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WorldVision Song Contest 117 - Concord, Plangainer - IC

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Plangainer
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Posts: 121
Founded: Jan 07, 2019
New York Times Democracy

WorldVision Song Contest 117 - Concord, Plangainer - IC

Postby Plangainer » Mon Oct 21, 2024 11:51 pm

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THE NATIONAL RADIO AND TELEVISION BROADCASTER OF PLANGAINER, ALTERNATIVE INTERNATIONAL MEDIA, ALONG WITH THE INTERNATIONAL BROADCASTING ASSOCIATION WOULD LIKE TO WELCOME YOU TO THE 117TH EDITION OF THE WORLDVISION SONG CONTEST IN CONCORD, PLANGAINER!
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The welcoming warm blue skies set the mood for the day as the city was bathed in bright light and a calm, pleasant air, the day of the show approaching with the clock ticking in the broadcast room, the crew having had extensive hours rehearsing their cues and points down to a perfected level of quality for a grand presentation that set new scales further than what they had already gotten used to before with their own national competition, but they had a duty to perform for this particular night.

"Alright ladies and gents as well as any in between, we have an hour to go and about ten or so minutes before doors, so I want a full sweep and a final check on our equipment and then we can sit back and wait until the final ten before we start showing what sort of power we have in this room, alright?" Maine called out, the room full of directors and operational producers that all stood to attention for the final rundown, her relaxed but forward nature a great help in breaking through any personal tension and anxiety lingering the room as the pressure to succeed mounted as time went on, "If anyone has a problem, please come up to me immediately so we can handle it as a team and make sure everything runs as smooth as it possibly can." the room nodded, a couple of them giving her a smile and a nod to signify they understood the message, "Let's get this show on the road yeah? We've got this!"

Her hand pulled the chair that was stationed in the upper middle portion with most stations operating a step down from where her table was, the assistant directors already preoccupied with running through the checklist, before she opened up her laptop and pulled out the headset, clicking a few channel switches on a preconnected audio panel to her right and adjusting the microphone arm that hung overhead. "Checking in, can everyone hear me just fine?" a few more seconds passed, a couple of audio clicks and beeps ringing across her ears before she gets responses from those who were set on the same network as the broadcast room, with Maine having taken up position as the head of the team it felt thankfully comfortable in a way to be back at work in a different environment, but with a familiar crew at hand, and she wasn't going to let anyone down at any given moment, her attention worked to run through the several pages worth of instructions, timings and cues, with her hand scribbling off the sides in the most familiar parts as a point of reference and for ease of access to the most critical portions of the show, time which moved fast as they set their minds to work without knowing the audience had already begun to pack the empty seats and venue floor of the Arena.

Back in the arena, a quick glance at a wristwatch that Douglas carried would confirm they only had half of an hour left before showtime, the technical crew with pens jotting down notes beside large assemblies of lights, the wiring and cables snaking their way around the corners of the backstage with long black out curtains hanging across the divides, looking up to face the trussing that supported the gigantic LED wall setup, mounted railings that connected the middle section to a movable rotor which gave the stage a unique piece of transformable flexibility.

"Just checked up on Helley, had the crew run a few sound tests before the first interval act so we've got a good starter, think we've got the backstage all prettied up for the entrance?" Stinnett said while taking a sip of some green bottled drink, the older male still donned his regular morning show attire and had no reason to change as it fit him and his style well enough to make him stand out in his own right, a pair of polished leathered shoes and black pants to accent the white shirt and black blazer, Douglas always made a point of being relaxed and casual on the outside even when he had a busy day, and that didn't change today even with a slightly nervous side to his tone.

"Yeah, should be no problem—"

"Five minutes! Everyone should get to their places." Maine's voice rang through the in-ears that most crew had on hand, both of them taking the signal and nodding, as they watched two Steadicam operators rush past them and head through the decorated hallway, patting one of them on their shoulders with a slight chuckle.

"Have fun!"

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The arena had been packed with eager spectators and curious fans, all waiting in anticipation to see how their favorite contestants will perform, flags clutched between the hands of most active supporters with faces bearing the stripes and emblems of their nation painted onto the cheeks and forehead of others, with a few more scattered and clumped up as people could catch well known fan media present at the venue floor, with large setups of crane cameras that slowly would sweep over the audience once in a while as preparations backstage continued into the last few minutes of their allotted time.

The LED wall which bore the slogan of the contest transitioned to a singular minute countdown as the excitement in the arena instantly grew louder and louder with the passing of time, the loud chant of numbers echoing through the venue and all the way to the media room, the large concrete walls unable to suppress what was going on in the main hall, as pressure built not only on the backstage crew, but also the performers who were scattered throughout and ready to begin the flag parade after the interval act, some opting to carry their flags however the wanted — some with it tied around their necks, some simply bearing it behind them with both hands and even some dressed up in their national colors to bring a more sophisticated aspect, but that was purely a creative choice let to the performers on how they wanted to be introduced.

Eventually, the countdown reached its final ten remaining seconds, the lights that were at any point on now beginning to dim to an incredibly low setting that didn't let the audience completely lose vision but wouldn't have the arena engulfed in the same white wash that filled the venue, with audience cheering and chatter reaching its loudest yet in a crescendo that only quieted down when the screens had sparked into a full blown white, followed by the iconic orchestral IBA theme signaling the beginning of the show with a huge thunderous applause rising from the crowd in response, the truss lighting that decorated the stage now shifting to a warm orange twinkle as a view of Concord appeared in the distance, music slowly building up as the intro sequence showed various people preparing their mornings, drinking coffee and getting ready for work, with the video focusing in on one man in a house with a guitar in hand, playing a catchy and uplifting tune, then suddenly cutting to various different clips and shots as people began to decorate their spaces and buildings with art of the contest theme, drawing the slogan on a large field and atop of several roof surfaces that would be joined into a large canvas with the shot showing from high up above the final resulting piece as people worked together to kick the city into spirit.

As the tune continued, a montage of clips that would display not only Concord, but far into the large mountainous areas of the country where a shot of several climbers are seen making their way up to the summit of Mt. Randal, and then a final set of footage that captured the Phoenix Arena in a bird's eye view, showing the large arena from all its angles in daylight and the activity below in the city center as the sky transitioned from a bright clear blue day to a sparkling sunset evening as the final shot showed the country from up above as rings formed from the point of Concord before bursting into a ripple, the slogan written on the screens with the contest logo right up above as the beginning VT concluded the compilation which gave as a form of introduction to the international audience of how big the enthusiasm of the contest was in perspective, the music eventually faded to silence with the screens turning black.



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"IT'S EASY"

Performed By: HELLEY BEE

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The restless crowd cheered as the lights in the arena slowly fell into a swooping dim, a subtle bass resounded that everyone standing right by the wings of the stage could feel beneath their feet as a sparkling line of light began to cast upon the audience standing at the floor of the arena, the screens lighting up from complete blackness as the guitars started to slowly merge with the constant thumping drone before overtaking after a large swoop left the audience watching as everyone notices Helley Bee standing in a box full of sparkling crystals, the camera approaching her slowly as the music kicked into action and the audience began to watch the first interval act that would begin the eventful night to come, as her hands held the microphone that would slowly arch its way to her face before she glanced back to look and connect with the lens, her eyes decorated in vivid orange and wisp of darker shades that reached further through and out into the side of her temples, hair that hung back with some of it still hanging off one of her shoulders before slowly pulling it back behind her.

As she finally sang the opening verse of the song, there was a subtle tone of relief after having had missed to perform before but nevertheless now presented with the honor of opening the WorldVision Song Contest instead, the sound of guitars, the percussion that would kick in, scatter and charge towards the audience was enough to get a cheering applause.


You keep it moving till I the brakes,
All these excuses giving me headaches,
This ain't a test for my faith, cause I know just what you said,
And I ain't giving in for a pointless chase



As the watchful eyes of the audience were allowed to step inside and share the space with the singer, the walls would unfold to reveal a larger space around them, lit in a dimmer shade and a glistening haze from rows of LEDs that made for a clearer contrast against the crystal interior she stood inside before, now walking out of the and forward, as the floor had a seemingly low fog that showed the way across the dark space around them, Helley looking out as voices ahead, distant and faint, spoke and murmured in a distorted mess of noise that was nothing but mere gibberish but yet sounded like a beckoning, with the musician clearly interested in investigating as her feet now followed the lit up floor of orange and white.

The audience in the arena were quick to make out she wasn't yet present on the stage herself, but something along with how the scene is being played out and the fact that the gigantic LED wall was now slowly sliding open to reveal a second entrance that had fog slowly seep through and wash across the clean black tiled floors was enough to have everyone expect a grand appearance soon.


Why should I sit around in your fallout,
Like a mannequin in the background,
I left some space in the bed because I know that for you its
just for the best



The camera slowly lowers as she is engulfed in the dim backstage lighting in the short lived breath of silence as the song was resurrected by an isolated kick and clap that then dove into a more lively and upbeat chorus progression, in the very same instance, an off-shot pair of hands would grab Helley and push her into a standing man dressed in a full dark blue outfit consisting of what looks like a mask covering reminiscent of Cabaret, with strips of diamond that cascaded the sides and feathered ends which decorated their seemingly dark and mysterious aura, the outfits themselves a uneven combination of various pieces that had the theme of diamonds and shiny gems in different colors and sizes, with the performer holding the musician in their arms as she begins to sing the first lines of the chorus before being thrown into another figure, wearing a distinctly different mask but nevertheless following the same theme as the first one to then get pushed to a third and then a fourth one every time a new line was sung before she herself threw the last man away with a push by the shoulders with one arm as the camera moved quick to follow her in the moments that she was being thrown from dancer to dancer.


Shout it out, just what a relief
To leave you be alone and at ease
Left one last kiss that I ain't gonna miss
Don't think I can't move on
Its easy




The shot then switched to them from the opposite direction as the lights swept in a simple strobe wave of white across the hall way they were inside with a twinkling pulse, with all five of them — the four dancers and the female singer — now facing in the direction of the entrance into the back of the main stage as Helley was standing at the front lit up by the multitude of LEDs that hung from the walls around her and the roof that had a forest of crystals hanging at different angles that would bend the light shining upon them in many different ways, with the four men now stepping up right behind her and placing their silk gloves upon her collar prior to her leaning forward and shrugging them off with a synchronized move as each of her shoulders picked off the unwelcoming guests and took her next few steps forward in the direction of the camera that moved along with her while she began to step with a seemingly unbothered stride, the four dancers catching up before falling back as the lights swept through the hallway, changing their hues briefly to a colder shade of cyan and a warm hue that felt welcoming previously once again falling back into a natural shade of orange before they would once again try to catch up.

As she got closer to the end of the chorus, the four dancers quickly grabbed their arms behind their backs as they begin to push forward in a hunched walked past Helley and the camera that moved in a little closer as the individual strips of LED at the sides faded to a warmer tint of white before — like a dying sparkle of a firework in the air — falling back into complete and utter darkness.


Run to the ones you've been meeting,
Such a shame that I caught you sneaking,
Don't worry though, this won't be your last show
Needed some closure, no more grieving
You'll be so surprised its easy



Her eyes took up the view as she looked past the lens, her face lit up by an even beam that kept the rest of her in the shadows as her feet slowly waded forward out of the hallway, the Steadicam slowly gliding around to her side before coming around to the bright bloom of the spotlight that came from the darkness as the back of the stage seemed to be rather well curtained for something as mystical as it so seemed, with the fog that slowly descended the alternative ramp behind the primary stage setup where she was to get up and join the arena, the sides of the floor lit up in a dark orange glow to illuminate the path forward as Helley let the lights that were hung up around her follow her through while a mix of handheld and dual use of two Steadicams continued to follow her along the journey through the backstage areas, swiftly turning her eyes to a gap in the separation that left a large volumetric beam to cast through and over her, basking in the light to then taking off in a sprint as she makes her way through, before the shot faded into black as the music slipped into silence once again.


No need to treat me like a castaway,
It's not my fault I caught some foul play,
You could have simply confessed,
But now you act all oppressed,
when I say its for the best
Show myself out hope you don't try to,
upset them, them, hmm



As she stepped through the divide in the wall, she was met with an incredibly overwhelming sight of a set, the arena lit up with fans each accompanied with their own individual wristband that lit up the darkness and painted a gorgeous mixture of colors across the walls and roof of the arena, a set of golden rays fell upon her face, the music kicking right back into the second chorus as the four dancers were evenly spaced at either side of the stage, with the a dozen more dancers accompanying the four further along with her now standing in the middle and above a giant display floor who all synchronously kicked into a sharp mixture of fast moving choreography, the screen wall beginning to slowly retract back into its usual position after the performed had finished stepping through and a crane camera that descended from above would see her walking her way to the front point of the stage, with the sight of the vast audience making her lips curl into an unintentional smile that caused her to let out an inadvertent giggle before refocusing herself again as the choreographed routine was performed in unison behind her, some of her movements joining in with them but not so much to cause her voice to stumble out of pitch with the song.

As the second portion of the chorus is sung, she begins to converse a little more with the spirit of the crowd, breaking away from the cameras and enjoying the general uplifting spirit of the crowd bearing a multitude of flags and colors before her, the tiny void in her chest that she always has when performing seemingly disappearing in that moment before powerfully raising her voice and singing out the last lyric of the chorus with her eyes shut and fist clenched as the cameras swiftly zoomed out to display the whole arena, as the stage then erupts in a spontaneous pop of pyrotechnics and fireworks that began to cascade the sides and back of the stage, spotlights beaming in multiple directions as the lights across the venue washed in orange and the synonymous purples and pinks of the contest theme that were then swept in waves across the roof and audience to accentuate the sudden burst of power on stage as wide shots caught the stage being sprung into a mesmerizing act of powerful life.


Shout it out, just what a relief
To leave you be alone and at ease
Left one last kiss that I ain't gonna miss
Don't think I can't move on
Its easy

Run to the ones you've been meeting,
Such a shame that I caught you sneaking,
Don't worry though, this won't be your last show
Needed some closure, no more grieving
You'll be so surprised its easy!



It wasn't as much performing anymore but rather simply an opportunity to just have fun and let go of whatever thoughts she had, the energy from the audience and the people that were on stage around her gave off something that felt invigorating, something that felt inspiring, that kept pushing to go harder and bring more than you would ever expect of yourself to, as she jumped around the free space of the stage and approaching one of the dancers as the two looked at one another with the camera capturing them in the same moment as she grabbed the dancers hand and held it for a moment more, as she begins to sing again as they took in eye contact for a little more before letting go and returning back to the center front stage to keep performing, a moment where the camera cuts went from the more active cuts from between the rails stationed just at the very edges and the riser cam just underneath the middle piece of the LED screen to a descending crane shot that would swoop above the stage featuring all the dancers before coming down about eye-level with Helley, as the lights went from the crazed extravagance to a dimming that left her with a singular spotlight.


Oh, you'll be so surprised its easy!
No you won't have, you won't have to worry
I'm just happy, just happy with myself
with myself,
Needed some closure, no more grieving
You'll be so surprised...



She returned her eyes to the lens, the spotlight above her keeping focus as the perimeter lighting pulsed with the rhythmical percussion, with all of the dancers present slowly taking each step in same rhythmic manner and stride, their arms parted from their torso with the tallest ones at the back standing up and the closer to the front, the lower they were. Once the lights began to thump with the increasingly louder percussion as the music returns into the more upbeat and dance-able pace, the singer's voice slowly comes back from its softer touch right back into a powerful, yet controlled tone that is backed up by a single backing track to accentuate her vocals as the camera begins to speed up and move out to reveal more of the stage that shows more and more of the dance crew and Helley at the center of it all, with bright flares being propelled from the back and sides of the stage during the moment of increasing crescendo.


Shout it out, just what a relief
To leave you be alone and at ease
Left one last kiss that I ain't gonna miss
Don't think I can't move on
Its easy



With hands tightly holding her by the hips with each dancer positioning themselves as low as they can, the audience watched as the singer is raised off from her feet and held up into the air in a pose that was almost majestic and graceful as the spotlights and moving beams of light began to once again light up the stage in a circular motion, the underlying LED floor exploding into the familiar ringed wave pattern mixed of deep purple and pink mixed with orange as an overhead camera descended from the hole in the very panel up above them captured Helley being turned around the axis as she held her arms up and open, as she began to descend into her finale and the last lines of her performance, before being set down back into her feet as they slowly stepped themselves back and the cameras switched to the head on group of four stationaries that were placed right ahead from the center point.

It was by far her most favorite part of the act, especially the point where she was elevated into the air and held up by her fellow dance crew to present the very peak of the act and performance, her heart beating out of her chest at how it was something she couldn't really have prepared for before then, but nevertheless was at the principle of the experience being held up and singing. It was all truly a surreal feeling, but one that she wouldn't exchange for the world, even the thought of being able to look back and just see the sea of lights, flags, people, all of which being in one singular space, the energy that was given to them and that was received, the very feeling of unity and love that was in the very atmosphere of the venue made it worth every second.


Run to the ones you've been meeting,
Such a shame that I caught you sneaking,
Don't worry though, this won't be your last show
Needed some closure, no more grieving
You'll be so surprised its easy



The audience had erupted into cheers with such a fantastic performance from Helley Bee standing at the front of the stage, clutching her chest with a breath as laughs broke through the tiredness and her head rose up to see the waving crowd before her. "Thank you so much guys!"

Sweeps across the audience caught countless fans as the stage was quickly emptied for the flag parade, a large amount of activity going on backstage as a line formed on either sides, as countries were introduced with an upbeat mashup of several Plangainerian hits in the last year, as the Phoenix Arena definitely welcomed everyone from far and wide to be there with the stage now being bathed in the colors of their flags in a full color sweep on the LED walls, each nation being loudly announced with a five to seven second shot as they approached and either danced or made their own style of grand entrance before the momentum kept the performers coming on and off stage as Douglas and Angela were now positioned behind the screen, looking at one another in their formal attire with decorative stitching that would help make them stand out from the bright screens, before eventually, the screen pushed forward and making the gap for the two to step through, as a loud voice echoed through the arena:


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[Douglas Stinnett]: Good Evening Concord! Good Evening Plangainer and most importantly...

[Douglas Stinnett & Angela Ingram]: ...Good Evening to the World!

[Angela Ingram]: Finally, after such an anticipated wait, the contest came to the wonderful city of Concord and I couldn't be any more proud to be standing here today alongside this dashing young man, some may call him the star of the show, but I personally wouldn't call him that, to me, he's my long time nemesis in the world of hosting and I cannot wait to show him how to PROPERLY handle a live show, isn't that right Doug?

[Douglas Stinnett]: *Chuckling* ... don't worry guys, she's only angry that she couldn't beat me in charades at our party, and of course, I always win. It's only fair. But as we both like to kid around and make it about ourselves, let us bring it back to why we are all here today... To Share The Love.

[Angela Ingram]: Exactly, and how can we share the love if we don't actually introduce ourselves to our most beautiful viewers? My name is Angela Ingram...

A loud cheer came through the audience, as Douglas looked at her with a side eye shaking his head with a seemingly jealous look on his face, a smile cracking up on her face as they waited for the response to quiet down before the other host would continue his own line.

[Douglas Stinnett]: And I, undoubtedly, am Douglas Stinnett!

To his surprise, the cheers from the audience became even more loud and lively, the sound being a pleasant roar before Angela was now looking at Douglas with the same sort of unserious judging glare, with Douglas bearing a cocky smirk and pointing to himself as the two exchanged looks before the audience would quiet down again.

[Douglas Stinnett]: But of course, Angela and I wouldn't be here without a wonderful, beautiful city welcoming us, the people who've built us up, the country that brought the song contest here and to our lovely hosts of last edition, a collaboration between two countries in the city of Dougaç, who hosted a most spectacular show.

[Angela Ingram]: Emma Maxwell from Malta Comino Gozo had truly captured the hearts of the people when they won, granting Malta Comino Gozo their 10th win! But the question this evening is, will they make their way to the top and get their eleventh, or will Concord crown a new victor in tonight's show? That is up to our dearest audience and the professional panel of jurors across the seas to decide.

The camera cuts from the hosts to the graphic of tonight's extensive line up of countries performing tonight, as the voice of Douglas speaks through.

[Douglas Stinnett]: Much like any edition, the voting details will be presented before you on how to vote in your country, using the telephone number or going to the WorldVision app, you can cast your votes to your favorite acts, but you may NOT vote for your own country. Voting lines do not open until the last song has performed for the night, where later we will be able to first reveal our jury scores before we reveal how the public have voted.

[Angela Ingram]: After which, we will be able to determine who had received the most amount of points to take that beautiful trophy and be declared the winner of the 117th edition of the WorldVision Song Contest! Without further ado, I think it's about time we start the show, right?

[Douglas Stinnett]: Absolutely, shall we do it together?

[Angela Ingram]: Together.


[Douglas Stinnett & Angela Ingram]: Let the 117th Edition of the WorldVision Song Contest BEGIN!

As their arms both shot up into the air with Angela leaping up into the air, the music kicking up with a large firework extravaganza across the sides of the stage while the camera shot began to roll back and out to reveal the stage in its entirety, declaring the beginning of the contest with the broadcast cutting to the first postcard of the night.







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Last edited by Plangainer on Tue Nov 12, 2024 5:18 pm, edited 5 times in total.
~ By yours truly, PLANGAINER
Graphics & VFX Designer


| Just a few funny stat things:
WV98: Achieved 15th Place
WV99: Achieved 9th Place
WV103: Achieved 6th Place
WV104: Achieved 3rd Place
WV106: Achieved 4th Place
WV108: Achieved 10th Place
WV111: Achieved 4th Place
WV114: Achieved 2nd Place
WV115: Achieved 2nd Place

User avatar
Plangainer
Spokesperson
 
Posts: 121
Founded: Jan 07, 2019
New York Times Democracy

Postby Plangainer » Mon Oct 21, 2024 11:52 pm

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Last edited by Plangainer on Tue Nov 05, 2024 4:59 pm, edited 2 times in total.
~ By yours truly, PLANGAINER
Graphics & VFX Designer


| Just a few funny stat things:
WV98: Achieved 15th Place
WV99: Achieved 9th Place
WV103: Achieved 6th Place
WV104: Achieved 3rd Place
WV106: Achieved 4th Place
WV108: Achieved 10th Place
WV111: Achieved 4th Place
WV114: Achieved 2nd Place
WV115: Achieved 2nd Place

User avatar
Uskad
Lobbyist
 
Posts: 21
Founded: Mar 03, 2022
Civil Rights Lovefest

Postby Uskad » Mon Oct 21, 2024 11:55 pm

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Echo Lanterns - Thoughts
Listen to the tune here!
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Background
Uskad previously participated in WorldVision 115, where it finished at 9th place, a considerable improvement compared to its poorly received debut, which some Uskadian WorldVision fans say is the worst debut for a nation ever. Regardless, Konia Suladerana was recieved with extremely positive reaction when she went back to Tehumyas. She went to sign with a large Uskadian record label and has released two singles.

Uskad's unexpectedly better than expected results led to BSRU executives to analyse what the Uskadian participation did right. BSRU later planned to participate in WV116, but withdrawn due to the WMCA-Fatimania war ongoing at the time, with the government being concerned with the artists' safety. After the WMCA won the war, the BSRU went back into drawing board to find a new contestant to represent Uskad. They internally selected indie rock trio Echo Lanterns. They already had a relatively successful YouTube channel, and already had a sizeable amount of fans from across the globe.

Echo Lanterns and the song

An indie rock band from the Uskadian state of Kartarajasa-Sentika, they were formed in 2014, and continued their journey by releasing singles through YouTube, and released their first album in 2017, Nights. They had further success with the album Echoes in 2018, but their career skyrocketed during the COVID-19 pandemic with the album Roots.

The band consists of three members, Ivo Lamandu, the vocalist and guitarist, Fari Kamutar, playing bass guitar, and Daniel Tisakawa, the drummer. Lamandu comes from the mountainous Uskadian state of Leso, Kamutar from the southern coastal state of Lesetia, and Tisakawa from Tehumyas. They all met while studying in the University of Palangpalolu in Kartarajasa-Sentika, and were all musically talented students.

Their performance at various indie fesitvals around Uskad and the positive reception led to them making a YouTube channel on what would be Echo Lanterns. They initially did gaming videos alongside their music, and eventually devoted their channel to music.

They were ecstatic at being selected as the Uskadian entrant, and said it was all their lifelong dream to perform to such a large international audience, and they said they also liked traveling, and are interested at what Plangainer has to offer, as they even said they only heard of the country when they were selected to the Uskadian representative.

Echo Lanterns describe the song as someone getting angry at their romantic partner for having wronged them, They say it is still overall similar to their previous music, but has a "weird different tang? to it". They further explained the meaning, with it being emotional exhaustion with endless cycles of arguments, and a want for independence. Lamandu, the frontman, said the song was inspired by his own experience of unresolved tensions eventually leading a breaking point.


Concord

They landed at Concord, and went through all immigration and security, when they finally gazed upon the city. Lamandu and Kamutar, not really used to big cities, was immediately impressed by the things the city had to offer. Tisakawa, a Tehumyas native, did not have the same impression as his bandmates, and thought that Tehumyas offered the same or even better things that the city he had gazed upon.

They stayed at a hotel around a week before the contest began, and while Tisakawa mostly stayed behind at the hotel, Lamandu loved cities and explored Concord. Lamandu was impressed by the old medieval core of city, and it reminded him of Panpinangan's own old core. He explored more the city, bought souvenirs, took pictures. Kamutar had a penchant for art, and visited many of the art museums the city had to offer.

As days went by, they were informed by the delegation director that Uskad has allocated first in the running order. Tisakawa and Lamandu was very pleased, while Kamutar was socially awkward and was said to be terrified after being informed of the news. They later consulted the stage director about changes in their performance, and eventually resulted in a performance that was quite different that what it was in the beginning.


Performance

The band wore different outfits before the performance. Lamandu wears a tuxedo, while the two other band members wear dark green jackets.
The performance begins as after the postcard and stage ready were deployed, with thick stage fog engulfing the stage. As the song begins to play, the smoke clears, then three members of the band appear. Lamandu then starts singing the song as he gets closer to the spidercam.

Felt nothing since the fight last night
Back to back, without guilt
Cause you know that you’re always right
Cause you thought i won't resist

The view then reverts to the one of the crane cams, closing up on Kamutar playing the bass guitar and Tisaka playing the drums. Then it goes back to Lamandu singing,
holding his microphone.

Then, you’ll say that you’re sorry
Since you’ve got everything figured
I've got no use here with you


As it reaches the chorus, visuals in the background reflects an animated version of the lyrics, then it shows Lamandu singing while lightly dancing to the song. At "No more bad thoughts of you.." He points at the spidercam, then it to an overlook cam showing the audience and the performing band. After the chorus ends, he walks around the stage a bit as the other band members all looked enthused to perform.
And I'll be leaving you
No more petty fights, darling
No more bad thoughts of you in my head
Don't say that you want me
That you want me


Say you want me

At the second verse, as he returns to singing, he begins making gestures towards the cameras, and it cuts a bit to show enthusiastic Uskadian supporters flying the flag.


I'll probably find a new love, for me
Oh anybody could compare
Or I'll be by myself for good
Singing my thoughts all alone

At the pre-chorus, Lamandu begins singing at different ends of the stage as the camera follows him. He also makes facial expressions at "everything figured"

Then, you’ll say that you’re sorry
Since you’ve got everything figured
I've got no use here with you


As the chorus begins again, Lamandu becomes slightly more energetic and sings enthusiastically, and proceeds to make more expressive body movements. Then at "You need me" some of the audience sings along as well. At "you need me", he becomes more emotional in his expressions and body movements.

And I'll be leaving you
No more of petty fights, oh darling
No more bad thoughts of you in my head
Don't say that you need me
That you need me


At the bridge, he begins to slow down, and makes extra gestures to the camera. The camera goes back to showing to the audience flying various flags of participating countries. At this stage, his performance becomes noticeably emotional and he only makes light body movements while walking around a bit on the stage.

Nobody knows
If I were to care
Holding you close
As if I loved you
Listen to me
I wont need you
And I'll long be gone
And I'll long be gone


At the slowed chorus, Lamandu makes more expressions and his gesturesand body movements become noticeably more emotional. The visuals are essentially just a slowed version of the chorus visuals.

Don’t say goodbye when I leave
No more petty fights, oh darling
No more bad thoughts of you in my head
Don't say that you need me
That you need me


At the outro, he begins to kneel to the ground and the animated visuals begins to slow. More of the audience sings along with this part, most of them Uskadian fans.

I want you to go
I want you to go
I want you to go
I want you to go
I want you to go
I want you to go
I want you to go
I want you to go
I want you to go
I want you to go
I want you to go
I want you to go


He bows while kneeling and shouts "THANK YOU CONCORD! I LOVE YOU!" while the audience cheers loudly. He waves at the audience, before it moves to the next participatinf country, Beepee.

Image
Last edited by Uskad on Mon Nov 04, 2024 12:04 pm, edited 4 times in total.

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Beepee
Diplomat
 
Posts: 660
Founded: Jan 20, 2018
Democratic Socialists

Postby Beepee » Tue Oct 22, 2024 12:09 am

2. BEEPEE

"THE PERFECT GUY"

Performed by Mary Shellie

Tune : Doreen Steinert - "David Beckham"


Image


About the Artist


October is the most spook-tacular month and, in 'the little nation that could', Beepeeps are celebrating "Hello-Weenie"... the most jump-scary holiday. Hello-Weenie culminates in ghoulish night of terror on 31 October, and this edition of WorldVision is being held close to the height of the festivities.

With this in mind, the internal selectors at the Beepeean Occasional News Corporation have given into the spirit of the holiday and picked a campy horror inspired festive treat for the avid watchers of WorldVision. Whilst they may not all know of Hello-Weenie before Beepee's performance... they're sure to know about it afterwards.

Mary Shellie was born under a full moon at Hello-Weenie in Norfolk Pinewoods, the capital of Beepee.

It was no surprise, then, that from a young age she was enchanted by all things eerie and macabre. Celebrating birthdays during "Hello-Weenie" festivals, Mary would often perform impromptu songs and spooky lullabies; twisting traditional schlager songs into ghoulish offerings with horrific lyrics .

Mary never thought of pursuing music Instead she preferred the solitude of writing short stories and ghastly tales. But recently she was noticed by a talent scout at a "Scaryoke" night in early Hello-Weenie.

"The Perfect Guy" is her debut single, written specifically for the WorldVision stage by Beepee's most talented lyricist Otto Tune. The song perfectly encapsulates Beepees love for horror with a campy, romantic twist. Inspired by the classic story of Frankenstein, Mary wanted to create a humorous, over-the-top anthem about building the "perfect" man, using man parts from various nations, just as a mad scientist would.

This marks her first international performance, and Mary couldn't be more thrilled to represent Beepee on the WorldVision stage. With the nation in full Hello-Weenie swing, she’s ready to deliver a performance that’ll have audiences shrieking in delight.

Visit to Galmohein Avenue


Mary Shellie sat in her hotel room in Concord, staring out the window. It was a clear and sunny autumnal day. 

Mary had been in Concord for about a week already.  Doing rehearsals, press, waiting for the Uskad entrant to finally stop talking to their set designer. As much as she loved WorldVision, between the hours of waiting, between rehearsals and long lead up to the big night... being chaperoned everywhere.... things were beginning to drag. Tomorrow was a day off... the second half of the performances were rehearsing. 

Mary sighed!  That meant she'd probably just hole up in her room, flip on the telly and order room service.   She longed for some adventure.  What made things worse is that she was missing out on all the Hello-Weenie fun back home.  She was sure such a parochial little holiday wouldn't be celebrated here, even in Plangainer.

Mary grabbed her phone and started scrolling.  Hoping to find some new Kalosian əpp to keep her mind occupied.  Her eyes became heavy, so she snuggled down in her hotel bed and opened Gogglə (the Kalosian search engine).  Before the results had returned, her eyelids became heavy, her phone slipped to the side and she drifted off into a deep slumber, her phonescreen glowing beside her.

When she awoke it was dark, she lifted up the phone and pushed her finger on the screen.  The phone glowed into life and the light made  her squint.  Her last search results were still there.

Mary threw on her most casual outfit; jeans, a simple black top, and her favorite trainers, wanting to blend in with the Plainjaneians she was sure this is the kind of thing theyd wear. Almost out the door, she stopped and ,thinking it might be cold at night, grabbed her jacket and headed out.

She loaded up Gogglə maps, and typed in her destination "Galmohein Avenue".  It wasn't too far, a 7 min walk.  She slipped past hotel security who would have surely stopped one of the worldvision entrants from heading out into Concord unaccompanied, her head trying to work out whether to go left or right.

Mary wandered the street for a while following the little blue line... she wasnt sure if the Kalosian mapping app was working all the way out here... it seemed like a lot longer than 7 mins she had been walking (though it had been all uphill).

Then she spotted him... a hunky devil, dressed painted head to toe in red body paint, wearing the shortest red gym shorts, black horns, with a body that looked straight out of a Britonish gym. He walked past her, and Mary, thinking he was heading somewhere to celebrate Hello-Weenie, decided to follow.

"Hello-Weenie fan, I see!" she called after him. He turned and smiled but said nothing.  She assumed her thick Beepeean accent probably wouldn't be understood by the locals.  She continued to follow him.

Turning a corner she saw the sign "Galmohein Avenue". The street was teeming with ghouls, vampires, and other fantastical creatures. And hunky devil slipped out of view and into the crowd.

She hadn't expected there to be sooo many people here. But seeing them dressed in their costumes, reminded her of her favourite Hello-Weenie traditions.  For a moment she felt a little homesick.

She mingled through the crowds, a zombie gymbro and his undead fratmates were having a rowdy time passing round moonshine to nearby revellers.  And one of them handed an orange plastic cup filled with some to Mary.  She accepted and, throwing out all common sense, took a sip after being encouraged by the gymbro. It wasnt too bad. She smiled and walked on taking her moonshine with her... she absent-mindedly took another sip and another, as she walked through the crowd. L

It wasn’t long before the “moonshine” (or whatever concoction it was) began to take effect. Marys world was beginning to spin, or was that the ground.  She stumbled falling into a Hallo-Weenie gymbunny.  Bouncing off him and falling backwards, falling right into the arms of the hunky devil.

Embarrassed, she ran her fingers through her hair and tried to regain her composure.  "Thank you" she said.  He looked  deep in her eyes, "you've been on the moonshine" he said, his Plainjaneian accent difficult to decipher.  "Come on" he said practically dragging her into one of the avenues many mansions. 

Inside the mansion, the  decor was gothic and spooky. Flickering candles dripped wax over each table, illuminating cobweb covered books tables and chairs. Despite its spooky ambiance, it was somewhat cozy.  The devil led Mary over to booth and said "i'll be right back".  Marys head was beginning to spin faster.  A moment later the devil returned, with two cups of coffee. "Here! Drink this!" He said pushing a strong long black under her nose.  She thought of protesting but thought better of it, and cradled the hot coffee cup in her hands, sipping occasionally.

The pair sat in silence for the most part, groups of party goers came in and out of the mansion, ordering coffees and snacks. Groups of catwomen, cavemen or characters from horror movies.  It was just like Hello-Weenie.

Half a cup later, and finally Mary's world stopped spinning. She was now able to look at the handsome devil before her.  For the first time she smiled, and blushed a little, which didn't go unnoticed.

"Feeling better?" He enquired.

"Yes" she replied.

"Let me show you round"

They headed into the spooky haunted mansion.  She held his hand. He lead her through the haunted house, filled with ghosts, ghouls and goblins. His hand was warm, hear head was light, was she falling in love with him tonight? 

The three storey mansion was a maze, and amazing, with intricate twists and turns.The lights, the smoke, the noise.... it  was all disorientating.  She found herself pulling herself closer to the devil for comfort.   He put his arm around her and Mary was grateful for his kindness.

After a what felt like lifetime of wandering the pair pushed through the door and found themselves in the crisp autumnal air.

They walked and talked for hours taking in the atmosphere of Galmohein Avenue, absorbing the ambiance. 

As the night drew on, Mary and her devil found their way to a quieter end of the Avenue.  Where the crowds had already dissipated. 

"Will i ever see you again?"

"Maybe?"  He replied, "give me your phone".  She dutifully handed it over.  He tapped at the screen. Handing it back with a smile... "now, you've got my number".

Mary smiled tucking the phone in her jacket pocket. 

"I have to go", he said, "but your hotels that way" He pointed.

She smiled, thanked him and wished him a good night.  Turned and headed back to the hotel.... a few steps along she turned to see if he was still there, but he had gone.

She awoke it was dark, she lifted up the phone and pushed her finger on the screen.  The phone glowed into life and the light made  her squint.  Her last search results were still there.  She had a sense of deja vu.  She checked the time: she had dozed off for no more than thirty minutes. Sad, she realised it had been nothing but a dream.  She then noticed a new contact had been added to the phone under the name "Your Little Devil". 

Performance


The stage is set in darkness.

The stage has been decked out to look like a old-fashioned stereotypical mad scientists laboratory. Beakers filled with bubbling and smoking colourful liquids. Glasses test tubes, spiraling steam, electrical arcs sparking between antenna.

Wheeled onto center stage, a large glass box with something inside. From each of the four upper corners of the box lead giant wires to a large metal contraption dangling high above the stage.

Mary stands beside the box, dressed in high heels and a low cut, and short white lab coat. Her long legs almost fully in view. She is wearing glasses, without lenses to make her look smarter. Her dark hair is tied into a Bun.... yes... She's dressed as a sexy mad scientist.

A fog machine blow a low fog, tickling the stage.

The postcard complete.... the performance begins... suddenly the stage is lit in green, giving an eerie and spooky feeling...

Mary, wearing her mic so her hands are free, begins...

I'm gonna make the perfect guy (woah-oh)
He'll have a twinkle in his eye
So I'll stitch and I'll sew
And I'll make my own man grow (woah-oh-oh-oh)


Mary is an enigmatic performer despite her relative inexperience. She is a bundle of energy, nerves and excitement. She struts back and forth across the stage, keeping low and looking sideways... a little shiftily... stealthily... but as always dramatically.  Whisps of the cinematic haze billow around her. 

I know what I want
All the things that I don't
I'll take the best of you all
And stitch you all up like a doll


On stage are prosthetic limbs in a large deep trolley, with faux blood smears dripping down the sides, Mary looks through them,  absentmindedly as he sings about the things that she wants, but disregards them all... and pushes the trolley off the stage.    She then looks about the audience as if scanning for body parts for her monster.

As she performs, "I'll take the best of you all, and stitch you all up like a doll", she motions her hands like she's sewing.

I wait for thunder
It makes me wonder
What parts I need to take
If the perfect man I'm going to make
I wait for lightning
It's so exciting
When will he wake


The wires holding the box begin to glow, from the top close to the large metal contraption but not yet reaching down to the large glass box itself, slowly cascading down the wires, in electric whites and blues. 

Taking inspiration from the old style Frankenstein movies, as she sings, "I wait for thunder... it makes me wonder," the screen behind Mary  shows flashesflashes lightning across a darkened sky. She raises her arms above her head as if summoning the storm.  The lightning flashes again as she "waits for lightning... its so exciting" and she then peers round and over the box looking out into the vast audience.

He's gonna have Nekoni hair (woah-oh)
He's gonna look so debonair
I'll give him Britons arms
He can have those Maltese charms (Woah-oh-oh-oh)


Mary runs her hands slowly down her body, as she thinks of the perfect guy.  Touching her hair,her arms and her special charms as she sings each line in the song.  Her performance is demanding the attention of the viewer.   

The fog, blowing over the stage, Whisper and curls around her feet and gently glows.

He can see through Kishies eyes (woah-oh)
And maybe those sweet Tobu thighs
He's a man I can love,
Though he's not sent from above, (Woah-oh-oh-oh)


As she sings "He's a man I can love, Though he's not sent from above", Mary raises her hands to the sky once more.  On the LED screen behind her another large fork of lightning shoots across the screen; further emphasised by a bright flash in the stage lights...  the huge metal contraption above the glass box seems to buzz with electricity and the lights on the wires down the box glow in electric white and blue.   Mary acting consumed with determination and madness.... rushes round the box.... a fearfully crazed look in her eyes... singing

La-la-la-la-la-la, la-la-la-la-la-la
La-la-la-la-la-la, la-la-la-la-la-la
La-la-la-la-la-la, la-la-la-la-la-la
La-la-la-la-la-la, la-la-la-la-la-la


As the glowing light on the wires reaches the glass box, the box woarks and bangs and the sides flop down, clearly leaving a man wearing little more than a loincloth, in the broken box.  Mary continues, running her hands gently over this strong, muscular body, her eyes glinting with success, as she sings

I know what I want
All the things that I don't
I'll take the best of you all
And stitch you all up like a doll


Mary moves to the front of the stage singing out the chorus to the audience, behind her on the broken box, the man/monster now begins to twitch and twist, gnarling himself into unnatural positions.   Slowly, he is 'coming to life', the screen behind him is brilliant white which places him in silhouette on the stage.  Mary, however, continues...

I wait for thunder
It makes me wonder
What parts I need to take
If the perfect man I'm going to make
I wait for lightning
It's so exciting
When will he wake


As she continues, the man/monster rolls himself off the box and onto the floor, landing with a gentle thud. He then continues to move in spasms and twitches as if learning how to use his constructed body. His moves are dramatic but also carefully choreographed.

I'll give him a Kalosian mind (woah-oh)
And he can have a firm behind
He'll be tall like an X,
He'll be the best in all respects (woah-oh-oh-oh)


As she sings about the 'Kalosian Mind' Mary runs her hands through her dark hair, doing a half turn as she sings 'firm behind', her short lab coat outfit giving a hint of hers.

She walks back to her monster, confidently, as he is beginning to find his feet through his moves. He stands broad shouldered and firmly, unmoving as she reaches him... and Mary continues....

He can have those strong Dark hands (woah-oh)
Speak like he's from forgotten lands
He'll be as soft as he's strong
And he'll admit each time he's wrong (woah-oh-oh-oh)


Mary gently runs her hands across the man/monsters bare chest.... he stands, statuesque, watching her, as she walks in front of him. His skin has been painted in tones of green and golds, darker lines are used to suggest where his limbs have been stitched together, an abomination akin to Frankensteins monster, but hot. Those keen eyed viewers who watched the Independents Cup held in Britonisea last month (and who wouldn't have supported our Britty in their sports hosting triumph?) will notice that the monster looks somewhat familiar. Mary, however, runs her hand down his sterke armen, indicating he's both soft and strong..

La-la-la-la-la-la, la-la-la-la-la-la
La-la-la-la-la-la, la-la-la-la-la-la
La-la-la-la-la-la, la-la-la-la-la-la
La-la-la-la-la-la, la-la-la-la-la-la


Mary heads to the front of the stage, and her man-monster follows after her... arms forward and with stiff legs.... as he heads towards the front of the stage, the Eagle eyed will recognise him as Yuri Hotgui, Beepee's Chief Party Person... Still trying desperately to make himself popular... but, he's doing a reasonable job here of being as stiff as a plank of wood.

Mary, however, is performing happily along, as she sings "He'll hold me through the night, And stay come morning light", Yuri, the man-monster, reaches Mary at the front of the stage and wraps his arms around her waist.

He's gonna be the perfect man (woah-oh)
Like he's from Antahbrantahstan
He'll hold me through the night
And stay come morning light (woah-oh-oh-oh)


Mary turns in Yuri's arms to face him. As she sings, the pair gaze at each other as they sway together. Mary so proud of her creation... The audience can sense the affection the pair have. The stage still bubbles with the laboratory scenery adding to the set up, and the LED screen has discreetly changed to be a wall of the laboratory with gpthic style widows. In the LED windows the nihht begins to slowly fade to the break of the dawn....

I'm gonna make the perfect guy (woah-oh)
He'll have a twinkle in his eye
So I'll stitch and I'll sew
And I'll make my own man grow (woah-oh-oh-oh)


With the staging lighting becoming brighter as the song comes to the end, there's only the "la-la"'s, our two stars dance together, entranced and enchanted in their own world.

La-la-la-la-la-la, la-la-la-la-la-la
La-la-la-la-la-la, la-la-la-la-la-la
La-la-la-la-la-la, la-la-la-la-la-la
La-la-la-la-la-la, la-la-la-la-la-la


The song comes to an end the pair still together in an embrace. Mary leans in for a kiss from her man-monster. As her lips reach his, the lights go out...

The house lights come on and Yuri and Mary turn to the audience and bow, waving the and thanking them for their time. They leave the stage making way for the *joy* of Crustyland.... (Oh we can barely contain ourselves for the walrus of love).
Last edited by Beepee on Fri Nov 01, 2024 5:00 am, edited 26 times in total.

User avatar
Crustyland
Spokesperson
 
Posts: 100
Founded: Oct 15, 2020
Liberal Democratic Socialists

Postby Crustyland » Tue Oct 22, 2024 2:14 am

Image


Song

It was safe to safe Crustyland was in their "ok" era. The last contest saw Liz Bien, with her song Cream Cheese, come a respectable 13th place with 96 points. They even picked up 42 points from the televote, which was a rarity! Their songs were great, but the undertone of the lyrics was usually what let them down. Still, Crustyland and CRAP were pleased with their top 15 results!
xACA
They had or hadn't, depending on how you looked at it learnt their lesson and CRAP had picked an act that was doing just that again. Kåre Paulsen would sng "Drifting In A Dude's Eye". It was a great song with flawless vocals, yet the song was all about eye floaters. Why? You tell me. I mean, how they came up with that theme was anyone's guess, really. Placely Placington, Crustyland's best friend, was back in the contest, and Crustyland was thrilled.


Image

Kåre Paulsen, 23 is a young Crustylandian singer and comes from Hlaughel, Crustyland.

Image


The stage is set with a colourful LED backdrop that creates a swirling, hypnotic visual of floating particles drifting in a human eye. Soft pinks and blues give the vibe of an alternate reality, pulling the audience and the TV viewers into a dreamy, playful world of eye floaters and optical illusions. The light is dim, with just a few spotlights softly illuminating Kåre who is standing center stage, his band at the back of the stage.

He has a boy-next-door look. He has short, wavy brown hair that complements his bright blue eyes, which add to his approachable and friendly appearance. For this performance, he’s rocking a white T-shirt that features a huge clip-art cartoon eye floater Over the T-shirt, he's wearing a black denim jacket and blue jeans.

As the intro starts, we’re immediately transported by the high-pitched "twinkly" keyboard notes, which set the songs whimsical tone. This keyboard sound is like a music box, giving a sense of light, almost like you're entering a fantasy or dream. It feels otherworldly. The high-pitched electronic motif kicks in
Kåre begins to tap his foot as the music swells with those long, slow chords that provide the structure, while the twinkly organ and a traditional piano sound join in. The recurring theme of the keyboard riff repeats, and even with just a few notes, the audience knows they’re in for something special. Was this really Crustyland?!

Kåre’s voice comes in smoothly, and the laid-back rhythm lulls the audience into the groove. His vocals were on point! Crustyland had found another good singer. The LED screen shows some tiny eye floaters moving across a pinkish backdrop, almost like we’re floating inside an eye. The gentle rhythm of the music gives a relaxing feel The music subtly dances with the floaters on-screen.

We get them almost every night
When that light is soft and right
It's a little optical delight
Little floaties dancing in a dude's eye


As Kåre sings, a spider camera sweeps across the stage left to right, capturing the mellow vibe of his performance. He glances at the camera, a cheeky smile playing on his lips as if letting the audience in on the fun of the "floaters" theme. He winks. Despite the theme the song was catchy and ke knew he had the audience hooked. They may not win, but boy, did they have one of the catchiest songs! He swung his mic stand from left to right as he sang. The LED lights above pulse softly with each note, syncing with the rhythm of the song.he performance was intended to be both chill and silly.

Floaties drift they're out of sight
They don't stop and they don't fight
They keep things loose, they keep it light
Little floaties dancing in a dude's eye


The catchy chorus kicks in, and the LED lights brighten, casting colours that shift from vibrant blues to neon greens, matching the joyful, playful energy of the song. The floaters have come alive now, and swirled and shift direction across the screen The bassline come alive here, making the whole stage vibrate with its joyful groove, one of those bass lines that just make you want to move. The song was an easy-to-sing one and had the audience nodding along as we pan from the back of the arena towards Kåre. Kåre’s vocals are smooth and so inviting, and when he sings "Dancing in a dude’s eye," the whole room feels like it’s floating along with him. Flags and hands are swaying side to side. We cut to various stage shots as the chorus progresses, one of the band, one from both sides of Kåre and an upper body shot. As he sings "optical slime", , the LED screens at the back displays colourful, playful blobs bouncing across the backdrop. The camera zooms in on Kåre’s face as he laughs mid-line.

Dancing in a dude's eye
Little floaties,
Drifting across your iris cells and
Fibres microsize
Yet you watch me,
Dancing optical slime


The lighting shifts slightly as more floaters in vibrant colours appear the LED screen. They are almost static, moving ever so slightly. We have a close-up view of Kåre as he sings, gripping the microphone stand before we cut to a rail cam shot of his left. In the rail cam shot , the camera moves slowly, capturing Kåre as he dances on the spot to the beat. The calypso-like rhythm keeps the energy light and easygoing. The floaters behind him spin gently, matching the sway of his voice. The ceiling cameras catch sweeping shots of the entire stage, making the LED visuals feel immersive as if the audience were inside this dreamscape of an eye.

They like their fun and won't deny
The bits that twirl across our eyes
They spin around, they flash and they fly
Little floaties in a dude's eye


The second chorus brings even more life to the performance as spotlights swirl across the arena. We an hear the bands joining in with the singing now. The camera catches a wide shot of Kåre clapping his hands, encouraging the crowd to join in. He wore a jubilant smile across his face. The hand claps become part of the rhythm, creating a sense of unity in the room. We have a view that arcs behind him now so we can see the audience joining in, his hands raised above his head as he claps. The upbeat bassline and catchy melody fill the arena with infectious energy. We cut to a facial shot as Kåre’s playful wink at the audience makes it clear that he’s having just as much fun as they are.

Dancing in a dude's eye
Little floaties,
Drifting across your iris cells and
Fibres microsize
Yet you watch me,
Dancing optical slime


We cut to one of his cool bandmates at the back of the stage. He is wearing shades and a turned baseball cap and playing the keyboard. He sticks his tongue out and concentrates on playing the "complicated notes" (they were not complicated at all) with both index fingers. We have an upper body shot now as he sings to the camera with a smirk and confidence. His impressive vocals have a rocker screech to them. As he sings "It's a tiny, blurry sight" we cut to a railcam view from his left as raises his right hand and pretends to pinch the air. For the last line we cut to a spider shot that races in from half way in the back of the arena towards Kåre as he spreads his arms out wide.

We get them almost every night
And when that light is just so bright
It's a tiny, blurry sight
Little floaties floating in a dude's eye!


The cheesy chorus kicks in again but this time with even more life. The band can be heard supporting as Kåre flawlessly lets out a "Argh!"The camera catches a wide shot of Kåre clapping his hands, encouraging the crowd to join in, and they do. We then have a full body shot as Kåre does the batusi with his hands as he makes a horizontal V-sign with one's index and middle fingers of both hands and drawing them across in front of the eyes, away from the centre of the face simultaneously, his eyes roughly between the fingers. He was having the time of his life. Spotlights zoom across the arena as we have a quick shot from behind him. The chorus repeats with several wide and close-ups camera shots.

Dancing in a dude's eye, Argh!
Little floaties,
Drifting across your iris cells and
Fibres microsize
Yet you watch me,
Dancing optical slime )


Everyone on stage raises their hands and claps simultaneously. The bandmates are all standing now, clapping or beating their drumsticks together as a more instrumental/bridge takes over. The stage lights have dimmed slightly, bringing as Kåre moves toward the edge of the stage. He continues to interact with the crowd, inviting them to clap along again; the poor audience was going to be so tired! The camera zooms in as the LED screen shows a kaleidoscope of floaters spinning and swirling in time with the music. Everyone in the arena feels that this isn’t just a song—it’s an experience. The LED visuals, the music, and Kåre’s charisma are infectious. The bridge repeats.

Dancing in a dude's eye
Little floaties,
Gliding across your iris cell a,
Soft surprise
Yet you watch me,
Dancing optical slime (X2


As the final chorus hits, the energy in the room peaks. Bright yellow pyro's shoot out of the stage into the air and the LED lights explode into a spectrum of bright colours as spotlights race across the crowd. The audience is fully engaged, clapping along and singing with Kåre, whose enthusiasm is contagious. We have a sweeping spidercam shot from the back of the arena that steadily moves towards the stage. The crowd is covered in flags that wave. The song wasn't going to win but at least it was having a positive affect on the crowd. The onstage camera then captures every joyful moment as Kåre prances across the stage with abandon, full of energy. He performs some choreography as he bops up and down and swngs his left arm. We then transition to a railcam that speeds across the front of the stage, catching Kåre in the final moments as he finishes the song with a playful wink and a quick dance move.

As the last notes play and the song fades, Kåre stands centre stage, bathed in soft blue light. The camera zoom in close for a final shot before the screen fades to black. For the first time in a while at WorldVision the audience rapturous applause fills the hall. Everyone was on their feet as Kåre bowed to the camera. "Thank you!" he screams before waving frantically and baring a huge smile. The cheers continue long after he exits the stage, ready for the Ertzei Kishim entrant. He knew inside him that Crustyland wasn't going to win, but his heart was full of pride as he hugged the delegation backstage. The audience had been on his side and Crustyland arguably had one of the most infectiously catchy songs of the night. They COULD be in contention for top 10. We shall see.

Dancing in a dude's eye
Little floaties,
Drifting across your iris cells and
Fibres microsize
Yet you watch me,
Dancing optical slime
Last edited by Crustyland on Mon Oct 28, 2024 6:08 am, edited 6 times in total.

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Ertzei Kishim
Envoy
 
Posts: 226
Founded: Aug 12, 2019
Democratic Socialists

Postby Ertzei Kishim » Tue Oct 22, 2024 5:12 am

Image

04. Ertzei Kishim | ארצי כישים
Maccabeat - קעקוע (Ka'akua - Tattoo)

Composition and Lyrics: Yossi Yaacobi, Maya Dayyan
To the tune of: Oscar and the Wolf - Spill My Liqour


The waves crashed against the boulevard... wait what?? Same as last time? Okay... HARESHET had returned for the last edition, considered an almost one-off entry, a successful third place finish (another one), had galvanised HARESHET to drag themselves through the process again. Elissa had done a decent job in Uggunnustan, and had managed to translate her third-place finish into a degree of international relevance. Certainly at least, her Spotify streams had increased and she had been able to perform across the world in a limited, but well-attended tour. Back to HARESHET. While the budget provided had lasted three years, there was unease and uncertainty that there would be a second, let alone a third entry. That was until HARESHET's Head of Programming, Dor Bar Eilan arrived to a meeting with an interesting proposal. "Maccabeat" he began "What about Maccabeat"... This was too vague for most at the meeting to understand, however they had most certainly heard of Maccabeat before. "They want to do it? I don't think we can really afford such fees" replied Marina Zak, who had typically served as the liaison manager between HARESHET and EKRA. Dor Bar Eilan continued however "They don't need a big fee, in fact, they're willing to do it for profit neutrality. I have discussed this with EKRA who think that this would be a good chance for international promotion and Maccabeat are a key talent they want to promote" he looked around "so what do you say?".

Maccabeat (a play on the word "Maccabees" and "beat") are a duo comprised of Yossi Yacobi and Maya Dayyan, both of Makhaviv, who rose to fame on "The Next Star of Ertzei Kishim", where they finished runners up. Nevertheless, they had translated their appearance into enormous domestic success, scoring several top 10 singles following their appearance. Similar to Elissa Mago before them, EKRA sought to select an upcoming single from an upcoming album in order to promote the group and then capitalise on potential success through a wider musical offering. Maccabeat had an interesting offering in that, perhaps uniquely, they were a mixed-sex DJ and vocalist duo where the female was the DJ and the male as the vocalist. Maya Dayyan and Yossi Yacobi, both 29, had met while studying engineering at the University of Rakaphy, and had begun making music together shortly thereafter. Their style had certainly changed and developed until they settled on their current trajectory, that of club-ready alternative dance. Ever popular in the Kishraeli scene, their brand of dance gained them prominence in the clubs of Rakaphy, before TV stardom had skyrocketed them. In preparation for the show, the team at EKRA alongside Maccabeat themselves, had selected what they thought was the best lead single from the album, which was both accessible to a wider audience, but also representative of the type of music Maccabeat themselves sought to create. Yacobi was coincidentally the first gay man to represent Ertzei Kishim at the contest. The song Ka'akua, meaning "Tattoo" in Hebrew, is a bilingual English and Hebrew dance number, which talks about the love Yossi has for his partner. While the beat has an almost melancholic feel, Maya wanted to flip the switch on traditional love songs by inverting and undermining traditional expectations of "lovey dovey" music. While HARESHET had rather he not be weird about it, Yossi had certainly centred his sexuality previously and so it did become a feature of the promotional tour as he dressed in increasingly bizarre outfits and made TikToks jumping on homosexual social media trends. He also started using his platform to talk about geopolitics, which nobody with half a brain really wants from their WorldVision stars, but what can you do! Maya for her part also enjoyed the spotlight, and had indulged in an almost industrial thirst trap production line since her announcement. Again, what can you do!

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There were big hopes for the hosting of this edition's contest by Plangainer, a nation with the budget and skills to design the most advanced contest possible, but equally suffering from an unproductive and unmotivated labour force which could not be relied on to implement it. Given Concord's apparently seamless hosting, there must have been a significant body of migrant labour supporting efforts on this occasion. Given the support from EKRA, HARESHET had been somewhat more liberal (yuck) with the staging budget, and as a result had something quite impressive to offer to the audience in the arena and at home. It did however require such precision from Yossi and Maya to execute, and while rehearsals had been extensive in the build up to the contest, the transition onto the stage proper did take a while in order to "click". Nevertheless, Yossi and Maya were consummate professionals, and by the end of the week the staging was looking crisp and sharp. Throughout the week, and between the promotional events, the running order had been drawn. HARESHET had found that they were sandwiched between Crustyland and Nation M, which could only be an advantage. Yet, being early in the draw re-emphasised the importance of impact and memorability in the performance. Hopefully they had that covered.

On the evening of the performance, the nerves had cooled, and both were solely focused on doing their best for the country. Having waved goodbye to Crustyland before them, they took their place on the stage to a rapturous applause from the crowd. Yossi was topless and work black pants and boots, the latter had strong studded embellishments. He had a very faint body paint on, only slightly greyer/paler than his natural skin tone but nonetheless created an almost canvas effect on his body. This would be important later. Maya sat behind a large DJ booth which was characterised by sharp clean lines so that it almost blended in with the back of the stage. The booth itself had its own lighting separate from the rest of the stage. More widely, the stage was dark, with Yossi sitting on a low podium under a spotlight. The background LEDs were black, with silver shimmers that looked almost like dust floating across. Maya's DJ booth had the same effect at the start of te song. As the first notes of the song rang out, Yossi put the microphone to his lips, it was time to make the damn thing HAPPEN.

I could scream until my lungs gave out
Til the fuses blow and power cuts out
I know you don’t want me to make a fuss
But the feelings I get when I think of us…
Bathing in the angel dust
Held firm in a place of trust
In my chest dance butterflies
Deep in my heart where you reside


As the song transitioned to the chorus, a pink LED, almost like a meteorite, flashed across the screen as the beat "wobbled" (I don't know what it is called when this happens but you know what I mean, RIGHT!?). From the DJ booth pink lights shot out quickly before fading away too. Smoke began entering the stage as the chorus built to a faster and faster beat. Yossi started moving to the beat in slightly angular and robotically slow dance moves, almost like a series of poses. With that said, such a visual was effective, as his angular approach cut through the growing mist creating a beautiful swirling effect around him. As the dance beat kicked in properly, he then strutted forward closer to the audience to sing the next part. With the instrumental beat, both her and Maya began dancing, and several shots to the audience showed the crowd on their feet and bouncing to the song.

Kshe'bi oleh esh ha'ga'agua
כשבי עולה אש הגעגוע

Menaseh lazuz aval ani takua
מנסה לזוז אבל אני תקוע

Atah metzulak bi kmo ka'akua, kmo ka'akua
אתה מצולק בי כמו קעקוע – כמו קעקוע

Kmo ka'akua
כמו קעקוע

Tankheh oti derekh ha'shigua
תנחה אותי דרך השיגוע

Ten li od si iy-yadua
תן לי עוד שיא אי-ידוע

Lenetzakh efshar tishaer kakhah, tishaer kakhah
לנצח אפשר להישאר ככה? – תישאר ככה

Kmo ka'akua
כמו קעקוע
When the fire of longing rises in me
And I try to move but i'm stuck
You are scarred in me like a tattoo, like a tattoo
Like a tattoo
You guide me through the craziness
Then you give me another unknown high
Can we stay like this forever - stay like this
Like a tattoo


As the verse returned, the original lighting from the first verse resumed. Alongside this, the smoke had begun to dissipate as further vapour was not being pumped onto the stage. A frontal shot then began showing white shooting lights, primarily emanating from the DJ booth blasting through the stage in time with the music. Around Yossi a white LED light began gathering around his feet and spreading out, becoming ever more blurred and faded as it travelled. Yossi focused on the camera while emoting and singing, and maintained a steady rhythm to his movement - it was after all a dance song. Towards the end of the verses he gestured to his chest and then held his hand up and snapped his fingers, with the stage going completely black.

Late at night when I feel I’m free falling
Deep in the dark I can hear you calling
In the twilight the shadows sway
But through it all your light blooms in grey
No matter where, no matter how far
The sound of your voice warms my heart
In my chest dance butterflies
Deep inside where you reside


The song slowed very quickly and, with the snap of the fingers the stage went completely black. Then a spotlight appeared above Yossi, with Maya completely obscured. An LED projection, stored above and in front of the stage had shone a beating heart graphic onto his chest as he sung the bridge between the verse and chorus. Again, Yossi relied on his superior emoting capabilities to sell the song, particularly during this part which was less danceable than prior sections.

And you might think I’m crazy
But I’m not, I’m your baby
And I promise that I’ll always be
Because you really mean the world to me


The final chorus was designed to be the visual crescendo of the whole performance. While the sung parts remained the same as the previous chorus, with Yossi singing and dancing in his robotic poses, as the dance beat kicked in for the instrumental, the stage seemed to come alive with movement. Almost out of nowhere, Maya's DJ booth began rising and shooting soft grey and white spotlights out towards the arena. It almost seemed like a biblically accurate angel. Coupled with this, the stage became an angelic white, with the only visibly black thing being Yossi's pants. As this was happening the same projection that created the heart image on his chest began "tattooing" his body and arms with patterns, words, and images. As he danced to the beat, he moved in a deliberate way so that as he moved the projected tattoos moved with his body seamlessly. Thus, while he was moving very naturally - not like previously with the robot - it actually was a highly choreographed routine. As the dance continued, the tattoos became thicker and thicker so that is whole body was covered in the tattoo. As it began to travel up his neck he began straining, deliberately, as if he was almost drowning in the tattoos. With the song ending it looked like the tattoos were about to go onto his face before the music stopped and he collapsed onto his back (again deliberately) onto the stage as the song finished.

Kshe'bi oleh esh ha'ga'agua
כשבי עולה אש הגעגוע

Menaseh lazuz aval ani takua
מנסה לזוז אבל אני תקוע

Atah metzulak bi kmo ka'akua, kmo ka'akua
אתה מצולק בי כמו קעקוע – כמו קעקוע

Kmo ka'akua
כמו קעקוע

Tankheh oti derekh ha'shigua
תנחה אותי דרך השיגוע

Ten li od si iy-yadua
תן לי עוד שיא אי-ידוע

Lenetzakh efshar tishaer kakhah, tishaer kakhah
לנצח אפשר להישאר ככה? – תישאר ככה

Kmo ka'akua
כמו קעקוע
When the fire of longing rises in me
And I try to move but i'm stuck
You are scarred in me like a tattoo, like a tattoo
Like a tattoo
You guide me through the craziness
Then you give me another unknown high
Can we stay like this forever - stay like this
Like a tattoo


"THANK YOU WORLD!" Yossi cried as he stood up, bowed and then pointed back to Maya who was still in the air and pumping her fists. She added another thank you, before she was slowly put down and joined Yossi backstage. The performance had been a success, and they were proud of their song. All there was to do now was to wait for the final results and hope their conceptual, and somewhat expensive performance, had made enough of an impact.
From participating broadcaster HARESHET
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Last edited by Ertzei Kishim on Mon Nov 04, 2024 9:58 am, edited 12 times in total.

User avatar
Nation M
Ambassador
 
Posts: 1319
Founded: Dec 21, 2012
Father Knows Best State

Postby Nation M » Tue Oct 22, 2024 5:30 am

05
Nation Name: The Federation of Nation M
Official Broadcaster: Zeina V-TV
Song Title: Destroy the Opposition
Artist(s) Name(s): Ashley Thornhill

Tune: Die Braut - Flüchtling


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Having participated as Nation M's debut performer in World Vision 115, Ashley Thornhill is back - this time she hopes to capture the hearts of this editions voters. Winning 16th place was nothing short of a success on a first appearance.

World Vision 117 now marks the third appearance of Nation M, which now has a successional tradition. Each performer will choose next editions artist.

World Vision 116's representative "Ion" hand chose Ashley to bring back the industrial sounds popular in the nation's western shores. The song of choice is from Ashley's 4th studio album - her second solo release after her duo in Kindred Spirit.

"World in Tatters" mirrors the themes of war, human suffering, and inner conflict. Themes which have been consistent throughout all her previous work.

The third track on the album "Destroy the Opposition" will be performed for the first time in a live setting during this round of World Vision.

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Catching up with Ms. Thornhill is Manfred Aviroth - correspondent for Zeina V-TV. Tonight's event garnered a remarkable 1.3 billion views, and counting! Ashley spots Manfred picking up the pace, as she extends a Federation salute, and giving him a friendly embrace.

Manfred: "Gutte Auferm!" he exclaims, in his native Emen.

Ashley: "Shtol-e heite!", she responds with equal enthusiasm.

Manfred: "You're looking fantastic as usual Ashley" leaning back to have a look "the numbers are in, and we've over 1 billion viewers from all over the Federation tuning in for tonight's World Vision, can you tell us how you're feeling, any nerves?"

Ashley: "without a doubt Manfred, we've truly made momentous strides with our presence in World Vision, so there's mounting pressure for me to impress the panel."
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Interview outside Phoenix Arena
Concord, Plangainer
Manfred: "Right you are Ashley, but third times a charm! 116's Ion has personally endorsed you for this edition, so what can we expect?"

Ashley: "I'm a personal fan of Ion; their Drum & Bass music has dominated the airwaves, topping charts across the Federation, so having been endorsed by them is a high honor...and if I might add, they did fantastic.

Tonight Manfred I'll be performing a thought provoking song about the consequences of a lingering war - it's psychological effects on it's victims, and the ultimate deconstruction of otherwise good people".

Manfred: "Sounds rather intense, and yes Ion has certainly been outstanding. So, how about the rest of the artists - or even tonight's performers?"

Ashley: "Gosh, that's the challenge of course. There's so much talent out here. Nations such as Malta Comino Gozo, Beepee, Polkopia, and Waisnor always bring quality performers - so I'm up against the best".

Manfred: "You sure are, but I feel your musical talents offer a unique blend to the competition...and speaking of the other representatives, any favorites?"

Ashley: "Carmen, from Saint Monkey was my personal favorite - and who can forget Emma Maxwell of Malta Comino Gozo. In fact I'll be the first to admit, I've adopted some elements of their performances. I'm not after being the best, just after being remembered among the best".

Manfred: "Well said Ashley, and with that we wish you all the best tonight!"

Ashley: "Danken Manfred - will be seeing you at the interlude"

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The stage remained pitch black after Ertzei Kishim's performance. In the dark void arose the sounds of heavy footsteps making their way to center stage. As the lights turned on Ashley stood, blowing a kiss toward the audience before bending to one knee to retrieve a small remote control at the base of her foot, as the melody began. She turned to power the device - a large cathode ray tube. The grainy television flickered to life, casting a pale blue glow, and there it was; a puppet.

Its woolen face adorned with two hauntingly dark buttons, absorbing light in their deep color. It's mouth, a gaping maw that moved as if commandeered by an otherworldly force. It wore a fitted military uniform, adorned in full regalia; and as the lyrics began, the puppets mouth rambled angrily with exaggeration "Das Echo unseres Anführers ruft" (The echo of our leader is calling). Strobes flashed and in the backdrop lifelike cutouts of soldiers could be seen standing - their faces obscured.

Ashley wore a dark leather outfit, with a form fitting corset, two wrist bands, and thick boots. Her legs robust and white, highlighting a strong contrast to the dark skirt. Her hair ran wildly, its red curls flowing in an immaculate arch at either end of their pigtails. Her iris barely visible as she wore blind white contacts. She beat at her chest as she sang with intense emotion
"Unsere Herzen pochen vor Vergeltung" (Our hearts pound of retribution). She sang as if being hypnotized by the puppet on screen.

(Translated from Emen)

The echo of our leader is calling
40 years now lost is but a flicker
This crumbling basket sown is now blown in fragments
So why is there still an opposition?
Can't you feel your blood vexed and boiling
Our hearts pound of retribution
So why do we lament in ruins
Remember how they sought to kill you?

So tear at them and do not hold back
There's no sun now to nest them
Listen how your kinsmen shout words of encouragement

Can't you see you're winning,
Can't you see the enemy faltering?


At the 01:41 mark explosions can be seen all around the arena, smoke filling the venue, without sound. The television screen shuts off and several backstage helpers decked in black body suites scurry to remove the tube to reveal a long conference table with military officers standing on opposite ends - a commander at the tables head. His face was a thundercloud of fury, as the song mimicked the voice of an enraged man. His fist pounding the table canvased by a large battleground map while a crane-cam focused on the map itself. Units painted in red surrounding a single compound - a building with no distinguishable military markings. Both arms now splayed across the table, as he points to the singular object "Warum sehe ich also einen Gegner?" (So why do I see an opposition?). His comrades are faceless, motionless, but the mannequins appear to be breathing naturally.

The echo of our leader is calling
40 years now lost is but a flicker
This crumbling basket sown is now blown in fragments
So why do I see an opposition?
Can't you feel your blood vexed and boiling
My heart pounds of retribution
So why do we lament in ruins
Remember how they sought you to kill you?

So tear at them and do not hold back
There's no sun now to nest them
Listen how your kinsmen shout words of encouragement

Can't you see you're winning,
Can't you see the enemy faltering?


The lights dim, and a large flatscreen appears behind the stage. It plays a scene of war. Two soldiers kick open a door to find a congregation of civilians, tears building in their eyes, their clothing torn, soiled, and stained. The soldiers faces are of young men, but as one of them speaks to the other, his face slowly morphs demonically, distorting into the puppet from the television screen "Ich fühle mein blutte-verärgertis kocht" (I feel my blood vexed and boiling) he says turning to slap his his comrade at the shoulder then pointing back at the civilians "Mein herz pocht vor vergeltung" (My heart pounds of retribution). They both raise their weapons toward the civilians as the camera pans out to the buildings exterior "Wir erinnern uns daran, wie sie versuchtenen zu töten" (We remember how they sought to kill us). Flashes of light rapidly emit from the interior of the building through the shattered glass of the blown out windows.

Remember the calling of our leader
40 years now lost without a flicker
So why do we see an opposition?
I feel my blood vexed and boiling
My heart pounds of retribution

We don't lament in ruins
We remember how they sought to kill us
We'll tear at them and not hold back


As she sings, her gaze often lowers walking up and down the runway. The rail cams follow as she moves almost seductively, with a show of authority stopping with a culched fist "We'll tear at them and not hold back". Each time the bomb visuals go off, she pumps her fist in the air, then points toward the audience, nodding her head. Her expression dead, with eyes adding to the allure of dread in the musical theme.

Can't you see you're winning,
Can't you see the enemy faltering


Ashley skips from one end of the stage to the other, reaching out to touch the hands of screaming fans standing on the front rows - one throwing a flag of Plangainer onto the stage. It's only now that Ashley's expression glistens with joy. Taking the flag, she holds it up as the crowd screams in unison with excitement. The stage illuminates in bright white light. "Vielen Dank euch allen Plangainer!" (Thank you Plangainer), she takes a bow before continuing "a big hand for Damelo of Sarawak Darulhana, luck with you!" she waves once more then runs off stage.
Last edited by Nation M on Mon Nov 04, 2024 7:10 pm, edited 25 times in total.
War is peace. Freedom is slavery. Ignorance is strength.
My Nation is not entirely representative of my personal views, Stats are canon
Nation M is currently in a state of PEACE

User avatar
Sarawak Darulhana
Envoy
 
Posts: 348
Founded: Jun 07, 2022
Psychotic Dictatorship

Postby Sarawak Darulhana » Tue Oct 22, 2024 7:15 am

6

Sarawak Darulhana •سراوق داراهنا

"We meet again today. Actually, we were a bit rushed in selecting a suitable song, considering that there are three songs that should represent Sarawak Darulhana, such as 'Borneopapa', 'Damelo', and 'Bukan Dildo'. However, since DHN is a broadcast that is quite complicated and prioritises the politeness of the Eastern people, we chose 'Damelo' to represent us...Do you know why? 'Damelo' is the only song that combines English, Spanish, and Malay, while symbolising that Southeast Asians are capable of producing quality music (even though, as you know, the Jedag-Jedug and Dangdut genres are the absolute worst in modern entertainment culture).


"I'm not hoping to win hundreds of points, actually. I just hope my work is accepted by Western audiences."
-Subliminal


Damelo(داميلو)
Composer: Subliminal T.A.C.T
Tune: https://youtu.be/Rh2q7D1ItkM?si=WwavGqjoS-jw7Hsp

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Lyrics
Lo que dice mi vo
Woo
Dime cosa’ al oido

Kau lah petandaku percaya
(You are my sign of trust)
Kata manis menarik jiwa
(Sweet words that captivate the soul)
Mungkin kali ini beza
(Maybe this time it's different)
Cintaku luar biasa
(My love is extraordinary)

Suara melodik kau hilang kuasa
(Your melodic voice loses its power)
Rahsia hati mudah kubaca
(The secrets of the heart are easy for me to read)
Mungkin kali ini beza
(Maybe this time it's different)
Cintaku berbisa
(My love is venomous)

Ya voy a enloquecer porque
(I’m going to go crazy because)
Tú no me das
(You don’t give me)
Lo que pido
(What I ask for)

Da da da da da da dámelo
(Give it, give it, give it to me)
Da da da da da da dámelo
(Give it, give it, give it to me)

Te tengo que tener y que ya
(I need to have you and that)
Nadie más
(No one else)
Se interponga
(Stands in the way)

Da da da da da da dámelo
(Give it, give it, give it to me)
Da da da da da da dámelo
(Give it, give it, give it to me)
Dámelo
(Give it to me)
Dámelo
(Give it to me)

Don’t matter what they say,
I just do whatever I want, got you breaking the rules
Like, tell me, you love me baby
Cause I got you crazy

My aura, hypnotic
Holding my waist
(the) tension is rising
Nothing compares me baby
This love has got you crazy

Ya voy a enloquecer porque
(I’m going to go crazy because)
Tú no me das
(You don’t give me)
Lo que pido
(What I ask for)

Da da da da da da dámelo
(Give it, give it, give it to me)
Da da da da da da dámelo
(Give it, give it, give it to me)

Te tengo que tener y que ya
(I need to have you and that)
Nadie más
(No one else)
Se interponga
(Stands in the way)

Da da da da da da dámelo
(Give it, give it, give it to me)
Da da da da da da dámelo
(Give it, give it, give it to me)
Dámelo
(Give it to me)
Dámelo
(Give it to me)

Ven pa cá
(Come here)
Que la noche no se va a acabar
(The night isn't going to end)
Si conmigo estás
(If you're with me)

Ven pa cá
(Come here)
Me hace falta alguien pa bailar
(I need someone to dance with)
Que la noche no se va a acabar
(The night isn't going to end)
Si conmigo estás
(If you're with me)

Da da da da da da dámelo
(Give it, give it, give it to me)
Dámelo
(Give it to me)
Dámelo
(Give it to me)

Se interponga
(Stands in the way)
Da da da da da da dámelo
(Give it, give it, give it to me)
Da da da da da da dámelo ohh
(Give it, give it, give it to me ohh)
Da da da da da da dámelo
Last edited by Sarawak Darulhana on Thu Oct 24, 2024 7:35 pm, edited 2 times in total.

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Marissolia
Lobbyist
 
Posts: 20
Founded: Jul 09, 2024
New York Times Democracy

Postby Marissolia » Tue Oct 22, 2024 7:19 am

07. Marissolia


Nation Name: Marissolia
Official Broadcaster: MBC
Song Title: Sun Comes Up
Artist(s) Name(s): Kathleen Wilson

Tune: Saibh Skelly - So What?


And the 12 points from Ertzei Kishim goes to Marissolia! And Malta Comino Gozo is giving its 12 points too; build the suspense. Ooooh, Marissolia! Saintrabina is awarding its 12 tonight to Marissolia!! 12 points from Polkopia goes to Marissolia!

Fifth place with the juries, Ladies and Gentlemen. Can you believe it? What a night! And we still have the public voting!
...
Malta Comino Gozo is the winner! This is their tenth win. What a victory for them! Polkopia is runner ups and Ertzei Kishim is bronze! We've made the top 5! Marissolia has finished in fifth with 194 points! What a night! Cèilidh Aisling, you should be so proud!


Marissolia's debut had been a great one. Top 5 and four sets of douze points had captured the hearts of the country. Viewership on MBC peaked at around 87.3%, with Worldvision receiving praise for days after the contest. Debuting had been a triumph, and MBC, who had previously said they had signed a two-year deal with the IBA, had extended it indefinitely. Moonlight Chaos topped the charts for 3 weeks after the contest and also peaked in several other countries that had taken part. Cèilidh Aisling met with the president in the days after the contest and was inducted into the Marissolian Hall of Fame for their contribution to Marissolian arts.

Worldvision 117 was to be hosted in Concord in Plangainer and MBC would once again choose their act internally, selecting Kathleen Wilson with her upbeat song "Sun Comes Up".


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Kathleen Wilson is a 30 year old vocalist and multi-instrumentalist currently based in Bunlacken, Marissolia. Her music is the surreal soundtrack of a vast personal plain steeped in nostalgia, family, memory, death, and dreaming—where gritty reality and romanticism meet. This duality is the thematic core of her second album, Raindrops, which focuses on the conflict between stability and temporality, the immaterial and material, and how memories of places and people fade, warp, and reinvent themselves over time.

Kathleen Wilson’s musical landscape developed from years of collaborations, performances, and experimenting during her time living in both Bunlacken and Lurrig, two cities in Marissolia. The release of Kathleen’s debut album, Idle Mind, in 2019 garnered her a nomination in the 'Best Emerging Act’ category at the MBC Folk Awards. Early 2023 saw her headline tours across Marissolia and further afield, with a week-long residency in New York, collaborating with NYC-based musicians and composers.

In recent years she has also toured with and supported acts such as Wilco, Anais Mitchell, and Bonny Light Horseman.

"Sun Comes Up" is a lighthearted, positive bop infused track. It is accompanied by a sun-soaked music video filmed in Nation M last month, which has amassed over 140,000 views on YouTube.


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Kathleen Wilson





Performance

"And here we go Ladies and Gentlemen welcome to the 117th Worldvision Song Contest live from Concord in Plangainer. Plangainer is yet to win the contest but they did finish second in 114 and also 115. What a show they have for us tonight good luck to everybody! It's going to be a strong final with so many countries returning to the competition. We're in for a treat this evening and we can't wait! Marissolia tonight performs seventh! We believe in you Kathleen!"

As the postcard ends the camera zooms in and the arena lights dim to a soft glow, focusing primarily on the stage. Kathleen Wilson stands in the centre, her lovely brown hair slightly tousled. She's dressed in a flowing dark emerald gown representing her heritage that had delicate lace running down her sleeves, with brown boots peaking from underneath. There's a soft breeze from the wind machines that makes her dress sway slightly. Her expression is calm, but you can sense the intensity behind her eyes.

The first notes begin to play, and as she sings "I woke up to morning light, shadows were fading out of sight," the stage floor LEDs shift to display a sunrise, the rich oranges and purples of a sunrise stretching across the LED floor and screens behind her. The crowd cheers. The crane camera sweeps in from above, capturing her from different angles, and then we cut away to a railcam shot that slides across the stage floor to show the panoramic view of the sunrise unfolding beneath her feet.

Verse 1
I woke up to morning light,
Shadows were fading out of sight.
Another day, I've another chance to breathe


As she continues with "The world is quiet, the city's still asleep," the spidercam glides overhead, zooming out to reveal the stillness of the stage, emphasising the calmness before the day begins. We then cut to a handheld camera that picks up several close-up shots of Kathleen’s face.Despite her age, she looked a bit younger, and the whole song had an almost girly edge to it, which wasn't a bad thing. The entire song was cute. She wore a friendly smile as she felt the warmth of the lyrics. Her microphone remains steady in her hand and she touched her dress in the other.

The world is quiet, the city's still asleep.
I feel the warmth it's pulling me outside,
The sky's on fire, there's no need to hide


The song builds as she sings the pre chorus and the yellow lights around the stage pulse gently with each line. As she sings after the rain she takes a quick look over her right shoulder before turning back to face the excited crowd. We have a ceiling shot of the entire stage as a bright yellow glow spreads from the stage wings.

Pre Chorus
The night was long, and I felt so low again,
But now I see that after rain, there's now some hope
I feel the warmth, it's pulling me outside


The stage is now bathed in a radiant yellow. The massive LED panels lift and split apart, revealing a blindingly bright digital sun rising behind her. The crane cam circles dramatically zooming out to show the full expanse of the stage and a portion of the excited audience, who are busy waving their flags. The audience's synchronised wristbands glow white in time with the song, creating a sea of light that ripples through the Phoenix arena. The chorus was slightly stripped back musically.

Chorus
The Sun comes up, The Sun comes up and I'm feelin' alright,
It paints the sky in its golden light
No matter how long the darkness stays,
I know that brighter days will find their way...


Kathleen is much more animated as she stays around the middle of the stage. She gestures more with her arms and wiggling her upper body in time with the beat. The whole time, she remains excited and bubbly. As she sings the opening line, we clip to an onstage cameraman shot as she turns to face the sun behind her and puts a hand to her forehand as if the sun was shining in her eyes. There was a slight flutter to her hair from a wind machine.

The Sun comes up it never fails,
Through every storm and through every gale
I'll keep my head held high and see,
The dawn is where the Sun comes up...


Our next view is from the back of the arena as the acoustic guitar instrumental plays, and a roar from the audience is heard. The whole arena is waving their flags and tonight there was lots of Marissolian flags. The Marissolians were really getting into the spirit of the song contest now!

The beat kicks in and Kathleen has more confident body language now. As she sings "I've been the chasing shadows, but now I see, " she walks with purpose towards the front of the stage as the camera pans outwards and up, offering us a glimpse of the whole stage again as the LED floor glowed orange and the backdrop a rainy blue. A full LED shadow of her begins to stretch out from her as she walked. For the last two lines, we cut to an onstage camera as Kathleen sings towards the camera with an outstretched hand. It was as if she was reassuring herself.

Verse 2
Yesterday's tears, they're all so far behind,
In every cloud, I can see all the silver lines
I've been the chasing shadows, but now I see,
The only place to look is where the sun light will be
I'm stronger now,
I'm standing tall,
Even if I stumble I won't fall.


Fluttering her eyelashes now and bobbing side to side, her lovely dress flapping in the breeze, she sings towards the camera, which slowly retreats. She waves her arm in a semi-circular movement above her head, and the whole LED background changes from blue to yellow, representing the sun scaring away the rain. The crowd cheers as she does, as the timing of it looks really magical.

Pre-Chorus
There's something 'bout the morning air,
That makes me know that I'm getting somewhere
The night was long, I felt so low,
But now I see that after the rain...


The chorus is much more upbeat now as the camera zooms towards her from the back. She does a little cute jump into the air and belts out, "There's hope! As she does, a few sparks shoot out of the stage edges and the crowd cheers. The lights explode into vibrant golden beams that stretch across the entire arena like sun rays, and the audience’s wristbands light up again in sync. The handheld camera closes in on Kathleen’s face, showing a triumphant smile as she delivers each line. She is beaming as she sways and walks to both edges of the stage. The wind machine was stronger now but nothing too powerful but enough to really add some energy. Backing singers off stage, support her, and sing, "Sun comes up!"

As she sings "The Sun comes up it never fails," a huge sun rises left to right until it sits at the top of the backdrop. Kathleen sings to a camera on her left for "Through Every Storm" and to her right for "And through every single gale", adding a dramatic clip of camera angles. We then clip to a close up as she turns slightly to look at the glorious sunshine shining down on her.

Chorus
There's hope!
There's hope and I'm feelin' alright,
It paints the sky in golden light!
No matter how long the darkness stays,
I know that brighter days will find their way ay...

The Sun comes up it never fails,
Through every storm and through every single gale
I'll keep my head held high and see,
The dawn is where the Sun comes up!


The stage continues to shine and twinkle for the bridge as she san the bridge. The music was playful and upbeat as the various instruments cut through. Backing singers off stage, support her, and sing, "Sun comes up!" Kathleen's face is now more serious and reflective. The lights dim again, casting long shadows across the stage. The ceiling cams move in slowly, catching her face in profile as she sings, bathed in soft, cool tones. The LED floor displays a subtle, rippling water effect, like waves gently lapping at the shore.

Bridge
I used to wonder if I'd ever find my way,
Sun comes up!
But now I see the Sun through every shade of grey
There's beauty in the climb, and peace within the fight


The final chorus comes, and this time, as she sings "The Sun comes up and I'm alright, golden light," the LED panels rise fully, revealing a massive digital sunrise that stretches to the ceiling. The railcam tracks across the stage from right to left as the lights around her explode into beams of gold and white, casting a glow across the entire arena. Spidercams and crane cams zoom in and out, catching every angle as well.

The audience is fully immersed in the performance as the giant sun on the screen behind Kathleen radiates light across the stage and into the crowd. Katheen struts to the left of the stage as we have a rail view that's immersed in the audience as she bends down to touch some of the audience's outstretched hands. She rubs her hands with their hands. She then makes her way towards the catwalk. Not only was the crowd enjoying, but so was Kathleen, whose genuine smile shone brightly across her young face. Her head bops side to side to the beat of the song as we cut to a spider shot now as she reaches the centre of the catwalk. A cameraman does a quick circle of her before spinning off to the back right before we clip to a figure shot.

Chorus
The Sun comes up and I'm alright,
Golden light
I know that brighter days will find their way...
The dawn is where I'm meant to be...


For the Outro, "The Sun comes up, and now I'm free again," her expression softens into one of peace as the song tones down. She closes her eyes for a moment as the lights dim and the LED screens slowly fade back to a soft purple and pink dawn. The final camera shot, from a crane cam, captures her standing tall on stage, bathed in a final soft light, her silhouette framed by the digital sun behind her.

Outro
The Sun comes up, and now I'm free again,
I'm stronger now
I know that brighter days will find their way...


As the song ends, there's a moment of stillness, then a surge of applause. Kathleen opens her eyes and a huge smile appears as she flashes her teeth! "Eek" she screams, waving her hands in front of her and jumping up and down. " Thank you Worldvision I love you!"


" Kathleen Ladies and Gentlemen! She should be so so happy with that! What a performance, so simple yet so radiant! We are so proud of you! Viewers at home, you can't vote for your own country, sadly, but let's hope she has done what it takes to achieve a good result for us tonight!

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Last edited by Marissolia on Mon Nov 04, 2024 5:34 am, edited 16 times in total.
18 Irish

Marissolia: a scenic, culturally rich republic blending tradition, modernity, and heritage.

User avatar
Axuva
Envoy
 
Posts: 272
Founded: Feb 22, 2018
Liberal Democratic Socialists

Postby Axuva » Tue Oct 22, 2024 9:56 am

#8 Axuva
Enina - "UP ABOVE"
Music: Laxy Lyrics: Enina
Tune: FKA Twigs - Eusexua


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Full Name: Ekaterina Pak
Stage Name: Enina
Nickname(s): "The Silent Siren"
Birthdate: July 18, 1970
Age: 54
Birthplace: Taekku, Osteylimia
Blood Type: AB


Enina, born Ekaterina Pak on July 18th, 1970, in former Osteylimia (modern-day West Axuva), grew up deeply inspired by fashion. Her mother’s love for fashion left a lasting impression on her, and as a child, Enina spent her time designing outfits, fully immersed in her passion for style. However, her life took a dramatic turn when tragedy struck in 1979 during the Taekkeu Svoboda OЯ terrorist attack, which claimed the life of her father, Yvgeniy Pak, when she was just 9 years old. The trauma of the attack resulted in Enina developing PTSD, and she turned to music as an emotional escape, using it as a form of self-expression and comfort. Though she initially didn't consider pursuing music seriously, music allowed her to cope with her inner pain and gave her a means of creative release.

During her teenage years, Enina’s passion for fashion stayed strong. She joined her high school's theater class, designing costumes for school musicals and plays, and even sang once during a solo performance. To her surprise, her voice moved many audience members to tears, including her own theater teacher, who described it as "light but unsettling and somber." This earned her the nickname "The Silent Siren" due to the haunting beauty and depth of her voice, which media and fans still use today. This experience sparked her interest in performing.
At 17, Enina auditioned for her first television show, 친구 그 이상 (More Than A Friend) in 1987. The show was an instant hit among teenagers across Axuva, and her performance garnered critical acclaim, establishing her as a rising star in Axuva’s entertainment industry. In 1989, she gained further recognition when she starred in the film 잊지 않고 (No Forgetting), which featured her first major musical breakthrough with the song "Rain." The song became a nationwide hit, staying at #1 for five consecutive weeks.

Initially hesitant to fully dive into music, Enina was encouraged by her then-manager to embrace her vocal talents. In 1989, she recorded her debut album 폭풍 (Storm), which was released on February 6th, 1990. The album was a massive success, receiving rave reviews and earning numerous awards. Her follow-up album, Dove Without Wings (1993), helped her reach audiences outside of Axuva, particularly with her chart-topping single "Time Goes By." It was during this time that Enina dropped her birth name Ekaterina Pak and officially adopted the stage name Enina, symbolically separating her music career from her acting career.
By the time Enina released her fourth album in 1996, she had solidified a distinct vocal and visual identity. Her style was bold, futuristic, and often deemed "too sexual" by some, while others praised her avant-garde approach to fashion and music. Her futuristic fashion choices and refusal to conform to mainstream trends made her both a style icon for the Axuvian youth and a controversial figure. Despite her mainstream presence, her rejection of typical industry norms limited her appeal to general audiences. Nevertheless, she remained loyal to her art, creating sophisticated, concept-driven projects that resonated with her and her dedicated fanbase, regardless of public approval.

In 2000, Enina became pregnant with twins, and this personal milestone deeply influenced her creative process. At the time, President Se-Ho Taek of Axuva was openly misogynistic and opposed many women’s rights policies. This inspired Enina to create an album centered on themes of pregnancy, motherhood, and womanhood. During an award show performance, she became the first artist in Axuva to perform while visibly pregnant. During this performance, she publicly denounced President Taek, which caused shockwaves across the country, leading to mixed reactions. Her label, PiMEDIA, scolded her afterward, threatening to drop her. In response, Enina took matters into her own hands, announcing her retirement on her personal website eninaonline and surprise-released her album Lotus for digital download on July 24th, 2000. The album became a viral success, forcing her label to release it physically on September 6th, 2000—just two days after she gave birth to her twins.

Following this, PiMEDIA sued Enina in December 2000 for breaching her contract, and the lawsuit was settled in March 2002. For several years, Enina remained out of the spotlight. However, in 2004, rumors surfaced that she was recording a new album, which she formally confirmed on New Year’s Day 2005, announcing her comeback album Dance & DESTINY. Released on May 18th, 2005, the album received positive critical reception but failed to achieve the commercial success of her previous work, with only one hit single compared to her usual 2-4 hit tracks per album.
After the underwhelming performance of Dance & DESTINY, Enina went on an unannounced hiatus from 2005 to 2009. During this period, she pursued her long-standing passion for fashion by launching her own luxury brand ENNU in 2006. The brand initially saw moderate success but gradually rose to prominence as an elite luxury fashion label. In 2011, Enina released a greatest hits album with four new tracks, though the songs received little promotion.

In 2017, after nearly 11 years without releasing new music, Enina made a grand comeback with the album Attention!. The album was well-received critically and performed better than Dance & DESTINY, with one minor hit single. Fans rejoiced, and Enina’s return was celebrated across Axuva and beyond.
Now, in 2024, after years of re-establishing her position in the entertainment world, Enina is preparing to release a new album. As part of the promotion for this album, she will represent Axuva in the 117th Worldvision Song Contest in Concord, Plangainer, with her new song titled "Up Above." Fans and critics alike are eagerly awaiting her return to the Worldvision stage, marking a significant chapter in her long career.

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UP ABOVE is a deeply personal, minimalist techno song, written by Enina herself, and produced by Laxy. The song is rich with emotion, vulnerability, and a haunting sense of isolation. Its origins trace back to 2001, during a period of retirement, when Enina was grappling with some of the most challenging experiences of her life. At that time, Enina was going through a turbulent period in her marriage with actor Ye Joon Kim. Despite her efforts to stay out of the public eye, tabloids were quick to sensationalize every detail, leaving her feeling trapped and suffocated by fame. As the pressures of being in the spotlight mounted, Enina began to regret her childhood dream of fame and the decision to enter the music industry, something she had once loved deeply.

Adding to this emotional burden, in 2001, Enina faced the devastating loss of her only sister. The two had shared a close bond, and her sister’s death was an unimaginable blow, especially since Enina did not have many friends and was never close to her extended family. This compounded her feelings of loneliness and intensified the emotional turmoil she was already going through.
Enina found herself in a very dark place, struggling to balance the demands of motherhood, the pressures of fame, and the grief of losing her sister. She turned to alcohol to cope, and even experienced suicidal thoughts, which led to a family intervention. The weight of her emotions became too much to bear, and she privately suffered a mental breakdown.

During this time, Enina began writing UP ABOVE, as a way to channel her grief and isolation. The song captured her overwhelming regret, her desire to escape from the unrelenting pressures of fame, and the emotional weight of having lost her sister. However, as she struggled with her mental health, she abandoned the song, seeing no reason to finish it while she was in such a dark place.
Despite her internal struggles, Enina continued to present a poised, nonchalant facade to the world, concealing her pain even from her closest loved ones. In front of the cameras, she remained composed, but behind closed doors, she was falling apart.

It took years for her to heal and come to terms with her past. Now that she has overcome those painful memories, Enina has revisited UP ABOVE and completed the song, ready to share it with the world. The song is a reflection of her journey through grief, regret, and fame, and serves as a story of emotional survival. UP ABOVE will be a part of her upcoming album and represents Axuva in the 117th Worldvision Song Contest.

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Enina’s performance of UP ABOVE at the Worldvision Song Contest is designed with a minimalist yet powerful concept, focusing on the emotional intensity of the song through carefully curated visuals and choreography. The stage is set with a mix of dark and light lighting that enhances the emotional depth of the performance, using shadows and illumination to reflect Enina’s journey from isolation and turmoil to acceptance and strength.

The choreography, performed by a group of dancers, is intricate and expressive, adding a sense of movement that captures the struggles and resilience portrayed in the lyrics. Each dancer’s movements are meticulously aligned with the rhythm of the song, creating a powerful visual that emphasizes Enina’s story of personal challenges and healing.

The outfits for the performance follow a "business style" theme, with Enina and her dancers dressed in attire reminiscent of a high-powered office setting. Enina’s look specifically exemplifies the "office siren" trend, a modern take on late 1990s and early 2000s power dressing with a seductive twist. She is dressed in a baggy pantsuit with a tie, long jet-black hair cascading down her shoulders, and sleek heels, exuding both authority and allure. The look is simultaneously bold and mysterious, adding to the intensity of the performance while showcasing her distinct style.

The minimalist set, combined with dynamic lighting, ensures that the focus remains on Enina's vocals and the storytelling within the choreography. The performance’s aesthetic is stark yet captivating, allowing audiences to connect deeply with the song’s narrative. As the dancers surround her in various formations, shifting between moments of isolation and unity, Enina’s presence on stage is magnetic. The entire production evokes a haunting atmosphere, leaving a lasting impact that resonates with viewers and solidifies UP ABOVE as a deeply personal and transformative artistic expression.




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As the beat begins, a white curtain would show and the arena would be dark, and the stage floor would be filled with a dense layer of smoke, as behind the curtain, a silhouette would appear and then suddenly, light flashes that imitated flashing camera lights would flash on and off on the curtain, which emulated Eninas life story that connected to the song, as Enina began to sing the 1st verse.

[Verse 1]
It’s not what it seems
Nothing like it seems
Lost, alone and tired
Against my will, hands tied


As the first verse ended, the flashing lights would abruptly stop and the curtain would drop, revealing a minimalist-industrial set which contained glass floors & trusses, then, dancers would be sat behind glass computer desks, slowly rising from them as they were attached to strings which were attached to the set, doing possessed like moves laying across the desks, as if they were losing their minds. Their fingers clawed at the air, jerking & twitching as if they were trying to break free from invisible chains. then moving to the front of the desks starting to dance as Enina’s hair blows behind her. The contrast between her still-standing performance and the dancers creates the illusion of the facade of Eninas life, while really suffering inside silently.


[Chorus]
Convinced time will pass by
Dimmed light, I’m fine
Cause through your eyes I’m..
I’m up above

As she continued to sing, her voice echoed throughout the arena as Enina turns towards the audience as she sang, walking closer to the camera, and as she sang to the camera almost in a handheld fashion, and the audience was shown and as she turns around back to the set and the set is shown again, this time without the desks, as the rest of the set remains, and the dancers strings are gone as well.

Yes this is home
Is this home?
Because it’s everything I needed
Gotta let it go, I’m up above (I’m up above)


As she begins the 2nd verse, she walks to the other side of the set, and the dancers dance alongside her, dancing to convey the emotions of the song to a maximum as Eninas expression is filled with pure solemn & somber, drawing the audience deeper into the story. As the beat speeds up, Enina is surrounded by the dancers as they surround a circle around her, reaching out to her and lifting her up and the camera view changes at an aerial view looking down at Enina as the beat speeds up and she continues to sing, with her eyes closed, with the increase of intensity, the dancers become restless under Enina and erratic.

[Verse 2]
It is how it seems
This is meant to be
Suffering deep inside, maybe
Wish I could just hit rewind..


As she gets to the chorus, they move Enina to the center of the set, marching swiftly as if they were doing a funeral procession, and as they reached the center of the set the camera view would show on the outsider of the circle, and they would drop Enina into the center of the circle that they formed and the dancers would stand around Enina in a circle.

[Chorus]
Convinced time will pass by
Dimmed light, i’m fine
Cause through your eyes I’m..
I’m up above


As they stand in the circle, Enina sings as her voice is laced with the continued raw emotion, and she sings to the camera again and the camera view would transition into a inside look inside of the human made circle, inside spinning around as Enina follows it slowly, until the beat increases its tempo. And as the tempo increases, the dancers separate & they start dancing in a jogging like motion. The audience would begin to clap to the beat as the energy shifted. As the energy shifts & the beat thumps throughout the arena, there would be a shockwave of adrenaline around the filled arena, inviting cheers and claps all around and the camera would capture some of this on the live feed as the audience raved at the performance. And not only did this bring in euphoria & adrenaline to the audience, but worldvision fans all around the world at home as well.

Yes is this home? (Not what it seems)
Is this home (I’ll show the scars)
Am I home?
Yes I’m at home
Because it’s everything I needed
I gotta let it go, I’m up above (I’m up above)


As they continue to dance to the rhythm of the song, doing various types of loose free form dances which embodied the emotions of the song as Enina sways & dances to the beat elegantly but minimally, then the dancers would begin to mimic her, and they all began doing the same choreography on stage as her hair blows in the wind. And as as she continues to sing, pieces of copy paper would fly around the stage, creating chaos in the air and as this happened, the dancers would react to the paper and start to act as if they are being blown by a giant wind and Eninas hair would blow, with the camera fixed now at an arial angle again instead of just on Enina, and she completely ignored the strong winds & paper, unphased by the chaos surrounding her, lifting her hand in the air as she sang, as if she was in a completely different realm

Yes, this home
I’m not at home
Because it’s everything I needed
I gotta let it go, I’m up above
I’m up above


As the pulsating beat suddenly stopped, cheers would be heard throughout the arena and the lighting would go dark only showing a singular spotlight on Enina and spotlights on the dancers as they were collapsed on the stage, and with this, all of the dancers would drop and the camera angle would switch to Enina as she was at the center of the stage showing just her and the dancers as they were collapsed on the stage, almost like marionettes whos strings have been cut. The paper would still be whirling all over the stage, falling onto the ground as Enina began to get on her knees serenading the audience, voice rich with raw emotion as it echoed through the arena, carrying a heavy weight for the outro.

[Outro]
Nothing really matters when you’ve simply got it all
But I’m not happy
Ignorance is bliss when we just want it all
But nobody told me
I’m up above


As the song closes, Enina holds the microphone upwards hitting the final note, extending her arms letting the wind in her hair fly and giving the audience a slight smile as they cheered, the lighting illuminating her figure against the backdrop of the darkened stage. Then, the live feed would wrap the performance, and Enina would get up waving to the audience as she walked off and dancers get out of performance act, running off the stage behind Enina as staff quickly ran to remove the set from the stage.
Last edited by Axuva on Mon Nov 04, 2024 4:58 pm, edited 2 times in total.
Axuva Today Network [ATN] Today we announce that the Axuvian Government now recognizes The Russian Language as an Official Language, Korean and English were spoken in the beginning, but there were Russians too, russians were forgotten and their language were not recognized due to the things they did in the past, but now their language is a official language of Axuva, and there will now be 3 official languages instead of two.

User avatar
Waisnor
Diplomat
 
Posts: 571
Founded: Aug 03, 2019
Democratic Socialists

Postby Waisnor » Tue Oct 22, 2024 11:51 am

09

WAISNOR


Venda - Kanat/Tune: Chisu - Mysteeri


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Venda (real name - Ewa Krawiec) already set herself up for glory in Waisnorian Polish indie circles, with her with recordings getting critical acclaim. But to break into Waisnorian music mainstream, her biggest chances were singing in either Russian or Belarusian, and so, Ewa chose Russian. With this song, Venda entered the national selection for WorldVision and won it, becoming new Waisnorian representative in this contest.

Now let's move on to the performance: the singer came out on stage dressed in a simple gray dress with small white patterns. On the stage itself, exactly in the middle, vertically, there was a white line, which went to the background and became black, since the background itself was already white.

Этот черно-белый мир
This black and white world

Я живу в нём, пока битвами полон эфир
I live in it, while the broadcast is full of battles

Я не знаю, к кому мне примкнуться
I don’t know who to join


While Venda was singing, this line gradually began to spin on the stage and in the background, turning black into white, and white into black. However, the process was not instantaneous - a gray trail slowly followed the line, which eventually turned black or white.

У всех правда, у всех - ложь
Everyone has the truth, everyone has a lie

Пока поймёшь, кому верить, ты уже умрёшь
By the time you figure out who to believe, you'll already be dead

Я не знаю, как не обмануться
I don't know how not to be deceived


When the chorus began, breaks gradually began to appear in this line, and those parts of the background or stage that fell into these breaks remained the same color as before. At the same time, the camera descended to the singer and began to circle around her, and Venda herself turned to the beat to face the camera, making hand gestures parallel to her singing.

Я стою посреди всего
I stand in the middle of everything

Я не готова отдать жизнь за него
I am not ready to give my life for him

Всё ещё свободна
I'm still free

Будто неугодна
But it's like I'm unwanted


Меня тянут туда-сюда
They pull me back and forth

Как канат мальчишки, но всё никуда
Like boys pull the rope, but still I'm nowhere

Меня не затащат
They are not dragging me

Я все преходяща
I am still transient


When the singer finished singing her chorus, the line stopped in the middle of the stage, turning into the rope she had just talked about in the chorus. Hands appeared on both sides, pulling the rope from side to side, and Ewa herself stood right on the rope, pretending to sway from the jolts.

Два огня горят вовсю
Two fires are burning with all their might

Манят искрами и обещают страшный суд
Beckoning with sparks and promising the Last Judgement

Тем, кто не пойдет под их знамена
To those who will not go under their banners


At this point, on the stage, which was filmed by cameras from above, lights appeared again from different sides, black and white from the sides, representing opposite colors. At this point, people appeared on the stage, slowly approaching the singer as she was still jerking around from phantom pulls.

Я хожу по острию
I walk on the edge

Хоть один неверный неверный шаг и жизнь свою хороню
Even one wrong step and I can bury my life

Но я знаю, я не обречённа
But I know I'm not doomed


When it was time for another repetition of the chorus, these same men began to dance symmetrically around Wenda, as if luring her to their side in this confrontation, but the singer seemed not to notice them. Meanwhile, the camera again began to circle around him, and the singer again began to follow the camera.

Я стою посреди всего
I stand in the middle of everything

Я не готова отдать жизнь за него
I am not ready to give my life for him

Всё ещё свободна
I'm still free

Будто неугодна
But it's like I'm unwanted


Меня тянут туда-сюда
They pull me back and forth

Как канат мальчишки, но всё никуда
Like boys pull the rope, but still I'm nowhere

Меня не затащат
They are not dragging me

Я все преходяща
I am still transient


After this chorus, everything on stage became silent. The dancers stood motionless, the background on the stage turned off completely, and the singer began to slowly walk across the stage. And meanwhile, the echo of her previous verses resounded throughout the hall, acting as a prelude to the last chorus, during which everything began to move again.

Я стою посреди всего
I stand in the middle of everything

Я не готова отдать жизнь за него
I am not ready to give my life for him

Всё ещё свободна
I'm still free

Будто неугодна
But it's like I'm unwanted


Меня тянут туда-сюда
They pull me back and forth

Как канат мальчишки, но всё никуда
Like boys pull the rope, but still I'm nowhere

Меня не затащат
They are not dragging me

Я все преходяща
I am still transient


After the performance ended and it all came to silence, Venda and the dancers embrace each other in hugs and said: "Thank you all! Greetings from Waisnor, fellas!"
Last edited by Waisnor on Sat Nov 02, 2024 9:47 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
95 = 15th/27
96 = 8th/34
97 = 6th/25
98 = 23rd/31
99 = 6th/38
100 = 12th/51
101 = 24th/32
102 = 10th/30
103 = 2nd/26
104 = 11th/26
105 = 6th/31
106 = 5th/25
107 = 21st/37
108 = 9th/32
109 = 11th/21
110 = 14th/27
111 = 5th/29
112 = 7th/25
113 = 7th/24
114 = 12th/20
115 = 6th/25
116 = 6th/21

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


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Kinqueven
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Psychotic Dictatorship

Postby Kinqueven » Tue Oct 22, 2024 12:12 pm

10 - Kinqueven (I won't withdraw trust ;) )
This is my signature. You better like it.

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Rugenia
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Inoffensive Centrist Democracy

Postby Rugenia » Tue Oct 22, 2024 12:20 pm

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11 Rugenia
REBELLION - "Fade Away"
Tune: Electric Callboy - PUMP IT
Lyrics: Alexander Juran
Music: Alexander Juran, Leonhard Lehmann, Gregor Gregoriev
Language(s): English



Rugenia's Return to the Worldvision Song Contest



Rugenia is celebrating its return to the Worldvision Song Contest, marking a significant moment after years of absence. The nation had been forced to step back from the contest due to a devastating civil war and political reasons that lasted from 2014 to 2023, during parts of the country were destroyed. Due to this and financial reasons, RTV1 had to shut down. Now, with the rebuilding efforts in full swing and the restructuring and reopening of the public broadcasting service RTV1, the necessary financial support for the contest has been restored.

The country has a proud history at the Worldvision Song Contest long time ago, making a memorable debut in the 17th edition when Johannes won with his song “Ich will dich”. This victory was quickly followed by another triumph, as Lena Kuskavka took first place in the next edition with her song “Wir sind alle nur Menschen”. The last time Rugenia participated was 11 years ago, in the 27th edition in Monterra, Kalosia. After all these years, the country is ready to make a comeback and hopefully will perform as well as it did in the past.

„The Rugenians are very proud to be represented at the Song Contest again and you can sense that immediately. If you ask people on the streets of Maregrad, this is the answer you’ll get.“ said Maxim Goran, the person responsible for culture and music, as well as the new Head of Delegation for RTV1. The Broadcaster internally selected the entry from around 150 submitted songs. A panel of music experts from across the country participated in the selection process to chose the rugenian entry.



About the Band and the Song



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The rugenian Metalcore-Band REBELLION will represent the country at the 117th Worldvision Song Contest in Concord, Plangainer. The band is made up of six members: Leonhard (28, drums), Konrad (31, guitar), Mark (30, shouting, keyboard), Alexander (29, vocals), Karl (26, guitar), and Gregor (27, bass guitar).

The group’s story began in late 2013 when they met through shared friendships. All band members grew up in the poor neighborhood known as “District 5” and attended the same school in Baltipol, which is the second largest city in the country. Initially, at the start they performed at private events like birthdays and practiced with simple instruments in the garage of Alexander’s house. However, their journey took a dramatic turn with the outbreak of the civil war in 2014, forcing the six friends to flee the country over time. While abroad, some of the members began to study medicine, arts and psychology at the university in the neighboring country Norsiandria. Besides, they played street music to earn some extra money, which ultimately led to them being discovered by a producer. After that, they received a record deal and began making music professionally.

Today, REBELLION has returned to Rugenia, living in Maregrad, and they have grown into one of the country’s most well known Metalcore-Bands. Their song “Careless” has become widely recognized across the nation. Reflecting on the impact of their experiences, Alexander recently told RTV1 in an interview: “The war and the experience of fleeing brought us so close together that we’re now like a real family. I love these guys so much.”

Drummer Leonhard also expressed the band’s excitement and pride: “We’re incredibly proud to represent our homeland on the international stage, and we hope we won’t disappoint you. Concord, we can't wait!”


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“Fade Away” is a powerful and emotional song that addresses the serious and important topic of depression. The song captures the intense ups and downs of living with this mental illness. The verses describe the ongoing battle against depression, filled with feelings of despair, struggle, and darkness. In contrast, the chorus represents the temporary highs, the moments when all the pain seems to disappear, and one feels briefly healed, as if the worries have faded away.

Alexander from REBELLION wrote “Fade Away” from a deeply personal place, as he lost his father to suicide due to depression. The song reflects both the pain and the fleeting relief that can come with such a condition, making it not only a tribute to Alexander’s father but also a message of awareness and understanding for others going through similar struggles.



The Press Conference



Moderator: Good afternoon, everyone! Thank you for joining us here at the press center in Concord for Rugenia’s press conference. REBELLION is representing Rugenia with their song Fade Away. Please give a warm welcome to Alexander, Konrad, Mark, Karl, Leonhard and Gregor, as well as Maxim Goran, Head of Delegation for Rugenia!


Reporter Emma: Hi, I’m Emma from World Music Weekly. First of all, congratulations on making it to the Worldvision stage! Your song Fade Away, has a deep and emotional theme. Could you tell us what inspired the lyrics?

Alexander: Yes, Fade Away is a very personal song. I wrote the lyrics after my father’s death… he struggled with depression for many years and it eventually led him to take his own life. Writing this song was my way of processing the pain and loss and the band was incredibly supportive throughout the process. We wanted to capture the heavy weight that depression can bring while also creating something that might resonate with others going through similar struggles. It’s our way of saying, you’re not alone.

Konrad: We felt it was essential to bring this song to a global audience because mental health is often a topic people shy away from. Fade Away doesn’t shy away from the darkness and we’re proud to bring that honest perspective to the stage.


Reporter Jonas: I’m Jonas from Music Insider. Rugenia is performing 11th in the lineup. How do you feel about your placement in the contest? Do you think it’ll impact your performance?

Leonhard: Honestly we’re thrilled with our position! Going 11th means that the energy of the night is still building and we can bring a fresh impact at just the right moment.

Mark: Yeah Leonhard’s right. We’re hoping that the intensity of Fade Away and the emotions behind it will create a lasting impression. We put our hearts into this performance and we’ll give it everything we’ve got no matter the spot in the lineup.


Reporter Sarah: Hello, I’m Sarah from Worldvox. Concord is known for its vibrant culture and state-of-the-art venues like the Phoenix Arena. How has your experience been here so far and what do you think of performing in this city?

Karl: Concord has been amazing! The people are so welcoming and the Phoenix Arena is just incredible. The acoustics and the stage setup are perfect for a song like ours, with all the lighting and pyrotechnics.

Gregor: I agree with Karl and honestly, seeing such a huge city filled with music fans makes it feel even more special. We can’t wait to bring Fade Away to the stage here. It feels like Concord was made for this moment. We feel welcome in Concord, everyone is nice so far!

Maxim Goran: Concord’s commitment to making this event world class has been incredible. We feel supported as a delegation and we’re really grateful for that.


Reporter Paul: Hello, I’m Paul from Global Stage. If you could choose your ideal placement, where would REBELLION like to see themselves by the end of the night?

Mark: Well, of course, number one would be amazing, right?

Alexander: Absolutely! But honestly, even if we don’t reach the top, as long as our message resonates, we’ll consider it a victory. We’re proud to represent Rugenia and if we can connect with people, especially those who understand the message, then we’ll walk away happy.

Gregor: Winning would be fantastic, of course. But the main thing is that our performance makes an impact. That’s what really matters to us.


Reporter Peter: Hi, I’m Peter from Star Beat Online. Given that you’ll be on such a massive stage, can you share what the audience can expect visually during the performance of Fade Away?

Leonhard: Sure! Fade Away has both heavy and quieter moments, so we’re using lighting to reflect that contrast. In the chorus, expect bright, colorful spotlights, but in the verses, the stage goes darker with intense red lighting, fog, and some really cool pyrotechnic effects.

Mark: We’re also bringing in a lot of fire effects and smoke to create that feeling of being weighed down. It’s powerful and matches the tone of the song perfectly.


Moderator: Thank you REBELLION for sharing with us. Good luck with your performance at the 117th Worldvision Song Contest and we can’t wait to see Fade Away on the big stage!



About the Performance





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(during the first rehearsal in Concord, not dressed with the final stage outfit)

All band members will wear stylish black and purple jumpsuits, creating a strong visual effect that matches their powerful music. These outfits give a modern feel and connect with the themes of their songs, which delve into deep emotions.

As the performance starts, the stage sets the scene for an exciting experience. Frontman Alexander stands in the center, grabbing everyone’s attention with his energetic presence. The backdrop changes dramatically throughout the performance. During the verses, the stage goes dark, lit only by flashes of pyrotechnics and flames. This intense display symbolizes the struggles of depression, representing the fight against negative thoughts that often come with it.

When the chorus begins, the stage bursts into bright colors. The lighting brightens, creating a hopeful and energetic atmosphere. This change reflects the uplifting feelings that can come after overcoming the lows of depression. The band’s music, combined with the dramatic effects, takes the audience on a journey from sadness to happiness. “We’ll use every bit of pyrotechnics and fire the stage has to offer. We’re going to heat up Concord properly” said drummer Leonhard shortly before the first rehearsal.



Alexander = purple
Mark = black
together = blue


The stage is completely dark and silent. The first soft, haunting notes begin on Mark’s keyboard and as they fill the arena, a single spotlight falls on Alexander at center stage, capturing his intense expression as he prepares to sing. The camera slowly zooms in from the right, creating an intimate feeling with Alexander in his black and purple jumpsuit. Then, as the music picks up, additional lights burst onto the stage in vibrant colors, painting the background in deep, swirling purples and blues. Each band member’s face is highlighted in shadowed colors.


I wanna feel it fade away,
the weight I carry every day,
I wanna drift much slower

I wanna feel it fade away,
I let it slip away,
the weight I carry every day,
I wanna drift much slower


As Mark takes over for the first verse, the vibrant colors abruptly fade to black, leaving only dim red lighting that casts ominous shadows across the stage. The camera shifts to a close-up of Mark’s intense face and his voice cuts through the darkness. Flames and pyrotechnics shoot up dramatically on either side of the stage, illuminating Leonhard’s drumming, which matches the explosive impact of the lyrics. The camera shifts to a sweeping wide shot that captures the band against the stark lighting. As Mark continues, the camera zooms in on Karl and Konrad with their guitars.

I don’t wanna fight,
no need to pretend,
this life’s a mess,
it never seems to end, ohh

I’m giving in,
let the demons win,
tired of running in circles,
I’ll just sit here and spin, ohh


Thick fog begins to roll across the stage as Mark sings the pre-chorus, creating a haze around the band members. The camera captures a close-up of Mark, surrounded by a soft glow of red and deep purple lights that emphasize the darkness in the lyrics. Konrad’s guitar adds a haunting riff in the background and the pyrotechnics send small sparks along the edges of the stage. The camera stays close on Mark, capturing his focused intensity, before pulling back slightly as he delivers the final line with a mix of vulnerability and defiance.

Do you really wanna wake me up?
I’ve been asleep for years, ohh
in this dream my body feels so healed, ohh
I never want you to wake me up


The stage lights explode into bright colors as Alexander takes the lead for the chorus. The spotlight centers on him and the camera captures his powerful presence as he pours raw emotion into the words. Vibrant greens, blues, and purples flash across the stage, pulsing in sync with Leonhard’s drumming and Gregor’s steady bass. The camera sweeps over the audience, showing them caught up in the electrifying energy, then returns to focus on Alexander and Mark as they lock eyes, emphasizing the strong bond between them. The entire stage becomes a burst of color and movement, creating a breathtaking moment of energy.

I wanna feel it fade away,
I let it slip away,
the weight I carry everyday,
I wanna drift much slower

I wanna feel it fade away,
I let it slip away,
the weight I carry everyday,
I wanna drift much slower


As Mark re-enters for the second verse, the stage darkens again and intense, smoky lighting casts sharp shadows over the band. Flames shoot up once more, higher and fiercer than before, as Mark’s voice grows raw with emotion. The camera zooms in on Gregor’s bass guitar and then shifts to Konrad and Karl as they play in perfect sync, their fingers moving effortlessly over the strings. Mark’s voice breaks through the intensity as he shouts and the camera captures his expression up close, showcasing the emotion behind each word.

I don’t need the world to see,
what‘s left of who I used to be,
I’m nothing but a shadow
no one will ever know me

Try to smile,
try to look happy too,
even if no one will recognize me,
I hope myself will do


For the second pre-chorus, a dim, ghostly spotlight highlights Mark as he steps forward slightly, surrounded by fog that has thickened across the stage. The lights flash a deep red, enhancing the mysterious, almost confessional tone of the moment. The camera captures the intimacy of his expression, showing the vulnerability of the lyrics as he questions, looking out into the audience as if seeking an answer. Flames flash up on either side of him, momentarily illuminating his face before fading back into shadows.

So tell me, do you really care?
cause I’m sinking deep, ohh
the silence speaks so loud,
I’d rather stay hidden,
I don’t need a crowd
what’s the point in reaching out,
when nothing seems to last?
I’ve let go of tomorrow,
I’m living in the past


The vibrant lights flood the stage once again as Alexander’s voice rises for the chorus. The camera shifts to Leonhard, capturing the intensity of his drumming before swinging back to Alexander, who stands at center stage, completely immersed in the music. Mark joins in from behind the keyboard, adding power to the vocals. The bright colors pulse with every beat, casting shadows across the stage as Alexander and Mark’s voices blend together, filling the arena with an emotional intensity that draws the audience deeper into the performance. The energy of the music and visuals creates a powerful moment. You can see the joy of performing in Alexander’s eyes.

I wanna feel it fade away,
I let it slip away,
the weight I carry everyday,
I wanna drift much slower

I wanna feel it fade away,
I let it slip away,
the weight I carry everyday,
I wanna drift much slower


A heavy fog covers the stage as the instrumental break begins and the lights dim to an almost ethereal darkness. The camera pulls back to show the entire band in silhouette against the fog, while the intensity of the guitars and drums builds. The pyrotechnics come alive, casting flashes of fire through the thick mist and illuminating each band member briefly. The camera zooms in on Konrad and Karl as they play in unison, their movements synchronized and intense. The crowd’s cheers grow louder. Alexander and Mark call out to the crowd, “C’mon Concord, we can’t hear you! Make some noise!” The crowd erupts, raising the energy even higher.

-Instrumental part-


The stage darkens one last time, with only faint, flickering lights casting shadows on Mark and Alexander as they deliver the outro together. The camera moves in close on Mark’s face as he shouts with a fierce intensity, while Alexander’s voice provides a haunting counterpart. Flames burst from the edges of the stage and the lights flicker. The camera rapidly shifts between each band member, capturing their focused, emotional connection in these final moments. Then the camera shifts back to the audience, revealing a crowd of fans celebrating and singing along.

Fade away

And if I feel like my thoughts are getting better,
I‘m gonna try to step forward like it doesn’t matter
and If I feel the thoughts are getting worse,
then I‘ll try to kill the demons in my head

Kill those demons

Kill those demons

Fade away, those demons
every night‘n‘day, I’ll try to heal my thoughts
and they fade, fade, fade away,
they will fade away


Finally the spotlight returns to Alexander, who softly delivers the closing words “Fade away” together with Alexander, as the stage plunges into darkness, leaving only silence and the echo of the final note. The crowd erupts into applause, filling the arena with a powerful energy that lingers long after the last light fades. Alexander and Mark scream "Thank you Concord! This is unbelievable, we love you!". All the band members embrace each other and leave the stage with smiles on their faces, heading towards the green room.

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Last edited by Rugenia on Mon Nov 04, 2024 5:47 am, edited 27 times in total.

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StrayaRoos
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Founded: Sep 08, 2021
Anarchy

Postby StrayaRoos » Tue Oct 22, 2024 12:37 pm

12
StrayaRoos
Abbey Jahga (ft. Vinrea) - Come Back


ALIKA (ft. villemdrillem) - mis minuga saab?

Music: Abbey Jahga, Vincent Rea
Lyrics: Abbey Jahga, Vincent Rea

Selection
To most of the WV fandom, Abbey returning in some form was an inevitability. She’d been teasing countless demos on Instagram, and had written at least one song at each Roovision since her first appearance at WorldVision, and when she was spotted outside rtvS headquarters a few days before WorldVision 116, and then the ever-reliable rtvS leakers confirmed it, so the official confirmation was only a formality. When the inevitable happened, there was actually a shock factor. She wasn’t going in alone, but rather the track she’d sing in Concord or Caer would feature up-and-coming rapper Vinrea. About a week after the announcement, their entry for WorldVision, “Come Back” was released.

Artists
Abbey Jahga is one of StrayaRoos' premier singer-songwriters. The 22-year-old is the best performing of StrayaRoos' multiple entrants, having gone twice before, first with "Is It Me?" in WV108, and "Not Enough" in WV111, where she finished 13th and 16th respectively. With "Come Back" She'll join Altos in the club of Roosian triple entrants. Abbey's music frequently features themes of her neurodivergence and how it affects her life and relationships.

Vinrea, real name Vincent Rea, is a rapper from Menai in Central StrayaRoos. The 21-year-old is relatively new to the spotlight, having his first top-10 single, "Backstreets" only in August. His music draws heavily from his street life as a teenager, where he and his friends would usually get in trouble with the law for largely benign things and get into fights all the time.
Song
Image

“Come Back” was released on October 18th, and is a bit of a left-field option for StrayaRoos, if you ignore who’s singing it. The song uses a frantic beat, and features a prominent synth beat, alongside drums, bass and guitar. The lyrics explore the pain of a broken relationship and the opposite perspectives the two partners face, one desperate for reconciliation and the other largely ignorant of giving the first partner a second chance. The song was written at a songwriting camp over the winter by both performers, and quickly hit the top of the airplay, streaming, and normal charts in StrayaRoos, and is looking like a strong bet for a high placing.

Background
Promotion
After the release of the entry, Abbey and Vincent embarked on a blitz through the Roosian media, and overseas WV fan sites. First there was an interview with rtvS Radio 1’s national breakfast program the day after release, and then the live premiere at 7:00pm on rtvS One later that day. The next few weeks saw the duo mainly focus on the Commercial TV stations’ morning talk shows and the WV fan media, and the night prior to their departure for Concord, rtvS scheduled in a sending-off event.
Guide
NS: Nathan Strela (Radio One Breakfast Host)
AJ: Abbey Jahga
VR: Vinrea

NS: Welcome back to Radio 1 Breakfast, I’m your host, and we have in the studio with us Abbey Jahga and Vinrea, StrayaRoos’ representatives in WorldVision 117, which is going to be held in Concord, Plangainer!

AJ: It’s great to be back here again, Nathan

NS: So, you two have just released your entry for the contest, ‘Come Back’, earlier today, and, well, it’s different from anything we’ve seen representing StrayaRoos. How’d you two come up with it?

VR: A few months ago, we were at a songwriting camp and were paired up. We’d made a few songs earlier and were waiting for the session to be done, and just started playing around with the synth, and came across a beat we liked, and it just became, well, largely what made it into the actual entry.

NS: and the decision to have both of you in it, how’d that come around?

AJ: Well, it was kind of an obvious decision to make. After the beat was created, we both just got to work and both of us agreed we’d both have a part of it, and yeah, it was made for both of us to be involved in it from the start.

NS: what about the song being put forward to WorldVision? Who suggested that?

VR: Abbey. She’d been wanting to go back for how long?

AJ: since I came back from Akjefudin pretty much. I was so close then, and I want to get onto that left side. Hopefully it’s third time lucky.

NS: About the performance at WorldVision, do you two have anything you want to share about your staging plans?

VR: Are we allowed to?

AJ: I think so.

VR: Okay, so, we’ve got, well, a bit of a nostalgia-fest for Abbey, a breakdancer, and a massive lightshow. That’s all I can really say at this point. It’ll probably be a bit different by the time we get to Concord, but that’s what’s there now.

NS: How much will we see of that in tonight’s Showtime performance?

AJ: A bit, but we’re keeping some of that for the show!

NS: Alright, thanks Abbey and Vinrea, and good luck in Concord!

Concord
After years of speculation dating back to Plangainer’s debut in the contest, WorldVision had finally came to the nation. The atmosphere of excitement in the city was clear to both Abbey and Vincent. The rehearsals at home had been going well, and the two of them were looking like they had a shot at the trophy at the end of the night. Entering the arena for their first rehearsal, the duo had the opposite thoughts running through their heads. While Abbey was calm, collected, and excited to finally break onto that left side after coming so close twice before, Vincent was feeling the nerves almost everyone faces on their first time on this stage.

Since the rtvS national breakfast interview, the staging plan had been altered a bit. The breakdancer was scrapped, while Vincent got a dramatic entrance for his verse, coming through the middle moveable part of the stage during the second chorus. And both of them were happy how it ended up. Countless changes to the lightshow had been made during the break between first and second rehearsals in pursuit of a perfect result, and that’s what they got.

Between rehearsals and other media events, the two of them had been running around Concord’s sights, like the City Hall, St. Cothenal’s Cathedral, and the Palace of Archbishops.
Performance
Text: Abbey
Text: Vinrea

Getting up onto the stage, The lingering nervousness Abbey felt in this same moment back in Akjefuldin and Mariensbourg wasn’t there. The experience had finally gotten to her. Hopefully it would show in the performance.

The screen opens up to Abbey (wearing a crop-top style jacket with a pair of cargo pants), who’s sitting up at the back of the stage, her back up on the LED screens. The LED screen and the entirety of the arena’s lights have a dark, cloudy scene painted, and the opening notes play. During the opening chorus, the Steadicam pans around her.
This has to be the only path
But I don’t wanna go down
I really should give up lying
Should’ve listened to my heart
Will you please come back? (I’m begging you)
Will you please come back? (I’m begging you)

As the first verse starts, Abbey pushes away from the LED screen, and lies down on the floor, and the camera zooms to show her from head to toe and follows her as she tosses and turns on the stage floor similarly to what she did in her ‘Is It Me?’ performance in Mariensbourg. The floor takes on the same living room design it had taken on during the performance 9 editions ago. (i.e. a birds-eye view of a stereotypical living room, with a maroon-red fabric couch, yellowish rug, and tile floor).
A few minutes past eight one day
Ending my time with you,
Rocking my world forever
Six months passed and I still wasn’t past it
Ten months go and I’ll still not be over it

During the second verse, the floor turns to a solid white background, and the camera shakes when Abbey’s singing the lines “Losing sanity, my mind’s gone crazy/And it’s decided to ignore me”. Then the floor flashes red for a few milliseconds at a time. Then, the camera zooms in on her face for the last line as she cocks her head when she asks “or is it just me?”.
Losing sanity, my mind’s gone crazy
And it’s decided to ignore me
I know now, you’re what I need
But it’s so far away, or is it just me?

The break between verse two and the refrain has Abbey get up and start walking to the front and centre part of the stage, while she's singing the refrain with a pre-recorded backing vocalist (aka her in the studio two months ago) joining her for the first and last lines, repeating the words, ‘come back’ in the first line, and ‘can’t be us?’ a few moments after she sings both of the lines live. The breath-like noises are becoming more frantic during the last line of the refrain and the entirety of the third verse.
Please come back (come back)
I’m begging you
Why can’t it be us? (can’t be us?)

In the third verse, Abbey is focused on by the rail camera as it moves closer to her, then back around for the chorus. Nothing else really happens.
My dream’s unholy, unholy
But it solves it, even though it’s a bad promise
So unholy
Now I’m trying to ignore the panic attacks (ah-ah)

During the second chorus, the camera flashes around various angles as Abbey sings, and when the rail cam’s zoomed in so everything above her shoulders is visible, she brings her arms up, and slowly brings them down while singing the first repetition of “Will you please come back? (I’m begging you)”, and while she sings the second repetition, the stage opens up, and reveals Vincent to the crowd, and he gets a cheer from the crowd, and starts to rap the fourth verse
This has to be the only path
But I don’t wanna go down
I really should give up lying
Should’ve listened to my heart
Will you please come back? (I’m begging you)
Will you please come back? (I’m begging you)

During the fourth verse, Abbey turns around and walks off to allow Vincent to take the spotlight. The camera flashes around Vincent and he follows it as it moves around him. The camera briefly cuts to Abbey, who’s dancing around a bit, before returning to Vincent, this time looking up at him, and as he completes the verse the camera switches to showing the whole stage. Then, Abbey starts the refrain once again, but this time joined by Vincent (sorta).
(Miss you?) Miss you when I’m better without the drama
I’m good with staying on my own
Don’t need to doubt something that I’ve already known
Six months on my own and I’ve never felt better
Whatever ideas you have in mind (uh)
It’s not happening and you can quit before you get a broken heart (uh)
What is it, We’ve ended it before it even started?

The refrain and final chorus have them both just vibing to the song, with the stage lights flashing throughout. The refrain takes the format of Abbey singing a line, before Vincent responds rapping momentarily afterwards. Then during the chorus Abbey takes centre stage, after holding the ‘us’ in the final line of the refrain for a few seconds, and the camera zooms to focus on her and her only, as she dances and sings through the chorus, and as the song ends and the camera zooms out to give a full view of the darkened arena, Vincent says “Come back, why should I do that?”.
Please come back (Why should I listen to you, I know I won’t fall for your little story)
I’m begging you (‘It’ll be different’, it won’t be fucking different)
Why can’t it be us-? (can’t be us?)
This has to be the only path
But I don’t wanna go down
I really should give up lying
Should’ve listened to my heart
Will you please come back? (I’m begging you)
Will you please come back? (I’m begging you)
(Come back, why should I do that?)


As the music fades and the lights return to normal, Vincent and Abbey yell a quick thank you to the crowd, and walk off the stage, happy at how well the performance had went.

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Last edited by StrayaRoos on Mon Nov 04, 2024 5:00 pm, edited 19 times in total.
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Millenhaal
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Founded: Nov 20, 2021
Scandinavian Liberal Paradise

Postby Millenhaal » Tue Oct 22, 2024 1:13 pm

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MILLENHAAL: Chief Ambassador to the WA: Felix Kopperdoun, Vice-Ambassador: Eupraxie Sankt-Felip
Statsminister of Balder
Culture Minister of The East Pacific
My favorite color is purple. What's yours?
how strange it is to be anything at all...

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Mister X
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Founded: Sep 25, 2013
Left-Leaning College State

Postby Mister X » Tue Oct 22, 2024 1:28 pm

Image



Frigus Britanniam - "Coming For You"
Tune: Joe McElderry - "Ambitions" (mirror; live version)





Image




Image





The Constitutional Monarchy of Mister X has made a very understated return to WorldVision, having left due to a series of poor results and dissatisfaction with the contest more generally. The song was changed following a last-minute submission from Frigus Britanniam, a hot new artist who may or may not have access to time travel, looking about 15 years younger than the date on his passport suggests he is. Upon landing in Concord (geddit, it's a plane thing?) his questions from reporters were asking endlessly about his name and what it means. Mister X's official language is Latin, although these days English has controversially started to overtake it for spokenness. Frigus's name loosely translates as "cool Briton".




Frigus is wearing a black leather jacket over a white T-shirt, showing quite a bit of chest, along with black jeans. He starts slap-bang in the middle of the stage. There is no microphone stand, but instead the LED walls begin the song in dark light with small blue flecks of light that flash on and off to indicate a bit of rhythm with the subtle beginning introduction of the song. The opening note is extremely difficult and Frigus had had trouble in rehearsals with it. But tonight he stands ready, looking out at the thousands of people crammed in to the auditorium this evening, and the infinite number watching on television, and hits it, perfectly.

Baby, can't you stay?
I've gotta tell you something, you know
But baby, please wait
I feel the our love and it's in our bones


Frigus walks forwards as dancers walk on behind him from either side. They are dressed in all sorts of colours, and line up behind him like a dance troupe. At this stage, only a few lights come on, but the lighting is still quite dark and moody. The direction and camerawork is nothing special, but then again it doesn't need to be for a song like this, does it? Lots of mid-shots, the occasional cut to the wide - the usual fore.

I feel the love
I want you always here, don't you know
Oh please don't go
Now you're here I will never let go


And then there is a small increase of light, the back LEDs remain in a blue motif, but with streaks of blue light rising upwards of various intensity and shading, with the dancers, all of whom are dressed in the colours of the rainbow, dance subtly at this point, only a few movements per line, and not a full-blown dance routine. That comes later. The camerawork is, again, nothing special - a wide shot, a mid shot, a pan from the back, and then a slow zoom ending in extreme close-up for the four lines of this mini-chorus.

Don't you know that I'll never accept it
'Cause I can't bear to be without you
And baby, please don't you ever mistake it
Don't you know... I'll always be coming for you?


The dancers all disperse to each side of the stage, as a woman comes onto the stage from audience right. She is, clearly, the object of the song and Frigus's item of lust he is seeking in this song. She walks up to Frigus during the first two lines of this verse and lingers, just for a brief moment, on him. Frigus looks longingly at her, his feet seemingly cemented in concrete, as she walks right past him, as though Frigus doesn't actually exist. For the second verse, the lighting changes - gradually - into a pink motif rather than blue.

I am not afraid
To keep on living, walking alone
But if you stay
I'll give you everything that I own


During the second half of this second verse, the dancers come back to the middle and are joined by even more from each side. The camera cuts to a wide shot to show this as it pans out from above the action, down the runway part of the stage.

Have an aeroplane
Flying up and down and around
I'll buy you a train
But I need your tracks for it to run on


And now it's time to up the campness. The lights all come on in a rainbow motif, expressed by the LEDs at the back which transform accordingly, with the streaks of light of all colours of the rainbow rising up the boards. We're not going to give you a blow-by-blow of the dance routine, but it's mostly arm-related rather than footwork. With Frigus in his black leather jacket it creates a contrast amongst the other dancers on the stage; "only in suffering do we see beauty".

Don't you know that I'll never accept it
'Cause I can't bear to be without you
And baby, please don't you ever mistake it
No, I can't live, I can't live without you

Every night I will cry in my pillow
'Till the day when I'm sleeping with you
And just in case you already didn't know
Don't you know... I'll always be coming for you?


All the lights turn off except for one spotlight on Frigus as we cross-fade into two super-close-ups of him in soft focus during this small, but perfectly formed, bridge section.

I am not afraid...


We cut to a wide shot for the first line of the final chorus, as Frigus walks down the stage, followed by several dancers in tow. Every dancer - and even more super additional extra dancers have come onto the stage at the back - punches the air for the first line of this repechage of a chorus. The rest of the song is combined with a full dance number, including Frigus.

Don't you know that I'll never accept it
'Cause I can't bear to be without you
And baby, please don't you ever mistake it
No, I can't live, I can't live without you

Every night I will cry in my pillow
'Till the day when I'm sleeping with you
And just in case you already didn't know
Don't you know... I'll always be coming for you?


The dancers all walk down the catwalk section and congregate around Frigus and freeze themselves into position as the song ends. A low-down shot ends the song with a crowd of them all looking into a low-down camera.

Frigus punches the air - that went well. And he leaves the stage to a tumultuous round of applause.




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Last edited by Mister X on Tue Oct 22, 2024 3:14 pm, edited 2 times in total.

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Ignosia
Civil Servant
 
Posts: 10
Founded: Jul 27, 2022
Democratic Socialists

15. Ignosia

Postby Ignosia » Tue Oct 22, 2024 1:41 pm

15. Ignosia

Ignosia will be, after last year debut, continuing in it's WorldVision story. For the first time ever was used a "The Star of Ignosia" as a national final. The historicall first winner of this show have been Ivaa Nová. She will represent Ignosia at WV 117 in Concord. Her's song Mlhy (Fogs in English) is about strong history of Cardish (Ignosian) people, who fighted for Ignosian freedom in past. The song will be also first Ignosian WorldVision song, which will be sing in one of two national languages. The song also has a big support of Ignosian society (especally Cardish Ignosians).

Nation: Ignosia
Broadcaster: INRT
Artist: Ivaa Nová
Song Name: Mlhy
Writer: Ivaa Nová
Language: Cardish
Tune: https://www.youtube.com/watch?v=f6jVi5tNHQ4


About Ivaa:

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Ivaa Nová during the Semi-Final of The Star of Ignoisa

Ivaa Nová is an Ignosian singer, known for hers music, which she almost always creates in Cardish, sometimes also in Darish. She was born in small town in East Ignosia (Cardea), to the "normal family". She has one brother and one sister. She discovered hers music talent in really young age, when she have started playing piano. When she was 6 years old and she became a student on elementary school, she also started singing and playing guitar. Music was hers favourite subject on a school since the first days. She also loved subject like Cardish, Darish, English, Biology and Geography. Later in elementary school she also have started with writing songs. Hers first songs was mostly about happy topics. After some songs she released the song with name "Proč jsi na mě čekal?", which became absolutely hit in Cardea and all Ignosia. That meant that she became famous, when she was 14 years old. Since that moment every song, she have released, was in Top 20 of Ignosia. After Elementary school she continued to High School, when she also continued with music. During study here she also improved her writing skills, which have started her songwriting, which is now one of her priorities. After High School she sterted study at IMA (Ignosian Music Academy). After the bachelor's exam, she no longer continued her studies and began to devote herself fully to her already quite large career. By her current thirty years, she managed to release four albums, where most of the songs were written in Cardish, making her the biggest artist in Cardish. Already last year, Ivaa applied to represent Ignosia at WV. She also sent her song to INRT, where she finished second behind Jahanne Nivis in the internal selection. She considers this singer to be her great role model and therefore she stated in the interview that she is happy that the Ignosian debut on WV will be with Jahanne Nivis, who is the biggest ignosian singer at the moment and thus could bring a large audience to WV. A national round was held in Ignosia for WorldVision 117. Ivaa entered the competition with her song Mlhy, which won by a large margin the semi-final where only Ignosians voted (only the winner of the semi-final made it to the final). In the final, she competed against 4 other songs that won the other semi-finals. After counting the pods of the international jury, Ivaa shared the first place of the table with two other artists. However, after the viewer's points were awarded, it was decided that Ivaa would be the representative of Ignosia at WV 117. Ivaa herself said that she is very excited for this chance and that apart from representing her country, which will be the main priority, she is also looking forward to other Artists from other countries and to the city of Concord itself, which he wants to know at least a little.

Performance:

Voice in a beckround starts singing, during the one light is the light begins to intensify on Ivaa's silhouette. Public is screams and claps hands. Backround voice is still singing, but Ivaa puts the microphone in front of her mouth. Also two dancers are staring dancing now. Theirs dance is not so hard, but it fits into the first acords of the song.

(Lidé naši země, zůstante s námi,
přiveďte své blízké a přátele.
Za malý okamžik příjde chvíle,
kdy objasníme tu mlhu kolem nás.)

Transation:
(People of our country, stay with us,
bring your loved ones and friends.
In a little while the moment will come,
when we will clear the fog around us.)


Ivaa with microphone, is prepared to sing. The last words of backround voice was said. Dancers are coming to her. She is starting singing. Audience is in shock and start encourage her by loud noises. She sing the song with clear angelic voice. All the song is about dark history of Cardea (and Ignosia). She takes that song serious, which is helping her right now. She gives all energy to performance, because she know, that this song isn't just a song in WorldVision. This song is about Cardean history, which means Ignosian history. This song has a massage, which can be share with other nations. That's why she wrote that song. And now she's here. To represent her homeland. During her voice are around her dancing two dancers, it looks like a ballet, but it's slower.

Mlha se dostavila k nám,
zatemnila nám náš svobodný zrak.
Možná, že teď nevidím,
přesto tu temnotu kolem cítím.

Translation:
The fog has come to us,
blotting out our free vision.
Maybe I can't see now,
yet I can feel the darkness around me.


The entire podium is lightly fogged with artificial smoke. Ivana sings in the middle of the stage and the dancers gracefully dance next to her. Together with the smoke, it forms a simple but functional choreography that fits the atmosphere of the whole song.

Kéž bych mohla přes tu mlhu vidět,
mlhu, která mi bere můj cit.
Ráda bych odešla tam,
kde tahle sevřenost není.

Translation:
I wish I could see through the fog,
the fog that takes away my feeling.
I wish I could go there,
where this tightness is gone.


At the time when the chorus is about to come, blue and other smaller white lights are added to one white light. The dancers also easily change the choreography from graceful to rougher. Two large lights on the right and left sides of the stage also branch out. On the left is a drummer playing drums and on the right is a guitarist with an electric guitar, who may be familiar to people from the national final. He is Peter Nivis, who was in this year's final of The Star of Ignosia and also co-wrote the song We Will Be Free, which his mother sang at WV last year.

Oooh oooh,
Neprobouzej tmu ve mně,
která by mě znejasnila.
Já vím jak vám vzdorovat.
(Vím jak vzdorovat)
I když mlha tu je!

Translation:
Oooh oooh,
Don't wake the darkness in me,
that would make me unclear.
I know how to resist you.
(I know how to resist)
Even though the fog is here!


Many of the lights go out again, and once again only Ivan and the two dancers are visible, surrounded by smoke and lit only by one large and a few additional white lights. Ivaa also moves closer to the audience, who begin to cheer. The dancers are behind her with their graceful movements.

Tak neříkej mi směr,
vždyť já lži znám.
Dovolím si přát,
i to co chci.

Translation:
Then don't give me directions,
I know the lies.
I'll make a wish,
and what I want.


During the next stanza, the lights on the dancers go out. Now only Ivaa sings in the foreground of the stage. During this stanza, he also begins to point to the audience, who again begin to cheer and some even sing along. This moment is very amazing because a lot of people are singing the song in a language they don't speak.

Nepatřím k těm,
co se podřídí.
Lžím se ráda postavím,
přece nebudu u zdi stát.

Translation:
I'm not one of those
what will be submitted.
I lie, I like to stand up
I won't stand by the wall after all.


A second chorus is heard. Lights are also added to the dancers, the guitarist and the drummer who plays the drums. The dance becomes harder again. Blue and white lights fly all over the arena, which is all in awe.

Oooh oooh,
Neprobouzej tmu ve mně,
která by mě znejasnila.
Já vím jak vám vzdorovat.
(Vím jak vzdorovat)
I když mlha tu je!

Translation:
Oooh oooh,
Don't wake the darkness in me,
that would make me unclear.
I know how to resist you.
(I know how to resist)
Even though the fog is here!


Red lights are also added on the last stanza. Dancers dance next to Ivao. The Drummer and Guitarist also increase in intensity. Flames also start pouring out from the sides of the stage. The arena cheers as Ivaa dances along with the dancers. At the same time, this dynamic fits perfectly with the ending of the song. All the emotions of the song stand out here. However, at the end of the song, Ivaa faces the audience and points at them. This concludes the last stanza.

Oooh oooh, yeay, yeay,
(Vím jak vzdorovat),
Oooh oooh, yeay, yeay,
(Vím jak vzdorovat)
(Lidé naši země)
(Vím jak vzdorovat)
Neprobouzej tmu ve mně,
která by mě znejasnila.
Já vím jak vám vzdorovat.
I když mlha tu je!
(Vím jak vzdorovat)
I když mlha tu je!

Translation:
Oooh oooh, yeay, yeay,
(I know how to resist),
Oooh oooh, yeay, yeay, yeay,
(I know how to resist)
(People of our country)
(I know how to resist)
Don't wake the darkness in me,
that would make me unclear.
I know how to resist you.
Though the fog is here!
(I know how to resist)
Even though the fog is here!


After the end of the song a great applause erupted throughout Concord hall. Ivaa just starts laughting. She puts the microphone in front of mouth again and says: "Thík Ígnisia, Děkuji Ignosie, Thank you Concord, Thank you Plangainer, Thank you World! I love you all. You're fantastic." After that words, she pulled out, during the great applause, the Ignosian flag and proudly left the stage with it to the Greenroom
Last edited by Ignosia on Sun Nov 03, 2024 12:04 pm, edited 33 times in total.

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Malta Comino Gozo
Diplomat
 
Posts: 574
Founded: Oct 31, 2016
Civil Rights Lovefest

Postby Malta Comino Gozo » Tue Oct 22, 2024 3:12 pm

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Nation Name: Malta Comino Gozo
Official Broadcaster: MCG 1
Tune: Barns Courtney - Little Boy
Song Title: Calm After The Storm
Artist(s) Name(s): Noah Pandolfino
Lyrics & Music:Noah Pandolfino


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Straight off the bat came 12 points from Hafamarimët, followed by a string of 10 points, four to be exact, before another 12 points from the juries from Saint Monkey and StrayaRoos! The points pured in for Malta Comino Gozo. From the get-go, it would be either Saint Monkey or MCG's night with Polkopia, Ertzei Kishim and even debutants Marissolia hot on their toes. In fact, only Saint Monkey and Marissolia received more than 12 points than MCG. After the juries, it was MCG in first place with 130 points and Saint Money in second with 113. Then, it was time for the public vote!

Shafira Aloseva ~ Last but never least...

Victoria Boudoir ~ Malta Comino Gozo, a nation with an impressive 9 wins, currently tied with Britonisea, who is unfortunately not here today!

Zokirjan Bakirov ~ Will MCG remain in the current tie, or move into a new tie with Polkopia for most wins?

Stephanie Veronique ~ Malta Comino Gozo needs 94 points to win.. They have received...
All ~ 119 POINTS!!

Shafira Aloseva ~ Malta Comino Gozo has won WorldVision 116!

Victoria Boudoir ~ And is now tied with Polkopia, the runner-up, for most wins in WorldVision history!

Shafira Aloseva ~ "Malta Comino Gozo has won WorldVision 116!"


The words repeated inside Emma's head as she sat there, completely unable to react to what had just happened. It had been a performance of a lifetime, and as the voting ended, Malta Comino Gozo sat in the top spot with 130 points. Now, the public had voted, and here they were in the top position with 249 points. Emma’s wide eyes remained locked on the screen, the scoreboard frozen in time, giving the audience a chance to immortalise the moment in photos.

The cameras were on her booth as the audience roared with excitement. Her area of the green room was like a house party! There were members climbing on the sofas, waving their MCG flag cushions high into the air, people hugging, and Emma sitting in the middle, swamped by the rest of her team and unable to comprehend what had happened. The camera cut to Emma swamped by her delegation, her beady eyes attached to the screen way out in front of her. She had done it. She gasped, hands flying up to her face, and let out a high-pitched scream of pure joy. She flailed her arms, unable to contain the sudden surge of adrenaline. Turning to her boyfriend, who was just as overwhelmed, she screamed again, her voice merging with laughter as he leapt toward her, engulfing her in a tight, celebratory hug.





Emma stood there centre stage, illuminated by the shining spotlights. Gripping the microphone with her shaky hands, her voice caught in her throat as she looked out at the sea of cheering fans. Her cheeks bunched up from smiling as she tried to find the words. The spotlights, the atmosphere, and the overwhelming realisation of the moment suddenly hit her She had won. She spoke softly at first, barely audible over the roar of the crowd, but as her words formed, her voice became louder and more enthusiastic.

"I don’t even know what to say," she began, her voice shaking with complete disbelief. "This… this is a dream come true! To everyone who believed in me, to my incredible team, to my amazing nation of Malta Comino Gozo, thank you. Grazzi Ħafna! Argh, I can't believe we've done it!" She paused again as tears started welling in her eyes as the crowd erupted once more.

"And to every single person who voted for MCG and supported me, this trophy isn’t just mine—it’s ours. We've made history tonight!" Emma’s smile grew wider, and with a deep breath, she raised the shining trophy high above her head, her voice stronger, triggering the crowd to cheer loudly again. "Ħafna, Ħafna! Thank you from the bottom of my heart!" She took her flag off her shoulders and waved it enthusiastically. It looked like she was getting that street named after her. She smiled to herself.

It was a victory like no other, Malta Comino Gozo had won for the tenth time.

To say scenes across the islands were jubilant was an understatement! As the final results came through, hundreds of thousands of eyes were transfixed on TV sets and outdoor screens. The magnitude of this contest surpassed any major sports cup tournament, and since the only major sporting event MCG, or rather Valletta F.C on their behalf, had ever won was the IBA Sports Championships, this was undoubtedly something else. It was safe to say the country would party for many, many days to come."

The WorldVision Song Contest was an integral part of MCG's society. WorldVision parties were a regular part of the calendar, and victory parades would last for days if they won. The award of having a street named after you, if you were lucky enough to win, forever enshrined the winners' triumph. From humble beginnings in Rosario 76 to their first win in Milano 84, Malta Comino Gozo had steadily built its reputation to become a powerhouse in the competition. With a stunning 35 top ten finishes out of 4, and now sharing the record for the most victories. This tiny island nation of just over half a million people has proved that size doesn't matter.





So, what now for WV117? MCGBC still had a ship to run, and just because they had achieved the unthinkable didn't mean they were any less focused on another top-ten result. Long story short, MCGBC contacted Noah Pandolfino's management as Noah had released a new album aptly named "Here We Go Again". Noah was more than happy to return to the WV stage. He had achieved his country’s first-ever second place, an achievement he still cherishes to this day. With the shortlisted songs narrowed down to three—"That Time," "Shadows In My Mind," and "Calm After The Storm"—Noah and his management team, along with MCGBC, found themselves in a deadlock over which song to send. Each option presented a distinct, innovative, and unique angle. Each brought something different to the table.

In a hastily organised National Final, Malta Comino Gozo Decides, televised to the public with juries from ten nations involved and a panel of expert juries made up of MCGoan WV and WHF acts, the three-hour show saw Noah sing all three of his songs, plus his WV111 track "Dandelion." His song "Calm After The Storm" came out on top with 106 points, just pipping "That Time" by 2 points!


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Noah Pandolfino is a talented and promising young artist and is a stranger to the WorldVision stage, having placed second in WorldVision 111 with his song Dandelion, MCG's first second place. He's known for his unique style and captivating performances. His WorldVision entry is a fresh and innovative Indie alternative/ folk-pop song that will surely delight his fans and music lovers and also pluck at a few heartstrings. It is a brilliantly likeable and accessible hit.

Born on November 19, 1999, in Valletta, Malta Comino Gozo, Noah Pandolfino is a Malta Comino Gozo singer who gained fame after participating in the popular singing competition “Notes”. He was a finalist in the competition, and his powerful performances and vocal range impressed both the judges and audiences alike. He finished in second place in “Notes 2022.” Noah has a unique style and is known for his ability to connect quite deeply with his audience through his music. He has since released his debut single, "Yesterday", which received overwhelmingly positive reviews from fans and critics. Both this and "Dandelion" charted at No.1 in MCG for three weeks each.

Pandolfino's music is often described as a mix of blues, rock, and indie-pop, with influences from MCGoan artists like Pistols and Tulips and 5ive, and Elejamian band, The Lads and the Lasses, who came third for Elejamie in WorldVision 91 with “Your Song”.


While preparations for WorldVision 117 were underway, it should be said that during this period, MCG and the whole WMCA were at war with the Fatimanian Federation. The dramatic events of September 15-16 shook the nation to its core, and the country was in mourning. The heinous attacks on Valletta had dragged the country into its first war since the War of the Carrelian Succession. Noah had been in his apartment in the north of Valletta, not far from the old town, when a huge explosion shook his apartment. Instinctively, he rushed to his window overlooking downtown Valletta. In the distance he could see a thick column of smoke rising into the sky. The streets below were chaotic—car alarms blaring, dogs barking frantically, startled by the noise. Noah kept looking. Hadn't there been a row of shops there before? And why was there a large hole in that apartment building? Shaking his head in disbelief, the reality set in. This wasn't an accident,it was something much worse.

The war brought fresh meaning to his brilliantly likeable and accessible alternative/indie hit, "Calm After The Storm." Unlike his previous WorldVision hit "Dandelion," his new song "Calm After The Storm" is a more reflective track about enduring life's toughest challenges and emerging stronger on the other side. Gone are the upbeat pop beats he was mostly known for, replaced by a simple yet elegant acoustic guitar inspired melody. It showcased Noah's softer side, his more emotional side. His deep and raspy vocals complement the guitar superbly.


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"The storm in my song represents turmoil—whether it's emotional pain, personal struggles, or in my case sadly a relationship falling apart, leaving you feeling shattered,"Noah explained in an interview with MCG 1 radio. He talked about how the lyrics reflect a time when everything felt overwhelming, like being stuck in a hurricane or drowning in fear. The song is about resilience and serves as a reminder that no matter how tough things get, there’s always a way forward and a path to healing. Whether by coincidence or not, many found that the song almost represented the brief war the country had been involved in, despite the track being written long before. It gave people hope, a beacon during tough times, and Noah loved that. His song had become people’s go-to. It helped people massively in the aftermath of the war.


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The 117th WorldVision Song Contest was shaping up to be a fantastic one. With Plangainer announced as the host, it seemed to bring some countries out of hiding, with the contest looking to be its biggest for some time. Event organisers had gone all out, and the IBA, alongside the WVC, had a great deal of success in talking to several broadcasters to get a number of countries back to the contest. Rugenia would return to the contest. The last time Rugenia participated was 11 years ago, in the 27th edition in Monterra, Kalosia. Several other countries, including WMCA members The Alezian Union and also Aenglide, Mister X and Millenhaal, were also making their return, to name a few.

Plangainer had had a huge impact on the contest, despite not having a win to their name yet they were known for their professionalism, and their hosting was no exception. Noah and the MCG delegation were thrilled with the choice of host. Malta Comino Gozo and Plangainer's relations had always been good, but recently, they had become true allies. Planaginer had supported MCG hugely through the 14 hour war and now had opened a manufacturing and corporate complex for the automotive company Benson in Butler Park.

Since 1978, Concord has been the cultural heart of the country and a magnet for artists, musicians, and scholars from all corners of the world. It wasn’t just the city’s energy that captivated him—it was the history woven into its streets and the natural beauty surrounding it. Noah was grateful to have a few days exploring before rehearsals began.

Nestled between two stunning mountain ranges, Concord, the capital, offers a striking contrast of rugged peaks and flowing rivers, especially in the winter months when the snow sparkles like gems across the horizon. It was autumn now in Plagainer, and though the days were warm and sunny, there was a crisp feel in the air—a sharp contrast to the 22C sunshine back home.

The powerful Montanago River, which cut through the valley and flowed into the coastal lowlands, became a sort of metaphor for Noah as they explored . It was like a constant, unwavering force. That river had shaped the very foundation of the city, just as music was shaping him as an artist in the lead-up to the contest. Ancient civilizations had thrived along the Montanago, and now here he was at WorldVision, adding his own mark to this artistic legacy. Representing Malta Comino Gozo, the reigning champions would normally fill one with a lot of pressure, but to Noah, it was no sweat off his back.

Their first stop was the historic Old Town. Walking along the cobblestone streets of the beautiful Old Town, Noah found wonder in every corner. Just like Valletta's old town, some of the historic buildings dated back as far as the 1400s. There was just too much to take in and too many pictures to take, the towering St. Cothenal's Cathedral, the grand Concord City Hall, and the impressive Palace of the Archbishops.

Montanago Plaza, home to the largest amphitheatre in the country, was a place Noah definitely wanted to see. There, under the open sky, he could almost feel the pulse of Concord’s long artistic tradition. The amphitheatre wasn’t just a place for concerts; it was a space where the arts thrived in every form, from theatrical performances to modern music festivals. Perhaps this had been considered a venue before the Pheonix Arena? He imagined what it would be like to perform here, surrounded by the history and with the mountain peaks framing the stage.

In the few quieter moments that they had, which were very rare, he and his team would retreat to the lush parks and gardens that surrounded the city. Here, away from the business of the city, Noah could reflect, recharge, and connect with nature. It was a welcome escape, especially from the media interviews and from the intensity of preparing for such a huge international event. Yet, even in these beautiful and relaxed settings, Concord’s artistic spirit was never far. Whether it was the taste of local dishes at a riverside café or a chance encounter to busk with a fellow WV artist everything seemed to feed into his creativity.


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For a stage visuals click this link


The stage was set. This time around, the theme for the entry was minimalist. There was nothing over the top, no large props, just Noah standing centre stage, surrounded by his band (later on) and a silent orchestra. The MCG delegation would utilise some of the cameras provided by AIM, but they had set up their own railcam onstage, which they would use for the majority of the performance.

The whole stage was giving a misty midnight atmosphere, as a ghostly fog swirled and floated over the floor and in the air. Yet there was a gentleness to this mist. Through the haze, Noah stood centre stage behind a mic stand, with an acoustic guitar hanging to the side of him. In the eerie light, the guitar was the deep hue of caramel, the brown that can melt a heart and warm a soul. For the performance, he wore a soft white/blue denim short-sleeved shirt over a white tank top, paired with black skinny jeans. On his feet, a polished pair of chestnut formal shoes added a subtle touch of sophistication to his outfit. His hair had grown considerably since his previous WorldVision performance in WV 111. It was thick and curly, falling well past his ears with a couple of strands hanging close to his left eye. It gave him a rugged feel, as if he had woken up with "bed hair" and hadn’t bothered to style it—but it worked, and he pulled it off flawlessly.

The entire stage was swamped with navy, almost black light, with just one icy blue spotlight shining from the top left, illuminating his left side. A subtle and soft, warm golden spotlight hung above him, coating him delicately in its light and creating a beautiful blend of cold and warm tones. It was almost like the sun appearing after the gloom of a storm. The arena was filled with the enchanting melody of an acoustic guitar as it delicately strummed the simple yet captivating melody. Noah began to sing softly. We had an onstage camera view, which hung diagonally at his right-hand side. With both hands on the microphone, he sang forward, avoiding all eye contact with the camera. He felt more at ease holding onto something, and the mic stand seemed to absorb all his nervousness. In the foreground to his left sat a lonely rustic piano, void of a player, its keys exposed, waiting for an occupant.

In a delicate yet powerful gesture, Noah placed his left hand on his stomach and turned his head slightly to the camera on his right as he sang, "A comfort that surrounds me." His gaze then moved upwards, looking up to the warm light emitting from above. We briefly cut to a camera suspended above him, as if the camera was inside the spotlight. From this vantage point, the light bathed Noah in a stunning yet heavenly golden glow, highlighting the soft contours of his manly face with delicate shadows and illuminating his dark, curly hair. The light twinkled in his eyes. For a brief moment but what felt like a lifetime—the glow started to soften the scene, wrapping him in its warmth and contrasting the earlier darkness and fog as he sang. It was a moment of quiet reflection and intimacy for him, as though the light was his guide but also his audience.

Noah had deeply enjoyed writing this song. He had written it without WorldVision in mind and it was part of his latest album, "Here We Go Again". It was one of the only stripped-back songs on his album. It was a little slower and had more of that classic acoustic singer/songwriter vibe compared to the other seven songs. It was a song Noah had poured a lot of emotion into—not that he hadn’t poured emotion into all his songs, but this one felt more profound, more personal.

His breakup was extremely personal. Over time, he had invested so much of himself into the relationship, really believing it was something long-term. Noah and his ex had been together for just over two years. It left him feeling raw and vulnerable when things broke down, almost as though he had lost part of his identity. Their breakup wasn’t filled with anger or drama but rather with a quiet sadness as they drifted apart emotionally over time. She wanted different things, which eventually created a distance they couldn’t bridge. Writing his new album, "Here We Go Again", especially the track "Calm After The Storm," became a way for Noah to release all his emotions he hadn’t quite fully processed. It was an album filled with the nostalgia for what he once had and the bittersweet acceptance that it was now over. The whole album was less about anger and more about letting go of something he had truly loved.

There’s a calm after the storm,
A comfort that surrounds me
It comes after the stormy rain,
It comes to take away my pain


A gentle yet noticeable breeze has picked up now, gently ruffling Noah's hair. A pounding of the drums now accompanies the acoustic guitar as Noah spins the guitar to his front and actually begins to play, adding a brilliant depth between the live and the prerecorded guitar. There is a brief flash of lightning from somewhere behind him. The rail cam continues to pan slowly anticlockwise around the front of him, so by the end of the verse, we're looking at Noah from his left side.

I was shattered in the storm,
Lost inside a hurricane,
But the stormy skies are clearing now,
And love is calling out my name


The whole verse was quite tense in terms of Noah's body language. Whether it was part of the act or whether it was nerves, his body language was tight. His breaths were shorter, and his shoulders were slightly more hunched. There was something deeply personal, deeply vulnerable for Noah to be standing here, alone, telling his story. More percussion cuts through. As Noah sings, "But now the winds have died", his vocals are beautifully harmonised by his band who are somewhere at the back of the stage. As he sings "But now the gales have now subsided, oh" the gentle breeze stops right on queue. Lined up with him now, the onstage camera fades to black.

For the last line, we have an upper body close-up as we have our first head-on shot of Noah. We can really see the emotion in his face now. In those earthy brown eyes hues was his soul, not in the way of those cheesy romance novels, so obsessed with lust, but with the kind of beauty that expands a moment into a personal eternity, a heaven you wish to be a part of. Behind that icy stare was a mountain of pain, yet extracting it would bring pain and instability. For the last two lines, his vocals are now supported again by a faint harmony from his bandmates.

Oh, we were drowning in the deluge,
Lost in the shad-ows
But now the gales have subsided, oh
But now the winds have died, the sky is clear, oh
And I’m no longer drowning in all my fears


Now, circling the stage, the camera spun anticlockwise, pinpointing Noah standing at the centre stage as he sang the chorus. A lone golden spotlight from the ceiling cast down upon Noah. The spotlight was a brilliant path through the dark arena as if a hundred million stars had joined up to make it. The whole stage setup began to unfold before the audience/viewer, and it became clear just how personal this performance was.

Our viewpoint cuts to one from behind Noah now. He stood on a large old, worn rug—the same one he had back in his sitting room at home. It was not a replica but the actual rug, as if he had brought a piece of his personal world onto the stage. It was as if he was drawing the audience into his personal life even more. Noah brushed his right foot against the rug. Under the rug, we can see the LED floor playing out raindrops hitting water like tap dancers dancing.

The camera glided behind the band now, and each instrument came into view. The once-empty seats were now filled with their respective musicians. We can see a bass player, a drummer, a keyboard player and a piano player, all with their heads hanging low, playing their respective instruments emerging from the darkness. The figures were easy to see, but they looked almost like dark outlines in the eerie light.

As the camera swung behind Noah, we could now see the silent orchestra, sitting wearing their formal attire directly in front of him. Sillohuetted by the cold spotlights and surrounded by an eerie fog, they played their cellos, clarinets, and violins with slow precision, their faces solemn. The ghostly mist curled around their instruments, consuming the space between them and the audience. They completely concealed our view of the audience. It was as if the area was half the size as Noah looked outwards. The whole staging was designed to make it feel as if Noah was singing to one person, his ex.

Noah's amazing vocals rang out into the arena. His deep, husky voice was now a few octaves higher as the "Hoo-ooh-ooh" rang out beautifully. Noah adored being on stage, and even now, in the middle of his performance, someone he had still not grasped, he was back on the WorldVision stage. You could see it in his body language now though. He looked relaxed; his shoulders were down, the lightning was bright, and the music was swelling up with hope.

He had said in pre-contest interviews to the press "When singing I can raise millions from where they are to a better place with my emotions, lyrics and optimistic beat. For we are all born to co-regulate, to synergise with those we feel kinship with, with those we look towards as soulful leaders." and Noah was doing just that tonight. The chorus was accompanied by gentle flashes of light close to the arena ceiling as if a storm was inside the arena.

Hey!
Hoo-ooh-ooh
Hoo-ooh-ooh
Hoo-ooh-ooh
Let’s never break again
Hoo-ooh-ooh
Hoo-ooh-ooh
Hoo-ooh-ooh
Feel the silence, soft and warm


The lights fade as we are left with a diagonal shot of just Noah's right, silhouetted centre stage strumming guitar with his head hanging low and his eyes almost shut. The stage darkened again as the strumming of the guitar echoed out as it narrated his emotional journey. The audience's cheers echo out before calming as he began to sing. A golden spotlight above brightens again as Noah stands illuminated under its soft glow, which gradually grows warmer and more radiant. As he sings the first line, the camera fades into a facial shot that pans left to right in front of Noah, catching a lens flare as it does, before blurring to a railcam shot looking upwards towards him, bathed in golden glory.

The stage is still filled with mist, still clinging to the floor, swirling faintly as five soft white spotlights gradually emerge from the shadows, casting a gentle light on the left side of the stage. Dust particles flutters in the soft glow. The stage remained dark and murky, but there were moments when raindrops were falling behind him on the LED screen, symbolising the emotional weight of the storm. The soft white beams reflected off the mist, creating a haunting yet hopeful atmosphere as he sang. Noah's vocals had an emotional edge to them. From our diagonal view of his right side we had a facial close up. There was a slight quiver on his lips as he sang, tiny flickers of pain as he sang the lyrics. It wasn't easy to bring back these memories, but then again, it was what had spurred him on to write this track. Locking gaze with the camera as he sang "The battles that we once waged" he was now singing to everyone back home watching, making the performance feel all that bit more personal. Without turning his head to much his eyes lock onto the camera. Throughout the verse, subtle flickers of light cut through the fog on the backdrop and move in time with the lyrics. His manly, roughed vocals ring out into the arena.

We’ve walked through broken dreams,
We found light in the debris
The battles that we once waged,
Turned the scar into a story we forgot


We cut to a diagonal view from just behind Noah as the cameraman focuses on him. Two blurred guitars make up the foreground as the camera peers in between them, making the scene feel a bit more intimate. Noah strums and sings towards the audience as if entirely unaware of the cameras. The camera fades into a head-on shot of Noah. We then cut to a handheld shot that slightly pulls away from him without revealing much more of the stage. As he sings "But you and I, we've been reborn," his vocals are now supported by a faint harmony from his bandmates, almost like a distant echo from his past. Their blend of voices created a haunting effect but also really helped lift the song. Raindrops are still falling behind him; however, as they hit the ground, they transform into shimmering droplets of light.

Now we stand in what remains,
The wreckage fades beneath our feet
But you and I we've been reborn
In the calm after the storm


Almost instantly, a small smile spread across his face. His smile was one of happiness growing, much like the way a spring flower opens. You could see how it came from deep inside to light his brown eyes and spread into every part of him as he sang the lyrics. A person smiles with more than their mouth, and you can hear it in his voice, in the choice of his words and in the way he looks relaxed.  A wave of light rippled outwards from him as he sings about drowning and the flood but is immediately replaced by a static spotlight in front of him as he sings about the winds dying. For the first time, he took a small, deliberate step forward, detaching his microphone for just the remainder of this verse. It was as if he was stepping out of the storm towards the light. As he did, he stepped into the golden spotlight that shone down from above him, creating a metaphorical sunrise. It was as if the spotlight was healing him. We cut to a close-up shot of him now as he locks his gaze with the camera and nods his head subtly, almost to reassure himself he isn't drowning in his fears anymore.

Oh, we were drowning
In the flood, oh
Tangled in the darkness of our bitter love, oh
But now the winds have died, and the sky's clear, oh
And I’m no longer drowning in my fears


Write with the emotion that burns, the joys that sing, and the tears you never cried. Use your own words and don't worry about spelling or grammar. All I wanna know is, "Are you okay?" I need to be sure that you can still feel your soul and care about this world and others. Use your talents to fix this world, because this is our home. Just write, keep writing, and be as bold as you dare. Let it out, let it go, then let it be.


Noah, almost in true rocker fashion, headbangs as he throws his head up and then right down energetically as the chorus bursts forth. His messy hair bounces and waves in the lights. His vocal range was nothing short of breathtaking as his majestic voice notched up an octave as he delivered each "Hoo-ooh-ooh" perfectly. The camera spins anticlockwise again around the back of Noah and his band, the fog creeping through and the golden spotlight shining majestically down upon him. The silent orchestra comes into view as the camera spins behind him, lit up in a fantastic silhouette as they play. Though silent, it added a subtle bit of class to the entry. For the last line, we have a facial shot of Noah as he lifts his head up poignantly to look at the camera, his eyes welling with tears.

Hey!
Hoo-ooh-ooh
Hoo-ooh-ooh
Hoo-ooh-ooh
Let’s never break again
Hoo-ooh-ooh
Hoo-ooh-ooh
Hoo-ooh-ooh
The shadows hide my tears


The stage is enveloped in darkness with a subtle glow from a handful of spotlights dotted around him, just enough to light him in a frosty bluey-white light as a crisp fog coats the air, adding to the ambience. From above, the golden spotlight shines down on Noah, albeit quite dimly, but just enough to lighten up his dark chestnut hair, turning into a brilliant shade of caramel, as well as just coating his arms with a golden tan mixed in with the shadow cast of the mic stand. The camera moves in a slow, deliberate, anticlockwise circle around him, capturing every detail of his stillness as if he were the only one in the room.

He strums his guitar energetically before placing his clammy hands tightly around the microphone, and he stands, pulling his arms in close to his body and causing his muscles to flex subtly, pressing against the short sleeves of his shirt. A dramatic lens flare emanates from the upper right-hand corner of the screen as it hits the camera lens. Noah remains calm and his face natural as he lowers his left hand towards his diaphragm to help him conjure up his breaths ready for what was to come. As he sings "And together", he gently places his right hand, albeit briefly, next to his right ear before putting it back gently onto the microphone. Now directly in front of him, the camera continues its slow, steady movement around him. In the background, the acoustic guitar begins to swell gently but with purpose, setting the tone for the build to the chorus. Noah shuts his eyes, the emotions now getting to him as he draws back into his zone. He’s no longer just performing; he's living the song.

Underneath him was a storm of emotions—love, loss, but mostly hope—and it was all beginning to show to the viewers how his brow furrowed for a moment and then smoothed out as he surrendered to it.

A faint and tender smile appears on his lips as he sings the last line, the kind of smile that comes when you’ve let yourself feel everything and now feel a sense of release. As the camera lingers on him for just a moment longer, the music and camera fade, and the air is thick with the emotion he’s left behind. He opens his eyes.

I heard the echoes in the rain,
But now your whispers all that remains
We’re the ashes; we are the flame
We rise again
And now the storm may rage, but we won’t break again
And together we’ll rebuild what it tried to take


As we reach the pre-chorus, the view beautifully transitions and fades to a violinist on stage as it fades away from Noah. The camera pans left to right with a slight slow-motion effect as the violinist moves his bow up and down. Only the violinist's torso is visible, creating an intimate focus to help break the scene.

The cut to the violinist by the stage designers was a clever one. It added a visual storytelling element and a symbolic depth to the performance. It represented the mood, emotion, and elegance of Noah's song, and even though the violin was silent, its presence helped mirror Noah's emotional state. As the song continues, the camera gently cuts back to Noah's centre stage. This time our view is closer than before and from a right-hand angle showing his right side. Tethered and composed, he remains calm and focused, his hands still gripping the microphone, as his eyes remain steady and fixed forward out to the audience in front of him. He was fully in the moment.

For the first time, we can now just see the back LED screens clearly. It was subtle, but it was visible as rain began to cascade down behind him. The tinkering of a piano rang out as he sang the pre-chorus, swelling the music with hope again. The lighting softens. Reaching into his pocket, Noah picks up a letter. It was from his ex. He looks at it for just a second before he drops it, allowing it to fall gently to the floor as a symbolic release of the past.

For the last line, the camera circles back around to the front from his right side. For the first time and now, with a complete bolt of energy, Noah's choreography changes completely as the chorus approaches. Strumming his guitar with vigour, his body bent at the waist to squeeze his diaphragm, he summoned every bit of energy he had for this huge note and last chorus. Thrashing his head once more he lets go. The note "storm" echoes powerfully out into the arena as Noah impeccably holds the note in tune.

Oh and in your embrace, I’ve discovered peace, oh
Where the waves of doubt have now ceased, oh
The past is vanished, sky reborn,
There is a calm after the storm...


After every storm comes the sort of sunshine that goes all the way to the soul, the type that makes one glow a little brighter within. This storm was just the same. The strong gusts and the kind of rain that danced in the streets, yet after it was so glorious, it brought the most honest of smiles.

Once again, the onstage camera cuts to Noah at the centre, making a circular motion. Though it was the same angle as before, there was something magical, beautiful, and upbeat about it. As the camera circled, we saw each musician wholly lost in the song, strumming and playing away. The stage was glowing beautifully as the fog curled gently around their feet, catching the light and swirling like a dream.

The light seemed softer and brighter, like the early glow of the sunrays peering out after a storm. Noah strummed away with abandon under the glowing golden light from the ceiling, taking a few steps back from the mic, yet his vocals still filled the hall, raw, aching, yet full of hope. The glowing golden light from above framed him perfectly, casting him in its halo of light as he closed his eyes and let the music take over.

For the first time now, we could see the audience in the Phoenix arena lost in the music as the camera quickly showcased them as its travelled anticlockwise behind Noah. They were swaying gently, holding their phone aloft like candlelight. It was a beautiful moment of unity.

He was no longer playing just an instrument. His acoustic guitar was now an extension of his soul. It formed that physical bridge between his real and raw emotions he was pouring into the song and the audience in the arena and at home. It was almost as if his trusty little guitar was alive, breathing with him. Noah was a true performer, I mean why else would he be asked to sing at WorldVision again, and tonight was no exception as he poured everything into the notes: his joy of music, his emotional pain, and his hope for better days ahead was etched across his face. Each effortless strum that rang alongside his flawless vocals seemed to say something he could never quite express appropriately with words alone, and the audience in the arena could feel it and they were embracing it.

In the background, far out into the arena, bands of white light emanated under the different seating segments, signifying the new dawn and light in the darkness. Maybe Noah had conquered this storm after all. As the darkness on stage surrendered, every colour changed from tinges of charcoal to a soft orange. The calm was here.

We have a view from behind Noah standing on his rug that gradually moves closer as he sings the last two poignant words and the instruments calm. We cut to a frontal diagonal shot from his right, as Noah looks up, almost searching for something or someone in the crowd. His chest rises and falls with a sigh of relief, and for just a brief second, he closes his eyes, letting a single tear escape as he has a quick facial shot before the stage fades to black. He wasnt defeated, he was triumphant. The soft orange lights begin to fade, and the arena falls silent.

Hoo-ooh-ooh
Hoo-ooh-ooh
Hoo-ooh-ooh
Through the fire and the wind
Hoo-ooh-ooh
Hoo-ooh-ooh
Hoo-ooh-ooh
I've made it to the end


Noah had shared his vulnerability with everyone, and in that moment, after the silence, the arena erupted into cheers and applause. The lights come back on as Noah stands there, bathed in the bright white lights. His eyes had trouble adjusting for a second, whether it was because he was emotional or because he had spent three minutes on a dark stage. Either way, he stood there proud, staring out into the audience. He stood there motionless, his guitar hanging around his neck. His face reflected the emotion he had poured into his performance. His lips parted as they formed into a soft smile, growing as the cheering intensified. It wasn’t the grin of someone basking in the glory of the applause but rather the humble, quiet joy of a performer who had been heard but also understood. Relaxing his shoulders, he bowed to the audience and allowed himself to get his breath back. You could see the emotion still lingering in the slight tremble of his lips and the warmth in his earthy brown eyes, which were now shining brighter, reflecting the bright lights of the stage. "Grazzi, grazzi", he spoke softly. We have a brief shot of a group of MCG fans buzzing with excitement as they wave their scarves and banners to the camera before the crane cam scans the ecstatic crowd chanting "MCG!" before cutting back to Noah. Full of happiness, he nods to the crowd before exiting the stage. It had been extremely emotional, but he had done it. A weight had been lifted.
Last edited by Malta Comino Gozo on Fri Nov 08, 2024 6:04 am, edited 19 times in total.
Malta Comino Gozo WV Committee member. International Broadcast Alliance founding member. Member of the WMCAverse, Waisnor/Malta Comino Gozo/Carrelie/Alezian Union Achaean_Republic

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Antahbrantahstan
Chargé d'Affaires
 
Posts: 451
Founded: May 29, 2014
New York Times Democracy

17. Antahbrantahstan

Postby Antahbrantahstan » Tue Oct 22, 2024 4:33 pm

17. ANTAHBRANTAHSTAN | إانتهبرنتهستن

Image

Maya Jaime - Lovedrunk ('till Insanity)
Tune: Naomi Scott (as Skye Riley) - Death of Me

m & l: Sophie Odellia, Dan Martin


Following a long absence of participating in the WorldVision Song Contest amidst dwindling interest and a re-focusing on scripted and streaming content, RR, the Anturian broadcaster, appointed a committee in the beginning of the year to conduct feasibility studies regarding a possible return in the show; Results proving satisfactory, RR would later announce the opening of the internal selection process, headed by "new blood" Taissa Emmanuella. The enthusiasm was also remarkable, with RR receiving 2500-plus submissions by the deadline. As the task of sifting through the submission befalls upon the aforementioned "new bloods", Taissa naturally gravitated towards a catchy song with possibilities to go viral amongst Anturian short-form video websites, and following even more lengthy audition processes, Maya Jaime was chosen as the first Anturian representative in over twenty, thirty-plus editions.

Maya is no stranger in the entertainment world. Originally intent on being a commercial model, she would later discover her love of singing after her friends regularly invited her to attend karaoke sessions. Maya would later send demo tapes to several record labels and producers, all the while balancing it with her modeling gigs. She would later be noticed by Dan Martin, an aspiring producer and DJ, and following several negotiations, she would later join an indie label he founded, Dominion Records, while amicably terminating her contract with the modeling agency she was in.

To help establish and train herself, Maya would undergo extensive vocal and dance lessons paid from her own pocket, all the while balancing it with doing local gigs, open mic shows, and occasional performing at wedding parties. Maya's popularity would grow enough for her to do live shows at CUBE venues (akin to real-life Zepp music halls), and she would remain a well-enough name in the Anturian underground music scene, that is, before she submitted her entry to the RR selection committee.

Her track, Lovedrunk ('till Insanity) is a pop song with catchy hooks and EDM influences, lyrically speaking about Maya making her lover drunk on their love until (presumably) going insane. Maya herself actually had reservations regarding the track, unconvinced that the song was too "pop-py" what RR is looking for in an entry. Yet, Dan and Sophie Odellia, her friend and producer on the track, felt that the song is "way too good to go unnoticed" and pressured her to submit it for consideration. To Maya's surprise, Maya would later be invited to attend callbacks by RR, and after further auditions, including the final audition where she prepared some backup dancers to accompany her, she was chosen to represent Antahbrantahstan in the WorldVision song contest.




The stage is swathed in black, minus an image of a vertical red line appearing from the front edge of the floor LED screen all the way through the top edge of the central LED screen behind. All the while, Maya appears very much dimmed by the stage lights- Just her silhouette walking slowly, yet with outmost sensuality as she makes way through the runway. Yet, as soon as she starts singing, "Don't.." the camera would switch angles to show several backup dancers snapping their fingers, in tandem with the LED screens displaying "blinking" colors of red and white. Glimpses of Maya, now well-lit, would be shown, wearing a scarlet red embellished bodysuit accentuated with red knee-high boots, as the backup dancers would later take their positions, standing next to Maya.
Saw you walkin' full of pride, was it hard to admit?
Now we're goin' off the side, was it less than legit?
Don't make it way too hard, you'd get hell out of it
Damn irresistible, so-so-so delicious


The screen would later show more images of pulsating red and purple colors, alternating in several mili-seconds. Maya and the backup dancers would make circular rotating motions using their index finger [Maya using her free hand as the other is holding a microphone], in rhythm with the pulsating, fluorishing beat. Yet, as Maya starts singing "Cause.." the lights would dim again, with the LED screens showcasing plain white colors, creating a silhouetted effect for the Anturian coterie.
Now my hand's tracin' all circles
In the staircase of your mind
And when i found your heart, I will burn it up
'Till no trace of you remain
'Cause i'm a killer, going in for the kill, yeah


For the chorus, Maya and the dancers break into a high-energy routine. The lights echoing the high-octane beats provided by the song, complemented by the vibrancy of geometrical and abstract shapes in different kinds of reds- scarlet, vermillion, rosy, displayed all the way through the screens. Footwork sharp and dance precise, Maya and her dancers provide a much-needed energy boost the whole arena needs, all the while the Plainganer cameras manage to showcase both the electrifying rhythms of the stage and the precision, lively energy Maya and her dancers brought.
Saw behind your mask, your fake alibi
Lovedrunk, you're drunk off my vitality
Got you condemned, feelin' traitorous
Lovestruck, on the edge of insanity
Come on baby, won't 'cha play, Come on baby won't 'cha play (Don't 'cha)
Come on baby, won't 'cha play, Come on baby won't 'cha play (Don't 'cha)
Saw behind your mask, your fake alibi
Lovedrunk, 'till we lost our sanity


Soon, the ceiling cameras would shoot Maya, laying on the floor whilst red-colored, lined images of her silhouette are displayed on the floor LED screen. The footage would be interspersed with footage of the ceiling screens, also displaying red hues throughout, slowly rising and falling down in rhythm. Until a sudden swath of white is shown on the screens after she sang "...you'll never get it."
Got you feelin' paranoid, was it hard to forget?
Thinkin' you'd get sacrificed, was it hard to admit?
You're makin' this oh-so-hard, can't escape out of it
Yeah, mm, you'll never get it


Now, images of red and white patterned-lines being created would be shown on the LED screens. As before, Maya and the backup dancers would make circular rotating motions using their index finger [Maya using her free hand as the other is holding a microphone], in rhythm with the pulsating, fluorishing beat.
Now my hand's tracin' all circles
In the staircase of your mind
And when i found your heart, I will burn it up
'Till no trace of you remain
'Cause i'm a killer, going in for the kill, yeah


Now, thunderous images of geometrical, red patterns would be displayed in varying levels of intensity. Maya leading her backup dancers through a solidly-choreographed, passionate dance routine amidst the pulsating and electrifying bursts of lights and images displayed throughout the arena. As she sings the final chorus, signaling the near-end of the song, the backup dancers walk to a comfortable close distance towards her, before they all fall down, arms reaching Maya's legs. As this happens, the LED screen would finally show a plain white color, the human beings on stage now reduced to mere silhouettes.
Saw behind your mask, your fake alibi
Lovedrunk, you're drunk off my vitality
Got you condemned, feelin' traitorous
Lovestruck, on the edge of insanity
Come on baby, won't 'cha play, Come on baby won't 'cha play (Don't 'cha)
Come on baby, won't 'cha play, Come on baby won't 'cha play (Don't 'cha)
Saw behind your mask, your fake alibi
Lovedrunk, 'till we lost our sanity


Lovedrunk, 'till we lost our sanity
'Till we lost our sanity


After the performance ended, Maya and her backing dancers would later found themselves receiving thunderous applauses from the audience. Maya would scream "Thank you, Plaingainer! Thank you, WorldVision! Terima Kasih!" before letting the stage be prepared for the next entry from Placely Placington.
Last edited by Antahbrantahstan on Mon Nov 04, 2024 9:30 am, edited 6 times in total.
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Placely Placington
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Posts: 140
Founded: Feb 03, 2020
Civil Rights Lovefest

Postby Placely Placington » Tue Oct 22, 2024 5:26 pm

18 - Placely Placington

A Couple of Daves - Placely Return Rap


Tune: Cal Chuchesta - Drake Has 24 Hours To Respond

So much for goodbyes, eh. Yes, that’s right, Placely Placington have now officially returned to the competition. Despite receiving more money than what they know to do with it thanks to that trade deal with Millenhaal, the country is now broke again and they’re back to relying on the WorldVision Song Contest in an attempt to get money. Wow, turns out that Dave McDaverson can actually embezzle that much. At least some good came of the money, namely the existence of Placely Wrestle which they hope to be the best wrestling company to ever exist. Even though at the minute they have only eight wrestlers on their roster: Dave McDaverson himself, Television Director, Dave the Hobo, Wynan Schitt, Potassium Man, Jim the Grindcore Guy Bloke, a Test Subject, and Hank Zickafoose the 5’1” and 600lb baseball pitcher who sometimes likes to eat the baseballs themselves. He is hoping to attract some more big names, though, so it’s just a question of whether or not they’ll actually have enough for a show at least.

However, they want to really let the world know that they’ve returned. And who better to send the second best rap group in the nation? None other than A Couple of Daves, made up of leading man Dave McDaverson and his producer and hype man Dave the Living DJ Booth. And they came up with the Placely Return Rap, a song about them rapping about how they’ve returned to the competition. Simple as, really. It wouldn’t be the first time the duo have even entered the contest and it won’t be the last time either, but it should be a good enough song that’ll do well enough to justify them returning to the contest. After all, in the immortal words of Dave the Living DJ Booth: “MY EXISTENCE HURTS!”

No, wait, in the immortal words of Dave McDaverson: “Placely is the greatest stately that ever stately statingtoned.” Yeah, I’ve got nothing.

And so, with that out of the way, it was time to make the trip to Plangainer. More specifically the city of Concord, a city with a lot of interesting history behind it and a great future to look forward to. A city that’s completely unique in every single way imaginable, chock-full of things that will keep you occupied, and will make you want to come back again and again. And a city that’s full of interesting and memorable characters. Characters such as: the robot Wallace and Gromit met on the moon; The Lady of Rage; someone’s mum dressed as Doomguy; a dude who’s played so many RPGs he dresses like he’s getting max stats; blimey Peggy Mitchell’s let herself go; someone else’s mum dressed in a better Doomguy costume; goth monk GF; the manic pixie love interest from a mid-2000s indie movie; KRS-ONE; the pink robot version of that blue alien from Mass Effect: Andromeda that no one seemed to like; a yellow colander-head thing; a man so redneck he somehow manages to be his own father; the Doom Gimp; Thanos with Vision’s face crudely stapled on; generic action movie everyman protagonist #857; and KRS-TWO.

Anyway, rehearsals are over so enjoy the song. Or not. It’s pretty much standard Placely fare so you’re more than likely going to be in the latter camp.



Red – Dave McDaverson
Purple – Dave McDaverson’s pre-recorded words
Blue – Dave the Living DJ Booth


The postcard’s over and done with and we cut to a stage. On one side we have the man, the myth, the legend himself Dave McDaverson. And in the middle of the stage we have the other one, Dave the Living DJ Booth. After the crowd’s reaction, which could best be described as “existent”, died down the song finally began. Nothing particularly interesting happened here other than Dave McDaverson trying and failing to hype the crowd up, the discordant beat playing that further failed to get much of a reaction, and Dave the Living DJ Booth screaming in horrible agony rather than providing Dave McDaverson with the ad-libs he had requested (which threw him off a bit).

Yo yo, it’s me
Dave McD
And I rep Placely
(Dave!)
And this is our comeback song, we’re back!
It’s great to be back
(Definitely)
This is the greatest Placely rap you’ve ever heard, that’s the truest fact (Yep, that’s right)
This is also the Placeliest rap you’ve ever heard (No lies there)
This is a rap that is so Placely you can’t get more Placely than it
Yo, check the beat there
We made it, this is the hottest beat
Now here’s the Dave DJ with his ad-libs
He’s an absolute pro at ad-libs
(No doubt)
Here he spits
Wait, what’s that?
(Yo!)
That’s- Those aren’t the right ad-libs (Dave DJ has the finest sounds)
I’ve told you, do it right
That’s how Placely this whole rap song is
(Yes)
Time to spit now, brace yo’selves


Almost immediately Dave McDaverson got right into the first verse. There he tried to move around like he was the greatest MC that ever MC’d. When in reality he’s nowhere near the top trillion. He’d probably even lose a rap battle to a 13th Century peasant. Also, he has no idea of what ad-libs are so he just recorded himself speaking to himself and chucked them into the beat.

Guess who it is? It’s only me
The one and only, it’s Dave McD
With Dave the Living DJ Booth
We’re the greatest rappers to exist and we’ve got the slickest flows to exist and the best rhymes ever
Is there anyone who is better?
The answer to that question is an obvious “never”!
We rep the greatest place known as Placely
It’s a good place, you should know it’s very stately
We’re here with the sickest beats
We come in here, we bring in a ton of heats
We’re here with the smoothest flows
That’s a true fact, that everyone knows
We’re A Couple of Daves
Dave McD and DJ, we’re a couple of greats
It’s time for Dave the Living DJ Booth
(Wow!)
You know what he’ll do? (What, Dave?)
Spit some bars! (Yes!)


Dave McDaverson seemed to be excited for Dave the Living DJ Booth to spit his bars, only for his excitement to slowly and visibly fade as Dave the Living DJ Booth instead started begging for the sweet release of death. A sweet release that he will never get. And while stage!Dave McD tries to keep hyping the crowd up, song!Dave McD is trying to get his DJ booth friend to actually sing the right words. You’d think it’d be the other way around like it would be for the rest of the song but don’t think too hard about it. I certainly didn’t.

PLEASE TURN ME OFF, PLEASE TURN ME OFF, MY LIFE HURTS
PLEASE TURN ME OFF, PLEASE TURN ME OFF, MY LIFE HURTS
(Those aren’t the right lines, Dave DJ)
PLEASE TURN ME OFF, PLEASE TURN ME OFF, MY LIFE HURTS (I’ve already told you)
PLEASE TURN ME OFF, PLEASE TURN ME OFF, MY LIFE HURTS
Dave DJ there with the best rhymes (He’s not saying it right)
Dave DJ there, with- with the best… rhymes (I’m correct here)
That’s right (I’m right here, he’s not saying the right words)
PLEASE TURN ME OFF, PLEASE TURN ME OFF, MY LIFE HURTS (He’s not singing it right)
PLEASE TURN ME OFF, PLEASE TURN ME OFF, MY LIFE HURTS (You know that we’ve rehearsed this already)
PLEASE TURN ME OFF, PLEASE TURN ME OFF, MY LIFE HURTS
Thank you for the cool rhymes, Dave DJ (Thanks, pal!)


And thus Dave McDaverson immediately jumps into this final verse. Of course his rhymes weren’t as good as they were in past rap songs but then again he had been concentrating more on Placely Wrestle than he had been rapping. So, naturally, he was a bit out of it for a while. As if he had ever been “in it”.

That was Dave DJ Booth with the best rhymes
Dave the DJ Booth’s best rhymes, best rhymes of all times
We’re the greatest duo of all time
(That’s true!)
Couple of Daves, yes-
Couple of Daves, we’re so fine
We’re the greatest rappers, and no one can deny that
(True)
Oh yes, and we’re the Placeliest ones too
Dave McD with- with Dave DJ, we’re new hat
Check our rap attack, it’s here
Yeah, they can’t handle how Placely this whole track is
(No, they cannot)
This rap is greatly (Right!)
It’s so greatly, it’s so great
Great on a plate
(That's for real)
That’s the state
Dave!


The song immediately came to an end. The crowd didn’t react at all, barring a small smattering of applause as Dave McDaverson was arrested. As is tradition for A Couple of Daves songs. Turns out that "Share the love" doesn't apply when you're giving out Placely's most infamous export to random people. Whatever, at least Dave the Living DJ Booth can be wheeled backstage to remain in storage for a bit, Dave McDaverson gets taken to the local jail and the next act can show up with a better performance. Preferably one that actually uses the screens, stage effects, camera angles and that.
Last edited by Placely Placington on Tue Oct 29, 2024 7:15 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.

User avatar
Kalosia
Minister
 
Posts: 3204
Founded: Jan 09, 2013
Democratic Socialists

Postby Kalosia » Tue Oct 22, 2024 5:28 pm

19
Kalosia
Lë matrimoniu — Henrique Magaiánes
"The wedding", performed in Kalosian and English, with phrases in Spanish, to the tune of Holy Moly — Eric Fukusaki


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Henrique Magaiánes is a 29 year old from Milado, a wine-making town in the Lecirian countryside. When he started his career 8 years ago, he initially used the stage name N-Reekay and mainly did spoken word rap. However, as time passed, his style evolved into a general latino pop sound.

In 2022, Henrique and his longtime girlfriend Amaja Hernangez became engaged, and the two married last year in Palmañë. Inspired by the memories made by these two major life events, Henrique started working on what eventually became this song, "Lë matrimoniu" ('The wedding').

Henrique intended to submit the song for the 2024 Festival dëla Kanžu Kalosianë, however missed the deadline as the song was still in the production and mixing stage at the time. However, with FKK off the table, the lyrics were given a bit of a revamp, introducing lines in English as Henrique had initially intended. As such, the all-Kalosian version, crafted to meet the rules of the festival which require lyrics to mostly be in Kalosian or a regional language, has yet to see the light of day. Henrique moved forward, pivoting with the aim to submit the song for consideration for the WorldVision Song Contest.

Radiu-Televižio Kalosia announced in October 2024 that Henrique had been selected to represent the island nation with the aforementioned song. Of course, he and his wife were very ecstatic. Although Amaja played no part in the production of the song, she was invited to be involved in the staging and live performance of the entry.

The trip to Concord was honestly a delight for the two. It felt like a second honeymoon almost, especially as the WorldVision project they had been working on was so centered around their marriage and the joy it brought for the two of them. Rehearsals went well, and during the parade of nations at the beginning of the show, Mr. and Mrs. Magaiánes walked in together, with Amaja wearing the veil.

Kalosia was drawn to perform 19th, after Placely Placington and before the Alezian Union. As the Daves stepped off stage, nobody clapped. But as the stage was being set up for the Kalosian entry, people cheered, especially as Henrique and his entourage took their places.

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For the big night, Henrique was wearing a white wedding suit with black accents and a black bowtie. There was a red-and-black boutoniere pinned to his lapel, which contained a playing card—specifically King of Hearts. To top off this formal-yet-playful look, he wore shades, and kept his facial hair trimmed (but not clean-shaven) for a slick look.

As the stage ready sequence was initiated, everything was good to go. A moment later, the music started. At this point, we saw a close up of an electric guitar, although the lighting meant that we only saw a silhouette of its player. As fingers went up and down the instrument, the camera slowly zoomed out a little, the lights gradually shone on the player, and it's our boy Henrique! He muttered in Spanish before singing the opening lines to this song, calling for the audience to have a good time.

(Una noche más) Lala lala lala lala la
Who’s ready to party?!


Now, Henrique quickly handed the guitar to someone off camera and took off. He had been standing backstage, in fact, and the steadicam moved aside to allow him to pass. He now made his way through an opening in the LED walls, running with such enthusiasm, as was captured through the cameras mounted on the rails on the sides of the stage, following as he made his way down the catwalk. While this happened, the audience cheered, and the stage LED screens burst into colour. Specifically, they were showing a zig-zag horizontal stripe pattern in red and black that moved upwards. The LED wall also closed behind Henrique.

Our boy eventually made his way to a mic stand about two-thirds down the catwalk in time to start the verse. From the front view, we get to see that, behind him on the main platform, there is a full band setup, with a dedicated guitarist who has taken over guitar duties for the remainder of the performance. They are all men in black tie attire, except for the drummer who is a woman wearing an evening gown, also in black. The LED walls are now showing red line art style graphics of flowers, particularly tropical ones like the hibiscus, on a black background. Yet, the focus is on Henrique as he sings into the camera, making gestures to him and the camera as he sings about "you and me" and then broadly gesturing as he sings about seeing the world.

Hey, vamu u vjažu, tu e ja
A viderë lë mondu
E l’alba plu belu es solu pëli amanti, oh


He then reaches into his pocket and pulls out a beautiful scarlet ring box, which he opens to reveal a beautiful diamond ring made of gold. Of course this is a marriage proposal, despite it being so early into the entry!

Or, voľu konfešarë
San inamuratu e ja ti adoru
I want you to be my one and only girl


The spidercam zooms in on the LED wall right above Henrique as he sings this pre-chorus gently, which depicts a simple animated sequence of him proposing to his girl. Despite consisting mainly of line sketches, the movement of the animated characters is quite lively and full of emotion. The spidercam slowly moves downward, shifting the focus to Henrique, the ring box now out of sight. Moving on to the second half of this pre-chorus, he starts to show passion, both in his facial expressions and his voice.

Mi san inǧenoklatu
Davanti a ti, mesi fa
E kadë tu aj detu si, l’au sentitu ki
Una flamë dël desderiu dëla vitë


As we enter the chorus, the zig-zag lines return again, and everyone on stage performs with so much life. The atmosphere is very lively, to say the least, and the camera angles used here give us a glimpse of the backing performers in-between shots focusing on Henrique.

Tu e ja, sam’ ǧuvani
Kosi komë la notë, le-lo le-lo la
Vamu viverë insemë per semprë e al-dila di semprë

I’m no longer Mister Lonely
E tu sej Mrs. Mine, staj or a Milado
A l’improvisu, ja voľu farë, tuto di novu
Antë vena lë sol…


Quickly, as everything including the LED graphics come to a brief pause, a steadicam zooms in onto Henrique's face in what is already a close-up shot, as he sings the last part of this chorus flirtatiously in Spanish, winking while doing so.

Dame una noche más!


Then the camera angle quickly changes to one giving a wide shot of the stage; at the same exact moment a single set of pyro shots are fired and all dynamic activity resumes. During this brief interlude, a female dancer comes on stage wearing a beautiful white minigown. It's Amaja! Even to those who don't know who she is, her role is understood to be the bride-to-be, wearing a wedding dress modified to allow for movement. She has a few red accented heart-shaped accessories, keeping up with the Queen of Hearts theme to match her man's suit. Her brown hair flows freely with no veil in sight, and as she moves gracefully on stage she does so with a heart-calming grin.

As we return to the verses, our bride moves away from the view of cameras, wherever she may be. Instead, they focus on Henrique and his racy expressions. As the LED screens return to the flowery graphics again, the lights are indeed not as lively as in the choruses either.

Oh, ja bevu di vino kon ti
Penšandu dëla vita kë konstriremu da hoj
Lë futuro kë noj skrivamu, tu e ja


Now, we briefly get a glimpse of Amaja, the bride again, this time wearing a veil and holding a bouquet of flowers. She is just standing there, posing calmly and smiling, with a spotlight on her. The audience cheers with excitement. Then the cameras go back to Henrique again, as he guides us into the chorus with a voice full of excitement.

Al matrimoniu
Eri belisima u blanku
E kadë tu aj detu si, l’au sentitu ki
Una flamë dël desderiu dëla vitë


Now Amaja, no longer wearing a veil and with flowers nowhere to be seen, is doing a set of lively, choreographed movements. We see this thanks to an overhead crane camera that pans across the stage, and later through one of the rail-mounted cameras. Meanwhile, the camera also occasionally pays attention to Henrique, who continues to sing so enthusiastically about getting married. You can see the shimmer in his eyes.

Tu e ja, sam’ ǧuvani
Kosi komë la notë, le-lo le-lo la
Vamu viverë insemë per semprë e al-dila di semprë

I’m no longer Mister Lonely
E tu sej Mrs. Mine, staj or a Milado
A l’improvisu, ja voľu farë, tuto di novu
Antë vena lë sol…


Now, let's have some fun. The LED screens go dark, leaving only white lights illuminating the stage. Henrique initiates a call-and-response sequence, calling upon the audience to respond. And with the lively energy in the hall, how could you not play along? The audience enthusiastically shouted "hey ho!", "hey hey ho!", and a "da-ba-da di da" as the mood dissipated into something more groovy.

Everybody say “hey ho!” (Hey ho!)
And say “hey hey ho!” (Hey hey ho!)
Now say “da-ba-da di da” (Da-ba-da di-da)
One, two, one-two, let’s go


Now, the stage lighting was still somewhat dim and mysterious. You didn't notice but during the last part, the LED wall rotated, exposing the lighting fixtures. Now it was these lights that were twinkling as the bride crept up on Henrique. A few moments later Henrique turned dramatically to face Amaja, and took steps towards her too. Once together, they joined hands and did a steamy dance, reminiscent of the salsa. The lights turned red and the audience cheered. In these moments, despite the openness of the stage, the liveliness of the music, and the fact that they were being surrounded by thousands of people and watched upon by family, friends, spectators, and strangers alike, the two of them still felt that this was an incredibly intimate moment. This sequence was actually inspired by the dance that they had during their own wedding, which was as lively as this one.

When the music slowed down a little, the LED walls turned back to have the screens face forward, although the stage was still dominated by red lighting. The couple let go of each other and the two of them finished, hands-free, this choreographed sequence with an equally vibrant and sexy pair of dance moves. And then the bride took a few steps towards the back of the stage, while Henrique stepped back to the mic stand.

E kadë tu aj detu si, l’au sentitu ki
Una flamë dël desderiu dëla vitë


As Henrique brought back the chorus, Amaja ran back to the part of the stage where her groom stood, dancing around him as he sang. In fact, in this next part, he also gestured to her a few times, especially in the lines where he addresses her directly.

Tu e ja, sam’ ǧuvani
Kosi komë la notë, le-lo le-lo la
Vamu viverë insemë per semprë e al-dila di semprë

I’m no longer Mister Lonely
E tu sej Mrs. Mine, staj or a Milado
A l’improvisu, ja voľu farë, tuto di novu
Antë vena lë sol…


Henrique gives a glance at the camera, smirks and winks, and says:

Let’s ride!


Now, taking the mic off the stand, he holds his bride's hand as they walk together around the stage. She is laughing as this goes on, the two of them seem to be really having the time of their lives here on stage.

I like the way you move
You like the way I groove
Here on the floor of the lover’s party of our lives

A happy ending
It’s just the beginning
Don’t want the night to stop
The honeymoon, it has just barely started


And now, standing in front of the band, the pair face each other, with Henrique singing directly to Amaja.

And here’s to many memories like the one we’re making
In every moment, there is no more faking
The dawn is breaking

Ay danos una noche más
Una más


Then Henrique kneels, producing the box and presenting the ring to her. As the song completes its outro, he puts the ring on her.

And now the entry has come to an end, with lots and lots of cheering from the audience. Henrique quickly gets up and kisses his wife on the lips, hugging her tightly, and then facing the audience and taking a bow together. With the microphone on the floor, there is not enough time to address the audience, as the Plangainerian stage crew are already on standby on the edges of the stage.

(One more night) Lala lala lala lala la
Who’s ready to party?!

Hey, let’s go on a trip, you and me
To see the world
And the most beautiful sunrise is only for the lovers, oh

Now, I want to confess
I’m in love and I adore you
I want you to be my one and only girl

I kneeled
In front of you, months ago
And when you said yes, I felt it here
A flame of life’s desire

You and I, we are young
Just like the night, le-lo le-lo la
Let’s live together, forever and beyond

I’m no longer Mister Lonely
And you are Mrs. Mine, now you live in Milado/by my side
Suddenly, I want to do it all again
Before the sun rises…

Give me one more night!

Oh, I drink wine with you
Thinking of the life we will build together from today
The future that we write, you and I

At the wedding
You looked beautiful in the white dress
And when you said yes, I felt it here
A flame of life’s desire

You and I, we are young
Just like the night, le-lo le-lo la
Let’s live together, forever and beyond

I’m no longer Mister Lonely
And you are Mrs. Mine, now you live in Milado/by my side
Suddenly, I want to do it all again
Before the sun rises…

Everybody say “hey ho!” (Hey ho!)
And say “hey hey ho!” (Hey hey ho!)
Now say “da-ba-da di da” (Da-ba-da di-da)
One, two, one-two, let’s go

And when you said yes, I felt it here
A flame of life’s desire

You and I, we are young
Just like the night, le-lo le-lo la
Let’s live together, forever and beyond

I’m no longer Mister Lonely
And you are Mrs. Mine, now you live in Milado/by my side
Suddenly, I want to do it all again
Before the sun rises…

Let’s ride!

I like the way you move
You like the way I groove
Here on the floor of the lover’s party of our lives

A happy ending
It’s just the beginning
Don’t want the night to stop
The honeymoon, it has just barely started

And here’s to many memories like the one we’re making
In every moment, there is no more faking
The dawn is breaking

Oh give us one more night
One more
Last edited by Kalosia on Mon Nov 04, 2024 7:41 am, edited 3 times in total.

User avatar
Plangainer
Spokesperson
 
Posts: 121
Founded: Jan 07, 2019
New York Times Democracy

Postby Plangainer » Tue Oct 22, 2024 5:33 pm

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[Douglas Stinnett]: Who is this wonderful man on my television screen and why isn't he singing? It's me, Douglas Stinnett again! And no, I'm just the host and let me tell you, my voice isn't as good as the first batch of acts we've just had and I would probably break something if I tried.

[Douglas Stinnett]: So, while I sit here in my little TV box, I want to let you in on a little secret. It's all about sharing, and right now, the 117th Worldvision Song Contest is doing exactly that... If you are active on social media and have been following our channels which you can do by visiting our website, you can get yourself some exclusive goodies and merchandise to take home by participating in our fun interactive activities online, with guides on how to become part in a global fight against hunger, disease and poverty. It is our duty to truly use the power of this occasion to do good and help those who need it, so let's come together and support each other.

[Douglas Stinnett]: But if you're just tuning into the show, we've—

Angela stumbles into the frame with her hands raised up trying to catch herself before freezing in a seemingly awkwardly hunched forward pose, Douglas jolts as he glances over with a look of surprise and then slight judgement, a sigh of relief escaping the female's lips before he turned his attention back to the camera to read the lines, before being promptly cut off by a tired Angela, whose blonde hair seems to be a little bit all over the place as she tries to recuperate herself.

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[Angela Ingram]: WE... *huff* had already gone through 19 incredible, amazing and brilliant entries from some of our first group of acts, and... *phew* ...what...

[Douglas Stinnett]: Angela... are you alright?

[Angela Ingram]: I just... *huff* had to run to the WorldVision village and get myself the exclusive... *wheeze* 117th WorldVision Song Contest commemorative mug. It's all the craze you know.

[Douglas Stinnett]: ... you DO know you can buy it on the WorldVision Merchandise store and get it in any region of the world with free shipping starting at purchases of 35 and over with a special discount of 20% using 'LOVESHARING'.

Douglas glances towards the camera as he spoke it out with a seemingly stoic businessman conduct with him ending it with a wink, before going back to his confused look towards Angela who had already rested her arm up on his shoulder.

[Angela Ingram]: ... oh... yeah, well, anyways... we've still got a few more acts coming up so, if you're just joining us, all voting information will be given to you in your local languages at the recap of every performance after we've finished our plentiful lineup for tonight, but remember, you are not able to vote for your own country. But until that's done, let's kick it back into gear.

[Douglas Stinnett]: You'll see us two again soon, but for the moment lets welcome the next act to take the stage!

The audience cheers as Douglas and Angela are seen stepping away from the stage, with the lights dimming as the performance of the next country starting to be prepared.
Last edited by Plangainer on Wed Oct 23, 2024 6:45 pm, edited 5 times in total.
~ By yours truly, PLANGAINER
Graphics & VFX Designer


| Just a few funny stat things:
WV98: Achieved 15th Place
WV99: Achieved 9th Place
WV103: Achieved 6th Place
WV104: Achieved 3rd Place
WV106: Achieved 4th Place
WV108: Achieved 10th Place
WV111: Achieved 4th Place
WV114: Achieved 2nd Place
WV115: Achieved 2nd Place

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Alezian Union
Chargé d'Affaires
 
Posts: 416
Founded: Apr 30, 2021
Scandinavian Liberal Paradise

Postby Alezian Union » Tue Oct 22, 2024 5:36 pm

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"Merindukanmu"
Singer : Royan Hadid Zulkifli and Lisanne Vahl
Composer : Royan Hadid Zulkifli, Lisanne Vahl, Andi Robi Idris Novogrody
Lyricist : Royan Hadid Zulkifli, Lisanne Vahl
Language: Indonesian
Tune : Bruno Mars and Lady Gaga - Die With A Smile



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Left: Royan Hadid Zulkifli - Right: Lisanne Vahl


Royan Hadid Zulkifli and Lisanne Vahl are a "Big Two"* duo. Previously, Royan is a South Alezian solo rock artist that has collaborated with many well known Alezian artists such as Aziz-Lutfi Garanov, Immanuel, Elstrou Maatscheld, and Andi Robi Idris Novogrody (who also helped compose the song that eventually became the Alezian entry). Meanwhile, Lisanne is a newly established and discovered pop singer hailing from North Alezia. She has a wide voice range and graduated from the Zafizamarrah Grand Theatre Theatrical School and is well known for her covers of many international pop songs.

The two met during a workshop established by the ABA to internally select their representatives for the WorldVision Song Contest. In any normal circumstances, the country would pick artists and songs through the televised (oftentimes internationally) selection contest known as Operation : WorldVision. However, delayed preparations for the third season forced the ABA to pick internal. Royan and Lisanne were part of the 15 shortlisted names contacted by the ABA. Eventually, the decision came to pair these two artists together. Just like Musa/Adam and Laura Kottier collaboration which got fourth place at the 114th WorldVision Song Contest.

The decision to pair a North Alezian and South Alezian together is done in order to both retry South Alezian attempts at winning WorldVision for the union as a whole (South Alezia is still the only region who hasn't won the contest compared to the other three regions), yet also to avoid oversaturating the Alezian Union's record at the contest with fully South Alezian acts. Creatively, the Alezian efforts for the contest this edition are handled jointly by ABA Zafizamarrah and ABA Doorsbreekenstad, similiar to how Meliana and Miriam collaboration was done. However, in ABA records, this counts as a South Alezian contribution.

* Big Two: A general term in the Alezian Union that describes the mention and the relationship of the Federation of North Alezia and the Republic of South Alezia: Two of the big regions in the Alezian Union.

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"Merindukanmu" (or "Yearning For You" in English) talks about the feelings of someone who are separated from each other for so long yet they still feel something. However, they can't comprehend that feeling, since it's so confusion. Like, what are you exactly longing for? That person's touch? Presence? Words? The song talks about that.

Similiar with quite some other Alezian contributions, listeners can approach this song from a lot of approaches. Is it a song talking about LDR (Long Distance Relationship)? A divorce that ended peacefully? Or a married couple with kids that had to live separately because of work? No matter what it is the listener is facing through, the song talks about missing someone dearly.

The rough draft of the song was actually written in 2022 by Royan himself when he visited the Pantabang Islands and stumbled upon a common sightings in the region: Missing diaries of soldiers who used to be stationed in the area between North and South Alezia in a cold-war situation and conflict that used to go on again, off again. These people's diaries talks about longing, and Royan didn't think too much about it and submmitted the diary to the local police station immediately. However, eventually, Royan thinks that he wants to write this experience into a song, drawing inspiration from what are written inside and interviewing people who were in the conflict zone a long time ago. Royan initially wanted to write this song in a war memory perspective. However, as Royan started his project with Lisanne, she suggested that this song could apply to everyone. Everyone in Alezia, and everyone around the World.

Now, why is Andi Robi Idris Novogrody in the mix? Simply put, the man who represented the Alezian Union and got 3rd place in the World Hit Festival quite some time ago got contacted by the ABA. Why? To help spruce up the song. Robi will also appear but not as a singer, but as a guitarist during a special part of the performance.

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The Alezians have to admit: this might be the best WorldVision production they ever seen, maybe even ever, even better than two Alezian hostings actually. Who knows that a country like Plangainer puts important budgeting into maintaing face of the contest as a top priority? Everyone (broadcasters) knows how to connect microphones and sound systems plus cameras and lighting into an IBA network, but they may don't know how to do it as spectacularly as the Plangainerians did. And of course, Alezia wanted to stand out and look good.

However, disaster would struck because during dress rehearsals... The realization that Royan forgot to bring his suit for the live show. But of course, that won't disrupt the proceedings because the Alezians are way too professional to go into a panic. Plus, this gives the opportunity for the Alezian delegation to explore Concord. Plangainerians seems like people who cares intensely for the attention to detail. Its beaches, art museums, rivers, they all exude that Plangainerian attention to detail. It seems like even the kindergarteners are taught proper graphic design (Royan said that eventually, one of those kids will use a drawing tablet by the time they're 8 ). Anyway, clothes shopping. The Alezian delegation wanted something dark, to match Royan (and Robi)'s clothes with Lisanne. Instead of going for something cheap and quick, fast fashion stuff, the Alezians instead went to a Plangainerian clothing boutique, once again, owned by a shopkeeper with a massive attention to detail. Not only is Royan getting new clothes, but they can help boost a little bit of the Plangainerian fashion economy.

Other than the suit thing, everything went as planned, the extra platform made in the Alezian Union for the Alezian performance arrived and assembled correctly, there are no issues with the dress rehearsals (except making sure that Royan or Lisanne walked down the platform to the stage safely and with the right foot). During all of that, Royan and Lisanne couldn't help but think: It's been two editions, do people miss Alezia at this point? Or are they an overrated, easily forgotten speck? Let's hope this edition can return people's interest in the Alezian Union's WorldVision contributions.

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Royan
Lisanne
Both


The postcard ended showing the splendid Plangainerian stage. It took a lot of preparation as Alezia returned to the contest after a short, but hopefully substantial, break. The platform is on place, and the view transitions from a darkening black to a camera shot starts with a closeup of a guitar being played, and as the camera zoomed out slowly, it reveals Royan who started to sing about yearning for someone until the end of time. Royan remembered his past of living in an Long Distance Relationship with his girlfriend, before eventually separating peacefully due to just solely incompatibility.

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Kau,
You,

Kau harapan t'rakhirku
You're my last hope

Menghadapi dunia yang fana
Facing this temporary world

Dan menunggumu disana
And waiting for you there

Sebelum waktu dan dunia tiada
Before time and the world ends


The camera shows Royan singing while playing the guitar and Lisanne playing the piano, sitting down. The decision to quickly find a local Plangainerian tailor is perfect since Royan looks dapper while simple. Very Alezian. Anyway, Royan continues to sing about how he keeps on yearning even if it hurts. He knows that it is bad to constantly yearn on someone who might never ever come back to you, but he just felt like it. Lights around the duo started to light up in a more frantic way before calming down a bit as a prelude to the chorus.

Mencarimu melukaiku
Searching for you hurts me

Harapanku yang terluka
My hope is now wounded

Tetapi tetap saja ku keras kepala!
Yet I'm still stubborn!

Keras kepala!
Stubborn!


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From afar, the view changes to show a left to right wide shot of the stage. Eventually, the scene changes again to show Royan doing his best. Deep inside, he still couldn't believe that this song, the song that he wrote and got a lot of other talented people help him update, is representing the ENTIRE Alezian Union. However, now's not the time to be sentimental, because the camera is going to change its' focus to Lisanne.

Merindukan dikau menyakitkan bagiku
Yearning for you hurts me

Mengharapkan dirimu menusuk lubuk dada
Hoping for you stabs my chest

Kita dua insan, kau dan aku
We're two people, you and I

Meski kau jauh
Even when you're far


Tetapi s'galanya buatku merindukanmu
But still everything makes me yearn for you


(Hoo-oooh...)


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The focus changes to Lisanne. The song is quite personal too for Lisanne, who faced her own kind of yearning. In her childhood, her father would leave for long periods of time and separated by quite the area, sometimes even oceans. Yet somehow, they're still connected, and close, no matter the distance. The song represented yearning after all, not only the romantic, but also the platonic and the familial.

Oo-hoo-oooh,
Kau,
You,

Tebak isi p'rasaanku,
Guess how I feel,

Tebak isi pikiran batinku,
And guess how my heart thinks,


Around this time, the real harmonization between Royan and Lisanne starts. Lisanne continues playing the piano with determination (something her father taught her a long time ago when her father is around before yet another overseas trip), as the camera slowly zoomed in and out, slowly rotating between Lisanne and Royan

Karna mengharapkanmu tak bermakna
Because hoping for you has no meaning

Dan yang ada, tersisa, rasa rindu
And the only thing left is that feeling of yearning


The preparation for the next chorus begins anew. Royan still on his guitar, Lisanne still on her piano. The camera shows the two shots of each member of this musical collaboration alternating between each other per sentence. And eventually, during the "keras kepala" part, the view zooms out slowly.

Mencarimu melukaiku
Searching for you hurts me

Harapanku yang terluka
My hope is now wounded

Tetapi tetap saja ku keras kepala!
Yet I'm still stubborn!

Keras kepala!
Stubborn!


The camera once again shows a wide view of the masterfully crafted stage, the lights white, glowing left and right, up and down. Royan and Lisanne continued their harmony, you may even believe that they've established some sort of professional partnership since a long time ago. But no, they are new, and there might be more depending on how this collaboration goes.

Merindukan dikau menyakitkan bagiku
Yearning for you hurts me

Mengharapkan dirimu menusuk lubuk dada
Hoping for you stabs my chest

Kita dua insan, kau dan aku
We're two people, you and I

Meski kau jauh
Even when you're far


Tetapi s'galanya buatku merindukanmu
But still everything makes me yearn for you


The camera then shows both Royan and Lisanne taking the microphones from the stands on the platform. They stood up, walked off the platform and down to the actual stage where two microphone stands once again are placed. While this is happening, a secret man is walking up, picked the guitar up from the guitar stand, and started playing. But no one on TV saw this because the focus are now on once again interchanging shots between recording Royan and Lisanne walking side by side, quickly, because the most rehearsed part is that under limited time, they have to: pick up their mic, traverse down the platform, go to the front of the stage, put the mic on the new stands, and then belt a high voice.

There are a set of plans that should something fail inbetween, improvisations are to be made. After all, during dress rehearsals, this is the most difficult one, not the ones before, not the one after, no, it's to carefully time two singers walking to the front of the stage. Thankfully, the two successfully made it, belted a high voice before they did the quite uber important part.


Merindukanmu
Yearning for you


Merindukanmu
Yearning for you


Merindukanmu
Yearning for you


Haa-aaa-AAH!

AAH!


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The steadicam shows closely of Royan dipping Lisanne down (which is, admittedly, getting to be quite the Alezian cliche), before raising her up and spinning her and repeating the process and continued with their ALSO highly rehearsed dancebreak as the audience roared in applaud. Meanwhile, Andi Robi Idris Novogrody (aka the secret man) can be seen picking up the guitar and playing while Royan and Lisanne had their dance break.

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The shot shows that lights are being utilized as frantic as they can be, the light changes red because yearning caused you to make drastic desperate decisions sometimes, and it's all those barrage of emotions that the Alezians hope will resonate with the voters. The rock instrumental ends, and the view went to black as Royan and Lisanne went to their respective microphone stands

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Lisanne can be seen singing, emotionally. Her studies at the Zafizamarrah Grand Theatrical School taught her that to get more into the groove, you must put yourself more inside of people who you're trying to relate with. Lisanne remembered so many people who told her that they're waiting for someone, missing someone dearly. Is it at the airport, at school, is it from a little child, or is it from an elderly man cooking at Zafizamarrah's many mom and pop restaurants? Nevertheless, you'll miss someone, and it's a universal feeling.

The camera zoomed out to show Royan and Lisanne standing, the lights stopped, and then lights up again as the two shouts a serious yet energetic voice, while Robi continues with his guitar playing.


Merindukan dikau menyakitkan bagiku
Yearning for you hurts me

Mengharapkan dirimu menusuk lubuk dada
Hoping for you stabs my chest

Kita dua insan, kau dan aku...
We're two people, you and I...


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The camera shows the closeup of Royan starting to look at Lisanne for the last part of the song, his hands almost instinctually look like he's holding a guitar but he's not. It's just Royan feeling the emotions in the song. The last harmonization comes up.

Meski kau jauh!
Even when you're far!


Tetapi s'galanya buatku merindukanmu
But still everything makes me yearn for you


Tetapi s'galanya buatku merindukanmu
But still everything makes me yearn for you


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As the two singers slowed their paces down, the two looked at each other as they sang the last few words of the song. The last guitar tunes are strung, and the song ended.

(Hoo-oooh)

Aku m'rindukanmu
I'm yearning for you


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The camera shows Royan and Lisanne looking at each other seriously, but as the song ended and audience started roaring in applause, the two just couldn't help but chuckle because neither of them believed that they can actually do it. Alezia is back, but to what extent? They didn't mind that for now as the two shouted "THANK YOU!" to the amazing audience, and also to the production team who are able to turn the Alezian imagination into live entertainment reality.

Well that's all from Alezia, now all Royan and Lisanne can do is exit the stage, go back to the green room, and just sit. There are no expectations, except to just continue the trend. After all, it's WorldVision. Fate just seems to both love you and hate you here, and that's normal. The delegation just wanted to enjoy the green room at this point.


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Last edited by Alezian Union on Mon Nov 04, 2024 7:45 am, edited 11 times in total.
THE ALEZIAN UNION

Member of the WMCAverse
Waisnor / Malta Comino Gozo / Carrelie / ALEZIAN UNION

Read The Alezian Union: The Comic HERE!

Winner of Worldvision 94,103, and 107
Runner-up of Worldvision 83 (through NA), 104, and 105, WHF 55, and JWHF 9

User avatar
Ugunnustan
Spokesperson
 
Posts: 156
Founded: Apr 30, 2021
Civil Rights Lovefest

Postby Ugunnustan » Tue Oct 22, 2024 11:13 pm

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RO.21
Ugunnustan
♥Eméa Alisova♥
♥Paris
Syndrome♥


Music & Lyrics by
♥Eméa Alisova♥



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Have you ever felt like what you’re doing is really futile? Like, everything that you have been building up in your mind for years and years, everything you have been training for and working towards - the reason to roll over and set your alarm again - the reason to keep pushing forward through your day is just.. Futile? We are all going to die one day anyway, so why am I working my arse off for something that doesn’t want to come easy to me? Maybe I’m not a natural? Maybe I’m not good enough? Yeah that’s how I feel about my music. Hey. I’m Eméa Alisova, and the dramatic opening line aside - I'm a musician. Or at least that’s what I keep telling myself. I think sometimes, deep down. I feel like a bit of a fraud. What’s that called? Imposter syndrome? I started almost 11 years ago now. It makes me feel old just thinking about it but at age 21 I decided I wanted to be a musician, much to the dismay of my very fundamentalist family back home in Taasarkand. I still recognise their faces clearly. The Look of horror that flushed across my mother’s face like a tsunami when I told her I was dropping my “Highly respectable” and “Only true path forward” degree of law to instead pursue one in music. I felt my smile pull tighter, before steadily flopping into a straight face. At the moment I like to think I looked calm and assertive but the reality is more likely I looked scared shitless - which to level with you I was - My dad seemed to take a moment to process it all, each cog in his brain slowly rolling over in sheer confusion before finally linking the synapse in his brain and going off at me. He screamed in my face for what could’ve only been a few minutes but felt like hours. I had expected to some extent to face some, let’s say pushback for my decision, but not outright condemnation from the people who should have been supporting me and pushing me forward in my dream. Yet I still had to make it out of there before mum’s new (tacky) lamp came flying at mach 1 towards my head, so I bounced. With a few clothes haphazardly stuffed into a suitcase and all of around 17% on my phone I rushed on pure adrenaline and a monster to my friend who lived about 2 miles or so away. It was a hell of a trek for someone like me who had, Let’s face it, been playing life on easy up until this point. Both my parents were lawyers, and so they just assumed I’d follow suit, and sure I got the grades for it and whatnot. I was in one of the most prestigious universities in the country but I just didn’t want to go through hours a day of such a draining job. I just couldn’t do it. Anyway I reached her house and I almost collapsed on her sofa once I got through the door, and vowed to discuss the mess I’d managed to get myself in with her in the morning.

I couch-surfed for a little while. Growing up in a large Suburban house doesn’t exactly prepare you for life’s great joy of pseudo-homelessness. But I found a place eventually. I did a lot of work on myself at that time, Y’know the typical serenity prayer, I accept the things I cannot change, I’am where I’m meant to be, all that Bullshit. Which would have been a great affirmation, and really helped lift my spirits when I wasn’t living above a failing italian restaurant, and living out of a few boxes and whatever shit people didn’t want anymore. I managed to finish my music degree. How the hell that happened I honestly have no idea. I think I managed to coast through on my good reputation until I eventually got out of that school. I didn’t end up showing up at my own graduation. I feel like that Is a pretty good representation of my time there, anyway I didn’t show up because I was on a plane to South Korea! One way. Fun I know. I think I really just needed a radical change of scenery. And a shot at finally becoming an artist like I had wanted for the past few years. No scratch that, what feels like the whole of my life. South Korea, and more broadly the K-pop industry can be quite romanticised in Ugunnustan I think now looking back. I remember speaking to many Ugunnustani’s in the music course at university telling me how they dreamt of travelling there and becoming famous. My advice for anyone reading is truely.. Don’t. I just followed my nose as the saying goes (or ears technically) and eventually found myself auditioning for some company or another. My Korean was very limited so I kind of just signed whatever contract they put in front of me, which, To be honest looking back, was not a great move. Sorry. My serenity prayers tell me to accept that past and whatever but it gets really hard when I realise how much of my past I wasted here. And also the past becomes somewhat of a blur. I spent 5 years just sitting around, going to the same training sessions and going through the same systems of auditions and rejections again and again. I had to get out.

It felt like a huge defeat on that AirUgunnustan flight back home to Tasaarkand, but hey, at least i learnt something. Don’t trust a random contract you can’t read. Trust one you can read instead! I honestly think I was just tired of nothing working out for me, so when another contract was placed in front of me only a week after landing back home. I signed it without hesitation. I was on a RECORD DEAL finally someone had recognised me for my boundless talent. It was a two album deal with Kushanoyva… a firm well known and well hated within Ugunnustan. Those of you paying attention may have noticed it’s the same firm that originally signed Shafira Aloseva. While not the best, I thought I could just - spend a year or two here, really pedal to the metal and maybe get noticed by somewhere better and finally find my way to being the musical artist I had been trying to become for six years. But I wouldn’t still be here telling this story if that was the end was it? No, because of course that isn’t the end. It takes 10 years to become an overnight success after all, right? I wrote so much at the start. I sat lumbered over my computer churning out tune after tune for these two albums, hoping I could find my wonder. My Poker face, my Tik Tok. I’m sure I wrote quite a few songs that could have done that for me, but I wasn’t allowed to perform them. I’d turn in a song with my vocals - even polish it up myself, all the processing and whatnot, only to hear it on the radio a few weeks later with someone else's voice plastered over the top of mine. The work to remove my original backing vocals wouldn’t be done, but the work to scrub any mention of my name off the credits would be. I resented it. I resented every part of working under Kushanoyva, the fact they wouldn’t listen to my concerns or anything that I would bring up to them, the fact they wouldn’t let me perform my own songs, or record my albums but - It was a steady salary. Something I’d been needing for years, so I resigned myself to working diligently. I didn’t agree with what they did with my songs, and my art but it was all I could do to get myself from one paycheck to another, until after four years of working with them. I caved.

Paris Syndrome is such a deeply personal song to me. How was I supposed to let this slip into their hands, and let another mindless pretty face on the radio sing it - without crediting me. It’s an ode to what I’ve been through, an ode to the disappointing romantic relationships, disappointing relationships with my music and what I thought I could create. All packaged up in a pretty bow of my interests in superstitions and mythology and whatnot. I knew I couldn’t let this one go to waste. I recorded it using their studio, the one I used for the first two years into my contract when I still had that starry eyed hope that they would truly support my dream of creating music. It felt illegal to do it really. After so many years under their thumb - doing something for me, and only for me felt wrong, yet something felt so right so I went through with it. I quietly released the song to a small fanbase. I hoped if I could generate even a few hundred streams I could take it to the big label execs and prove I was worthy of my own album, and more importantly prove to myself that I made the right choice almost 11 years ago. Well: The song did more than just generate a few hundred streams.

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Eméa Alisova is a 32 year old musician from Taasarkand, Qaristan, Ugunnustan. She has had quite the experience with music - from a law school drop-out to failed K-pop idol and finally to semi-independent musician, Eméa knows more than anyone that it takes 11 years to become an overnight success. Her song Paris Syndrome is about a general feeling of disappointment, while its lyrics specifically allude to a relationship by way of allusions to superstitions, she herself has said it can also be taken as representative of her disappointment in the major institutions that pushed her down. She likes to think music should be open to interpretation for all.

Open a small bright room. (This is the same section of RP that is here every edition, so you really can skip past it. Anyone reading in this much detail will without a doubt have this section memorised by now since it rarely goes through changes. But how else can I describe two basic sofas and two people. Really be so fr with me rn.)it is of course the Şükoyyü Yayın Şirketi’s Breakfast show’s main interview room, their first major interview for WorldVision was done during 110 with Amina, where she discussed her song: and ever since then they have consistently updated the nation with Worldvision news, as the national final season draws to a close, they turn their attention to the domestic happenings, meaning they of course have Ugunnustani WorldVision entrant Eméa Alisova in to talk about her song and her experiences. The set remains unchanged. Two pale blue sofas sit either side, The left sofa has a large grey blanket, and an assortment of decorative pillows sprawled across it, in the centre sits two figures, Surek Nurgitev, who is sitting on the left has short brown hair, parted messily through the centre. He has consistently swapped back and forth between stubble and no stubble, however since his previous appearance he seems to have decided to swap back to a stubble, a lot longer than usual though. He sports a more casual outfit than his usual fare. With light blue baggy jeans, a long sleeved white “Share the love” themed graphic t-shirt, and a messily done yellow and black tie that hangs low down towards his two layered belts (honestly his fashion choices get worse every time we see him) to his left is a second figure,Zaida Ayaneva, her long blonde hair has been pulled tightly into a high ponytail, her signature look, She has also adopted a more casual style, which is odd for her, as she is most often seen in her natural habitat - dressed up to the nines. She sports a denim skirt and a white crop top, which is brought together in the centre by a belt that is - not sitting on her belt loops at all, but instead her stomach, but hey I guess that’s fashion. not a woman you’d like to mess with, especially with her makeup: With lines almost as sharp as the cat's eye eyeliner that snakes across her face. On the right sofa we find a similar sight, the blanket disregarded messily on the sofa is a deep red, Eméa is sprawled out across it - a novel sight for sure, with her legs up on the sofa, and her laying down slightly - although she looks comfortable. She wears a white cottage-core styled dress, kind of frayed looking, although very ethereal. Paired with her almost glowing makeup, it creates quite a contrast between either sofa.

Surek Nurgitev-Hello and Welcome Ugunnustan! We are so glad, this is our second participation back in a row, I’m starting to sense a bit of a trend.

Zaida Ayaneva- Yes honestly, I’m so glad that we can finally start doing this with our own contestants once again.

Eméa Alisova - You did it with other contestants during Ugunnustans hiatus?

Surek Nurgitev- No… But… Anyway

Zaida Ayaneva- You weren’t supposed to speak yet Eméa.

Eméa Alisova - Sorry!

Surek Nurgitev- Eméa Alisova everybody!

Zaida Ayaneva- Woop woop

Surek Nurgitev- Now Eméa, I know that you have been working hard and planning to make your first song for years but was WorldVision ever on the cards?

Eméa Alisova - To be completely open and candid with you No. I never thought I was good enough to make it to WorldVision so I kind of just accepted my assigned fate of working under my record label writing for much bigger artists. Getting chosen to perform is honestly a huge shock.

Zaida Ayaneva- I can imagine suddenly becoming famous overnight is quite a shock, what was the biggest thing that was different from your daily life?

Eméa Alisova - Well I’d hardly say that I’m famous, afterall I have one song to my name but yes wow! It was quite a shock, I worked what? 11 years something like that to get here, so it all culminating in such a big event like this is still a huge struggle for me. Makes me feel like my song should’ve been called Imposter Syndrome.

Surek Nurgitev- Yes! I’d love to talk about your song. You mentioned you wrote for other artists before, did this consistent idea of superstitions find its way in there too?

Eméa Alisova - Not really, I think that might be apart of the contributing reason why I found this song so personal; I love superstitions, mythology - anything that you can relate in that sense. So that’s what really stopped me from giving this song away.

Zaida Ayaneva- And what a great decision that was! Because you ended up here with us! Now I’m sure you’re all dying to hear this song so Eméa, why don’t you do the honours!

Eméa Alisova - Can I really? Ok. Hey guys, I’m Eméa Alisova and you’re about to hear my song Paris Syndrome! I hope you enjoy it.

Surek Nurgitev- Right after the break.

Zaida Ayaneva- REALLY?

Surek Nurgitev- Yes we have to cut to a concord travel advert first.

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Eméa would arrive tired out of her mind. But since her schedule for exploring the gorgeous concord was pretty limited, She knew she had to try and make the best of the time she had here. Nothing a little coffee can’t fix. So that was of course her first goal. She had grabbed a guide at the airport from her delegation, one for WorldVision mostly, but at least it had some information on the local public transit so she wouldn’t get too desperately lost. Unfortunately, 7am is not an internationally well known time for good decisions, and so she hopped on the first train that showed up at the station and decided to get off at a random stop. She took a moment to flick through the brochure as she sat in her metro seat, a weird experience for any ugunnustani, considering her purse didn’t feel considerably lighter after paying for a ticket (the sour face of disappointment at the seeing the price of a single half an hour train journey in Ugunnustan is a shared and iconic experience) it can’t have been too bad. After enjoying herself for a little while, engaging in some people watching and making up a few stories - she eventually found herself in the old town. While her search for coffee had still come up fruitless she did find some pretty old cobbled streets and all sorts of historical landmarks and buildings probably many years older than her own country. She would spend some time stopping to appreciate them, but unfortunately an old church from the 1400s won't sell you a latte, so Eméa has no interest.

She did eventually find her way into a supermarket Mart Cainbell or something or another. It wasn’t huge, maybe like an express store or something? Now Of course the best way to shop is always to shop local and not give your money to a big company but this Coffee situation was urgent, and also shopping in a supermarket made her feel like a local (even if her Ugunnustani accent came out when she was trying to pay) she grabbed the first coffee she could find (An iced one in a little plastic cup) along with a handful of local sweets and rushed to pay, fumbling with the mountain of coins and notes her delegation had left her with before they went back to the hotel to get some sleep. The people were polite at least, as they waited for her to struggle through. How embarrassing. The coffee did taste shockingly good though - for the situation she bought it in, whether that’s a good sign or not considering how tired she was is another question, but she would be more than happy to visit Martin cainbell and whatever he has to offer if she ever finds her way back to Concord.

Now it was time to do all of the big typical touristy things, like talk really loudly while the… Plangainers? Plangainerians? Plangaini? Tried to go about their day, stop randomly in the middle of the street to read a map - and of course look at all the sights. She was told by multiple people in the airport to head to Montanago Plaza, and while Eméa thought that Tango was a drink, she followed the advice of the plain people and decided to head over. And wow was she glad she did. The huge amphitheatre was closed, considering it was November but she was still allowed access to wander around. The views from the top were amazing, and allowed her to really map out her plan for the day - Much better than that cumbersome fold out leaflet she had been bestowed at the tourism office. Her plan was to wander around the entertainment district for the day. Soak up all the artistry that was seeped right into the cobblestones of the country’s cultural centre. Normally one to consider herself a bit more of a leader than a follower, she was very glad she gave into the hype and went to explore this area, including the parks. They acted as a great break from the hustle and bustle of city life, and allowed her a space to relax in the coming days of the contest. She would often return to these little slices of paradise.

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There was complete silence over the phoenix arena. Silence is the worst sound of them all. I can tolerate screaming and shouting, I can tolerate the alarm bells that are ringing off from everywhere as we rush to pull ourselves together before I get on that stage for my final performance. Even with the rehearsals we still hardly had ourselves up and ready to go. Shocking really, but that’s the Ugunnustani way. Yet now. We sit in utter silence. My nails dig deep into the chair as I hold a bated breath and wait for the Alezian union to finish their performance. And wow. What a performance.




The Ugunnustani Postcard begins playing and Eméa rushes out onto the stage, she situates herself in the centre under the LED panels, which has been lowered in conjunction with her own delegation brought panels surrounding her in order to create the effect of a tunnel. None of the lights are up yet - so the tunnel is dark and claustrophobic, her favourites. Her heart beats so heavily out of her chest she fears that it might actually break free of its prison and shatter the walls of LEDS that surround her, but her mind runs out of time to pay much more attention to that thought, as the postcard ends, and the lights begin to go up.

The tunnel is light up in a brilliant shade of red, it pulses up the thin strips that make up the walls and eventually reach the LED roof, where they all merge and flow out towards the back of the stage - which is lit in darkness, as the beat comes in, they gently pulse along to it. The red lights up Eméa’s face, which we open zoomed in on. She has a “Natural” look for her makeup, with a nude pink lip, and a gentle glow around her eyes that makes her look almost otherworldly in this lighting. The microphone is held up to her face quite closely.

Her outfit is entirely a very pale beige - almost hinging on white, it’s a short mini-dress, very tight around her curves, which is then covered in a white shawl, it’s very oversized on her, and the sleeves flood over the microphone, and make her hands invisible. She has a small tattoo of a flower on her lower thigh which is visible, and she wears open toe white strappy heels.

As the song begins she sings very softly, she stumbles around in the tunnel, making a show of how she feels trapped inside it. When she puts her hands on the LED roof, a deep red handprint is left on the screen and stays there for a little while, before being taken into the flow of light that heads towards the back of the stage, the space is very clearly incredibly tight.


Your love gave me Paris syndrome¹
Like a love we had when in Rome
In the palm of your hand like Stockholm²
With your heart cold like in Moscow
If the bridges fall down in London³
And the waves crash into Lisbon⁴
Can you find it to love me again
Your love gave me Paris syndrome


As the next section of the song starts, all of the sections of the tunnel that were trapping her previously are quickly wheeled off the stage, and the LED roof begins to rise back to its original spot, we see that male dancers (All in plain white suits) were knelt down behind the structure and are now visible. The lights are still very dark and have quite a moody atmosphere as she begins to move towards the men. The lights get more intense on them and pulse very quickly with the very fast thumping main bassline of the song, they circle her like vultures. When the song slows on “If I just keep pushing the stone up the hill” The men all fall to the ground with Eméa in the centre, they try to crawl up over her. With the more ballad-y vocals here too, the lights become a spotlight that shine directly on her.

The ladder is my heel, down on my knees I kneel⁵
like nothing matters, when the mirror shatters⁵
The black cat purrs on my lap, I fall in your trap⁵
The moon behind the clouds, again⁵
If I just keep pushing the stone up the hill⁶
Will it ever have that thrill?
Like when your kiss Would make my breath pause
In ruins, because


This moment flows on through to the next section, however the lights begin to return to their more gloomy colouring, the LED screen, which we now notice has been pulled out, is in a deep crimson, which further serves to illuminate the stage. It has the shadows of the people on the stage projected onto it, along with stylised depictions of the animals you make with your hands in the shadows of a light on the wall as a child - such as a butterfly. Eméa breaks free of the men in the centre of the stage and begins to run down the catwalk section (or run as much as permitted while she is singing) while the men try to grab on the back of her knitted shawl that trails along the floor behind her. The camera does lots of quick cuts between her face and the men chasing her. The rise in beat contributes to the urgent feeling this section has.

Your love gave me Paris syndrome
Like a love we had when in Rome
In the palm of your hand like Stockholm
And your heart cold like in Moscow
If the bridges fall down in London
And the waves crash into Lisbon
Can you find it to love me again
Your love gave me Paris syndrome


As we return to the fast section for the final time, the lights begin to rapidly strobe over Eméa’s face. The camera zooms in on her as various colours in deep rich shades flash quickly across her face. She holds a stoic expression while singing, as the backup dancers have caught up to her, and begin to get very close to her face. The camera zooms out slightly to reveal she is at the very end of the stage, with the dancers once again encircling her. Her gaze is fixed firmly on the camera, with the lights being used to illuminate her brown eyes. Eagle-eyed viewers can catch a glimpse of the LED’s beginning to be lowered back down like they were at the start in the background.

The ladder is my heel, down on my knees I kneel
like nothing matters, when the mirror shatters
The black cat purrs on my lap, I fall in your trap
The moon behind the clouds, again
If I just keep pushing the stone up the hill
Will it ever have that thrill?
Like when your kiss Would make my breath pause
In ruins, because


For the final chorus section- we return to the ballad section, and the tunnel which we saw at the start. Eméa is on her knees in the centre, her hair messily across her face, and her mouth slightly ajar. The dancers can no longer be seen, and it is only her on her own, a call back to the start of the performance. The lights illuminate her face while she sings, and the camera is at quite a low angle, which casts shadows in various directions across the tunnel. The LEDs on the roof now have graphics on them, with the lyrics of the song painted across them in a white cursive font, made to look handwritten with ink skips. As the song draws to a close, the words are instead placed with “The end.” Like a fairytale storybook.

Your love gave me Paris syndrome
Like a love we had when in Rome
In the palm of your hand like Stockholm
And your heart cold like in Moscow
If the bridges fall down in London
And the waves crash into Lisbon
Can you find it to love me again
Your love gave me Paris syndrome


“THANK YOU THANK YOU!” she screams out to the crowd. The LEDs rise back up and the side pieces of the tunnel are quickly drawn out. She thinks that it went quite well, especially considering the rehearsals - and is quietly hopeful, despite her worries about the strength of her other competitors.

Index

1:In reference to the Psychological disorder of the same name, She is refering to going "Insane" In this relationship.
2:Stockholm Syndrome is a psychological disorder where hostages fall in love with their captors. Talking about how she feels trapped in this relationship.
3:This is in refernce to the British kid's nursery rhyme, why an Ugunnustani would know that I don't know but don't question my art x
4:This doesn't refer to anything in paticular like a saying (When in rome) or a disorder, the waves are just crazy in Lisbon. (Isn't it like a surfing hotspot?)
5:I've lumped these four together as they all just allude to superstitions/ things that are seen as bad luck. Walking under a ladder, shattering a mirror and black cats. The final one is supposed to be a reference to the superstition where you have to turn your coins over in your pocket if there is a full moon, but it isn't overly clear so that one is kind of just there. But hey, now you know!
6:This refers to Sisyphus and the idea of loving this person being a sisyphean task. I'm not sure If i made that clear but I thought of this line when in Athens so the mythology vibes were right there.
Last edited by Ugunnustan on Mon Nov 04, 2024 8:42 am, edited 2 times in total.


⚝Republic⚝ ⚝Of⚝ ⚝Ugunnustan⚝


Worldvision 107 - 13/37
Worldvision 108 - 4/32
Worldvision 109 8/21
Worldvision 110 6/26(Our hosting! :D)
Worldvision 111 - 1/29
WorldVision 112 6/25

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Mister X
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Founded: Sep 25, 2013
Left-Leaning College State

Postby Mister X » Wed Oct 23, 2024 12:17 am

COMMENTARY on MRX ONE with Robert Baxter and Sam Smith.




Robert: Welcome along to the mental handicap that is the WorldVision Song Contest for the 117th time! Mister X is back.
Sam: It's like we never left.
Robert: And we're in Concorde in, er, Plan-gain-er, as in someone who gains plans, presumably.
Sam: And so for good measure here's our opening act, Halle Berry-- sorry, Helley Bee, and "It's Easy".




Opening Act

Robert: Do you think she's disappointed not to be competing?
Sam: It didn't feel too much like an opening act, did it, more like a rejected entry.
Robert: Not to worry. Now, here's the annoying part where I speak over someone speaking English, but that's because I'm telling you slightly different information, here's an overview of tonight's entries and those all-important numbers you need:

Image





01 Uskad

Robert: Well, it was not the biggest bang to start off with, but an inoffensive entry nonetheless.
Sam: Not sure why the lyricist got a dose of the copy-and-paste-itis at the end there.
Robert: The tune was slightly repetitive, it's fair to say.
Sam: For sure.

02 Beepee

Robert: There now follows a human sacrifice.
Sam: Scary? Sexy? You decide!
Robert: It's sort of... part mating antics, part dissection.
Sam: I think the concept was she wanted to manufacture the perfect man. But that's just a bit weird.

03 Crustyland

Robert: You might be surprised to learn this tune is from Crustyland. Yep, they've dropped the novelty act.
Sam: Well, they might have to go back to novelty acts after this. It's very middle-of-the-road and cliched.
Robert: Also, I don't really want to know what "dancing in a dude's eye" means. This is a family show.
Sam: I think I have something in my eye.

04 Ertzei Kishim

Robert: This may benefit from the running order but I'm really not sure about this.
Sam: Please don't adjust your sets, the picture was meant to do that.
Robert: It's another one where you shouldn't think too hard about the lyrics. I think the idea is that love is carved into you like a tattoo, but that's a bit... what's the word? Unsubtle.
Sam: Well, I think that'll be mid-table but I'm not sure it's strong enough to be top 5.

05 Nation M

Robert: Well, on the one hand, it's 4 minutes 33 of your life you'll never get back, but on the other hand, you'll never have to hear that song again!
Sam: It's a bit like being hit over the head with a sledgehammer. You'll remember it, but on the other hand it's not a hugely pleasant experience.
Robert: The Drum & Bass FM entry there.

06 Sarawak Darulhana

Robert: That could have done with some dance action. Or just any staging, really.
Sam: I think their budget must have been T1.59 or something.
Robert: Well, nonetheless, it's not a terrible song, so it'll be interesting to see how well it does.
Sam: Let's wait and see. Oh, hello, I think the stewards have told the delegation they want to have a word with them...


07 Marissolia

Robert: Apparently this song is called "Sun Come's Up", complete with the misappropriated apostrophe.
Sam: What do you reckon, a couple of points off there(?)
Robert: It's sort of "every-female-guitar-song-you've-ever-heard", but it's not terrible and there are certainly much worse songs out there tonight.
Sam: Yeah, very much in the category of "could be worse".

08 Axuva

Sam: I mean, for sure, I'm just going to be honest for good measure in here as well, Robert. I didn't like it.
Robert: This song is a bit odd. You feel like the bass is going to drop and the build-up edges for so long, and when the drop does come it leaves you somewhat underwhelmed, I thought.
Sam: I mean, they tried, I mean, you can really see that, but it's just not for me, I'm afraid.
Robert: Well, it's up to you at home. The lines open later on for that one, as indeed for all the others.

09 Waisnor

Robert: The day of reckoning has arrived, apparently.
Sam: That concept was extremely high-brow, wasn't it? I think she was meant to be in purgatory and being pulled between heaven and hell, and if that's the case then they badly need a lesson in theology because that's not my understanding of it.
Robert: Well, maybe we're not clever enough to understand it. Not a bad song, to be honest, although maybe I've been here too long.
Sam: Well, I must be going mad from too many musical notes, because I also didn't hate that!

10 Kinqueven

11 Rugenia


Robert: It's back to high-energy... well, hard to describe this music, but I'll try. It's rock meets a 90s workout vibe.
Sam: Yeah, the verses really let this one down, don't they? The chorus is pretty good, though.
Robert: You're not wrong, a bit of a shame, really.
Sam: They've wasted a good concept there, for sure.

12 StrayaRoos

Robert: This one is the kind of song you'll find someone singing tomorrow slumped in a pub doorway somewhere.
Sam: It is over fairly quickly, though, so that's a positive.
Robert: It's a bit like The Silence - you'll forget that one as soon as you look away.

13 Millenhaal

14 Mister X


Robert: What a great return to the contest!
Sam: Yeah, that'll be a winner, won't it?

15 Ignosia

Robert: Another song that edges, that threatens to really kick in but never really does, unfortunately.
Sam: Yeah, what a shame.
Robert: That aside, I haven't made up my mind on what to think about that one.
Sam: I think that says it all, really. Your feet will be staying warm because no socks are being blown off here.
Robert: That's probably fair enough.

16 Malta Comino Gozo

Robert: Malta Comino Gozo always do well at WorldVision... and tonight is unlikely to be an exception, I would have thought.
Sam: That song's not as strong as some of their previous efforts, and I think it's not got an ideal running order position, but neverthenonetheless it should do well.
Robert: Well, look, let's be honest. The verses aren't as strong as the choruses and furthermore the lighting I don't think matched the tone of the song. Warmer lighting would have been better.
Sam: For sure.
Robert: Anyway I'm really nitpicking there. That'll be top 5, no question.

17 Antahbrantahstan

Robert: And now for something completely different.
Sam: Yeah, for sure, in more ways than one, as well. The chorus is horrifically screechy but the verses are really good.
Robert: Exactly. If you didn't like Malta Comino Gozo, you should like this one.
Sam: I didn't get the background images, though. You can put anything you want on there and they, for some reason, put the opening titles to a James Bond film, with lots of silhouettes.

18 Placely Placington

Robert: Oooof. Sorry, I'd forgotten that was that bad. Seriously, I would have warned you!
Sam: Absolutely terrible. Let's move on, quickly.
Robert: I tell you what, though, you'll be humming "PLEASE TURN ME OFF, PLEASE TURN ME OFF, MY LIFE HURTS" for the next 3 hours.
Sam: Also, not sure who was being crucified in the back, but I hope they're OK.

19 Kalosia

Robert: It's kind of like 1920s United States swing meets 1960s rock meets 2000s pop meets K-pop. It's a good song, but you may not have noticed, because you'll have been distracted there by the... oh, let's call them "dancers". I know I was. It looked like they had a bad oyster at times, but trust me, that was choreographed.
Sam: So he made a proposal on the stage about a minute in and then... did what, exactly?
Robert: I think it was designed to be the first dance at a wedding. But that looked a bit like the 20th dance when everyone's had too much red wine.
Sam: Other beverages are available.
Robert: Dance lessons for Kalosia, I think.

Host Intermission

Robert: Oh look, they do comedy as well!
Sam: Does Angela need to get in the gym?

20 Alezian Union

Robert: That will do very well.
Sam: I have to say, Robert, and indeed for the benefit of all the viewers at home, that's probably the best song we've heard tonight.
Robert: Not an unfair shout, it has to be said.
Sam: Definitely top 5, surely?
Robert: It if doesn't, I'm writing to my MP.

21 Ugunnustan

Robert: "How many European cities can we name in one verse?"
Sam: The song itself was very weirdly structured, the drumbeat didn't fit in it at all, I thought.
Robert: Techno song with operatic vocals, so we've seen that before but not all the time it has to be said.
Sam: Hard to say how well that one will do, to be honest.

22 Missus X

Robert: Well, they did warn us that was totally tasteless. At least we'll never have to hear from them again.
Sam: I never thought I'd say this, but I miss Rick Leg!
Robert: Well, apparently he won't do it without Ann's dancing these days and she won't do it if she has to dance.
Sam: So who'll represent them next? Jizz Lust?
Robert: I heard Joris Bohnson has a comeback planned...

23 Carrelie

24 Plangainer


Robert: What are Plangainer doing? It's normally a tradition the host doesn't win!
Sam: Well, it happened on our debut if you remember, but yes, it doesn't happen often at all.
Robert: There's a lot of rubbish in this edition but this one, along with some of the others, will probably be well up there.
Sam: It's sort of an upgrade on Marissolia, isn't it? Same sort of song but just better in every which way.
Robert: Yeah, for sure.
Sam: Hey, that's my line!

25 Todlichebujoku

Robert: The revolving planets was a bit Doctor Who and the "halo" motif was a little, er, unsubtle again.
Sam: Yes, I daresay she wasn't too angelic up there for good measure, was she?
Robert: The staging was, again, slightly overthought and high-brow, wasn't it?
Sam: Some angels and demons thing, I think.

26 Alinghi Federal-Democratic Republic

Robert: Hi-hi-ho, it's the pirates of the sea!
Sam: The song was a generic rock number. Not too offensive, but then again you've heard it all before. Key change included.
Robert: Anyway, I think that'll be mid-table, I would have thought.
Sam: Not much more to say on this one, I'm afraid.

27 Antenovaria

28 Polkopia


29 These American States


Robert: Well, let's be honest. That was a little offensive for most people's tastes. Although, let's be honest - if that sort of thing offends you, you need to grow up.
Sam: I'm also not entirely too sure what the song was about. Something about communists in between a lot of being rich and bigotry?
Robert: Well, don't look at me. That'll be bottom five, for sure.

30 Vartugia

Robert: Oh dear. I mean...
Sam: Pick a key, any key!
Robert: It was like when you gave a three-year-old a musical instrument, wasn't it, and they just started banging it aimlessly.
Sam: And that's saying nothing of the vocals.
Robert: Indeed - it was like they decided to just sing in whatever key they wanted in the vain hope it would somehow end up in a harmony.
Sam: The drummer played all the time signatures except the correct one!
Robert: Well, look - at least we'll never have to hear that song again.

31 Saint Monkey

Sam: The dance instructions provided were unclear, my arms seem to be dislocated.
Robert: I found it interesting how they sampled a bunch of default GarageBand sounds and arranged them to form a vague bassline.
Sam: Oh, I did that when I was 12.
Robert: Well, maybe you should do it again. Where was it you finished at WorldVision?
Sam: I was 9th as a soloist, actually!
Robert: And you were 27th with The Kumquats and 20th with Jack Baxter.
Sam: Well, if this does better than 9th I'll be surprised.

32 United Mandaran States

Robert: Well, you know that saying - "save the best 'til last" - it's not applicable in this case.
Sam: Yeah this is a cheap copy of several mid-2010s songs from Clean Bandit, Zara Larsson, et al.
Robert: And unfortunately the staging can't rescue it. Very mid-road.
Sam: Mid-table beckoning, I reckon?
Robert: Yeah.
Sam: Yeah.


Robert: That's your lot, unfortunately. One of those will win... yeah, I know. And here is a quick reminder of all of tonight's songs.

Last edited by Mister X on Mon Nov 11, 2024 4:48 pm, edited 1 time in total.

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