams appear and start rotating around the stage, while background LED screens show a bunch of stars in night's sky. The whole stage blends into a play of twirling lights, breaking the darkness here and there.

It's a calm, calm silence
Me and not a single soul
It's so calm, calm silence
At the dawn


Lights go off, and for a moment, only the dots of night's sky at the background are seen. Then, the LED screens go black again and beams of light start sliding across the stage once again.

The street's full of people, going their way
But you're not here
I carry through day
All the way until the dawn


The stage lights up in a bright yet cold colour scheme, a mixture of white and lighter tone of blue. Background graphics show a blue smoke twirling around, as Anahera sings the shorus. The camera takes a far away shot on the stage, before it starts rotating around Anahera. Halfway through the chorus, Grace Lekker is seen at the far back on the stage, bit offset to the left, wearing the same outfir as Anahera as she sings the backing vocals. However, Anahera is in the spotlight, as she sings the chorus while slightly shaking over her body and fighting the emotions.

It's a calm, calm silence
Me and not a single soul
It's so calm, calm silence
Me and not a single soul
It's a calm,
(it's a calm)
calm silence
(calm calm silence)
But you're gone
Me and not a single soul


For a moment, lights go out and Anahera stands in a single spotlight. Each background screen shows a burning candle.

Just me and my thoughts, as I sit here alone
And I'm on my own
I'm lighting a candle
For you to see which way to go


Stage lights up again and the smoke graphics re-appear on the screens. The stage floor fills with smoke, as the final chorus is being performed. Also, some wind appears, making Anahera's hair wave in the wind. She clings to her microphone and closes her eyes as she sings.

It's a calm, calm silence
Me and not a single soul
It's so calm, calm silence
Me and not a single soul
It's a calm,
(it's a calm)
calm silence
(calm calm silence)
But you're gone
Me and not a single soul


By the end of the final chorus, most of the smoke had faded away from the stage and the camera takes a top-down shot on the stage. Stage floor displays graphics of a twirling tornado, and Anahera stands in the middle of it. The tornado gains more and more speed, until it suddenly falls apart. Split second later, lights in the arena go completely off, thus ending the performance.

Crowd in the arena starts applauding and cheering, as lights go on again. Anahera is seen covering her mouth and some tears come from her eyes. She barely manages to say ''Thank you!'' to the audience, before leaving the stage.
[/quote]
Last edited by Achaean Republic on Sat Oct 03, 2020 7:47 pm, edited 4 times in total.

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09|Britonisea: Postcard

Postby Achaean Republic » Mon Sep 28, 2020 5:10 pm

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09|Britonisea: Jordan Hamilton & Nicholas Leblanc - "No More

Postby Achaean Republic » Mon Sep 28, 2020 5:11 pm

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Jordan Hamilton & Nicholas Leblanc will represent Britonisea in what will be the nation's 34th participation at the World Hit Festival with their song, "No More"...

After winning the 52nd World Hit Festival for what was the seventh time, Britonisea decided to host the 53rd World Hit Festival for what would be the first solo hosting BVC has done of the World Hit Festival for six editions. The plan for Britonisea being able to host the Semi-Finals was to have each of the shows take place in different cities, using a similar format to that of Vha Mehlodhivestoile, by making the stage very simple but effective (all of the bells and whistles of a normal WHF standard stage, but with a plain LED screen and floor - which for most delegations is more than enough). It was hoped that Britonisea perhaps have a show in the North, the East and the South/West, perhaps having the Grand Final in the capital, Doportedas. However due to the COVID-19 pandemic, with tests reaching nearly 150k cases, it was decided that the quaint seaside town of Bovingdon would get the chance to host - with the town receiving the honour of hosting the largest World Hit Festival to date which no one would have believed a year ago. That being said, the Bovingdon World Hit Festival was seen as a rather successful one. Although only 3.5k fit into the audience, way less than what BVC wanted, looking on the brightside, BVC managed to recooperate a lot of money spent by having people pay for packages to stay in Bovingdon for a longer period of time whilst giving them three star quality accommodation. The COVID pandemic which had really showed down in the nation hardly interefered with the programme, but some argue that the Doportedas Authority figures rising slightly had something to do with it. For the record, it was much lower than the disastrous effects of the aftermath from when Boschke hosted WorldVision, with Boschke's Authority seeing over 12k cases in the two weeks after compared to Doportedas Authority's 2k. The hosting was a rather successful one which lead to the first ever tiebreak for first place we have seen in many editions. It lead to an Achaean Republic win which was their first and which lead to Britonisea sending an entry to their nation.

Britonisea's BVC has made it clear that as long as a Briton is overseer, Britonisea will not be taking any breaks at the World Hit Festival and despite Britonisea falling once again to the right handside of the scoreboard, but with 24 points. While the score was the second worst rank out of a total of 19 of the last participations, the mask of hosting the Festival at the same time obviously softened the blow for the representative, Andres Cesare and the fact that there were 33 nations participating in total so Britonisea's ranking wasn't that bad overall. Moving into the 54th World Hit Festival, Britonish Officials felt as though their song for the 52nd World Hit Festival set the bar for Britonish entries higher than they have been in the past, with every nation ranking that entry in the top 10 out of 24 nations, bar Skanden and probably one other nation. BVC wanted to continue doing well to keep the fans watching the World Hit Festival but weren't sure where to go from here. Feeling immense pressure to do well at the 54th World Hit Festival due to Britonisea having won all even editions since the 46th World Hit Festival (the broadcaster didn't win 44, but won 42), the broadcaster wanted to live up to said expectation, but they felt as though that this could now be the experimental phase for Britonisea to go crazy. Britonisea had reached Euskirribakondara's total and was one behind the all-time winning total of eight set by Izmedu at the 49th World Hit Festival by only a point. So when deciding who will go to the World Hit Festival, the broadcaster thought what types of acts have they not sent to the World Hit Festival before and then they thought of Jordan and Nicholas.

Jordan and Nicholas don't particularly have a long history with one another. Both singers knew each other from the Britonish version of The Voice where the pair participated in the same edition and got to the live rounds. In what was a very interesting addition to The Voice, they decided to have a duo section, with the pair of them singing the same song together with one of the judges suggesting that they should form a duo together.

It was time for Britonisea to perform their song in what was the third Novapax song in a row after Estogium and Togonistan. Jordan and Nicholas walked onto the stage, both wearing similar attire - a clean white shirt with jean trousers and a jacket, with Jordan wearing a blue version of Nicholas' black. Not much was happening on the stage in terms of staging, except this contraption that BVC decided the wanted on the stage. It was a few lights, maybe 50 bulbs per row and there was enough rows for it to be around 2 metres. As the postcard finished and the audience cheered, it was time for the performance. At the start you could see nothing but darkness and heard nothing but silence. As the music came on, the bulbs behind them slowly flickered on with only the centre few turning on. The person who started singing was Jordan Hamilton who would look at the camera was a smothering look.

Give me a second, I need some time to gather all my thoughts
I need space so I can breathe, I want time alone, forgive me
It's all so... confusing, I have got to come to terms with it, I'm sorry dear
Don't expect to hear back from me, just turn around and walk away
I'm saying, "No more, no more", oh I can take this no more
Saying, "No more, no more", I am your fool no more


Throughout the section before, Jordan was smirking a bit when he sang certain lyrics, but his eye contact was fixated on the beckoning camera. It was a rather intimate setting for Jordan as he had his peice-to-piece with the camera. As the higher pitched, slightly louder voice of Nicholas came in, there was another shot of Nicholas coming in from behind the stack of bulbs that was on the stage. With a cute expression, he slightly smiled as he started singing the song. He didn't want to give too much energy into singing this part of the song as he knew that the big bit was coming in later on. The lighting brightened a tad as he made his way more comfortable into centre stage.

No more will I ever let myself be treated this way,
Let you run away with my heart,
You've stolen everything that I've got, I say no more.
I take comfort in believing what goes around comes around,
When the shoe is on the other foot,
You will then realise, the pain you caused to me


As Nicholas continued singing the back end of the chorus, "I take comfort etc", the bulb display started doing ripples with said ripples also showing on the abstract LED screens which you could see when the camera did a far away shot of the stage. On the LED there were tiny little tungsten coloured circles which made the ripple effect look as though it continued on from the bulb prop design. While many might have thought that the music would go back to Jordan, Nicholas continued to sing the song, taking it through the verse. As the strings brought the song back down to the verse, Nicholas suddenly went lower after taking a deep breath. You could see Jordan walk into frame, slowly nodding his head along with the song.

The world keeps on spinning, I have got to move forward
And put the bad thoughts of the past to the back of my mind
Oh I'll recover one day, don't you worry about that
I've got the support I need, but I'm not sure whether you can say the same dear

I let you come into my life and then you destroyed it,
So was this your plan from the start? More fool me, I suppose I
Will never let no one treat me in the way that you did dear
When the shoe's on the other foot, don't coming running back oh


As Jordan went into the bridge of the song, the lights slightly dimmed as the instrumentation was paired back. There was then another close up and candid shot of Jordan singing towards the camera with Nicholas being in the background slightly blurred out.

This will be the last time, oh that you will see me
Can you hear me singing "no more, no more"
No more, no more ay
No more, no more ay
No more, no more ay
No more, no more ay


They then sang the last chorus together with the pair of them interweaving their vocals to make polyphonic rhythms. To the back of them, you could see pyrotechnics going off with BVC opting to use a golden pyro shower to make the end look a lot more fancy along with the powerful vocals of the male vocalists. They sounded fantastic together.

No more will I ever let myself be treated this way,
Let you run away with my heart,
You've stolen everything that I've got, I say no more.
I take comfort in believing what goes around comes around,
When the shoe is on the other foot,
You will then realise, the pain you caused to me

(No more, no more) This will be the last time, (No more, no more) oh that you will see me
(No more, no more) Can you hear me singing "no more, no more"
(No more, no more ay)
(No more, no more ay)
(No more, no more ay)
(No more, no more ay)

No more


At the end of the song, Jordan and Nicholas hugged one another and smiled before turning and thanking the audience, "Thank you very much!" they both shouted before we move to what was happening next on the stage.
Last edited by Achaean Republic on Sat Oct 03, 2020 7:39 pm, edited 2 times in total.

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10|Malta Comino Gozo: Postcard

Postby Achaean Republic » Mon Sep 28, 2020 5:13 pm

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10|Malta Comino Gozo: BRADLEY GAUCI - "YOU"

Postby Achaean Republic » Mon Sep 28, 2020 5:14 pm

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Bradley Gauchi was born in Gozo in Malta Comino Gozo. He is 32 years old and is a professional model, singer and Instagram sensation. As a model, he landed the cover of Lewin magazine and was scouted by the prestigious Malta Comino Gozoan Elite Model Management. He is a keen singer and has had mild success in his home islands and is a popular singer and club goer. Having released 3 singles in the past his previous hit singles, Dial me, Shirtless and These Looks aren't Just For Show, have all achieved top 5 successful across the country as well as charting in various Top 40's oversees.
He is more famous oversees for his modelling work. His rippled physique and looks attracting the attention of everyone.

Bradley and the Malta Comino Gozoan delegation took the long 12 hour flight to The Achaean Republic. The nation was a long time friend of Malta Comino Gozo with the two nations being allies and well known friends in the music universe. The team flew two weeks before the competiion and had a few days to get over the jet lag. The landed in the stunning city of Corola before taking a coach to La Cañada mid morning. The team spent most of the long flight sleeping. It was a scorching day and the beautiful limestone buildings glistened in the heat. In this heat even the trees appear defeated. Leaves that should be firm and upward tilting droop, flaccid as old lettuce. Mid September in Achaean Republic were the months of subtropical heat waves, shockingly humid afternoons and soulful melodies of cicadas. The heat would bounce off the streets, and cause an illusion of wavering images. They were one of those days when a neckerchief wasn't such a bad idea – a day when the perspiration would surface on your forehead, your cheeks, the bridge of your nose, and run in rivulets down your face until you became sodden. They were one of those days when even the well turned-out dandies could not conceal the massive sweat pits on their sophisticated dress shirts. Furthermore, they were one of those days where every single bird, leaf, cloud and town inhabitant would succumb to the dastardly talons of indolence. Bradleys pink t-shirt clung to his muscles. He and the team made their way to the lovely luxury hotel. They would spend the next few day checking out the sights and rehearsing.


The postcard ended. The cheers cooled down. The camera has a bright 80s style filter on it, creating a retro but playful atmosphere. The camera steadily pans downwards onto Bradley who is stood mid stage. He has a drummer back right and guitarist back left and 2 baking singers one male one female. He's wearing a white summer shirt and pink chino shorts and loathers. His hair is gelled high like in the above pictures. He has some stubble. He has a big smile on his face. The background is a cartoony clear blue sky with a bright green grass bottom. There is a small tree to the left that gently rocks in the breeze. He is tapping his foot to the beat as the camera pans down. As he sings "Uhh" he briefly looks to the camera on his his left and nods once, before turning back to face the camera facing head on again. As he sings "be" he briefly looks to the camera on his his right and nods once, before turning back to face the camera facing head on again.

Words can't say how you thrill me
Uhh
Words can't say
How sweet it will be, be
You and I together in the park


He sings with passion to the front facing camera. He shakes his finger in front of his face before turning to face a camera on his right and waving.

Words can't say say say say say
How you take me
Words can't say say say say say
How you take me


The background changes to a a giant kissing lips before changing to a pulsating yellow speakers. They vibrate along. He whips the mic out of the microphone stand as the camera pans out and follows him as he playfully moves to the right side of the stage. He points to the camera before spinning on the spot and walking with glee in his step to the left hand side of the stage

So lets just kiss again
Your tasty lips touching mine
How it makes me feel
You and I
You and I together in the night


Bradley jumps up and down to the beat throwing his free hand around and does some up and down dolphin motions with his hands while grinning to the camera. He makes his way back to the centre stage. There is a aerial shots of main stage, audience and LED back screen.

So lets just kiss again
Your tasty lips touching mine
How it makes me feel
You and I
You and I together in the dark


The camera cuts back to close shot of Bradley as he mimes a heat beating. The background spawns more grass and flowers as the scene becomes more colourful. The camera cuts to a few shots of the stage the drummer and guitarist. It then cuts to the backing singers who raise their arms out in front as the sing.

Words can't say how my heart beats
Words can't say
How your hands teach
You and I
In the park after dark


The camera cuts to a view of Bradley and the backing singers who raise their arms out in front as the sing. He then runs his hand over his hair and winks as he sings "How you soothe soothe soothe me".

How you soothe soothe soothe me
Words can't say
You'll never leave me me me
You and I
Lovers in the park


The special effect camera shows various summer objects floating around such a cocktail, a coconut and a palm tree. The background is a neon pink. Bradley spins slowly on the spot looking upwards before gently swaying playfully before he jumps up and down to the beat as the chorus hits throwing his free hand around and does some up and down dolphin motions with his hands while grinning to the camera. He makes his way back to the centre stage. There is a aerial shots of main stage, audience and LED back screen.

So lets just kiss again
Your tasty lips are touching mine
How it makes me feel
You and I
You and I together in the dark


The 80's filter fades and Bradley marches to the right following the camera as it backs out. He is grinning. He bops up and down to the beat. He then crouches slightly and makes his way back to the middle. The background to a a giant kissing lips before changing to a pulsating yellow speakers. The backing singers dance up and down. Bradley points in left and right to the cameras and the suddenly a lady walks in shot from the left, (Its his real life girlfriend.) in a pink flowery summer dress. She is smiling. Bradley stretches a hand out towards her ad she playfully walks towards him. Bradley sings towards her sensually.

So lets just kiss again
Your tasty lips are touching mine
How it makes me feel
You and I
You and I together in the dark


He takes her by the hand and the pair spin and dance before he bends her right over at the end of the song suspending her near the ground and kisses her on the lips.

So lets just kiss again
Your tasty lips are touching mine
How it makes me feel
You and I
You and I together in the dark


The crowd erupts with cheers! "Thank you!!" Achaea he screams. Flags can be seen waving frantically and excitedly as the team walk of stage.
Last edited by Achaean Republic on Tue Sep 29, 2020 6:59 pm, edited 1 time in total.

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Founded: May 26, 2019
Civil Rights Lovefest

11|Achaean Republic: Postcard

Postby Achaean Republic » Mon Sep 28, 2020 5:15 pm

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