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WorldVision Song Contest 94 | Marina Point, Nekoni

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Nekoni
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Posts: 878
Founded: Jan 29, 2013
New York Times Democracy

WorldVision Song Contest 94 | Marina Point, Nekoni

Postby Nekoni » Mon Oct 18, 2021 2:13 pm

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NTR presents the WORLDVISION SONG CONTEST 94
Live from Marina Point, Nekoni
OOC Thread | Host Bid | Official Playlist


...did you miss us? After a very successful running of the contest back in WV80, it's been a long while since Nekoni attempted to push for a third chance to run the contest (or, technically third-and-a-halfth after helping out with MCG in WV85, but shut up). The big comeback in 90 led to a win in 92, with Cidade de Deus' win out in Darkmania spurring a desire for the contest more than ever before. Fourteen contests have been a long, long time, but now...we're back. Get ready, it's going to be a good night.

The lighting rig inside the packed arena fades off to a dull black, as the crowd begin cheering in the excitement of what's about to come. The NEXPRO Arena tonight welcomes 21,000 from all over the world, in addition to the potentially billions watching at home. The giant screen flickers the NTR logo, to the station's majestic theme, before displaying the full logo of the IBA, with a brief snippet of Holst's Jupiter to accentuate. The logo fades...and the night comes...

OPENING FILM: "We Are The Night"
Based on Force Majeure by Gaspard Augé


The film starts, inauspiciously enough, in a dull, grey office. It appears to be a slightly dated one from the mid-2000s; although the desks have computers, they're of the old-school CRT monitor variety. It appears the office is financial, as there's tons of charts that mean effectively nothing, and, in true middle-management fashion, one of them has the word 'SYNERGY' written on it and circled with ugly black whiteboard marker. At the back of the wall, we see one of those properly old-school Solari flip wall clocks, the time stuck agonisingly at 19:59, one minute away from freedom (they're working late; Nekoni office hours are typically 9-5). The office's occupants, all in standard work dress, are all bored out of their minds, with some drumming their fingers, staring up at the sky, some even resting their heads on the table, mind-numbingly pressing the same keyboard key over and over again. One of them, a man, leans back on his office chair, and casually flicks a scrunched up ball of paper at the waste paper basket on the other side of the room. He misses, and given the several other paper balls around the bin, his aim's been off all day.

However, the action slows, as all of a sudden, the camera zooms closely to the '00' panel of the wall clock steadily drop, its mechanical movement echoed for emphasis as the final second of the work day dies as slowly as it possibly can. The click of the numerical panel alerts everyone to its presence...and the song hits.

All of the office drones immediately stand up, give each other a nod, and all turn towards the door exiting the office. Immediately, all eight of them make a beeline for the door, and the poor thing slams open as they run through the next few offices. As they run, loose papers fly around them, the manager (seen in an overly arsehole-y pinstripe suit with his hair arranged in a frankly desperate manner to hide the fact he's balding) looking outraged with them causing a scene. The office staff give exactly zero of a toss, though. They reach the stairwell, a long, straight one leading down to the main floor of what we now know is a bank, and all make their way down it: some sliding down the banisters, with one of them somehow using a photocopier's extension cable as a Tarzan rope swing. Don't try that one at home, kids. As the drums finally kick into the main groove at 0:32, the leader of the pack, a woman in a black suit jacket with a white blouse underneath, kicks the door open, as the camera zooms through the door and upwards to view the city of Marina Point in all its splendour as the night hits. It's stylised almost cartoon-like (think a SIAMÉS music video and you're there), with the lights of the city's beachfront stylised as thick, orange and pink lines amongst the dark blues and purples of the night and surrounding sea.

The camera pans up, until the entire image is the dark purple of the sky, and we then pan down to see the silhouette of a young woman on a bridge, staring out to the sea, with what appears to be a chequered flag in her hand, and is drinking a non-branded glass bottle of soda with the other. She appears to be dressed in an outlandishly, Tank Girl-like outfit, with a baggy parka, a steampunk-esque black mask on her forehead, cut leggings, and suchlike. From the lights behind her brightening, we see that she's not alone, as a group of people appear, which she acknowledges with a smirk. The camera rapidly cuts to her cheek, which she applies two streaks of black makeup to crudely with her fingers, her eyes, which she pulls the mask down over, then her raised hand, which raises, then drops the flag. Immediately we see behind her a group of eight or so young men and women, dressed fairly similarly like a light cosplay attempt at Mad Max, all of whom are equipped with different modes of transport: mopeds, skateboards, bikes, scooters and the like. They set off into the night, along the bridge, with some of them setting off trails of brightly coloured smoke as they go, and the race is on.

As they set off down the bridge and towards a dirt road (0:56), they pass a floodlit park, with a massive green playing surface whilst a football match is in full swing. It's a friendly 11-a-side game, with the two teams in normal sportswear distinguished by one team wearing green bibs, the other neon yellow. One of the yellow team, the guy who used a photocopier as a Tarzan swing, is given the ball in his own half. As the music drops (1:04), he begins his charge through the defence, dribbling at high-speed, and as the opposing players attempt to tackle him, he's able to skilfully dance round them, kicking up the ball to avoid a slide, catching players unaware with a solid nutmeg, and when he's at one-on-one with the goalkeeper, he curls the ball in slow-motion into the top left, sending the keeper diving, just missing. The ball goes in exactly at 1:20, the scene continues at its regular speed, as the player gets swamped by the other players on his team in celebration.

The action cuts to the inside of a nightclub. The neon lights of the room dance along the sky, with the bodies of the revellers in the packed out venus dancing in slow motion to the DJ along the back wall. As the scene has time to settle, we see a man in the crowd, dressed in a casual white shirt/jeans combo, who momentarily realises that his phone's buzzing in his pocket. As he checks his messages, the most recent one says 'Turn around! x'. Before he has a chance to do it, we see another man's hand on his shoulder. It's his partner, and he's dressed in a grey tanktop over a black T-shirt. The first man puts his phone back in his pocket, the two share a kiss on the dance floor, and the new arrival grabs him by the hand, and, before the guy knows what he's doing, he's away!

At 1:52, we're at the side alley of the club, the lighting changed to a cool blue, and the couple are making their way down the flight of stairs, one clearly eager to show the other what's in the basement. They reach the bottom of the flight, open the door, and find a group of five young men, roughly early 20s, all perched on a metal frame dressed roughly the same, but all five have UV paint daubed on their clothes, bodies and face. They greet the two, and from the padding on the floor, we see that this is a breakdance crew. We cut to all seven of them, the two new arrivals painted up, all taking turns busting moves on the protective floor, the others clearly into the vibe, surrounding the padding.

As the drums hit at 2:25, we cut to each of the groups of people seen in the night, all standing in almost a V-formation, in their gear, as text appears beneath each of the groups explaining who they are and where they're at in the city. All of them have the same UV paint as the breakdancers did, which contrast against the night sky:

- Marina Misfits Roller Derby, Canera Bridge
- Mariners Amateur Football League players, MP Memorial Park Ground
- Human Sequencer B-Boy Crew, Club HS

After this, we cut to a live helicopter cam of the NEXPRO stadium, and we hear from Nekoni's favourite double act for the first time in a LONG while as the logo fades into view...

Alice Florien & Miki Lazaretti: Good evening, ladies and gentlemen, and WELCOME TO THE 94TH WORLDVISION SONG CONTEST LIVE FROM MARINA POINT, NEKONI!!




As the camera focuses on the action in the arena, we see the stage lit up, bathing the audience with light in a triangular tunnel of blues and purples. We see Alice and Miki walk on stage through the giant triangular background, waving to the audience. Both of them are dress in stylish long knee-length black dresses, with floral patterns in neon lines accenting the front area; Alice's in pink, Miki's in green.

Alice: "World, good evening! Bonsoir, mes amis, and welcome once again, for the third time, to Nekoni!"
Miki: "Last time, all those years ago, we hosted here in Marina Point, and we were waiting all those years to have another shot of hosting it again! And look where we are! Isn't it so pretty!?"
Alice: "And this time we were able to do it without hijacking another broadcast! And we won't get covered in powder paint like last time!"


At this point, a jet blast of coloured powder fires on the stage. Unfortunately, it was on the completely opposite side of the stage, and the powder paint completely misses the two. Alice still screams from the shock of the jet going off, and is hiding behind Miki as a human shield, Miki looking completely done with her. After a couple of seconds, with Alice still holding on to her, Miki turns with a curt "Are you quite done, dear?" Alice places her hands up and slowly backs away, apologising.

Miki: "Thanks for that, Malta. Your one's coming in the post. Anyway, tonight's the ninety-fourth running of the WorldVision Song Contest, and the twenty-eighth that Nekoni are showing up to the party for!"


Alice has calmed down now.

Alice: "That's right, and like the other 27, we're not alone! Who's going to be fighting for the crown tonight?"
Both: "LET'S MEET OUR COMPETITORS!"






As the EDM *banger* hits, each entry appears in the order they will be performing tonight, from #1 through to the end. Each entrant is led by a female flag-bearer, dressed in a black dress adorned with three diagonal stripes across the chest in the colour of the nation's flag. They appear through the left entrance, down the stairwell, out to the front of the triangular stage, pose after being announced by Alice and Miki alternating naming the country, and exit out through the right stairwell. As expected, Nekoni's audience pop is huge for when Les Dahlias Noires appear down the stairs.
Last edited by Nekoni on Tue Nov 02, 2021 5:07 pm, edited 5 times in total.
Eurovision apologist, International Broadcast Alliance founding member and current Council Member (Sports)

Debuted in 26, currently entered 28 times
CURRENT COMMITTEE MEMBER

Wins: 2 (70, 92)
Podiums: 3 (70, 80, 92)
Top 10s: 12 (46, 63, 64, 70, 71, 73, 75, 78, 80, 90, 92, 94)
Hostings: 3 (64, 80, 94)

Former Scuderia Fuoco e Ghiacchi, now Polaris Racing Team
WGPC 13 Drivers & Constructors Champion
7-time Grand Prix Host
Renowned* Track Designer

*by himself

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Nekoni
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Posts: 878
Founded: Jan 29, 2013
New York Times Democracy

Postby Nekoni » Mon Oct 18, 2021 2:14 pm

Image

SONG 01: SCOTATROVA
Back in Calaén - Lila Cruz
Performance - Postcard


▲▲▲ SONG 02: TALVEZOUT ▲▲▲
DSQ
Performance - Postcard


SONG 03: STRAYAROOS
Road Forward - Altos
Performance - Postcard


SONG 04: AENGLIDE
Bright Lights - Alen Keidur
Performance - Postcard


▲▲▲ SONG 05: ESTOGIUM ▲▲▲
WITHDREW
Performance - Postcard


SONG 06: PLACELY PLACINGTON
Placely Party Song (I'm Begging You, I'm Pleading For You To End My Existence) - A Couple Of Daves
Performance - Postcard


SONG 07: CRUSTYLAND
Glass - Joanne Coften
Performance - Postcard


SONG 08: KYRITAKIA
Who Am I? - The Emergency
Performance - Postcard


SONG 09: NORRP
Integrity - Blood and Steels
Performance - Postcard


▲▲▲ SONG 10: SAINTE LAVANDE ▲▲▲
DSQ
Performance - Postcard


SONG 11: CARRELIE
Ddim yn credu - Emie Jones
Performance - Postcard


SONG 12: ELEJAMIE
Love In The Afternoon - Lisa Park and Her Gang
Performance - Postcard


SONG 13: BEEPEE
Heaven or Hell - Paenda Behr
Performance - Postcard


SONG 14: ALEZIAN UNION
I've Faith In You - Aziz-Lutfi Garanov ft. Time-killers
Performance - Postcard


▲▲▲ SONG 15: NATANYA ▲▲▲
DSQ
Performance - Postcard


SONG 16: MALTA COMINO GOZO
Safari - Nathan Aperitivo
Performance - Postcard


SONG 17: PEMECUTAN
Cinta Sebelah Tangan - Manik Dirgayutri & Marcelo
Performance - Postcard


SONG 18: ACHAEAN REPUBLIC
Cash Back - Tamara Andrews
Performance - Postcard


▲▲▲ SONG 19: TEESDEXXIA ▲▲▲
DSQ
Performance - Postcard


SONG 20: ADAB
I Am - Ninna Hazi
Performance - Postcard


SONG 21: ANTAHBRANTAHSTAN
Blossoming - Aline Lora
Performance - Postcard


SONG 22: KALOSIA
Ti apartenu - Dafne Maržanu
Performance - Postcard


SONG 23: WAISNOR
Ya prosto uydu - Maria Shunto
Performance - Postcard


SONG 24: NEKONI
You Can't Break Me - Les Dahlias Noires
Performance - Postcard


SONG 25: SHARKTAIL
Sepi - Arfan Haziq
Performance - Postcard


SONG 26: MISSUS X
Missus X - Rick Leg
Performance - Postcard


SONG 27: VARTUGIA
This Song Hasent Gotten A Title Yet. - Kevin Whyinthefuckdoesthischaratherhavealonglastname
Performance - Postcard


SONG 28: JOIJA
All Roads Lead Back To You - Dayamena Pástorék
Performance - Postcard


SONG 29: BRITONISEA
Since Day One - Daniel Ghant
Performance - Postcard


SONG 30: SAVIERA
Kitty Got Your Tongue - Jill Makhusev
Performance - Postcard


SONG 31: SAMUDERA DARUSSALAM
A Princess' Tale - Lauea Berentah
Performance - Postcard


SONG 32: TÖDLICHEBUJOKU
Slowly - Sasechaya.
Performance - Postcard


SONG 33: MISTER X
Countdown - Tracy Manson & Owen Roberts
Performance - Postcard


SONG 34: MOORLAND
Love God - Farah
Performance - Postcard
Last edited by Nekoni on Wed Nov 03, 2021 5:50 am, edited 21 times in total.
Eurovision apologist, International Broadcast Alliance founding member and current Council Member (Sports)

Debuted in 26, currently entered 28 times
CURRENT COMMITTEE MEMBER

Wins: 2 (70, 92)
Podiums: 3 (70, 80, 92)
Top 10s: 12 (46, 63, 64, 70, 71, 73, 75, 78, 80, 90, 92, 94)
Hostings: 3 (64, 80, 94)

Former Scuderia Fuoco e Ghiacchi, now Polaris Racing Team
WGPC 13 Drivers & Constructors Champion
7-time Grand Prix Host
Renowned* Track Designer

*by himself

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Scotatrova
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Posts: 3955
Founded: Dec 28, 2013
Civil Rights Lovefest

Postby Scotatrova » Mon Oct 18, 2021 2:22 pm

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Image
Tune: TAL - ADN


After representing Scotatrova at the 74th WorldVision Song Contest, Lila would continue on with her overall successful career. A little under a year after her participation at the contest, she released her sophomore album, Retie, which went on to do well commercially. Besides her album, she was also in the middle of a European tour when the coronavirus pandemic struck and Scotatrova entered a national lockdown. This would lead to Lila cancelling her remaining tour dates and spending more time to herself during quarantine. With all the time she spent at home, this led to a greater boost in her ability to come up with more songs and she came out with a five song EP in mid-2020 that she produced herself while in isolation. As the lockdown slowly began to lift, she was just ready to get back out to doing what she loved. Eventually she found herself applying to represent the state of Monce at the 60th edition of Ereide eu le Cançe Scotatrofina. Even though the winner would represent Scotatrova at the WorldVision Song Contest, that wasn’t her goal, her goal was to just do something different after the lockdown was lifted. She little expected for her song to win, especially at such a close margin. When given the option to head to WorldVision 94, she quickly jumped at the offer. Her song, Back in Calaén, was written as a song to be included in her EP but was ultimately left out of the final tracklist. Lila herself said about the song that “Its basically a memoir, to a better time. It details the plesant time that I had in my hometown of Calaén. I’m hoping that I can invoke its beauty and enchantment through the lyrics.”


As the postcard ends, Lila has a single spotlight on her as she’s on stage. Around her are several makeshift streetlights on either side of her, reminiscent of the same ones found in Calaén and all along the Blue Coast and northern Scotatrova. The dim lighting makes it quite hard to see them from the audience, but as the camera pans slowly above her, their faint outlines are partially visible. She has on a basic yellow and white striped shirt and black jeans, with her hair down while also donning her typical black leather jacket. As the piano tune kicks in, Lila holds on to her microphone tightly. It’s been so long since she’s actually been in front of an audience, and even longer since being on a WorldVision stage. Toward the final notes, she takes a quick, deep breath and looks out toward the audience before she starts to sing.

Towering walls, standing tall
So full of winding avenues
A beacon of hope, above the rest
Different from all of the others
Nothing compares
Without it, it feels all wrong
As if left behind


The camera angle changes, and we get a close up view of Lila as she begins the song. It slowly starts to pan to her left side and then starts panning out. She keeps her gaze directed at the audience, not paying too much attention to the technical aspect of her performance. Aside from her Ereide performances in front of no audience, this was the largest crowd she’s performed too in over a year. Some nerves were there, and she could slightly feel little drops of sweat on her temples, but instead of worrying too much she just continues to take a deep breath whenever she can to help calm herself down. This works, as she gets through the first verse without too much of a problem.

Driving down the streets of Calaén
I remember the
People that we were then
You and me together again
Together again
Driving down the streets of Calaén
I remember the
People that we were then
A place that was so full of zen
Back in Calaén


As the chorus kicks in, the camera that had panned to her left cuts to a quick overhead shot. With the crescendo of the tune, the streelights on stage light up in a faint, dull glow. Smaller strings of lights are intertwined between each of the lamp posts, beautifully illuminating Lila and the stage. As she repeats the second half of the chorus, she takes the microphone off the stand and walks to one of the lamps on her right. While she sings, she leans her back up against it and closes her eyes, longing for memories of a simpler past. The camera zooms in closer to her, and then positions itself more toward the floor, now looking up at her. A portion of Lila is visible, as the light from the lamp brightens up the rest of her face.

We know what we want, we used to say
Before it all had to change
One moment in time
Never again
Do you miss it as much as me?
I hope that’s a yes
Without it, it feels all wrong
As if left behind


She then begins the next chorus by walking around the lamp posts. When she finishes the line “we used to say” she puts a hand up, indicating an “oh well” type of expression and shakes her head as she sings the following line. For this verse, she sings mostly looking up, as if she was communicating to someone. She grabs one of the posts with her hand and does and slow spin around it before the same in the opposite direction with the post right next to it. Once she gets to the final two lines, she leans back up against one of the posts. She stares down at the floor, but the look in her eyes show that she’s not actually there, and that she’s reminiscing of said place “left behind.”

Driving down the streets of Calaén
I remember the
People that we were then
You and me together again
Together again
Driving down the streets of Calaén
I remember the
People that we were then
A place that was so full of zen
Back in Calaén


With the next chorus, she fixes her posture so that she now has her free arm laid up against the lamp post, and her forearm hangs over her head. Once again, she closes her eyes while singing. This helps her emanate the peaceful tone in her voice while also keeping it firm, ever so slightly rising or falling. She then walks back over to the middle of the stage, inbetween all of the streetlights and the camera starts to slowly pan out, giving an overhead shot. The floor of the stage where she stands then depicts a street, and the area just under the streelights the sidewalk. Eventually on the LED screens, images of a coastal city at dusk are depicted. Calaén in all its glory. The streelights on stage slowly start dimming and lighting back up again as the chorus progresses.

Driving down the streets of Calaén
I remember the
People that we were then
You and me together again
Together again

Back in Calaén
Towering walls, standing tall


As she finishes her final verse, she goes all out for the final harmony before finally singing the final line of the song. While she’s about to conclude the song, we get a change from the overhead shot to a close up shot of Lila. She looks into the camera as she sings the final line “Towering walls, standing tall”. With the end of the song, all the lights onstage fade out, before the stagelights quickly illuminate the stage afterward. As the audience starts to cheer and applaud, she holds her hand to her chest as she thanks the audience. “Thank you so much!”
Last edited by Scotatrova on Mon Oct 25, 2021 2:44 am, edited 3 times in total.
Male, Hispanic, Liberal, L(G)BT

My nation is based on my own personal views

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


Scotatrova in WorldVision
WV72 - 13th
WV73 - 6th
WV74 - 8th
WV75 - 18th
WV76 - 11th
WV77 - 5th
WV78 - 17th
WV81 - 6th
WV82 - 11th
WV83 - 20th
WV84 - 16th
WV85 - 15th
WV86 - 1st
WV88 - 4th
WV89 - 10th
WV90 - 22nd
WV91 - 2nd
WV92 - 15th
WV93 - TBD



COVID-19 Pandemic in Scotatrova

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Talvezout
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Founded: Oct 05, 2014
Civil Rights Lovefest

Postby Talvezout » Mon Oct 18, 2021 2:22 pm

2. Talvezout

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StrayaRoos
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Posts: 135
Founded: Sep 08, 2021
Moralistic Democracy

Postby StrayaRoos » Mon Oct 18, 2021 2:24 pm

3.StrayaRoos
Altos-Road Forward

Tune Tones And I-Can't Be Happy all the time
Image
Our First WorldVision appearance is finally here! chart topper altos will perform her hit Road Forward from her Debut Album 'Life' Released in March 2021 as an Tribute to Her father who died last year because of an Emu Attack in the war against them in the South District and it also described her hardships as an child as her family lived in poverty and starved some days and it really motivated her to do something about it and she turned to music and was signed to Good Batch:The biggest record company in StrayaRoos and it took off from there

after the postcard plays the stage goes black and an lone voice sings the first verse
When I was young I walked an Lonely Road, That Led Me to the greatest stage on earth,
but i was scratched and beaten but made it through the dark...

then the lights go on and show Altos
I Realize now that it paved something for me...
It Paved That Road Forward(Road!)
That Road Forward For me, for me, Yeah! (Forward!)
It Paved That Road Forward(Road!)
That Road Forward For me, for me ,Yeah! (Forward!)

after the chorus an road into the horizon in east district, StrayaRoos (Where she was born) is projected onto the stage and she runs towards the sun
Then i found it the road forward to the sun
i'm finally out of the dark now (Out of the dark now!)
so i can sing my own song at last...

The road disappears and is replaced by an image of Marina Point
]I Realize now that it paved something for me...
It Paved That Road Forward(Road!)
That Road Forward For me, for me, Yeah! (Forward!)
It Paved That Road Forward(Road!)
That Road Forward For me, for me, Yeah! (Forward!)

The Singer is then lifted up by an Rope up into the top of the arena as she sings the final verse
But i wonder is life at it's peak now, or is it stuck in first gear
When will it all disappear? I don't know but I'll always pave my Road Forward!
It Paved That Road Forward(Road!)
That Road Forward For me, for me, Yeah! (Forward!)
It Paved That Road Forward(Road!)
That Road Forward For me, for me, Yeah! (Forward!)
Last edited by StrayaRoos on Tue Oct 19, 2021 4:20 pm, edited 10 times in total.
94:26th/29

Records
VWE:11th (13)
IBC Group Stage (33)
ECWC:17th (2)
ARWC:Group (4)
NSWC: TBC (90)
BoF:TBC (76)

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Aenglide
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Founded: Oct 25, 2019
Democratic Socialists

Postby Aenglide » Mon Oct 18, 2021 2:26 pm

SONG 04: AENGLIDE



Alen Keidur - "Bright Lights"







Artist + Entry




Image

Alen Keidur is a 23 year old singer from Abyrdin, the capital of Aenglide. He will be singing his song “Bright Lights” in Worldvision 94 in Marina Point, Nekoni, as the third Aenglish entry since Aenglide's debut entry in Worldvision 92 in Anÿme, Darkmania. After winning the fifth season of Ænglide Gydsteymen (lit. Aenglide Good Voice), he was internally selected to represent the federation on the world stage.

Alen grew up in a very musical environment. He always was involved with music and his talents began at the age of six, then took piano lessons at eleven in his Middle School, and started to sing by the age of thirteen.



Song (Lyrics + Staging)




The lights begin off when Aenglide's entry, Alen Keidur's "Bright Lights", is revealed. As soon as the music begins and Alen starts singing the first verse, it reveals his face. The camera angle shows a medium shot of Alen in a dark dim light that is only concentrated on his face, to begin the song.

Listening to the songs that I could never sing
And I’ve been driving past those bright lights
Now I’m lonely since the other times
I’m falling back into those dark nights


The lights become a little brighter across the stage, and the cameras reveal his full body to show his clothes. He is wearing a gray metallic jacket and white leather pants, while also wearing glistening sunglasses.

When did the days get darker and now I’m lost?
All alone, by myself, since I’ve lost the roads
Space is falling and I’m losing track of time
Bad thoughts in my head, it’s come for a while


For the first chorus of the song, the lights shine bright to reveal the entire stage. The camera follows him as he goes over to sit an play a white piano, that was revealed when the lighting was changed. He places his microphone on the stand on his piano. He is not playing the piano live however, as the instruments for the song were pre-recorded, so he pretends to play the piano notes in the song. Halfway through while the chorus is sung, the camera follows Alen's face in one circular motion as he uses the piano.

And now nobody’s calling my phone
I’m stuck within a little bit, a little bit
I’ve been in the unknown
It feels so bad but I’m loving it
You’re not gonna try and take me now
I’m falling from the sky above the clouds
And it’s been forever long
Pushing me away, never a minute
(Bright Lights)


The lights remain the same, and he still sits by his piano singing. The camera moves away from him on the stage and does general camera angles of the stage and close up of his face from behind the stage.

I’ve found myself seeing the same places
In a deep sea of love with unfamiliar faces
I remember the times when we use to chase
Love, parties, on the top, and glorious fame
Why am I living alone, in a misty land?
I could have changed my dreams but it’s too late for that
The days pass by, is it over yet?


He picks the microphone up from the piano and slowly runs away from the piano.

And now nobody’s calling my phone
I’m stuck within a little bit, a little bit
I’ve been in the unknown
It feels so bad but I’m loving it
You’re not gonna try and take me now
I’m falling from the sky above the clouds
And it’s been forever long
Pushing me away, never a minute
(never a minute)


The lights go back to more of a dim light, and the cameras show a closer shot of his face, for these parts where

Oh-oh-woah-oh-oh,
(Never takes a minute)
Oh-oh-woah-oh-oh, oh-oh,


And now nobody’s calling my phone
I’m stuck within a little bit
I’ve been in the unknown
It feels so bad but I’m loving it


The lights brighten back to the full brightness again, and the cameras show a wide shot of the stage. This is done to reflect the fact that this is the most powerful part of the song, and that Alen sings this with his great vocals.

You’re not gonna try and take me now
I’m falling from the sky above the clouds
And it’s been forever long
Pushing me away, never takes a minute
Here you are (a little bit)


He ends by spinning around and doing other dances for the ending of his song.

Ohhh (bright lights)
Ohhh (dark nights)
And here you are
Something new
Something new
Never a minute


The music begins to fade away, and the song ends. As he walks off the stage, he speaks to the crowd and uses the microphone for the last time by telling the crowd "Tankje! Thank you Nekoni!" He waves his farewell to the crowd and then proceeds to leave the stage.
Last edited by Aenglide on Thu Oct 21, 2021 9:09 pm, edited 9 times in total.
FEDERATIG ÆNGLIDE
THE FEDERATION OF AENGLIDE

This is the land of the constructed language, Aenglish, or Ænglid Sprikadt. No, it is not English.
Standard English: ayn-glide
Aenglish: ayn-glee-da
WV92 - 24/29 - 53pts
WV93 - 18/24 - 83pts
WV94 - 25/28 - 63pts

User avatar
Estogium
Chargé d'Affaires
 
Posts: 470
Founded: Apr 27, 2015
Ex-Nation

05 | Estogium | GRVTY x KIERA - CARRY ON (Withdrew)

Postby Estogium » Mon Oct 18, 2021 2:26 pm

Withdrawing.
Last edited by Estogium on Tue Nov 02, 2021 12:45 am, edited 3 times in total.

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Placely Placington
Bureaucrat
 
Posts: 65
Founded: Feb 03, 2020
Civil Rights Lovefest

Postby Placely Placington » Mon Oct 18, 2021 2:27 pm

06 - Placely Placington

A Couple of Daves - Placely Party Song (I'm Begging You, I'm Pleading For You To End My Existence)


Tune: Brokencyde - Freaxx

Dave McDaverson was not a happy bunny. Much to his dismay, it turned out that the people of Zafizamarrah, and indeed the multiverse, weren't in the Christmas spirit. How did he know that? Because the Christmas tune he had commissioned, "I Hope Satan Brings Me Loads Of Presents For Christmas", finished second from last. Was it because it was nowhere near Christmas when it was sent? Was it because it sounded completely un-Christmassy? Was it because they were a bunch of simpletons who couldn't appreciate true art? Dave thought it was the last one.

Anyway, not to be deterred, he decided to have another crack at representing his own nation at the contest. Not just that but he decided to form a duo with the one, the only Dave The Living DJ Booth, a DJ booth who's responsible for a number of dance smash hits all around the block. Songs such as "Why Do I Even Exist?", "Please Can One of the Eagles Drop a Piano Onto Me?" and "I Want Die". All super amazing party songs that's sure to be on your next party playlist. The duo, dubbing themselves "A Couple of Daves" then jetted off to Nekoni for the second time, although their trip was hampered when their paper plane came undone mid-flight and they dropped into the ocean. Dave the Living DJ Booth somehow managed to survive, probably due to his fleshy interior protecting all the electronic gubbins inside. Either way, a quick recloning of Dave McDaverson later, they arrived in Marina Point and they're ready to perform.

You could tell that I'm running low on ideas and I've got a much better entry I want to work on.




Postcard. People sitting down or getting up. A small spattering of applause just to be nice. Song starts. It doesn't sound too bad. Then the vocals kick in. Oh god, why is there autotune and why is there so much screaming? Also, why does Dave still have that gun? I think it's actually built into his hand. Anyway, there's a mostly light black floor, although there was a neon green waveform of the song playing while the tunnel itself was just turned off. It would stay like that throughout the entire song.

It's the Placely party song sung by me, Dave McD (End me now!)
It is the Placeliest party song in all of history (I want death!)
Filled up by autotune (Help!)
Robotically croon (Me!)
Robotically croon my own Placely party song (Turn me off now!)
Let me tell you why I like this Placely party song (End my pain!)
If you don't like this Placely party song then you are so wrong (Turn me off!)
It's the smashest hit (Help!)
It's the hittest smash (Help!)
It will rule the world, it'll catch on in a flash (My existence is painful!)


And now we move onto the chorus. Expect loads of flashy close-ups, cuts and other such stuff to try and make the artists seem much cooler than they really are. The floor also went a bit more neon with a purple tinge added to the floor itself, while Dave the Living DJ Booth simply played a bar version of the waveform on his display while he begged for the sweet release of death.

It's the Placely song, it's the Placely party song! (Help!)
It's the Placely song, it's the Placely party song! (Help!)
It's the Placely song, it's the Placely party song! (Help!)
It's the Placely song, Placely party song! (HELLLLLLLLLLLP!)


During a long close-up of Dave the Living DJ Booth screaming that last line, Dave McDaverson put an old CRT computer monitor on his head to try and pretend he's Television Director, simply because the next verse would probably reflect very poorly if he sang it without the disguise. Nobody would be fooled by it but then again it's par for the course for Placely Placington so nobody would care either. Besides, the real Television Director probably would've been up for singing it but a) his name isn't Dave and b) he somehow got his head stuck in the eagle net and, in an attempt to free himself, his head somehow popped off. Oh well. During the first line, a crudely bitmapped picture of Dave McDaverson displayed on Dave the Living DJ Booth's display throughout the first verse before it just showed a blank display for the rest of the verse. All while Dave McDaverson strutted his stuff on stage, although he had to cut himself off at one point because for legal reasons it's best not to mention the stuff that mountain range is made of and what his secret stash secretly is.

Over here's Dave McDaverson and he is so cool
He is the coolest, all the rest don't know how to rule
He is in charge of Placely, a place that's no wastely
There's plenty of spacely
In our own Placely Placington
He doesn't have a secret stash
And he definitely doesn't spend funds on... that
He doesn't embezzle, no
And he has the smoothest ever flow
He is the bestest leader ever
Is there someone better? No, no, never
He really is a go-go-getter
'Cause to rule Placely there's no one better


Back to the chorus now and we return to the garish lights, close-ups, neon and other such stuff that we encountered during the last one. Literally, there's nothing else here to add so I'm just going to cut off here and just work on the next bit.

It's the Placely song, it's the Placely party song! (Help!)
It's the Placely song, it's the Placely party song! (Help!)
It's the Placely song, it's the Placely party song! (Help!)
It's the Placely song, Placely party song! (HELLLLLLLLLLLP!)


Towards the end of the last chorus, all of the lights started to dim a bit and there were close-ups of both Daves when they were singing their respective bits. Dave McDaverson had a sort of smug look to him even though he kept his computer monitor head on throughout the last verse. Either he didn't have time to take it off, he completely forgot to or he was too into the zone. Who knows, who cares.

Placely! (End me!)
Party! (Right now!)
Placely! (Turn me!)
Party! (Off now!)


The lights remained dimmed throughout this next verse. Dave McDaverson looked a bit more pleady throughout the first four lines of the verse, mostly because they were him trying to ask them for points even though only one or two of them probably would and the rest wouldn't touch it with a ten foot barge pole. Again, there were back and forth shots between both Daves as they sang their bits before the camera just stayed on Dave McDaverson throughout the last bit before there was a sudden cut to Dave the Living DJ Booth screaming the bit in brackets.

It's the bridge of our own Placely party song
We hope you've all had fun
Make sure to give your points to Placely
Give us all, not just some
(Please end my own existence!) Placely party
(Put me out of my misery!) Placely party
(Please turn me off this instant!) Placely party
(Why do I still EXIIIIIIIIIIIIIIIIST?!) Placely party
It's the Placely, Placely party
It's the Placely, Placely party
(HELLLLLLLLLLP!)


Eventually the lights and the stage itself went back to how they were during the chorus, simply because that's what they were singing and screaming. So again more cuts, close-ups, lights and neon. Maybe a bit of cameras going forwards and backwards. I'm pretty sure by this point everyone wants these people gone.

It's the Placely song, it's the Placely party song! (Help!)
It's the Placely song, it's the Placely party song! (Help!)
It's the Placely song, it's the Placely party song! (Help!)
It's the Placely song, Placely party song! (HELLLLLLLLLLLP!)


Eventually the music faded out and the song came to an end. However, something completely unexpected happened. A couple of police officers came onto the stage and arrested Dave McDaverson. It turns out that there was an entire suitcase of his secret stash in his hotel room so, naturally, he has to go downtown. Oh no, what a horrible tragedy. At least they waited until the end of the song? Furthermore, they confiscated that gun he's somehow allowed to have as they handcuffed him so billy bonus. As Dave McDaverson was being escorted off-stage, Dave the Living DJ Booth was wheeled off so the next act could then perform. Let's hope it's something better than this.
Last edited by Placely Placington on Mon Nov 01, 2021 1:42 pm, edited 4 times 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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Crustyland
Secretary
 
Posts: 30
Founded: Oct 15, 2020
Inoffensive Centrist Democracy

Postby Crustyland » Mon Oct 18, 2021 2:28 pm

07. Crustyland





Joanne, born in 1987 in the capital Rannk, is one of the countries most talented artists and loves dancing. She sang for Crustyland before back in Wolrdvision 87 in Peeto where they sadly placed 32nd out of 38 despite having a credible entry! Joanne is one of the only people in the nation with a degree in music and entertainment as most of the population is far too thick to even graduate from secondary school with any grade above a C. She is married.

Image


While “Ambient Waves” was more sexualised, cheeky and playful, “Glass” has a darker, sultrier tone aided by much more aggressive production. Deep house beats thrust their way through the chorus overcut by a swirling electronic production, while Joanne's sensual vocals complete the mood.

Lyrically, the song is dripping with confidence and with the pulsing tempo changes of the symphonic backing making anyone would want to yell “WOO!” Glass” has inspirational lyrics like “We break fast..” and “And we're all see-through, just like glass.” It’s a promise for people whose spirits need a little boost, and peaks with a key-changing climax that’ll leave you fist-bumping like Rocky. On the catchy pop song Joanne belts in a softer register about a relationship that is falling apart and the desire to not give up. She is encouraged, confident in enacting positive change and braced to fight for love. What plays out on the track, a catchy slick Europop song that gradually builds to impassioned lyrical and sonic peaks, is a sage manifesto for lovers. "People are easily broken, shattered, delicate and brittle just like glass," Joanne explains.

Having found most of the Countries budget behind the back of his sofa, (thanks Elejamie for this idea], how he was still employed is anyone's guess, Crustyland's Finance Minister managed to lend it to CRAP to go towards funding another "good" entry. This time though, their entry was ACTUALLY good! Despite flopping the last edition with what was a decent song and entry that disgusted most of the country, Crustyland was back with a bite, a bite as fierce as a sexually frustrated sea lion. They had high hopes for Joanne and her song Glass, which has peaked already at number one in Crustyland and reached airwaves abroad in nearby MCG. Despite their step towards seriousness, there was no doubt the populace would still vote for the friends in Placely Placington.

Joanne and her team would fly to Marina Point on one of the only charter flights in the country and would spend several days exploring before rehearsing. The fact the team had turned up with no sea mammals delighted the hosts.




The crowd has got used to Crustyland now and remained in their seats, cheers bust out through the arena as the postcard played.

The hall turns dark before some faint white spotlight fills the dry ice-filled stage. We have a shot of the whole stage as the LED triangle and LED screens fill with a faint red which flash occasionally The camera steadily makes its way inwards. Joanne can be seen standing centre stage looking down at the floor, with a group of 6 dancers curled up on the floor around her. The lights centre on Joanne and lift upwards leaving just one spotlight on her as she looks upwards to the camera dramatically. She has an earpiece microphone. She is wearing black leather boots, a black strapless top and a black jacket with a neon pink underlay with her belly showing. She stands with her hands on her lips in a seductive pose her hair flowing down her neck. The lights behind now flash between red and dark green as the dry ice gently drifts around her. As he sings the last line "Somebody tried, to tell me, I had no class" she rolls her eyes and shrugs her shoulders. The audience cheers her.


I woke up to my world this morning
Took a long look, in the looking glass
Last night I guess, I had one or too many
Somebody tried, to tell me, I had no class


The beat kicks in and the dancers around her spring upwards becoming animated and standing evenly on either side. They are all wearing the same outfits but have their hair tied back. Glass shapes appear on the background motionless. Joanne sings to the onstage camera. The luscious vocals made the crowd turn wild.

And we're all see-through, just like glass
And we can shatter just as fast
That light's been burned out for a while
I still see it every time I pass


Joanne acts sassy and confident as the camera follows her on stage as she struts towards the edge of the stage leaving us with a view of the audience as makes her way to the edge of the stage. The camera cuts to a frontal view as the background crumbles into black and the edges of the stage shine neon pink and spotlights shoot out into the hall as she points into the audience as the chorus kicks in. Her face lit up in a massive grin. She is lit by a golden white spotlight. Her dancers spread out over the stage performing behind her. Joanne's vocals are very impressive, this was a hell of a song from Crustyland! As the chorus ends the lights all flash as if there's been a powercut and the stage is plunged into darkness.

We might shine
We might shatter
We may be pickin' up the pieces here on after
We are fragile
We are human
We are shaped by the light we let through us
We break fast..
Cause we are glass..
Give me a window with one a one-way pane
To look out on the world..
And watch the people pass..
Cause we are all glass


A spotlight reappears on Joanne who is back in the centre of the stage. We have a top body half view as she sings confidently. The dancers are gathered in a line behind her and move out one by one in formation 3 left 3 right and dance behind her. She winks as she sings "I'm business class". She shakes her hips twice to the last line and pouts her lips. They walk in front of her for the last line and flutter their jackets in front of her concealing her a bit from the onstage camera.

Are you anxious to see me after your night out
Do you care when I tell you, step around that broken glass
Don't dismiss me boy, I'm business class
You are, are, not the one


Joanne emerges and walks out confidently the camera following her, as pink spotlight work their way around the hall. The bright white spotlight follows her. The stage is illuminated in a bright golden glow. There are various shots of the stage from the back of the hall, above the crowd and one that curves around the back of the dancers looking outwards towards the happy and dancing crowd. The whole time Joanne sings confidently. For the last line, Joanne and her dancers huddle in the centre of the stage, Joanne in the middle.

We might shine!
We might shatter
We may be pickin' up the pieces here on after
We are fragile
We are human
We are shaped by the light we let through us
We break fast..
Cause we are glass..
Give me a window with one-way glass
To look out, on the world..
And watch the people pass..
Cause we are all glass


She belts out an improvised countdown and the crowd cheers loudly. We have a really quick shot of the whole stage from above the audience slightly off centre to the right.

3..2..1 go!


The background shatters dramatically into hundreds of pieces and the spotlights turn white and shoot out spectacularly from the stage, strobe and race around the audience. The stage lights turn blue and are dotted with pink spotlights. Joanne and her team begin their fancy choreographed routine. They all flash the pink underlay of their jackets to wild applause before bobbing up and down with two dancers making their way to the front of them and crouching down. Joanne has a look of concentration but also determination. The end dancers kick their legs before the camera centre on Joanne. She performs a flexible, amazing acrobatic roll towards the audience. The crowd goes mad! We then cut to a quick shot of a dancer who seductively moves her hand up her thigh a grin on her face. The audience is captivated. Joanne continues her flexible routine bending her legs over her head. We then have a shot of the stage where we see the dancers dancing and lining up in a circle behind her. When Joanne heard the chorus kick it was like liquid adrenaline being injected right into her bloodstream - not so strong as to freak her out, but just enough to make her tingle with pride.

The camera floats above the stage and Joanne gets up and regroups and she and her dancers place their hands on their hips and flash their jackets underlay again. Her voice is light and whispery. They carry on their amazing choreographed routine. The stage turns darker. The camera panning across them as she sings "I still see it every time I pass". The lights around them flashed red and white. As we have a shot from the crowd, they all spin and walk together towards the edge of the stage the dancers all put on a pair of sunglasses and they all raise their right fists dramatically upwards.

And we're all see-through, just like glass
And we can shatter just as fast
That light's been, burned out for a while
I still see it every time I pass
We are glass..


The stage bursts into a glowing yellow. Everyone begins their choreographed routine again. Joanne leaves the dancers and makes her way around the edge of the stage before standing in the middle the camera following. A dramatic pyro curtains falls behind the stage and the crowd cheers. Joanne is loving it. She spreads her arms out wide as she sings "We may be pickin' up the pieces here on after" and the background smashes again. Everyone on the stage is lit in neon pink lights. The camera pans towards the stage from the back left and cuts to a stage shot again. It then cuts to a shot of the pyro curtain before pulling outwards showing the entire stage.

We might shine
We might shatter
We may be pickin' up the pieces here on after
We are fragile
We are human
We are shaped by the light we let through us
We break fast..
Cause we are glass..
Give me a window with one-way glass
To look out, on the world..
And watch the people pass..
Cause we are all glass..


Joanne and her dancers all jump up and down and hug! The crowd goes mad! What was going on?! Crustyland had actually blown them away! "Thank you!" Joanne exclaims!! They leave the stage to thunderous cheers.
Last edited by Crustyland on Thu Oct 28, 2021 5:44 am, edited 22 times in total.

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Kyritakia
Secretary
 
Posts: 31
Founded: Sep 07, 2020
Left-Leaning College State

Postby Kyritakia » Mon Oct 18, 2021 2:28 pm

Entry No.08: KYRITAKIA
Who Am I?
The Emergency
Based on: You Don't Get Me High Anymore by Phantogram

A long time has passed since we've seen a purple flag at the WorldVision. Debuting in 85, Kyritakia entered the stage and hit incredibly strongly. A fourth place out of the gate is clearly something to be cheerful at. However, it's been a long time since we've seen them attempt to repeat the feat. Maybe it's that they don't want to send something that they can't have a good shot at a good performance with. Maybe it's that Kyritakia is so dirty-ass stingy that it only sends one entry every ten contests. You be the judge.

Nevertheless, Kyritakia's a short sea crossing over from Nekoni, so it would have been rude for Kyri to not be there. On the boat this time, differing from last time's Neue Deutsche Welle-inspired group, is The Emergency. Not *are*, it's actually a solo project, from Esterberg native Sanja Ejlberg. Her provocative mix of dance beats and electro-rock stylings, bundled together in a package of gritty coolness aim to scratch exactly the same itch that Kamoshida were so good at hitting all those years ago.

With one good result, Kyritakia had everyone's curiosity. With two, Kyritakia would have everyone's attention.

Image



After the cutesy pink glass fluff of the last song was all cleared up, the postcard faded to a scene of a dull brown-orange glow. At the front of the stage, we have Sanja, sat down with legs outstretched at the center of a large white square plinth. There's a transparent divider around the sides of the plinth, to give the impression that she is trapped inside the structure. She's wearing black leather leggings with multiple cuts exposing flesh down the sides from hip to ankle, with a steel grey leather halter top. Behind, in the larger area at the back, we see a woman on the right side on synths in a black blouse/jeans combo, and there's a drummer on the left, dressed in a very thin tank top. Presumably he wanted to show off his dragon sleeve tattoos.

The song fades in, as the backing screens flare and disfigure like an old film reel's being played. The drums kick in, and the plinth Sanja is in has a spotlight directed on it as she gets up. She has enough room to fully stand, at which point, we see that she's tethered by her arms to opposide sides of the platform, with enough give for her to reach any of the sides, but not really to give her any chance to escape.

She runs at the glass walls, around the platform, arms pressed against them, with the camera following her as she makes an attempt at a panicked escape.

I can't get to sleep tonight
'Cause I'm bouncing off the walls
Seems I can't stop thinking all night
About the time I should have stopped but I took three more


Her restraints gradually tighten, and she is forced back into the center of the square platform. She drops to her knees, hands firmly planted as she futilely attempts to break the chains. One of the sides of the cubic structure displays a yellow and black striped band with 'EMERGENCY CALLED' written on it.

Drag me down, drag me down, yeah
Just like the way you did before
Hit a shot again, knock it like aspirin
I'm feeling five feet under, would it hurt for one more?


During the bridge drop, the lights go clinically white, as four men (two on each side) in white doctor-esque suits with white gas masks appear from each stairwell at the side of the stage. They each stand at a face of the glass prison, and take a hold of a thread at the floor of the structure, and pull back.

Why did you push me away?
'Cause I don't know what I'm doing here
I don't feel like going home
But I fear I'll get to like it here


Sanja, fighting with the restraints, writhes in what appears to be agony as she sings, trying to force the straps free. As she tries, the suited wardens on the outside are wrestling the ropes with her, with sharp movements from her arms drawing the two wardens on the arm's side into the wall, but the four-on-one battle is too strong. They are able to force her down, and Sanja ends up on her back by the end of the chorus.

First hits the buzz
Then the downfall
Don't know who I am any more
Yesterday's queen
Tomorrow's whore
Who the hell am I any more?


The camera turns to a top down angle, with Sanja on her back singing as the four men pull down the outer walls of the cube and walk into the cell where she lies. The camera blurs when the line about the room spinning is sung.

Waking up in a war with myself
In a run-down cheap motel
Room's spinning 'bout a thousand times a minute
Last night I tasted heaven but today I face hell


Two of the men, one on each side, both move to the center where Sanja lies. They both firmly grab one of her arms and raise her up to an upright position as the camera reverts to a standard horizontal position.

I never meant to make mistakes
Just wanted something to believe
But now I'm down so hard I can't go on
Without the taste of regret between my teeth


One of the men with a grip on her arms releases his hold, and takes a step away from her. As this happens, the other man holds both her arms behind her back, standing behind he as he does. We then see the first man reach into his pocket, take out a military black baton, and extend it with a flick of his wrist. He walks back towards Sanja, weapon in hand, pulls his arm back, and strikes!

Why did you push me away?
'Cause I don't know what I'm doing here
I don't feel like going home
But I fear I'll get to like it here


Right at the last possible second, Sanja ducks, and the warden hits the man who was restraining her full-on in the face with the baton, knocking him down. He takes a while to get up, and as he does, the other three rush in and detain Sanja again, one behind her, with one either side. They drag her to the side of the stage, where a long, white psychiatrist's couch is waiting.

First hits the buzz
Then the downfall
Don't know who I am any more
Yesterday's queen
Tomorrow's whore
Who the hell am I any more?


They force Sanja to lie down on the couch. As she does, one goes to the left side of the stage, and wheels in a large white tank, with an oxygen mask connected to it. At this point, it's worth noticing that nobody playing music at the back is helping out Sanja, which, to me, is a bit of a dick move.

Who the hell am I any more?
Who the hell am I any more?


When the tank is next to the couch, two who were restraining her continue to do so, whist the third goes to the tank, and retreives the mask. The fourth stands by the tank, which his hand on the large red wheel to pump whatever the hell's in there directly into poor Sanja's face.

Why did you push me away?
'Cause I don't know what I'm doing here
I don't feel like going home
But I fear I'll get to like it here


Just before the mask goes over her face, she's able to wrestle an arm free, and grab the mask-wielder's arm, keeping the mask just out of harm's way as she sings whilst looking directly at the warden. She kicks him in the chest, sending the poor guy flying over the tank, knocking it over. In the rush that follows, Sanja's able to get out of the chair, and takes a couple of steps into center stage as the other three immediately withdraw their batons.

First hits the buzz
Then the downfall
Don't know who I am any more
Yesterday's queen
Tomorrow's whore
Who the hell am I any more?

Who the hell am I any more?


During the outro, the three wardens attempt to restrain her, as one swings at her, missing. She grabs the guy by his gas mask, and throws him to the side. Both of the other wardens swing with the batons, but Sonja steps back, and they knock each other out with a baton hit. Sonja realises what's happened as she surveys the scene of four guys she just not quite beat-up, and delivers her last line starring eerily directly down the camera lens.

Who the hell am I any more?


She doesn't move when the song ends. The audience cheer, and after a good few seconds, she silently nods in appreciation to the crowd, the screen fades out to greet the next entrant, and Kyritakia have finished their difficult second ablum.
Last edited by Kyritakia on Mon Nov 01, 2021 2:46 pm, edited 13 times in total.
Nekoni's OTHER bit on the side.

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Norrp
Lobbyist
 
Posts: 13
Founded: Mar 02, 2021
Civil Rights Lovefest

Postby Norrp » Mon Oct 18, 2021 2:29 pm

09.Norrp

Artists:Blood and Steels
Music: Integrity

Song: https://www.youtube.com/watch?v=cwGPO-EX7iQ


The stage is ready and starts as a night club with fog on the stage and bright neon lights in blue, green and yellow with some pink too.
Strobe lights work their way around slowly as the song builds up more. The crowd is having a fun time!
The camera shows us lots of angles from wide, close up, of DJ Alex and the audience in the arena. He scratches his DJ discs and holds one headphone loosely to his ear. He has black sunglasses mon and smiles and winks sometimes.

Helen struts onto the stage from the back to cheers. She has a bright light red dress.


I’ll keep loose, keep steady.
Stay on the right side of life.
Be strong, be ready.
To defend myself, and say why.
When it matters, I’ll keep it simple.
I won’t complicate, what I know.
I’ll be myself not a pretender
Then I won’t have to put on a show.


She interacts with the DJ and waves her hands for the chorus.


CHORUS

My life’s just starting out.
I’ll leave out the fear and doubt.
Follow the future I dare to see.
I’ll aim for the brightest star.


The camera work is very crazy and spins and shows us lots of shots from different places around the stage.


Wait for my dreams to go far.
Hold fast to my integrity..


The lights calm for the verse before coming back on as she starts to sing again. The lights on stage flash lots of colours like white and blue. Helen dances around waving her arms and strutting around with her charm.


I’ve a right to stay happy.
Focus on the strength, that’s inside.
So I’ll smile, when alone.
Wear a sense of purpose, with pride.
I won’t shut out the world outside.
So life won’t always be about me.
I’ll be prepared for the give and take.
To aim for the future I see.


She walks up to the DJ they exchanges smiles.


Hold fast to my integrity!
Hold fast to my integrity!


"Thank you everyone."
Last edited by Norrp on Fri Oct 29, 2021 4:39 am, edited 7 times in total.

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Sainte Lavande
Political Columnist
 
Posts: 3
Founded: Oct 02, 2021
Ex-Nation

Postby Sainte Lavande » Mon Oct 18, 2021 2:30 pm

10. Sainte Lavande

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Carrelie
Envoy
 
Posts: 233
Founded: Feb 21, 2018
Left-Leaning College State

Postby Carrelie » Mon Oct 18, 2021 2:32 pm

11. Carrelie
Emie Jones - Ddim yn credu
Tune: Kate Ryan - Ella elle l'a

Image


Emie Jones is a dance pop sensation. Throughout the last 4 years, she's made waves in Carrelie and beyond with hits such as Aime-moi and Caru, casau. She's rather famous for using many languages in her songs, and her newest, Ddim yn credu, just proves this more. With a great beat and a sensational sound, it's sure to get you moving!
- CarrelieOne Website


Emie is more than just a dance pop figure. Behind the face is a history of success, failure and controversy seldom seen in Carrelie's music industry. A resilient soul, she likes to express her feelings and combat hate through music, and while it would be expected for someone of her background to turn out poorly, she's persevered all these years and carved a new image for herself.

Born in 1993 in the Iffrwn coastal town of Ystwall as an unwanted child of the illustrious Hentowyn family, Emie's childhood took a dark turn when she was abandoned in the forests near her town at the age of only 6 months. After a few hours of wandering and wailing, she was spotted by Owain Carwyn and Daniel Jones, a gay couple who were out hiking. The two decided to take her in, introducing her to their home in Llanfairhenfrynogofgoch, a village of 2,000 about an hour away from her home. The place was rather nice, and the young lady eventually settled into village life, making friends, enemies, acquaintances, all in the tiny hilled village. Her adoptive parents taught her all there was to know in the world of a young child, and she grew up happy.

One November day in the year of 1998, she was introduced to dance pop. She fell in love almost immediately, begging her parents to buy her CDs left and right. It was a financially draining time for Owain and Daniel, but at least their daughter was happy. She soon decided to take up singing, forming a small band with a few friends, including her future wife Sarah Leblanc. They'd play at various local events, and never really got off the ground, but it was a great way to spend time and would eventually prove fundamental to Emie's introduction to music production.

Emie's first album, a collection of covers of dance pop songs in Welsh, was somewhat controversial. A small village girl becoming vested in musical production alone was strange for some, and even preposterous to a few. However, it began to grow in popularity as controversy increased, and eventually Emie was invited to compete in Iffrwff Idol, a reality TV show. Originally poised as a joke candidate, she proceeded to smash through the show, going on to win it entirely. Her second album, released directly after her appearence on the show, became one of the fastest selling albums in Carrelian history, and paved the way for a successful career.

That was almost 20 years ago now. Since 2004, she's done it all. Gotten married, released hits, failures, toured the world. And it's all been through dance pop.

Even the marriage.



Emie stands in front of the audience. A spectacularly frightening view for the woman, the last time she was in front of this many people was in 2012, when she played a concert in London. Their eyes are all on her, expecting a performance. There's no time for nervousness now, as there's a song to be sung, a performance to be performed, and it won't go on without her.

On the stage stands a small model of a boat, its sail flapping slowly in the air. It'll be useful later

Mae cariad wrth y llyw
Ond rydyn ni i gyd yn gwybod bod
Gen i fy holl amheuon
Czy umiesz w ogóle prowadzić?
Nie jestem głupcem, nie zabawką, nie twoją jedyną
Że wszyscy wiemy
Iż-żmien għadda, kelli biżżejjed

Throughout the first verse, she builds the energy in the arena, preparing this audience for the breakthrough of a chorus. It's a short verse, but it's there for a reason. The screens are a faded blue, showing a seascape not unlike that of her birth village in the lowlands. She's not too familiar with it, but she's found it perfect stageing for her performance.

Credu, credu
Ddim yn credu
Je ne sais pas
Saya tak tahu
Time is up and I’ve had enough
Credu, credu
Ech gleewen net
Bạn không biết?
Credu

After this chorus, filled with flashing lights and spotlights pointing all around, the stage dies down. The display in the back dies down, showing life under the sea, with coral and fish strewn across. This next verse sees a gradual build, with Emie too gradually moving forward towards the audience, down onto the lower area, which gradually lights up with her.

E marama ana ki
Ahau kua oti taatau
We zijn klaar

Liefde staat aan het roer
maar dat weten we allemaal
Ik heb al mijn twijfels
Ehara i a koe te ao
No me mires así
No soy una tonta, no un juguete, no tu única
Știi că mi-am dat seama
Tíminn er liðinn, farðu af stað

The last verse ends, going directly into the chorus. This is identical to the previous chorus, providing a sense of unity in these lyrics written so hastily. The stage lights up once again, as Emie gives it her all.

Credu, credu
Ddim yn credu
Je ne sais pas
Saya tak tahu
Time is up and I’ve had enough
Credu, credu
Ech gleewen net
Bạn không biết?
Credu, credu

After a short instrumental, she's finally ready to give the final push. With all of her might, she amps up her staging, with more extreme visuals. She hops onto the boat, which sways slightly with the force of their impact, and begins to spy the audience from its sides. Halfway through, she jumps back off, running towards the audience to meet them as she reaches the home stretch.

Credu, credu
Ég trúi því ekki
Rajt biżżejjed
Tan an rive e mwen te gen ase
Credu, credu
Ddim yn credu
Peidiwch â gweld?
Credu, credu

It's done. Emie smiles in victory, finally conquering an unconquerable foe. The audience cheers wildly for her, as she leaves the stage beaming.

Love is at the helm
but we all know that
I have all my doubts
Do you even know how to drive?
I am not a fool, not a toy, not your only one
That we all know
Time is up, I’ve had enough

Believe, believe
Don’t believe
I do not know
I do not know
-
Believe, believe,
I don’t believe
Do you not know?
Believe

It’s clear to
Me that we’re done
We are done

Love is at the helm
but we all know that
I have all my doubts
The world isn’t yours
Don’t look at me like that
I am not a fool, not a toy, not your only one
You know I realised
Time is up, off you go

Believe, believe
Don’t believe
I do not know
I do not know
-
Believe, believe,
I don’t believe
Do you not know?
Believe, believe

Believe, believe
I don’t believe
I’ve seen enough
Time is up and I’ve had enough
Believe, believe
Don’t believe
Don’t you see?
Believe, believe
Last edited by Carrelie on Mon Nov 01, 2021 4:59 pm, edited 2 times in total.
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Ignore literally every vaguely political post I made pre-August 2021 my views and understandings have changed significantly :)

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Elejamie
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Posts: 3237
Founded: Jan 31, 2009
Civil Rights Lovefest

Postby Elejamie » Mon Oct 18, 2021 2:37 pm

12. Elejamie

Lisa Park and Her Gang - Love In The Afternoon


Tune: Junko Ohashi - Telephone Number

Image
Top row, left to right: Lisa Park (saxophone, lead vocals), Donald Fairchild (drums), Charlie Modesti (piano, keyboards) sans Aviator sunglasses, Marcos “Marko” Casablancas (guitar). Bottom row, left to right: Carlos Palomino (bass, double bass), Sumi Park (backing vocals), Emi Taemonor (backing vocals)

Lisa Park was born in the Belfast area of Mainsborough, ATMN, on 1st February, 1988. The youngest daughter of three children, she developed an interest in learning the saxophone at a young age after watching a number of performances on TV. While her parents were somewhat supportive and even bought her a saxophone for her sixth birthday, they still wanted her to concentrate on her education. Fortunately for her, she turned out to be a prodigy on the sax, mastering a number of standards by the time she was eight and composing her own works when she was nine. Although she took lengthy breaks from the saxophone every so often, either because of burnout or because other things required her attention, she would get back into the swing of things fairly easily when she did start playing again.

In her first year of high school, she joined the jazz club. There, she met future Gang members Donald Fairchild (born 7th February, 1985) and Charlie Modesti (born 18th April, 1984) and even impressed them with her skills during rehearsals, improvisations and warm-ups. Fairchild was impressed enough with her that he invited her to perform at the local jazz club The Cat Carrier. There she impressed the patrons even though she was merely part of the backing ensemble instead of a main performer. As a result, she would perform there nearly every Friday and Saturday night; this was due to Sunday-Thursday being days when she had to concentrate on school and, even when she missed a performance, it was more often than not because of that. Eventually, during the Summer of 2006, she decided not to go to university but instead formed her own group with Fairchild; Modesti, on the other hand, wasn’t that particularly interested in joining as he only saw music as a hobby.

After making a few hires in William Tucker on horns, Gary Gordon on bass and Diego García (1980-2021) on guitar, the band settled on the name “The Gang”. Both the name and the line-up didn’t last long, however; the band would be renamed “Lisa Park and Her Gang” not too long after due to her essentially becoming the band leader, while Tucker left after a year due to dissatisfaction with the way things were going in his life. He did, however, bring in his replacement in “Smooth” Édgar Vegas (1982-2009) who ended up being a vital part in finding their sound. After releasing a couple of self-titled and self-released EPs, nicknamed “Red” and “Yellow” due to the background colours, the band would then record their first album Roadworks. They were joined by session musician Alex Monteiro on piano, who would later join the band full-time. Furthermore, all the songs were improvised although some had to be trimmed down for the album with the title track being a notable example, as it was trimmed down from its original 22:39 runtime to 13:16; the original song was a popular bootleg before it was included on the 10th Anniversary edition of the album.

The album was released in late 2007 to rave reviews, with a whole heap of praise going towards the title track. Not only was it the only single from the album, albeit as an even more condensed version that lasts just under five minutes, but it would end up being the band’s trademark song as it would be performed at nearly every concert the band did. The album also included a couple of other fan favourites such as “Changed Priorities” and “Dip”. The band would not only go onto The Live Music Show shortly after its release but also went on a small tour to support the album, although Gordon left the band shortly before it began due to the birth of his daughter; he would be replaced by Keith Linton. A live album was recorded while on tour and was released shortly after its conclusion, with a second album being recorded and then eventually released a couple of months after. The album, which was also self-titled but nicknamed “White” for the same reason as the EPs, received positive reviews but not to the extent that Roadworks did and, barring a handful of concerts, there was no tour to support it.

The band would begin work on their third album Universal Indicator in early 2009. However, it was at that point where Vegas’ drug use would become more of a problem, as he would end up hitting the wrong notes more often in rehearsals or pawning his instrument. It got to the point where he had to record his bits separately, instead of the entire band recording live, just so they could use his best possible work. Although he ended up being fired from the band as a result following the completion of the album, he was allowed to return under the caveat that he would get clean while the band was on tour. As a result, Tucker temporarily returned to the band to take his spot while the band went on their first international tour to support it. Unfortunately, despite making good progress at first, Vegas would soon relapse and would die from an accidental overdose in his garage just three and a half weeks before his 27th birthday. The band learned of his just hours before a performance, which they went ahead with but not without a moment of silence and more somber renditions of their songs. Tucker would remain with them throughout the rest of the tour before leaving again at the conclusion; since then, the band have used guest trumpeters instead of hiring a new full-time one and a portion of the band’s royalties goes towards Vegas’ family even for albums where he hasn’t appeared.

After the tour was over and the band had a brief hiatus so they could recuperate, they got to work on their fourth album. Titled Blue Notes, the album was originally going to be a bit more downbeat than the band’s previous work due to the death of Vegas still affecting them. However, while it still kept that downbeat tone for most of it, towards the end the album ended up sounding a lot more positive. This was due to both Park getting married to band manager Andrew Song partway through the recording sessions and the revelation that she was pregnant with her first daughter Grace, which resulted in the band reworking it as a concept album about life and death. The album was released in mid-2010 to some positive reception, with a number of critics calling it their best work since (albeit not as good as) their debut album Roadworks. The band didn’t tour to support it but they did play a handful of concerts in the northwest of the country before going on a hiatus. It was also the last album with Monteiro on piano/keyboards as he left the band shortly before the concerts began to go solo; he would then be replaced by Modesti, who decided to join the band after a lengthy stint in the backing band at The Cat Carrier re-ignited his interest in music.

After taking a couple of years off, either to work on new projects or in Lisa’s case to look after her child, the band got back together in late 2012 to work on their fifth album. However, although the album was still mostly instrumental like their work before it, it was also their first album to feature Lisa Park on vocals as she sang on the very last song on the album. Indeed, she was planning on singing on a few other tracks but she didn’t like the way they turned out so they were left as instrumentals, although the vocal versions were later released as B-sides. García wasn’t a huge fan of this new potential change and left the band while the album was in post-production to form his own travelling jazz improv group, Diego García’s Travelling Band, which would last until its disbanding in February 2020. Although his reasons for his departure were somewhat acrimonious, he was still on good enough terms with Park to invite her to perform with him on a few occasions. Despite his departure the fifth album, titled Sings, was released in July 2013 to mostly positive reviews, although critics shared the same concerns on whether or not the band moving in a vocal direction was a good thing despite praising her singing voice. The band went on tour shortly afterwards where they were joined by two new members: Marcos “Marko” Casablancas (born 19th October, 1983), the former guitarist for the jazz-funk trio Friarbyrd, and Lisa’s cousin Sumi Park (born Park Soo-mi on 14th November, 1991) who provided backing vocals. Although the tour was mostly a domestic one, there were a number of stops abroad including a performance at the Arena of Carrelie in Densmouth, Carrelie (more accurately the constituent country of Dentricia) that was turned into the live album The Shadow Over Densmouth.

Upon the band’s return back home, they took the rest of 2014 off before they got to work on their next album. They carried on with the vocal stylings of the last album and, indeed, added more songs with vocals although Lisa was quick to reassure fans that all of their albums from then on will still be mostly instrumental. Furthermore, they added a new member in Emi Taemonor (born 15th April, 1990) who joined Sumi Park as a backing vocalist. Their sixth album, Dongpo, would be released later that year to some positive reviews from critics who seemed to have gotten used to her singing. The band went on tour to support it, although Fairchild wouldn’t join them as he took some time off following the death of his father from cancer shortly after the release of the album; they would be joined by guest drummers at each location and he would rejoin the band at their last stop back home in Mainsborough before he returned to the band proper. Lisa would become pregnant again during this tour and, following the birth of her second child and first son Jack, the band went on another break. However, during this break, they released a couple of concert DVDs to celebrate the band’s 10th anniversary.

When the band reformed yet again in mid-2017 there was one notable absence. Bassist Keith Linton had left the band to focus on some other projects. For the band’s first couple of performances back they were joined once again by Gordon, who by that point had retired from music to become a teacher, before the band hired a new full-time bassist in Carlos Palomino (born 15th May, 1994). Despite not being as experienced in jazz as his new bandmates, only making the switch to the genre after a couple of attempts at rock stardom not panning out, he was still able to fit into their whole scheme without missing a beat. After a series of impressive warm-up sessions, the band would then go on to record their seventh album The Grey Album. It was fairly successful and led to a successful tour which was capped off with a performance at the Ron Cerveza Jazz Festival where the band performed Roadworks in full for the first time on stage instead of as part of a medley or with improvisations. While they did take a break from releasing new original music for a bit once they returned home and had some time to rest, they would still release a number of collaborative records and even a live album from their performance at the 2010 instalment of the 24 Hours Of Jazz @ Newford just to show that they weren’t on another lengthy hiatus much like they used to be.

The band would then regain the itch to get back into the studio again and, after a lengthy improv session to try and figure out how to keep their sound fresh, they decided to mix up their style once again. They decided to hop on board with the city pop trend that was making a resurgence and, indeed, the album would end up being called City Pop. It was released in January 2020 to massive critical acclaim and the band did a couple of performances to get the word out. A tour was planned for that Summer but had to be scrapped due to the coronavirus pandemic that was sweeping the nation and, indeed, the world. There was no activity from the band until later that year where they joined Achaean-Elejamian singer Lucía Beltrán at the 85th WorldVision Song Contest in Valletta, Malta Comino Gozo. Despite finishing in 12th place with 130 points (and failing to get a single 12), they would collaborate again in December the same year with the resulting album Machimnae Juntos (“Finally Together” with the former word in Korean and the latter in Spanish) being released in 2021. The band is currently working on their 9th album Ambiance, which is due for release in November 2021; the album is dedicated to former guitarist Diego García who had died in a car accident back in May at the age of 41.


In the last competition, Elejamie were represented by Imogene, who were representing the country for the second time after they finished fourth in the 78th edition with their song “Worlds Apart”. Over in Zafizamarrah in the Alezian Union for the 93rd edition, they were performing the song “The End of the World”. The bar was a bit high for them, not just because of their prior performance at the contest, but also the fact that the nation was on a bit of a top ten streak due to IyilRifim and Deni Merinil finishing in 7th place over at the 92nd WorldVision in Darkmania. Despite this they were still able to perform their song fairly well, deciding to take a more minimalist stage approach that harkened back to Eterna’s performance at WV77. It seemed like the song would be another mild favourite, if not to win then at least to finish top five.

Unfortunately, despite a decent performance, they had to be subjected to the one thing that all Elejamian acts dread: the voting. They didn’t do too badly at the start, as they got 10 points from second to vote Beepee to kickstart their points run. Indeed, after a smattering of points (including another 10 from Faraby and back to back 12s from the Achaean Republic and Talvezout), they were in second place with 52 points, just eight behind the leaders from the aforementioned Achaean Republic. Like usual, this is where the good news ended as the second half saw them drop massively. Despite an 8 from Aenglide seeming like things won’t be as bad, there were lengthy gaps in between each set of points which were mostly few and far between. By the time the jury votes were over they had dropped down to 10th place with 70 points. The televote wasn’t much help either as they’d only receive 58 points to finish in 11th place, only missing out on the top ten by a handful of points, thus ensuring that the Legacy of Pain would continue. On the upside, the Achaean Republic finally grabbed their first win and Moorland finished top five on their debut so a hearty round of applause to them.

Unfortunately, after that last spot, ETV had written themselves into a rigamarole. They were originally planning to do a special third placers edition of ElejamieVision to decide who’d be representing the nation at the 94th and 95th editions of the contest. However, due to a number of issues regarding unplanned changes for the 89th and 91st contests, there was now a question of whether or not said competition would actually be a viable option. After a bit of internal debate, they announced that ElejamieVision was put on an indefinite hiatus due to them writing themselves into a corner and both Antonia (who had finished third at the WV88 NF) having to pull out due to prior commitments, Ramón Calvente (who finished third at WV86’s NF) withdrawing due to a lack of interest in participating at the contest and Mália Dimas deciding to weigh out her options before deciding to perform her third placed song It’s A State of Mind on the WorldVision stage.

While it’s unknown whether or not The Humanoids, who had actually finished second in their national final but had to withdraw due to a band injury, will take part in the contest ETV were left with only one name who fortunately decided to participate. Who was that? None other than Lisa Park and Her Gang, who had originally finished third in the national final leading up to the 84th contest in Besen. Furthermore, they agreed to perform the same song at that same NF: “Love In The Afternoon”, a song taken from their 2020 album City Pop. The song, which was inspired by a photograph taken from Lisa’s first date with her now-husband (with her even going back to her self-confessed "overgrown love-struck teenager" days just to write the lyrics even though the date in question happened when she was in her early 20s), would make it the second time the group had participated at the contest. The first time, where they had backed up Lucía Beltrán at the 85th edition, didn’t go so smoothly as they failed to pick up a single set of 12 points and ended up coming 12th with 130 points. So, naturally, they’re hoping to break that record and maybe even pick up a set of 12 or two on the way. They're also hoping to do as well as (if not better than) Mason, who represented the country the last time they were in Marina Point for the 80th edition; going into the last two countries he was just about top of the leaderboard but a set of 12 from Axuva to Ertzei Kishim saw Lika Dia win it for her nation and Mason received absolutely nothing from Todlichebujoku (QFS) which saw him miss out on a podium spot due to tie-breakers.

A week after arriving due to their home nation’s guidelines upon arrival in a foreign nation, the group were ready to hit the town. After all, they had to do something in between rehearsals and improv sessions to make sure they still had it. There were restaurants and art galleries to visit. There was the motor racing circuit on the outskirts of town, which was worth a visit even if there weren’t any races on because they could just have a look around. There was the Prime Boardwalk along the beach, which was a good date spot for Lisa and her husband/manager Andrew. Some of the band even checked out the Party Sur La Plage festival, even if they didn’t perform. It probably helped that parts of the city looked fresh out of the 80s, which would be good inspiration should the band decide to make a more synthy album, take a more jazz-funk vibe or do a sequel album to City Pop. All in all, a fun excursion for everyone involved.

However, they weren’t the only Elejamians arriving in Marina Point. They were be joined by Lewis Montclair (born 13th July, 1975), who was voted a “Rising Star of 2007” by Classical Monthly, was the first black conductor of a major symphony orchestra in Elejamie when he conducted the Orquesta Sinfónica de Nuevo Paraíso in 2010, was the musical director for the Avon Sinfonia from 2013-2018 and is currently doing freelance work. Although he was chosen at complete random and accepted it because he found it a challenge that he would enjoy, fortunately he got along fairly well with both the band and the orchestra and he was able to get everything down pat after a couple of tries. Will this extra touch lead to success or will it result in more disappointment for the small Pacific island nation? There’s only one way to find out.




Once the postcard came to an end, we don’t see a distant shot of the band with the camera slowly zooming in like you would normally expect from Elejamian entries. Instead, it’s a bit like the entry for WV82 where we’re greeted with the conductor himself standing in front of the camera while the audience applauds. He was dressed in a black suit with a white shirt and no tie, as well as a pair of black dress shoes. He also appeared to be standing at the top of the stairs while his orchestra was at the bottom of them. As Lewis took a bow and waved at the camera, a caption underneath read “Conductor: Lewis Montclair”. Underneath that was a caption that said “Orchestra kindly provided by the NTR Philharmonia”. As he turned around and called the orchestra to attention, the camera then cut to the foot of the bottom stage where the band was. Everyone was kind of spread all over the place, although as you’d expect Charlie was furthest on the left and didn’t seem to be behind a piano or keyboard, Donald was right at the back, Lisa was front and centre and Sumi and Emi were somewhere on the right. At that point, the caption showing the name of the country, band and song that’s about to play was shown at the bottom of the screen.

Shortly after the audience stopped applauding the camera cut to a close-up of Marko’s fingers as he started to strum the opening. It then cut to a more distant shot of him as he strummed along while he walked from side to side. He was wearing a plain white buttoned-up shirt with a black and grey pinstripe waistcoat, matching suit trousers and a pair of black shoes and he was playing a blue, black and white Rickenbacker 330 (or your universe’s equivalent of said guitar). After the camera concentrated on him playing his guitar, with Carlos creeping in the shot every now and then, the camera quickly cut over to the trumpeters providing a brass sting. All the men in the orchestra were wearing black suits with white shirts and either black neckties or black bow ties, whereas the women were simply wearing black dresses; all of them, however, were wearing black shoes. Then the camera quickly cut over to Lisa Park, who was standing in front of the microphone with a hand on it. As she sang into it, she started to take it off the stand and walked around with it. The camera simply followed her around the stage as she sang, as well as twirled the mic in between the second and third lines. Toward the end of the fourth line, she simply stood in the middle of the front of the stage and pulled a small pose.

As for what the performance was like? The tunnel and rear projector simply showed a blue sky background with the odd cloud and even a faint sun, with the lights behind them alternating between different shades of blue and yellow. The floor itself was made to look like green grass, although there were bits where it cut off because it was displaying a bit of a river (such as the case of the lower stage) or a bit of path (much like the stairs and a bit of the upper stage). There were lights at the foot of the stage but they tended to alternate between shining purple or white. The group had elected to go for a somewhat simple design, partly because they didn't want to distract the orchestra and their conductor from their jobs but also because it wasn't really the sort of song or performance that requires a huge amount of effects.

Oh yeah~
Love in the afternoon!
Oh yeah~
Love in the afternoon!


After Lisa sang the last line, there was a cut to the violinists on the other stage before the camera panned over to the brass section. The camera then cut again to an overhead shot of both stages before the camera did a slow diagonal tilt and then lowered itself down to the bottom stage just as Lisa started to sing again. The camera was also far back enough that the audience back home could see what she was wearing: A white blouse with the top button undone, a pair of green bell-bottom slacks and a pair of red platform high-heels; she was also wearing some faint red lip gloss and her hair was meticulously styled in a way to make it look untamed. She simply moved around the stage with mic in hand and interacted with her bandmates in one way or another, usually with an affectionate nod or a smile. Towards the end of the sixth line, there was a cut to the violinists playing their instruments before it cut to Lisa spinning around to face the audience so she can sing the next line; this was then followed by a cut to her backing singers (both of whom were wearing sparkly red dresses and red high heels that were a bit less platformy and had a thinner heel, with some red lipstick to complete their look) singing the bit in the brackets.

After that, it was a smash cut back to Lisa shrugging her shoulders while she was standing next to Charlie, who was wearing nearly the same outfit as he did back in Valletta (a brown vest, white shirt, white armband that was now more visible than last time, black trousers and black shoes) but, instead of being behind a piano or a keyboard, he was sat down on a crate playing an accordion; as the song didn’t require a piano or a keyboard but she still wanted him to be involved, he elected to play an instrument that he was fairly decent at even though he wasn’t world class at it. The two of them looked at each other for a brief moment before he nodded and went back to concentrating on his instrument. Towards the end of the verse Lisa then walked to the middle of the stage, leaned back as she sang the last couple of words on the penultimate line as she was singing them with a bit of emphasis and, as she sang the last line, she pointed at herself before pointing to a random person all the way at the back of the audience.

The sun is shining brightly
Sounds like the perfect time
To meet him
Waiting at the park and
I see him walk up to me and
He’s handsome
What else to do? (What else to do?)
Nothing else to do but have some fun
Might walk through the park or
Watch a movie where it’s just
Me and him


After that bit, we then cut over to Donald doing a drum fill to lead into the chorus. He was also wearing the same outfit he wore when he last performed at the contest: a white trilby with a black ribbon around it, a white unbuttoned jacket, a black buttoned-up shirt, a pair of white suit trousers and a pair of black dress shoes. He had a fairly simple five piece drum set up, with woody brown-coloured sides and white skins and the band’s name embossed on the bass drum to boot. When it was time for the chorus to start, Lisa picked up the mic stand and shuffled back and forth as if she was dancing with it. Indeed, as she did that, she would throw in a couple of spins as well while she danced with it, although she unravelled the microphone cable around her when she was standing still as she didn’t want to fall over. Fortunately she was able to do that relatively OK as it was during a bit where she wasn’t singing. Once she was free, she carried on dancing with it before she put it down roughly where it was earlier and then stretched an arm out to wave it a little bit before she moved forward a little bit more.

Oh yeah~
Love in the afternoon!
Oh yeah~
Love in the afternoon!


After the audience gets a shot of Lewis moving his fingers around to conduct while the trumpeters in the background play their instruments, we then get a cut to the top right corner of the stage. The camera then moved down diagonally where it not only passed by Lewis and the orchestra but also the backing band until it reached Lisa, who was sitting down at the foot of the stage. The camera zoomed in as she waved the upper half of her body from side to side while she sang, although she stopped towards the end of the third line. She then got up and walked back up the stairs with a spring in her step before the camera then cut over to Carlos playing his bass while he was shuffling his shoulders a little bit. Much like in Valletta, he was dressed a bit more casually compared to his bandmates. In this case, he was dressed in a long-sleeved white shirt with the collar popped and the top two buttons unbuttoned, a pair of black jeans and a pair of black and white trainers. He was also playing an all red bass with a sort of weathered effect, with a sticker for the Ángeles de la Playa de Rocas ice hockey team plastered in the bottom left with another sticker underneath that saying “CAMPEONES 2015-16”. After the camera concentrated on him for a little bit, there was a brief shot of Charlie playing his instrument before the camera returned to Lisa as she sang the end of the sixth line.

There was another shot of the violinists playing their instruments, with the difference being that a bit of Lewis was right in the shot, before the cameras returned to Lisa. She was standing in a somewhat confident pose, with her legs spread apart a little bit and her hand on her waist; she was also making sure that she was standing in the same shot as her backing singers because when they sang the bit in the brackets the camera focused on them before it went back to focusing on Lisa singing the rest of the verse. As she walked around the stage, she simply shrugged and raised her palm to the ceiling as she sang the eight line before resting her shoulders and shaking her head a little bit when it came to the line after. She carried on moving around the stage doing slight interactions with her bandmates before she leaned back a little bit towards the end of the penultimate line, again because it was sung with a bit of emphasis. When it came to that last line she simply smiled at the audience and nodded her head at the same speed and strength as she did when she shook it earlier.

The blind date’s going well and
I think there’s something between us
It’s like magic
Walking in the park, then
A dinner date by the river shore
It was so fun
Now is the time (now is the time)
Will we ever meet again?
I do not know
Maybe I should ask him
But then he asked me and I
I said yes


There was another drum fill by Donald before we then returned to Lisa shuffling around the stage to sing the chorus. There was a brief shot of both Sumi and Emi leaning into the same microphone to sing the second line before we go back to Lisa during the brief instrumental break in between the second and third lines. She held the microphone cable in her other hand so she could spin the microphone around a few times, almost as if she was trying to make a lasso, a habit of hers that would show up in songs where she would sing. She caught it with the hand she was using to hold onto it throughout the song, simply because she felt she couldn’t do it one handed before she carried on with the song. As she sang the second half of the chorus, she put the microphone back onto the stand and grabbed her saxophone off of the stand next to it. She held it up in one hand, with both of her arms stretched out wide, as she sang the next line before she wore the strap so she could play it relatively comfortably.

Oh yeah~
Love in the afternoon!
Oh yeah~
Love in the afternoon!


Once she got herself ready, which included both her taking a deep breath and her taking off the cap while the cameras focused on the orchestra behind them, Lisa then proceeded to play her trademark instrument. It was a simple alto saxophone with a microphone attached to the bell, just so it could be heard clearer and louder than the saxophones being used as part of the orchestra. Much like she did when she was singing earlier, she walked all over the stage again with a spring in her step and she even bobbed her head a little bit as she played. She stopped at one point and turned her head, if only so she could get her breath back quickly, before she carried on playing. There was a brief cut to Donald playing his drums before the camera moved over to Marko strumming his guitar while he looked down at the ground. The camera then cut to a close-up of Lisa hitting the keys of her saxophone before it zoomed out. Towards the end of her piece, she shook her head while she played it before she stopped. At that point she immediately tilted her head back, turned around on the spot and pointed at the orchestra above her. The camera then went on to cut to four different shots, one after the other and all from different angles and distances, of the horn section providing the necessary brass sting.

Afterwards, Lisa started to sing the outro while she took the saxophone strap off and put her instrument down in its stand. She rested her hand on the microphone as she sang into it and shuffled her body throughout the entire bit, although when she wasn’t singing she took her hand off of it. The camera concentrated on her for the first four lines with a cut to Donald drumming a bit furiously after that fourth line but, when it got to the bit in brackets in the fifth line, the camera cut over to Sumi and Emi; at first Sumi leaned into the mic before Emi joined her shortly afterwards and the camera stayed on them throughout the sixth line. After that, the camera then cut to Carlos getting into the groove while he played his bass before it cut back to Lisa singing. At this point the lights dimmed a little bit, enough to be noticeable but not enough to be any level of dark. After the eighth line, Marko walked into the shot of Donald playing his drums although fortunately it was more a “let’s play together” sort of thing rather than him ruining his moment. The camera returned to Lisa for the following line and, at the end of the tenth, we then cut to Charlie playing the accordion. We returned to Lisa for the line after that but, towards the end of the very last line of the song, they did something different. More on that later.

Oh yeah~
Love in the afternoon!
Oh yeah~
Love in the afternoon!
Oh yeah~ (Oh yeah~ Oh yeah~)
Love in the afternoon!
Oh yeah~ (Oh yeah~ Oh yeah~)
Love in the afternoon!
Oh yeah~ (Oh yeah~ Oh yeah~)
Love in the afternoon!
Oh yeah~ (Oh yeah~ Oh yeah~)
Love in the afternoon!


As this was another one of those songs that would repeat until it faded out, which was an absolute rarity for the band which never really happened in their albums before or after the on this was on but they kind of wanted to evoke that whole city pop era, the band stopped playing their instruments on that last line while Lisa sang and the orchestra played theirs. Fortunately, the orchestra had their volume up a little bit more so that it felt a little bit less janky. Not to mention that the camera was concentrating on them for a bit before they then played a small sting. At that point, the camera then cut to the lower stage and everyone pulled a pose just to let the audience know that the song was over: Lisa and her backing singers just had a hand in the air, Carlos held his bass guitar like a gun, Marko held his regular electric guitar up in the air, Charlie rested one of his arms on the accordion and Donald just leaned casually in his seat with both sticks in hand.

Once the song was officially over, there was a round of applause from the audience, as well as a bit of cheering. While it wasn’t exactly a wild response, there were a few people who appeared to really enjoy the song. And, of course, the Elejamian fans who wanted to show support for their own entry, as evidenced by a flag or two being waved in the crowd shot. The band then stood at the foot of the stage and, forming a human chain, all did a bow. It wasn’t at the same time, as Carlos appeared to bow a second before his bandmates, but it was still a nice thing to do. They then gave a round of applause themselves before Lisa went back to the microphone in the stand to say “Thank you Marina Point!” Afterwards, the band began to make their way backstage to the green room. While they were confident that they had given a good performance, coupled with the fact that they weren’t too bothered about where they would place (even though failing to score a 12 again would be a bit of a bother to them), they were still at the mercy of the juries and the viewers back home. Will they be able to land a good result or will it be another disappointment? While they waited for that question to be solved, they got ready to watch Beepee’s performance which will no doubt entertain them as they listened to her tune at some point and had something positive to say about it in one way or another. And maybe have a couple of drinks too.
Last edited by Elejamie on Sat Oct 30, 2021 9:36 am, edited 9 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 / RETIRED FROM NS RUGBY

OOC: Miserable opinionated hipster.
SISU OUT!

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Beepee
Chargé d'Affaires
 
Posts: 364
Founded: Jan 20, 2018
Democratic Socialists

Postby Beepee » Mon Oct 18, 2021 3:08 pm

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13. 
"Heaven or Hell"
Performed by
Paenda Behr

Tune: "Ich bin so verliebt" - Marie Reim


BACKGROUND

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Pænda Behr is twenty-six years old and is the younger sister of Beepeean schlager hunk Teddy Behr.  Worldvision fans will remember Teddy Behr from his turns at Worldvision 88and also at last cycles WorldVision 93.

Like her older, more illustrious brother, Pænda grow up in the small town of Wilburforce.   Pænda always felt that whilst her bookish brother was allowed to explore the village with relative freedom she was expected to stay home and cook and clean and do the domestic chores.  As a result, resentment grew between Pænda and Teddy and Chaney.  She became jealous of Teddy's enthusiasm for schlager music and the difficulties she faced in reaching her goals.  As a result Pænda left Wilburforce at the age of 17 and escaped to the the city.

Upon arriving she undertook a fitness course and spent a couple of years as a personal trainer at a small women's only gym.  She remained estranged from her family.  When Teddy took part in the Beepeean Song Contest, she reached out to him and the pair have spent the past several months attempting to build a relationship.

Discovered singing at a karaoke bar on a friends hen night.  She was signed to Teddy's record label.

Heaven or Hell will be her first single and  will show her edgier side.


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PERFORMANCE


The stagehands work tirelessly as the postcard plays for the televisual audience.  They place a number of pyrotechnics around the upper and lower stages for use later in the performance.

Pænda Behr makes her way centre stage of the upper level with backing dancers Zim Merfraim and Stan Nalyft.

Pænda is dressed in a sparkling red and white half and half evening gown finished with diamanté crystals and a plunging neckline. (Looking like a glammed up, cinched version of Jacques Houdek but without the manly beard).

The lights are off in the main hall of the NEXPRO Arena as the postcard ends, and and stagehands scarper offstage as the performance begins.

The stage lights flip to red spreading deep scarlets and crimson across the auditorium.

An electric guitar and drum beat echoes through the monstrous, cavernous auditorium.  The triangular stage extending down and out in front of her.  Pænda steadies herself for the performance ahead.

The Nekenese director takes the brief moments before Pænda begins to highlight the full glory of the triangular stage design, before cutting to a close up of Pænda as she begins. 


I knew from the start
That you'd break my heart
But I wasn't aware
How much hurt I'd find there


Pænda looks coyly, but with the expression of a woman who knows her worth and just how to use her sexuality to her utmost advantage.  Her tender eyelids are all a  flutter down the camera to the viewing public.


There's nothing to say
No games left to play
You have spun me around
Dont know if I'm up or I'm down


As she performs the next line, she extends her arms and us liften up in the air and lowered back down by Stan and Zim, to give the impression of raising and falling.


I'm flying high or falling to the ground


With the chorus beginning the rear LED background screen changes to a blue sky with some fluffy white clouds a shiny day. But as it does the various pyrotechnics dotted about the stage burst into flame.... (see heaven or hell.... its all about the imagery!)   The flames flicker in pots and stands dotted about the stage.

Pænda and the boys dance in a choreographed piece with plenty of shoulders and leaning in.  Pænda's red and white diamanté dress sparkling under the lights and she turns from side to side as she sings Heaven and Hell, the white side (heaven) facing the audience and then the red (hell).

It should be noted that both Zim and Stan are dressed as angels in white denim  with large feather wings (Think Roko from Dora 2019).


Am I in Heaven or Hell?
I want to believe
That you were the angel looking over me
Am I in Heaven or Hell?
But now all that I hear
Are all of my demons whispering in my ear
Am I in Heaven or
Hell.....?

Am I in Hell....?


Zim and Pænda then take time to dance passionately in the style of a tango as the next stanza is sung. 


If I could take you back
Get my life back on track
I dont know if I would
Or if even I could


As the next part is sung, Pænda pushes Zimm away dramatically ripping of his wings, which also pulls of the rest of his outfit to reveal a hidden outfit in red, representing the demon in him as so now there's a demon and an angel either side of Pænda.


The pain I went through
In my time with you
Ended the day
The day you walked away


All these dark clouds, the sun is shining now


As the next chorus, begins the three onstage contiune to dance  the choreographed routine.

 

Am I in Heaven or Hell?
The angel in me
Is spreading its wings and is setting me free
Am I in Heaven or Hell?
The demon I saw
Taking me to back where I was before
Am I in Heaven or
Hell.....?

Am I in Hell....?


The Musical break occurs and the three onstage dance stompily to the heavy drum beat.  With Zim and Stan moving closer, the good and the bad demon now fighting over Pænda clawing at her from either side, in an sensual tug of war.  Each trying to overcome the other.  Pænd allays along flicking her hair from side to side.


Am I in Heaven or Hell?


Oooh-oh  Am I in Heaven or Hell...?


As the musical interlude ends and before the final chorus, with a sleight of hand uncoupling her dress, Zim and Stan pull off the red and white sparly dress to leave wear a glorious silver leotard adorned with swarovski crystal (Think any female performer from ESC 2021 basically :) ).  Pænda steps forward out of her previous dress now lying then on the ground.  Reborn as her own woman as she sings the final chorus and Zim and Stan make their way off stage.


Am I in Heaven or Hell?
I want to believe
That you were the angel looking over me
Am I in Heaven or Hell.........?
But now all that I hear
Are all of my demons whispering in my ear
Am I in Heaven or
Hell.....?


Heaven?

Or Hell?


As the final line is sung the stage lights fade to black and Pændas vocals echo round the massive NEXPRO Arena.


Please... Am I in Heaven or Hell?


With that the song is over, Zim and Stan return to the stage and they, together with Pænda bow and thank the crowd, who appear to have thoroughly enjoyed their Beepeean Schlager-Rock (and who wouldn't).

After the Nekonese director cuts to the Alezian Union postcard, the overworked stage hands run onto stage to prepare for the next delightful entry.
Last edited by Beepee on Sun Oct 31, 2021 5:08 am, edited 6 times in total.

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Alezian Union
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Posts: 99
Founded: Apr 30, 2021
Left-wing Utopia

Postby Alezian Union » Mon Oct 18, 2021 4:12 pm



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So, everyone seems to be wondering, how did the Alezian Union do after Worldvision 93? What is that? No? That's fine... Anyway, here's a picture of poorly drawn cartoon representation of the Alezian Union on how the Alezians reacted after Worldvision 93.


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The Alezian Union debuted in Worldvision 90, quickly after the nation was created from the reunification of North Alezia and South Alezia, plus Mosin-Nagan and Pantabang Islands. Since then, the nation always entered the top 10, with the best being NESIANA's 7th place.

Due to this excellent result, question arised in the Alezian Union whether there's a possibility of the nation ever winning the competition. While it is highly possible, small part of Alezians are getting impatient about it, contacting the Alezian Broadcasting Authority to try, push, and show what the Alezian Union can do in international music competitions.

Last edition, Alezians celebrated the fact that the competition was finally brought to their home nation, where the 93rd edition of the Worldvision Song Contest was hosted in the National Stadium of the Metropolitan City of Zafizamarrah. The nation was indeed proud of their achievement, finally being able to introduce Alezia to the multiverse. They really pushed everything they had in that hosting. ARICO was called, PETROLEZIA was called, LAZULI CHICKEN was called, every single Alezian at least contributed "something" to the Worldvision Song Contest 93's success. And it paid off, the competition was met with positive acclaim.

According to the rules of the Alezian Broadcasting Authority, in order to ensure fairness where all regions would have a shot in showcasing their regional musical culture, a cycle system was enacted where each region would take turns participating in behalf of the Alezian Union. And this time, Mosin-Nagan got the turn to participate in Worldvision 94 in Marina Point, Nekoni. And as usual, the region participating definitely felt pressure since the Alezian Union has a stellar record that they don't want to destroy anytime soon.

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Aziz-Lutfi Garanov in a promotional photoshoot a week before
his departure to Marina Point.

Aziz-Lutfi Garanov (real name Azizlan-Lutfauriyan Garanoviyan) was born in Dagi, Trishi, Mosin-Nagan Territory, Tel Hadiv, North Alezia (now becomes the separate region of Mosin-Nagan after the Alezian Reunification) in 19th of August 1999. He's the youngest of three children of Heineken Auriyan and Rissera Garanoviyan.

Since he was little, he has learned to sing and enjoy music. Heineken Auriyan himself was a pretty well known singer in Mosin-Nagan, even representing the region in AleziRadio Festival of Songs 1989 in Basna Kota. While Aziz's father end up receiving a bottom half placement of 13th place, Heineken end up releasing popular albums in Mosin-Nagan throughout 1989 to 1999. Thanks to this, Aziz learnt a lot from his father on how to sing, how to produce albums, and other things related to singing and music production.

Aziz himself has shown excellent ability in singing, representing his school many times throughout his school life, even winning the Territorial Students Music Competition that was held in Aaren, Daya Island in 2015 that was held between students of Mosin-Nagan, Daya Island, and Northern Pantabang Islands. In his senior high school, he even created a band together with Benjamin Banatayan-Auri, Isabel Naganyan, and Huzairi Al Husain called "Time Killers".

However, after a few gigs (They even got to the National Rock Band Show of 2017 in the National Stadium of Zafizamarrah) and years later, he and the band went separate ways after Aziz got a contract agreement on a solo career with LOMBARDY RECORDS. The band took it well, and actually supported him, telling him that they'll be ready if he wanted to do a collaboration.

LOMBARDY RECORDS provided Aziz with an education in the Music Institute of Alezia in Metropolitan Zafizamarrah, where he graduated with a Music Production degree last year. During his University years, LOMBARDY RECORDS also helped Aziz launch his debut album "Guessing" in 2019, and then releasing singles throughout 2020 such as "Crylight", "In Your Heart (And Possibly Mine)", and "Trishi" (this one is a cover of a patriotic song).

Previously, Aziz tried to represent Mosin-Nagan in AleziRadio Festival of Songs 2018 with the song "ნუ გამომწვევ მე" (Don't Challenge Me). However, in the regional preselection he failed to get either 1st or 2nd place, having to be settled with 3rd place. However, that didn't put his competitive spirit down.

After noticing and earning information about Worldvision, Aziz tried to represent Tel Hadiv (Aziz can't represent Mosin-Nagan as it was still a territory under Tel Hadiv before reunification) in the North Alezian preselection many times before (Season 3, Season 5, Season 7), however he failed to enter the preselection every single time.

When he was about to give up, a month ago Aziz contacted his friends from the Time-Killers about collaborating for Worldvision. They agreed and Aziz together with the Time-Killers finally won the Mosin-Naganese Preselection for Worldvision, finally able to represent the Alezian Union in Marina Point.

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From left to right, Benjamin Banatayan-Auri, Isabel Naganyan, Huzairi Al Husain


Time Killers is a Mosin-Naganese band created back in 2016 consisting of Benjamin Banatayan-Auri as main guitarist, Isabel Naganyan as drummer, Huzairi Al Husain as bass guitarist, and until 2018, Aziz Lutfi-Garanov as vocalist (Benjamin took the role as vocalist after Aziz left the band). While the four has been friends since elementary school, the band was only created much later in Orange High School in Dagi, 10 kilometers from the outer boundary of Trishi, the band has been well known by teens throughout Mosin-Nagan.

  • BENJAMIN BANATAYAN-AURI is the leader of the band, currently holding the position as the main guitarist and vocalist. Born in Gnerovayan which is a suburb in Dagi on 27th of December 1999, Benjamin has been learning the guitar since he was 10. The entire idea of making the band came from Benjamin himself. Benjamin is also the one who composed most of the songs the band released, including the song they'll sing in Worldvision which he wrote together with Aziz.
  • ISABEL NAGANYAN is the drummer of the band. Born in Dagi on 15th of November 1998, Isabel was the oldest member of the group. She has shown interest in drumming since she was 7, practicing so much that she was already put into gigs when she was 9. However, Isabel's drumming career was almost put into a full stop when she was 17 when her uncle and aunt didn't want her to "play the game of boys". However, her parents and her best friends defended Isabel saying that it's "who she is", until Isabel can finally continue drumming without objection.
  • HUZAIRI AL HUSAIN who played in the band as the bass guitarist might as well be considered the "special case" of the band in various ways. He was the youngest (born in 28th of January 2000), He was the only non Mosin-Naganer in the band (born in Al Hawrazayn, Zafizamarrah, North Alezia), and he was the only one in the group who went to a non-musical or even artistic education in his tertiary (he graduated at the University of Alezia, earning a degree in Accounting and Economic Studies. Even through University, however, Huzairi continues participating in the band thanks to the internet and online collaboration. While Aziz can do that as well, Aziz was still under contract at the time)yes he's the nerd in the group

The band's name came from the fact that the four used to usually gather to "kill time", and the finalized name idea came from Huzairi. Previously they considered Cobra (too generic said Isabel), Liars (almost went with this, but it didn't click), The Rainbow (was submitted by Aziz as a joke, no one liked it), and Dagi-fiers (too "eh").

The band also considered trying for Worldvision at few points (without Aziz in this occasion), however, like Aziz, they also failed to even enter Alma at the time. So when Aziz contacted them back, they felt like it's time they joined forces and strike again. Initially, they've thought of refusing the offer. However, Isabel suggested that they should accept it anyway because this is a chance they potentially won't see anymore. So, if you asked who got the idea to enter Worldvision from the Time Killers side, it's everyone's idea, but Isabel deserves more percentages of the credit.

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"I've Faith In You" was a song about helping each other in the worst of times, fighting together against anything bad, and not betraying each other. The song talks about someone convincing his friend to help each other no matter what happens, even if it consists of life-endangering situations.

The idea of the song came from Aziz-Lutfi Garanov and Benjamin Banatayan-Auri when they had a small talk in a cafe in Trishi. During that small talk, Benjamin talked about how his best friend "stabbed him in the back" by cheating with Benjamin's (now ex) girlfriend (whom Benjamin would've propose at in few years time). And thus Benjamin continued on about trust, broken relationship both in love and friendship, and betrayal, to the point that it lost the context. At that point he also asked Aziz-Lutfi whether he would betray him as a friend, which Aziz-Lutfi answered no since they got a good friendship going on.

That talk inspired both of them to write a song about what Benjamin was talking about. The title of the song itself came directly from what Benjamin said in that small talk. Most of the lyrics in the song was everything that Benjamin said where it then was dramatized as if the matter was much more deadly. While writing the song, both discussed about the relation between trust and time, and thus comes the addition of time. The concept of Time was also inspired from Islamic teachings about the need to savor time or else it would be a waste or loss.

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HD: Habisyul Damaqqi (Host of That's Tea)
ALG : Aziz-Lutfi Garanov
BBA : Benjamin Banatayan-Auri


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HD: Say that this is getting tedious, everytime Worldvision was arriving, there's always a "That's Tea" episode coming, revealing who will represent this grand nation in Marina Point. And you know what is tedious? Keeping everyone waiting for the best show on ABA Channel 2. Live from Studio 5 of ABASphere, Ladies and Gentlemen, I'm Habisyul Damaqqi your friendly host and welcome to....

HD + Audience: THHAAAAAAAAATT'SSS TEEA!

(All people in the studio points to a glass (not cup) of tea while the camera that pointed into it zoomed out while the jingle plays.
The jingle ends and the audience clapped.)

HD: And welcome back to another episode of That's Tea. Well, we all knew, that the Alezian Union has FINALLY hosted a massive international event, and that is Worldvision Song Contest 93. Please give an applause to the organizers who have worked hard to bring the contest here.

(the audience roared in excitement)

HD: Too bad it's already over, and everyone packed their bags away from Zafizamarrah. And they should be, because the traffic here can be scary sometimes...

(the audience laughed)

HD: A-nyway, the Worldvision Song Contest is a cycle of "the last contest ended - everyone goes home - IBA opened admission to the competition - we sent a song - we got top 10 - the contest ended" and repeat. And after 93, surely we got 94. That's a quick number lesson for ya. Also, the competition would once again be hosted in Nekoni after we beat them in the bidding process in 93. Good for them!

(the audience applaused)

HD: Surely, we need to make a good impression there just like they making a good impression here! And, I have to say, surely, the nation is getting more and more eager to finally touch that Worldvision trophy. And the responsibilty of making sure that is a possibility are given to ABA Regional Mosin-Nagan, completing the cycle.

(the audience let out an oblivious ooh)

HD: And lately, we can't forget that the director of ABA Mosin-Nagan said something in an interview broadcasted live on yesterday's Newsreel/18. To remind you all, this is how it's gone.

(Habisyul clicked a button on the remote he's holding, which prompted a screen to slide down from the ceiling and play a quick video.)

Mosin-Nagan is very ready to break the status quo that the Alezian Union is currently facing. We'll bring quality music, quality performers, quality staging, quality everything. Worldvision won't be much a challenge to us.

- Herzel Dargashelvin, Director of ABA Regional Mosin-Nagan


(the audience applaused after the video ended, Habisyul clicked the remote again, sliding the screen back up)

HD: And this is the first time someone had the balls to say something like that. I think this has something to do with their confidence of them selecting the best song there is? And the best entrants there are? Is their confidence justified? Let's find out ourselves as we invite the composers of the Alezian entry this edition, AZIZ-LUTFI GARANOV and BENJAMIN BANATAYAN-AURI!

(the audience applaused crazily when Aziz and Benjamin became visible on the screen on the opposite side of the chair, as both are calling from Marina Point, more exactly, the NEXPRO Arena.)

HD: Welcome, Aziz, Benjamin. You're definitely ready to spill whatever tea there is.

BBA: Thank you very much, and we surely have not just normal tea, but jasmine tea to spill here.

ALG: Truly. We also have more ice cubes and sugar cubes for everyone.

(the audience let out an ooh) (note: Jasmine tea and ice cubes/sugar cubes are Alezian slang for "juicier confirmation of rumors")

HD: Wow, even the performers are confident about this, more than Andi Robi Idris Novogrody back in WHF 59 where we thought we would win easily! Nevermind that, why are both you, aka Aziz Lutfi-Garanov ft. Time Killers and the ABA Regional Mosin-Nagan were confident about "breaking the status quo" ? I mean, let's face it, even the BIG TWO are not that confident about doing better than our usual 8th to 10th in previous Worldvisions.

ALG: Hmm... I think our "daring" position has something to do with how we feel about the world's expectation. The Alezian Union already shown themselves to do well, even given the right to host one edition ago, but they thought that we always worry about losing everything so much that they thought we always took a "safe" position every single time, and surely they might get tired of that attitude. So perhaps we should try and do it with a flare of dare this time.

HD: Huh, yet I wonder, we're talking about Mosin-Nagan. The region with, sorry, the worst overall result last Alma. Why do y'all got confident about this?

BBA: I think ABA Mosin-Nagan would simply wanted to move on from Alma, and think about their turn at Worldvision. I think we all wanted to see a much more confident and fearless Alezian Union. So hopefully we're going to deliver that. Even though it's a risky decision to go all in where if we lose more than we expected, we might lose credibility in the Alezian public.

HD: Okay, now up to the next question, how is Marina Point?

BBA: Oh, it's marvelous. I mean, the NTR team has been very helpful, and they can make the Alezian entry look like it's more top class than ever before! Beautiful, really. The instruments and sound work are good, the stage and camera work is marvelous, somewhat reminding you all of the last edition's stage in Zafizamarrah, the lighting, oh boy, can't forget the lighting. We're going to push its limits! Veeeery crazy!

ALG: And the city itself, it's scenic, like, I like watching the coast and everything, and they got that served beautifully. I mean, me and the Time Killers got to literally "kill time" in the beaches and enjoy some BBQ. Really great. Although I'll miss Zafizamarrah's skyscrapers, this is an update of scenery! La Grande Plage is Nekoni's Mizahauri Beach, maybe even better! I mean, we have beaches in Dagi, but this is something fantastic on its own!

HD: Oooh, what an endorsement! This might encourage Alezians to visit Nekoni. Seems like a good nation, Truly, truly. NOW, We can't forget our pre-Worldvision broadcast without the usual segment! Bring the rolling text!

(A small wide screen slides down from the ceiling, and with a snap from Habisyul's fingers, the screen turns on and start's showing the words of "SPILL THE TEA")

HD: Ah! It's that time of the hour again! Spill The Tea it is! Now, what is the thing we need to spill today?

(The wide screen changes it's contents to show a rolling text that is written "WORLDVISION INVOLVEMENT")

HD: And we're back to this segment. Okay, you two have 15 seconds to explain how you got into Worldvision, else those two glass of tea would spill over your head. Three, two, one, START! (timer started ticking)

ALG: I'll say it, uhh... It's the idea of everyone, really. However, the concept of reuniting me with the Time Killers is Isabel's idea, yeah. So unlike other selections where the region's ABA call upon someone, this time, we kinda contacted the ABA. They said they're having a-

HD: 5 seconds left!

ALG: AH! A SECRET NATIONAL FINAL WHICH WE WON AND HERE WE ARE!

HD: Time's up! That was lame... Everyone got to spill their tea quick enough we can't spill actual tea on anyone... Everyone told everything quickly.

BBA: Haha, anyway, I have to say, if anyone's wondering where Isabel and Huzairi are, we tried inviting both of them too, but they are in the opposite side of the backstage doing additional preparations.

HD: Well surely if both of the names mentioned noticed, make sure to wave your hand at the TV screen, until you realize that there are more than 1 Isabel and more than 1 Huzairi and all of them realizing that this is not an online meeting screen. I would love seeing some of their reactions on the next episode on the Random segment of this show. UP TO THE NEXT QUESTION, how are the preparations going?

ALG: It's going well, we have our clothes figured out, choreography figured out, Got a television person to ensure that nothing goes wrong in the Alezian entry, soundwork, microphones, camerawork, etc. etc.

HD: And the last thing, if this were a collaboration between an ex member and the remaining members of Time Killers, wouldn't it be better to just go with Time Killers?

ALG: Well, this is just a one time occasion. After this, we're going our separate ways again. The reason why we don't just go with Time Killers is because well, we're not coming back together.

BBA: Yes, and we feel like it's more cool to get Aziz in the spotlight more y'know, because without him and his solo experience, the taste won't just be there. Even though we're separate music wise, we won't hesitate to collaborate more. We even got a single in plan!

HD: Well we love to hear that surely. And with that, after the ad break we'll play the song that will represent the Alezian Union in this edition of the Worldvision Song Contest in Marina Point, Nekoni. AND, before I leave, I have to say, don't forget to watch the final of the Worldvision Song Contest next Sunday on 4 AM, live from the OTHER channel next door, ABA Channel One! And pray for our delegation because we need a miracle at this point to hopefully one day WIN the whole contest, ya hear me?

(the audience applaused)

HD: Glad y'all understood. I'm Habisyul Damaqqi your handsome host with Aziz-Lutfi Garanov and Benjamin Banatayan-Auri, you've been watching a segment of!

HD + ALG + BBA + Audience: THAAAAAAT'S TEA!

(All people in the studio points to a glass (not cup) of tea while the camera that pointed into it zoomed into it while the jingle plays.
The jingle ends and the audience clapped.)


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The postcard ended, where after that it shows the Alezian team standing on the triangular stage. The audience's applause are starting to die down for the entry to begin. Isabella's drumsticks clap against each other in order to start the cue. 1... 2... 1, 2, 3, 4

Suddenly the upper lights of the stage starts to move outwards showing a blue light as the Time Killers started harmonizing the guitars and the drums together, then again, then again. After the third harmonization, the view changes to show the Time Killers from near. Where Benjamin, Isabel, and Huzairi played on their instruments intensely. After a few bangs, Benjamin started playing a few seconds of the solo followed by Huzairi playing on the background. As this happens, the lights dimmed off, leaving an overhead light to reveal Aziz-Lutfi Garanov facing away from the audience, holding the microphone. As the cue for Aziz-Lutfi arrives, he pivoted towards the audience which was met with applause, facing the camera and started walking.


Would you dare to fight,
Would you dare to struggle,
For I don't want to do it alone


Followed by the overhead light, Aziz-Lutfi then walked towards Benjamin, where they both sung the "full stop, nothing to write" part, before Aziz-Lutfi left him walking to the center of the stage. After that, Aziz-Lutfi closed his eyes.

And the story ends, full stop, nothing to write,
No more chances, or last minute stakes...


Off-camera, Aziz-Lutfi opened his eyes again. The camera view changes for a split second to Isabela drumming for a bit before the camera changed its view to the camera on the outer side of the stage, where it traversed the outer edge of the stage until the third sentence, where the view changed to a steadicam which walked around Aziz-Lutfi Garanov, where he stared a bit at the camera, before directing his view towards the audience as he closed his eyes and looked upwards as lights starting to appear again, this time violently changing positions while holding on to his microphone.

By time,
I swear our lives are at loss,
I swear the blood of mankind requires faith,
I'll patiently wait!


The camera changed to view Isabel hitting a few beats on her drums before a glow transitioned the scene to show a spider cam zooming outwards from the stage while also moving to the right while the lights on the ceiling and the outer edge of the triangular screen starting moving all over the place as fireworks starts falling down from the ceiling, And as drum beats starting to become heard before the second verse of the chorus, the fireworks situated on the floors plays along with the beat where it appears one at a time at a random place.

On our own, would you dare, because I need you right now?
The winds are against us, Time's ticking against us!


The view changed to show the Time-Killers from a steadicam doing their best, Huzairi playing the accompanying guitar, Benjamin playing the main guitar, and Isabel playing the drums, from then it moves on to show Aziz-Lutfi's back as he semi-crouches towards the audience. Then in the second sentence, the view changes to the overhead camera, where it zoomed into Aziz-Lutfi Garanov at the third sentence holding on to his chest where his heart should be located with his left hand as he holds on to his microphone with his right hand.

Can't deny, can't fight this alone, can't go alone
The odds are against us, but I have faith in you,
The blood in me tells me to trust you, მე მჯერა შენი*...

* = me mjera sheni, in Georgian means "I believe in you"


The lights and fireworks turned off once again, once again only leaving the overhead lights over Aziz-Lutfi Garanov who walked away from the center of the stage, and around this time, smoke was activated to give some emotional feel.

Don't you betray me,
We're both at an impasse,
Breaking the old status quo


The camera then shows Aziz-Lutfi Garanov facing the right side of the stage and standing in front of Benjamin Banatayan-Auri (after revealed due to the background being blurred for a few seconds for artistic purposes) who was playing on the guitar while also acting as the backing singer for the first and second sentences before the third sentence arrives and the background blurred again to focus on Aziz-Lutfi Garanov, who faced the camera and raised his left fist to the air, as the lights on the triangle started lighting up again, this time emitting red.

If we win this one,
We'll savor the glory,
But if we lost,
We'll be in heaven!


A steadicam then rotates around Aziz-Lutfi standing at the front side of the stage holding his microphone on his right hand and taking a pocket watch out of his leather jacket pocket and looking at it while singing. While this is happening, lights changed its colour back to blue starting to become more and more visible as smoke flew around the stage. Then in the third sentence, Aziz-Lutfi grabbed the watch harder then raising it to the sky before doing a long note, before a few seconds of silence ensues.

By time,
I swear our lives are at loss,
I swear per-seconds are ticking to waste,
Yet, I'll patiently wait!


As the silence was broken by Isabel's beats, Aziz-Lutfi threw his pocket watch upwards, before catching it again in his hand, then a glow transitioned the scene showing the stage with the smoke turned off and fireworks falling down from the ceiling from far away where a spider cam moves the view from left to right. Then in the second sentence, the camera changes views and zooms into Aziz-Lutfi Garanov who looked pretty serious at that moment

On our own, would you dare, because I need you right now?
The winds are against us, Time's ticking against us!


The view changes to show Alezians in the audience who are raising their fists, enjoying their entry while waving Alezian flags in the process, then the camera changed its view back to the main stage on the second sentence where Aziz-Lutfi holds on to his chest like before, then at the third sentence pointed his finger at the camera before looking to the right side of the stage's floor, as around the same time, the lights on the triangle screen moves from down to up on every beat, and also while the fireworks calmed down.

Can't deny, can't fight this alone, can't go alone
The odds are against us, but I have faith in you,
The blood in me tells me to trust you...


The camera shows Aziz-Lutfi Garanov facing towards the Time Killers pointing at them, before running towards the band, returning to the center while singing, as Huzairi and Benjamin answered the next two sentence with a repetition of the last few words, with Isabel supporting the Aziz-Lutfi on the second sentence by singing the sentence as well with a microphone with the volume reduced. Around the second sentence, the view changes to show Huzairi and Benjamin shouting the last part, which followed by the camera moving upwards to show Isabella slowly waving at the audience before giving some beats on the drum which triggered another transitional glow.

Answer me, and hold your oath by your heart (your oath by your heart!)
The choice that you pick is as thin as a line (as thin as a line!)


Once again, the fireworks from the ceiling fell downwards as the view changes to show once again the stage from the spider cam, but this time, staying on it's position as the lights becomes crazier.

On our own, would you dare, because I need you right now?
The winds are against us, Time's ticking against us!


The view changed to show the Time-Killers from a steadicam doing their best, Huzairi playing the accompanying guitar, Benjamin playing the main guitar, and Isabel playing the drums, from then it moves on to show Aziz-Lutfi's back as he semi-crouches towards the audience. Then in the second sentence, the view changes to the overhead camera, where it zoomed into Aziz-Lutfi Garanov at the third sentence holding on to his chest where his heart should be located with his left hand as he holds on to his microphone with his right hand.

Can't deny, can't fight this alone, can't go alone
The odds are against us, but I have faith in you,
The blood in me tells me to trust you, I've faith in you!


For the final part, the view moves to a camera propped up close recording Benjamin playing the main guitar, then Huzairi playing the backing guitar, then for a few seconds given to Isabel's few drum beats before a steadicam once again walked around Aziz-Lutfi as fireworks were shot upwards from the floor as he shouted "I've faith in you" in the best way he can, while the Time Killlers played their instruments to their most in the background.

I've faith in you!

I've faith in you!

I've faith in you!

I've faith in you!

I've faith in you!

I've faith in you!


As the last sentence was sung, the camera changes its view showing the members of the Time Killers one by one before showing Aziz-Lutfi Garanov pointing his finger towards the camera again as the last fireworks were shot, and the lights turned off entirely and the camera quickly zooming out of the stage.

A few second later, the lights turned on calmly, and Aziz-Lutfi Garanov raised both of his hands shouting, "THANK YOU, NEKONI! THANK YOU, WORLD!" Before saying " მე... მჯერა.... შენი!" After that he was seen waving his right hand and leaving the stage followed by the members of Time Killers. The scene changes to show a group of Alezians celebrating crazily shouting "HERE WE GO! ALE ALE ALE!!!" before showing the audience seating in full. The postcard of Natanya plays for the preparation of the next song.
Last edited by Alezian Union on Mon Nov 01, 2021 7:19 am, edited 29 times in total.

User avatar
Natanya
Diplomat
 
Posts: 528
Founded: Nov 15, 2011
Liberal Democratic Socialists

Postby Natanya » Mon Oct 18, 2021 4:14 pm

15. Natanya
GENERATION 33: The first time you see this, copy it into your signature on any forum and add 1 to the generation.

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

User avatar
Malta Comino Gozo
Spokesperson
 
Posts: 193
Founded: Oct 31, 2016
Left-Leaning College State

Postby Malta Comino Gozo » Mon Oct 18, 2021 4:27 pm

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Nation Name: Malta Comino Gozo
Official Broadcaster: MCG 1
Tune: (Jake Reese - Make It)
Song Title: Safari
Artist(s) Name(s): Nathan Aperitivo
Lyrics & Music: Nathan Aperitivo

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In the last edition in Zafizamarrah, Alezian Union, the nation placed a respectable seventh place. Konsu Farina's tear-jerking song based on depression managed to achieve twelve points from newcomers Sharktail. Despite narrowingly missing out on the top 5, Konsu and the rest of his team were content with the place and were welcomed back to Malta Comino Gozo with a huge warm welcome from hundreds gathering at the airport. Konsu was praised for his efforts in promoting mental health-related issues, a subject which is still often overlooked by people.

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Busking heartthrob Nathan Aperitvo needs no introduction. He is a well renowned Malta Comino Gozoan singer and songwriter, with a folk/acoustic genre background. He was born in Santa Lucija, Malta Comino Gozo in June 1993. He launched his career in music in 2011 and moved to what was North Alezia in 2014 for seven months to further his music career as well as his studies in sound engineering and then onto Corola, The Achaean Republic for four months. He moved back to Malta Comino Gozo afterwards. Since then, he has been working in several fields in the professional audio industry, as sales in audio shops, P.A., dubbing, acoustic design, music production, music arrangement and especially, recording and mixing, with a wide list of national and international artist and producers, in his jobs studio.

Before his music career and studies in sound engineering, he studied 3 years of piano and pop guitar. Nathan has had three number one hits already. "Infinite" "No pain no gain" and his first Worldvision song "Fire". All three songs reached the top of the local charts and his first hits secured him the title of 'Malta Comino Gozo's best newcomer 2013. The tracks, “No pain no gain,” and, “Moon Baby” landed in film trailers worldwide such as Stefan Spelbergs: Space Man and also major television shows like, "Realness" and "the Shame World."

Nathan won the Producer of the Year award at the Gozo Traditional Music Awards 2018 and 2019. He is currently highly sought after in the Malta Comino Gozoan music scene and has helped write many of the countries entries recently. He works closely with local musicians, producers and arrangers.

Nathan is a keen busker and is often seen on the streets of Malta Comino Gozo performing in front of large crowds of tourists and or fans. He is a very quiet, well-natured optimistic young man and has not let his fame get to his head. He quietly gets on with his daily life mostly undisturbed by the locals. He enjoys playing football, participating in cross fit and enjoys jogging. He is a keen animal lover and owns two dogs, two parrots and one cat.

"I’ve always loved music, and I’ve always loved the sound. Just a few months old, I started drumming the hell out of my mum's kitchen cupboard." Nathan told MCG1."At the age of six, I invited my friends to record imaginary radio programmes on my cassette recorder. Simultaneously, I took my first piano lesson, adding more and more instruments to my portfolio further down the road. As a teen, I took my band's first audio interface home to figure it out, as nobody wanted to read the manual. Turning eighteen, I realized I wanted my productions to sound like those of my heroes. This was when I decided to go professional in music and audio to help other musicians achieve the best quality possible with their own recordings.'"

Nathan is no stranger to WV having participated back in Worldvision 85 in Valletta. He also helped write the nations entries for the 89th and 91st WV song contests, both of which won the contest. "Safari" offers an exciting vibe, which is absolutely contagious and irresistible. It's such a warm and happy song. It combines his love for his girlfriend and travelling. He and his girlfriend Sue would often go on long road trips together, which would only strengthen their love for each other. "Actually, something as simple as sleeping under the stars in a sleeping bag, can be an incredibly romantic experience. The sounds of the African bush all around you. Above you, a kaleidoscope of stars with their ethereal light dancing across the sky. Of course, you need to be careful where you do this and I would strongly advise not near a river. There is nothing like a three-tonne hippo snuffling around your ankles to snuff out any budding romance." Nathan joked and told MCG 1. Malta Comino Gozo has always liked sending buzzing pop songs and is hoping this is no exception to that!

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Nekoni has always been a good ally of Malta Comino Gozo and had come to their rescue to help host Worldvision 85. Nathan has attended several Worldvision as part of the MCG delegation but this time he was incredibly excited to be singing for his beloved country again with his self-penned pop song "Safari". The Malta Comino Gozoan delegation arrived by plane in the evening to Marina Point, the second-largest urban area in Nekoni. It was a sprawling coastal metropolis home to about 1.2 million people situated on the Canera sea.

Stepping off the plane into the warm Nekonian evening heat, Nathan couldn’t help but be a little bemused by his surroundings. This was one the quietest airport he'd ever experienced with only a few aircraft on the tarmac, it was past 11 pm after all. They were greeted by stewards wielding temperature checking devices.

They arrived at their hotel for the week – the Kombo Beach hotel situated on the La Grande Plage coast. Having very little idea of what to expect, they were pleasantly surprised by their rooms set back in one of the quieter blocks away from the pool and restaurant/bar areas. The Wifi was good as Nathan contacted home to let them know they had arrived safely,

The 4-star hotel was in a prime location in La Grande Plage a lively buzzing stunning neighbourhood of Marina Point, with a fantastic array of restaurants within a 2-minute walk. It is set on the beachfront with beautiful and friendly fruit and juice ladies at the ready to prepare whatever you fancy! It’s advised to take your WV card for one of the ladies at the start of your stay so that you are not constantly questioned as soon as you arrive on the beach - a quick flash of the card or mention of your chosen lady will let you enjoy your stay in peace.

The next morning Nathan opened the white blinds allowing the light to come flooding in, bathing him in its warm golds, revealing to him the colours it had brought to the world beyond his window pane. Through his bedroom window comes the brightness of the day shine, that boldness that lifts spirits. The chorus of the birds drifts in as steady ocean waves, only their melody is dancing. In a moment the tune can fly so high and resettle, an auditory version of how they play upon wing. He moves toward it, feeling the light reach his skin and his eyes adjust to its brilliance. He reaches out his hand and leans on the white gloss frame. Nathan could not wait to explore the city especially its old town!

Nathan spread the avocado over the toast and sprinkled tomato on top as if it were cake decorations. There was a joy in how he did it as if for a moment he was happily absorbed by a feeling of love that played in his subtle smile and soft gaze.

Their first stop was the Old Town. Situated in the centre of the city, Marina Point's Old Town is one of the best remaining medieval walled cities in the world, and as corny as it sounds walking through town really is like strolling through time. Founded in the 16th century, Marina Point was a prominent geopolitical role thanks to its incredible wealth and skills in diplomacy. As Nathan strolled down the main thoroughfare, he and his group could not help but feel like 16th century merchant entering the gates for the first time. The massive stone buildings, the imposing gates and the beautiful views were all meant to impress and intimidate and they still serve that function today.

But it’s not a harsh city, not even close. The buildings may be imposing, but they’re also welcoming in their own unique way. Marina Point is particularly adept at welcoming strangers, a role it has been practising throughout its centuries of existence. Even though the city is old and heavily touristed, Nathan still felt as if it was my little secret. Marina Point is a magical, fairy tale city that looks more like a Hollywood backlot than a real, tangible place. It reminded him of Valletta old town. The rest of the city is synonymous with beautiful beaches and towering palm trees – but in its urban centre, it’s the cityscape of glittering skyscrapers over the ocean that gets a lot of attention. Diverse, dynamic and densely populated, Downtown Marina is a hub of international finance, dining, arts and entertainment that no tourist should miss. Nathan and his delegation would spend a few hours exploring the city before making their way to the beach.

The beach near their hotel was so soft, it felt like we were walking on a blanket of candy floss. The shimmering sand swept around in a scythe of beach, hemmed in by towering cliffs. Far out to sea, streams of pulsing light saturated the surface with a golden haze. It was confessional quiet and this Babylon of beaches felt like paradise. The horizon seemed to be stitched with a line of silver.

A flock of noisy seagulls were squawking over our heads and squabbling about something. They wheeled and arced, their raucous cries ringing off the cliffs. There was a strange glamour to their timeless call as they soared between the wands of God-goldened light. A single yacht bobbed and lolled in the incoming tide, like a toy in a bath. Its lights winked saucily as the wave-crests rose gently. The siren call of the sea was soothing, the wave music welcome. The setting sun laminated him with warmth and a carnival of smells drifted towards them from the hotel kitchen. They would spend several days exploring before it came to rehearsals in the NEXPRO Arena.

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His heart pounded, and his hands began to shake against his bouncing knee. He began to pace back and forth, stomping his feet impatiently at each end of the room. Nathan let out a slow controlled breath and attempted to loosen his body movements. He was walking like a clockwork soldier and that was no way to be back stage. He gave his broad shoulders a wiggle and lolled his head in a circle, let his stride slacken to a more casual pace. It was a decent effort, enough to fool the casual observer, but for the onlooker with a keen eye, he was a walking advert for tension. His eyes moved with the alertness that comes from heavy stress and his hands remained clenched by subconscious demand. "Nathan you're up!" He walked proudly out onto the stage, the stage shining brightly white and red, his nations flags plastered all over the screen and arena. He smiles proudly and waves to huge applause before exiting the beautiful stage.

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Nathan was handsome, not perhaps in the conventional sense, but he had that appearance that could make him stand out in the crowd. He was fair, with an olive tone. His unfathomable, golden-brown eyes contrasted exceptionally with his toned face. His eyes were as deep and expressive, where you could get lost if you stared long enough. His face had that faraway look in it, which cannot be described in words. His smile, which reached up to his eyes and wrinkled them, flaunted his modesty and humility. Often, you could see a hint of pain in his sparkling eyes, which would disappear as suddenly as it emerged. He sometimes spoke too fast, which perhaps revealed how much creativity he concealed within himself. Above all was his frame and his stature. He was not extremely muscular, with 8 pack abs or huge biceps. However, he could stand out in a crowd, which was mostly due to his way of carrying himself. His sleeves hugging his arms, and muscular chest protruding outwards slightly. His long fingers ran through his short moussed brown hair which shifted back into place once his hand had gone past. The light made it shine to a shade of melting milk chocolate and his slightly tanned skin glowed, making his manly stubble covered chin seem darker. Perhaps he was not the kind who had girls swooning over him. But he was simple and innocent. He was perhaps, just one in a million, who was nothing special, but all the same unique.



The lights flash and the spotlights on the stage swirl as the crowd roars loudly for Malta Comino Gozo. This was the type of buzz Nathen adored and why he loved singing publicly. The song begins and the camera is focused on the back LED. We have a first-person view of a car being driven, looking up at the streetlights whizzing by above his head in the crisp dark blue twilight sky. He is on his way to pick up his girlfriend in the early hours ready for their road trip. As he drove south along the road, the colours behind him show dawn had broken. The lights in front remained darkened to represent the dark sky but behind him, a mixture of yellow and orange on the horizon beneath a dark neon blue ocean of night had begun to evaporate. Against the tri-coloured rainbow sky, palm trees, powerlines and buildings remained in shadow. The camera pans down to Nathan sitting in his smart, prop red convertible Ferrari from his left and then, we are left with a camera angle like this which will remain through much of the performance. The crowd cheers excitedly as Nathan begins to sing. The background behind moves to represent Nathan driving down the street in a classic green screen style. Spotlights reflect and bounce off his windscreen and the shining colour of the red hue bonnet, to help represent the motion. His smile was one of happiness growing, much as a spring flower opens. The viewers could see how it came from deep inside to light his eyes and spread into every part of him. A person smiles with more than their mouth, and they could hear it in his voice, in the choice of his words and the way he relaxed.

Oh my road trip buddy
My road trip buddy
Oh my road trip buddy


Nathan wore tight beige cotton chinos and a loose cotton shirt striped with shades of blue, yellow, pink and red. He has a pair of black sunglasses hooked into his top button. He is perfectly dressed for a summer day out. As he sings "On my new Ferrari" he comically turns the steering wheel and the camera pans in briefly as he sings, a positive happy upbeat tone to his voice. The camera cuts to a shot of the top part of the stage where the car is sat in front of the LED background showing the entire car. Suddenly it pans out as his "girlfriend" struts onto the stage from our left to applause and cheers from the excited crowd below as he sings "Me and her got it looking like" She struts towards the Ferrari and opens the door with a cute wink to the camera and gets in. The camera pans back in on the two of them in the car.

The woman wore a perfect dress for the beach, city, or savannah. It was a dazzling stunning garment that showed off her sense of style, sophistication, and flair for fun. She looked and felt her absolute best in this striped red white and blue summer chiffon dress with roll-up sleeves. The above the knee hemline created a short and sassy look. The colourful stripes deliver a sparkling dazzle to her walk. The combination of vertical stripes and the belt tie offered a cinching and slimming effect that sleeked out the woman's figure. The belt accentuated the hips and waist for a look that was both smart and flattering. The buttons down the front defined her slim figure with a V-shaped opening at the neck, giving the dress a touch of sensuality. The pair share a quick glance and she enunciates a silent giggle and over the top cute face scrunch, much like a silent performer on an acting stage.

Paints on baby red
On my new Ferrari
Me and her got it looking like
We're on a lovers road trip safari


As Nathan sings "So foot down on the gas" the background almost wormholes like someone has pressed fast forward on remote control as they both comically lean back against the back of their seats as the car pretends to propel in motion.

So foot down on the gas
With, my lovely road trip buddy


The background now changes to a daytime scene of the pair in the African bushland. The savanna is a rolling grassland scattered with shrubs and isolated trees. The spotlights around them turn to a golden yellow to represent the sunlight. His "girlfriend shifts excitedly in her seat a broad open-mouthed smile on her face, her shining white teeth catching everyone's eye. She proceeds to climb out of her seat. Nathan looks over in shock before smiling again. We are left with a view of Nathan with the girls upper body cut out the frame. This causes the camera to pull outwards showing the girl in full view now. The view for the viewers at home now slows down by about a quarter, as the wind machines turn on and the girl stretches her arms upwards. The wind fluttered through lush brown hair, her dress flapping gently against her torso. The camera pans upwards towards her hands before it cuts out to a full view again of the pair in the convertible car. We then have an in-car close up of Nathan from his right, his left hand hanging out the edge of his car. He sits back and let the happiness soak right into his frame. He closed his eyes and savoured the moment but never released his grip on the wheel.

Stick your head out the window
Might as well enjoy the ride
Let the wind blow your lush hair about
Before you come back inside


The camera cuts back to a camera angle like this as Nathan proceeds to put his foot down on the gas again. The background races again but remains the same but this time we have silhouettes of giraffes walking the plains behind them to their right.

So foot down on the gas
On this luxurious road trip safari


The tone of the song changes ever so slightly taking a slight backseat from the tropical vibe. The girl grabs some brown binoculars from her handbag and brings them up to her eyes. This time we can now hear the 2 male backing singers who are not in the shot, accompany Nathan singing the "Oohs". The girl proceeds to look to her left and point and then to her right as Nathan sings, "Compassion out the left side" and "Honesty on the right side" A childish excited grin etched on her face.

Baby can you see the
Butterflies you give me
Oooh Ooooh Oooh Ooooh
Compassion out the left side
Honesty on the right side
Out spotting love on..
Our road trip safari


The background LED now changes to a colourful, happy, tribal Safari theme, with zebra stripes, masks and symbols. Nathan and the girl sway left to right in time to the beat, a joyous grin on their faces. Nathan keeps one hand on the steering wheel.

So come on a road trip safari
Road trip safari
Oh on a road trip safari


The steel drums kick in again in the background and the LED changes back to the safari landscape from earlier on and the lighting turns hot pink. Nathan leans in towards the girl, smiling gayly, singing to her. With his warm breath in her ear, she sits there cheekily and pretends to blush at the lyrics. His brash, deep voice oozed charm. The girl smiled, knowing full well that Nathan was seducing her. Even before he touched her cheek, she felt her lungs expand with briny air. His voice had the lilt she knew so well - his words soft with the smile that already played on his face.

The best lover in a jungle,
Swamp or a safari
City or a country town
We're gonna rock this party


As Nathan sings "So foot down on the gas" the background almost wormholes like someone has pressed fast forward on a remote control as they both lean back against the back of their seats as the car pretends to propel in motion. The background changes into a dark blue night sky. In every direction, there are stars all over the screens. The stage lights turn a dark twilight blue.

So foot down on the gas
With my road trip buddy


We then cut to a back view of the pair in the back passenger seat of the convertible, the lights tinged blue, lights flickering out from phone lights in the darkened hall. The audience can be heard cheering as Nathan sings towards his "girlfriend". Nathan linked his fingers into her hand and she shots him a look that was all love, just the right hint of softness, a crease at the corners of her eyes. Both of them try but fail to repress a grin. We can hear the backing singers sing "I guess, I love you." Her heart was thumping hard, and her soft, freckled cheeks were a fiery shade of red. Nathan places a hand on her cheek and then places his strong hands gently on her small shoulders and lowered his face to hers.

Do you remember that you took my heart?
And do you remember you took my soul?
I guess, I love you
And I love you girl
Love you for it baby
So foot down on the gas
On this luxurious road trip safari


The lights turn back to white. The camera then pans back to the front view of the car and Nathan start driving again, we have a quick view of the smitten lovestruck girl looking out her side of the vehicle. The background has now changed to an 80's style, moving road with palm trees and setting sun, the skyline silhouetted against it. The camera moves out slightly and towards the middle as she leans in against Nathan. The backing singer can be heard supporting. The pair of them smile and carry on driving. Nathan glances over to not take his eyes off the road every now and again. He had the kind of Cheshire grin that brought new life to those around him.

Oh road trip safari
Road trip safari
On a road trip safari
Road trip safari
Oh on a road trip safari
Road trip safari
On a road trip safari
Road trip safari


The view stays the same. The stage turns dark apart from two clean white spotlights which light up the couple. The stage lights pulsate to the beat illuminating the dark stage. The lights reflected off the shiny surface of the convertible. As Nathan and the backing singers, sing "Ohhhhhh..." Both backing singers who have appeared in the two back passenger seats pop up unexpectedly to cheers from the crowd as they help serenade the girl. They are dressed in safari costumes topped with a safari hat. She is flattered. A lovely grin spreads across her face again from ear to ear.

Come on take a ride, its a rush
It's only a matter of time
You'll be fine, you'll be mine
When the animals shout!
And the sonics all resound
It's a wild, wild safari life
And I say Ohhhhhh...


The camera cuts to a view in front of them showing the entire stage this time but keeping the vehicle in view as pyros shoot out the edges of the stage high into the air and a pyro fall started falling from the roof of the arena with the audience ecstatically cheering. The crowd goes wild. We then have a shot of the entire stage off centre right from above the audience. The spotlights shoot out of the stage into the excited crowd. The camera cuts back it cuts back to the car view. Nathan the girl and the backing singers bop left to right to the beat swaying at the same time. The background has now changed to an 80's style, moving road with palm trees and setting sun, the skyline silhouetted against it again. Some folks wear a smile, this guy was the smile. Nathan wrapped his arms around her in a moment and he let her head rest upon his chest. All her thoughts stopped as if her heart took over from her head when they were close. Next, he would squeeze as if he needed to check she was really there with him, really there and really real... and she was.

Oh on a road trip safari
Lovers road trip safari
On a road trip safari
Road trip safari!
Oh on a road trip safari
My road trip buddy
On a road trip safari
A road trip safari


The backing singers help lift the last chorus of the song as Nathan carries on singing. He belts out the lines which are bigger, with confidence and passion. The audience cheers his impressive vocals. The steel drums and beat resonate through the crowd, lifting everyone's spirits. This was the pop song they all wanted. A catchy, summery upbeat song that stuck in the listener's ear. Nathan was intoxicated with joy. The girl taps her slender fingers on the dashboard. The lights were flashing canonically along with the beat of the song, almost creating a nightclub feel. The camera stays focused on the couple in the car, the entire prop car in view, the background zooming looping behind them giving the audience the feeling they are both driving along still. The camera pans towards them for the last line as he lands a kiss on her cheek and they hug excitedly!

Road trip safari!
Oh road trip safari
Road trip lovers safari!
Road trip safari!
On a road trip safari
Road trip safari!


The song finishes and the background fades into black and the spotlights calm. The audience erupts into loud cheers screams and applause for the entry. Nathan and the girl are beaming. Nathan shakes his fists into the air, his grin stretching his face. "Grazzi! Grazzi Nekoni!" The camera pans around the hall, everyone on their feet cheering, flags of all nations being waved into the air. They leave the stage ready for the next entry. He was delighted and thrilled. It was such a rush! It was now in the hands of millions watching.
Last edited by Malta Comino Gozo on Mon Nov 01, 2021 6:34 am, edited 37 times in total.
Malta Comino Gozo WV Committee member. International Broadcast Alliance founding member.

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Pemecutan
Diplomat
 
Posts: 832
Founded: Dec 08, 2014
Inoffensive Centrist Democracy

Postby Pemecutan » Mon Oct 18, 2021 4:44 pm

17
Image

"CINTA SEBELAH TANGAN"-MANIK DIRGAYUTRI & MARCELO

Title Translation: Unrequited Love
Language: Bahasa (Indonesian)

Music: Marcelo
Lyric: Ngurah Rajendra, Manik Dirgayutri
Tune: Zara Larsson & MNEK - Never Forget You

After their mild success on 93rd WorldVision Song Contest, the organizer, GBC, prepare for the next entry of Pemecutan. Their selection fall to a new single from newcomer singer, Manik Dirgayutri. The single is entitled Cinta Sebelah Tangan.

Image
Marcelo (left) and Manik Dirgayutri (right)
Manik Dirgayutri or Komang Ayu Manik Dirgayutri is a 21 years old singer who is born in Alangkajeng. She is known for recording many song cover which she uploaded to her TikTok and YouTube channel. This is where she got her famed for. Recording industry started to approached her and try to contract her but to her refusal. As she was only 17 years old at the time, Manik stated that she wants to focus on her study first. Graduated from high school, she is started to accept off-air performances at cafes in Pemecutan Puri or Jematang which is quite near from where she live or at the wedding ceremonies. She still record song covers during her spare time which makes her more famous online. By the time she reached 20, she then consider about record contract. She send several demo records into many recording companies including Mandala and Gangga Records. While waiting for answer from record company, she started her career as model. She become one of the model at Ubung Fashion Week where she is under Rumah Kebaya Santhi (Santhi Kebaya Fashion House). A few months after she sends those demo records, she finally got a call from one of the record company. It is Baruna Records which is attracted to her voice. After several negotiation, she finally sign the contract deal with the recording company. The contract cover 2 albums and 8 singles. And the song Cinta Sebelah Tangan is her first single.

Marcelo Kiamata or known for his stage name Marcelo is a 33 years old DJ, singer and composer. Born in Acastanhada town of Cabo do Sol, Marcelo is half Acastanhada from his mother side. His father is working in a shipping company and he met his future wife when he was being assigned to taking care of the company's office in Acastanha. Marcelo's father brought his wife and son back to Pemecutan when Marcelo is just 5 years old. Marcelo then continue his study in Jematang. His career start as a DJ which he developed during his college life. As Jematang is very hype with nightlife, Marcelo's DJ career rise significantly. At the age of 21, he already among the top DJ in the state. He try to venture outside Jematang and Tambangan State. He start to perform in Canggu, Ubung and Sanur which has huge nightlife spots. He then try to introduce EDM and house music to the wider audience. He started to going online and share his live performance in his YouTube channel. Marcelo is also collaborated with local singer to record several songs. In 2018, he release his first album which is contain of compilation songs of him and several singers. The album received a mixed reviews and got a mild success on market. In 2020, he release a standalone single where he is also singing in the song. Until this day, he continue to do his project independently with no connection to any record companies.

Surprise, that was Marcelo's reaction when he was contacted by Manik for a collaboration. As Manik is a newcomer to the music industry, Marcelo is happily help her. He is quite happy with the lyrics which was already produce by Ngurah Rajendra with the help of Manik herself. Marcelo understand that the song is supposedly a duet but he doesn't know who will be Manik's partner for the song.
It never crossed in my mind that Manik will ask me to sing with her. Well, I can't say I am an established singer but this offer has made me shocked.

- Marcelo Kiamata
Marcelo declined the offer at first but Manik is able to persuade him. Marcelo then start to produce the song composition and present it to Manik and Rajendra. And they are loving it. The recording process was held in Ubung where most of the best quality studios in the country are located in the city. It doesn't took much time to record the song. About a week recording and another week for finalization and the song is ready to be release. The song itself is telling a story of a woman who fall in love with a man but the man are not having the same feeling to her. The song is getting a green light from the recording company. It is plan to be included in Manik's first album. But then the recording company decided to release the song as a teaser and introduction of Manik's official start in the music industry.



To perform after a hattrick winning country can be intimidating and that 's what it feels by Manik and Marcelo. Both artists are waiting patiently at the backstage as Malta's performer ended his performance. They are stumbled at the backstage with Nathan smile at them and give a good luck hand shake. The hosts then take over the show and announce the next performance which is from Pemecutan.

"And for the next performance, Pemecutan!" shouts the hosts as they are announcing Pemecutan. The postcard is reveal at the big screen as the stage is become dark. Manik is standing at the lower stage looking dazzling in white short dress. The camera view the front side of her as the music is started and she sing the first verse. Only a single light that is showing her feature while the rest is still completely dark. The camera give a change of view from her side angle and face view. As she sing to the first chorus, the camera start to zooming out to give a full view of the stage.

Manik Dirgayutri
Marcelo
Both

Pernahkah kau bertanya mengapa engkau jatuh cinta?
Perasaan yang datang tiba tiba tanpa terduga

Berawal dari sebuah tatapan mata
Hingga membuat hati berdebar kencang
Tanpa terasa diriku telah terpikat oleh nya.

Ingin ku tuk selalu
Memandang kedua matanya
Hatiku bergemuruh
Saat aku berada di dekatnya

Apakah dia merasakanya?
Segala yang aku rasakan
Ragu ku mengungkapkan
Mungkinkah cinta ini bertepuk sebelah tangan?

Have you ever asked why you fell in love?
Feelings that come suddenly unexpectedly

Starting with a glance
Until your heart beats fast
Without realizing I have been captivated by it

I want to always
Looking into his eyes
My heart is rumbling
When I'm near him

Does he feel it?
Everything I feel
I hesitate to reveal
Could this love be one sided?

As the rhythm and tempo change to upbeat, the lights on the background triangle started to dance with a changing light colors between red, blue and white in line with the beat. The light at the stage is also interchangeably on and off from top to bottom and repeated in line with the upbeat music. The camera is also spotting Marcelo who is standing behind his DJ desk at the upper stage. He then take his part of the song as he still maintain his DJ performance. He is trying hard to focus on both part, singing and DJ-ing. The camera swift view between Marcelo and Manik as both singing during the second chorus. And Manik is also walking up to the upper stage as they are singing the chorus.

Ku sangat mengenal rasa yang diberi nama cinta
Dan semua itu terlihat dari tingkah laku nya

Ku tahu dia telah menyimpan rasa
Namun aku tak merasakan yang sama
Ku tak ingin membuat nya jadi semakin terluka


Sekarang kau pun pergi
Tak ingin dekatku lagi
Kemanapun ku cari
Bayangan mu seakan menjauh pergi

Apakah ini jadi jawabmu?
Atas segala perasaan ku
Harus nya ku tersadar
Cinta ini hanyalah bertepuk sebelah tangan

I really know the feeling called love
And all that can be seen from her behavior

I know she has a taste
But I don't feel the same
I don't want to make her hurt more


Now you go
Don't want to be near me anymore
Wherever I look
Your shadow seems to be far away

Is this your answer?
For all my feelings
I should have realized
This love is just one sided

The music suddenly soften and also the light become dimmed with the white light dominate the scenery. Both singers is face to face as they are singing the bridge. The music gradually escalate, as both push each other. Someone then take over the DJ desk as Marcelo and Manik both racing to the lower stage.

Lihatlah diriku yang inginkanmu
Ku tak bisa mengubah rasa hatiku
Tak bisa ku lupa rasa dihatiku
Biarlah membeku seiring waktu

Lihatlah diriku yang inginkanmu
Ku tak bisa mengubah rasa hatiku
Tak bisa ku lupa secepat itu
Rasa yang ada di hatiku…..

Look at me who wants you
I can't change my heart
I can't forget the feeling in my heart
Let it freeze over time

Look at me who wants you
I can't change my heart
I can't forget that fast
The feeling in my heart...

Both Manik and Marcelo belted their voices as they sing the last chorus. Both taking a different direction. The lights are once again dancing their colors as the music getting upbeat. Both seems to try taking each other voice as they are showing their vocal strength.

Biarkan ku sendiri
Dengan rasa yang ku miliki
Tak kan pernah terganti
Walaupun waktu telah berlalu pergi

Ku jaga hingga massa nya nanti
Walaupun aku harus sendiri
Biarlah ku jalani
Sebuah kisah cinta bertepuk sebelah tangan

Let me alone
With the feeling that I have
Never replaced
Even though time has passed away

I'll keep it until later
Even if I have to be alone
Let me live
A one sided love story

Manik scream to the last part of the song with Marcelo passing part of the lyrics here and there. Manik follow through which give a voice battle between both singers until the last part of the song.

No....no....hey...hey...
Sebelah tangan
Sebelah tangan
Sebelah tangan

Hey...yeah...yeah...yeah...
Sebelah tangan
Sebelah tangan
Sebelah tangan

Dan cinta sebelah hati
Tak kan pernah ku lupa

Dan cintamu
Cinta...
Cinta...
Cintamu...
Cinta...
Cinta...

Sebelah tangan

No....no....hey...hey...
One sided
One sided
One sided

Hey...yeah...yeah...yeah...
One sided
One sided
One sided

And one sided love
I will never forget

And your love
Love...
Love...
Your love...
Love...
Love...

Unrequited

A burst of lights ended their performance. The audiences are giving a round of applause with some screams that can be heard from the Pemecutanian fans who are also watching live. Both of them walking to the center of the lower stage with a smile on their face. The camera slightly capture how are their breathe heavily after a powerful performance that they are showing tonight. The hosts are once again announce their name as they are bowing to the audiences that are still giving them applause. Both of them then walk away from the stage while waving their hands. And the hosts are also giving introduction to the next performance from Achaean Republic.
Last edited by Pemecutan on Mon Nov 01, 2021 8:52 am, edited 4 times in total.

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Achaean Republic
Chargé d'Affaires
 
Posts: 481
Founded: May 26, 2019
Civil Rights Lovefest

Postby Achaean Republic » Mon Oct 18, 2021 5:54 pm

18| Achaean Republic
Tamara Andrews-Cash Back
Tune: Javiera Mena - Flashback
Music & Lyrics:Tamara Andrews


Image


For the Achaean Republic, winning the WorldVision Song Contest was something completely unexpected. Achieving the “Triple Crown” of Multiversal competitions in a calendar year, even more so. For a nation usually derided as poor, decrepit, and morally bankrupt, Andrea Gutiérrez’s heartfelt ballad brought the attention of the Multiverse and featured a breath of fresh air to the now-recognized Achaean international music scene, with many artists signing contracts with major foreign music labels, being picked up from social media and crafting world tours with money-grubbing talent agencies. It was the beginning of a rebound in Achaean culture and fashion, music, and entertainment, and AS1 was more than welcome to cash it in.

Tamara Andrews, however, was not quite interested in the scheme. She wanted to make music, yes, but she was weary on the scams and the booms and bangs and busts the very ficke and oftentimes predatory music industry led her to shy away from pursuing music full-time. She knew her way on a keyboard and a synth recorder, but she didn’t consider herself as a professional. The 34-year-old indietronica singer from Corola always had fun playing at indie clubs in university towns across the country (and she also had a gig or two in nearby Port Anilis) and she may have thrown out a few singles here and there, but she wasn’t interested in pursuing more. She was more than content with her day job as a marine researcher for the Department of Natural Resources in the beaches near Bonfín, a city near the Corola-Metrópolis state border. Especially so after barely losing her first shot at stardom, WorldVision: La Final, by little more than a split hair. A hobby, nonetheless, but not a lifelong career.

Meanwhile, Tamara’s fame grew on social media with her talent, charisma, and lyricism. Drawing from feminist philosophers like Simone de Beauvoir, Judith Butler and Germaine Greer (while not at all agreeing with her quasi-exclusionary, gender critical perspectives) alongside interpretations of contemporary poetry and hard-hitting electronica from Miami and L.A., she began to slowly develop a fandom on social media that was ardently electric, fabulously eclectic, and all-in-all rabid—to the point of pestering AS1 social media for editions and creating memes only to have them rebuffed time after time by the channel’s WorldVision delegation.

And then, it happened. Tamara received an invitation by the channel to become the country’s representative in WorldVision and see if she could be challenged to repeat Andrea Gutiérrez’s success in the Alezian Union. It was a tall order since Andrea already has musical experience and touring experience, international concerts and press conferences. She had none of those, and her first EP was taking so long to take shape, only to be derailed time and time again by the coronavirus pandemic. This time, though, Andrews was feeling confident about her chances to shine on the WorldVision stage and maybe, maybe, bring a back-to-back crown to the country. Perhaps it can be a hat trick.



Cashback was the brainchild of boredom and idiocy. In her words, “I was looking at my credit card bills when I suddenly had the idea of creating a metaphor of a love longing and lost, a breakup that can be equated to losing cashback points or money because you weren’t paying attention to the limits—or, in this case, the red flags.” That motivation—or lack thereof—encouraged her to create the song and emphasize the loops and hoops and turns of her atypical synthpop flavor. An independent musician, she received the backing of the channel and producer Sony Acaya Records to create Cashback and her first LP produced by a major recording company. Would this be the beginning of her luck?




The delegation was a bit bummed that Candelaria didn’t make the bidding, if only thwarted by the sudden prospect of a mythical “Triple Crown” and the channel’s natural hubris in asking—nay, demanding—that the 94th WorldVision Song Contest be held in Achaea. Well, then, always good to try again. The channel’s budget also gasped for air.

Marina Point’s chill weather was a welcome pace from the frenetic, tropical, rambunctious energy of urban Corola or would-be host Candelaria. With the variety of unmasked faces wrapped up in cute, tender cat ears, one could be forgiven to think that the Nekonians have faced the worst of the pandemic! But there was Tamara, taking pictures for the ‘gram, chatting up with her fans, savoring the pleasant surprises of Marina Point. Despite the eclectic mixture of cobblestone streets and South Beach Art Deco-inspired neon kawaii decadence, Tamara and the crew felt right at home with the Miami Vice cosplayers on a tacky tour bus through the streets of the modern city—it felt right up her alley, not so far from what she experienced on a night out in Corola. More so was the glistening pier, not so far from the small kioskitos she used to get some ice cream or have a beer or a piña colada whenever she went to visit Rosario. Perhaps she could escape for a bit and hit one of the clubs. But she’s still wearing her mask.





There was a shadowy figure in the middle of the arena. She had a long hair twirled up in a ponytail (she never liked leaving her curly hair in the middle of the Achaean heat). Beside this shadowy figure, a synthesizer was on her left side—cool buttons, curly buttons, twinkling keyboards and a massive electric frame—alongside a conventional Casio keyboard. Despite the hair, she wore a jet black motorcycle helmet that slightly covered her ears and briefly flattened out her ponytail. She had black shutter shades that had small LED trimmings on its borders—bright enough that the lights could be appreciated by the cameras and the audience both on the arena and at home, but dim enough that wouldn’t cause any vision problems for Tamara. She liked those glasses. They looked cool, even if they were quite unpractical for day-to-day usage.

It was hard to see what Tamara was wearing from the bottom down. But from the bottom up, it was noticeable to see a Tron-style neon suit that crossed the line between fetish wear and good taste. Made of faux leather and LED trimmings hot glued into the fabric, which can be tweaked to over 16 million colors with the touch of a phone app (which was integrated to the synthesizer for ease of use). That the stage was pitch black, barring the LED trimmings on both her desks and her shirt. Even her shades were glistening.

Cash. Cash. The stage suddenly had bright flashes of light green. A subtle, holographic image of a dollar sign popped up on the viewer’s right as Tamara, intently, looked at the camera with outright attitude. Maybe there was some indifference. It was hard to tell, but she was well-known that she tended to put on a resting bitch face or a poker face when performing. It wasn’t intentional—it was just her expression whenever she was on the flow. This time, however, she needed to portray that focus if she wanted to win the Mutiverse’s heart again. She was ready to channel the words and get her cashback money’s worth for all the trouble.

No puedo volver atrás
Ni borrar tanta tristeza
Puede ser una belleza
Incenvitvas la virtud
Complaciendo prestaciones
Aunque son más las menciones
Sensaciones


At the sounds of the “Ay, Ay,” the cameras focused on a blond lady with an LED tambourine that also followed Tamara’s chorus. Even though the song technically did not require a tambourine, it would be a nice touch to have, a small nod to the retro-loving Nekonese to appreciate. She sang her portion of the lyrics with gusto as her dress, not so dissimilar to the one Tamara wore, slightly changed its colors. It was slight and subtle, with the vibrancy of the thuds and thwomps of the synth bass. It smelled like the New Wave, an electronic-infused guide to the past.

For Tamara, she continued to play with the synthesizer, oscillating the waves and redistributing the sines and cosines with the music. There was a slight risk to the performance, however; it took a lot of convincing to a nervous Achaean delegation to prove that she could sing and fiddle around with the synthesizer without thwarting her concentration. That she could keep singing without squinting her eyes at the eclectic laser light show popping up in between the two desks, transforming the arena into the beginning of a wild club atmosphere. This was something right up her wheelhouse.

Ay, ay
Duele tanto
Ay, ay
A un millón de años de luz
Ay, ay
Aunque siento que gano, perderé
He ganado y perderé


As the chorus started, the large holographic dollar sign began “spitting” money from its head as if it were a fountain, gushing over the floor while throwing virtual coins and dollar bills. In her raised platform, Tamara had her arms extended to the front camera on the first verse, then extended her arms sideways for the second verse, then her right arm hitting her forehead on the side as if she were facepalming over some imaginary sense of stupidity. The movements were flowy and dramatic as if she were voguing. Maybe she was. She did learn a thing or two from playing in a couple of gay clubs.

The lights behind her flickered with various green tones. Light green, forest green, dark green, and some flickers of white. Tamara’s Tron-like suit was shining with multiple LED lights, providing a disco-style flair not so distant from the eighties. Unlike previous shows, with all the lights and sounds and effects, the performance felt quite indulgent. And yet she couldn’t help but bask in the cheesiness.

Cashback
Cauntas deudas tus sueños pagaban
Era una y otra encrucijada
Había tantos deseos
Que pasará, qué pasará

Cash
Cashback
Cash


In another camera angle, Tamara was already standing on the bottom platform. Behind her, the back-up singer was still vocalizing with her neon tambourine. Was the tambourine necessary, considering the heavy synth basis that quite simulated the emphasis of the percussion. But it was a nice throwback, an effect to behold once considered the retro vibe of the song. She liked retro, and she lived for vintage. This vintage reflected in her art, trying to chip away at the stereotypes and embracing her awkward best life.

There was something comforting about the sines and cosines, the oscillations and the waves. She was pretty good in high school trigonometry, so it wouldn’t be surprising to see her adapt so well to the synths for her music. That was her passion, her craft, her interest. And yet, she could engage with the crowd and develop the mathematical connection. While she was playing with the bass and the EQ and juggling those buttons alongside the keyboard, she wanted to bring the audience into her very complex inner world.

Interés se acumulaba
No le daba un seguimiento
Era en otros pensamientos
Dañemos el momento
El corazón está tenso
Era tierno y yo tan lejos
Era lejos


For a moment, Tamara was a bit worried and flustered and frustrated with the endless amount of credit card metaphors she could put into a complicated relationship—cashback, interest, reflections of debt, etcetra. The triangular shape continued to change colors with the intense green, mountain green, dark green, apple green hues. In the pit between the back and front stages, more holographic images of dollar signs and credit cards were propping up. She kept interacting with the audience and the technology around her. Oscillations. Lasers. Waves. Redistributions. Musical imitations. It was a journey, many complex interactions encouraging her to move.

Ay, ay
Duele tanto
Ay, ay
A un millón de años de luz
Ay, ay
Aunque siento que gano, perderé
He ganado y perderé


And there came the chorus again. Unlike previous performances, and much like last performance, Tamara kept herself in her apparatus, locked into her synthesizer and her keyboard—and yet she longed to engage with the audience looking around her. The Achaeans were in a corner, of course, masked with their fueguero embroidery and yelling to their heart’s content. The Nekonese and the Kyritakians were enjoying these retro-tropical vibes. The Britonish were, quite reluctantly, jamming to the interesting underground production value offered by Tamara’s infectious dance moves. It brought into reflection much of her professional, the sudden growth of Achaean music in the world, the increasing trust and interest in Achaean culture and its various musical iterations—rock, pop, reggaeton, salsa, merengue, and synthpop for now. It was the time for Tamara to shine once more and do her thing!

Cashback
Cauntas deudas tus sueños pagaban
Era una y otra encrucijada
Había tantos deseos
Que pasará, qué pasará

Cash
Cashback
Cash
Cashback
Cash
Cashback
Cash


The solo came with the synths. The cameras surrounding her perimeter were showing how Tamara was hard at work fiddling with the buttons, the levers, manipulating the nodulations of the sines and cosines, making music that entertains and electrifies, making music that excites and tantalizes the senses, with the goal to entertain and overcome, encouraging the audience with joy and excitement. There was too much to do in one square: push this thingy, twist this knob, make a quick split-second decision on whether to raise the volume on the bass if that may affect the overall quality of the piece. Even if, by the rules, musical instruments had to be recorded, it was important to play each one of the pieces in the synthesizer to perfection—one small move and that could spell disaster to Tamara’s concentration, and her chances to win WorldVision. Tamara was a perfectionist, and that admittedly brought trouble and headaches and frustration to her promising musical career. She preferred stability in many cases over the risks and rewards of a musician. But that is all water under the bridge now—or so she hoped. She wanted to bring them to the world. She wanted to become the audience’s favorite investment.

Cashback
Cauntas deudas tus sueños pagaban
Era una y otra encrucijada
Había tantos deseos
Que pasará, qué pasará

Cash


The song ended with a bang. The green-tinged triangle stages, the front and back platforms. The neon-ish suits of LED colors laced over Tamara and her vocalist’s outfits died down into a faint glimmer. Both Tamara and her back-up tambourine player with the neon Tron-like costume waved to the crowd, the latter grasping her tambourine tightly with her right hand. Tamara then said to the waving, cheering audience, “Thank you! Gracias! Thank you so much!” and waved both her hands, swinging them side to side. She was enjoying her life.




[box]
I cannot return back
Nor erase so much sadness
It could be a beauty
You encourage the virtue
Indulging our benefits
Even if they’re only mentions
And sensations

Oh, oh
It hurts so much
Oh, oh
In a million light-years
Oh, oh
Even if I feel that I won, I have lost
I have won and I have lost

Cashback
Your dreams paid for so many debts
It was one crucible after another
There were so many desires
That come and go, that come and go

Cash
Cashback
Cash

The interest was accumulating
I wasn’t committed to follow up
I was in another thought
Let’s ruin the moment
The heart was a third party
He was tender and I was so far
I was so far

Oh, oh
It hurts so much
Oh, oh
In a million light-years
Oh, oh
Even if I feel that I won, I have lost
I have won and I have lost

Cashback
Your dreams paid for so many debts
It was one crucible after another
There were so many desires
That come and go, that come and go

Cash
Cashback
Cash
Cashback
Cash
Cashback
Cash

Cashback
Your dreams paid for so many debts
It was one crucible after another
There were so many desires
That come and go, that come and go

Cash
Last edited by Achaean Republic on Wed Oct 27, 2021 6:49 pm, edited 8 times in total.

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Teesdexxia
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Posts: 70
Founded: Apr 13, 2019
New York Times Democracy

Postby Teesdexxia » Mon Oct 18, 2021 5:58 pm

19. Teesdexxia

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Adab
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Posts: 6853
Founded: May 28, 2014
Liberal Democratic Socialists

Postby Adab » Mon Oct 18, 2021 6:06 pm

20. ADAB
Ninna Hazi"I Am”
Tune: Britney Spears – Oops!... I Did It Again
Language: English

Image
Ninna Hazi


Background
Adab exceeded pretty much all expectations – including the ABC’s own – with their WorldVision 93 entry, as Ashina Uter catapulted to second place with “Clean”, racking up 194 points as Adab earned its first podium in the competition since WorldVision 89. As usual with Adab’s WorldVision entries, the song also topped the charts in the country and brought even greater fame and publicity for Ashina. But more than that, it also confirmed ABC Director-General Benji Akiya’s faith in the corporation’s internal selection process; inviting the public to participate in the selection, while admittedly a much more democratic and transparent process, had never managed to produce success on this scale. It was also time wasting and financially draining. Benji had always publicly maintained that their final placing in the competition was of no concern to the ABC, that the only thing that mattered was international exposure for Adab’s young and brightest musical talent. Nevertheless, though he would never publicly admit this, the WV93 results convinced him that he and the ABC clearly knew better about Adabian music than the masses and that the selection of future WorldVision and World Hit Festival contestants should ideally be left to them. Clearly the rest of the ABC board agreed with him; when Benji asked them if they should continue with internal selection or revive public selection somewhere down the road, everyone chose the former option.

If Adab’s previous WorldVision contestant made her name in the indie pop scene, the current one came from a more middle-of-the-road pop background. 26-year-old Ninna Hazi had just emerged victorious in a long-running court battle with several former business associates whom she accused of mismanaging her money. While not a big fan, Benji Akiya knew a number of her songs and had followed her career with some interest ever since her emergence as a teen phenom in the music scene. With her legal problems now behind her, Ninna was eager to once again fully focus on making music. Benji knew she was a WorldVision fan and started to consider her as Adab’s representative on WorldVision 94, although she did not seriously expect her to actually agree to it. Thus, it was quite the surprise for Benji when he contacted Ninna’s management with his proposal and received the answer within a few hours: “She said yes, as long as she can perform with one of her new songs.”

The Performance
Ninna Hazi made her way onto the stage in a rather understated gold dress, appearing like a small speck of skin and bones against the backdrop of the huge triangular screen. The screen revealed itself in a sea of red as Ninna entered the stage, with the red gradually sweeping through the floor and down the stairs onto the lower area. The lights emanating from the triangle were a combination of red and gold. Ninna now stood at the center of the upper area, the camera slowly zooming in until her figure filled the center of the screen. As she started singing she pointed at where the cameras were, as if directly addressing her opponents through the screen.

Oh, oh
Mmm, mmm, mmm, mmm, mmm, mmm
Mmm, mmm, mmm, mmm, mmm, mmm

You think you could screw me, babe
You think that I am here for the taking, oh baby
I might look small to you
But even my shit is bigger than you

Baby I’m still standing strong
I’m greater than you’d ever be, oh baby, baby


As she entered the chorus, Ninna raised her fist in a show of defiance as pyros erupted all around the perimeter of the stage. The red lights coming from the triangle now turned gold, more closely matching the yellow of the fire as well as the gold of Ninna’s dress, although the triangle and the floor remained red. The bright and fiery yellow, gold, and red symbolized Ninna’s defiance in the face of critics, enemies, and opponents. Eyes on the audience, she swayed and even shuffled her feet as she started towards the stairs, the camera gradually zooming out to give the TV audience an unfettered view of the entire stage with the pyros around it and Ninna at the center of it all.

’Cause I am who I am
I’m free and I’m strong
No inhibitions
Oh, baby, baby
Say what you want ‘bout me
Nothing you say matters
I know I’m number one


Ninna walked down the stairs to the lower area as the pyros continued flaring around her, wagging her finger as her eyes shifted from left to right and back again, taking in the full length and width of the crowd. She marched down to the center of the lower area, smiling and pointing at herself several times along the way whenever the lyrics referred to her as the narrator.

You think you can play with me, better think again
Cause I’m just not one to play around with
I laugh when you hit me
Hit me with your best shots, I’m here all day long

Baby I’m still standing strong
I’m greater than you’d ever be, oh baby, baby


The pyros had been receding somewhat, but now began flaring again in full force as Ninna entered the second chorus. She made her way around the lower area, extending her arms in a show of freedom while again pointing at herself several times as she went through the chorus. From time to time she would turn her head to face the audience with a confident, defiant smile, sometimes stopping for a moment and tapping her foot before continuing.

’Cause I am who I am
I’m free and I’m strong
No inhibitions
Oh, baby, baby
Say what you want ‘bout me
Nothing you say matters
I know I’m number one


The pyros gradually died down and the lights dimmed somewhat, with Ninna returning to the center of the lower area and standing there solemnly. All attention was now on the triangular screen at the back, which began showing pictures of headlines revolving around Ninna’s dispute with her business associates and the resulting court case, interspersed with clips of Ninna entering and exiting the courthouse, as well as news reports from the press conference where she proclaimed she would “beat those snakes in court”.

As the screen continued showing the pictures and clips, a recording could be heard across the venue featuring two people talking, apparently acting as Nina and one of her ex-associates.

Mmm, mmm, mmm, mmm, mmm, mmm
Mmm, mmm, mmm, mmm, mmm, mmm

“Come on now!”
“Hey Ninna, I know we’re not on speaking terms right now-“
“Oh, are you gonna apologize for stealing my money?”
“Look, Ninna, it’s-“
“Oh, just when I thought you finally had a conscience or something.”
“Ninna, it’s all a misunderstanding-“
“Aw, see you in court then I guess.”


The lights brightened once again and Ninna turned towards the stairs, ascending back to the upper area as she started singing again. Once she was there she settled back at the center of the floor, turning to the crowd as she repeated the chorus. The screen behind her now changed to show a zoomed-in view of her, allowing those at the back to see her more clearly. The pyros were gone, and the audience had a clear view of Ninna, a solitary figure on the stage proclaiming her triumph against her opponents.

’Cause I am who I am, you know that
I’m free and I’m strong, got no chains
Say what you want ‘bout me, oh baby
I know I’m number one

’Cause I am who I am
I’m free and I’m strong
No inhibitions
Oh, baby, baby
Say what you want ‘bout me
Nothing you say matters
I know I’m number one

’Cause I am who I am
I’m free and I’m strong
No inhibitions
Oh, baby, baby
Say what you want ‘bout me
Nothing you say matters
I know I’m number one


At the last beat, the lights dimmed and faded away and the triangular screen switched off. The red disappeared off the stage floor, leaving Nina standing in the darkness at the center of the upper area. As the crowd cheered and applauded her, Nina shouted out “Thank you!” and waved at them before making her way out of the stage.
Last edited by Adab on Sun Oct 31, 2021 8:57 am, edited 3 times in total.
Male, 20, Indonesian

Major partner in free association with Faraby (that's my secondary nation IRL).

Impossible is just a big word thrown around by small men who find it easier to live in the world they've been given than to explore the power they have to change it. Impossible is not a fact. It's an opinion. Impossible is not a declaration. It's a dare. Impossible is potential. Impossible is temporary. Impossible is nothing.
-Muhammad Ali

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Antahbrantahstan
Chargé d'Affaires
 
Posts: 382
Founded: May 29, 2014
New York Times Democracy

Postby Antahbrantahstan » Mon Oct 18, 2021 6:25 pm

21. ANTAHBRANTAHSTAN | إانتهبرنتهستن

Aline Lora - Blossoming
Tune: Cinta Laura Kiehl - Markisa

m & l: Aline Lora, Gianinna Karan, Rendra Septiadi, Bara "Uli" Gunawan, Marcell Sanchez-Arrevalos

Image


After a while of holding a national final with international juries (usually bringing good results, but sometimes only enough to place Antahbrantahstan in the left-side scoreboard). RR thought that MGP is becoming a bit more fatigued, and announced a short hiatus for the national final, with plans to turn it into a large-scale fiesta (a la Vha Mehlodhivestoile) or a simple one day event with more songs. RR immediately launched an open call for songs and singers, chaired and advised by previous Anturian WorldVision winners and entrants Yuliana Vergina Citra, MAYSA, KRESNADEWI and Selina Lawson, simply stating that the entrant should be above 18 years old and has Anturian citizenship, other than that, the song could be of any length or any subject topic. Soon after, RR has received 2.500-something song submissions, ranging from well-established artists to unknowns looking to make a name in the industry.

After a while of judging, debate and refinement of the entry. RR finally announced Aline Lora, real name Aline Hanna Tayeb, a Tyrol native of Melkite Greek Catholic faith to represent Antahbrantahstan with her song “Blossoming”. The selection of Aline sent the nation into shock, especially since Aline is considered the highest-selling singer of the generation, with millions of fans strewn across Antahbrantahstan and the diaspora. “It was weird seeing my name becoming a cover of many newspapers and articles for several days, I have to tell you, it was bizarre.” Aline said. “Streets were talking about it, everyone was talking about it.”

Speaking about the inspiration behind the song, she remarked, “I was very much having a writer’s block before. Formulating so much shitty demos for the open call, but I cannot seem to figure out things. One day I went to church, surprising, ain’t it? After I exited the church and noticed that there’s this beautiful bird of paradise flower outside the gate, it became some sort of an eureka! Moment, and I immediately contacted my collaborators that I just found an idea, and it grew from there.”

“This song is basically a love letter to Anturian culture, instrument-wise, and a jab at haters and those who bullied me, lyrics-wise.” Aline said when being asked about her song. “I want to capture the essence of the Anturian culture, basically, joyous, rebellious, over the top, while at the same time trying to send an important message to everyone. It wasn’t hard trying to balance the good things out of both. In fact, the songwriting process is very much organic, we frequently discussed things with each other, and we felt very satisfied with the end product of this.”

When asked about the dance, she remarked that it was incredibly exhausting. “I would get up at 6 am, have a big breakfast, very starchy, meaning lots of rice or wheat whether its cereals or oatmeals. Head over to the dance studio, and practice until night. I don’t want to practice beyond midnight because I have very clear boundaries regarding my circadian rhythm.” She said, “But it’s fun nevertheless, I certainly hope that the audience can appreciate the song that I have made, maybe dance for several seconds or something, that would be enough for me.”




After the Anturian postcard has ended. The stage lights up, revealing a backdrop of brightly-coloured orange bedroom in the LED screen. Aline, wearing a blazing neon orange dress, can be seen sitting on a chair, reading a newspaper, complete with a plethora of dancers acting as a mannequin around her. Aline, seemingly noticing the camera has been facing on her this whole time, throws away the newspaper, and finally stands up, grabbing a microphone from the mic stand located nearby. Aline is perplexed seeing so many audience looking at her, as if they are spying on her, however, she then gets accostumed to the stage very quickly, and smirked, seemingly inviting the audience to the Anturian dance bonanza-extravaganza that is set to follow afterwards.
The scorching sun, the blinding moon
Cannot stop ya
Trying to shame me
Trying to blame me
You speak too much, there's too much hate
Coming out your lips
I'll just stay silent
Hoping you'll R.I.P


The dancers drop to the floor, the LED screens now showing a background of dark green-coloured tropical leaves. Aline seductively dances to the audience, the dancers’ hands can be seen on the camera lens trying to reach and grab a taste of her, as if she is some sort of an obscure Anturian mother goddess. Aline does not care however, continuing her dancing, albeit a little bit slower, as if she managed to make every single part of her bodily functions slower than normal, like tiny drops of water falling from the edge of a roof into the pavement. This is not Aline's intended message, however, she just wants to tell her basher that no matter what happens, she will continue to blossom.

Like a flower.

Like a cactus
I will focus
Not to digest your hate to me
Like a flower
I will prosper
I will continue blossoming


The lights now go haywire, with a variety of blazing red, orange, and white being projected to the stage at disorienting intervals. The LED screen now showing images of an Anturian batik pattern, adorned with images of animals and flowers, seemingly dancing about.With the bass beats, adorned with traditional Anturian instrumentations taking the center stage this time. Aline and the dancers now dance energetically, yet, Aline doesn't let the energy overwhelm her, channeling the seductive powers of a courtesan and a femme fatale combined into one, her dancing reminiscent of the complicated, yet elegant rhythms of a classically-trained Indian dancers. Putting the audience in a seemingly otherworldly performance, complete with Aline's chanting of "berbunga-bunga", a normal word in Antahbrantahstan, but to others, it sounds like a bizzare incantation, or a magic spell of some sort.
Berbunga
Berbunga-bunga
Berbunga
Berbunga-bunga
Blossoming
Blossom-blossoming
Blossoming
Blossom-blossoming


The situation now changes to an arid desert environment in middays, reminiscent of the Sahara or the dry parts of American West Coast, depending on the audience member's interpretations. Aline and her dancers, does very complicated dance moves while laying on the stage floor (including twerking that CLK and her dancers did in the music video), her kneepads in good use, though this doesn’t last long, as soon Aline and her dancing troupe would stand up to prepare for the next scene of the infectious melody that is being sung on the Marina Point stage.
Oh taller the tree, denser the fruit, stronger the wind
Babe, that’s how i feel
Imma keep it real
The hate you spew
Is very sweet
But that ain’t enough
To bring me, bring me to despair


Aline, using her eye to good use, seduces the audience with her facial expressions, her mannerisms as elegant as a male peacock fluttering his beautiful wings. The midday desert landscape now shifts to evening, oranges and light greys adorning bits and parts of the LED screen and floor. As the song goes back to the pre-chorus, Aline and her plethora of dancers slowly, but surely added bits of energy into their dance, performing intricacy of dance moves (much to the awe of the Nekoni audience), as the lights slowly go haywire, projecting a disorienting array of colours into the venue.
Like a cactus
I will focus
Not to digest your hate to me
Like a flower
I will prosper
I will continue blossoming


The LED screen and floor goes back to showing the batik prints that the audience have seen before. In some parts of the chorus, the dancers stop moving, letting Aline take the centerpiece as the deity of dancing, accomplishing very complicated hip and belly movements reminiscent of Arabic or Indian traditional dancing. Aline letting her vivacity, presumably bottled up after being bullied repeatedly by her bashers, flow into every single part of her body. Her (alongside her dancers') movement looking easy to do, but at the same time very sharp and synchronized, such intricacy of movements can only be done by those who are well-versed at it.
Berbunga
Berbunga-bunga
Berbunga
Berbunga-bunga
Blossoming
Blossom-blossoming
Blossoming
Blossom-blossoming


Now the screens darkens, save for a few bright orange light shining upon the stage. Aline and her dancers utilized their flexibility in this segment, with their hands performing key dance movements. Their hands move, seemingly "detached" from their minds, their hands moving at such seductive, yet dangerous movement like a snake preying upon their victim. An Anturian traditional instrument, some sort of lute coming from the province of Kuala Belait, add an otherworldly flair to this bridge part, as if trying to hypnotize the audience to do whatever Aline wanted.
Baby, you might wonder
How i always prosper
I focus on my job
You don’t have one


The LED screen then lights up again, now revealing a dim orange colour. The pre-chorus begins with a different beat, but Aline and her dancers doesn't seem to mind, and continues to dance, acting as a signal for the next part of the song.
I’m a red rose
Even if i’m pretty, baby
I can make you cry
Like a flower
I will prosper
I will continue blossoming


Aline and her dancers momentarily stop dancing, the camera focusing on Aline's face, whispering the first few verses, and soon after, the beat comes in. The camera now zooms out, focusing on Aline and her dancers, Aline's skirt noticeably gone, revealing her black, training shorts and noticeable sport shoes. The LED screen now shows the batik prints everyone sees before, with the song in full swing and audience's excitement at an all-time high. Aline and her dancers finally stopped being elegant, and unleashed their vivacious spirit on the Nekoni stage, making very intricate and difficult-to-execute moves reminiscent of breakdancing and street dance style (though Aline cannot dance too much, as she is also singing). Aline is very much overjoyed, seemingly not caring about conforming to the basher's standards, but rather just being herself, shedding away her inner deity in favour of being rebelliously and outrageously authentic.
Berbunga
Berbunga-bunga
Berbunga
Berbunga-bunga
Berbunga
Berbunga-bunga
Berbunga
Berbunga-bunga
Bunga, bunga, berbunga-bunga
Blossoming
Blossom-blossoming
Blossoming
Blossom-blossoming
Blossoming
Blossom-blossoming
Blossoming
Blossom-blossoming
Blossom, blossom, blossom-blossoming


To finish up the song, Aline and her dancers death-dropped to the floor, much to the awe and thunderous applause of the audience, definitely bringing energy and excitement to the fully-packed Marina Point venue, soon after, Aline and her dancers then stand up, visibly exhausted, yet happy, Aline then shouted, "Thank You Nekoni!! Terima Kasih!!" before going backstage together with her dancers.
Last edited by Antahbrantahstan on Mon Nov 01, 2021 9:26 am, edited 4 times in total.
Roro Ayu Maulida Putri (Top 21) | Pricilia Carla Yules | Putu Ayu Saraswati | Jihane Almira Chedid (Top 12) | Kharisma Aura (3rd Runner-up)

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Kalosia
Minister
 
Posts: 2929
Founded: Jan 09, 2013
Liberal Democratic Socialists

Postby Kalosia » Mon Oct 18, 2021 7:12 pm

22
Kalosia
Ti apartenu — Dafne Maržanu
performed in Kalosian to the tune of Easy on Me — Adele


It seems like everything had led up to this moment. After her entrance into the world of popular music contests just 2 years ago, the jazz singer-songwriter, whose music has been compared to the likes of Billie Holiday and Ella Fitzgerald, continued to have this desire to shine. Her participation in the 2019 Festival dëla Kanžu Kalosianë (FKK) put her name out there in the national memory. After going on tour that summer-fall came a relatively silent period, where she returned to her hometown in Vasilu, Kalosia, where her adoptive family has continued to support her from the young age of two.

Having slipped under the radar, she used this moment to continue to write music, occasionally travelling to perform in gigs, mostly in nearby Kasin. Due to the onset of the COVID-19 pandemic in Kalosia, music festival season was largely cancelled, leaving several vacancies in her calendar, on days where she had looked forward to performing in festivals across the world. There was one 'festival' that continued, however, and that is the World Hit Festival.

When the Festival dële Melodie Kalosiane, the national selection for the WHF, reopened in late 2020, she was sure to submit a song which then ended up earning the ticket to Brahmokerto, Fromulya. With the song Gwarirë (Heal), she came 9th out of 16 participants; a modest result if not for the domestic popularity.

Later, it was announced that she returned to the national competition Festival dëla Kanžu Kalosianë for its diamond 60th edition. Held in May this year, she performed the song Verita mia. On the festival's third evening, she was also able to impress audiences with her rendition of the song Anu 2000 (Year 2000), originally by Aída Kastelo & Electropica. Quickly, she became a favourite to win, especially as her track was popular with the audience. At the end, she came 2nd, just slightly short of the winning Lucia Edin with her song Sia prehiérë oltimë, itself also a WorldVision entry.

Although FKK previously had no relation with the WorldVision Song Contest, the 2019 FKK winner Corpus Calosum submitted their entry for contention at the 75th WorldVision Song Contest, where they achieved a commendable 6th place on home soil. The next year, the winner was offered by RTVK to compete at the 86th WorldVision. However, his mediocre result led to a hybrid model being devised for the 2021 edition of FKK, where artists were asked whether they were interested in doing WV prior to the festival, and they would be considered for editions taking place after the festival's completion. Dafne was one of several artists who declared interest, citing her positive experience at the World Hit Festival. The FKK winner Lucia Edin declined to go to WV directly, as she wished to have extra time to prepare. Later, Filipe Gardañu was able go with a completely different song to his FKK entry. At this point it has been almost 6 months since FKK, and Dafne decided it was time to promote something new.

This is where we are now. Ti Apartenu (I Belong to You) was announced as the song Dafne would sing in Marina Point. For the big night, she was wearing an elegant light green gown. As the postcard had finished playing, the stage was dark. As the opening notes were played, a spidercam that started form a wide shot angle slowly approached Dafne, standing alone on the lower stage before a mic stand, with two spotlights—one on each side—shining upon her.

Kalkëkosë, kadë ja soñu
Penšu di kelu momentu kadë
Noj komenšavu, ši inamuravamu
E ši gardavamu krešerë uveťarë

Alorë voľu solu dirë ti:


The background screens that had previously been dark/unused now began to display a starry night visual as a camera in front of the stage slowly circled around her on its rails. Some more spotlights now came on as well, but otherwise the overall lighting mood was dim, with hints of dark blue and teal.

Kë ti… apartenu, baby
Komë la mareá
E siu klaru di lunë


Now it switched to other camera angles, including some close ups, overall achieving a rather intimate feel for Dafne and her song.

Se… al improvisu
Saparise kolë ventu
Saro ankorë tia

Ti apartenu, baby


The audience cheered, and she was about to go back into the verse, the camera pointed off stage and slowly blurred as it transitioned into a steadicam being brought on stage. As Dafne sang, it circled around her, and from this distance you could really take note of the small glittery specs of the dress sparkling, and how the light, soothing colours of the dress complimented cool tones of her dark skin well. You could also see, when the camera was behind her, the sea of lights that had transpired among the audience, many of whom had their phones lights out.

Kalkëkosë, kadë mi seľu
Mi prëókupo për niu futuro
Kañeriz opor mi oľeri?
Ma ja fidu di ti

Alorë voľu solu dirë ti:


As we now returned to the chorus, Dafne continued to belt her voice out emotionally. The fact that this song was otherwise a simple piano ballad with subtle bass elements really accentuated her voice. By now, the steadicam operators had left the stage and we were left with off-stage cameras conveying the vastness of space and how little she was in the grand scheme of things. Still, her strong voice was powerful enough to establish her presence as the centre of this performance.

Kë ti… apartenu, baby
Komë la mareá
E siu klaru di lunë

Se… al improvisu
Saparire kolë ventu
Saro ankorë tia

Ti apa~rtenu, baby


Now, the little stars in the background screens began to burst and explode. The atmosphere became lighter and almost fiery as Dafne emotionally sang the bridge of this song. In the final line of this next part, the light was intense enough that the background screens eventually turned a bright white, before fading entirely to black. The stage lights followed suit, having gradually brightened only for everything return to dimness.

Anki se lë mondu
Pežasë, rëkordal
Kë ameru ti
Finu ala finë dël amurë


As the time came for the final chorus, a shot of gold particles now came from the bottom of the screens (a la Lucie Jones at ESC 2017), and the stage lights turned a warm golden colour as well. As you can tell, other than these visual effects there has not been much happening on stage, because there did not need to be much happening. Dafne's voice and emotion was enough. Music was enough.

E ti… apartenu, baby
Komë la mareá
E siu klaru di lunë

Se… al improvisu
Saparire kolë ventu
Saro ankorë tia


As the song came to an end, the background screens faded to black and so did most of the stage lights, leaving two spotlights—now gold—shining on Dafne, just like at the beginning of the song.

Ti apartenu, baby


And finally, the song was over. The audience cheered. Dafne took a bow, saying "Gražia, thank you!" before leaving to make room for the next entrant, coming from Waisnor.

Sometimes, when I dream
I think of that moment when
We began, we fell in love with each other
And we’ve been watching each other grow old

So I just want to tell you:

That I belong to you, baby
Like the tide
And her moonlight

If suddenly
I disappear with the wind
I’ll still be yours

I belong to you, baby

Sometimes, when I wake up
I worry about our future
Will you change, or forget me?
But I trust you

So I just want to tell you:

That I belong to you, baby
Like the tide
And her moonlight

If suddenly
I disappear with the wind
I’ll still be yours

I belong to you, baby

Even if the world
Broke into pieces, remember
That I will love you
Until love itself comes to an end

And I belong to you, baby
Like the tide
And her moonlight

If suddenly
I disappear with the wind
I’ll still be yours

I belong to you, baby
Last edited by Kalosia on Sat Oct 30, 2021 3:06 am, edited 5 times in total.

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Waisnor
Envoy
 
Posts: 321
Founded: Aug 03, 2019
Liberal Democratic Socialists

Postby Waisnor » Mon Oct 18, 2021 8:08 pm

23

WAISNOR


Maria Shunto - Ya prosto uydu/Tune: MØ - Live to Survive


Maria Shunto is a fairly well-known singer who has been actively releasing songs since the early 2010s. She also tried to get to Eurovision by participating in the 2017 national selection, but she took only 5th place. But this time she was lucky - she won the selection for 94th WorldVision Song Contest and this song is soon to be released to wide audiences.

So, now we're going to performance - the camera captures Maria at the top of the stage. Shunto lay on the stage wearing a wedding dress and veil. However, it did not look very presentable - there were stains on the dress, torn parts were visible somewhere. And while she was lying, Maria began to sing.

Прости меня, что не смогла
Forgive me that I could not

Я стать идеальной
Become perfect

Послушной овцой не была
I was not an obedient sheep

И девицей банальной
And a banal girl


Ты не смог меня удержать
You couldn't hold me

Я не могу так продолжать
I can't go on like this


While Maria sang the last two lines, she slowly got up until she firmly stood on her feet. Meanwhile, people in business suits approached Shunto, one on each side. A door appeared in the background, towards which the camera gradually approached. When the chorus time came, people tore off Shunto's wedding dress, and in the background the door opened, and behind it was a luxurious estate.

Я просто уйду, се ля ви
I'll just leave, c'est la vie

Я просто уйду, нет любви
I'll just leave, no more love

Я просто уйду, и не зови
I'll just leave and don't call me

Я просто уйду
I'll just leave


After Maria danced a little before starting to sing again, one of those men took Shunto's hand and did not let her go, the singer could not escape from his trap. In the background, meanwhile, the camera continued its journey through the estate, as if looking for something. In terms of lighting, only Maria and the man holding her were lit on the stage.

Тебе не удалось меня прижать
You failed to hold me down

Заткнуть и унизить
Shut up and humiliate

Ты жаждал меня в плен загнать
You longed to drive me into captivity

Но меня не пересилить
But I can't be overpowered


Ты хотел мне жизнь продиктовать
You wanted to dictate life to me

Я не могу так продолжать
I can't go on like this


When it was time to sing the chorus for the second time, Maria was able to break free from this man's grip, and the camera found the door again, and now she led to the street on which she soon began to walk. The light scattered in different directions, gradually illuminating the entire scene.

Я просто уйду, се ля ви
I'll just leave, c'est la vie

Я просто уйду, нет любви
I'll just leave, no more love

Я просто уйду, и не зови
I'll just leave and don't call me

Я просто уйду
I'll just leave


Пока, адьос, и не смей идти (x3)
Bye, adios, and don't you dare go (x3)

За мной, просто пусти (х3)
Following me, just let it go (x3)

Я не буду слушать твой бред (х3)
I will not listen to your nonsense (x3)

Можешь в воздух кричать мне вслед (х3)
You can shout after me into the air (x3)

Bolded words are the one that are repeated 3 times


While Shunto sang the past quatrain, she began to dance more and more energetically, but when it ended, she froze, spreading her arms in different directions. Before Maria began to sing the chorus for the last time, the music slowly returned, and eventually became normal volume.

Я просто уйду, се ля ви
I'll just leave, c'est la vie

Я просто уйду, нет любви
I'll just leave, no more love

Я просто уйду, и не зови
I'll just leave and don't call me

Я просто уйду
I'll just leave


After finishing her performance, he came to fans and said: "What's up, everybody? Thank you!!"
Last edited by Waisnor on Sun Oct 24, 2021 8:35 am, edited 1 time in total.
81 = 18th/34
82 = 22nd/31
83 = 27th/41
84 = 15th/27
85 = 20th/28
86 = 14th/32
87 = 14th/36
88 = 24th/32
89 = 16th/37
90 = 8th/35
91 = 9th/30
92 = 8th/29
93 = 4th/25
94 = 14th/28

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

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