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WorldVision Song Contest 86 IC - Oreo City, Antahbrantahstan

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Antahbrantahstan
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Founded: May 29, 2014
New York Times Democracy

WorldVision Song Contest 86 IC - Oreo City, Antahbrantahstan

Postby Antahbrantahstan » Mon Nov 09, 2020 9:04 pm

Image




Playlist | OOC Thread


INTRO: PERMATA KHATULISTIWA | Presented by Selina Lawson
Inspiration & Tune: Puteri Indonesia 2015 Opening Sequence - MahaDjawa


The introduction before the opening act shows a book, nestling on top of a brown, teakwood table, which is shot from a close angle, suddenly, the book's pages flutter, as if blown by the wind, and soon after, the camera zooms in towards a page of the book, revealing Selina's soft, yet serious face, with a warm shaded makeup that showcases her beautiful skintone, all this accompanied by wonderful, Javanese-style instrumentals of violins, soft pianos, and light percussions from a glockenspiel-like instrument.

Now the video segues to Selina, who is seemingly making a batik, wearing a dreamy white kebaya gown that envelops her like a beautiful Javanese bride on her wedding day, while she is making a batik with gestures that signify her demure, yet certainly not weak personality, the shot would sometimes transition into a traditional teakwood engravings, complimented with CGIs of flying gunungan, Borobudur-shaped stupas, and Javanese stone ornaments that moves about. Being a symbol of Antahbrantahstan, which combines centuries-old traditions, with the always advancing modernity.

Soon after, we can see the video now showing a traditional wooden Javanese gebyok/gates, which then opens, revealing Selina, dressed in kebaya and hair styled in traditional buns, walking towards the POV of the audience, and after she is done walking, the video now ends, and as the music slowly comes to end, then the opening titlecard is shown (which is the titlecard shown above), complete with rustling leaves in the background, and afterwards, the entire video sequence ended, setting the stage for the actual opening act.





OPENING ACT: Helpless | Presented by KRESNADEWI, Selina Lawson & Mahakarya Orchestra
Tune: Weird Genius, Sara Fajira, Erwin Gutawa Orchestra - Lathi


As the opening video ended, the audience is then startled by the slowly rising sound of a violin, the sound would then rise into a cacophony of symphonies, ranging from the light strums of strings, horns, and woodwinds to the soft banging from percussions. With the stage lit in a soft, almost foggy landscape, wherein we can see a silhouette a woman, presumed to be Selina, dancing with outmost demure and grace, mimicking the movements of a traditional Javanese dancer, as if inviting the audience into a realm of the Javanese lands, filled with mysteries that the outsiders don't know, but certainly memorized and of course, the mainlanders used to it.

Suddenly, the strings ended, and the instrumental segues to a more harmonic gamelan sound, and now we can see projections of Javanese inscriptions being written by an invisible hand into Selina's dress, complimented with a wave of blue colored lasers that acts as a pivotal part of the background scenario, and slowly, the audience can finally see Selina, wearing a white fascinator with floral embellishments, with a Chinese-style long nail accessory adorning her fingernails, singing the first verse of a song that brought Antahbrantahstan into their second-ever WorldVision victory, despite of this fact, she remained calm, singing with an intimate sounding voice that resonates through the crowd, complimented by the soft plucking of the violin strings that add a mysterious-yet-whimsical vibe to the performance.

Problems that's see through
Closed my eyes from you, oh-oh
You smiled through the pain
And all through this endless rain, oh-oh


Soon after, the stage finally lights up, revealing Selina wearing a beautiful white kebaya, complete with batik adornments and traditional brooches. However, the batik adornments seemed to be bigger than Selina's actual body figure, enveloping the stage floor, leaving what seemed to be a surprise reserved for the audience later. Selina does not seem to mind this, continuing to sing with outmost demure and a somewhat inhumane degree of calmness, as if she is silently being possessed by a traditional pagan deity that outsiders don't seem to know. The instrumental continues to complement Selina's vocals with outmost melancholy, sounding like a soft, voiceless choir of sounds that emanates from the orchestra's string instruments.

Soon after, Selina's voice turns from calmness into a louder voice, as if crying for help, with the strings intensifying to a degree of culminating into a powerful crescendo, seemingly heeding Selina's call to help, however, Selina's voice later softens, with the string instrumental suddenly stopping, revealing a melange of gamelan sounds that will signal the chorus of the song.

Everything has changed
Jet black scars have tainted your heart
Yet it's still so hard
To convince you to find help



Don't turn your back and run away
Just hold my hand and let me guide you
Before it consumes you


Suddenly, a flurry of blinding lights, colored red and white, began to engulf the arena, with the strobe light panel on the ceilings moving up and down like a kinetic rain sculpture. The inner and outer part of the LED panel showing images of a gunungan. Selina doesn't seem to be startled by the sudden flashes of sights and sounds that is happening around her, instead embracing it like it was her own destiny. Soon after her singing ends, she began to move her hands and body, with rough motions, as if she is being possessed, however, a certain kind of demure and calculations are present in her dances, as if her soul is momentarily being replaced by a Javanese dancer's. Shrilling violins and gamelan-like synth sounds accompanies her dancing and singing.
Mengapa dirimu, tak kunjung menahu
Why do you still don't know?

Terlalu lambat selamatkanku
That it is too late to save me now


The music then turned to a more dramatic string sounds, albeit with more subdued electronic music. Selina continues to sing softly, as if returning back into her senses. Bits of fog surrounds the stage, creating an air of mystery that suits the mood of the song. Subdued white lights illuminate the stage to ensure that Selina remains seen by the audiences.
Trying to escape this hell
And now i know what it's like to feel your pain


Soon after, the camera now shoots a mid-range shot of Selina, seemingly capturing a blurry image of a stony, seven-headed snake that seemingly wants to protect her. Selina remains unhinged, however, choosing to sing with the same grace and poise that she personified towards the audience in the beginning, complete with string instruments that seemingly emits a more saddening, subdued harmony, before culminating into a more dramatic crescendo as the singing progresses, as if Selina is going to lose her sanity once again.
Everything has changed
Jet black scars have tainted your heart
Yet it's still so hard
To convince you to find help



Don't turn your back and run away
Just hold my hand and let me guide you
Before it consumes you


Suddenly, Selina's voice changes, utilizing traditional Javanese vocalization called "nyinden", signaling that her sanity is once again gone, along with this, the stage turned a deep, bloody shade of red, with the fogs replaced by reddish colored laser lights. The floor LED screen and the chandelier LED screen on the ceiling showing images of water tainted with an unknown red substance, afterwards, Selina then returns to her normal singing style, singing with outmost poise, and after singing her last verse, Selina then dances maniacally, moving her hands and body like an animalistic, snake spirit has possessed her. With the shrilling violins and the gamelan-styled electronica beat accompanying her road to insanity until the very end of the song.
Mengapa dirimu, tak kunjung menahu
Why do you still don't know?

Terlalu lambat selamatkanku
That it is too late to save me now

Mengapa dirimu, tak kunjung menahu
Why do you still don't know?

Terlalu lambat selamatkanku
That it is too late to save me now





Suddenly, as the stage performance ends, a voice is heard from the satellite stage, it is Margaret Rumkorem! Standing wearing an African wax print dress, with several jewellery that decorates her like the true queen she is.
Good evening, Selamat malam everyone and welcome to the 86th WorldVision Song Conteeeeest!

Phew, that was a very spectacular performance, however, i sadly cannot speak to her right now, for she is gonna go backstage in order to prepare for the first ever entry of the night, Highly Ranked and um, Dixie Normous. Is that her actual name? To step on this stage. Such a shame, i mean, i'm already applying the social distancing protocols!

It has been a very, very long gap between our first hosting and this edition, basically bigger and longer than some of you's.., um, you know, personalities? Anyway, without further ado, i hereby declare that the 86th WorldVision Song Contest is open! And also, i'm now letting the Highly Ranked entrant, Dixie Normous, take the wheel and step on stage.
Last edited by Antahbrantahstan on Tue Nov 24, 2020 6:40 am, edited 4 times in total.
Know this: Some people will not hear you regardless how much, how loud, how truthful, how loving or how profound you speak. Wish them well and let them go.

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Antahbrantahstan
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Founded: May 29, 2014
New York Times Democracy

Postby Antahbrantahstan » Mon Nov 09, 2020 9:05 pm

THE ENTRIES

1. HIGHLY RANKED
Entry | Postcard


2. TALVEZOUT


3. SCOTATROVA


4. PEMECUTAN


5. KYRITAKIA


6. RHIM FLAVEZZTOWLAND
Last edited by Antahbrantahstan on Fri Nov 20, 2020 7:32 am, edited 1 time in total.
Know this: Some people will not hear you regardless how much, how loud, how truthful, how loving or how profound you speak. Wish them well and let them go.

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Highly Ranked
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Postby Highly Ranked » Mon Nov 09, 2020 9:07 pm

1. HIGHLY RANKED

DIXIE NORMOUS - THIRD TIME'S THE CHARM

LYRICS: D. Normous

INSTRUMENTAL: B. O'Problem, Minister for Musical Oversight

TUNE: Curly Toes


Image

The less said about her, the better.





Dixie hobbles onto the stage, surrounded by armed guards. She tries to hit one with a cane, before walking up to the microphone, knocking it over. She doesn't pick it back up.

This song is stupid
So extremely stupid
But you have to hear
This "dumb" ditty, ha-ha!


She begins to sing horrifically off key. Her screeching reverberates around the stadium.

Some more ear torture
And some more stupid songs
Extremely stupid songs
And your ears will bleed


She was right about that one.

This song is stupid
So extremely stupid
And just for you
My very ugly face


She runs off stage, microphone in tow, to kiss the Polkopian cameras.

For you, for you
My ugly face
It's the best of my things
My real stupid song
And my ugly face


She then runs into the Amuaplyean cameras, showing the audience of ~10 million people her horrifically smeared makeup.

Just for you
My bad fashion sense
6 sizes too small
My bad fashion sense


She then tries to rip the tag off of her white skirt to show everyone, but it just causes her to rip the back out of it as well.

The bad colors
The bad design
The wrong sizes
And my ugly face


She begins to point at her clothes and face, now walking back up onto the stage.

This song is stupid
So extremely stupid
And just for you
Bad clothing on


She begins to demonstrate the opposite after singing that last line. This would be the time to start pixellating.

You'll give me your twelve points
Just watching me
You'll give me our first win
With our stupid song


The screens in the back show a massive, garish "12" painted in the most ugliest colors imaginable.

You'll make us win, make us win
With our stupid song
You'll make us win, make us win
With my ugly face


She smears the makeup all over the place, making her look like a sad birthday clown.

It's all stupid songs
And ugly people
And you're so ugly too
Especially the back


She decides not to stop, even when her guards start throwing trash at the audience & they toss it back.

The people in the back
Are ugly like me
People in the back


She knocks over one of the cameras, punches a guard in the face, and then walks off.
Last edited by Highly Ranked on Mon Nov 09, 2020 9:49 pm, edited 2 times in total.

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Talvezout
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Civil Rights Lovefest

Postby Talvezout » Mon Nov 09, 2020 10:54 pm


02 - TALVEZOUT - LADY KIM - "UNTIL THE END"
Image
Talvezout was, once again, in a very Talvezian pickle at Worldvision. Having failed breach the top ten in Worldvision 84, the nation felt defeated. "Image of You was a heavily hyped song (some may say it was overhyped)


Running through the bright Phoda lights, we were so young
A faraway summer, etched in mind
Hot, crazy, and drunk, five in a room
Driving along the streets, laughter in our eyes


Singing old songs for each other
Crying over old lovers
Dancing in the middle of the street, oh
Feels so long ago, but one thing remains


All good things must come to an end
But even if it’s not over it’s not the end
Until the end, until the end, be with you until the end
No matter where we;ve been
Going through every little thing
Until the end, until the end, be with you until the end
Until the end, my friend


Do you remember when we ran through the Oreo louts?
Maybe we were too young, but who cares anymore
God it’s insane how the years can change so fast
I don’t even know where you are
But no matter what I do, no matter with


Singing old love songs to each other
Thought we could go no further
Living in the crazy city oh
We could be best friends forever, but the truth is


All good things must come to an end
But even if it’s not over it’s not the end
Until the end, until the end, be with you until the end
No matter where we;ve been
Going through every little thing
Until the end, until the end, be with you until the end


No matter what happens in the end, you’ll always be my friend
No matter what happens in the end, you’ll always be my friend
No matter what happens in the end, you’ll always be my friend
No matter where you’ve been
I’ll be with you until the end


All good things must come to an end
But even if it’s not over it’s not the end
Until the end, until the end, be with you until the end
No matter where we;ve been
Going through every little thing
Until the end, until the end, be with you until the end

All good things must come to an end
But even if it’s not over it’s not the end
Until the end, until the end, be with you until the end
No matter where we;ve been
Going through every little thing
Until the end, until the end, be with you until the end
Last edited by Talvezout on Tue Nov 10, 2020 9:16 pm, edited 2 times in total.
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Scotatrova
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Civil Rights Lovefest

Postby Scotatrova » Tue Nov 10, 2020 12:45 am

3. Scotatrova
Ximena
Distractions

Tune: Sasha Lopez, Misha Miller - Smoke Me
Image


Scotatrova has seen a series of abysmal placings in WorldVision the last few contests, achieving its lowest ever placing in WV83 at 20th, and the broadcaster has grown antsy. There were last minute calls made just before the return of Scotatrova's National Final this edition, with the broadcaster almost opting to go internal. However, SSTR is keeping faith in its national selection, and this edition the public has decided to go with Ximena, with her song "Distractions." Ximena is a Scotatrovian singer-songwriter from the state of Pieres in Scotatrova's North Atlantic coast. She is the daughter of well known Scotatrovian singer Iago Freira. From him, she learned how to play the guitar and piano at an early age. When she was 13, she auditioned for the kid's television show Vitha Giovene. She was successfully cast in the role of the lead star's best friend, primarily because of her singing and acting skills. Her success on the show would garner her success as a teen idol. At the age of 18, Ximena signed a four-album recording contract with Linara Records to distribute her music. "Cail Aberde" would be released as her debut single of the album of the same name, and was a commercial success. The song has sold over one million copies in Scotatrova since its release. She would begin branching out, eventually going on a European tour, also to critical acclaim. Now, together with the SSTR, the song "Distractions" has come to be. Ximena posted several teasers in the days preceding the announcement and upon released garnered over half a million streams in 24 hours across all platforms. She is hoping to keep up that success as she takes to the stage in Antahbrantahstan.


With the commencement of the song, Ximena sits atop a rectangular platform in the middle ring of the stage. The stage flashes in a flurry of red lights in sync with the song. Ximena is dressed in a fully red robe that covers her from head to toe as she sits on the platform. Her legs are crossed over one another and she holds the microphone in her right hand, with her left being used to prop her up as she leans to the side. On the outer ring of the stage, there are two male dancers, each of them to the left and right of Ximena respectively. To display her better, a white stagelight is shined down upon her. This makes it clearer for the audience to see Ximena, while still leaving the rest of the stage bathed in deep red.

Give me distractions
So that I can forget you
And so that I can move past it
I'll write my music
And turn up the melody
That you can no longer interrupt now


While she starts singing, she tilts her head back. The hood of the robe falls back and her hair slowly comes undone, being held in place by the robe. The two male dancers begin to dance in conjunction with the beat. Ximena brings her head back up to look towards the camera as it pans in closer to her. As it does, it moves in a circular motion, moving around her. Her eyes follow the camera, and just as she cuts gaze to look forward, she gives a smirk. When she sings "I'll write my music" she lays down on her back on the platform. The camera angle then switches to one directly over her. She lays on her arm while she does so, and her robe covers the platform in lacy red. She keeps eye contact with the camera as she ends the verse and sits up.

Whoo!

Ooo la la la la la la la la la
Ooo la la la la la la la la la
La la la la la la la la
Ooo la la la la la la la la la


With the bass drop, the stage lights begin to move back and forth. This time they rapidly strobe in a series of red and white. The male dancers on the outer ring of the stage halt their dancing, and stand in place, each looking out toward the audience. Ximena, now sitting up on her platform, claps with one hand on her lap as she swings her hair back and forth. She raises her arms above, still clapping and looks up to the ceiling.

I do better alone
With no more burdens
Because that’s all you were to me
Hate to say it aloud
But baby its true
I'm not one to watch my tongue

Give me distractions
So that I can forget you
And so that I can move past it
I'll write my music
And turn up the melody
That you can no longer interrupt now


After the verse ends, Ximena starts loosening up her robe as the two male dancers make their way to her. As they get to her, each of them grabs her by one arm and lifts her up off the platform onto the main inner stage. The robe then falls seamlessly off of her shoulders, falling to the floor. Hidden underneath the robe, Ximena has on a red velour bodysuit One of the dancers make his way off the stage while the other stays with Ximena. He gets down on his knees and looks up at her. She keeps the microphone steady in one hand as she uses the other to caress his cheek. The dancer glares up at her as if he's done something shameful and now seeks forgiveness. Ximena still holds onto his cheek with one hand and then uses it to grab him gently by the chin, which signals him to stand up. From there she slightly pushes him away, not needing him anymore.

Whoo!

Ooo la la la la la la la la la
Ooo la la la la la la la la la
La la la la la la la la
Ooo la la la la la la la la la


The second dancer that left earlier in the performance comes back with a chair in hand. He places it down in front of Ximena, and she straddles it facing backwards. She leans on both of her elbows as she sits in the chair, and again starts shaking her hair back and forth. She claps her hands to the rythm as before, this time with the male dancers beside her. The lights then start to strobe in a blood orange and white sequence. The camera pans close to Ximena, and she gives the camera an adoring gaze enjoying herself on stage. She then leans back out of the chair, to the point where her hair drapes down to the floor before shooting right back up.

I need distractions
To keep you away from me
Maybe I need to spell it out
Whatever you think
That this is I can promise
It will be ugly for just one of us

Ooo la la la la la la la la la

Whoo!

Ooo la la la la la la la la la
Ooo la la la la la la la la la
La la la la la la la la
Ooo la la la la la la la la la


Ximena gets up from her chair and places one knee on it. Both men come up to Ximena, and start to slowly cozy up to her. Ximena continues to look straight ahead, seemingly ignoring the men's advances. She keeps focus on camera while this happens, unaffected by the situation. Then during the last few moments of the song, she begins to entertain their advances. She smiles as she again pushes past in front of them and continues with the song. Once the song ends, the stage lights up in a steady white light. Ximena bends over in relief and moves her hair out of her face when she comes back up to thank the crowd. "Thank you!' She wraps both arms around the male dancers as they make their way off stage for Pemecutan's performance.
Last edited by Scotatrova on Sat Nov 21, 2020 4:30 am, edited 4 times in total.
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Scotatrova in WorldVision
WV72 - 13th
WV73 - 6th
WV74 - 8th
WV75 - 18th
WV76 - 11th
WV77 - 5th
WV78 - 17th
WV81 - 6th
WV82 - 11th
WV83 - 20th
WV84 - 16th
WV85 - 15th
WV86 - 1st

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Pemecutan
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4 || PEMECUTAN - LEPASKANLAH

Postby Pemecutan » Tue Nov 10, 2020 1:46 am



Image


4

Gading Mahesa and Ayu Purnami - "Lepaskanlah"
Music: Putu Dian Permana
Lyric: Gading Mahesa
Tune - Birdy + Rhodes - Let It All Go


Previously at 85th World Vision Song Contest

The 85th WorldVision Song Contest was the second time Pemecutan joined in the competition. In the event that was held in Valletta, Malta Comino Gozo, Pemecutan was represented by a duet from veteran singers, Komang Suarbawa and Rani Purwani. They sang "Usah Kau Pendam Sendiri", which is a song that was created to honoring World Suicide Awareness Day. They put a descent performance which give quite an acceptance from the audience.

During the vote process, they only got 22 points from the jury votes. While they got a staggering 42 points. With a total of 64 points, Pemecutan was placed at 21st. The result was better than the previous result (Pemecutan first entry). But still, the result is far from modest.

The Entry

After an intense online televotes (a usual method use by the committee to choose the entry), another duet will be represented Pemecutan in 86th WorldVision Song Contest. They are Ayu Purnami and Gading Mahesa with their song, "Lepaskanlah. The song was released last June as the third single from Gading Mahesa's new album into a mild success. Some says that the song is underrated. But their selection to represent Pemecutan in WorldVision Song Contest might increase the song's notability.

Image
Ayu Purnami and Gading Mahesa

Ayu Purnami (or Kadek Ayu Purnami Dewi) is a 30 years old Pemecutan singer who is notable as the lead singer of Sintesa band, a pop-folk band. Her career started around 10 years ago when the band is established and released their first self title album. The album got a mild success and made them being nominated at Chakra Music Award as Best New Artist. With the band, she has released 3 albums and 11 singles. Their second album, Panorama, is their most successfull album which gaves them 5 Chakra Music Award nominations.

Born in Pemecutan Puri 36 years ago, Gading Mahesa (or Nyoman Gading Mahesa) is Pemecutan singer-songwriter. His father who knows Gading's talent, made a demo album of his son and sent it to several recording companies to no avail. After several rejection, the demo was pick up by a small recording company. His first album was released in 2009 into a mild success. Throughout his career, he has released 4 albums. In 2016, he has to retired from music industry after he was being diagnose for kidney cancer. As the result, one of his kidney has to be removed. After two years of recovery, he come back in 2019 with a new album.

Both singers have been meet several times, on and off screen. This also which makes them very interested to make a project together. Unfortunately, their idea only can be materialize in 2019 through this song.

The Performance

The host announce Pemecutan entry for their performance slot. The lights goes dark and Pemecutan postcard is reveal on the big screen. Gading Mahesa and Ayu Purnami prepare themselves at the center of the stage. Gading is wearing marron blazer with batik streamline, combine with black v-neck shirt and dark blue jeans. While Ayu is wearing maroon brocade mini dress with red ribbon waistline. Her hair is keep simple. The lights begin to shine as the intro is playing in the background. At the center stage, Gading Mahesa and Ayu Purnami is seen seating back to back. Ayu begin to sing her part while connecting with the audience. The lights are keep at minimal which only focusing on both singers so the intimacy can be establish. She sing higher when reaching the bridge part before Gading accompany her to sing the chorus together with an assemble of backing singers which makes the song become grandiose. The lights on the stage sparkled and enlighten the whole stage as they sing the chorus.

Malam yang gemerlap
A sparkling night

Tak terangi jiwaku
It does not lighten up my soul

Ku tatap sang bulan
I stared at the moon

Dambakan bayangmu
Desiring for your shadow


Kerlingan sang bintang beri isyarat
The star's gaze gives it's signaled

Relakan dia yang telah pergi
To let him go


Ku tak mampu, ku tak mampu
I can't, I can't

Lupakan semua
Forget everything

Ku tak mampu relakanmu
I can't let you go


Haruskah ku lari meraihmu...u…u
Should I run to reach for you...u...u

Atau kah ku lepaskanmu...u…u
Or will I let you go...u...u

Lepaskanmu lepaskanlah lepaskan semua
Let go of you, let it go, let go of all

As Gading sing the second verse, they both walk through the connector to reach the outer stage. They walk in different way after they reach the outer stage. Both are reaching out and connecting themselves to the audience as they enter the bridge. Ayu's voice become more coarse which gives the feeling of sadness and solitude to the lyrics. The backing singers are again help the grandiosatmosphere when they sings the chorus part. The strong drum beats can be easily heard as they are progressing into the last part of the song.

Senyuman ini terasa hampa
This smile feels empty

Gambarkan luka ku
Describing my wounds

Disaat ku kehilangan arah
When I feel losing my way

Yang menjadi tujuan
Which becomes my goal


Tak sanggup kutahan s'gala derita
I can't bear all the pain

Ingin ku ubah takdir yang ada
I want to change the existing destiny


Ku tak bisa, ku tak bisa
I can't, I can't

Terima semua
Accepting everything

Ku tak bisa kehilangan
I can't lose you


Haruskah ku lari meraihmu...u…u
Should I run to reach for you...u...u

Atau kah ku lepaskanmu...u…u
Or will I let you go...u...u

Lepaskanmu lepaskanlah lepaskan semua
Let go of you, let it go, let go of all

Lepaskanmu lepaskanlah lepaskan semua
Let go of you, let it go, let go of all

The lights goes off again and only focusing on both singers who is standing in the distance. They are facing each other from the distance as they sing the coda part. Their voice become more powerful as they sing the chorus again for one last time. The lights goes on and changes colors as they are singing. The lights and the music suddenly stops as they finish the chorus. The lights only focused on both of them. Ayu raise her head and looking at Gading from the distance. She reach out her hand to him as she sing the last lyric of the song before it ends. And the stage goes dark.

Tegar, kuat
Tough, strong

Tegar, kuat
Tough, strong

Tegarkan ku jalani semua
Strengthen me to live it all

Dan kuatkan ku untuk bertahan
And strengthen me to endure


Haruskah ku lari meraihmu...u…u
Should I run to reach for you...u...u

Atau kah ku lepaskanmu...u…u
Or will I let you go...u...u

Lepaskanmu lepaskanlah lepaskan semua
Let go of you, let it go, let go of all

Lepaskanmu lepaskanlah lepaskan semua
Let go of you, let it go, let go of all


Mampu kah ku lepaskanmu...u...u
Can I let you go...u...u

Roaring claps are heard all over the venue as the lights goes on again. The two singers are waving their hands and gives salute several times as they are getting off the stage. The host then take over the show and congratulate for Pemecutan performance before they are introducing the next performer.
Last edited by Pemecutan on Sun Nov 15, 2020 7:28 pm, edited 5 times in total.

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Kyritakia
Civil Servant
 
Posts: 9
Founded: Sep 07, 2020
Left-Leaning College State

Postby Kyritakia » Tue Nov 10, 2020 2:37 am

- NAH, MATE

NAAAAAAAH -
Last edited by Kyritakia on Mon Nov 23, 2020 4:14 am, edited 2 times in total.
Nekoni's OTHER bit on the side.

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Rhim Flavezztowland
Spokesperson
 
Posts: 101
Founded: Sep 09, 2020
Democratic Socialists

Postby Rhim Flavezztowland » Tue Nov 10, 2020 5:34 am

6. Rhim Flavezztowland
"Temptation" - Leon Powell

Lyrics: Leon Powell
Composition: Jessica Burnet, Reina Yamazaki, Alina Johnson
Tune: EXO - Lucky One


Image


ARTIST INFO

Born on November 1, 1985 in Skipinton, Coleshire County, Rhim Flavezztowland, Leon Powell first rose to fame as a member of the A-Nation Entertainment boy group Crystalline in the late 1990s and early 2000s. His membership in that boy group, however, infamously ended with a lawsuit that he filed against A-Nation Entertainment in 2005, citing "slave contracts"; his solo career wouldn't begin until a year later, which was when he debuted solo under the Flavezztowlander entertainment company Blueyoung Entertainment with the hugely-popular title track of "I'm So Sorry" from his first single album, Me, Leon - Vol. 1: Yours Truly. Since then, he has released multiple solo songs including his 2013 hit song "I Wanna" (from his third mini album, Square Three), as well as his 2017 collab song with labelmate Klara Ford, "Truly Fine".

SONG INFO

"Temptation" is the title track from Leon Powell's 5th (and latest) mini album of the same name. Powell stated in a July 2020 interview on the FTV2 talk show The Show on 2 that he was inspired by the art of Flavezztowlander painter Evelyn Westfield to write "Temptation" for himself to record. He also stated that the song is "a song about those times when you've easily gotten yourself into a situation that's difficult to get out of".

SONG LYRICS

[Verse 1]
Oh, it ain't super gross
I wanna be spending my time with someone who treats me to the max
Oh, my...
No matter how hard I try to keep away from you, I need you (woo)

[Verse 2]
All is super special and it's thanks to you
Don't you know, don't you know, don't you know that it's lovely?
Isn't it all I can see without loving you?

[Pre-Chorus]
And now I'm just spinning around, and round, and round
Can you please just stop me before I fall down in circles?

[Chorus]
Ain't it temptation to me?
'Cause I'm super dizzy now
With the blessings of love
Am I fooled or not?
Don't know what my future is
I think it's temptation...

[Post-Chorus]
You are my (lover right now)
Only one (lover right now)
You and I are (woah, woah, woah, woah)
Lovers right now
But then I'm still the one who can't stop now
All 'cause of temptation...

[Verse 3]
Well... (Yeah, yeah)
I can't stop myself from these feelings of true love
('Cause I have nothing) Without your love
I'm feeling, and feeling, and feeling good
I don't know, I don't know, I don't know what I'm here for
Feeling this goodness right now
Isn't it tempting?

[Pre-Chorus]
And now I'm just spinning around, and round, and round
Can you please just stop me before I fall down in circles?

[Chorus]
Ain't it temptation to me?
'Cause I'm super dizzy now
With the blessings of love
Am I fooled or not?
Don't know what my future is
I think it's temptation...

[Post-Chorus]
You are my (lover right now)
Only one (lover right now)
You and I are (woah, woah, woah, woah)
Lovers right now
But then I'm still the one who can't stop now
All 'cause of temptation...

[Bridge]
I'mma be using all of my cologne
Everything ain't the way of my own zone
Nothing can be as tempting as my newfound love
'Cause my feelings are just like a dove
Once it's all said and done, we'll just go
To the secret world where tricks and treats throw
Is this time to go out without a major pout?
Cause, I, I, I...

[Chorus]
Ain't it temptation to me?
'Cause I'm super dizzy now
With the blessings of love
Am I fooled or not?
Don't know what my future is
I think it's temptation...

[Post-Chorus]
You are my (lover right now)
Only one (lover right now)
You and I are (woah, woah, woah, woah)
Lovers right now
But then I'm still the one who can't stop now
All 'cause of temptation...

[Outro]
I think it's temptation...
All 'cause of temptation...
Last edited by Rhim Flavezztowland on Fri Nov 13, 2020 9:42 pm, edited 8 times in total.
A 28.714 civilization, according to this index.
The top Flavezztowlander domestic news headline right now: CLC (Central League for Capitalism) banned from participating in all future elections by FEC (Flavezztowlander Electoral Commission)


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Placely Placington
Secretary
 
Posts: 29
Founded: Feb 03, 2020
Civil Rights Lovefest

Postby Placely Placington » Tue Nov 10, 2020 5:38 am

07 - Placely Placington

Dave the Living DJ Booth - I Am In Extreme Horrible Agony Please End My Suffering


Tune: Joel Johansson (aka Vargskelethor) - Beef Zone

The last edition was less of a disaster for Placely Placington, but it was still not a good result. Back in Valletta, they were represented by Wynan Schitt, a guitarist who had somehow managed to recruit a trio of local musicians to play alongside him. That wasn't the bad part. The bad part was him constantly crying out his terrible lyrics while his bandmates just laughed. Eventually he literally cried his eyes out and the band bailed on him. Can't say I blame them, really. In the end, he fell off the stage and hit the ground. He died a couple of seconds before impact but that was the third time during his trip there that he died anyway so the emergency services and staff thought nothing of it. At least he did better in the voting than Jim the Grindcore Guy Bloke did in the contest prior, as he somehow managed to not only get another twelve from South Alezia and a ten from Zamboodle but also got some points from some unlikely nations as Malta Comino Gozo and Todlichebujoku both gave it three points each. However, they still on the lower end of the right-hand side of the table with 35 points from the juries and 4 points from the televote resulted in a 22nd place finish with 39 points.

Unfortunately, the music scene's starting to come across as a bit thin in Placely Placington, meaning it's harder for Chief President Bloke Dave McDaverson to come up with a potential future act. Luckily, someone wheeled in Dave the Living DJ Booth. Dave the Living DJ Booth was originally a normal DJ booth when suddenly a mishap trying to clone a new person resulted in that clone merging with the DJ booth to form a new person. He still looks like a normal DJ booth from the outside but inside he's all sentient and his innards are all flesh and what us people have. Long live the new flesh. Long live the new flesh. Long live the new flesh. Long live the new flesh. Long live the new flesh. Long live the new flesh. Long live the n-

*CONK*

Thanks for that. Anyway, regardless of his situation, Dave the Living DJ Booth's still able to make and produce his own music, which is how he communicates with people. All of his songs are club-ready and all worthy to be played at your local discotheque. With such classics as My Entire Existence Is Nothing But Pain, Please Turn Me Off For Good and the smash club hit Please For The Love Of God And All That Is Holy Please End Me, it's not hard to see why he'd be a good choice for this smiley-faced nation. No word on why on the flight over here he kept asking the guards to chuck him into the ocean but since they were too busy jamming to his beats it's not a surprise that they didn't follow through on that. Let's see if he's able to make a lasting impression on the people of Antahbrantahstantah with his latest track.




White/black - Dave the Living DJ Booth
Red - Female voice
Blue - Male voice
Green - Robot voice


The postcard's came to an end and now we cut to the audience getting ready for the next act. Some by going to the bathroom, others by trying to get comfortable in their seats. It is Placely Placington, after all. Once the few people applauding for the entry stopped, the lights dimmed and Dave the Living DJ Booth was ready to perform. He began with a short spoken word intro, which sounded a bit muffled but that was because he couldn't or didn't fix it in time.

I am in painful agony, please end my existence


Doonk. Doonk. Doonk. Doonk. Doonk. Doonk. Doonk-do-do-do-do-doonk. And so on. The lights on the stage below pulsated in time with the beat as the lights above the stage shone on top and all pointed down at Dave, which showed that he was at the front of the stage. Or as "front" as you can be with a 360° stage. As the beat and the pulsations carried on, the screen on the front of Dave showed a number of coloured bars, all of whom were growing or shrinking with parts of them turning orange or even red. Dave then sang again.

HELP ME NOW
HELP ME NOW

HELP ME NOW
HELP ME NOW
HELP ME NOW OH GOD


And then the tune started to kick in proper. The lights started flashing all sorts of colours, including two never before seen by humans, before they dimmed just as a sampled male voice said “We are all going to have a great big party.” Which was immediately followed by the sound of a loud and dull-sounding piano noise, presumably sampled from when an eagle dropped one on top of a Placely Placingtonian. How Dave wishes that was him right now.

Regardless, the music picked back up again and the lights began to flash, though a little bit slower. The stage underneath Dave began to strobe in time with the music again, though it wasn’t that visible unless we went to aerial shots or the right angle. After all, it was just Dave there, completely unmoving barring the bars on his screen. Occasionally they flashed some messages in what seemed to be a visual representation of what Morse code sounds like, namely “SOS”, “HELP ME” and “DAVE MCDAVERSON PLEASE THROW ME IN THE CLONE DISPOSER”. Too bad everyone was busy jamming to the tune to notice. Not even the lady wailing to the music could gain their attention. Instead, they all carried on dancing, especially when the male voice said “All of you, move yourselves! Yeah!”. Then there was a drop and Dave screaming in abject horror.

(Hey-yeeeeeahhhhh)
HELP ME!
IT HURTS!
OW! HELP ME! HELP ME!
(Let us dance) (Here we go)


Not even the breakdown for the above gathered anyone’s attention, especially when Dave went back to the main body of his song. The lights kept flashing, the stage kept strobing, the bars kept going up and down and all the people were kind of dancing. Partly because they’ve been cursed to and partly because in all honesty it’s not that bad for Placely Placington’s standards. There’s been much worse sent by the serious nations anyway. Towards the end of the little instrumental passage, a drum beat started to build up and the male voice spoke again.

Damn, that’s good.


A standard drum beat played before all the lights dimmed and the stage stopped strobing. Once the drum beat and bassy synths stopped, we then cut to a few close-up panning shots (even a couple of picture-in-picture shots) of Dave. He wasn’t doing anything interesting, just existing there while the music carried on playing. As the bassy and sharper-sounding synths came back, the lights started flashing white as if they were in a club and, shortly afterwards, a robotic voice spoke. Unfortunately, it was a module that was broken, which is why the message got a bit lost in translation.

DAVE
WANTS
TO
DAVE


The music then immediately cut out and Dave spoke again, some internal microphone noises coming out as he tried to interrupt his own entry.

Why are you all dancing? Help me!


The music kicked back in again and the lights went back to flashing a heap of different colours and the stage began to strobe and pulsate again, also in some different colours. With each pulse, it changed colours basically. Eventually, the female voice wailed again and Dave added some extra vocals onto it.

Ohhhhh my liiiiiiiife is full of pain
Ohhhh-hhhh-hhh
Oh it really huuuuu-uuuu-uuurts (oh yeah!)
Oh, living is pain
My life is full of pai-in!
Agh! SAFDGHFDSA! Turn me off now.


Afterwards was a kick-ass guitar solo that he probably sampled without permission somewhere (probably from the actually talented guitarist who originally made this song as a joke) The female vocals chipped in with a long “Go Dave!” as he then did another verse, with an angry sounding metal vocalist voice for some reason, with the female vocals giving a long “yeah” in the middle of it.

TURN ME! OFF! NOW
HELP MEEEEEEEEEE!
TURN ME OFF THIS INSTANT!


What happened afterwards was more sampled guitar shredding before the female vocals got her own verse, with the male vocals backing her up with a line of his own. And, of course, Dave has his own line towards the end.

Let’s all dance right now
I will show you all how
Let us move
(Oreo City!)
Let us move
PLEASE HELP ME LORD (Let us move now!)


Immediately after, Dave began to close out the song with some words of his own. Some more camerawork, some more flashy lights and stroby pulsating stagework and more of Dave not moving as he’s an inanimate object being currently possessed as the result of a cloning back to life thing gone wrong. Standard problem in Placely Placington, nothing too out of the ordinary.

HELP HELP HELP HELP HELP HELP HELP HELP HELP HELP HELP HELP HELP HELP HELLLLP
(Antahbrantahstan!)
HELP HELP HELP HELP HELP HELP


Immediately afterwards, the strobing and the flashing stopped. All that was left was one light pointing down on Dave. He had one last thing to say as it echoed throughout the arena.

Please can please can
You turn me off? off now? off now? off now?


That light turned off and then they all turned back on to signify the song was over and done with. In a bizarre change of pace, everyone was busy cheering and clapping for it. Not something you see every day for Placely Placington. Dave, of course, didn’t react other than his screen turning blank. It wasn’t off, there was just nothing being shown on it. He didn’t say anything else and instead just waited for a stagehand to wheel him off and bring out the lovely and talented Paloma Fennech for Malta Comino Gozo so she can perform her entry.
Last edited by Placely Placington on Sun Nov 15, 2020 8:23 pm, edited 1 time in total.
Obligatory wacky and "so random" puppet that you all know and are probably sick and tired of, brought to you by Elejamie.

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Malta Comino Gozo
Attaché
 
Posts: 81
Founded: Oct 31, 2016
Civil Rights Lovefest

Postby Malta Comino Gozo » Tue Nov 10, 2020 6:01 am

08.Malta Comino Gozo

Nation Name: Malta Comino Gozo
Official Broadcaster: MCG 1
Tune: (Paloma Faith-Gold)
Song Title: Hero
Artist(s) Name(s): Paloma Fennech
Lyrics & Music: Paloma Fennech

Image

Image


Paloma Fennech


Image




Background

After their win, Malta Comino Gozo was once again, the host country for Worldvision with the contest returning back to Valletta. It was a fantastic show and the host nation was represented by Nathan Aperetivo a young talented singer, who with his passionate song "Fire" placed a very respectable 5th for the island nation. Despite not winning, the home crowd was ecstatic for another great result, and Nathan and his team were incredibly pleased with their efforts, he had enjoyed the contest immensely and had done his home country proud.

Once again MCG1 would choose their entry internally. This time though they were approached by Paloma and her management during the 85th contest, Paloma who had sung at the interval act had once again, expressed her desire to sing for the country again. Talks were held after the contest, with the teams meeting several times to discuss Paloma's return. Her schedule was free and so, allowed her to enter the contest with her brand new solo written song called "Hero" which was released only a few weeks before.

Paloma Fennech was born on the outskirts of Valletta in 1981 in the seaside town of Murrsa, although her parents were both from Midina. As a child, she was encouraged to dance by her mother and took weekly ballet classes in Midina, and then after that she also did singing lessons. She is a Christian and through her difficult childhood with her parents mental health issues and divorce has managed to become one of the biggest names in Malta Comino Gozo. She has charm and an overall an adorable personality, when she breaks into a smile, her beguiling, oyster white teeth light up the room. It could jolt you like an electric current when that megawatt smile gave you her full attention.

Paloma is a familiar face to Worldvision having competed before back in WV78 in her home city of Valletta where she placed fifth. Her song "Never" received one set of 12 points from Polkopia where the song later placed number 1. The song also charted in the top 10 in Elejamie as well as MCG for a number of weeks afterwards. She is best known for her artful pop theatricality and retro-soul sound. She has written 2 award winning albums "Childhood Star" and "Power" which have sold millions of copies across the multiverse.

In a recent TV interview with MCG1 about her entry Paloma said.

"I think deep down it means that when a hero is in your life, you just let go of everything and forget all about your fears because you feel safe. It's saying that you don't have to depend on a hero to keep you safe and that you can protect yourself. Then when you finally realize that you can't depend on heroes anymore or that your tired of having to depend on a hero, you just have to be strong or be prepared for whatever comes and to keep you and others safe. I believe that while you were depending on someone else to be your hero and watch over you, you could have done that yourself because deep down in you, there's a hero."

Paloma's talents have found her performing to sold out audiences at some of Valletta's most iconic venues including the Marina Arena and Royal Hall. Her successes to date include her list of awards from "Best Talent" City central Music Award, Winner of the MCG1 Music Award, three time winner of "Best New single" as well as her MCGBOH award. Her new song "Hero" which will represent the islands is already 4th in the MCG music charts.

Paloma is one of the islands best known artists and her powerful emotional style resonates with millions and millions. Her infectious melodic sense and poetic and emotive lyrics have resonated authentically with the masses since she emerged as a prodigiously talented singer and also songwriter.




Oreo City

The luxury airplane felt like home to Paloma, she'd flown in them often, she could curl up and sleep as easily as dozing on the couch. The engines roared rocked by the winds far above the ground. Even as the engines turned, Paloma's brain relaxed into dreaming mode, there were thousands of miles to go before they landed.

Several hours later they landed and Paloma was escorted to the airport. It was about 10am in the morning. It was sunny and already quite warm and muggy. The airport looked more like a shopping centre than anything Paloma had expected. The tiles under foot gleamed white and everywhere were people milling around. There were two glass elevators leading to an upper floor which had the appearance of a food mall. And in the middle of several large open areas were blue fabric covered seats. The air was cool and only the faint aroma coming down from the food area gave it any scent. The MCG team travelled by a private car, to their hotel, the " Marriot" which was located in the middle of Oreo City. Paloma's room was huge and didn't look like a hotel room at all, more like a guest suite in a palace. The bed was king-sized with pure white, Egyptian cotton sheets. She had her own desk, a thirty-six-inch TV, a sprawling leather sofa, and, on the other side of the floor-to-ceiling windows was her own private terrace which gave spectacular views. And the bathroom! As well as the power shower, there was a bath big enough for a football team!

Paloma knew very little about Oreo City the capital of Antahbrantahstan. In her factbook she was surprised to read that it was populated by 13 million people! From a country of roughly 450 thousand Paloma couldn't quite believe the scale of this city. It was a city of wide avenues and small places to sit and eat, to relax as folk went about their day. There were the many towers and skyscrapers in the centre, what was once thousands of homes now took up less ground space than an old shopping mall. The rest was parks and wild spaces, a chance to walk among nature or enjoy the trails on bicycles.

Paloma was eager to explore this mega city and the teams first stop was the Promenade Blue Tower, 123-stories tower, the tallest skyscraper in the city. The humungous glass building soared proudly into the sky, its windows dazzling in the sunlight. She gazed out from the viewing area. The city sprawling. Pale stone palaces and domed mosques squashed against modern buildings, some rising up to 60 stories tall. Two narrow arms of sparkling water carved the city into three parts, and a placid sea stretched away to the south, peppered with countless ships. The metropolis was teaming with life and traffic.

The next day was another day to explore, the team made their way to the old city markets. The sun mercilessly shone down upon them. Beads of sweat glistened on everyone's forehead and many faces turned red due to the sweltering heat and masks. The footpaths were crowded with stalls selling sacks of nuts and dried fruit, or meat roasting on roasting skewers. Powdered spices lay in rusty red and dusty yellow piles, or spilled bright green from sacks as large as feed bags. Rich and unfamiliar scents cut through the smell of engines, so heavy she could taste them in her mouth, like the air inside a fabrication green house. She loved this city, it was so cultural so pretty and full of life.
After a few days of exploring the time had come for the multiple rehearsals in the stunning Mountbatten Arena and many media interviews with the international press. Paloma who was natural confident woman took all these in her stride and soon it was time for the main event! Paloma and her team were set.




Parade of Nations

Her feminine figure sat well on her wafer-thin body. She had a decanter shaped waist and her complexion had an impeccable hue. Her lushes eyebrows eased down gently to her black, beetle’s-leg eyelashes. Filled to perfection, her blood red fingernails ran through her bright blonde hair. Spools of it plunged around her photogenic face and hid a swan’s neck, elegant and smooth. She had bright green eyes which were a sparkle with passion they were like two beryl green jewels melted onto snow. Her camomile pink lips were like rose petals. Malta Comino Gozo would be performing pretty early on in the running order and it was soon time to be called up. She was naturally slightly nervous, but as a person she never let it get to her. She smiled, pumped herself up and walked out to the screaming crowds as MCG was announced. Paloma is wearing a fuchsia parachute gown and chunky biker boots, under the gown is a golden skirt with a cape. https://i.imgur.com/phmp237.jpg Thunderous cheers bellowed around her as she strutted out onto the huge stage, she was surrounded by thousands of eager WV fans. She smiles brightly and she blows some kisses before exiting the stage.



Performance

Key

Paloma Lyrics
Choir Lyrics


The arena is dark as the postcards ends apart from the edges of the stage which remain the default white before a performance and numerous mobile torches scattered all over the arena. Huge applause and screams rings out. She stands ready, she takes a breath and readies herself to sing. A distorted "Oh! Fly high I am your ally!" resonates out before fading into the background. The camera switches to a orbital view of the centre stage as the LED floor turns white and a large cartoony silhouette shadow stretches out https://i.imgur.com/yfAQcbB.jpg from beneath Paloma in the shape of a Heroine standing proudly, her hands on her hips, her cape fluttering in a gentle breeze. The LED shadow lines up perfectly with Paloma almost as if its her real shadow. The camera fades to black.

A boom camera comes hurtling from afar on her right towards the centre stage where Paloma is stood confidently, she is stood behind her mic stand, she is looking at the floor, she is shrouded in darkness as the camera races towards her and she looks up with a broad grin, as white spotlights shine from overhead, down on her in a circular formation as the beat starts up, she is looking directly at the camera now.

She is wearing the same outfit as described earlier, a pink fuchsia gown black boots and a golden cape hidden underneath it all. The audience in the venue immediately cheers again for the returning singer. The arena lights are dark and only the centre stage is kept lit throughout the first verse by static white stage lights. She begins to sing and grips the mic with her right hand and curls her left hand over her head and down to her side. The camera pans out backwards slowly she keeps eye contact with it. It backs out revealing a body shot of Paloma. The white spotlights pierce through the black and the lens flares reflect of the cameras. As she sings "Oh" the camera cuts quickly to her left hand side as she sings down the lens a confident yet happy expression etched on her smooth face. She places a hand on her heart as she sings "You'll find that in me." After singing "In me" the second time, she winks cheekily at the camera.

A hero is
A person who in the face of danger combats adversity
Through feats of ingenuity
Oh
Brave epic deeds
Are noble qualities, you'll find that in me, in me


The camera now switches back to to previous camera on her right, where it left off, this time it gradually moves back in zooming in towards Paloma till we're left with a facial shot. She points towards the right camera and clenches her free left hand into a fist and places it on her chest before striking a double bicep pose as she sings "I am powerful believe me" .

I shout, and the hard ground shakes
You just can't defeat me
I am powerful believe me


With a confident expression she points towards the camera almost daring the viewers to challenge her. The camera stays on a facial shot of her. This part of the song was her words to all the haters and people who knock your self confidence, you have to remember you're powerful. Paloma describes this part of the song as "The hero works from a sense of love and duty, a desire to protect others, a willingness to take on suffering if it keeps others safe. They use their aggression for noble purpose; they develop self control and an ability to do the harder thing when it is the right thing to do. The villain has only desire for power and they think nothing of making others suffer, so long as they gain advantage. Their aggression is destructive because they lack empathy, because they made choices for emotional coldness - those infinite paper cuts to the soul. The villain wallows in their own sense of victimhood rather than using their pains as part of their emotional education toward an empathic self. Heroes would work hard everyday for others and consider it an honour to have the chance to do so." She moves freely on the spot to the beat. A look of eagerness on her face.

I shout, and justice is served
You can't defeat me see
I am powerful believe me


The 360 camera that follows the outer stage circumference pulls outwards revealing the entire stage, as she sings the opening of the chorus "Oh", the arena flashes brightly with stunning white light which ignite a huge cheer from the audience. She has a jubilant look on her face. Lights scattered around the perimeter of the stage shine a bright red and blue. Paloma is bathed in this light. She raises her hands up. As she sings the next "Oh" the arena flashes fantastically with white light. The camera then cuts to a stage camera and we have a facial shot of Paloma gesturing to the camera. She ruffles her gown as the camera cuts to a body shot as she sings "Golden cape" revealing a patch of her golden cape underneath her gown.

Oh! Oh!
Fly high
I am your ally
I am, I am, Your
I am your super hero
Yeh!
Oh!
Golden cape is flowing behind me
I am, I am, Your
I am your super hero


She stamps her feet right to left and pounds her chest for the post chorus. The lights around the arena twinkling red and blue, the camera, floating over the excited audience heads, moving towards the stage quickly.

Daring, epic and fearless, fearless
A superhero, bold, I help in distress


The camera cuts to an aerial shot from behind Paloma on stage and to the audience. Due to the shape of the stage this angle comes from the north as Paloma is facing south. Paloma lifts her arms up angelically before placing them both on her mic again a she sings "Fly high". The camera cuts to a new angle for each "I am" in the line "I am, I am, Your" First left, then right before finishing head on as she sings "Your" Paloma follows each camera as it does this. Her face is full of excitement a huge smile on her face. Her voice drips with emotion and fire, allowing the audience to effectively feel connected .

Oh!
Fly high
I am your ally
I am, I am, Your
I am your super hero


The blue and red lights switch off and are replaced by a warm yellow glow. The audience is now visible as various lights keep the arena lit. The stage floor LED is black. The camera cuts to a onstage camera. With the first line she rips open her gown revealing a cartoony red heart on her chest. The audience cheers loudly. She grabs the mic out of the mic stand and the camera cuts to her left and she starts making her way towards the camera on the perimeter of the stage. Her movement can be described as slightly playful as she bends, rolls her shoulders, her dance flowed with a dazzling grace. As she sings "Superpowers" she does a quick spin on the spot before facing the camera and smiling proudly. The crowds cheer again.

Rip it off, show that symbol on your chest
And show the world who you really are
Really are
Mighty and strong
Superpowers are for doing deeds for good, for good


A 360 camera follows the outer stage circumference from right to left as Paloma wanders and follows it along. She stomps her thick boots on the LED floor and the camera effects make it seem like a small earthquake has occurred, the camera views for people at home shaking moderately. She then quickly poses with her arms outstretched and chest pumped slightly with a "come at me look" as if tempting people to test her. The camera then cuts to a onstage body shot as she sings the last line the camera cleverly make Paloma disappear. "See if you can see me" was Paloma's idea of toying with superpowers and invisibility. As a child she loved superheroes. With this line she wanted to portray she could disappear and ignore the hurtful people.

I shout, and the whole ground shakes
Come at me with all you've got
See if you can see me


She camera makes her reappear and Paloma makes her way to the centre of the stage the camera panning just above the stage outwards. She walks with a positive attitude, a look of confidence on her face. This is confidence hard won yet deep. Adrenaline was coursing through her veins her eyes were wide. Paloma reaches her mic stand and plants her mic back in. The camera changes to a facial shot for the last line as Paloma stares intently into the lens.

I shout, and the hard ground shakes
You can't defeat me
I am powerful believe me


The facial camera then suddenly pulls outwards zooming away revealing the entire stage, as she sings the opening of the chorus "Oh", the arena flashes brightly with stunning warm gold light which ignite a huge cheer from the audience. Lights scattered around the perimeter of the stage shine a bright red and blue. Paloma is bathed in this light. As she sings the next "Oh" the arena flashes fantastically again with white light. The camera then cuts to a stage camera and we have a facial shot of Paloma gesturing to the camera. She ruffles her gown furiously as the camera cuts to a body shot as she sings "Golden cape" revealing a patch of her golden cape underneath her gown again.

Oh! Oh!
Fly high
I am your ally
I am, I am, your
I am your super hero
Yeh!
Golden cape is flowing behind me
I am, I am, Your
I am your super hero


She then spreads her arms wide like an eagle and stamps her feet, right to left, and pounds her chest softly twice, for the post chorus. The lights around the arena twinkling deep red and deep blue, the camera, floating over the excited audience heads, moves towards the stage quickly.

Daring, epic and fearless, fearless
A superhero, bold, I help in distress


The camera cuts to an aerial shot from behind Paloma again and to the lively audience. Paloma lifts her arms up angelically, before placing them both on her mic again as she sings "Fly high". The camera cuts to a new angle for each "I am" in the line "I am, I am, Your" first left, then right before finishing head on as she sings "Your" Paloma follows each camera as it does this. Her face is full of excitement still, ready for the choir!

Oh!
Fly high
I am your ally
I am, I am, your
I am your super hero


The camera cuts to a shot revealing the entire stage, glowing an amazingly deep warm gold. The chandelier begins to lower shining warm yellow strobes into the audience and all of a sudden the satellite stage begins to fill as masses of choir singers from the African Women Malta Comino Gozoan Choir emerge from the underground passageway and begin to spread out in all directions forming a circle a good 20 strong around the entire perimeter of the stage ,their voices ringing out around the arena their voices blending together perfectly. Their joyous expressions and incredible voices get a huge cheer. They are wearing elegant blue dresses coated in sparkling glitter which glitter splendidly with large ribbons in their hair. https://i.dailymail.co.uk/i/pix/2014/12/31/2458BFAA00000578-0-image-m-110_1420066023258.jpg They gesture emotionally and with happiness to the audience, as they walk out.

I am your ally
I'm your super hero
I'm your super hero
Nothing else matters
Nothing else matters
If you're not humble
If you're not humble


The choir who are now around the edge of the outer stage then begin to raise their arms upwards spectacularly as the camera pans around the edges of the stage, their booming singing lifting the arena. The chandelier begins to rise up again the lights darting out into the arena. Paloma is stood in the middle of the stage her arms raised up, the camera does one complete spin clockwise. "If you're not humble" Paloma says, "This is a special kind of hero who just doesn't care about their great power, or the fact that they're a world famous adventurer, or the idol of millions, and so on. Despite the great power they possess, they always defer to their friends or allies." The camera now above the audience showing the whole stage. The lights of the slightly dark arena start to build with flashes of a warm yellow light which build and get stronger and stronger throughout the bridge as it plays. The camera briefly cuts to Paloma her eyes almost closed her arms raised high before it cuts back to a stage shot.

Nothing else matters
Oh! Fly high I am your ally
If you're not humble
If you're not humble
Nothing else matters
Oh! Fly high I am your ally
I am, I am, your
I am your super hero


The camera backs out as Pyro rain then begins to fall all around the outer edges of the stage. Paloma's centre stage starts to raise upwards into the air higher and higher. (like this https://wiwibloggs.com/wp-content/uploads/2013/08/4855823.jpg)Glowsticks around the audience are now waving a warm gold. It's a beautiful site. The breath-taking pyro rain sparkles around the edges lighting the arena the stage is surrounded by white spotlights. The choir are still signing "Nothing else matters If you're not humble" in the background and they raise their arms up periodically in unison. Their voices don't overpower Paloma and fit perfectly.

Daring, epic and fearless, fearless
A superhero, bold, I help in distress


The camera then transitions to a shot above the crowd as Paloma raising upwards on her podium. The podium is covered in gold lights. It reaches its max height of 3.5m high. Its cuts to a facial as she sings emotionally to the frontal camera her hands gesturing out The camera then pans around the edges of the amazing glowing stage. The audience can be seen waving their glowsticks left to right.

Oh!
Fly high
I am your ally
I am, I am, your
I am your super hero


The suspended camera from above but not directly overhead catches Paloma as she rounds of the song with a classic superhero pose, her hand on her hip and her arm outstretched outwards facing her right (imagine a superman flying pose). The choirs hands on their hips. The audience explodes with noise as the arena lights come back on and Paloma bows and places her hands on her cheeks and breaks into tears. The choir curtsies. Paloma speaks loudly into the mic. "Thank you Worldvision! Thank you!" She blows a kiss to the audience. Off camera the podium lowers and they all leave the stage ready for the next entrant.
Last edited by Malta Comino Gozo on Mon Nov 23, 2020 12:41 pm, edited 39 times in total.

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Polkopia
Minister
 
Posts: 2676
Founded: Jun 06, 2011
Iron Fist Consumerists

Postby Polkopia » Tue Nov 10, 2020 7:41 am

Image




Dikhaže was selected to be Polkopia's entry to the 86th Worldvision Song Contest via the Landa vy Polkopiya, which has served as Polkopia's primary method for selecting their entry since the 24th edition of Worldvision. The song placed second in the international jury votes and first in the domestic televote, finishing at the top of the scoreboard with 111 points, only eight points more than second-placed entry, Reputation. Polkopia's entry, Dikhaže is to be the first entry in 10 editions written entirely in Polkopian, with the last entry, Praktika, winning the contest back in WV74. Since the song's victory, Dikhaže was endlessly played throughout the nation and national attention was shifting focus from their lives in quarantine to Worldvision. Although a recent executive order prohibiting gatherings of a certain amount of people meant that Polkopians could no longer host or attend viewing parties, the excitement of Worldvision still ran rampant throughout the country, and the prospect of Polkopia finishing well at the upcoming song contest gave citizens a glimmer of hope, despite the unfortunate circumstances they were living in at the moment. The COVID-19 pandemic has hit Polkopia relatively hard and the nation has remained closed for quite some time. All non-essential business as defined by the respective states' definitions were to remain closed throughout the pandemic, meaning that all restaurants, nightclubs, movie theaters, gyms and wellness facilities, beauty salons, etc., have not been able to open since the initial outbreak in Polkopia. Unfortunately, as the country's transition to a free-market economy has been relatively recent, most of the nation's businesses have yet to establish themselves as financially capable of surviving such a crisis. Even with monthly government subsidies to these businesses, most of them have been unable to remain in business and have permanently shut down. Not only has this been a massive toll on public happiness and well-being, but it has also devastated the Polkopian economy, which, prior to this pandemic, had been experiencing an economic boom. Overall, the situation in Polkopia since the onslaught of COVID-19 has been rather bleak, but the upcoming Worldvision Song Contest has allowed the nation to rally behind a common cause once more.

Upon arriving in Oreo City, the Polkopian delegation had specific instructions from those at the PNB to not engage in social gatherings and were only allowed one occasion to eat out at a restaurant, or at any other location outside of their hotel room. The time that Rena and her team didn't spend at the venue rehearsing their performance was spent at the hotel, and the team was expected to abide by these harsh rules and regulations. Although it was unfortunate for her and her team, Rena understood that Polkopia's participation in Worldvision depended on the cooperation with the artist and their team in order to prevent them from spreading the virus when they returned to Polkopia. In order to keep herself busy, Rena decided to upload daily video diaries about her stay in Oreo City, as well as doing live Q&A sessions with her fans from all across the multiverse. This strategy of interacting on a personal level with fans via social media was first done by Rokzana during her time in Ertzei Kishim prior to WV82 and has taken place in every edition since. In Polkopian culture, it is really rare for celebrities to seek exposure through the press or journalists, so many fans across the multiverse knew very little of the Polkopian entrant in the days leading up to Worldvision. The video diaries were a way for the Polkopian team to broadcast themselves to the world in a manner they were comfortable with, while also interacting with fans on a level many contestants didn't care to do. For some, it may have seemed like a burdan, but for Rena, it was something she looked forward to every day, as the activities she could plan for the day were severely limited.

The days leading up to the night of the final were particularly difficult for her. Rena and her team arrived in Oreo City two weeks before the Grand Final, but had to spend nearly all of their time within the confines of their hotel rooms. Apart from her video diaries, the only thing Rena spent her time doing was going to the Mountbatten Arena in order to rehearse before the show. Rena's song could be best described as a tasteful blend of sex appeal and sultriness, and the Polkopian team wanted to capitalize on these emotions as much as possible. It's been a bit of a veer from what the PNB had done in the past, but after Bradin's successful Worldvision run in '81, this was a direction that the PNB could see as being wildly successful if executed right, and Rena and her song gave the PNB just the opportunity they've been searching for - Rena was a young, attractive female, who was not at all opposed to using her figure as a way to draw more attention to her song. The rehearsal days, therefore, were used to perfect this algorithm that the PNB had tried for so hard to get right, and by the end of it, Rena and her delegation were overjoyed with the final product and could not wait to deliver this in front of a live audience. She would make her home country proud and was dead-set on achieving an excellent result on the eve of the Grand Final.




As the crowd applauded the Malta Comino Gozoan entry and Paloma exited the stage, the Polkopian team hurried to the stage to set it up in order to have everything ready by the time the Polkopian postcard finished. Already, they could hear another wave of excitement as the Polkopian postcard was shown on the main screen. They knew they only had a handful of seconds to finalize everything before the performance began. On the stage, there was to be a large gyroscope, with the center of the object being 4 meters above the stage floor, held up by a metal pole which reached the very top of it. In the center was a circular platform which had a radius of about one meter. The entire object was decorated in elaborate golden and silver colors, and Rena was to start her performance standing on the platform in the center of the gyroscope. As the Polkopian team finished setting up the stage, the performers each took their places. In addition to Rena, there were three male backup dancers, each of them sporting a super muscular physique. The dancers each wore headdresses with golden feathers shooting out behind them (Similar to this), golden harnesses, and white skirts with a golden trim. Rena, on the other hand, wore her blonde hair down where it assumed a wavy, yet messy appearance. She wore a short, tight-fitting white bodysuit, though it had plenty of ruffles and feathers around the breast and hips. The bodysuit was adorned with black and gold gemstones, and a sparkling gold belt was tied around her waist. As the music started, the spotlights on stage had dimmed so all that was visible were the silhouettes of the performers. Two of the dancers took their places on either side of the gyroscope, and one stood behind so he was out of view from the camera. The rings of the gyroscope started spinning around in a seemingly random pattern around Rena, who stood on the platform, in front of the pole, with one arm held straight up and the other bent over her head, holding her other elbow. The outer rings of the stage flashed in a golden color in-sync with the opening guitar notes until the beat dropped, at which point the stage lights all turned on. Rena turned around to face the camera, one hand holding the microphone and one hand grasping the pole as she danced around it, staring into the camera.

Dikhaite v mne i dai mne živu
Breathe into me and give me life

Pokhože na patsenta vozrašali k smerta
Like a patient being brought back from death

Zastavaeš meni, čtobiy vram tebi...
You make me want you...

Bol'še, bol'še, dai mne bol'še
More, more, give me more


The camera altered between views of Rena moving around the platform in the same manner as during the previous verse, the three male backup dancers who were all in-sync, but were moving their hips and chests in provocative movements, all whilst staring up at Rena as they did, and overhead views of the stage, where the camera would be directly above the gyroscope, whose rings were moving chaotically around Rena in the center of it all. The stage took on a black and gold color scheme, with the majority of the stage floor being void of all color, but the perimeter being outlined in the same striking gold color as the gyroscope.

Ya golokhodala sama tak že dovgo
I've starved myself for so long

I izplašala, čto ne biylo vyživu
And I was afraid that I wouldn't survive

Khranil moyu bol'nuyu dušu, no vram
You fed my aching soul, but I'm wanting

Bol'še, bol'še, dai mne bol'še
More, more, give me more


Before the chorus, the camera switched to a view of Rena from the front. She had her arm extended to the camera and as she sang the first line of the chorus, she wiggled her fingertips and moved her arm inward. The camera then changed to an overhead view, where the camera rotated in place while the gyroscope, which was also spinning, was in full view. Afterwards, the staging here remained more or less the same as it had before, with the camera alternating views between Rena, the backup dancers, different angles of the stage, and the audience, where members were signing and dancing along.

Tvoy dikhaže
Your breath

Samoe siloe lekarstvo
The most powerful medicine

Nezda vozra - Ya uže primozgolkhodila
There's not going back - I'm already addicted

Tvoy dikhaže
Your breath

Ostonivil etu momentu
Stopped this moment

Zarad tebi, Ya biy ešo če zasdavaet
I'd give it all up for you


As she sang the next verse, the wheels of the gyroscope all stopped so that they were all lined up perfectly perpendicular to the platform Rena was on. Rena, meanwhile, sat down on the platform so that her legs dangled off, where the two backup dancers in front of the gyroscope moved just beneath her so that when Rena jumped off moments later, they caught her and hoisted her up as she sat in their arms and continued to sing. Moments after she jumped down, the rings of the gyroscope all slowly moved so that they were parallel to the platform Rena was on earlier.

Zinaeš, čto toper' tiy v meni robiš
You know what you're doing to me right now

Moču tol'ko domat' o tvoyom tile
All I can think about is your body

Eto nekak ne zvyazano s laibovom
Love has nothing to do with it

Laibov, laibov, i požubov
Love, love, and lust


Rena jumped down from her dancers' arms and stood in front, doing simple arm and leg movements as she sang. The third dancer, meanwhile, moved from behind the gyroscope to join Rena and the other dancers. Rena stood in front of the dancers, while the three dancers stood in a horizontal line behind her, each of them standing about a two meters apart from one another.

Zona bespeča ušla
The safety zone is gone

Puskali risit naš puli
We tried to draw our lines

No eto čuvstvo nezda ignorirovali
But this feeling cannot be ignored

No dal noču, ya bud' tvoim
But for the night, I'll be yours

I nekugda oglasdi nazad, nekugda nekudga
And never look back, never never


As the second chorus started, the camera started this bit from an overhead view, where jets of fire erupted from the perimeter of the stage and shot straight into the air. The crowd responded by cheering louder and more excitedly than they had done during this entire performance thus far. Rena, meanwhile, stood at the front of the stage and extended her arm to the cheering members of the audience, reaching back out to her. Her dancers danced by moving their hits side to side, dropping to the ground, turning so they were facing the ground, and making sexual movements with their bodies as if someone was underneath them, before jumping back up and engaging in a series of flips, cartwheels, and sumersaults between the three of them.

Tvoy dikhaže
Your breath

Samoe siloe lekarstvo
The most powerful medicine

Nezda vozra - Ya uže primozgolkhodila
There's not going back - I'm already addicted

Tvoy dikhaže
Your breath

Ostonivil etu momentu
Stopped this moment

Zarad tebi, Ya biy ešo če zasdavaet
I'd give it all up for you


During the instrumental break here, Rena ran to the middle dancer, where he picked her up so she could wrap her legs around his head. They spun together and Rena arched her back so that she was held upside down while they spun, before she picked herself back up and flipped off of him. Then he walked up to her and held his hands in a cupping formation on the ground, where she stepped on them, and he flipped her once more. As this happened, the other two background dancers flipped behind them, perfectly in-sync. The audience at home could hear the audience's excitement from this moment, even over the music. Rena remained on her knees, staring down at the floor as the camera circled around her. Her chest heaved as she exaggerated inhaling and exhaling movements with her body, though, with the movements she had just performed, one wouldn't be surprised if she wasn't exaggerating at all! Toward the end of the song's breakdown here, the three dancers approached her, two of them standing on either side of her, and one standing behind her. As she sang the last line, they each put a hand on her and her face shot up to look forward, smirking as she did so.

Tvoy dikhaže
Your breath

Tak eto siloe...
How strong it is...

Nezda vozra - Ya uže primozgolkhodila
There's not going back - I'm already addicted


As Rena held the note from the song's breakdown, she arched her back so she was still on her knees, but her back was against the stage floor too. The background singers jumped up and ran to their previous places in the meantime. The LED stage floor showed cracks where Rena lay, and the cracks were colored in the same golden, sparkly color as the perimeter was. Rena eventually got up from her spot and moved gracefully to where the first dancer was. As he danced, his eyes were locked on hers and she danced around him, using her free hand to trace the area near his lower abdomen. She winked, touched his nose, and he fell back into a back summersault and moved out of view. The same LED cracked pattern was now present where the dancer once stood. Rena repeated this with the other two dancers, and the LED pattern appeared there as well. By the end of the chorus, the cracks grew and spread about all over the stage until the stage floor was covered in these golden cracks.

Tvoy dikhaže
Your breath

Samoe siloe lekarstvo
The most powerful medicine

Nezda vozra - Ya uže primozgolkhodila
There's not going back - I'm already addicted

Tvoy dikhaže
Your breath

Ostonivil etu momentu
Stopped this moment

Zarad tebi, Ya biy ešo če zasdavaet
I'd give it all up for you


As she sang the very last line, the camera panned to Rena, who knelt in the middle of the stage. The camera showed a profile view of her, but Rena looked in front of her, her neck craned up slightly, singing into the microphone with her eyes closed. For the audience at home, they would see artificial white breaths emanate from Rena's mouth as she sang. These were purely TV effects and did not appear on the stage. After she sang, the lights all faded out, though the golden cracks were still visible on the stage floor. White puffs occasionally appeared on stage at the spot that Rena knelt, but besides that, nothing was visible.

Tvoi dikhaže...
Your breath...


The lights all returned to normal and Rena stood up and was joined by her dancers, where they all embraced each other as the crowd cheered on the Polkopian entry. "Thank you Antahbrantahstan! We love you!" Rena shouted into the microphone before departing the stage.
Last edited by Polkopia on Tue Nov 17, 2020 5:59 pm, edited 26 times in total.
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Ertzei Kishim
Spokesperson
 
Posts: 121
Founded: Aug 12, 2019
Democratic Socialists

Postby Ertzei Kishim » Tue Nov 10, 2020 9:26 am

. : 10 - Ertzei Kishim - أراضي الكيش - ארצי כישים : .
ISRAA - Neon Tigers
إسراء - نمور النيون | אסרא - נמרי נאון

Language: English
Lyrics & Composition: Israa Saba, Eitan Carreira, Salim Muwaafiq

To the Tune Of - KLER - Nestrimna


The contest in Valletta was a time of hitting new records for Ertzei Kishim. Firstly, it was the country's highest ever points total, achieving 224 points between the juries and televote, including an impressive 2nd place finish in the televote behind the eventual winner. It was also the most successful finish for a Kishraeli male soloist in WorldVision. Valletta was the scene of Kishrael's worst finish in the contest seven editions prior, and this served as something of a cathartic end to those bad memories for Kishraeli eurofans. It was also the first song entered completely in Hebrew since WorldVision 47. With this in mind, it would be weird for HARESHET to do something of a 180 and send a female singer, singing fully in English. But that's exactly what they did. Israa Saba, known mononymously by her stage name as ISRAA was internally chosen by HARESHET after budgetary restrictions, as well as investment in Yair Dayan's successful international tour, forced the cancellation of Kdam-WorldVision for the foreseeable future. Israa hailed from an Arab family in Shapmangat (a majority Circassian city), and had already began something of a successful career, ghost writing a number of songs for popular singers such as Naobi and Tatyana Shapsugh. Her debut song, "Albi bikhfi'" reached the top ten of the domestic charts, with some limited success throughout the Arab world. Now however, she was chosen to go international. With a team around her including Eitan Carreira (WV84, writer for WV85), the team at HARESHET had created a current, dancey pop-song which was perfectly on brand with the Kishraeli market. Upon its release, it sky-rocketed to number one in the charts, being Israa's most successful offering to date, both in singing and writing credits. Hopes were high for a good result in Antahbrantahstan thanks to the domestic reception.

Image


Antahbrantahstan's late bid allowed many a sigh of relief in Ertzei Kishim, who were scared that the country may have to visit the medieval theocracy that was the Republic of Caryton. Given the nation's atheism, and general aversion to even slight religiosity, the delegation was happy to be travelling to Oreo City, the first Kishraeli delegation to travel to the city. Antahbrantahstan was still very far from Ertzei Kishim, and after the 12-hour flight (guessing??), the tired delegation landed, and after testing negative for COVID-19, headed to the hotel for some rest. Oreo City was huge. In comparison to Ertzei Kishim which housed some 4 million people, Oreo City alone trumped that easily. The city was an interesting mix of eastern and western influences, with huge skyscrapers intermingled with hipped pyramid roofs typical of eastern Asia. The cuisine too was unlike that which was known to Kishraelis, but there were some similarities too - the nasi timbel was similar to malfouf, found in many Arab households in Kishrael. While Antahbrantahstan had recovered from the worst of the Coronavirus, there were still some restrictions in place, and many of the rehearsals took place with masks on. This made them very sweaty affairs due to the dynamic nature of the performance, with the need for some temporary adjustments to be made so the performers were able to execute the required choreography. On the night of course, these masks were not to be worn, at least not by the performers.

After the performance from Polkopia the crowd remained cheering and shouting for one of the WorldVision favourites. Slowly it began to die down as the Kishraeli performers positioned themselves on the stage, ready for the directions. The Kishraeli postcard began to play on the screen, causing the crowd to begin murmur and cheer in excitement. Israa stood in the middle, taking deep breaths before the start of the performance. A shimmer of lights rushed through the stage, signalling the end of the postcard and the start of the performance. Israa heard the countdown in her ears... 3... 2... 1... The first note of the song played out around the arena, and it was time. Israa put the microphone to her lips and began to sing. The stage flashed into colour, dark greens rushed through the stage as white spotlights swung in a circle round, down onto the stage and then off. The floor pulsed with browns and greens. Israa was dressed as some sort of tribal warrior queen, complete with a warpaint aesthetic, and green-gold armour. As she continued to sing the first verse, she widened her gate, circling her legs forward before planting them confidently slightly wider than shoulder-width.

You hunt, your prey, chew me up and spit me out
Discarded, like I was a bad taste in your mouth
That's fine
Dim the lights, for in the darkness I delight
Ya rab, I can see their shining eyes in the deepest night


As the song continued, she marched forward with a swagger and determination. She began to play with the emotions on her face, going from wild anger, to crazed hunger. Her emoting was perhaps to signal the animalistic nature of a tiger on the hunt, or if not that, at least something predatory. The effect was somewhat creepy, but fit well with the mood of the song. White flashes shot out through the stage, which illuminated the four hair lumps which had moved onto the 360 stage in regular intervals, forming a square around Israa. As she got to the front of the stage, she gesticulated to the camera, stretching her arm out and wearing a harrowing expression as she sang "don't let me die alone".

Feel the bitter pulse pump in my veins
Hear the roar inside of my brain
In the jungle monsters are lurking
Don’t let me die alone


As the beat of the chorus kicked in, Israa jerked backwards, heading to the middle of the stage while singing. Around her the four hairy lumps began spinning rapidly, revealing that the "hair" was strands of fabric which flared out like a disc when spun quickly. They had a large metal spike on their head, and their fibers were different shades of green, which created beautiful textures as they spun at speed, the camera zooming in and around them as they moved. For the second half of the chorus they began to spin and slowly move into the centre nearer to Israa. As the chorus wound down, Israa feigned a pushback motion against the lumps, who subsequently span back outwards and formed a square again.

Dancing neon tigers
They’re circling their prey
I’ve been dead wake me up
Yeah yeah they’re coming
Yeahhhh, they’re hunting me
And when the blood runs cold
When the music dies
As one of the neon tigers
Yeah yeah I’ll be waiting
Yeahhhh, where you left me


The next chorus did not provide much of a slowdown in tempo, and didn't give Israa time to catch her breath. Instead she marched forward again, following the camera forward before the cameraman veered off to the right and she glared at it, before turning to the audience once again. The second shot came from straight in front of her, as white spotlights illuminated her face from below, making her appear even more frightening than she already had. She began to do a somewhat choreographed routine which involved her squatting down slightly and slapping her thighs while moving, before bouncing back up and slowly spinning with some hit movements. It felt tribal, appropriate for her makeup.

In the shadows, catch their light
I know that I will be alright
I will keep running in this straight line, blindly through the heavy thicket
Deadly skirmish in the night
Ten on one its fight or flight
Unrestrained I am an animal, I am one of them tonight


For the second part of the verse, Israa's movements became more mechanical, moving in time with the stop-start nature of the rhythm. As this happens, the hairy lumps began to step over to her, similarly making more deliberately mechanical footsteps. Their feet are now visible, as are most of their bodies and arms as during the first verse stage runners stripped off the lower half of their materials and dragged them off stage. Now it is something of a head covering that coalesces around the spike, but still with a great degree of fluidity and dynamism as they move.

Beat of the beast thumping in my ears
The hands of the clock move, tick-tock stop
The blood runs down my cheeks
And their senses are honing in
They run faster than me
But I only need to run faster than you-you


As the music died for a moment, the stage went grey, and pumped read flushes through it to symbolise the heartbeat sound. A closeup of Israa's face took a chilling turn as on-screen effects turned her eyes bright neon green for a moment as she smiled. She closed her eyes and shook her head and started singing as the camera effect ended and the stage flooded back in with the dark greens. The outer ring began flashing white fluttery lights, once again lighting up Israa and the hairy lumps. It had an almost strobe effect on the movement of the fibers as they twirled in their dancing.

Feel the bitter pulse pump in my veins
Hear the roar inside of my brain
In the jungle monsters are lurking
Don’t let me die alone


For the chorus, the hairy mounds began moving wildly in a circle. At one point, they all dive to their left, spinning in the air as their heads head for the floor. At this point they shoot their arms out to catch themselves, which is the perfect length for the metal spike to also break their fall. The visual is quite spectacular as they all twirled around Israa and fell at once. Israa crouches down while singing, and she and the four dancers rise together. They shed their headdressed and are now just four normal men in relatively tight black lycra and leather outfits with their muscular arms exposed. The four of them, along with Israa then begin to perform a similar tribal dance as before which involves a lot of squatting and leg slapping.

Dancing neon tigers
They’re circling their prey
I’ve been dead wake me up
Yeah yeah they’re coming
Yeahhhh, they’re hunting me
And when the blood runs cold
When the music dies
As one of the neon tigers
Yeah yeah I’ll be waiting
Yeahhhh, where you left me


For the very final act of the song, Israa alone rises from her squatting as the four dancers remain doing the same movements as in the main chorus. Israa almost nonchalantly strolls to the camera, slowly placing one foot in front of the other. She continues to sing the last two lines. As she sings the final "where you left me", she looks deep into the camera lense, and seems to grab it from underneath, before pushing it away as it spins around and the song ends.

Oh I'll be waiting
Yeah... where you left me


With the end of the music, fireworks shoot out from the side of the stage to signal the end of the performance. Israa, despite maintaining a fierce facade throughout the song, finally breaks character and smiles, hugging her dancers with whom she has worked for weeks, if not months, to perfect her performance. It was certainly out there. As she thanks the audience in Antahbrantahstan, and the stage crew gets ready for the next performance from Hafämarimët, the delegation in the green room begins to think on to the results tonight, and anxiously hopes for a positive outcome from what can only be described as a daring performance.
Last edited by Ertzei Kishim on Tue Nov 17, 2020 1:50 pm, edited 11 times in total.

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Hafamarimyht
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Posts: 76
Founded: Jul 16, 2011
Democratic Socialists

Postby Hafamarimyht » Tue Nov 10, 2020 4:46 pm

11. Hafämarimët
Ehpïnsïvči (Burn It Down)
Kolektïv Idïš


Title translation: Burn It All Down
Lyrics & Music: Kolektïv Idïš
Languages: Hafämari and English
Tune: The Chemical Brothers - Galvanize(Music video edit)

a - 'ah' in 'father'
ä - 'a' in 'apple'
e - 'e' in 'bet'
ë - 'u' in 'summer'
i - 'ee' in 'knee'
ï - 'i' in 'it'
o - 'o' in 'go'
ö - 'oo' in 'book'
u - 'oo' in 'boot'
ü - somewhere around this and/or this

c - 'j' in 'justice'
č - 'ch' in 'church'
h - 'ch' in german 'nacht'
j - 'y' in 'yes'
ž - 'j' in french 'j'aime'



Kolektïv Idïš is a mysterious group of performance activists. No one is sure how many people are members, nobody is sure who the members are. They are well known in their home city of Mïvnahma for their minimalist and absurdist theatre, as well as a monthly dark dance party that often features performances and gallery exhibits from, perhaps, members of the Kolektïv. Each "official" Kolektïv performance involves obscuring the faces of those on stage in one way or another, although they will frequently host gatherings and spontaneous performances of theatre, music, dance, video, and/or live art, only announcing that they were responsible after the fact. There are, of course, rumors as to who some of the members are, but nothing concrete, and certainly nothing the Kolektïv would want to put in a WorldVision press release. Their official statement, fittingly, is direct yet ethereal: Don't Get Caught Sitting Around.


The lights rise in a small bit of silence to reveal a model of a building about 10 feet tall with a glass pyramid on its roof, positioned on the outer ring near the walkway to the center. As the song begins, a Kolektïvist with long hair is thrown through the glass ceiling of the building. She flips and lands with one leg bent and one leg out to the side, foot firmly on the floor, hands out to the sides. She jerks her head up to look directly at the audience, revealing that her face is covered by a blank, expressionless white mask. As the beat kicks in, the other five Kolektïvists burst through the doors of the building. Two of the Kolektïvists are wearing suits and fedoras while the rest are dressed in black bodysuits, though all of them are wearing identical blank white masks. They are all wearing hidden microphones, and with the masks it is nearly impossible to tell who is singing. They dance their way around the outer ring of the stage, except for the suited people, who stand with their arms crossed in front of the building.

žïcël
now
žïcël
vnajël

burn it
down
burn it
ehpïn

justice
now
justice
freedom


burn it
down
burn it
burn it


The ones in the suits walk around the outer ring of the stage on the backs of the other Kolektïvists, who move as if they are an automated conveyor belt, getting up and replacing themselves at the front of the line. This begins as the first "burn it down" is heard at the beginning of the verse, with the plain Kolektïvists making very sharp moves, first down to one knee, then both knees and one hand touching the floor with the other stretched out as if asking for help, and finally flat on their stomachs. Each sharp move happens exactly in time with one of the words of the first line: burn. it. down.

burn it down
hužïcël va ažrïca ču vekvapmaban
čnatëh lënova "ehpïnsïvči"

burn it down
ruvsïho töj vuncatamo rihno čmabëk?
nahid vrïd luč?
fuck it

burn it down
we are tired of injustice so we are ready to fight
in the streets we cry "burn it all down"


burn it down
how many days do i have to go to bed hungry?
how much is rent?

fuck it


With the "fuck it," the Kolektïvists who had been getting walked on rise up and throw the suited people into the air. They flip, causing their hats to fall off, and they rip their suits off midair, revealing the same black bodysuits as the rest of the group. The whole group begins to sway back and forth as if participating in a tug of war with their own bodies, standing in place in one large clump. The Kolektïvist in the middle strikes a pose with his legs shoulder-width apart, one hand clenched into a fist, the other pointing out and up over the heads of the audience. He begins to rise as if on a pedestal as the rest of the group begins tumbling and swinging fists, seeming to fight each other. He rises so that his head is about even with the top of the building by the second "burn it down," and begins to gesture slowly and menacingly, the grand gestures of a deliberate dictator. When he stops rising, the rest of the Kolektïv sits on the floor, legs ahead of them, backs to the audience, facing the risen man.

burn it down
hatavjë edasi bnuvadöja
čërïsa vamöjasič
behi nač

burn it down
cemadavjë pa jömadavjë
vno huvunt čjotöja
pnudanutöi pa

burn it down
making money from things people need
is something you should be ashamed of
greedy pigs


burn it down
silence is violence
why don't you say anything
he is your brother


The risen man falls to the stage and splays out on the ground while the other Kolektïvists circle around him, threatening to kick and stomp him. The lights in the arena turn red, washing the audience with it, implicating them, calling them in to participate emotionally, while square, rotating spotlights follow the people who are moving. Each pass around brings them in a little closer, until with the final line, they appear to dive on him. The lights cut out on them as the building is illuminated in red and orange, as if the premonition of a fire were beginning.

burn it down
yeah (ehpïnsïvči)
too late to wait now

yeah (ehpïnsïvči)
too late to wait now

yeah (ehpïnsïvči)
too late to wait now

nejudva (burn it down)
riot, riot, riot!

burn it down
yeah (burn it all down)
too late to wait now

yeah (burn it all down)
too late to wait now

yeah (burn it all down)
too late to wait now

we will riot (burn it down)
riot, riot, riot!


The lights come up white with flashes of red as the Kolektïvists build sculptures with their bodies and poses on the opposite side of the outer ring from the building, which is now in the shadows. Two Kolektïvists break away and unfurl a huge banner, planting one end on the stage, then unwrapping it a foot back from the outer edge of the outer ring. The banner reads "TOGETHER THEY FEAR US." The four Kolektïvists acting as living statues hold a basic pyramid shape, tossing the top dancer off as the other side of the banner is also attached to the stage. The two who placed the banner make it back to the group in time to catch the top dancer before she hits the ground. As the background verse here repeats, four Kolektïvists run in front of the banner, dancing in a frenzied way, pantomiming running away from tear gas and rubber bullets. When the two who are pantomiming being the shooters get there, the four overwhelm them, and in the tussle, the banner is knocked down. It rolls up by itself and is grabbed by two of the Kolektïvists as they all begin running to the smaller center circle.

žïcël
now
žïcël
vnajël

burn it
down
burn it
ehpïn

žïcël
now
žïcël
vnajël

burn it
down
burn it
ehpïn

justice
now
justice
freedom


burn it
down
burn it
burn it

justice
now
justice
freedom


burn it
down
burn it
burn it


The Kolektïv marches in place like an army, with one member standing to the side in a salute, acting as a general. The lights are harsh, strictly only from the top of the performers in a chilling white, so that the shadows cast on their faces exaggerate the small details on the masks, shadows of eyes and mouths becoming nightmarish. On the word 'buleti,' the marching soldiers react at once as if they've been shot, falling down. The general stands in place, salute unflinching. He stares into the camera, though no one can see anything but the blank mask, his body turning in place to maintain "eye contact" with the camera as it slowly makes its way around the stage. It pulls back on the last word of the verse, when he breaks his salute and the rest of the Kolektïvists finally stand, some helping each other up as they do so. The whole arena is filled with a wash of white light.

burn it down
muja ëvan pacalïvë
pid buleti tevelum čubici

burn it down
hupïlvekvajev, vrïdvjo
udranedasi ažbaldavalïh?

burn it down
love wants to be the answer
but bullets are hard to stop


burn it down
if we don't fight back
how can we expect anything different?


The white light fades as the next verse begins, turning into a blue tint focused only on the performers, who remain in the smaller central circle of the stage. The building is again lit with red and orange, very subtly at first, growing slightly and slightly brighter as the verse goes on. Smoke begins to pour out of the central circle. The Kolektïvists find buckets, but they are empty. The Kolektïvists flee to the outer circle, clutching their throats, coming about a quarter of the way around, away from the building which still glows faintly.

burn it down
vïdan bümidavjë palusacajev
vena vek hudičatöilï

burn it down
öju edasi čamci
öju lïnkaci lähaci

burn it down
if the water is polluted
you can't use it to fight a fire


burn it down
they'll sell it to you
and charge you extra to clean it


The Kolektïvists walk slowly, three in one direction, three in the other, spread evenly around the edge of the stage. They single out individual audience members, gesture to them, lean in their faces, encouraging them to join the revolution. This is not choreographed, but an earnest moment of connection and desperation. One Kolektïvist falls to their knees and crawls and reaches towards audience members, holding their hands. There isn't a close-up, but if you pay attention, you notice they are crying. They stand up and resume walking again. They join the other five Kolektïvists, who have stopped in one area, staring straight ahead with their arms open forward, pleading.

burn it down
yeah (ehpïnsïvči)
too late to wait now

yeah (ehpïnsïvči)
too late to wait now

yeah (ehpïnsïvči)
too late to wait now

nejudva (burn it down)
riot, riot, riot!

burn it down
yeah (burn it all down)
too late to wait now

yeah (burn it all down)
too late to wait now

yeah (burn it all down)
too late to wait now

we will riot (burn it down)
riot, riot, riot!


The Kolektïv remains standing, staring, pleading. The lights flash and fade and turn with the beat, larger swaths of light lining up with the slower rhythm, and brighter, smaller flashes of white going off randomly with the faster instrumentation. The arena is in general a wash of red, but in certain places in certain moments, there are bits of blue, white, and shadow. The first time they say 'the problem has built the system,' they drop their arms and walk backwards for a second before breaking apart into individuals, each one finding their own pace and path back towards the building, which is now lit by a single, bright spotlight from above. They gather near the building in a disorganized clump, each one prepping in their own unique way, from pacing, to punching their own palm, to shaking out their arms and legs. One sits and meditates. They are clearly gearing up for something.

yeah
too late to wait now
(ehpïnsïvči)

yeah
too late to wait now
(ehpïnsïvči)

yeah
too late to wait now
(ehpïnsïvči)

yeah
the problem has built the system
the problem: capitalism
the problem has built the system
ehpïnsïvči


Each Kolektïv member takes a turn running behind the building to grab a weapon. In order, they grab a baseball bat, a brick, a pair of heavy work boots, a hammer, a molotov, and a can of soup. This is done one by one, and as each Kolektïvist returns to their place, they strike a moving pose: the Kolektïvist who grabbed the boots puts them on, the one with the baseball bat swings it gently yet threateningly into her open palm, the one with the brick tosses it back and forth between their hands, the one with the hammer holds it with both hands directly in front of himself, and the one with the molotov lights it and admires their work. When the Kolektïvist who grabs the soup can returns, she finds herself centered in front of the building.

She hurls the soup at the building. It explodes as the beat drops back in with the cry of 'burn it down,' red paint covering the facade as she twirls down the walkway to the center of the stage and begins to dance, and the rest of the Kolektïv rushes in to do their part, reveling in kicking, smashing, pulling, tearing, bashing, anything they can do to bring down this oppressive structure. The building is torn down bit by bit until only a small part around the doors remain standing. The rubble is then hit with the molotov, and these ruins burn for the rest of the performance.

The Kolektïv runs back to the smaller center circle and goes crazy, dancing hard, hugging each other, throwing each other around playfully, interacting with the audience. The lights flash more intensely than before, and jets of flame shoot up two at a time on opposing sides of the stage so that it appears that the jets are shooting up from something moving in a circle below the surface of the stage, matched in time with the rhythm. The atmosphere in the arena is of a riot in a nightclub. With the featureless masks on, it is impossible to tell if the Kolektïvists are having fun or acting out in rage; probably a bit of both.


too late to wait now
burn it down!

too late to wait now
burn it down!

go
go

burn it down!

go

burn it down!

go
go
go

burn it down!


A deep bass sound fills the arena for a moment as the lights flash on everyone, narrowing and dimming down until there are six spotlights on the Kolektïv in the center, and two spotlights off to the side of the building, fading out before they quite reach the fire, but illuminating the smoke. The Kolektïv stands still, looking straight forward through their masks. One of them speaks:

World! Wake up and fight!
Last edited by Hafamarimyht on Mon Nov 16, 2020 6:31 pm, edited 17 times in total.
WV19: Mucek Ibrem Ypydma, by Samećy - 23rd (27pts)
WV24: If It's Up to Me, by Good Morning - 34th (9pts)
WV26: Ćynći Drvenäpuja, by Helumyć Knyvćjem and Pnetkada Kaunka - 34th (28 pts)
WV27: E Hud Lyna Oipüjd, by Kenmći! - 31st (27 pts)
WV28: When Love Dawns, by Syktyma Mulgraat - 28th (21 pts)
WV30: Rändso Pnuga, by Enej Knaonetka - 18th (39 pts)
WV34: Nëjkheda Sa, by Sarjë Vnöksaja - DQ (49 pts)
WV82: Come to Me, by Ïnüh Pmïlgint - 24th (18 pts)
WV86: Ehpïnsïvči (Burn It Down), by Kolektïv Idïš - 21st (99pts)

WHF5: Lumana Rumskynt - No Hope - 8th (16pts)
WHF11: Teardrop, by Teardrop - 22nd (3pts)
WHF13: Rändso Pnuga, by Enej Knaonetka - 24th (5 pts)

User avatar
Crustyland
Political Columnist
 
Posts: 4
Founded: Oct 15, 2020
Inoffensive Centrist Democracy

Postby Crustyland » Tue Nov 10, 2020 4:50 pm

12.Crustyland

Image


From Left: Colin, David, Keith, Pinches, Elizabreth, Ranlor, Boobjuice and Horris-mc-Dorris


Official Broadcaster: CRAP
Song Title: The Seal Song
Artist(s) Name(s): Colin ft The Urinary Tract & The Yeast Infection
Tune: https://www.youtube.com/watch?v=ePvFIixyw3g

Crustyland is a small archipelago nation that lies 95 miles north of their nearest neighbour, Malta Comino Gozo. It is a rocky nation and has a very wet/temperate/tundra climate with snow and ice frequent for several months of the year. Unfortunately the nation is infamous for its foul fishy stench which lingers in the air no matter what and more famously for its servery large infestations of large semi aquatic mammals including Walruses and Seal Lions, that outnumber humans 4/1. As a developing nation whose fish stocks have been virtually depleted due to the severe scale of sea mammals infesting its coastal waters, the country relies heavily on financial aid from its nearest neighbour Malta Comino Gozo. Due to its economy they cant afford to pay MCG back but as a friendly gesture they gift back the King of MCG a gift basket each year, instead most years, its an adult male bull Elephant seal rather than some nice chocolates. Each year security was pumped up at the Kings Royal palace in MCG, but each year, somehow or other despite tons of CCTV and guards and 8ft high fences around the Palace grounds the Crustylandians still managed to smuggle in a large sea mammal under the cover of darkness into the Kings Palace, this years gift was no exception.

Kings Right hand "Your majesty, your annual gift from Crustyland has arrived!"
King William "I swear... if its another bloody Walrus!"
Kings Right hand Ah, no no your majesty it seems this year they finally listened and have given us a gift basket!

The King makes his way to the front doors of the palace to which he sees a nice wicker gift basket placed neatly on the Palace front porch. Its tied up rather untidily like it was done by a six year old but still it was the thought that counted. The King, rather taken aback and surprised picked up the gift basket and read the hand written note. "Deer, The Majestie of Malta Comino Gozo, This baskket was is yours from us at Crstyaldn. We hoped you lik our chocolattes, they statse soooo goosd we tried thems ourseles!" Slightly confused but not wanting to be rude the King opened the basket to find some lovely rather expensive chocolates inside, suddenly a huge roar deafened the King catching him off guard, the noise triggered panic amongst the guards who rushed over to the King's side as a one ton bull Elephant Seal half sedated and slightly confused, was sat leisurely in the palace grounds. "H.. H.. How the hell.." The guards trailed off shaking their heads at how a one ton seal had managed to make it past top security again! Several hours and a copious amount of fish later the now fully sedated bull Elephant Seal was hauled onto a fishing ship and plopped back into Crustylandian infested waters, not that they would notice another seal coming back!


This year, instead of spending the money on local infrastructure, such as repairing broken shops windows and resurfacing the country's roads which have been severely damaged by large mating Walruses the local government and national broadcaster "CRAP" decided to blow the entire budget on entering the Worldvision Song Contest. Crustyland's small population of 330 thousand are largely known for their unintelligent demeanour, poor vocabulary skills and all round low IQ, so they either didn't notice or didn't care the entire budget had been spent on a song contest instead of repairing the infamous nations backbone.

Colin ft The Urinary Tract & The Yeast Infection, if you didn't know already, was the main man Colin, who actually hardly sings at all during the song, but oh well he wrote the song so he decides, 'The Urinary Tract', which is made up of Elizabreth, Ranlor and Horris-mc-Dorris and, 'The Yeast Infection' which is made up of David, Keith, Pinches and Boobjuice. The band are all good friends and often sung together anyway before coming together collaboratively to be the first Crustylandians at the competition.

Colin ft The Urinary Tract & The Yeast Infection would travel by a badly rusty dilapidated fishing vessel with their precious cargo to Antahbrantahstan. The journey took 3 day and the fishing vessel almost capsized 3 times as someone forgot to flush the toilets on board. The stinky team who hadn't bathed in days finally arrived at the port of Oreo City and were immediately greeted by customs who hosed them down in disinfectant and placed their cargo in a tank with plenty of water in the back of the arena ready for the contest.

Note there will be many interruptions by the "cargo" on stage in the form of "Blarghhhhhhhhhhhh!"

The postcard ends to loud applause, the team where very excited, but to be honest the audience were just cheering to be polite to the new guy and didn't have much hope for the nation. A huge screeching of un oiled wheels cuts through the arena, and many people can be seen holding their ears in pain as a makeshift cart is wheeled out onto stage carrying a full grown Bull Elephant Seal. It is not until the lights start to brighten for the start of the performance that the audience notice, the front rows of people can be heard screaming with many running in panic, the relaxed, stupid seal just sits there with a extremely derpy expression on it face not bothered by anything as scores of people run in horror at the thought of a live animal devouring them. The seal blinks harmlessly as the people start to now settle. The singers are dressed the same as the picture.
Image

The song starts and the stage is lit blue, green and white. White strobe lights flash and pan around the audience actually let out a small cheer. Colin starts to sing his lines, he has a mic stand. The camera is hyper and cuts to loads of different shots of the stage. Elizabreth sings her opening lines too. She is stood in front of a mic stand. The seal who has now risen boldly interrupts several times in between the band members. The rest of the band are scattered around the stage smiling with pride, their cheesy smiles very awkward each ones pretending to play various instruments such as guitar and clarinet which didn't really add anything to the song, the camera pans the band members quickly during the opening verse. The camera focuses on Elizabreth as she sings at the facial camera

Yeaah ah ah ah ah ah!
Ooooooohh
Blarghhhhhhhhhhhhhhhhhhhh
Seals, Seals, Sealsss
Seal, Seals, Sealsss, Sealsss
Blarghhhhhhhhhhhh!



An LED of seals swimming is shown on the floor. The camera cuts to Elizabreth she has a smile on her face and waves excitedly and points to the seal that's at the side of her her. She spreads her arms out as the LED no shows a fat blubbery Walrus on the floor.

We are infested by seals
They are all over the place
Walruses, seals and sea lions
Fat sea mammals mammals
Look at the cute seal
It's so happy
Look at it bounce
On the road



Elizabreth looks to the left camera for the first line then right for the second line before spreading her arms as the chorus comes in as the camera cuts to the stage view that zoom outwards.

Sea Lions on the front beach
Walruses on the other beach
Seals mating
Sea mammals everywhere



The lights around the arena flash blue, green, and white and the onstage camera cuts to each band member they are all excited. The Elephant seal continues to make noises. The camera pans around Elizabreth as she sings a happy expression on her face. She moves her body along to the beat. Her band can be seen moving excitedly too. As she sings "Sea mammals are just everywhere" the chandelier starts lowering slightly. The colourful strobe lights glide around the arena and the Seal can still be heard "blarrrghing". The crowd is actually jumping and enjoying the beat. Some of them can be heard singing along.

It's the Seal song
Seal song
Everyone sing the seal song
Seals everywhere and Walruses Walruses
Seal song seal song
Everyone sing the seal song
Sea mammals are just everywhere
Seal seal song!
Seal seal song!
Seal seal seal seal!
Sea mammals outnumber us!


The lighting calms and the stage is lit in white, the LED floor is sea blue with a wave effect. The camera cuts to a shot of the band on stage before it pans around the edges of the stage. The Seal is in a great mood now wiggling about on his cart. As she sings "We rely on foreign help" Colin flashes ahis MCG socks to the camera and winks "subtly".

Their slick coat is streamlined for gliding gliding
Our fish reserves are depleted depleted
We we we have no fish left
We have no fish left
We rely on foreign help
Walruses and sea lionssss
Sea mammals head but all our carssssssssss
Ah Ah go go!


The lights around the arena flash blue, green, and white and the onstage camera cuts to each band member again. Pyros shoot upwards into the sky from the edges of the outside stage. The Elephant seal continues to make noises startled by the pyros. The camera pans around Elizabreth as she sings a happy expression on her face. She moves her body along to the beat. Her band can be seen moving excitedly too as the jump around the stage. The colourful strobe lights glide around the arena and the Seal can still be heard "blarrrghing" in between the lines.

It's the Seal song
Seal song
Everyone sing the seal song
Seals everywhere and Walruses Walruses
Seal song seal song
Everyone sing the seal song
Sea mammals are just everywhere
Seal seal song!
Seal seal song!
Seal seal seal seal!
Sea mammals outnumber us!


Applause actually comes in, the song was weirdly ok. The band waves to the crowds! Elizabreth shouts into the mic "Thanks!" The band then vacates the stage leaving the Seal behind, before Colin grabs a mic suddenly "HA HE'S YOUR PROBLEM NOW"! Before running off. The stage aides look at each other confused, they quickly leap onto the stage and wheel the massive seal whose minding his own business. The seal is not bothered as the stage aides struggle moving the creaking cart off stage to quickly get the stage ready for the next song.
Last edited by Crustyland on Sun Nov 22, 2020 5:21 pm, edited 23 times in total.

User avatar
Elejamie
Minister
 
Posts: 2993
Founded: Jan 31, 2009
Civil Rights Lovefest

Postby Elejamie » Tue Nov 10, 2020 7:54 pm

13- Elejamie

Tara Cullinane - Calling Me Home


Tune: Can-Linn (feat. Kasey Smith) - Heartbeat

Image
Tara Cullinane, seen here in a photo shoot on the banks of the River Autumn shortly after she was eliminated from the 2019 season of the X Factor.

Cassandra Tara Cullinane, more commonly known by her middle name, was born in Mainsborough, ATMN, on 7th November, 1997. The only daughter of two self-employed café owners, although she did have a younger brother, she had an alright life (because I can’t think of anything good to put with this and I don’t want to make it too melodramatic because it’d end up being cheesy and no one really reads this anyway) but she ever since she started speaking she had no interest in carrying on with the family business. Instead, she always wanted a career in music, preferably as a singer. She would often spend hours a day working on her voice and would try and listen to various genres of music to try and diversify her styles before just settling on bog-standard pop music as a teenager. She would often join her church’s choir to show off her skills. She and a relative would sometimes perform outside of her parents’ café to try and drum up customers. Luckily, she also decided to go to university and got a degree in digital design so, even if her music career doesn't pan out at least she has something to fall back on.

In 2019, after being encouraged by friends and family, she decided to take part in the Elejamian version of The X Factor, making her the second Elejamian WorldVision entrant to participate in the contest. Travelling all the way over to Murgon to take part, given that there were no auditions going on in Mainsborough and that was the closest city that was holding them. Although she lacked the depressing backstory that would’ve made her a shoo-in, her perky personality and decent enough singing voice got her through to boot camp, the judges’ houses and, eventually the live shows. While for the most part she did well enough to stay in contention, there were a couple of times when he was in the bottom two. The first time was in week three where she was suffering from the after effects of a cold and didn’t give as strong a performance as she felt she should’ve, though fortunately the public voted to save her. The second time was in the quarter-final where she was up against much stronger opposition and she was eventually eliminated.

Not one to be defeated, she tried numerous attempts to continue her singing career. She did a couple of covers of songs that she released onto the internet and, while they did get a decent amount of views and the actual singles themselves got a decent amount of sales, they didn’t end up causing too much disruption to the charts. She collaborated with a number of different musicians, such as Dr. Dan and Artist Unknown, though they were either album-only cuts or again, not massive sellers. She did have enough star power to make it onto a charity single that went towards the ENHCS in their attempt to battle the coronavirus pandemic that’s going on, even if it was just part of the chorus and not an individual line or verse. Regardless, things still seemed somewhat bleak for her and it seemed like her 15 minutes would be up.

Eventually, she decided to enter the WorldVision Song Contest as a last-ditch attempt to continue her career. Co-writing the song with her cousin Brian Cullinane, an established singer-songwriter in his own right, she was able to get in contact with notable producer Adam Freeman using whatever connections she had from her run on the X Factor and asked him if he was able to help her record her entry. After much difficulty and a bit of negotiating, he would eventually agree to help record the song in return for a share of the profits and being credited for the music. She would agree and, with the help of the Mainsborough Celtic Band providing a couple of members to help with some instrumentation, she was finally able to record her entry. But more on that later, as I’ll expand on this in the non-spoilered bit for this contest and, if I do use her again, I’ll go back into detail here.

Outside of her music career, Tara is not only a fan of the Mainsborough Icemen ice hockey team but she also works at their club shop; indeed not only did she wear one of their jerseys to her first audition but her appearance on the show was considered a good luck charm for the team as they went on a massive home winning streak (along with only a handful of away losses but they were either in overtime or by a single goal). As previously mentioned, her cousin Brian Cullinane is an established singer-songwriter in his own right, not only being the frontman of the acoustic rock band Hearts of Palm but he also made a solo attempt at the inaugural version of the reboot but his song failed to make the final five. She is a Catholic, like the vast majority of Irish Elejamians, though she admits that she doesn’t attend church that much and has discussed in a couple of interviews that she might not believe in the idea of a God. And she has said that a potential album will be released next year, depending on how successful this entry is at the contest.


At the last contest in Valletta, Malta Comino Gozo, Elejamie were represented by Lucía Beltrán, a popular Achaean-Elejamian jazz singer more well-known for her Spanish-language songs. While her entry didn’t win the inaugural reboot of ElejamieVision going into WorldVision 84, it finished second and as a result it would represent the nation at the 85th edition as a consolation prize. Joined by the jazz group Lisa Park and her Gang, who had finished third and worked as her backing band, her song Wish was a slightly poppy throwback about trying to remain optimistic during the bad times, as well as wishing on stars to make your dreams come true. Although the premise of the song did receive some criticism, she mentioned it was an optimistic song that was necessary due to what’s going on at the moment.

However, despite having high hopes going into the competition, it was a night to forget for everyone involved. While they finished the jury section with a respectable 9th place with 72 points, they ended up repeating their performance at the 83rd edition in St. Christopher, Llalta as they ended up tanking somewhat in the televote. Receiving only 58 points, they ended up finishing 12th place with a grand total 130 points. However, unlike Jon Navarez and co. in that competition, Elejamie failed to receive a single set of 12 points at all from anyone. The maximum amount of points they received were two sets of ten points, one from North Alezia and the other from the Achaean Republic. They also received eight points from Nekoni, seven points from the hosts Malta Comino Gozo and two sets of six points from Ethane and Mister X. Although she was disappointed by the results and the revelations, Lucía still remained positive and stated that she still had a fun time.

Not to be deterred by the result, ETV announced that ElejamieVision will return for a second go-around with the same proceedings as the last one, with the winner representing the nation at the 86th edition in Oreo City, the runner-up will represent the nation at the 87th contest, third place will go through to a “third placers” edition and the bottom two will be eliminated. After a lengthy period of the panel of music experts whittling down the potential entries (along with some help of experts from other countries to halve the final ten), which saw WV77 runners-up Eterna fail to make the final cut with their song Your Faith, they were left with the final five entries: All Day, All Night by the South Working Funk Band; Ramón Calvente - Libertad; Ethan Cohen - My Dream Girl; Tara Cullinane - Calling Me Home; and Hannah McCleary - Without Me.

Much like the inaugural rebooted ElejamieVision, a bubble had to be put in place for the Riverside Arena in Avon, AVEN, home to the Avon Stars ice hockey team, Avon Nets basketball team and a potential venue should Elejamie bid to host the WorldVision Song Contest. While the bubble wasn’t as strong as it was for WorldVisions 84 and 85, given that there isn’t a hotel on-site, the pandemic wasn’t as strong as it was around the time of the first one (the death toll now being 444 and there are 1,520 active cases out of the 9,490 total cases) and loosened restrictions meant that more staff was available, everyone still had to take safety precautions and help out when they weren’t performing their entry (especially since they were trying to prevent a potential second wave this Winter), whether it be by getting the stage ready for the next performer or by contributing something to the other entrants’ performances. However, much like the first ElejamieVision, the audience was limited to family members, up to five of their friends and esteemed TV people, although a small handful of tickets were available for the general populace through contests and raffles; regardless, everyone had to be tested before entering and everyone had to distance themselves by one or two seats.

One fun-fuelled night later, the nation finally had its representatives for the next two contests. Despite My Dream Girl and Without Me getting a good amount of positive press going into the competition, it would be Calling Me Home that ended up being the surprise winner. It turned out to be a surprise hit with the international juries, as evidenced by the sets of 5 points it received from Ertzei Kishim, Britonisea, Waisnor and Scotatrova, as well as two sets of 4 points from Beepee and the Achaean Republic. Only two other nations ranked it any lower: Kalosia gave it only 1 point and Malta Comino Gozo gave it 3. Despite a somewhat sluggish start it also received a good amount of love from the domestic televote as well, getting sets of 5 points from Eastern Elejamie, East Reise, the Elephant Isles/Elefan Iyil, Surter, Swannings and Wyken. The only 1 point it got came courtesy of Warwick and it came when it was already storming ahead of the competition. Overall, with 32 points from the juries and 70 from the domestic televote meaning it receives a grand total of 102 points, a whopping 16 points ahead of second place, it seems like it might be a contender for Judith County/Oreo City. Meanwhile both My Dream Girl and Without Me have both been eliminated outright, Libertad will move on to the special third-placers edition and All Day, All Night will be the representative at the 87th WorldVision Song Contest.

As always, she was asked about her song, namely what it was about. She simply replied: “It’s basically about home. The first verse is basically discovering how your ancestors left all their hardships behind to travel to their new home. The second verse is about using this new information to become less curious about where you originally came from, your old home; the extended version goes into a bit more detail but I wanted to keep this verse short for the WorldVision stage.. Though to be fair [Brian] was feeling a bit homesick when he wrote the lyrics and got something quickly done in 15 minutes but he did a good enough job and I didn’t feel it was fair to change anything.”

Following her mandatory week-long quarantine after touching down in Antahbrantahstan, as the Elejamian government usually recommends to citizens when travelling abroad unless the locals give a different period of time, she still managed to have a bit of fun. After all, it was a big city with a fair amount of things to do and sights to see. She even managed to take part in a few escape rooms, something she normally enjoys doing back home. Not to mention the odd photo with either WorldVision fans or people who were a fan of her back when she was on the X Factor back home. Downside is she didn’t really know where to get a good beer in the country but oh well, I’m sure there was somewhere where she didn’t look. And it wasn’t that important anyway.

Fortunately, unlike Second Choice and Aurora Cassidy in WorldVisions 81 and 82 respectively, Tara didn’t have any issues with a 360 degree stage. There was no backdrop having to be cut out to worry about and no problems with having to change her performance to suit it. If anything, she was able to comfortably come up with a different one albeit after mulling it over and talking to a couple of people. While she wasn’t exactly fond of it, she was still able to find a way to make it work for her. Now, as she’s drawn unlucky #13, it’s just a question of whether or not she’d be able to make it work for the juries watching and the viewers back home.




NO COVER ART BECAUSE I PROCRASTINATED TOO DAMN MUCH ALREADY IN THIS CONTEST


Once the postcard came to an end, we then cut over to an above view of the stage. The camera didn’t really move or zoom or anything like that, it was just a static image of the circular stage, surrounded on all sides by the audience, and a few figures dotted around. On one side was just a single figure, whereas on the other side of her there were three close together and in a straight line. The stage itself was just a bright white light and the lights at the bottom were just white straight lines. The lights above the stage were just the normal whitish yellow you’d get from a normal turned on light. Everyone was ready and they were all waiting for their cues and for the song to start.

And then the song itself started. The lights that weren’t a part of the stage dimmed just as soon as the music kicked in. A few of the lights strobed around the stage in time with the music with the light above her shining down directly on her, completely illuminating Tara, revealing her green sleeved midi dress with a slight leg cut, as well as a pair of green heels. The camera stayed where it was and slowly zoomed on her as she started to sing the first four lines, with the close-up also revealing that not only did she had a headset microphone to sing into but she had a minimal amount of make-up on, with the only really significant thing being some fairly long mascara. When the drums started to kick in, we then cut to another camera behind her along with another light shining down on someone. This time, it was shining down on someone sitting down in a blue plastic chair with black legs, the sort you’d normally find at a school assembly except not covered in some liquid. He was busy playing his bodhrán in time with the beat, even bobbing his head a little bit. He was dressed in a plain white buttoned-up shirt, a pair of black slacks and a pair of blak dress shoes; his brown hair combed to be neat and tody and his goatee clearly showing that he spent a good amount of time making it neat and tidy. We then cut back to Tara, who was slowly sticking her arms out to make a T-pose before she brought them back down to her sides and started to sway her body a little bit. She didn't want to do too much for now, as it was just a small, subdued bit. No need to do an elaborate dance routine just yet.

Reading back on my history
Unravelling the mystery
Of how I was meant to be
And how I became who I am
Discover how they all made the trek
And the reasons for why they left
And embarked on this massive quest
To reach this foreign land


And then it came to the pre-chorus part. The camera then cut to a close-up on Tara's face as she sang the first line before slowly zooming out as she sang the second line. Once the shot was halfway between bottom of her neck and her waist, it stopped zooming out and remiained that way until the chorus full started. There was a quick cut to the bodhrán player playing his instrument for a couple of seconds towards the end of the second line but it quickly cut back to Tara when she finished her line. As she sang, she rocked her body a little bit in time with the beat, either to prepare herself for the chorus or because just standing there while singing wouldn't have been that entertaining.

And I found
When times were tough, they sang


The lights above the stage slowly dimmed until the stage was essentially in pitch darkness. The lights at the bottom of the stage flashed twice in time with the beat before they too stopped flashing. Fortunately, when the music triumphantly kicked back in, the stage exploded (figuratively) into light. The stage was displaying a lush green light, trying to look like a field that was full of life even though it was just the one colour, whereas the lights surrounding it were mostly a bright orange. Tara stuck her arms out in another T-pose before balling her hands into fists and pulled them back to her. She raised them just as we cut back to the backing band, who now have more members revealed. One of them was a tall lady with long, flowing blonde hair, as well as a long-white dress and white heels. Not only was she standing up nice and straight but she was also playing a fiddle with a bit of enthusiasm. There were a couple more members, one playing a flute and the other playing a tin whistle, but I'll get onto them later. For now, let's concentrate on Tara, who was walking around the stage in a massive circle, sticking her arm out and making some swinging motions with it. When she was standing in front of her backing band, she stopped moving and fist pumped both of her arms. Twice, in fact. At the end of the chorus, she lowered her arms and then got to work on the next verse.

We may be split but we’re together
And our hearts will be joined forever
I can feel them call me
They call me, they call me call me call me
We’re united in only one song
And I know I cannot be wrong
When I’ve been parted for so long
Because I can feel them call me
They call me home


The lights immediately turned off come the end of the chorus and the stage plunged into darkness. The lights at the bottom of the stage flashed in time with the sampled drum roll before the lights came back on in the same colours as it was earlier. The stage also pulsed in time with the beat but it was instead a dark blue and the ring that was pulsing was a lighter blue. While Tara was singing her verse, we then finally get a good proper look at the two backing band members who hadn't been properly introduced yet. The tin whistle player was sitting down in the same sort of chair as the bodhrán player and had the same outfit on, with the sole difference being that he was bald and had a white full-on beard. The other was also standing up, much like the fiddle player, as he played his flute. He was wearing something completely different, as he was a green polo shirt with a logo on the right breast, a pair of black suit trousers and a pair of black dress shoes; his blond hair combed neatly and put in a ponytail as it would've otherwised reached his shoulders and his face clean shaven.

Although the cameras were now centred primarily on Tara, she would often go out of her way to try and make sure the band were in shot. Part of it was a "thank you" for helping her, part of it was simply a nod to her heritage. Indeed, she managed to convince the camera crew to get them in most of the shots, though the shots that were pretty much her was simply just her waving her arms and hands around as she sang, moved her body in some kind of beat to the song itself or simply shuffled around on the spot. She kind of regretted not having a microphone to hold onto as she sang but she would've been just as stuck regarding what she could do with it. Once she got to the last line, she closed her eyes and shook her head towards the last few words and then got ready for the next pre-chorus bit.

Slammed the book shut and packed my things
To see what this adventure brings
To be the first to return there since
A long, long time ago


Once again, it was time for another pre-chorus bit. We then cut to a side shot of her singing, though she slowly turned her head to face that camera as she sang. She would also slowly stick out one of her arms, making sure it's completely flat and the palm's facing the ceiling. Towards the end of the first line we then cut over to the bodhrán player, still playing his instrument with a neutral expression on his face, as he was more busy concentrating on the song. A couple of words into the second line, we then cut back to Tara slowly pulling the arm back towards her and going for a slo-mo fist pump. She would even do a couple of mini pumps as she sang the last two words before she looked down at the stage so she could get ready for the chorus again.

As I wait
To return back there, I’ll sing


And it was now time for the chorus again. Every other light around the stage turned off while the ones that remained on flashed slowly. The ones at the bottom of the stage flashed in time with the drum machine before all of them turned on and remained static as Tara started to sing. Indeed, the stage itself carried on pulsing to the beat but it went back to a green light instead of the blue one it had in the last verse. She started to move around the stage again, doing the same things she did the last time she sang the chorus, sticking her arm out and doing some waving motions with it. And, indeed, the camera would follow her around as she would eventually return to the post she was standing in when she began to sing the song. However, at the last line, she stretched her arms out wide and waved them backwards and forwards with every syllable she sang, bringing them back down when she was done.

We may be split but we’re together
And our hearts will be joined forever
I can feel them call me
They call me, they call me call me call me
We’re united in only one song
And I know I cannot be wrong
When I’ve been parted for so long
Because I can feel them call me
They call me home


After the second chorus came to an end, we then see Tara doing a bit of dancing during the breakdown before we cut back to the fiddle player during her brief solo. There, we see her play her instrument for a few seconds, albeit with not as much enthusiasm as she did during the choruses, with the lights around her started to dim. Not necessarily turn off but become a duller colour than before and not shine as brightly. Then, a couple of words into her reprise of the chorus (with an obligatory key change), the lights not only come back on but they were brighter than earlier. Not just that, but Tara was also joined by five people (three girls and two guys), all of the holding an Elejamian flag in one hand and an Anturian flag in the other. As she carried on singing the chorus, clenching her fists and moving her arms when necessary, she walked around the stage in a complete circle, with the flag carriers waving their flags and performing elaborate twirling routines as they followed her in rank single file. Indeed, Tara would actually be following the camera, as it was facing her and following her every move. Eventually, when she got back to the spot where she started, the camera panned so it'd still be in front of her before it zoomed out over the audience. At the end of the chorus, we then cut back to another medium shot of Tara, sticking both of her arms straight with her palms facing the ceiling. As she went on to finish her song, she slowly lowered them and moved them behind her back (while still keeping them as straight as she can) while she tilted her head up to sing the last line with a bit of enthusiasm, although she sang the last word with her head completely straight and facing the audience.

We may be split but we’re together
And our hearts will be joined forever
I can feel them call me
They call me, they call me!
We’re united in only one song
And I know I cannot be wrong
When I’ve been parted for so long
Because I can feel them call me
They call me home!


At that point the lights dimmed again for a few seconds, with Tara lowering her arms and her head in near darkness (whereas the flag carriers and the backing band just remained still) just to show that the song was finally over. Afterwards, the lights turned back on and the crowd applauded. She lifted her head back up and smiled at the audience, waving at them just as we cut to some fans from different countries waving their flags and other such symbols to show their support for their nation. We then cut back to Tara, who simply bowed before she lifted her head back up while the flag wavers just waved their flags around her. The backing band, whose instruments were held delicately in their hands to show some respect, bowed as well to the people on the other side of the 360° stage. “Thank you, we love you Oreo City!” She said into the headset (literally, as she had taken it off and was holding it in front of her mouth like it was a normal microphone) before she and her backing band went backstage, letting the stagehands sort everything out so that the next entrant could get themselves ready to perform.
Last edited by Elejamie on Tue Nov 24, 2020 7:27 am, edited 8 times in total.
Elejamie (English); Elejamia (Spanish); Elejam (Iyilim) - Denonym: Elejamian - Pronounced (English): Eh-leh-jah-meh
I INTRODUCED THE NS SPORTS COMMUNITY TO URINATINGTREE AND ALL I GOT WAS THIS SIGNATURE

OOC: Miserable opinionated hipster.
SISU OUT!

User avatar
Saviera
Spokesperson
 
Posts: 116
Founded: May 16, 2012
Compulsory Consumerist State

Postby Saviera » Tue Nov 10, 2020 9:10 pm

.::: 14 ✾ Saviera :::.
✨ I Manifest ✨
✨ Malvina ✨
To the tune of Memaker By Eliana Tidhar


After such a strong finish at the 84th Worldvision Song Contest, Saviera was unsure how to follow up with that. Our boy Tom F. O. O'Leary did so good in Milano that a lot of acts that were previously interested in taking part, pulled out because they didn't think they could one-up that.

After one edition, however, things had cooled down and Savierans were ready to give it another go. To ensure we have the best song, songwriters who competed in national finals of other countries were invited to submit songs, including their failed national final entries, to compete in a planned selection show which was to be Saviera's first ever national final for the Worldvision Song Contest. However, in the end, a grand total of one (1) submission was received from Ertzei Kishim.

Because of the lack of submissions, the national selection was cancelled and the delegation decided to focus on refining this one song. The delegation ruled out inviting the original singer Ronit Levy to perform it as "Tangled Up; as it was assigned to a new singer, the lyrics were re-written to suit the new act. The delegation selected Savieran singer Malvina to present the song, now with a fresh new set of lyrics and under the title I Manifest.

For the big night, Malvina was wearing a dress similar to this one except it was in all-gold.

As the song begins, we see a wide shot of the stage. The arena is bathed in dimmed pastel pink light, and the lights that surround the stage are all moving intensely in the clockwise direction, like in the gif below.

Image


After about 2 bars, the TV screens that viewers are watching from fades to black, and it slowly opens horizontally, allowing us to see a close up of Malvina's face, similar to the below gif.

Image


It continues to open as she begins singing this next part. As it continues to open, the screen becomes saturated in pastel rose gold, which further accentuates the gold glitter in Malvina's makeup. It fully opens towards the end of this first part below.

✨ Come to the waters ✨
✨ Glimmering blue, shiny azure ✨
✨ Only you matter ✨
✨ Let go of what you have been through ✨
✨ You’re like no other, no ✨
✨ Let the waves show the way ✨
✨ You will glow ✨
✨ I manifest ✨


Now the camera moves to a middle shot that slowly pans around stage, allowing us to see Malvina's surroundings. She is joined by 4 backing dancers, wearing outfits similar to Malvina but in pastel pink instead. Their moves are carefree but intentional, going well with the flow of the song but also dramatic and in tune with the rhythm. Malvina herself does a lighter version of this choreography, considering she's singing.

✨ Under the heavens ✨
✨ It’s you and me, floating so free ✨
✨ Light like a bubble ✨
✨ Without a thought, head is empty ✨
✨ Come to the surface, oh ✨
✨ Be the best you can be ✨
✨ You will glow ✨
✨ I manifest ✨


Now the lights were no longer moving as they had been, and the camera was showing close-up angles of Malvina as she sang each line. Each angle chance had a fade-to-black transition, and each shot was populated by Malvina and her dancers making moves that were synchronized both with each other and the instrumental sounds that were intertwined with the few lines below.

✨ Let yourself wander ✨
✨ It’s now or never ✨
✨ We’ll shine together ✨
✨ You will glow ✨
✨ I manifest ✨


Image


Now a spidercam zoomed out from the close up all the way above, as if we were looking behind from the window of a departing plane or flying bird. The LED floor "burst" with golden colour like in the gif above, and this was something we could see on camera. The lights came back to life, not exactly moving in circles but definitely glittering and shining with different intensities. It was a very saturated situation.

As Malvina continues to sing, middle and wide shots where the camera panned across the stage were also used.

✨ Let go, let flow ✨
✨ The troubles that consume in you ✨
✨ Let go, let flow ✨
✨ The things that you don’t need to do ✨
✨ Let go, let flow ✨
✨ And show the world the person you are ✨
✨ Flourishing and free ✨
✨ Be the best that you can be, be ✨


The LED floor burst in colour again and the lights were livelier than ever as the five people on stage broke into a dance routine. The camera angles were particularly dramatic and sudden here, focusing intimately on close ups of different parts of the performers and changing often.

✨ Be, be ✨
✨ Be the best that you can be ✨


✨ Be, be ✨
✨ Be the best that you can be ✨


As we come back to the verse, the lights dim slightly but the arena is still bathed in pastel pink and gold. The lights at the edge of the stage that were earlier spinning, begin to spin around the stage rapidly again. The wind machine comes on and blows Malvina's hair to the right. She is standing still in this next part, mostly, although her upper body does make slow moves intertwined with sudden gestures. Her backing dancers are in formation behind her, and they're doing the same moves Malvina is doing.

✨ Come to the shadows ✨
✨ We’re safe and sound, adventure-bound ✨
✨ We are the rainbow ✨
✨ Get off the ground, self has been found ✨
✨ The world wants you to show ✨
✨ All your charged energy ✨
✨ You will glow ✨
✨ I manifest ✨


In this next part, Malvina sings the first line, and then the camera shows one half of her backing dancers doing a move in sync with the flow of the song. And then she sings the next line and the other half do a similar move. And then after she sings the third line, everyone on stage does the move together. Finally, she sings the final two lines and the spidercam she sings to jerks backwards all the way to the back of the stage.

✨ Let yourself wander ✨
✨ It’s now or never ✨
✨ We’ll shine together ✨
✨ You will glow ✨
✨ I manifest ✨


As the spidercam moves backwards, just like earlier, the LED floor "bursts" with colour and the illumination of the arena reciprocates, bathing the venue in pink and gold light. The spinning lights fade away and get drowned out by all the other lights. This time, the performers do a different set of choreography. This one is much more carefree and less restricted than the first chorus. The camera angles used here are largely middle and wide shots, which reflect on the freedom and abundance of breathing space the performers now have.

✨ Let go, let flow ✨
✨ The troubles that consume in you ✨
✨ Let go, let flow ✨
✨ The things that you don’t need to do ✨
✨ Let go, let flow ✨
✨ And show the world the person you are ✨
✨ Flourishing and free ✨
✨ Be the best that you can be, be ✨


The stage bursts in colour again. This time, Malvina's choreography is more reserved, gentle but with the occasional sudden gestures. The camera closes up on Malvina the whole time, although slowly panning to different parts of her body, following the flow of her movement. As this happens, the pink and gold lighting gets gradually replaced with a dark blue, and indeed the stage lights become dimmer.

✨ Be, be ✨
✨ Be the best that you can be ✨


✨ Be, be ✨
✨ Be the best that you can be ✨


In fact, the stage lights are largely only emitting a very dark blue aura. By now, Malvina is kneeling on the floor. Behind her, her backing dancers are standing up, holding small orbs that light up in yellow in both of each dancer's hands, and as Malvina sings this next part the dancers perform choreography with their entire bodies but particularly their hands. As Malvina sings this next part, the orbs are like stars or fireflies that flutter by in the background and are brought alive by the music.

✨ Let go, let flow ✨
✨ The troubles that consume in you ✨
✨ Let go, let flow ✨
✨ The things that you don’t need to do ✨
✨ Let go, let flow ✨
✨ And show the world the person you are ✨
✨ Flourishing and free ✨
✨ Be the best that you can be, be ✨


As the backing dancers run to put away the orbs in the corner, Malvina slowly gets up. The camera is focused on Malvina. Right before the first line of the next part, the stage bursts in colour again, but this time it is purely gold. The rest of the arena is bathed in golden light as well. Malvina sings the first line of the next part and then leaps away, dancing around the stage. The backing dancers quickly join her as well, as lively as ever.

✨ Be, be ✨
✨ Be the best that you can be ✨


The positive energy emitted at this point is incredibly recharging. The stage lights are also as lively as ever, for a performance that is overwhelmingly feminine and forgiving.

✨ Be, be ✨
✨ Be the best that you can be ✨


Now the spinning lights that rapidly go around the stage come back to live again. Malvina and her dancers do choreography that is as carefree as their previous moves have been, yet at the same time reserved and controlled, with a balance of slow movements and rapid gestures.

✨ Be, be ✨
✨ Be the best that you can be ✨


In the last line of this next part, the final line, the performers strike a final pose. The dancers are in line behind Malvina (think a football team lining up, rather than a queue), and Malvina is in front of them. Each of them stand up straight but have their right arms extended forward towards the camera.

✨ Be, be ✨
✨ Be the best that you can be ✨


After the song ends, the audience cheers. Malvina then blows a kiss to the audience and turns back to her girls as they all excitedly do a group hug. Malvina thanks the audience, saying "Thank you! Be the best that you can be! We love you!" before they leave the stage as it is soon prepared for the entry from Axuva.
Last edited by Saviera on Mon Nov 23, 2020 6:53 am, edited 6 times in total.

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Axuva
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Posts: 178
Founded: Feb 22, 2018
Liberal Democratic Socialists

Postby Axuva » Tue Nov 10, 2020 9:39 pm

#15 AXUVA
Miras Abdullayev - "Are You Listening"
Tune: https://www.youtube.com/watch?v=GwX4DtHxVyY


Image



A Kobyz would be played, and the camera would pan over to the player, rotating the camera around him as he somberly played the Kazakh native instrument, and after the camera would be on the Kobyz player, the camera would slide away, now showing Miras on the upper side of the stage infront of the LED screen provided and the visuals would show grey clouds and a calm, but slightly irritated ocean.


Land of stormy nights, never undone
When will the sun ever shine again?
taeyang-i dasi bichnanda
It’s like no one’s even there
All the hope and trust, is lost


Miras stood and continued to sing through his emotion, with his eyes closed, focusing on his singing and his presence to the audience.


No one has a word to say
While people keep dying and suffering
uliga jung-yohabnikka
naega jung-yohabnikka
Only god knows, since the world is in his hands


Through the water sounds approaching the chorus, there would be raindrops on the LED screen dripping slowly to the taps. A male child and a female adult, that seemed to be pregnant, and a male adult representing a family would appear on the lower portion of the stage, starting to dance rhythmically, through the sound of the song and Miras’ soft and tender voice, as they danced they represented happiness, which then progressed to pain and sorrow through their dancing as they all danced together

Are you listening
To our suffering
Fighting to resist
I hope that one day
We get to see
The sunshine again
bunsilmul jeojang...


As Miras left the chorus, the father figure of the dancers left the mother and daughter duo, to dance on the stage, representing grief and sadness, the mother would have tears in her eyes as she tried to comfort her daughter in distress, the camera would be back fully on Miras and the LED screen.

Almost feels like sometimes there is no home
When my land is not one
No power left in me
I am no longer free
naneun neukkinda no happiness in my heart


A new male child would run on stage and the woman’s pregnant stomach would be away, and the boy would dance along with the two other dancers, and there would be slight happiness on all of their faces but there was suddenly a change of expression and they all looked panicked, running around and dropping to the floor, laying there for a moment. They would soon get up, except the adult female who stayed there.

Are you listening
To our suffering
Fighting to resist
I hope that one day
We get to see
The sunshine again
bunsilmul jeojang


They stood still and looked at the mother, then they suddenly started to dance around her slowly, dropping to their knees a few times, and they would jump over her, hugging each other while breaking down to the ground slowly, then laying there and not moving, turning the spotlight off them

Are you listening
To our suffering
Fighting to resist
I hope that one day
We get to see
The sunshine again
bunsilmul jeojang


Right before the Kobyz interval, Miras would walk with the microphone infront of the dancers on the ground as the spotlight followed them, and he started doing his own dance during the interval, and then at the end of the interval he would slowly drop to his knees, with the expression of stress and tiredness on his face.


Are you listening
To our suffering
Fighting to resist
I hope that one day
We get to see
The sunshine again
bunsilmul jeojang


As he sang the lyrics, fire rang around the entire stage as the LED visual showed heavy rain with grey clouds in the sky over a ocean that was moving with much activity, every dancer on the ground rose up and other dancers appeared on the stage behind Miras, dancing to the sounds of the music and his voice dramatically with heavy expression, and as Miras hit the highest point of the song, he put his fist in the air with much sorrow and air would blow Miras, causing his outfit and hair to dramatically flow and he put his head down while still being on the ground and he let the backing singers sing. After they stopped singing, he looked back up, singing to the audience with much sorrow and tears in his eyes, and everyone would slowly dance off the stage.

I hope one day.... the sun shines again....


Miras would be left on stage alone and Miras would slowly get off the ground, and he finished the song, extending his arm out.
Last edited by Axuva on Mon Nov 16, 2020 10:28 am, edited 3 times in total.
Axuva Today Network [ATN] Today we announce that the Axuvian Government now recognizes The Russian Language as an Official Language, Korean and English were spoken in the beginning, but there were Russians too, russians were forgotten and their language were not recognized due to the things they did in the past, but now their language is a official language of Axuva, and there will now be 3 official languages instead of two.

User avatar
Waisnor
Spokesperson
 
Posts: 156
Founded: Aug 03, 2019
New York Times Democracy

Postby Waisnor » Tue Nov 10, 2020 10:19 pm

16

WAISNOR


Steppen - Navazhdeniye/Tune: Tima Belorusskikh - Nezabudka


Steppen (real name - Anton Stepuro), like many Waisnorian representatives in Worldvision, started career not so long ago, in 2017. And by himself he is quite young, he is only 20 years old. A somewhat funny incident is associated with his appearance - some people thought that Anton decided to catch some hype, taking this name, because of the villain of "Justice League" movie, who was called STEPPENwolf. And so Anton decided to shoot a video for his first single (by the way, there it is) as similar as possible to the movie in terms of location. People appreciated such jokes and the song quickly became a hit)

By the way, he's first Waisnorian solo participant who use a pseudonym and not their real name.

Now let's move on to the performance itself. At the very beginning of the performance, Steppen was sitting on a bench and was dressed in winter clothes: he was wearing a white jacket, and on top of it was a gray scarf. Until Anton himself began to sing, he sat, as if waiting for a bus, a little bored. And here he began to sing:

Тихой ночью, под блестящей луной
On a quiet night under a shining moon

Сидел я на остановке, ждал в ночи трамвая
I sat at the bus stop, waited for the tram at night

В растрёпанной одежде, с непомытой головой
In disheveled clothes, with an unwashed head

В общем, я был явно не и из рая
In general, I was clearly not from paradise


After that, Anton lay down on the bench, as if dreaming. By the way, in the background was shown the path of a bus traveling through Grodno in winter. The camera upstairs turned on, which was filming Steppen and slowly approached him while he sang this verse.

Но ко мне подошла вдруг она
But suddenly she came up to me

Был её вид прекрасным, словно орхидея
She looked as beautiful as an orchid

Красива, добра, будто ожила весна
Beautiful, kind, as if spring came to life

Но я чувствую, как я немею
But I can feel myself going numb


And then Anton got up and began to walk towards the auditorium, while the shadow of a woman appeared in the background, who passed behind Steppen's back. Anton himself began to make small dance moves at the edge of the stage.

Разошлись мы, не сказав ни слова
We parted without a word

Ты пришла и ушла, словно наваждение
You came and went like an glamor

Я смотрел из окна на дома
I looked out of the window at houses

Но ты заняла моё мышление
But you took my mind


After the chorus, Anton began to quietly walk to the left. Speaking of the female shadow, she disappeared right at the moment when Steppen finished singing the chorus. Anton walked a little sad and lost.

Слишком робок я был, чтобы сказать "привет"
I was too shy to say hello

А она меня, видно, не заметила
And she apparently did not notice me

Навсегда в моей памяти её силуэт
Forever in my memory her silhouette

Хоть лишь раз в жизни её я встретил
At least once in my life I met her


Anton turned to the right and slowly approached the bench. As he approached, the woman's shadow returned to the stage and slowly approached Steppen. When they got together, Anton just looked at the shadow while he was singing the verse, and then after a while the shadow left the stage again. By the way, all this was again filmed by the camera above.

Дальше шёл день за днем, иногда я вспоминал
Day after day went on, sometimes I remembered

Как красива была эта незнакомка
How beautiful this stranger was

И хотя мне было жалко, всё же я не страдал
And although I felt sorry, yet I did not suffer

Ведь в судьбе это лишь остановка
After all, in fate this is just a stop


After this verse was finished, Steppen got up on the bench and started dancing there while the chorus sang. At this time, some artificial snow fell on Anton)

Разошлись мы, не сказав ни слова
We parted without a word

Ты пришла и ушла, словно наваждение
You came and went like an glamor

Я смотрел из окна на дома
I looked out of the window at houses

Но ты заняла моё мышление
But you took my mind


Stepuro danced a little while the music was playing, and when the song ended, Anton took his scarf like a sports scarf, lifted it above his head and said: "Thank you for listening!".
Last edited by Waisnor on Thu Nov 12, 2020 8:43 am, edited 1 time in total.
81 = 18th/34
82 = 22nd/31
83 = 27th/41
84 = 15th/27
85 = 20th/28
86 = 14th/32

51 = 10th/20
52 = 19th/24
53 = 11th in the semifinal/33

User avatar
North Alezia
Spokesperson
 
Posts: 112
Founded: May 08, 2020
New York Times Democracy

Postby North Alezia » Wed Nov 11, 2020 2:16 am

Image


BACKGROUND
After a solid of staying on the left side of the scoreboard three times in a row, North Alezia returned being confident with its selection of Alezimaniacs. Four participation later, with a debut in Worldvision 82 with Imara Syafani's "You Are" resulted in North Alezia's worst result of 17th. One participation later, North Alezia earned its first top 10, top 5, and top 3. With Samara and Izdar's "Life Falls Apart Before Me" earning 2nd. However, North Alezia continue to fail to reach it's previous record, last time nearly earning the country's worst result. With Nisran Yaqrina earnig 15th. This time, North Alezia is ready to try again for top 10 or maybe get a podium position.

COMPOSER INFORMATION
Image


Andi Robi Idris Novogrody is a North Alezian singer and composer born in Yakovskut, PY which is a town near the city of Pyalivostok on 30th of January 1990. He is the composer of both the North Alezian entry for Worldvision and World Hit Festival. Since Robi can't go to both, ABA brought in Izdar bin Harun to help this fellow write the WHF entry, thus it's decided that Robi would go to Antahbrantahstan, and Izdar would go to Fromulya. Robi is the oldest of non identical (even different genders!) twins of a Russian father with the name of Mukhlis Krasnaya Novogrody (The 6th and 7th Premier of North Alezia. And Robi rose up the ranks by himself by the way.) and a Buginese mother with the name of Andi Rinra Manriattang. Robi earned a degree in Criminal Law on 2010 from the Millenial University of Zafizamarrah. A massive achievement as he was still 20 at this point. Then he earned a second degree in Music Production in 2017 from the University of Tel Hadiv while working hard making songs.

He is married to Irasati Na'imatullah. They have two children. One boy named Fu'ad (age 4) and One girl named Ishani (age 2). He used to live in Pyalivostok from 1990-2002, then moved to Zafizamarrah from 2002-2011, then he worked overseas at Oreo City, Antahbrantahstan (what a coincidence.) from 2011-2012, then back to Zafizamarrah from 2012-2014 . He fell in love with Tel Hadiv and decided to live there until now.

Robi was not directed for music life at first, although he did join choir when he was in High School. He was a detective working in the ZF Police Force, then he got fired for personal reasons (probably since Robi caught his higher ups doing corruption). He found his fondness of music production when he tried composing his first song in his laptop. Robi has been working with a lot of singers. He has been working with Idresh Noam-Khaled on writing his entry for Alezimania Season 2 (got 3rd) and Season 4 (won). He also composed Halimah Sa'adinova's Lost In Zafi. He has also tried to represent the country in Worldvision by singing in the first season in Alezimania. He got second which would've brought him to WHF, but he got his nose broken by Lady Alyoub. Other than WV and WHF entries, he also earn reputation with ballads such as "Sadness Rings", "No", "Da" (in Russian), and he made one song (unusually upbeat) called "Andi" which started the modernization of Buginese songs in North Alezia, which is even faster than the ones back in South Sulawesi.

ARTIST INFORMATION
Image


Idresh Noam-Khaled is a North Alezian singer born in Shekham, Tel Hadiv on 23rd of May 1987. He is the first singer from Tel Hadiv to represent the country as a whole in Worldvision Song Contest. Idresh is the 3rd of five children of Na'em Meshmudain and Isha Nurshelaim. For your information, Idresh is a Sunni Muslim. A religion he's been practicing since he was born due to his family converting to Islam three years before he was born. A common sight in Tel Hadiv, Jewish is actually near second with 45%%. Idresh completed his university education with a degree in musical production.

He is married to Maryam Isnaraddin. They have two children, both boys named Alef (age 6) and Razekh (age 3) and one daughter on its way planned to be born at least December 2020.

Idresh has released some albums with the most popular being "Shalemalaicha" (Salam Alayka in Tel Hadivian accent) released in 2012 in a duet with Andi Robi Idris Novogrody for IEDALFITRFEST. Other albums including "My Alezia", "She'akhaim", "Tel Hadiv" , and "I'm Not Alone" which is an album all about him defeating depression. Idresh has also played the character Zad in "Zad and Sheila", which is a popular movie in North Alezia.

Idresh also has a big presence in social media, with him being the 6th most followed North Alezian in Instagram earning him around one million followers. His good physique also bring a lot of fangirls and some fanboys as well :D

If you've been watching Alezimania since the first season, you'll know that Idresh actually tried to represent the country once in Alezimania for Worldvision 84 with the song "Ani" representing his region of Tel Hadiv which earned him 3rd place with 153 points, with one point from the 2nd placer, Lisa Ammah-Andrews from Bristol. If only Idresh earned more points, He would've represented the country in World Hit Festival at some point.

SONG INFORMATION
"Bevakasha" or You Are Welcome is a song about a couple thanking each other and remembering all the beautiful past and although they might have fought each other, they'll eventually make up and thank each other for being there for him/her which the other would say "Bevakasha" (You're Welcome in Hebrew)

ROLEPLAY
(It's days after Idresh won Alezimania Season 3. He's now back in Tel Hadiv. The day after he returned on early morning, Idresh waited outside a room. He's about to meet someone)
(P.S: Idresh and Robi Idris has known each other for years now, so their conversation would taste informal or sometimes plain rude.)
Robi Idris: *opens door* AH! Shamasha! (Tel Hadivian greeting) Glad you can come. So, what are you waiting for? Come come...
Idresh: Thank you for welcoming me, Robinov. Well, you have a nice apartement!
Robi Idris: Thank you. Anyway, so... You got internally selected again?
Idresh: Yeah. I can't believe it. Anyway, Regional ABA called me-
Robi idris: And told you to contact me? HA. Predictable. Anyways, congratulations dude. You just won. You literally made it happen. I'm currently working on two songs. Yours and For WHF with a person named Halimah Sa'adinova.
Idresh: Yes, I can... Okay. So......(reading paper) Ah. I get it. You're revising it.
Robi Idris: Of course I'm going to revise it. Honestly, that song was lucky. *throws pencil and catches it pretty calmly* So, any ideas?
Idresh: Can I see the stage?
Robi Idris: *slides a picture to Idresh* there you go.
Idresh: It's round... Hmm...
Robi Idris: Yeah. It's new. Even to me... But Imara Syafani had to work with a HUUUGE stage.
Idresh: And got 17th
Robi Idris: That's a bit rude, but true. Anyway, what do you think?
Idresh: I think I got the light's sorted out. How about the band? I want a band instead of a prerecorded one.
Robi Idris: We can't call a band, since it's too late to call anyone, and we have to change it into a feat. You have to use backing track. And speaking of backings, you CAN have backing singers. All male, since I don't know. Do you want backing dancers?
Idresh: Singers yeah, Dancers heck no. My song is not that upbeat. I'll just use my music video for move references.
Robi Idris: Good idea, but kinda change it as well, we don't want the public to be bored.
(Those two continued discussion and solved a lot of stuff until came the same question like usual)
Idresh: Anyway, who are we having in the delegation team?
Robi Idris: Hmm... We have HoD, Azmi Raz Muhillah... (some more people...) You obviously, and ooh! I'm tagging along. So that's why I can't go with Halimah... I really want to go to Fromulya, but ABA asked me to accompany YOU instead. To Antahbrantahstan.
Idresh: Khesh... Sorry, bud.
Robi Idris: Yeah. It's okay. Antahbrantahstan is a good place as well!
Idresh: Okay, next up, can I ask what ABA has prepared for the staging? Do I have to fly?
Robi Idris: Nah, too dangerous. And too risky. But there'll be pyrotechnics
Idresh: Is it-
Robi idris: Smoke. Smoke Machine. Our specialty. We North Alezians has the capability to use this product everywhere we go it's pretty immature.
Idresh: True true...
Robi Idris: Ah. Look at the time. I have to help my kids with school. I'll meet you later, okay?
Idresh: Okay then, see you later


(The day eventually came after hard rehearsals and a new single from Idresh later. The team prepared to fly to Oreo City. However....)
Maryam (Idresh's Wife): IDRESH! IDRESH! FOR GOD'S SAKE. IDRESH!!!
Idresh: Huh? Y-yeah... I'm awake I'm awake... Brrr.... *checks clock at his phone* HA-A-CHAIM. I AM SO LATE. (Ha'achaim: (not found in any Hebrew dictionary, it's Tel Hadivian dialect a.k.a I made that word up) Holy...)
Maryam: Told you... Glad you've prepared your stuff... And you already took a bath few hours ago after early prayer. Come on, the taxi is literally waiting.
Idresh: *running around preparing stuff and passport* AH. DONE. Maryam?
Maryam: What is it?

(Idresh kissed Maryam on her forehead)

Idresh: I won't be gone for too long, okay?
Maryam: I know. Don't worry about me. You just have fun and hopefully you'll get the trophy for our country!

(Suddenly two children same running towards Idresh)

Alef and Razekh: SHAMAL! SHAMAL! SHAMAL!
Alef, Razekh, and Idresh: GOOOOOO SHAMAL!!!

(Those three shared a good fun for a small minute while Maryam watched feeling happy)

Idresh: Okay. I got to go. Don't mess the house too much, okay? Don't fight.... Help your mother... And ah! Yoghurt's inside the fridge.
Alef: Yes, dad. Thank you! Good luck out there!
Razekh: Toda Raba!
Idresh: *surprised by the sudden words from Razekh* ah. Bevakasha, my son. Okay, I got to go! Pray for me, everyone!
Maryam: We will!!! Be careful!

(Idresh put his luggage inside his taxi, and got into the taxi which brought him to Tel Hadiv Roshleaim Intl. In the terminal...)

Idresh: Sorry I'm late!
Robi Idris: I thought you don't want to represent North Alezia anymore...
Idresh: No, I'm not!
Robi Idris: Ha. Just pulling your leg off. Well, shall we? We got to depart to Zafizamarrah at full haste, and connect with the others, and then finally go to Oreo City. especially considering that *someone* is not right on time.
Idresh: Shut up.

(Idresh and Robi Idris flew to Zafizamarrah, and goes to the international terminal)
Idresh and Robi Idris: Good morning, everyone!
Azmi: Good morning. Say, how was the flight from Tel Hadiv?
Idresh: *scratching his head* Welp, could've gone worse. Anyway, when is our flight?
Azmi: Wait... Now. Okay, we got all of our teams in here. Okay time to depart!

(The team flew to Oreo City. Idresh sat in the front seat together with his best friend Andi Robi Idris Novogrody. While on the flight, Idresh started a conversation.)
Idresh: Robi? I-
Robi Idris: Huh? Wha- Sorry, I was just daydreaming there. What is it?
Idresh: Antahbrantahstan's currency is the Oreo, right?
Robi Idris: True, and we got a lot of Oreos for the trip.
Idresh: And the host city and the capital of Antahbrantahstan is Oreo City, right?
Robi Idris: Yeah.
Idresh: I wonder, can we actually eat the currency there?
Robi Idris: They're a pretty big oreo fan. Much more of a fan than you.
Idresh: I perceive that as an insult.
Robi Idris: HA. Anyway, I don't know as well, it might as well be a misunderstanding.

(The team arrived at the Oreo City airport. They immediately rushed to the hotel since everyone's pretty much tired. They get some sleep and the next day...)

Robi Idris: Well, here we are! Culinary masterpieces any eye would glaze over and over again.
Idresh: You definitely know your stuff, huh?
Robi Idris: I did some small work as an exchange detective here in Antahbrantahstan for two years-
Idresh: You were a detective?
Robi Idris: Yeah. I was a detective serving in Zafi Police Force for two years until I canned the job since I caught my higherups doing corruption and I won't "shut up" and my singing career shoot up higher than some finger-pointing and DNA checking.
Idresh: Ah. And you're half Indonesian. Noooo wonder.
Robi Idris: Halah, b*cot.
Idresh: What did you say earlier?
Robi Idris: Nothing. I was talking to myself there. Anyway, look! Look at these variations available! And they have Sop Konro. Eh. Tried it, loved it. Let's try something e-

(We change scenes into where the team get inside a western restaurant)

Robi Idris: *rubbing mouth with tissue* I can't believe after searching, we get what we would actually get in Bristol. Actually, I kinda like the western cuisine here, something about the western styled cuisine here is unique.
Azmi: True... It's written in their package after all. What's their secret reallly?
Idresh: Hmm... Mystery in itself. Anyway, I did some research, and did you guys know that Antahbrantahstan has a big love over beauty pageants?
Azmi: Yes, I watched some of their shows, and their performances are impressive.
Robi Idris: I got a chance to have a small chance with Imara one day, and she said that Anturian beauty pageants have some unique taste to it, especially in their dresses. No wonder because she's right!

(The team continues to go to press meetings, some parties (no alcohol), enjoying the beautiful scenery of fusion between modernity and serenity. Eventually the day of the contest came.)

(Backstage. Idresh is preparing with only very very veeeery light makeup.)

Idresh: Ah... There goes Waisnor. What a great song. I don't know if I can beat that- AH scratch that. I'm Idresh Noam-Khaled and I can do it. Let's do this!

(Idresh walks to the stage preparing his entry)


Image

Tune: Tom Gregory- Fingertips

Bevakasha (You're Welcome)
Singer: Idresh Noam-Khaled


Music: Andi Robi Idris Novogrody
Lyrics: Idresh Noam-Khaled


בבקשה = Bevakasha (You're Welcome)

(The round stage was pitch classic North Alezian black. With every piano tune, one by one, each overhead lights start to light down to Idresh who was standing on the center behind his floor microphone. The camera view was situated on the outer parts of the stage. Idresh stayed on one spot for the first part...)

When we hugged, at that grand ferris wheel,
I know that our love is truly huge and real

Whether we're young and old, or hot and even cold
You are the only one to make me stand and be bold


(The camera changes to a steadicam where a cameraman walks in circles around Idresh. When the camera got the glimpse of the singer's face, Idresh immediately looked at the camera (not staring at it). On the end of the reff, the Cameraman walks away from the singer in order to change the view somewhere else)

We are strong together
Love won't care 'bout weather
I'm thankful that I'm with you and,
You'll say "בבקשה"

We are destined to love
I love you to the core
Thanks for thanking me and then
I'll say "בבקשה"


(The view returns to show Idresh's whole body. Idresh took the microphone out of its stand, and holds it upwards, while Idresh also raised his head upwards.)

Ohhhhhh..... Ohhhhh....


(The view changes to show only Idresh's face. He continues to put his microphone next to his mouth, and continues to sing.)

Truth to be told, We did fight a lot then
(But) when I need you most, you'll defend me again.


(The view changes to show the aerial view of the stage. Where Idresh looks a little bit tiny. Few seconds before the reff starts again a.k.a on the second sentence, Idresh puts his microphone back on the stand)

No matter how we talk, or walk, or even how we dream
I'll walk for you even through a very harsh stream.


(Idresh spreads his hands and the view zooms further from the stage that Idresh becomes smaller and smaller on view. The lights become more wild with the overhead lights making a pattern spinning around.)

We are strong together
Love won't care 'bout weather
I'm thankful that I'm with you and,
You'll say "בבקשה"

We are destined to love
I love you to the core
Thanks for thanking me and then
I'll say "בבקשה"


(Once again, Idresh takes his microphone again. Idresh faced the right side of the stage and crouches like someone proposing. And he continues to sing while in that position)
Ohhhhh......


(Facing the same direction, Idresh stands back up. And looks upwards, while holding the microphone upwards as well just a bit lower than his mouth. Every lights on the stage is turned off with the exceptions of one directly above him. He keeps this position until the another reff was sung.)

We are strong together
Love won't care 'bout weather
I'm thankful that I'm with you and,
I'll say "בבקשה"


(Every lights on the stage was turned on again, but in a more slow manner and now it moves around the stage's floor)

We are strong together
Love won't care 'bout weather
I'm thankful that I'm with you and,
You'll say "בבקשה"

We are destined to love
I love you to the core
Thanks for thanking me and then
I'll say "בבקשה"

woooahh.....


(Idresh holds his microphone up to the sky. Idresh faced the wide Anturian audience. Idresh shouted "TODA RABA, SHUKRAN KASIRA, TERIMA KASIH, THANK YOU!" Idresh bowed once then he walked backstage)
Last edited by North Alezia on Mon Nov 23, 2020 6:41 pm, edited 16 times in total.
FEDERATION OF NORTH ALEZIA
Worldvision Record
WV82: 17th
WV83: 2nd- BEST RESULT!
WV84: 11th
WV85: 14th
WV86: 8th


World Hit Festival Record
WHF52:6th
WHF53:8th
WHF54: 8th
WHF55: 2nd
WHF56: tba

User avatar
Beepee
Envoy
 
Posts: 265
Founded: Jan 20, 2018
Democratic Socialists

Postby Beepee » Wed Nov 11, 2020 4:48 am

18. BEEPEE

"Where You Are"

Performed by

Birthe Right

Image

Tune: "Vil du med" by Birthe Kjær


BEEPEE AT WORLDVISION

It was one cycle ago, in stunning Valletta, Malta Comino Gozo, when the reprehensible yet charming nation of Beepee scored an unimaginable victory at WorldVision 85.  

Claude Bols with the song "My Heart Beats", doo doo doo'ed its way to win the televote and the grand prix.  It was an unexpected victory, to say the least, with Kalosia and Ertzei Kishim, far more accomplished and capable nations, taking second and third respectively.

The time between the victory and WorldVision 86, was filled with great angst for the Beepeean Occasional News Corporation Internal Selection team.  Should they stick to the 'successful' schlager formula or go for a serious song with deep and meaningful prose.

After much to-ing and fro-ing, the internal jury turned to a trusted and familiar face in Birthe Right with her song "Where You Are". 

ARTIST BACKGROUND

Birthe is described by many as a handsome woman, of undeterminable middle age. 

Birthe has previously represented Beepee at WorldVision.  In WorldVision 82, at the glorious harbour city of Tiferet, Ertzei Kishim, Birthe sang "All in Your Mind".  Held near the beginning of the worldwide COVID-19 pandemic, the song was an uplifting ditty about keeping positive whilst imagining all of the wonderful places in the multiverse.

Since WorldVision 82, Birthe has busied herself performing and writing, and publishing another bestselling romance novel, "Kish Me Quick!", set in glorious Tiferet.

KISH ME QUICK!

Synopsis

Anita Goodman has a lot of secret fantasies.  On a vacation to Tiferet, she takes a boat trip around the crystal clear waters of the harbour.   When the tour boat breaks down, she begins unleashing her fantasies on the unsuspecting and handsome deckhand, Dan Bellow. Rather than turning him off, Anita's secrets have seem to have the opposite effect.

An Excerpt

The boat lurched violently to the side, throwing Anita at the feet of the moody and brooding deckhand.  He held out his strong, masculine hand and helped her to her feet.  As she grabbed his hand it felt rough and weather worn, which she found strangely pleasurable.

The boat lurched again, and she tumbled into his strong, virile arms. He steadied her and as their eyes met, he could feel the magnetic pull of her stare.

An announcement came over the boats tannoy... "I'm sorry, Ladies and Gentlemen, we seem to be having some engine trouble... we'll be a few moments as we try and sort the problem out".

"We're not sinking are we?", Anita asked the deckhand noticing his tanned skin, tousled dark hair, and strong jawline. 

"No, we'll be perfectly fine", Dan replied gazing deeper into her blue eyes.

Anita could feel herself flush with excitement as his warm Kishimi accent vibrated through her body. 

She tried to steady and compose herself, instead she uttered "I've always wanted a holiday romance".....

PERFORMANCE

Beepeean Televisual Commentary

Once again, Hugh Jakeman, Beepeean TV royalty and expert on fine wines, provides the commentary for the televisual audience.

Well that was the North Alezian entry, "You Are Welcome".
I suspect Idresh Noam-Khaled set a few hearts a fluttering there... but I'm sorry to say, ladies and gents, he's a happily married man.

Now it's us.  Little ole Beepee.  Can you believe we won last time round....no, neither can I and I dont expect we'll be anywhere near the top this time, but Birthe Right is back for us and she's a vision of loveliness in mustard.

Now this song is a typical worldvision song… there's a little walking, plenty of elbows and, if I'm not mistaken, an eejit pretending to play the trumpet.

Let's cheer her on in word and gesture.


WORLDVISION 86

As the music starts the audience can see only Tom, Dick and Harry, Birthe's faithful back up hunks standing centre left of centre stage. 

The music kicks in and Harry lifts his shiny brass trumpet close to his lips and gently blows.

With that the camera pans to the rear of the stage where seemingly out of nowhere has appeared... Birthe.

With the walk of a favourite drunk aunt she struts in time to the beat as she begins.

Birthe, the consummate performer, is able to look down the camera and with a warming smile set an audience at ease.


Last time I sang I took you there,
Only in your mind.
It was a tuneful melody.


During the preceeding verse, Birthe continues to strut like a haughty peacock displaying his full plumage.


And when the world gets better,
I wanna come and see you,
You should know you're my fantasy.


As she sings fantasy, she gives a knowing wink. 


You are my new beginning,
heaven to me,
Can you feel the passion?
It gets the best of me.


As she finishes the bridge, Birthe gives a gentle tap of her foot on the ground as she centres herself for the choreography.


I would climb up the highest mountain,
Swim across the widest ocean,
Fly in a plane to be,
Exactly where you are.


As Birthe sings the first line of the chorus she Israeli-sidesteps (vines) to the left and then to the right, as she vines through the "fly in a plane to be", Birthe does a quarter turn and the camera angle changes to a side shot of the stage, where Birthe points to down the camera as she sings "where you are". This choreography is repeated through the second half of the chorus and also copied by Tom, Dick and Harry.


I would walk 'cross the hottest desert,
Submarine below the current,
Drive day and night by car, you see,
I wanna be, where you are


As she finishes this chorus, the director of the show decides to take a long shot from the back of the hall before slowing zooming in on Birthe.


I've missed so much being away
From your love forever
I want to hold your hand once more


As she sings the above, Birthe reaches out to the camera and the audience, who, as per usual with Beepeean entries,  look on in dumbstruck amazement at the visual feast before them.


If you were an island in the sea
I would leave tomorrow
To get there, I'd even go by boat



Its feels like everyday is one
closer to you
I'd make my way 'cross the world,
don't you know its true


As she sings "dont you know its true", Birthe sharply nods her head, the way a school teacher admonishes her students.


I would climb up the highest mountain,
Swim across the widest ocean,
Fly in a plane to be,
Exactly where you are.


The Israeli-sidesteps continue as the key choreography through the chorus, but for added falir Birthe raises as her arms to the sky at "mountains" and lowers them to "ocean", as she singers plane her arm stretches out mimicking the wing.


I would walk 'cross the hottest desert,
Submarine below the current,
Drive day and night by car, you see,
I wanna be, where you are.


With a knowing flick of the hand, Birthe let's the viewing public know its them and them alone she wants to be with.


I would climb up the highest mountain,
Swim across the widest ocean,
Fly in a plane to be,
Exactly where you are.


Finishing the high quality and well thought out choreography, Birthe stands still looking directly down camera for the following final potion of the song.


I would walk 'cross the hottest desert,
Submarine below the current,
Drive day and night by car, you see,
I wanna be, where you are....


As the music crescendos, Birthe raises her hand to sky, before swooping it down bowing politely and theatrically to the audience.

Beepeean Televisual Commentary

The warm and mellow tones of smooth High Jakeman return to the airwaves....

Well, so far it's been a wonderful, wonderful evening. I mean, not musically of course, but in terms of spectacle, and really that's what we're here for isn't it.

Next up its a powerhouse of the WorldVision, Kalosia, with the song "The World Is Dancing". I won't be dancing to this, I've thrown my back out in a fit over exuberance with the present Mrs Jakeman.... but enjoy
Last edited by Beepee on Thu Nov 12, 2020 6:03 am, edited 4 times in total.

User avatar
Kalosia
Minister
 
Posts: 2736
Founded: Jan 09, 2013
Liberal Democratic Socialists

Postby Kalosia » Wed Nov 11, 2020 7:19 am

19
Kalosia
Baľal traversu le strade (The World is Dancing) — Alešandru Mireli
translation: Dance through the streets (The world is dancing)
performed in Kalosian and English to the tune of Canta toata mahalaua — Aurelian Temisan


It was such a shock for DAZHURI and the millions of Kalosians watching the show to see that we won the jury vote last edition in Valletta. The increased suspense that built up during the voting process meant that viewership figures gradually climbed, with up to 70% of Kalosian TV viewers watching as Lina d'Ažuri was declared the winner of the jury vote. Radiu-Televižio Kalosia had not recorded this kind of viewership for the contest since the 79th WorldVision which was the edition following Zlato's victory, also in Valletta. Song contest aficionados noted that Britonisea has almost always won the World Hit Festival whenever the contest is held in Kalosian soil; the question then and there was whether there would be a similar relation between Kalosia and WorldVision Song Contests held in Malta Comino Gozo.

Of course, as we now know that has been proven to be false. The super suspenseful televote reveal sequence was a talking point for the following week in the Kalosian media, particularly as it was revealed that Lina failed to also win the televote, coming 2nd and stopping short of securing Kalosia's 4th victory at the WorldVision Song Contest. Discussion erupted on the social media sphere regarding the merits of a separate televoting segment, no doubt fuelled by butthurt fans and disappointed Kalosians. Still, after the initial flurry of emotions, the WV fan community was able to welcome Beepee's victory and the fact that we now have yet another first-time winner.

Now the question had shifted — what was Kalosia going to do next? How were we going to build upon such a respectable result?

The answer lay in another highly-watched song festival broadcast by RTVK.

For the first time in its 58-year existence, the annual Festival dëla Kanžu Kalosianë (Kalosian Song Festival, FKK) was being held in the fall instead of the spring, in part due to the effect of the COVID-19 pandemic affecting various countries in the multiverse. This festival gave way to many Kalosian evergreens and classic hits, with many of the participants having also performed in the past at WorldVision as well as the World Hit Festival. This edition saw the participation of Astrid Kalidia (Proletariat City '29), NEON (Phoda '48), Ǧiada (Machievelihe '57), and Yasmin (Hajenired '59, Angradka '74) among others.

In addition to the postponement of the festival, the pandemic caused several other changes to the format. Instead of the usual 4 shows, the festival was now to consist of only 3. Typically, the 3rd show would be a celebration of Kalosian music, consisting of cover performances by the competing acts. Rather than usurp it into one of the other shows, it was announced that this segment will not be held this year. Also as a result of the postponement, the competing acts were given the choice to withdraw their entries without penalty if they felt uncomfortable in continuing their participation amid the circumstances. Several acts reportedly withdrawn, bringing the number of entries down to 16 from the typical 24. On August 1st, the final list of competing entries was announced, with the semifinal draw announced a few weeks later. For all three shows, 50% of the result was decided by a jury panel of 8 members, with the other 50% decided by the televote, of which both sides give out an equal total of points. The top 4 songs in each semifinal qualified to the final (bolded in the tables below), where the winner was once again decided through this method.



1° Seratë (First evening)
The first semifinal was held on the first evening. Interestingly, the jury winner came last in the televote and was still able to qualify, having come 3rd. The televote winner came 5th with the juries and was able to "win" this semifinal.

NoArtistSongPlacePoints
1MadrugadoKazë nia760
2Valentinu ArmandiLa notë268
3Le KontadineTi segiru564
4FaóziToji labri849
5Meliora NapoletiL'amurë di mia vitë465
6NEONMondu Miu367
7Mariella KasanuDolor660
8YasminDonë171


2° Seratë (Second evening)
The jury-televote split occurred again, with the jury winner coming 7th (second last) in the televote. The televote winner came 3rd in the jury and was able to "win" this semifinal.

NoArtistSongPlacePoints
1Rita BonifaťuLë kaminu dëla veritë (Prometël)661
2Astrid KalidiaAnimë persë272
3Ǧuľo BaľartiAnkorë561
4Aíša MansurL'orižontë462
5Domeniko GaľanuRagažë mia753
6Baľal traversu le stradeAlešandru Mireli177
7ǦiadaNël garda mi853
8SatorRëspostë sbaľatë365


3° Seratë (Third evening)
This was the grand final. The jury winner came 7th in the televote and ended up 2nd. The televote winner, however, came 6th with the juries — still, it came 1st overall and was declared the winner of the 2020 edition of the festival.

NoArtistSongPlacePoints
1YasminDonë565
2Meliora NapoletiL'amurë di mia vitë466
3Astrid KalidiaAnimë persë661
4SatorRëspostë sbaľatë756
5Valentinu ArmandiLa notë367
6Alešandru MireliBaľal traversu le strade170
7Aíša MansurL'orižontë850
8NEONMondu Miu269


Last year, FKK winner Corpus Calosum (who also won the World Hit Festival 41 months prior) made the unprecedented move to perform their FKK entry at the WorldVision Song Contest. Normally the festivals are treated as separate things, particularly given the fact that the music in FKK is intended to serve a domestic audience, whereas a Kalosian WV entry seeks to win the hearts of international viewers, who may have differing tastes. As a result of this precedence, the winner of this year's festival was asked by the press if he was interested in following Corpus Calosum's footsteps and entering his song to WorldVision. Well... if you know anything about him, it should be clear.

Image
Alešandru Mireli


Alešandru Mireli submitted an entry for the 2019 edition of Festival dëla Kanžu Kalosianë. Initially it was accepted and announced as one of the competing songs, however it soon emerged that portions of this song resembled a Kalosian folk tune written in the 1950s. Faced with public criticism, the singer and songwriter Alešandru Mireli withdrew the song from competing, though he was soon invited to enter it in Festival dele Melodie Kalosiane, the Kalosian national final for the World Hit Festival, where there is considerably less scrutiny. Perhaps because of the difference in the type and quality of songs that compete in FdK and FMK, Mireli easily blew all his competition out of the water and he left the show with a ticket to Vodiznad, where the contest was being held. The song that he performed was titled Susuri d'amurë (Whispers of love), and at the end of the night came 7th out of 16 entries.

With a gap in his schedule (in part due to the pandemic) and a passion for music and the stage, it was easy for him to say yes to a WorldVision offer. And just like that, Alešandru was off to Oreo City. This time, the song that he was going to perform was not a melancholic ballad like Susuri d'amurë was; rather, it was a more upbeat tune. Baľal traversu le strade translates to "Dance through the streets" and was performed at FKK entirely in Kalosian. For an international audience, Alešandru felt it appropriate to adjust the song accordingly. A revamp of the song was made, if you could call it one. There weren't a lot of changes — 2 choruses towards the end were translated into English and the song was accordingly given a new, refreshing title to make it accessible to audiences: Baľal traversu le strade (The World is Dancing). Unfortunately, this means that many have mistaken the English text in brackets to be the translation, when it in fact isn't.

Oreo City previously hosted the WorldVision Song Contest 46, which Kalosia did not participate in due to relegation. It was also the last time that Kalosia was not present at the contest. 40 editions later, this means that Kalosia is celebrating an unbroken streak of 40 consecutive entries to the contest, and hopefully this means the island nation can finally get the chance to shine in Antahbrantahstan that it did not get many, many years ago.

Kalosia was drawn to perform after the country it had come second to in the last contest, Beepee. Going back-to-back created a lot of anticipation, and it was expected that the eyes of the WorldVision community of fans would pay close attention to the 10 or so minutes of the show that saw the performances of these two countries, even if the songs they sent weren't fan favourites. After Birthe Right thanked the audience and left the stage, it was time for Alešandru and his backing performers to come on.


For the big night, Alešandru was wearing suspenders over a light brown vest over a white dress shirt with a matching brown bowtie, a matching brown beret, and black pants, going for a classy vintage Kalosian look. As the song begins, Alešandru slowly rises from a trapdoor from beneath the center stage. The stage is dim, and he is only seen mainly in silhouette form. This happens as he sings this next part, and a live voice filter is applied to his microphone, making it sound like he is singing from a megaphone.
Baľal traversu le strade
Ule matine ele sere
Koli feľi dëlë mondu
Oh, oh, oh, oh, oh…

A spotlight on him turns on as he begins the verse, and the camera that had been at stage floor level zooms in on him as he sings into the handheld mic. The song is told as a story, and his facial expressions and gestures reflect this.
Kadë mi seľu ben ula matinë
Ja apru grandë moje fenestre
Antë ja lašu kazë mia
Faťu per mi un kafe cubano

The stage begins to light up in neutral colours. Now the camera shows, on the satellite stage, two men — backing performers — dressed in a traditional Kalosian outfit. They are strolling down the massive ring of a stage pretending to talk to each other, as if going for a walk in the park.

In the third line of the next part, they slowly stop after seeing something in front of them. One of them points while they look at each other, and their faces seem to light up with joy. Right at the end of the last line, they look like they're about to start running towards whatever they were looking at before the camera cuts back to Alešandru.
Kon un amiku alë pomerižu
Noj lašamu dëlë lavor e noj videmu
Oh ho, ho ho ho ho ho…
Feližëmentë samu uv unë festë!

As aforementioned, the camera cuts to Alešandru right as he begins singing the chorus. He seems to slowly walk around the little center stage as the spidercams circle around him. Though out of focus, we can also see the audience in the background waving their flags to the rhythm — particularly the Kalosians in the arena.
Baľal traversu le strade
Ule matine ele sere
Koli feľi dëlë mondu
Oh, sare feliž

For the second part of this chorus, the previous continues, but with the cameras using closer angles this time to give us a better image of Alešandru.
Baľal traversu le strade
La felišitë n’a konfine
U l’estat ed u l’invernu
Oh, sare feliž

Instrumental break! Four women dressed in — you guessed it — traditional Kalosian dress suddenly appeared on the main stage. They made a circle around Alešandru and danced around him in unison. This choreography was based off of a Kalosian traditional dance, and the camera angles used to showcase this include stage floor-level cameras as well as the spidercams, in particular a top-down perspective from right above their heads. The singers periodically shout "Hey!" as this happens, and the stage lighting is red and white, making it look relatively neutral with a bit of a red tint.

Towards the end of the instrumental break, the dancers disperse and get off-stage. The stage lighting goes back to neutral colours only, and Alešandru goes to sing the verse. His expressions and gestures are such that you can really tell, even if you don't understand a word of Kalosian, that he's trying to tell a story. A steadicam onstage is used for this verse, that walks around Alešandru as Alešandru himself walks around the stage.

As he continues to sing, the stage lights gradually turn blue and dim slightly. At the last line of the next part, the camera suddenly jerks upward, aiming towards the ceiling, where the ceiling lights, glowing a light yellow, have started to twinkle like stars.
Dopu le gitare dëli grupi rock
Or školtamu ala belë musikë folk
Pensavu kë lë ťelu fosë blu
Ma or stanu li steli lasu

Now a spidercam approaches our two male dancers who are sitting on the satellite stage, looking like they've had a bit to drink, joking around with each other. The camera circles around them once before pulling away in the direction it came. As it departed the stage (during the second line of the next part), the floodlights on the sides circling the stage all lit up in warm yellow. As this happens, the lighting of the whole arena, but mostly the stage, becomes a warm orange-yellow colour, emulating a sunrise.
Moltu tempu dopu kolǧa di sol
La festë vive ankorë, la mondu es seľu ben
E poj i gaľi kantanu

Now the camera goes back to showing Alešandru on the center stage. Again you can see his expressions reflect his storytelling, in this case showing light, joyful remorse about having partied until morning.
Baľavamu ad un žornu novu
Aj aj aj aj aj aj
E tornamu alë lavor ankorë (Kantamu!)

Now it switches to a spidercam that pans the audience before it gets to Alešandru. As this happens the stage lights become red and white again. Occasionally the camera shows fans in the audience dancing along to the song. At this point Alešandru is the only person visible on the stage, so dynamic angles are utilized to keep the scene interesting for viewers on TV.
Baľal traversu le strade
Ule matine ele sere
Koli feľi dëlë mondu
Oh, sare feliž

Baľal traversu le strade
La felišitë n’a konfine
U l’estat ed u l’invernu
Oh, sare feliž (Vamu!)

Baľal traversu le strade
Ule matine ele sere
Koli feľi dëlë mondu
Oh, sare feliž

Baľal traversu le strade
La felišitë n’a konfine
U l’estat ed u l’invernu
Oh, sare feliž

The stage lights become neutral again. On the satellite stage, all the backing performers come out again. This time, all the female dancers (who are all also backing singers) have changed into the folk costumes of other participating countries. You can imagine a multicultural scenario similar to this picture. They run out and hype each other up, with choreography that really makes it seem like they are partying on stage, living the musical celebration that this festival is. They shout things and chant as this happens, further adding to this exciting atmosphere.

As the instrumental break ends, Alešandru starts singing off camera. The dancers seem confused because he's nowhere to be found, and actually look around for him.
Oh hoj hoj hoj hoj hoj…
Oh hoj hoj hoj hoj hoj hoj hoj…
La danžë es la lingwa universal

As it turns out, he is rising through another trapdoor on the other side of the satellite stage from where the dancers are. The camera angle shows this very well. The dancers start moving through the behemoth satellite ring to get to him, but this obviously takes a while. In the foreground, Alešandru continues to rise with a spotlight on him, making the main focus clearly on him. He happens to be facing the camera while rising, and sings into it, making eye contact with the television viewers.
Oh hoj hoj hoj hoj hoj…
Oh hoj hoj hoj hoj hoj hoj hoj…
La danžë es la lingwa universal

Now the camera switches to the dancers, who sing the first set of the chorus below, but in English. As they do so, they continue to move across the satellite stage, with a camera following them from their front.
(Come with me, the world is dancing)
(Every night until the morning)
(Share the moment, share the laughter)
(Hope will bring you joy)

(Come with me, the world is dancing)
(Everywhere we’ll be rejoicing)
(In the summer and the winter)
(Hope will bring you joy, vamu!)

Now they reach the point where Alešandru is, and Alešandru joins them, leading the march across the satellite stage. They continue to sing in English, the universal language that hopefully most viewers will understand. The camera continues following them from the front.
Come with me, the world is dancing
Every night until the morning
Share the moment, share the laughter
Hope will bring you joy

Finally the camera angle changes to a side angle, allowing us to see what the march looks like from offstage.
Come with me, the world is dancing
Everywhere we’ll be rejoicing
In the summer and the winter
Hope will bring you joy (Vamu!)

As one of the male backing dancers yells "let's go!", they continue to march, almost completely circling the satellite stage. They switch back into Kalosian, and this time the camera angle switches to a spidercam who follows them from the front, like previously, but a bird's eye view.
Baľal traversu le strade
Ule matine ele sere
Koli feľi dëlë mondu
Oh, sare feliž

Now Alešandru stops walking and faces the audience. The camera switches to a front angle as this happens, and the backing dancers fill the space by his sides in the background. The camera slowly zooms out.
Baľal traversu le strade
La felišitë n’a konfine
U l’estat ed u l’invernu
Oh, sare feliž

Right after the last line of the song is uttered, the camera dramatically zooms out, the song ends, and a round of pyrotechnics shoots up from around the stage. The song is over. The audience goes wild.

Amidst this ovation, Alešandru and the singers take a bow, and then he speaks into the mic: Gražia! Thank you!

Not long after, the performers leave the stage as the technical staff and stage hands begin to prepare for the entry from Carrelie.

Come dance through the streets
In the mornings and evenings
With the sons and daughters of the world
Oh, oh, oh, oh, oh…

When I wake up well in the morning
I open my windows wide
Before I leave my house
I make myself a sweetened espresso

With a friend in the afternoon
We leave work and see
Oh ho, ho ho ho ho ho…
We are happily in a party!

Come dance through the streets
In the mornings and evenings
With the sons and daughters of the world
Oh, you’ll be happy

Come dance through the streets
Happiness has no limits
In the summer and in the winter
Oh, you’ll be happy

After the guitars of rock bands
We now listen to beautiful folk music
I thought the sky was blue
But now there are stars up above

Long after the sunset
The party lives on, the world is well awake
And then the roosters crow
We danced into a new day
Ay ay ay ay ay ay
And we return to work again (Let's sing!)

Come dance through the streets
In the mornings and evenings
With the sons and daughters of the world
Oh, you’ll be happy

Come dance through the streets
Happiness has no limits
In the summer and in the winter
Oh, you’ll be happy (Let's go!)

Come dance through the streets
In the mornings and evenings
With the sons and daughters of the world
Oh, you’ll be happy

Come dance through the streets
Happiness has no limits
In the summer and in the winter
Oh, you’ll be happy

Oh today…
Oh today, today…
Dance is the universal language

Oh today…
Oh today, today…
Dance is the universal language

Come with me, the world is dancing
Every night until the morning
Share the moment, share the laughter
Hope will bring you joy

Come with me, the world is dancing
Everywhere we’ll be rejoicing
In the summer and the winter
Hope will bring you joy, let's go!

Come with me, the world is dancing
Every night until the morning
Share the moment, share the laughter
Hope will bring you joy

Come with me, the world is dancing
Everywhere we’ll be rejoicing
In the summer and the winter
Hope will bring you joy (Let's go!)

Come dance through the streets
In the mornings and evenings
With the sons and daughters of the world
Oh, you’ll be happy

Come dance through the streets
Happiness has no limits
In the summer and in the winter
Oh, you’ll be happy
Last edited by Kalosia on Fri Nov 20, 2020 8:55 pm, edited 10 times in total.

User avatar
Carrelie
Attaché
 
Posts: 90
Founded: Feb 21, 2018
Inoffensive Centrist Democracy

Postby Carrelie » Wed Nov 11, 2020 9:45 am

Image
CarrelieOne presents.. WorldVision
with English-language commentary by Vian Genamann & Morneys Oter
20 - Carrelie
Venture - Marien Lochnette
Featuring lyrics by Madisenne Loisenne
Composition by Frédéric Danbenne


Image

Tune: Yelle - Florence en Italie

CarrelieOne Commentators, Vian Genamann & Morneys Oter
M - "..And that was Baľal Traversu le Strade by the wonderful Alešandru Mireli, the nineteenth performed on this night of nights, no doubt that'll do rather well."
V - "Indeed not a doubt at all! That was a wonderful song, but will it match up to ours? Yes, it's the moment all Carrelians have waited for, it's our very own Marien Lochnette, performing Venture!"
M - "Yes, but before that, why don't we introduce Marien?"
V - "Why, of course!"

V - "It's the late nineties, 1998 to be exact, and the port town of Letant-on-Sea has some new arrivals. Elia Lochnette has given birth to Edie and Marien, twins. This birth is celebrated by her mother and grandparents. Six years later, Marien is enrolled by mistake into the Music Programme at her school by the coast, but ends up falling in love. She spends an hour after school each weekday practicing both the violin and singing. By the time she turned 15, she had already signed with a local record label and released covers of folk songs, but was looking for something more. She begins to experiment with pop, and releases an unexpected hit, changing her life forever!"
M - "Cut to April this year, Songs of Carrelie is coming to a close, when they announce the final song for the night, submitted by Dentricia. Now an up-and-coming artist, Marien climbs onto the stage as the audience cheers. She gives her performance with passion, and recieves a standing ovation. Hours pass, and the whole of Carrelie holds their breath in anticipation as the votes are announced, with Dentricia coming first. The population rejoices. Little do they know, Marien hasn't seen the best of it yet."
V - "Let's then skip forward to October, when CarrelieOne announced its participation in today's contest. Marien gets a letter from Dyenn Gofeneysker, an important figure in CarrelieOne. She meets them in an office and they ask her to represent Carrelie. Delighted, she accepts. And now we're here. With Marien about to come up to the stage, we're all holding our breaths in anticipation! Without further ado, here's Marien Lochnette, with Venture!"



The audience applauds as Marien strides onto stage with a few backing dancers, including her sister Edie. She's dressed in an especially vibrant yellow dress, and is waving gleefully to the audience.

She walks to the dead centre, as the music begins. The lights turn off, leaving her in darkness, with only one light on, shining at her

Voy-a-ging,
Over sky and land and sea,
Don’t you wait for me;
Ven-tur-ing,
If ever we meet again,
We’ll just be friends;

She begins to walk around in a circle, facing the audience in all directions. The lights also pan in a circular motion, beginning to turn on gradually, shining a brilliant white.
Everywhere I go,
Even in the darkest place,
I see your face;
Wait-ing there,
Waiting in the wings for me,
You shouldn’t be.

She retreats back into the centre, swaying backwards and forwards.
And in my darkest hour I’m still venturing,
Because you never know for sure what your life might bring,
No need for control,
Take life as its whole,
I’m ready, opportunity.

The lights begin to change colour, one by one.
And in my darkest hour I’m still venturing,
Because you never know for sure what your life might bring,
I couldn’t go back,
I wouldn’t go back,
There’d surely be a loss for me.

The lights close in around the stage, shining directly at Marien in rainbow colours as the dancers circle around her
In the sky, there I’ll be,
Or land, or on sea.
Perseverance is the key,
Venturing truly free.

In the sky, there I’ll be,
Or land, or on sea.
Don’t you hold on to my mem’ry,
Venturing truly free.

As she sings, she looks into the cameras, smiling.
The lights die down as the next verse begins.

Things I’ve done,
Couldn’t have done otherwise,
No compromise.
Let me go,
I don’t want you anymore,
I closed that door.
You can offer me,
Roses, gold and jewelry,
Then you’ll see,
Don’t want you,
Now I want us to be through,
For me and you.

As she sings this verse, she pulls white roses out of her gown
And in my darkest hour I’m still venturing,
Because you never know for sure what your life might bring,
Don’t want you no more,
Let’s end this cold war,
I’m better without you, you’ll see.
In the sky, there I’ll be,
Or land, or on sea.
Perseverance is the key,
Venturing truly free.

In the sky, there I’ll be,
Or land, or on sea.
Don’t you hold on to my mem’ry,
Venturing truly free.

The backers make a circle around Marien as the lights flash. Steam pours out of the circle.
Ooh la la la, ooh la
Ooh la la la, ooh la
Ooh la la la, ooh la
Ooh la la la, ooh la
Ooh la la la, ooh la
Ooh la la la, ooh la
Ooh la la la, ooh la
Ooh la la la, ooh la
Ooh la la la, ooh la
Ooh la la la, ooh la
Ooh la la la, ooh la
Ooh la la la, ooh la
Ooh la la la, ooh la
Ooh la la la, ooh la
Ooh la la la, ooh la
Ooh la la la, ooh la
Ooh la la la, ooh la
Ooh la la la, ooh la-a

Marien jumps out of the circle, climbing on top of the singers in a beautiful white gown adorned with roses. She throws a bouquet of lilies in the air, which scatter everywhere.
In the sky, there I’ll be,
Or land, or on sea.
Perseverance is the key,
Venturing truly free.

In the sky, there I’ll be,
Or land, or on sea.
Don’t you hold on to my mem’ry,
Venturing truly free.

As the song ends, she faces the Carrelian cameras one last time as the audience applauds.

CarrelieOne Commentators
V - "..And that was Venture, Carrelie's very first of hopefully many entries into the WorldVision Song Contest! We simply cannot wait to see how well we did!"
M - "Cannot wait indeed."
V - "Now, you can leave, I'll take it from here."
Last edited by Carrelie on Sun Nov 22, 2020 11:35 am, edited 16 times in total.
The Carrelian Empire
Forever Infallible
14 nations under one banner
NS Stats mostly not canon
It's a Crow, not a Raven

CarrelieOne | Carrelie's News Source  GwS Édoward makes maiden voyage to New Douria | Ann II still husbandless
WV86 - Venture - 20th

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Mercedini
Ambassador
 
Posts: 1042
Founded: Mar 05, 2016
Civil Rights Lovefest

Postby Mercedini » Wed Nov 11, 2020 9:49 am

#21 MERCEDINI
Evangeline Venrahma - "The Places We Missed"
Tune: Becky Hill, WEISS - "I Could Get Used To This"
Music: M. Nebzi • Lyrics: E. Venrahma

Image

After multiple edtions of absence from the WorldVision stage, Mercedini will finally grace the stage once again for the 86th edition in Oreo City, Antahbrantahstan. It has been fourteen edition since Ylinqar's triumph in Lipa, Besen, and for a nation with such pedigree in these international competitions, they have been seldom seen since then (apart from one further appearance which placed outside of the Top 10). It is hoped Dini can pick up where they left off on the international stage with a good performance here. Artists come and go on the Mercedinian scene, and there was plenty of speculation as to who would represent Mercedini for their return to where it all began. Former Junior World Hit Festival participants Whiskers and IO were expected to feature in the hopeful line-up, but it was ultimately the surprise choice of Evangeline Venrahma who will fly the Dinian flag in Antahbrantahstan.

A former backing singer for previous participants, Venrahma will now take centre stage for the first time with her song, "The Places We Missed". Marketed as a Coronavirus anthem domestically, Mercedini has overcome the limitations that the recent virus has put on the nation and its people. and becoming one of the first nations in the multiverse to detect it's presence and curb social contact as a result. While some nations may still be effected by it's reach, the song's premise is based around coming together to overcome the global situation and reach out to those businesses and institutions which have suffered greatly under current restrictions. Results are very likely to become secondary to the occasion of Mercedini returning, ENM will pull out all of the stops to provide a show to Venrahma's song, it will be the litmus test to any future songs that the blue and black nation sends to future contests.


The song begins with the opening piano chords ringing around the arena in Oreo City, with the camera floating high in the centre of the arena making a slow moving sweep forward to approach the stage. A setting of an empty road in the daytime fills the back portion of the stage with a black figure in the centre of the stage not yet lit by the stage lights. Two backing singers are located to the right hand side of the stage, the crowd cheers as the contest welcomes Mercedini back into the fray. The stage lights slowly brighten Evangeline on stage, who is wearing a flowing baby blue dress with the lower sections flowing thanks to a faint breeze blowing across the stage floors.

Eva stands as the solitary figure on stage as she holds her chest steady for the first verse, she looks down and at an angle away from the central camera as it films her for the viewers at home. A wry smile appears on her face as the Mercedinian members of the crowd cheer and clap along to the faint beat of the song. At the end of the first verse, she offers her hand to the audience at home as it focuses out to a blur before cutting to another angle for the first pre-chorus of the song.

Do you remember when the world was not suffering?
When we could thrive as one
All the challenges we meet are faltering
Stay true so we can be as one


A camera just off centre pans inward towards the singer as she looks to face it, before the angle flips to the same position on the other side of the arena, with the same panning motion for each half of the first line of the connector. She walks backward following that as the central camera zooms in as wall for the second line, Eva has her hand out to the camera, as if to stop it's eternal advancement towards the performer. A camera above the stage dives down and rotates before dropping level with Eva as she kneels down onto the stage floor which is showing a projection of grey tarmac to match the screen at the back of the stage, still showing the empty daytime street.

Tears have been cried, but we’ve learned to grow
But some in the end will have to let go
We create all these moments; how can they exist?
I hope we’ll get back there…


Still kneeling, she looks down and raises her fist in the air as she belts out the final line before the drop. Following that, she quickly jumps up and looks around the stage; left, right and behind her briefly interacting with the changing screens around her. Those changes come in the shape of faint ghostly figures of people walking along the sheets behind and around her. They can be seen behind her and walking in front of her, thanks to some graphics put onto the camera feed itself. Brief shots of the backing singers are seen as well when it is there turn to sing (in brackets and italicised).

Back to the places we missed
The lonely roads, the empty streets
All the places we missed
(All the places we missed)
The open doors, we reminisced
All the places we missed
(All the places we missed)


Lights around the stage pulse in waves as the instrumental part of the chorus belts out around the arena, the piano chords and the drum beats are matched by the lights as flags begin to wave from the audience beneath. Several sweeping shots across the arena later and the stage has reset itself for the second verse of the song. The apparitions of people have faded out, as the light begins to fade on the street behind Eva for the second verse to begin.

Fairly lights which line the numerous buildings behind her are turned on, creating a road of magic and light which trails back as far as the eye can see. Eva stands in front of all that and has her back to the audience as she stares at the screen behind her, looking at the scene which slowly fades away. The lights which line the way fade out to leave a dark and desolate road with no vehicles or people to be seen. She quickly turns to face the front camera with concern on her face, her messy hair put back into place by a single comb of her hand.

I don’t know if we can all get through this
We need more than just trust
Yeah, we must grow so we all overcome the risks
Be true between our love


Eva walks forward towards the centre of the stage, with the camera at the bottom of the stage slowly sweeping across the edge of the stage to track the Mercedinian as she moves forward. The backing singers are more pronounced for the second pre-chorus with one adding emphasis to Eva's words, while the other is adding emphasis to the melody of the song. Cafe tables and signs begin to create themselves from the dust which flies up from the road, adding new life to a once empty street of closed down shops. A young man in a light navy suit (matching the colour of Eva's dress) walks on behind her and the two look into each other's eyes before the second chorus begins.

Tears have been cried, but we’ve learned to grow
But some in the end will have to let go
We create all these moments, how can they exist?
I wish to get back there…


Eva belts out the title line of the song and the two performers dance together in a type of quick ballroom (sorry I don't watch Strictly) to the beat of the song. Plenty of flags are flying high by now, including those from Novapax nations. A high angled shot takes in the entire arena with some fans bouncing in the standing areas, with those in the stands clapping along and waving their flags, The choreography is delicately balanced to allow Eva to sing without impediment and without incorporating the arm and hand which holds the microphone. As the second instrumental approaches, Eva hands the microphone over to her dance partner as the dance break comes back in.

Back to the places we missed
The lonely roads, the empty streets
All the places we missed
(All the places we missed)
The open doors, we reminisced
All the places we missed
(All the places we missed)


Lights around the stage pulse in waves as the second instrumental part of the chorus belts out around the arena, the piano chords and the drum beats are matched by the lights as flags begin to wave from the audience beneath. It's more of the same graphics with more people flooding the streets behind the pair as they dance more freely since Eva doesn't have the pressure to sing. A camera enters the stage floor and circles the pair as they hold each other dance together around the stage with the crowd watching on in the background.

Eva grabs the microphone just in time for the words to come back into the play for the end of the dance break, as Eva sings to the central camera in the arena. The man stands of to the side but isn't captured by the camera, the wind is blowing towards Eva which ripples her dress elegantly. The light's subside for the final chorus as she steadies herself to belt out the note of the song, and possible the night.

Yeah, all the places we missed.
And I know it will be hard to persist
And I know that they’re the ones with the burden
But they’re gonna be the places we miss
Yeah we miss, we miss (Ooooooooohhh)


Blinding light fills the stage as the note resonates into the final chorus of the song, when that subsides, the street which was empty for most of the song is filled with bustling people, the shops have many people leaving and entering and the cafe seats are full with families and couples. Night has fallen in the setting of the street, but it is still illuminated by the crescent moon and the warm glow of the streetlights up above. Eva continues to sing to the audience in the arena, with a slight strain on her face as she adds further intensity to the end of the song. With her final line, she turns to the young man who is walking back towards her. She drops the mic to the stage floor and let's the backing singers finish the song with their final line.

The lonely roads, the empty streets
All the places we missed
(All the places we missed)
The open doors, we reminisced
All the places we missed
(Ooh-oh oo-woah-ah, All the places we missed)


One final explosion of light and colour as the song concludes with one final dance break, as the two main performers lock arms once again and waltz around the stage. Fireworks of many colours fly high behind the street, bathing the street and stage in colour as it cuts through the night sky. The people which were in the shops and cafe are now crowding round, almost as if to watch the two Mercedinians dance their dance for their nation tonight. Flags are waving as the stage lights illuminate the rest of the arena, some in the stands are now on their feet clapping along. To finish the performance, Eva stands in front of the young man and the two smile and look into the central camera as it zooms in to fit the screen.

The crowd cheer following an accomplished performance from the Mercedinian, she blows a kiss to the crowd as she walks forward with her hand on her heart. "Grazije, Thank You Antah!! It's good to be back!" she thanks the crowd in Mercedinian and English as flags from a multitude of nations fly high in the crowd. A quick cut to a group of Mercedinains chanting Eva's name are shown on screen, dressed in blue and black, before a transition is made to the next participating nation, live from Oreo City in Antahbrantahstan.
Last edited by Mercedini on Wed Nov 11, 2020 1:14 pm, edited 1 time in total.
.................................................................................................................................
Novapax Founder • Host Portfolio • Trophy Cabinet
World CupBest: Group Stage ('77, '81, '82, '83)
Cup of HarmonyBest: Champion ('72)
U21 World CupBest: 3rd Place ('43)
U18 World CupBest: Champion ('4)
Independents CupBest: Champion ('5)
WC of HockeyBest: 2nd Place ('37)
WJHCBest: Champion ('13)
WorldVision
Best Placing: 1st (Lipa '72)Most Points: 108 pts (Lipa '72)

World Hit Festival
Best Placing: 1st ('34 & '36)Most Pts: 34 pts (Mousiki '31)
Junior World Hit Festival
Best Placing: 3rd ('3, '4 & '5)Most Pts: 26 pts (Tushlark '5)
Mercedini in WVSC & WHFs

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Nekoni
Diplomat
 
Posts: 783
Founded: Jan 29, 2013
New York Times Democracy

Postby Nekoni » Wed Nov 11, 2020 10:00 am

Entry No.22: NEKONI
The Shadow of You
Sámi
Based on: Colors by dj TAKA


It was only a matter of time before Nekoni resorted back to the club bangers, wasn't it? After trying something a bit different, and coming up with the worst results in a long, long time, NTR have decided to go back to basics. An upbeat, yet dramatic trance track, performed simply, and letting the vocals carry the song. Some may say that this is a tacit admission that they don't have a lot of cash for staging right now. These people are probably right.

Sámi, 28, from Novareza in the country's southwest, came 8th in NTR1's yearly singing contest, The Journey. Back in the day, WV participation was a dead-cert for the winner of the contest. This is where we're at now, and until Les Dahlias Noires come back and catch lightning in a bottle twice, this is where we'll be for some time. Be grateful we aren't sending testicular gags again.

Image




On the stage, we see a large, circular platform in the middle of the circle, roughly five feet tall, white plastic sides, with steps leading down the front. On it, Sámi begins sitting down on it, facing the camera. She is wearing a long, flowing white evening gown with sapphire blue flower details along the trim. Behind her, with her back to him, we can see that there is a piano cut into the back of the platform, with a pianist sat at it. The pianist is dressed in a black suit, no tie. As the side of the stage, are two DJs, dressed in white T-shirts, at a wide array of synthesisers and keyboards. The one on the right appears to be in charge of the percussion lines, as he's got a bunch of drum pads and cymbals in addition to his laptop and screens. The lights drop to a deep blue as the song begins, and dry ice floods the stage.

Sámi, still seated, vocalises the intro as the song builds. The ceiling LED panels have lowered, to display the appearance of a cloudy night. At roughly 30 seconds in, where the gated synths come in, the ceiling spot lights in cyan and white cut rapidly spin across the floor.

The shadow of you
I ain't afraid any more


The lights all fade immediately, and a lovely big spotlight illuminates the entire platform, enveloping both the pianist, who has now began to play, and the singer, as if the platform was the moon itself.

I'll break through these memories of you
After tonight, we go our seperate ways
In tomorrow's brighter day, I can't see the shadow of you


After that satisfying whumph, there's a slow build up with the lights, and as the song breaks with Sámi's high note, strobes fill the arena, and the lighting turns to a bright white. We can see that the audience is off their feet and actually dancing along. Safely, mind. It's still a pandemic after all. Imagine a rave in the waiting room of a German hospital, and you're about there. Sámi, in anticipation of the verse, has gotten off the platform, and has moved to the front of the stage facing the camera, portable microphone in hand.

Sealed with a kiss
Stolen my desire
I want to believe
That I'll never see you again
After this night
After this night we are done
We are done


The lights drop down again as the backing strings come in. There's a bit of a slow 'burn' of red/orange to the side of the lights as they build up, and the metaphorical dawn breaks. In a bit that accounts for roughly 85% of NTR's budget, Sámi is 'joined' by two holograms of herself, one on each side. They are dressed in effectively the same outfit (but in black and red instead of white/blue), positioned at roughly 30 degrees out behind her, and their role in this is to cover the backing track vocals. When they appear, they almost 'flicker' onscreen.

And I don't wanna know
What you're gonna do
After I am finished with you
I don't wanna know
What you're gonna do
When the morning breaks through


We hit the "drop", as Sámi has now dropped to her knees as she hits the high notes of the solo after, at which point the two backing 'singers' flicker off in the same manner as they appeared.

Through
Yeah
Break through the memory of you
Oh yeah
Oh yeah
I ain't gonna see, see the shadow, the shadow of you
Yeah


The piano's kicked in at this point again. The chasing lights of cyan and white are back again, too. The holograms appear again, this time on-screen, translucent, zoomed in on their lips as they sing the backing vocals that Sámi can't quite get to right now.

Oh baby
I'll never see the shadow of you again
Oh no, we're through


What is technically the only chorus of the song (excluding the first little bit) comes, and with it, a spark of CO2. She is on her feet now. The dry ice and fog have all dissipated, and the lighting from the skies begins to shine brighter and brighter. The floodlights from the ceiling have changed, too, now cycling the seven colours of the rainbow. They race round the stage, transitioning in colour as they go.

I'll break through these memories of you
After tonight, we go our seperate ways
In tomorrow's brighter day, I can't see the shadow of you
I'll break through these memories of you
After tonight, we go our seperate ways
In tomorrow's brighter day, I can't see the shadow of you


As she continues to vocalise, using the title of the song, the sides of the stage rain in more tasteful white pyro, as Sámi is lifted into the air. Turns out there's a harness underneath her dress, and the almost invisible strings are finally pulled taut, gracefully elevating her into the moonlit sky. Whilst up there, continuing to sing, she soars forwards above the crowd, floating in space. For those worried about personal space, yes, she is wearing safety shorts. It's not THAT kind of dress she's wearing.

As she finishes singing, the camera cuts to the pianist, as the rest of the music drops out but him, to indicate the end of the song. Off-screen, Sámi is, somehow, directly lifted to a safe spot on the gantry where she can disconnect and join the rest of her musicians in the green room later. At 4:30, the last piano note of the song, the lights drop out completely. When the note fades fully out, the lights fade in again to reveal that there is nobody left on stage at all. The audience cheer (humorously, for nobody), and we move on to the next act.
Last edited by Nekoni on Mon Nov 23, 2020 2:12 pm, edited 11 times in total.
29, Eurovision apologist, drunk.
CURRENT STAGE OF FUBAR - 4/5 "Caligula's favourite watermelon"

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Spiritual Republic of Caryton
Envoy
 
Posts: 339
Founded: Jun 25, 2019
Moralistic Democracy

Postby Spiritual Republic of Caryton » Wed Nov 11, 2020 10:00 am

23 - Spiritual Republic of Caryton
Latanya Anderson - Redeeming My Life (You're My Eternity!)
Image
Latanya in tonight's outfit


BACKGROUND: Latanya Anderson-- that was a name not heard in WorldVision's echelons for at least ten editions. Since her personal hiatus, Latanya has contributed heavily to humanitarian work, attending conventions and giving autographs. In fact, the legendary gospel singer hadn't really wrote new music, seemingly retreating to her private life to live quietly as a celebrity-on-break. Why she decided to compete in WorldVision 86 is a mystery, but she narrowly won the national final, a landslide victory nearly tied by a humble grandmother's song about baking. Regardless, Latanya is here to win.

tune

Latanya opens the song modestly on a stool, the lights off, the black only punctured by a glittering gold series of lights conveying to the audience the elegance that was Latanya Anderson. The circular stages' trim remained that gold as she raised a bedazzled microphone to her cherry-coated lips.


"Today I leave a part of me,
A part of hurt, a part of greed.
Sin thick like blood, it's like a flood.
On judgement day, it's yet to come."


As the percussion kicked in to the track behind her, Latanya sits up straight as if to re-affirm her position in the crowd.


"I'm torn apart, drove so insane-
Made some mistakes, drove by sheer gain.
I did some good, He knew I would-
Pay it back someday,"


She shakes her shoulders, putting her body into the following verse with a conviction palpable by those even in the back rows.



"He is redeeming my life!
He knew I could be the best I could be!
On my knees, I'll sing to the one redeeming my life-
You are my, you are my... eternity, yeah!"


Latanya stands up, her sparkly red heels hitting the ground so hard it echoes in the crowd as she sways her body left to right, shaking out the palpable worship in her veins. The camera pans a 180 shot starting from the left, then swaying back to the right closer, getting her beautiful makeup in the frame then pulling back to capture her current pose.



"I'll come home! Jesus Christ! If you believe he'll redeem your life, you will shine!

He is redeeming my life!
He knew I could be the best I could be!
So on my knees I will cry while I pray-
And the devil will be forced to flee!"


Latanya runs forward, then collapses her knees, bringing her fists into her person, trembling as she sang with all the soul in her body. The supporting brass and choral tracks boomed as she threw her head back, singing to above. The Carytonic audience erupted in cheers.


"He is redeeming my life!
He knew I could be the best I could be!
On my knees, I'll sing to the one redeeming my life-
You are my, you are my...oh you're my eternity... yeah!"


Latanya raises herself to a standing position during the first "free" as her voice undergoes a loud and booming vibrato. A cross of light manifests before her, slowly raising on top of the Carytonic flag.


"You are my- you're my Eternity..."


Latanya pointed towards the crowd, shaking her finger on the "you are my", as a final reminder, a statement about her deep-running faith. She ended the final note in her typical fashion with the choral background track growing in volume. Once the song ended the stage went dark, save for the cross-flag combo.
Last edited by Spiritual Republic of Caryton on Sun Nov 22, 2020 1:03 pm, edited 2 times in total.
***The Spiritual Republic of Caryton - The FIRST pet tribute nation!***
In tribute to my childhood Golden Retriever, Cary. She lived 11 years of joy and love.
(CARYTON VIDEO)
A 80s-90s tech restorationist christian nation with no separation between church and state. The de jure head of state is Cary the Golden Retriever, famed for so-called prophetic abilities and miracle-working.The Gospel Church of Caryton is the unique state religion.
Trinity Broadcasting Network of Caryton: [12-2-2020] 0 COVID cases since 6-7-2020 due to closed borders. Territory of Carynesia to host 4th Annual National Culture Exchange. LGBT protests in Marley City meet little Ecclesiastical or Gov't response. Caryton to monopoly the Int'l Oat Industry.

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