Song #4: “XO XO Gossip Girl (Remix)” - by Brekksit
~colors: EARTH TONES AND NATURE GREENS
~backup dancers: country/line/square dancing like in Footloose
~meal portion offered: mini smoothies; in shot glasses, each with a long toothpick speared through sliced fresh fruits, brought directly from her family’s main farm’s latest harvest
Her bandmates were sliding off their gloves before starting the first instrumental part.
She slid off her gloves, picked her mic back up, and began.
Now they were all barefoot, and their hands exposed, and probably the whole audience was realizing this concert doubled as a very slow strip-tease.
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~Song-start to 0:14: Now played a couple short clips of her riding horses on her vast Soliara III ranch, her bright pink-orange hair like a cape in the breeze while each horse she was on galloped into it, their galloping synchronized to the starting tempo of this latest song. Her family’s property there was gorgeous; pristine farmland, a fantasy-level snow-capped mountain-range on one horizon, and a glittering blue ocean out past the beach near the other, with a couple of that world’s four colorful moons in view over it all.
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~0:16: screen shows her stretch-limo’ entering a clean big modern city
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~From 0:19 to 0:27: During “boots on the ground-”, putting on her cowgirl hat of white with inlaid gold swirls like ivy all over it, stepping out of the high-end taxi-like short-limo, cowgirl boots stepping to the beat.
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“skyscrapers high-” briefly shows towering ones, dozens to hundreds of stories tall, and then how her lips part as she looks up at one of them
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“-but I don’t back down” -now showing her closing her mouth and looking determined to enter it and get to business
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0:31: “with a yeehaw-grin, I wear my crown” -shows her now in a very fancy skyscraper lobby, cowgirl-hat still on, a long marble receptionists’ desk to one side, and good-looking businesspeople walking here and there, she starting to grin as she clearly pictures being with them
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“latte’s in one hand, lasso in the other” -shows her accepting a coffee cup from a cute barista in that skyscraper’s ground-level coffee/tea shop, then shows a spool of soft colorful bondage rope held in her other hand, and some of the businessmen noticing, starting to grin, their eyes meeting hers across the lobby she has just walked back into
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~0:49: Every time the song reached the “X-O X-O” chorus, the floor-based and ceiling-based colored spot-lights turned on to form crossing light lines, making giant X’s of light behind her band. The O’s were formed by entire rings of lights which were anchored in a big circle around the entire stage, as well as around the screen on the back wall.
For every “X”, the dancers crossed their arms like Japanese do to signal “no entry”,
and for every “O”, the dancers made that letter with their arms up, fingertips touching overhead,
and for every “swirl”, the female dancers lowered down (crouched) while spinning themselves around in a circle, whipping their ponytails/hairstyles in doing so.
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Meanwhile, on the screen above N.E.Z., every “X” lyric was sync’ed to a quick clip of Z kissing someone on the lips or cheek, or someone kissing the back of one of her hands during an introduction,
and every “O” lyric was sync’ed to an equally split-second clip of her warmly hugging someone, whether in boardrooms or out on the sidewalks.
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0:56: “click clack boots” -screen shows just her smooth long legs upright, boots on, she moving her legs together to tap those boots together above her, perhaps making the audience wonder if this implies she is on her back on a bed, about to leglock a lover
1:04-1:18: numerous back-to-back clips of her strutting to the beat, on the nice sidewalks of many well-known New Eden cities, always in her matching white-and-gold cowgirl boots, cowgirl hat, feminine business jacket, micro skirt, and revealing blouse, smiling, waving, winking, and blowing kisses to everyone who looked her way
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~1:20: “rooftop rodeo, stars in my eyes” showed her on a mega-city skyscraper penthouse patio, looking out and up, the city’s many neon signs reflected on her eyes, plus bright stars and planets and a moon overhead also reflected off her eyes, the camera so close it had only showed her from her shoulders up before zooming in to show those details. A passing airship/spaceship’s lights were the last thing seen reflected off and moving across her eyes, now fully zoomed in on, highest-resolution.
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1:41: “Gitty-up, taxis; I’m ridin’ the street.” -screen shows her waving at an approaching taxi, then sitting bold-legged atop its roof as it smoothly drives while the camera pans back to keep ahead
the X-O X-O lighting and dance-moves and kiss/hug clips again
~1:59: starts showing non-sensitive (not classified) clips of intel’ convos, with names/IDs blurred out, and then labs and factories, some of her family’s employees/specialists doing work such as R+D, back-engineering, manufacturing, and more, the implication being that all the chatting and networking she’d been doing in big cities across the cluster had helped with those subsets of their businesses
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2:02: “big-city swirl” -transition-effect (from one clip to the next) making the entire view turn more and more into a spiral, as if entering a vertical drain, until it is, within a second or two, replaced by the next scene forming out of the other end of that spiraling-effect
2:37-end: her strutting back out of the skyscrapers, hailing another taxi, and grinning as she finally takes off her cowgirl hat and leans back against the passengers/back seat-cushion, setting her colorful bondage-rope spool down on her lap, at which point the camera stays aimed at her rope/lap while fading out
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