WorldVision Song Contest 23 - Contest/IC Thread

by **New United Equestria** » Wed Aug 29, 2012 11:13 am

Control Booth, Corsair Stadium, Canterlot, 8.58pm Equestrian Standard Time

Yuri nervously checked his watch, a bead of sweat running down his face and causing his light yellow fur to matte where it came to rest. The control booth was warm due to the number of ponies in here - technicians manning the computers that controlled the stage lights, pyrotechnics and various other gizmos, security personell who were monitoring a bank of screens at the far end of the room and various government types who seemed to be there solely to breathe down everyone's neck to ensure Equestria didn't end up as a laughing stock and that the contest was as polished as the bid that brought it here.

It wasnt the heat that was making Yuri sweat, however. His nerves were on edge tonight. Of all the events he had organised as the head of Corsair Stadium's events team, this was by some margin the biggest. If anything went wrong, not only would his job be on the line but Equestria's entire reputation as a country competent enough to put on big events could end up in question too. And as he looked down at the stage far below, all he could think about were the multitude of things that could go wrong.

"Charlie One, Charlie One, this is Mike Tango Five," crackled the small radio reciever on Yuri's belt, pulling him away from his thoughts.

"Come in Mike Tango Five."

"Charlie One, final inspections complete. We are good to go."

"Roger that Mike Tango Five. Continue duties. Charlie One out."

His mind was eased a little. Mike Tango Five was Fuse Box, a very capable member of the Stadium's technical team who always seemed to have a solution to any problems and who knew exactly what he was doing, and who had been detailed to carry out final inspections of all of the various pieces of equipment before the show went live. Yuri could be sure everything was working, for now at least.

He raised his front hoof once more to check his watch. 8.59. Pulling the radio back off his belt, he gave one final rallying call to his troops.

"Alpha Charlie, this is Charlie One. Less than a minute to air, ponies, and people. Remember your duties, and if you see anything that might be going wrong tell us up here immediately so we can detail someone to fix it before it breaks. I know most of you, and I know your skills. You're all talented, skilled and brilliant at what you do. Every time we have been asked to put on a good show before we've been able to excel at it. Tonight wont be any different. Stagehands, get the opening act performers out five seconds, I repeat five seconds after the end of the theme music. Technical, begin running Opening Act lighting programme on my signal. Let's do this everyone. Charlie One out."

Taking his seat by the window, he took one last look out at the stadium below. The stage was dark, lieing in wait for the performance to come. In front of it sat the capacity crowd, made up of ponies and humans in equal measure, who waved flags of all different colours, only a few of which Yuri recognised. Many of the ponies were, as may be expected, waving the Equestrian flag, but a few waved a red and white striped flag he vaguely recognised as that of Lanos. The humans in the audience, and some ponies too, waved above their heads flags consisting variously of green, yellow, red, white ands blue.

"Good thing it isnt my job to know all them," Yuri muttered to himself.

The lights suddenly began to dim, and the hubub of chatter inside the stadium began to die down. A second or two later the sound system kicked into action, blasting Charpentier's Prelude to Te Deum around the stadium.

"Showtime," Yuri said under his breath, trying to put his nerves to the back of his mind.

There was no time for worrying now.

Corsair Stadium, Canterlot, 9.00pm Equestrian Standard Time
The Music of the Opening Act

The music of the WorldVision theme tune filled the stadium, as for the billions of TV viewers around the world the show finally got underway. A second or two after the theme ends, the extremely advanced computer graphics fade away to reveal a shot of the stage. It is dark, and the only thing that is initially visible is a solitary flagpole raising out of the floor at the back of the stage, flying the red flag of the Vislarek People's Republic, which gently wafts in the breeze generated by unseen wind machines.

The camera then pans down to the stage and the lights brighten up. To the back of the stage, the screens depict the lavish interior of a ballroom, like that which might be expected of a royal palace, with light pink type walls dotted with portraits of officious looking gentlemen dressed in khaki military uniform and fair and beautiful women who presumably would have had to put up with being their wives. Around the walls of the scene are grand pieces of furniture, mahogany cabinets housing what look like gold candlesticks and plates and so on. The background music

At either side of the stage itself, small wooden tables and chairs almost like the kind you might expect to find sitting outside a nice little cafe on one of the finer avenues of Canterlot, or any other modern day capital for that matter. At the tables on the right hand side of the stage sit several finely adorned young (human) gentlemen, dressed in tuxedos with bow ties, many of whom have moustaches just as well presented as their costumes. On the opposite side of the stage sit an equal number of young (human) ladies, each wearing a colourful flowing, and slightly low cut, dress. Both groups appear to be talking amongst each other whilst looking over at the group on the other side, as if eyeing each other up and selecting which one they will be going for. Amongst both groups a number of unicorn ponies weave between the various characters, each dressed as a kind of waiter and levitating in front of them a tray atop which sit a number of fine wine glasses full of red wine. The ponies appear to offer the wine to many of the young women and gents, but each time are completely ignored and become visibly slightly more frustrated as time goes on.

After a few moments the music changes to a reorchestrated version of the Vislarek National Anthem. The men and women get up and walk towards each other across the stage, forming into couples and embracing as they move into the dance. The ponies meanwhile stand, still levitating their trays in front of them, at the rear of the stage in the darkness, watching on.

Moving across the floor in time to the music, the couples perform a dance that mixes elements of flamenco and ballroom. The women tap their feet in time to the music as they and their partners move across the stage. They perform an elaborate routine, with the men leading their partners as they twirl before falling back into the men's arms, their dresses flowing along with their dance. As the music dips lower briefly, the couples return to a more ballroom type dance before returining once more to the flamenco style. The women separate from their partners breifly, tapping their feet in time to the music as they pirouette and beckon back their partners, who heed the call and return to the women, embracing them sensuously. The couples briefly dance together once more before the routine ends.

The music stops and the couples move off to the left of the stage as suddenly the four ponies move forward from the back of the stage in a kind of V formation. Stopping as they approach towards the stage front, they throw down the trays, the wine glasses smashing on the floor. A moment later, a hole opens up to the back right of the stage, and a Viszlo JAL-12 Infantry Fighting Vehichle roars forward up a specially placed ramp until it is parked just off the right hand edge, crushing one of the tables beneath it.

The ponies and finely dressed couples run off to the left of the stage as the scene changes again to a vague fog of war, the image at the back changing to endless lines of men in military uniform marching onwards. On stage, ponies dressed in green uniforms emerge from the left of the stage, carrying machine guns and assault rifles, whilst at the same time humans approach from the right, dressed in drab grey combat uniform with a green beret, also carrying assault rifles. Both sides tip over the remaining tables in order to provide cover. They begin firing at each other, each shot creating a loud bang and lots of smoke, betraying the blank rounds used.

Meanwhile, from the left of the stage, 9 more ponies emerge, dressed in standard Equestrian Defence Force green combat uniform and berets. They stand in two rows in the centre of the stage. Apparently oblivious to the chaos around them, and those causing the chaos apparently oblivious to their presence, they begin to sing the Battle Hymn of the Equestrian Liberation Army as the music starts, covered by the gunfire in the stadium.

Mine eyes have seen the glory of the dawn of liberty,
When we cast the mighty tyrant to the bottom of the sea,
As he lived to make them marxist now we die to make them free,
Our army marches on.

At this point, several of the ponies have feigned getting shot, and a few more run on stage from the left, one carrying a large general purpose machine gun. A unicorn behind him pulls the trigger and lets off a few rounds. At this point, the tank fires a few rounds from it's main gun, a 30mm autocannon, which causes both to fall. All the while, the battle continues.

Glory, glory free Equestria.
Glory, glory free Equestria.
Glory, glory free Equestria.
Her army marches on.

Come forth ye faithful ponies, create legions great and broad.
And march onward o'er the vintage where the grapes of wrath are stored.
In the name of great Celestia, ye shall weild a mighty sword,
Our princess marches on.

Several of the human fighters have fallen by this point, and one pony makes a dash across the stage to the right, but falls in front of the choir as the tank's autocannon once again lets off a burst. More humans approach from the right as the pony ranks to the left look decidedly thinned.

As the choir begin to sing the chorus, most of the ponies in the audience join in the singing, some having sung it when actually going into battle with their Equestrian Liberation Army comrades. A haunting echo flls the stadium and sends a tingle down the spine of every Equestrian in the audience, as the choir and the audience sing the words together.

Glory, glory free Equestria.
Glory, glory free Equestria.
Glory, glory free Equestria.
Her army marches on.

As the choir sings the next verse the ponies fall back to the left as the freshly reinforced humans rush across the stage to the front and back of the choir. One or two fall in the process, but several ponies fall in trying to escape off to the left.

Let our arms bring forth the tempest that shall wash away the damned.
With our righteous might and courage we shall liberate this land.
As we down the great opressor, as we fight with hoof and hand.
Our army marches on.

The music stops and all of the characters and the choir run off to the left of the stage as the air raid siren sounds. One can be heard shouting "it's the Astralians." The lights dim for a second or two before a spotlight shines on a lone white pegasus pony stood atop the tank. Her dress billows slightly in the wind from the wind machines at the front of the stage.

She sings the words of the national anthem of the Winterian Republic of Kasakhvlad, written in the ancient language of Freuetian, though her singing is obscured by the noise of the fighter jets as they roar overhead. War-era searchlights illuminate in the sky four black XR-45 Cariburn fighter aircraftof the Kasakhvladian Fare Del Air South Ceres Force flying in a diamond formation over the stadium. After the flyover, the camera shifts focus downwardm just unbderneath and to the side of the pony atop the tank, to see the Vislarek flag being removed from the flagpole at the back of the stage, the Equestrian flag being raised in it's place.

Ar ma nes.
Se es marche, voux.
Ile, alinea.
Ce es marche.

Ar ma n'ar sardas.
Ile cerces sa ze sacrime.

-------

Our hope will march on.
As we march into our futile struggle with fate.

The spotlight then fades and the pony steps down from her spot atop the tank, as the guitars and violins begin to play. From the back of the tank, the lead singer of the band Ultimate Fire emerges. Shortly afterwards, the hatch on the tank turret opens and out emerges the main guitarist, an earth pony whose guitar is strapped around his chest. A couple more guitarists emerge from the back of the tank, and the camera now shows the whole of the stage, revealing a human drummer whose equipment was wheeled out whilst we were distracted looking at the flagpole. And so the final song begins.

Gotta stay fly,
Gotta right wrongs.
We'll be, rainbooming, all day long.

We aint running scared from you and your red state,
Our chances our freedom, that's what we will create.

Pegasi gonna fly like an eagle spitting fire,
Turn around, run away, you won't get what you desire.

'Cause we'll achieve our victory,
Write it down in history.
You say you dont care, but something's missing, missing.

Gotta stay fly,
Gotta right wrongs.
We'll be, rainbooming, all day long.

Gotta stay fly,
Gotta right wrongs.
We'll be, rainbooming, all day long.

Once we were betrayed, now they aint coming back.
They got burned by our fire when we came in to attack.

Gonna fight gonna fly, we gonna take you down.
'Cause we're dangerous. Better not mess with us.

Yes there was a time, once they did oppress,
But they learnt with unity, you simply do not mess.

With elements of harmony, we gonna set the nation free.
They can't prevent me. We gonna make them see.

Gotta stay fly,
Gotta right wrongs.
We'll be, rainbooming, all day long.

Gotta stay fly,
Gotta right wrongs.
We'll be, rainbooming, all day long.

Fly!
Fly!
Fly!
Fly!
Fly!
Fly!
Fly!
Fly!
Fly!
Fly!
Fly!
Fly!
Fly!
Fly!

Gotta stay fly,
Gotta right wrongs.
We'll be, rainbooming, all day long.

Gotta stay fly,
Gotta right wrongs.
We'll be, rainbooming, all day long.

During the instrumental, the flag pole descends into the stage floor. Distantly up ahead, the sound of the jet engines can be just made out over the music once more, though there is no second flypast. The white pony from atop the tank returns into the centre of the stage to join the band and sing her part in the final section of the song.

Fly!
Fly!
Fly!
Fly!
Fly!
Fly!
Fly!
Fly!
Fly!
Fly!
Fly!
Fly!
Fly!
Fly!

So you think you're game? You power's gone away.
Nothing you can say, is saving you today.

So strong, for so long.
So strong, for so long.

The music ends and for a few seconds the camera takes the audience outside the stadium, looking at the fireworks show in the sky above. The fireworks can still be heard in the background when the camera returns to the stadium, to endure the pain of meeting the hosts.

The hosts stand on the long arm that extends out into the crowd, the afforementioned crowd forming their backdrop in order that the stage can be cleared up of tables and tanks whilst the hosts do their introduction.

Stood on the left is Paulus , a relatively tall man, a human, wearing a smart tuxedo. Next to him is a unicorn, Crystal Glisten, a Canterlot lawyer who speaks with an Eastern European accent.

Paulus: Hello world, and welcome to the 23rd WorldVision Song Contest held here in Canterlot, New United Equestria. I am Paulus...
Crystal: And I am Crystal Glisten, and your human names are weird to us ponies too.

Paulus gave a laugh that says "that wasnt in the script", before continuing.

Paulus: Ha, er, yes. So, tonight we will be seeing acts from countries all around the world who will be competing to get your votes.
Crystal: Voting may be open from the beginning of the contest in your nation, but for others it will only be open after the performances. Please check with your national broadcaster to avoid being charged.
Paulus: Yes. well it has been wonderful seeing so many new faces in Canterlot over these past few days, and we hope tonight can create some memories, good memories, for all viewers. Doesnt it feel like such a long time since WorldVision 22, Crystal?
Crystal: Yes, the contest with Old Man Jim and his sheep, and. Eura. Oh Celestia...

An awkward silence hangs in the air for a few moments before Paulus finally speaks.

Paulus: Er, yes, well, without any further ado, let's get this show underway.

by **New United Equestria** » Wed Aug 29, 2012 11:14 am

Performed

Opening Act
"From Unity To Unity"
(Performance)

01) Lymantatia
Hei Kjærlighet by DANAE
(Performance) (Postcard)

02) Fusha Me-Bar
Bring Me to Life, by Luljeta Xhekira
(Performance) (Postcard)

03) Costa Fierro
Tómame Contigo, by Aliccia Vasquez
(Performance) (Postcard)

04) Polkopia
Dashu Hellsa Nashvayu, by Anna Petravona
(Performance) (Postcard)

05) Folkand
Unforgettable, by Hestia
(Performance) (Postcard)

06) Zavlia
Ani bi sin Vanlav, by Piia Jorbov
(Performance) (Postcard)

07) The Betherlands
Ar Roch, by Alya
(Performance) (Postcard)

08) Eireann Fae
We Are The Faeries, by Eireann Fae WA Delegation
(Performance) (Postcard)

09) Fae Omega
Fae Omega Might, by Virʒiniſ, Aþafera and Sabik ft. 10 Faerie Companions
(Performance) (Postcard)

10) Phoenigetuzstha
Just One Smile, by Arianna Mago
(Performance) (Postcard)

11) Communist Quinntopia
Journey to Hell, by Mikael Tetrivoski
(Performance) (Postcard)

12) Deblinian Masovia
Dance on the Table, by Avrov and Gabrevic
(Performance) (Postcard)

13) Demphor
Glad You Came, by Tim Armstrong
(Performance) (Postcard)

14) Bloodbath Generation
Lesne Netvor, by Jamila
(Performance) (Postcard)

15) The Royal Kingdom of Quebec
Unrequited Love, by Lauren Ainslie
(Performance) (Postcard)

16) Rustonia
Lamentations, by Ahmad Ali Durrani
(Performance) (Postcard)

17) Yakostan
Jimmian Tell Overture, by Old Man Jim ft. Jamiroquai and Sugar Lump
(Performance) (Postcard)

18) New United Equestria
Lets Fly Together, by Lyrinthia ft. Jazzy Rythms
(Performance) (Postcard)

19) Albertasby
Trophy Wife, by Think!
(Performance) (Postcard)

20) Calimera
Yo Quiero Volar, by Matías Aguirre
(Performance) (Postcard)

21) Serzchepha
Amago Zalë, by Uilielmos Jadak
(Performance) (Postcard)

22) Gaituszhta
I Cannot Be Stopped, by Majirelia Gyuza
(Performance) (Postcard)

23) VIXX
Taobachi, by Ching Cho-Mi
(Performance) (Postcard)

24) Northwestern Pacific
For You, by Glenn McCaul
(Performance) (Postcard)

25) Zannania
I Love Helo Boys, by Joel Lefevre and the First Name Basis
(Performance) (Postcard)

26) Royal East America
Bonjour, Mon Amour, by Marquette
(Performance) (Postcard)

27) Brulicsa
Dvoszab Se Ljuwa Tol Tije, by Velna Szamolowa
(Performance) (Postcard)

28) Anollasia
Home Sweet Home, by The Can Band
(Performance) (Postcard)

29) The Republic of Lanos
Victory Day/Boulevard of Shattered Lives, by Black Night
(Performance) (Postcard)

30) Kingsley Bedford
Only Makes Me Cry, by Natalia Molorovskaya
(Performance) (Postcard)

31) New Warwick
Underwater, by Rosaline
(Performance) (Postcard)

32) Zwangzug
Show Me, by Traffic and Weather
(Performance) (Postcard)

33) Isointania
Hear Me Out, by Alcatraz ft. Prizonerz
(Performance) (Postcard)

34) Valcluse
Sommes Nostre, by Andri Massouc
(Performance) (Postcard)

35) Apox
Ode to the Disillusioned Idiot, by Steven Fitzgerald
(Performance) (Postcard)

Not Yet Performed

Apox - Ode to the Disillusioned Idiot, by Steven Fitzgerald
Artsakhestan
Chenkorya
Cirona - Mémoires d'un Soir d'Été, by Kathérine
Crolacia
Eura - The Offender, by Phallus Flashheart
Euskirribakondara
Grittonia
The Grittonian Isles
Kington Langley - Workalot, by Ben-Jam
Mediterra - Monterra, by deNebro and Kalikat
Panatua - Hope, by The Three
Redaya - Foundation, by Usak Itibar
Saviera - TBD, by Awkward Violin Guy
Syvorji - Hey, Sister, by Lekh Siyurden
Taboa - Lioness, by Beth
Thatius - On Fire, by Andeon Djokić

Withdrawn

~~Carmadin~~
~~Central Lothian~~
~~Darmen - The Song That Makes No Sense, by The Band With No Name~~
~~Fromulya - Di Fromulya, by Manggis~~
~~Greater Iceland - High, by Díana Ösp Daríusardóttir~~
~~Luzicya~~
~~Ranbo - Kiss The World Goodbye, by Willow Carey~~
~~Voegen~~

Commentary

QTV - Communist Quinntopia
Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7, Part 8

QBC - The Royal Kingdom of Quebec
Part 1, Part 2, Part 3

Canal 1 - Costa Fierro
Part 1

QEP - Phoenigetuzstha
Part 1, Part 2, Part 3, Part 4

TOPtv - Bloodbath Generation
Part 1

Eireann Fae
Letter 1, Letter 2

Calimera
Part 1

NATV - Anollasia
Part 1, Part 2, Part 3, Part 4

Kingsley Bedford
Part 1, Part 2

NWTV 1 - New Warwick
Part 1

INBN - Isointania
Part 1

Green Room Coverage

Northwestern Pacific
Part 1

by **Euskirribakondara** » Wed Aug 29, 2012 2:33 pm

Placeholder for Euskal commentary.

by **Communist Quinntopia** » Wed Aug 29, 2012 2:47 pm

redacted

by **The Betherlands** » Wed Aug 29, 2012 3:10 pm

Placeholder for Butch commentary.

by **Lymantatia** » Wed Aug 29, 2012 4:40 pm

1. Hei Kjærlighet by DANAE

Verden er full av kjærlighet
Verden er full av skjønnhet
Verden er full av godhet
Verden er full av søte

Hei Kjærlighet, Hei Kjærlighet
Hei Kjærlighet, Hei Kjærlighet
Hei er mitt mellomnavn
Men det er ikke

Verden er full av kjærlighet
Verden er full av skjønnhet
Verden er full av godhet
Verden er full av søte

Hei Kjærlighet, Hei Kjærlighet
Hei Kjærlighet, Hei Kjærlighet
Hei er mitt mellomnavn
Men det er ikke

Melody: First Four Verses of Volare by Domenico Modugno (Italy's 1958 Eurovision Entry)

by **Fusha Me-Bar** » Wed Aug 29, 2012 6:13 pm

2. Fusha Me-Bar

Luljeta Xhekira - Bring Me to Life

To Tune of: Havana Brown - We Run the Night

Luljeta was performing on Fusha Me-Bar's début in the WorldVision Song Contest. It was exciting, but nerve-racking at the same time. She hoped everyone would like her song, as it'd mean so much to her if she got a good vibe and reception from it. One thing that she did find strange was the presence of horses in the stadium, some who had wings or horns placed on them, probably by their owners to make them look pretty. Even more surprising was the fact that they could talk, and when they did, they sounded like little children, which was quite funny.

Out on stage, the floor was a mixture of maroon and white, the colours of Fusha Me-Bar, while the backing screen showed a glittering silhouette of the Fusha Me-Baruian eagle. As the performance started, the eagle screamed, before disappearing and darkness enveloping the stadium as the music started. Red and green strobe lights darted out of various places in small beams of colour. Luljeta put the microphone to her mouth and began to sing:

When the sun goes down, down, down, down
I get afraid of what’s out there, there
And my heart begins to countdown, down, down
Until it passes away to obliv-ion

A spotlight now shines on Luljeta, and silhouettes of two men can be seen the background. Luljeta is shown to be wearing this.

And when the shadows creep in, in, in
That’s when my heart drowns in fear, fear
And my heart beat fast, fast, fast
Can you save me from the dark, dark?

The men appear, and then two more silhouettes appear, these are females and are backing singers. They are wearing this while the men are wearing this. As the chorus starts she encourages the crowd to clap their hands, and join in.

Bring me, I say bring me to life, to life
Bring me, I say bring me to life (Li-li-li-li-life)
Invigorate my soul tonight (Bring me-bri-bri-bring me)
Bring me, I say bring me to life

During the musical interlude, she begins dancing along to the music, generally just a wild and fun dance, until the male dancers restrain her, and seemingly begin to fight over her, Luljeta seductively whipping her hair back and forth while pouting her lips and looking directly into the camera.

(Save me from the darkness)
(Save me from the darkness)

The singing about to start again, she seemingly breaks free, and dramatically walks down the curved walkway heading towards the circle at the end. The men behind her are dramatising the struggle to reach her as she gets further and further away from them.

My body just drowns, drowns, drowns
Cause its tired of the dark, dark
I just wanna’ have fun, fun, fun
But this mess just keeps pulling me in, in
You could take me high, up, up
A place I’m seeking to reach
Ooohh-oh-oh
Can you be my knight, knight, knight
A suit of armour and a shield from sin, sin

People now, by the second chorus began dancing, something which Luljeta aimed to do, make people have fun.

Bring me, I say bring me to life, to life
Bring me, I say bring me to life (Li-li-li-li-life)
Invigorate my soul tonight (Bring me-bri-bri-bring me)
Bring me, I say bring me to life

Now, with another musical interlude, she walked back to the male dancers, who subsequently seemed to caress her body as rain drops came from the ceiling, making everything wet, and sexy (uh-huh).

(Save me from the darkness)
(Save me from the darkness)

Eh-eh-eh
Eh-eh-eh

Now, wet and sexified, the Albanian part came in, which was basically the chorus in her mother tongue.

Sjell mua, unë them sjell mua për jetë, për jetë
Sjell mua, unë them sjell mua për jetë
Sjell mua, unë them sjell mua për jetë
Bring me, I say bring me to life (Li-li-li-li-life)

With her song and performance finished, and hearing cheers from the crowd, she bounced up and down on the stage smiling, saying: "Thank you Canterlot! Falemnderit I Ri I Bashkuar Kalorës!"

by **Zannania** » Wed Aug 29, 2012 7:50 pm

Placeholder for Zannanian commentary.

by **Costa Alegria** » Wed Aug 29, 2012 7:59 pm

3. Costa Fiero: Aliccia Vasquez - Tómame Contigo

(Brackets indicate backup singers)

Aliccia Vasquez was on the stage. She'd been on stage recently singing for Costa Fiero's first entry into the World Hit Festival in Chenkorya and she was exciting to be singing in front of the crowd at WorldVision. Although the song remained the same, there were some changes. For instance, a man on a grand piano sat to the right of the stage and the backup singers were positioned to her left. Aliccia's dress was dark purple in colour with sequins which glistened in the light. She wore matching stiletto heels and had a sequin-adorned rose on her left shoulder. A similar style rose pinned the bun in place behind her head. Behind her, two dancers were in place, dressed in black ballet costume. They danced the same ballet-style routine behind her as the man on the piano began the opening notes of the song.

Yo no me puedo decidir
Un día estás dentro de mí
Y al otro, ya no.

Necesito tus brazos
Cerquita, a mi alrededor.
Porque si no tengo aquí
No puedo vivir.

Tómame contigo.
Si te vas, yo me moriré.

As Aliccia began to sing the chorus, two more dancers appeared in white versions of the costumes worn by the dancers in black.

Ya no niegues este amor.
No rompas mi corazón.
Tómame contigo.
Tómame contigo.
Pues sin ti no puedo vivir.

The lights became brighter as the second verse was sung.

En mis recuerdos están
Aquellas noches de niebla.
Abrazándote.

Tómame contigo.
Llévame de vuelta hacia atrás.

During next chorus, the back up singers appear and walk through the dancers and flank Aliccia when she holds the word dejara for dramatic effect.

Ya no niegues este amor.
No rompas mi corazón.
Tómame contigo.
Tómame contigo.
Pues sin ti no puedo vivir.

Cuando estés a punto de marchar
Mi alma no te dejaraaaaaaaaaaaaaaaaaaaa…..

The lights go very bright and Aliccia and the singers raise their arms as if appealing to heaven.

(Ya no niegues este amor.)
Toma las memorias, oh.
(No rompas mi corazón.)
Noooo!
Tómame contigo.
Tómame contigo.
Pues sin ti no puedo vivir…

For the final chorus, the back up singers each put a hand on Aliccia as she sings. The dancers leave the stage.

Los lazos no se romperán.
Y al final nos re-encontrarán.

Tómame contigo.
Tómame contigo.
Sin ti no puedo vivir!

by **Polkopia** » Wed Aug 29, 2012 9:31 pm

04 - Polkopia: Dashu Hellsa Nashvayu, by Anna Petravona

Anna Petravona wore a purple dress and her hair was pulled back from her face. She wore little makeup - just a bit of eye shadow and blush, and her stud earrings were the color of her dress. She smiled at the crowd as she was joined with two female backup singers, who wore similar clothing. They each stood on one end of the stage, while Anna stood in the very middle as the music began to play.The lights were a deep shade of blue and a single spotlight was over Anna.

Blue - Polkopian
Red - English
Bold - Anna and background singers singing

Melody

Vena da har vor e' lai - Close your eyes for a while
Ya vik' boran te thy - I will soon be there
Ti ja nay te vor Lai-Nala - It may not be for awhile
Kapi di nat ven ot te wai - Baby, you don't have to be scared

Puzhalsta nat di zan pol' que orm yen - Please don't you drift away from me
Juv' ya kalan ya vik' text di keedin - Because I swear I will bring you joy
Ya feel yur qinto eina fala - I feel our bond getting stronger

Juv' di man tat yam en yo - Because you know that I'm with you
Und di man tis jist fo do - And you know it's just us two
Tis si vei ee grindo - This is where we belong
Juv' di man tat yam en yo - Because you know that I'm with you

Two men in black suits appeared from each side of the stage, where they began to run and do flips until they've reached the other end of the stage. Anna walks forward as the sings the chorus, and the men pass by her - one in front of her, and one in back of her. The lights light up and move about the stage in different directions.

Un, do, bree en yu, zu Dashu Hellsa Nashvayu - One two, come with me, to your wildest dreams.
Ya feel fo redna garnu - I feel us getting closer
Un, do, bree en yu, zu Dashu Hellsa Nashvayu - One two, come with me, to your wildest dreams.
Kan tis mom zan alpatanashu? - Can this moment last forever?

The stage remains lit, however the spotlights move back to where they are just focused on Anna.

Do penta elet ni plea - Two people madly in love
Nardana janta si kalea. - Nobody else is around
Di ar laa ya hanta amaki - You're all I can think about

Juv' di man tat yam en yo - Because you know that I'm with you
Und di man tis jist fo do - And you know it's just us two
Tis si vei ee grindo - This is where we belong
Juv' di man tat yam en yo - Because you know that I'm with you

Un, do, bree en yu, zu Dashu Hellsa Nashvayu - One two, come with me, to your wildest dreams.
Ya feel fo redna garnu - I feel us getting closer
Un, do, bree en yu, zu Dashu Hellsa Nashvayu - One two, come with me, to your wildest dreams.
Kan tis mom zan alpatanashu? - Can this moment last forever?

The dancers return to the stage, moving to the edge of the stage, facing the crowd, jumping up and down with one hand raised. The backup singers do the same, however they are closer to Anna than the dancers are. Finally, at the center edge of the stage, Anna holds her microphone with both of her hands as she jumps up and down singing.

Bree en yu, bree en yu, bree en yu, bree en yu, fi di vant zu ga zu Dashu Hellsa Nashvayu - Come with me, come with me, come with me, come with me, if you want to go to your wildest dreams.
Bree en yu, bree en yu, bree en yu, bree en yu, fi di vant zu ga zu Dashu Hellsa Nashvayu - Come with me, come with me, come with me, come with me, if you want to go to your wildest dreams.

She softens her tone a bit as everybody on stage stops jumping and begins to snap along with the beat.

Bree en yu, bree en yu, bree en yu, bree en yu, fi di vant zu ga zu Dashu Hellsa Nashvayu - Come with me, come with me, come with me, come with me, if you want to go to your wildest dreams.
Bree en yu, bree en yu, bree en yu, bree en yu, fi di vant zu hal ee' gat wu - Come with me, come with me, come with me, come with me, if you want to have a good time

The dancers and singers seem to return to life, as the dancers do a dance with jumps and flips and the singers sing along with Anna.

Un, do, bree en yu, zu Dashu Hellsa Nashvayu - One two, come with me, to your wildest dreams.
Ya feel fo redna garnu - I feel us getting closer
Un, do, bree en yu, zu Dashu Hellsa Nashvayu - One two, come with me, to your wildest dreams.
Kan tis mom zan alpatanashu? - Can this moment last forever?

Bree en yu, bree en yu, bree en yu, bree en yu, fi di vant zu ga zu Dashu Hellsa Nashvayu - Come with me, come with me, come with me, come with me, if you want to go to your wildest dreams.
Bree en yu, bree en yu, bree en yu, bree en yu, fi di vant zu ga zu Dashu Hellsa Nashvayu - Come with me, come with me, come with me, come with me, if you want to go to your wildest dreams.

Un, do, bree en yu, zu Dashu Hellsa Nashvayu - One two, come with me, to your wildest dreams.
Ya feel fo redna garnu - I feel us getting closer
Un, do, bree en yu, zu Dashu Hellsa Nashvayu - One two, come with me, to your wildest dreams.
Kan tis mom zan alpatanashu? - Can this moment last forever?

She smiles sweetly toward the crowd and raises the microphone to her lips to give out a soft "Thank you." Her dancers and singers turn to leave, followed by Anna, who waves toward the crowd as she leaves.

by **Folkand** » Thu Aug 30, 2012 3:24 am

05. FOLKAND
HESTIA
UNFORGETTABLE
Language: Polish (only the last verse is in English)
Genre: Pop, Pop-Rock
Melody: Brodka - Varsovie

Hestia is standing in the middle of the stage in the yellow dress. Behind her there is the guitarist sitting on the chair and there is nobody else but them. When the music starts playing the screens start presenting the visualisation of the childish paintings (sun, house, clouds, animals etc.). Hestia starts singing softly:

Spotkałam cię gdzieś w tym tłumie (I've met you somewhere in this crowd)
Pełnym nieczystych sumień (Full of dirty consciences)
Zaraz wyciągnęłam stamtąd cię(I got you out of there)
Brnęliśmy ku światłu (We waded into the light)
Udało się (Succesfully)
Pełni snów ruszyliśmy na przód (We went forward filled with dreams)

Kiedyś chciałam brnąć pod rzeki prąd (In the past I used to want to swim against the stream)
Teraz chcę płynąć razem z nią (Now I want to swim in accordance with it)

Then the two couples of dancers are coming to the stage and they starts to dance their own arrangement including elements of jive, twist and modern. They wears yellow and white clothes. Then the refren starts

Zbudźmy sie nad ranem (Let's wake up in the morning)
Wraz z beztroskim wiatrem (With the reckless wind)
Pod żarzącym słońcem (Under the glowing sun)
Uraczmy świat tańcem (Let's dance for the world in gratitude)
Pójdźmy więc nad rzekę (Let's go to the river)
Spójrzmy w jej zwierciadło (Let's look in its mirror)
A wieczorem w księżyc (And in the evening - let's look at the moon)
Co w noc daje światło (That gives the light at night)

Then Hestia takes the microphone from the stand and comes closer to the audience.

Pogadajmy o tym świecie (Let's talk about this world)
Który chce nam zabrać sny (That want to stole our dreams)
Co mam zrobić by lepiej żyło się? (What should I do to make our life better?)
Chcę abyś mógł na mnie zawsze liczyć (I want so that you can always count on me)
Lecz oni zamieniają świat w grę (But they change the world into the game)

Kiedyś chciałam brnąć pod rzeki prąd (In the past I used to want to swim against the stream)
Teraz chcę płynąć razem z nią (Now I want to swim in accordance with it)

Then the lights go off an the darkness comes. The dancers are falling down on the floor and Hestia in the thin beam of the light is singing.

Zbudźmy sie nad ranem (Let's wake up in the morning)
Wraz z beztroskim wiatrem (With the reckless wind)
Pod żarzącym słońcem (Under the glowing sun)
Uraczmy świat tańcem (Let's dance for the world in gratitude)

Then everything returns to normal:

Pójdźmy więc nad rzekę (Let's go to the river)
Spójrzmy w jej zwierciadło (Let's look in its mirror)
A wieczorem w księżyc (And in the evening - let's look at the moon)
Co w noc daje światło (That gives the light at night)

Hestia's vocal becomes more powerful and the dancers are dancing more energetic during the last refrain:

Zbudźmy sie nad ranem (Let's wake up in the morning)
Wraz z beztroskim wiatrem (With the reckless wind)
Pod żarzącym słońcem (Under the glowing sun)
Uraczmy świat tańcem (Let's dance for the world in gratitude)

Then the dancers come closer to Hestia and they are circling her. She is in the middle of their circle.

Pójdźmy więc nad rzekę (Let's go to the river)
Spójrzmy w jej zwierciadło (Let's look in its mirror)
A wieczorem w księżyc (And in the evening - let's look at the moon)
Co w noc daje światło (That gives the light at night)

Then they stops and Hestia is singing:

It's unforgettable!

The audience is clapping their hands. Hestia smiles and say: Dziękuję (Thank you) !

by **Zavlia** » Thu Aug 30, 2012 4:27 am

6. Zavlia. Piia Joribov. Ani bi sun Vanlav (I am your friend)

It was Zavlia's debut appearance in the contest.

Piia Joribov, walked on stage to sing Zavlia's most infamous composer Hanne Junlit's song, composed especially for WorldVision. She had won the national contest with a considerable lead and hoped that the world was ready for Zavlia's unique brand of popular music. She was wearing a full length dress:

The stage was in total darkness except for a spotlight which lit where she was stood. She could feel all the cameras and the audience watching her she just hoped she could do Zavlia proud.

The music began as she lifted the microphone to her mouth to sing.
Tune:http://www.youtube.com/watch?v=VMHEhAF5aLc

Vis bishu lalem, bishu lalem
Nishir lo josh rinor
Ani bi iliot, iliot
Lo Tjannilior sina,
Mai Zakilem, Zakilem
Bi storiutum,
Vek ani lo nam, lo nam
Shirlam ani vis, sin bi iliot

Piia took a step forward

Refrain:
Besh bi, besh bi, besh bi Laulem
Lim Hetilem, Hetilem, Hetilem vishvak
Jusalem, jusalem, jusalem, on Fekhlavac
Vimolav bi li azobashiti

Piia looks up to the sky

Besh bi Barnlem des Dunjalav.
Besh lo praka nishlivi
Azal bi Nunlav des Zakilem
Besh kun lektu ashka
Lim besh Rakilem, Rakilem
Bishu Skrivlav i Dunjalavac
Azal bi ol evidi
Jesh Livilav homlat

Refrain

Vek Dunjalav lut nishlivi
Sun Barnlem vijoshem!
Sin lo um ka? Lo um ka?
Sin fujikoshivac ania
Vek ani bilior sun Vanlav
Ani lo um, nushir shpak
Jusalem des besh qunal
Bi foritiot on mai Frekhlavac
Ve giklam on Fekhlemac des Laulem
Refrain x3

Piia looks down to the floor and sings softly the chorus, and then looks up right at the camera and sings the chorus two more times louder and stronger.

[i][size=50]translation

[/i]

Piia bowed to the audience as they clapped, she was happy with the performance and hoped everyone had been touched by the political message within the song. However,as not everyone speaks Zavlian, she was a little worried people may not have understood the lyrics and song. All she could do now was wait for the results.

by **The Royal Kingdom of Quebec** » Thu Aug 30, 2012 6:22 am

QBC-Official Coverage of the WorldVision Song Contest 23(1)

The broadcasters of the this WorldVision Contest is done by Diane Merton and Corneille Trois-Montagnes. Diane Merton was worked as music critic for 14 years, while Corneille Trois-Montagnes have worked as a choreographer, stage director and music critic for 7 years.

Diane:Bonjour,madames et monsieurs. Welcome to QBC's coverage of the 23rd WorldVision Song Contest, coming to you live in Canterlot, New United Equestria!
Corneille: This year, for the first time ever, a pony nation's hosting WorldVision, with a close win over Albertasby in the bidding process.
Diane: I was kinda upset when that happened. I wanted Albertasby to host this year, due to its close relations with Quebec and our entrant, Lauren Ainslie.
Corneille: Yes. That's absolutely true. Also, this is the second time that the Royal Kingdom of Quebec are participating in WorldVision. After our successful result in our debut, placing 6th and 103 points, will Lauren continue the success?
Diane:No one knows,Corneille. We'll have to see.

Opening Act

Corneille: How was it?
Diane: Nah. The opening act disgusted me. It looked as if they're against humanity. WorldVision isn't supposed be about politics and racism. It's a contest of peace and music.
Corneille: I think in artistic component, they were fine and listenable without being tortured. But, not up to the standard that our viewers back home have expected, I guess. Largely offensive and forgettable.
Diane: Well, we better move on. Next we have...... Lymantatie.

Lymantatia:Hei Kjærlighet

Diane: And that was Hei Kjaerlighet by DANAE. How was it, Corneille?
Corneille: Well, in terms of performance, Horrible. Absolutely nothing to show to the crowd. Good music, horrible performance.
Diane: I think the instrumentals were very good, but the lyrics were absolutely horrendous. Whoever wrote it have used Google Translator, one of a songwriter's worst enemies.
Corneille: I could get this better than stupid 'Prince Jacques' song called Bonjour by the same artist, but certainly not among the better entries of the night.
Diane: Yeah. Next, we have a debuting nation, Fusha Me-Bar!

Fusha Me-Bar: Bring Me to Life

Corneille: Ladies and gentlemen, Bring me to life by Luljeta Xhekira.
Diane: One sentence would be enough for this. A cheesy pop song about how much people wants to have fun, which is backed up by autotune and background music that's used for some mainstream American pop nowadays. Bad.
Corneille: Uh, not-so-impressive performance that tried to emphasise her sexiness in the end. Didn't appeal to me much.
Diane: And we better move on. Next, we have Cote Fierre, a nation that placed the 7th on WV23.
Corneille: Ladies and gentlemen, Cote Fierre!

Costa Fiero: Tómame Contigo

Corneille: And that was Tómame Contigo by Aliccia Vasquez!
Diane: A brilliant song, something that would get lots of votes from Quebecois audience for sure. The music was gradually done in a wonderful way, the lyrics were highly pleasant and the singer's voice was charming!
Corneille: From a song like this, a simple performance could work effectively and is enough. That's what I liked about this entry. The performance wasn't overdone as I have hoped it to be.
Diane: Certainly among the better entries of tonight's contest.
Corneille: Up next, we have Polkopie. We gave 8 points to them last year and let's see what they have!
Diane: Unfortunately, it's time for the first commercial break. See you soon and stay tuned,folks!

by **The Betherlands** » Thu Aug 30, 2012 6:29 am

07
The Betherlands
Alya - Ar Roch

Music
http://www.youtube.com/watch?v=lYFWyQggIa0

Alya,a young female singer of 27 years,enters on the stage.She's adopt a sensual position and she's dressed like a bretonne.

Ar Rooooooooooch... la la la...
Lalilala !
Ar Rooooooooooch,
E-kichen mein ar veilh !

Ar Rooooooooooch... la la la...
Lalilala !
Ar Rooooooooooch,
E-kichen mein ar veilh !

E-kichen mein ar veilh,gê!
E-kichen mein ar veilh !

E-kichen mein ar veilh,gê!
E-kichen mein ar veilh !

At this moment,Alya put the hands on the air and walk on the stage.

Hag e-barzh ar veilh-se... la la la...
Hag e-barzh ar veilh-se e oa ur servijourez !
Hag e-barzh ar veilh-se... la la la...
Hag e-barzh ar veilh-se e oa ur servijourez !

Hag e-barzh ar veilh-se... la la la...
Hag e-barzh ar veilh-se e oa ur servijourez !
Hag e-barzh ar veilh-se... la la la...
Hag e-barzh ar veilh-se e oa ur servijourez !

E vonet da veajiñ, gê!
E vonet da veajiñ

E vonet da veajiñ, gê!
E vonet da veajiñ

At this moment,Alya undresses and appears with a beautiful dress and raises his voice.

Gant 'n avel bet kaset... la la la...
Gant 'n avel bet kaset beteg an Douar Nevez !
Gant 'n avel bet kaset... la la la...
Gant 'n avel bet kaset beteg an Douar Nevez !

Gant 'n avel bet kaset... la la la...
Gant 'n avel bet kaset beteg an Douar Nevez !
Gant 'n avel bet kaset... la la la...
Gant 'n avel bet kaset beteg an Douar Nevez !

Beteg an Douar Nevez, gê!
Beteg an Douar Nevez

Beteg an Douar Nevez, gê!
Beteg an Douar Nevez

At this moment,the music slows down and she lowers her voice.

Pelec'h hor graet konesañs... la la la...
Pelec'h hor graet konesañs !
Pelec'h hor graet konesañs... la la la...
Pelec'h hor graet konesañs !

Pelec'h hor graet konesañs... la la la...
Pelec'h hor graet konesañs !
Pelec'h hor graet konesañs... la la la...
Pelec'h hor graet konesañs !

En Naoned er marc'had,gê!
En Naoned er marc'had !

En Naoned er marc'had,gê!
En Naoned er marc'haaaaaaaaaaaaaaaad !

At the end of the original song,Alya sing the song that inspired for create this song in a low voice.

Tri martolod yaouank... la la la...
Tri martolod yaouank i vonet da veajiñ
Tri martolod yaouank... la la la...
Tri martolod yaouank i vonet da veajiñ

E vonet da veajiñ, gê!
E vonet da veajiñ
E vonet da veajiñ, gê!
E vonet da veajiñ

Gant 'n avel bet kaset... la la la...
Gant 'n avel bet kaset beteg an Douar Nevez
Gant 'n avel bet kaset... la la la...
Gant 'n avel bet kaset beteg an Douar Nevez

Beteg an Douar Nevez, gê!
Beteg an Douar Nevez
Beteg an Douar Nevez, gê!
Beteg an Douar Nevez

E-kichen mein ar veilh... la la la...
E-kichen mein ar veilh o deus mouilhet o eorioù
E-kichen mein ar veilh... la la la...
E-kichen mein ar veilh o deus mouilhet o eorioù

O deus mouilhet o eorioù, gê !
O deus mouilhet o eorioù
O deus mouilhet o eorioù, gê !
O deus mouilhet o eorioù

Hag e-barzh ar veilh-se... la la la...
Hag e-barzh ar veilh-se e oa ur servijourez
Hag e-barzh ar veilh-se... la la la...
Hag e-barzh ar veilh-se e oa ur servijourez

Pelec'h hor graet konesañs, gê !
Pelec'h hor graet konesañs
Pelec'h hor graet konesañs, gê !
Pelec'h hor graet konesañs

En Naoned er marc'had... la la la...
En Naoned er marc'had on-oa choajet ur walenn
En Naoned er marc'had... la la la...
En Naoned er marc'had on-oa choajet ur walenn

by **Eireann Fae** » Thu Aug 30, 2012 6:35 am

08
We Are the Faeries
Eireann Fae WA Delegation

(OOC: The music is similar in feel to Tristania's "Midwintertears", but that wouldn't be the exact melody. Just, good gothic metal, sans drums :-)

Backstage, Rowan smooths out a wrinkle on her emerald green dress, the velvet looking very good in the light, but also making the twelve-year-old uncomfortably hot. Her matching dress shoes, sequins sparkling, weren't all that comfortable, either. 'Shoulda gone with Alex's idea,' thinks the girl, as she eyes her companion, four years her senior. Alexandra is donning a fine silvery blouse made of silk, and black suede pants made from the hide of their nation's native Black Panther. Her typical combat boots are notably cleaner than usual - perhaps just for the occasion.

Neither girl is particularly worried about performing tonight, though they did throw this song together quite quickly. Both make their living as diplomats - Alexandra as translator for an ambassador to various nations around the world, and Rowan as translator for the Emissary herself in the World Assembly. Both of those Faeries are also present, the Emissary (a title bestowed upon Eireann Fae's highest-ranking diplomat) Epiſkœ, and Ambassador Melöʃina. The former is an older Faerie, as evidenced by her dark bronze-ish complexion, but the Spirit Faerie's eyes still shine with their original bright golden hue. The Ambassador is a younger Water Faerie, her sapphire skin still matching her eyes quite nicely.

Their nation announced, both girls take up their instruments, give each other an encouraging smile, and walk onto the stage. Rowan is wielding a fine violin, the rosewood complimenting her emerald attire, while from Alexandra's shoulder hangs a guitar, the design of which more than befitting the style of music they will be playing tonight. With barely a pause to take in the crowd, they begin

Rowan plays a sweet, smooth melody, lasting a minute or so before Alexandra plays a heavy riff, palm-muted so as not to drown out the violin and singing Faeries. Epiſkœ sings the first verse, her diminutive form barely visible behind the microphone, which sends her soprano voice soaring across the audience. As soon as she finishes, Melöʃina picks up the second.

Kö-giſpaz kö win
Erþnil-üfenſö-köka
Hümanʃin ʃœilza-fœſö'az
Fe'rœſœn'|inö

Banöſœn-giſpaz, neʃ'üzœ-giſpaz
Löpilʃin-giſpaz, þœaʒü-giſpaz
Erþ-ŵeʃaʒüveʃ'köka
Fe'rœſœn'|inö

At this, Alexandra lifts her right palm, and starts shredding as Rowan takes a small break. A pick scrape kicks things off, which falls into an arpeggiated demonstration of the A minor scale. The teen improvises around the scale, dipping occasionally into E minor and C major to complement it, before a slow diminuendo as Rowan resumes her smooth melody for the next verse, in which the Faeries split the lines.

Löpilʃin'|i köbö, kön löwilʃin'|i
Kön harþ-fenſö fen'|aʃinbü
Erþ fenſœn'rözabö
Fe'rœſœn'|i

Now it's Rowan's turn for a solo, and Alexandra rests her hands atop the body of her guitar as the child stirs up an amazing crescendo. Much to Alex's surprise, Rowan plays much the same thing Alexandra did in her improvised solo, backwards, showing a great skill with the instrument. She almost forgets to start playing again as Rowan holds the final note in her solo for a dozen seconds. But forget she does not, and drives a thunderous powerchord back into the final two verses, resuming her palm-muted *thump tha-thump* style of play over Rowan's light melody as the Faeries finish out the vocals.

Ifœ'ŵarlü veʃ'lüv
Ifœ ʃœilzalü'rœlinharþ
Ifœ'linlü banöʃin
Fe'rœſœn ifœ'|i la

Höœʃʒü'|i, harþ'|i la
Grüʃinzœ'|i höſœn'fenſö win
Eʃʒü'ʃaʃin, bak'lüv efen'nœk
Efen'vikjalü!

Rowan and Alexandra play a harmonious melody together in A minor, fading out over a period of two minutes before falling silent and taking a bow.

by **Fae Omega** » Thu Aug 30, 2012 7:43 am

09
Fae Omega Might!
Fae Omega

(OOC: As I noted in the signup thread, you can download the instrumental for this song here [Google Drive - 2MB], or just listen to the original song here [YouTube]. If you're not familiar with the song 2mph by Mistah Fab ft. Bun B, Chamillionaire and Paul Wall, I recommend listening to it at least once to get the beat/feel right :-)

A trio of human adolescents wait nervously backstage for their organization's name to be called. The youngest at an apparent age of twelve, Virʒiniſ, looks in a mirror for at least the thirteenth time, making sure her crimson hair is falling in perfect waves and curls all the way down the length of her back. The girl almost always wears silk, but rarely in the form of a dress, and seems unnaturally concerned with her appearance in the blood-red number she has on now. She is at least comfortable in her bare feet. The girl fondles her Medallion - a seven centimetre semisphere made of haematite engraved with a ♍ and backed with a platinum lotus flower. "How many are out there?" she asks, though not sure if she really wants the answer.

Aþafera, two years the girl's senior, chuckles. She's usually the one to speak first when they meet a new people. "Oh, just a few hundred..." he shoots her a sideways glance, "million." He knows it's wrong of him, but he smiles a bit at the sharp glare he gets for his little joke. His shoulder-length red hair is neatly parted down the middle, topping off the symmetry of his own outfit: a red velvet jacket over a white silk shirt, with matching pants and black leather shoes polished to a high shine. His medallion bears the ♌ symbol, and the semisphere is held in the mouth of a platinum lion's head.

The middle child, Sabik, adjusts the black fedora perched carefully atop his bald head. His leather pants and combat boots are also black, but his v-neck t-shirt is charcoal grey. His ⚕ medallion rests in the centre of a serpent swallowing its own tail - the Ouroboros - fitting for his status as representative of orphiuchus in the Fae Omega zodiac. "You'll be fine, Virʒ. We're right there with you - all of us." Similar words of support come from the five pairs of Faeries, bringing a shadow of a smile to the girl's face.

"Performing for Eireann Fae..."

"Eireann Fae!" says Virʒiniſ excitedly, her apprehensiveness immediately melted away. All of the Fae Omega originally hail from that nation, but left it 3,000 years ago to explore the world. She rushes to the side of the stage to watch their performance. As a master of stringed instruments herself, she appreciates Rowan's efforts with the violin, though the distorted electric guitar never did suit her very well. "Lovely girl..."

"Awesome song," affirms Sabik, rocking out on an air guitar during Alexandra's solo. Several minutes later, the quartet clears the stage. As soon as the announcer calls for Fae Omega, Virʒiniſ's nervousness returns. Sensing her discomfort, Veſper, the eldest of the group, uses her Spirit Faerie magick to calm the child. Taking deep breaths, all thirteen take the stage.

The result of finely coordinated Faerie magick, the entire arena becomes unnaturally dark, and the air is stilled. The crowd may continue chattering, but the soundwaves stop before ever leaving their mouths. For an eternity of ten seconds, all is completely silent. Then, the opening bassline hits, and the Air Faeries release their hold on the sounds. On the fourth bar, the Fire Faeries match the beat with small sparks, like stars shining briefly on the stage. The first verse comes around, and a golden spotlight falls on Sabik, delivering his verse in a strong, unwavering baritone.

Listen now as we speak, tellin' stories most true,
Some of them are bleak, some could happen to you,
Get comfy in your seat, cos this might take a few,
Three thousand years we been around, and now our time is due!

Three of the first children, born to Eireann Fae.
Adopted by the Faeries, seems like yesterday.
Ten of the strongest took us on a new Crusade,
We set out 'cross the planet, try and stop the wars and hate.

Suspended in our current form, never will our bodies age,
Never bringing others harm, only stopping tyrants' rage,
Coming down like a storm, now we're steppin' to the stage,
Despotic leaders be forewarned, we'll destroy your hated cage.

But if you're of the light, and your love is true,
And you're lost in a plight, need someone to rescue you,
Call us day or night, we'll help your ass pull through,
And cast away your blight, so we can party with your crew.

The flashing-star effect returns for the hook, as all three children sing.

Fae Omega might! See us roll through,
Two miles per hour! So we can watch all o' you!
Ridin' with the Faeries, our medallions on our chest,
Sippin', sippin' on lean, smokin', smokin' with the best!

Fae Omega might! See us roll through,
Two miles per hour! So we can watch all o' you!
Ridin' with the Faeries, our medallions on our chest,
Sippin', sippin' on lean, smokin', smokin' with the best!

Her nervousness completely gone by now, Virʒiniſ breaks into the second verse. During this one, the Faeries work together to create a massive illusion, like a hologram, that fills the stage. As the girl describes overthrowing a vicious warlord in the dawning days of Fae Omega, the audience can see the scene played out as it happened three thousand years ago.

Candy apple red whip, I still know my first wep,
Given as a gift to me, by an Earth one named Þeneb.
We started on this life trek, when I was only twelve,
Since then I've saved many a neck, into my past let's delve.

Still remember our first mission, Island was at stake.
Tyrants had us in submission, blockin' Faerie magick way.
Omega took position, three warriors of Fae,
We took what they were dishin', waitin' for that fateful day.

Aþafera took a hammer, I grabbed up my whip,
Sabik custom longswords, held tight in his grip.
The invader called us out, he talked a lot o' lip;
Said he'd take us all on, promisin' to make it quick.

Of course I made the first move, lashed out at his eye.
Sabik ran with a quickness, 'paled him on either side.
'Fera struck the last blow, 'fore he could even cry,
The tyrant that held Eireann Fae had finally died.

Dissolving the illusion, the Fire Faeries bring back the stars for the second hook, again performed by all three Humans of the group.

Fae Omega might! See us roll through,
Two miles per hour! So we can watch all o' you!
Ridin' with the Faeries, our medallions on our chest,
Sippin', sippin' on lean, smokin', smokin' with the best!

Fae Omega might! See us roll through,
Two miles per hour! So we can watch all o' you!
Ridin' with the Faeries, our medallions on our chest,
Sippin', sippin' on lean, smokin', smokin' with the best!

For the first half of the final verse, performed by Aþafera, the Earth and Air Faeries bring the actual ship used by the team into the arena and fly it slowly in circles, bouncing and swaying to the beat. For the final four bars, the jet changes shape from a sleek modern fighter to a futuristic space-faring vessel, which disappears into the night at the end of the verse.

And now we're in the modern world, got our own ship so you know.
Flyin' slowly through the skies, and let those sexy curves show.
Its profile is very low, pimp that jet plane very slow,
Fae Omega got the best shit you have ever seen, yo!

We lean to the side, swervin' 'round the atmosphere.
Always got full control, so you need to never fear.
Gotta tell ya, listen here, know I hold you very dear,
Protect your life and give my own, runnin' on the highest gear.

I made it a point in life, to stop all the pain and strife,
And though the world's always rife, with people armed with gun and knife,
Know I'll stop 'em when I see 'em, spot a case just let me be 'n',
Give the fiends a seethin' beatin', freein' them from needin' breathin'!

And here soon we'll be in space, driftin' silent through the black,
Track the killers case to case, and cut their victims lots of slack.
If someone's all up in your face, killin' people with a knack,
All your efforts gone to waste? Fae Omega's got your back!

As the last hook begins, the Faeries throw up illusory sigils, ten metres in height, above the centre of the stage, in the following order: ♈♉♊♋♌♍♎♏⚕♐♑♒♓.

Fae Omega might! See us roll through,
Two miles per hour! So we can watch all o' you!
Ridin' with the Faeries, our medallions on our chest,
Sippin', sippin' on lean, smokin', smokin' with the best!

Fae Omega might! See us roll through,
Two miles per hour! So we can watch all o' you!
Ridin' with the Faeries, our medallions on our chest,
Sippin', sippin' on lean, smokin', smokin' with the best!

As the song ends, they throw up a final illusion forming the image of their flag, thirty metres high and fifty across, while they again hold the silence in the arena for another ten seconds. When the flag dissolves, the stage is found empty.

by **Phoenigetuzstha** » Thu Aug 30, 2012 8:25 am

10. Phoenigetuzstha

Arianna Mago - Just One Smile

To the Tune of: Cheryl - Girl in the Mirror

Arianna was used to the stage. Ever since she'd been victorious in the World Hit Festival her career in Phoenigetuzstha had went from strength to strength. Even in foreign charts, her song, "Don't Need You" had charted highly. Coming to New United Equestria was a different experience all together, WorldVision was huge, they had the same scale stadiums, but a much larger viewing public, and she hoped that the fans she had in World Hit Festival would rally behind her for this. Her song was what she sung best, a depressing break-up song with a quick beat. She didn't consider herself a contender, but hoped to continue Phoenigetuzstha's impressive run of never being outside of the top 10 in any competition.

The stage is dark, all but a faint noise of wind rustling particles of sand into the air. One large Golden spotlight illuminated most of the stage, and it was shown that Arianna was surrounded by a wall of mirrors, an unbroken wall of them completely circling her (This took up most of the stage, and Arianna had a lot of space to move freely) . The only way people could see her was from above were the camera's had found her. She was wearing this. The music started and Arianna began emotively dancing, leaning on a mirror and acting sad, running her hand through her hair as she began to sing:

Things have never been quite right since you left
My heart is waning and I am going out of my mind
Too much time to think and now I’ve scared myself
It’s hard to feel good things when I am empty

With her back to the mirror, she turned around and smashed it, with no damage to herself (This obviously wasn't a true mirror, but the illusion did the trick).

Life expects you to be strong
Brush yourself down and just carry on
But it’s not as easy as you might think
It’s not as easy as I first thought

Now, another mirror slid open, the audience began to see Arianna more clearly as she leaned on another mirror, while two people with hooded cloaks and masks obscuring their faces entered the circle through a gap at the back, emotively dancing low to the floor (much like Loreen's performance on ESC, but lower).

I need to be happy, just one smile in a while, just one smile in a while
But my reflection disagrees
I need to smile today, what do I need to say
But when I look in the mirror
Lookin’ at myself, just one smile in a while, just one smile in a while, while, while, while
Lookin’ at myself, just one smile in a while, just one smile in a while, while, while, while

During the chorus, more mirrors opened, revealing the stage even more, and Arianna began dancing with the people, singing at the same time.

Oh-oh-oh…

I put my mask on, my façade
It may seem I am fine but you’d be so wrong
I have to keep it in, no feelings must show
And when I do these tears start to fill up my eyes

The dancers then let her go, as she smashed another mirror, and they all retracted, leaving a hollow ring of bars which Arianna walked through. She then made her way down the extension with the circle on the end. As she did this, the lights on the end started flashing Golden and Black.

Life expects you to be strong
Brush yourself down and just carry on
But it’s not as easy as you might think
It’s not as easy as I first thought

I need to be happy, just one smile in a while, just one smile in a while
But my reflection disagrees
I need to smile today, what do I need to say
But when I look in the mirror
Lookin’ at myself, just one smile in a while, just one smile in a while, while, while, while
Lookin’ at myself, just one smile in a while, just one smile in a while, while, while, while

As the musical interlude started, and the backing track played her auto-tuned voice, she began to dance with the hooded people, confidently squatting and wriggling side to side, before they covered her with their cloaks, and revealing her once again doing a different dance which would not be out of place in a street-dance troupe. They finally covered one last time, before she burst out of their cloaks towards the audience, landing on her feet at the edge of the circle and finishing her performance.

I need to be happy, just one smile in a while, just one smile in a while
But my reflection disagrees
I need to smile today, what do I need to say
But when I look in the mirror
Lookin’ at myself, just one smile in a while, just one smile in a while, while, while, while
Lookin’ at myself, just one smile in a while, just one smile in a while, while, while, while

Hearing the applause and hoofed clutter of the crowd she smiled, blowing a kiss to the camera and crowd, before shouting; "Thank you NUE! Motashakker donyâ!"

by **Communist Quinntopia** » Thu Aug 30, 2012 8:44 am

redacted

by **Deblinian Masovia** » Thu Aug 30, 2012 12:45 pm

12. DEBLINIAN MASOVIA
AVROV & GABREVIC
DANCE ON THE TABLE
Language: English
Genre: Folk, Pop

Artur Avrov and Dymitr Gabrevic are sitting on the chairs that stand in the centre of the stage. They wear clothes like on the photos. Behind them there is a big long wooden table and two female vocalists in the choir wearing this. The visualisation presents the national folk patterns. Gabrevic starts playing the guitar and Avrov sings:

Everybody is drinking
Everybody is eating
But nobody is dancing
Because the music's not playing

Everybody is talking
To somebody who's hearing
But nobody is singing
Because nobody's moving

Suddenly everything changes
Come on!
Let's jump on the table

Then Avrov and Gabrevic stands up. Two male dancers in this comes to the stage. They take the vocalists, jump with them on the table and dance the folk dance. During the refrain Avrov and Gabrevic are walking along the stage while the girls are singing and the dancers are dancing (on the table of course)

Everybody's able
To dance on the table
From left to right
Like compatriots of mine

Everybody's dancing
Their bodies are still shaking
Inside their heart
There's made new moving art

But who's not able
To dance on the table
Tonight in the light
They're sitting on the chair and drinking red wine

It is so pity
This dance in good quality
Has to stop
Because the sun is getting up

Avrov comes closer to the audience. The dancers with the girls jump off the table and dance with them in couples less powerfully than during the refrain.

Everybody is humming
The rhythm is playing
Everybody is jumping
Because the party is calling

Everybody's revelling
The table is bowing
The glasses are ringing
Because the noise is growing

The music changes the people
Come on!
Let's have a fever

The dancers with the girls jump on the table again and dance. Vocalists are singing next to the boys (on the table). Avrov is singing:

Everybody's able
To dance on the table
From left to right
Like compatriots of mine

Everybody's dancing
Their bodies are still shaking
Inside their heart
There's made new moving art

But who's not able
To dance on the table
Tonight in the light
They're sitting on the chair and drinking red wine

It is so pity
This dance in good quality
Has to stop
Because the sun is getting up

Avrov joins the people on the table and stands in the centre between them. They are singing together:

One, two, three
We are free
Tonight
Like the other pairs of people
That are with us

Three, two, one
Have some fun
This time
Like my parents - mum and dad

And my grandma
With my grandad
And my uncle
With my aunt
And my sister
With my brother
And my girlfriend
By my side

Then Gabrevic joins the rest and everybody are dancing and singing holding their hands. Avrov jumps off and sings as the leader.

Everybody's able
To dance on the table
From left to right
Like compatriots of mine

Everybody's dancing
Their bodies are still shaking
Inside their heart
There's made new moving art

But who's not able
To dance on the table
Tonight in the light
They're sitting on the chair and drinking red wine

It is so pity
This dance in good quality
Has to stop
Because the sun is getting up

After the last words everybody jumps off the table together and smiles to the audience. They say: Thank you, world!

by **Communist Quinntopia** » Thu Aug 30, 2012 12:52 pm

redacted

by **Euskirribakondara** » Thu Aug 30, 2012 3:11 pm

OOC: All the numbers are wrong. We have 12 entries so far, and some of them are misnumbered!
(There, I've edited the post)

IC: Here we'll have Euskal comment up to song 12.

by **Demphor** » Thu Aug 30, 2012 3:32 pm

13. Demphor
Glad You Came
Tim Armstrong

After the embarrassing event of plagiarism in the last contest Demphor attended, the song contest in Demphor was vigorous, the lucky winner was Tim Armstrong.

Tim hopped onto the stage with to other singers, smiling and waving, they hoped they'd do well.

The music began to play.

The stars fade down
The sun comes out
And all that counts
Is here and now
My universe will never be the same
I’m glad you came

You cast a spell on me, spell on ne
I decided you look well with me, well with me
And I decided to get out of here, well on here
So let's go somewhere no one else can see, you and me

Answer the phone right now
Now I hope that you say yes
I’m right down the lane
Hold on if you can
Can you spend a little time,
Time with me actu-ally,
Oh I beg you please please please,
Come with me I can make,
Make you glad you came

The stars fade down
The sun comes out
And all that counts
Is here and now
My universe will never be the same
I’m glad you came
I'm glad you came

You’ve cast a spell on me, spell on me
I can’t get this spell out of me, out of me
And I decided it can stay in me, stay in me
So let's go somewhere no one else can see, you and me

Pick up the phone right now
Yes it’s me again
I know I goofed up once
May I try again
Can you spend a little time,
Time is slipping away,
Away from I beg,
Come with me I can make,
Make you glad you came

The stars fade down
The sun comes out
And all that counts
Is here and now
My universe will never be the same
I’m glad you came
I'm glad you came

I'm glad you came
So glad you came
I'm glad you came
I'm glad you came

The sun goes down
The stars come out
And all that counts
Is here and now
This universe can never be the same
Still glad you came
So glad you came

Tim smiled as the crowed cheered, he waved, "Merci Merci!" he said, as he and the two others walked off the stage.

Green: Accompanying singers and Tim Armstrong

by **Bloodbath Generation** » Thu Aug 30, 2012 5:45 pm

14. Bloodbath Generation
Jamila-Lesné netvor
Sung in Bloodbathian
To the tune of Horehronie-Kristina

Jamila was now on stage after the dance-pop entry from Demphor with an ethnic entry. She won the national final in a landslide, and there were high hopes for a top 20 or top 10 finish at WorldVision 24 in what commentator Vladamir Tacas calls "the land of ponies and hoof clapping" Jamila was nervous, but after rehearsals, she was more confident than ever. The lights were dim as the crew set up and costumes were put on in the back room. Jamila hugged her family, and went with her back-up dancers on stage as people were slowly filing back in. Now ready and in position,the lights slowly got brighter, a leaf-green color, she had a dark green background of a forest under her, and the fog machine running, much like our WV 23 entry. Jamila was wearing this and her female backup dancers wearing this.

The cheers from the sizable BG fans roared, and, as they withered, the music of a flute called a "kavokyem" played and began the song. After about 6 seconds, Jamila looked up to the camera, and sang :

Zavarem oči ach vidím víziu (I close my eyes and see a vision)
Vízia lesov (A vision of forests)
kopce a stromu (high hills and trees)
Zavriem oči a vidím víziu (I close my eyes and see a vision)
a potom prišiel lesné netvor. (And then came the forest monsters)
Myslel som že tento sen stukchi, (I thought this dream was very real)
Cítila som trávu na shektem (I felt the grass under my toes)
Bol som v krajine nikdime (I could smell the balsam odor of the trees above)
ale aj vidieť (And I could see)
les-né nev-tor (the fo-rest mon-sters)

The traditional drum sounds of the dabakan could be heard in the background, earning more cheers as Jamila smiled and started walking down the walkway as her dancers prance around behind her aimlessly like gazelles:

Bola to vízia škriatok vidím víziu (It was a vision of pixies)
ale vyzerá hrozivo ke tok (but it looked genuinely scary)
Zavarem oči ach vidím víziu (I close my eyes and see a vision)
Niekedy tieto (sometimes things)
strašiť pelgyem (Are not what they seem)
Myslel som že tento sen stukchi, (I thought that this dream was so surreal)
Cítila som trávu na shektem (I felt the glass shine from the metal around)
Bol som v krajine nikdime (A dream set in the beautiful country,)
ale aj vidieť (but amid the beauty were)
les-né nev-tor (forest monsters)

The camera showed a smiling Jamila, then panned out and onto a group of singing fans waving Bloodbath Generation flags and holding a sign with Jamila's name. Now back on Jamila, the flute from the beginning played again, and she was dancing with her backup dancers, spinning around, her dress flowing and moving her hips to the beat of the flute. Then a background singer around age 9 or 10 was shown in the right-hand corner, wearing this was shown, and she sang:

Kya-ah-ahh-ah
Keb nye da allez keb nye da
Keb nye san tofiren
Son cofi temo ni alesefto ala
Kya-ah-ah-ahh

Jamila was now seen being held up by her back up dancers, and a crow came, made her caw, and landed in Jamila's hands. Her dancers put her down, and with the beat coming back towards the second verse, Jamila sang:

Zavriem oči a vidím víziu (I close my eyes and see a vision)
monštrá ma naháňa (monsters behind soaring trees)
Táto víziu (I see tall rice plants too)
musí skončiť zá tak skutočné vízie vízhu (the song of the evil spirits ring in the back of my mind)
môžem dotknúť stromy (and a storm brews in my thoughts)
smerom k ceste bez koncu (is this really a dream?)

Three hard drum beats sound, and Jamila turns her head left and right to the beat. One of her dancers comes up to her, strokes her hair, showing his gentle nature, and Jamila picks a flower from her dress. She looks straight at the camera and sings:

Tento sen je nesku točný (The dream is turning into dust)
všetko,čo som si viť (all i can feel)
a cítiť textúru vyvýšeniny (is the rolling heels peel away, the trees float off)
kôry kože vôňa čerstvého, oh! (and the real awaits me once more, oh!)

Then the beat is gone, and only the dabakan is heard. Now three large dabakan drums are seen, one on each side of the stage and one in the middle. With the beat of the drums behind her, Jamila sings:

Kya~ah ah ah
la ah kya nah ah ah ah ah

Now an instrument sounding like a birds call can be heard. Jamila looks up as if she sees a bird, and when she turns around, her 5 back-up dancers are all on their knees, one hand up, as she grabs two of their hands. She sang:

Zavriem oči a vidím víziu (I close my eyes and see a vision)
krásne lesy (of prancing lillies)
a jestem kopca (and the city lights from afar)
Lesné netvor vyskočí spoza stro~mov (but the forest monsters show me the harsh reality)
to nemôže vydesiť (It must cease to be so real)
krása preč so kampushke (this vision I see in my head)
karasenko hagleyo (but like the trees I can feel it)
ko~ sam~ suck~ chi (the end of the road)

Jamila has her back-up dancers at their knees. She looks down at the camera and says:

Zavriem oči a vidím víziu!

She's smiling. She walks off stage with her back-up dancers and interacts with some fans, taking pictures and signing autographs. She may never have a moment like this, she may as well make the best of it.

by **The Royal Kingdom of Quebec** » Thu Aug 30, 2012 7:12 pm

15.Royal Kingdom of Québec
Unrequited love,Lauren Ainslie

Composed by:Lauren Ainslie, Jacques Archembault, Tigre Park
Written by:Colm Morrison,Lauren Ainslie
Melody: Sweet dreams(are made of this), Emily Browning
(Update: COMPLETED.)

Lauren Ainslie sat on her Green room, singing the song. She was particularly nervous. This was her second performance( with the first being the QuébecVision) in 3 years at television.

Inside her mind, she was inundated with thoughts and memories. She thought of Emilia Marina Hunt, her Albertasbian mother and Claude Ainslie, her French-Québécois father. A talented,young musical theatre actress,she was a huge mentor for her. Her life was happy and peaceful until when she was 14, her mother have died of a cancer, leaving Lauren to her father and 78-year old grandmother.

She thought of Cadance, his longtime lover since high school. She knew that he was right in the audience, waiting for her to perform. He was there every time when she was down: from her parent's death to her depression.
After graduating her high school, she was able to make it through the harsh music industry of Quebec, winning 4 Archie Awards with her first album.However, she fell into the depression,falling into the oblivion. If it wasn't for her family and Cadance,she could have killed herself.

She knew that WorldVision will be a great stage to bring her back,but also knew that ut won't be easy.His Imperial Majesty the Pierre Henri IV, Prime Minister Isabelle Perreault,as well as many celebrities,were there. She knew that the expectations are high back home and felt that she must perform successfully.

Lauren heard as Paulus called," And here's the 16th song of the night from the Royal Kingdom of Québec! Lauren Ainslie, ladies and gentlemen!"
She called all the players for her band and the St.Croix Dance Company. They looked determined, looking forward to show the World who they are.
"Madames et monsieurs, this is our time. Whether we do well or not in this contest, let's make this our best ever performance!"
"Ay, ay, ay!' everyone shouted with a loud cheer, then opened the door.

The stage was completely dark, preventing the instrumentalists from being seen. A minute later, When the Lauren came in, the stage lights were turned into Dark blue. The background screen was changed to beautiful night sky, with countless of tiny, gleaming stars shining.

She wore a white dress, which emphasised her presence in the otherwise-dark stadium. She walked forward to the centre of the front, where a microphone's there. She stood there calmly, not being nervous at all.

The lights are changed to this.
Jacques Archembault played the keyboard intro. 20 seconds later, D.J. lavalée and Tigre Park joined, playing and mixing the background music.
Lauren opened her eyes, and started to sing in her sweet, subtle voice.
It was soft and full of teary emotions, but kept to such an extent that her voice won't be too loud or explode with emotions. She sang calmly and carefully, trying to evoke the meanings of an every word.

I never told him how much I loved him
For it would just mean nothing but hurting him
I never let my heart slip away
And instead,hid my feelings inside my heart

Day by day,I cry behind the mask
Watching you walk away everyday
Even though I see you again on the very next day
The tears that shed my heart
Has never dried up

The orchestra had picked up, and the background went into this. The fog machine started to produce a light mist, that added fear as a part of emotions felt in an unrequited love.
Her voice gradually increased with a crescendo and started to become more intense.

1st Chorus:
Day by day,I suffer with my love to you
It’s bittersweet
I struggle as I try to escape
From the bottomless pit of unrequited love

And as Lauren finished the last notes of the chorus, the stage lights revealed the instrumentalists.
Suddenly, the 6 dancers, all wearing a grey suit and a mask that fully covers their face, jumped into the stage from the rafters.
The audience were instantly surprised, not expecting this at all.
Now, tempo of the song started to go faster, and the dancers started to perform their dance sequence. It was very powerful and emotional, well expressing the pain of unrequited love and the struggles of a lover. The sequence was executed flawlessly, causing the song and the dance to fit each other perfectly.

The lights have changed to this. Lauren sang in the same notes but added more emotions to her voice.

Day by day
I try to move on
and erase you off my mind
But I can’t
To let him not seeing what’s inside my heart
Covering you
But every time when I’m with you
I feel like I can’t breathe
Because the words are stuck inside my throat
Suffocating my soul

The dancers have stopped dancing, as if they are in a stop-motion. The lights were gradually turned off, until there's only a light, which were focused into her, were on. The instrumental went into Diminuendo, then gradually increased like a Yo-yo.
Now, she threw all her energy into the second chorus. Lauren, filled with the energy, sang in an octave higher, as if she's about to explode and/or die with the pain of love, deep inside her heart.

2nd chorus:
Day by day,I suffer with my love to you
All the feelings are now bittersweet and tearful
I struggle as I try to escape
And not to let him what’s inside my heart
falling myself into the bottomless pit of
unrequited love.

Then, the dancers covered Lauren in a circle, and tried to catch her. She struggled to break their holds on her and fights for last 40 seconds. Despite spending most of her strength in the chorus, she still didn't appeared to be exhausted.
At the end, she loses and falls into the ground on her back, her hands raised to the sky. The dancers, victorious, did a back flip and falls on their back safely,in a circle around Lauren.
Then, all the instrumentals have stopped.

All 12 people(6 dancers, Lauren, 5 instrumentalists) stood to the front and vowed to the audience, who replied with cheers and standing ovations.
''Merci beaucoup Canterlot! Thank you to the wonderful crowds in Canterlot and the viewers around the World, my grandparents in Montreal and most importantly...'' The tears have started to come out of her eyes, as she tried to continue.
''Cadance, who were there for me when I was in depression, and my parents,Especially my mother, who are watching over me in heaven. Thank you.''
Then, everyone left the stage.

It was worth it,after all the gruelling practises they had for last 6 months. The Dancers for the St.Croix Company, when asked to perform for this, had to spend 15 hours a day, 7 days in a week, to practise this. However, they were joyful and satisfied for what they have performed.
They have reached the top, representing the Royal Kingdom of Québec on WorldVision 23.

by **The Nuclear Fist** » Thu Aug 30, 2012 7:25 pm

16. Rustonia

Lamentations

Ahmad Ali Durrani

Ahmad Ali Durrani appeared upon the stage. He was in his early mid sixties, a thin old man with more crags on his face than there were on a mountain. He was a living legend in Rustonia, so it was only fitting that the ethnic Ruian would represent his nation in its debut at WorldVision. He wore a coal black suit and a white, pinstriped dress shirt beneath, fastened with wine red tie. He wore a pair of simple, black leather dress shoes, and the checkered-brim fedora that was characteristic of people his age. A polished, black grand piano sat in the centre of the stage, flanked on the right by actors and actresses and on the left by two very large screens. A way's away from the piano were the other assorted instrument players, including saxophone players. The lights dimmed until all was completely dark. The sound of dress shoes slowly clacking against the stage's floor could be heard, followed by the sounds of a piano bench squeaking, being adjusted. Moments later, a gentle, almost delicate playing of the piano became audible, rising until it reached a comfortable level. The sounds of a projector and its film could next be heard, and grainy, black and white footage could be seen upon one of the television screens. It was of a mob of angry peasants dragging a man out through the front gates of a palace and beating him mercilessly.

As Ahmad began to sing, the actors and actresses began to act out what happened upon the screen in perfect detail, stage blood and mock wounds expertly crafted to appear on the man imitating the man being beaten on the screen.

What seems so long ago,
I forged a kingdom of steel.
And what do I have to show,
How can this be real?

The 'peasants' erected a large crucifix and picked up the beaten man, fixing him to the crucifix. On the screen, it showed the man, subtitles identifying him as 'Former Rustonian dictator Bagrat Bassarab', being crucified, his clothing being ripped from him and replaced only with further kicks and punches.

We dragged him through the palace,
My men beat him 'til he was dead.
Power is a bitter wine in a poisoned chalice,
It slithers in and corrupts your head.

As Ahmad continued to play, another actor emerged from the darkness just as another man appeared upon the screen. The crowd of actors, much like the crowd of peasants in the footage, parted ways, obviously showing this man to be of considerable reputation. Words upon the screen identified him as 'Former revolutionary and later Supreme Chairman Vlad Radulescu'. He smiled and tucked his hands behind his back as the 'peasants' continued to mock beat the crucified man, slowly and dramatically revealing a revolver. Upon Ahmad's reaching of the word 'head', a scream pierced the air, followed by a single gunshot. The crucified man on the screen, much like his actor counterpart, fell limp. The lights shining upon the actors and actresses disappeared as Ahmad sang the chorus.

And believe me when I say,
I did my very best.
My follies haunt me as I die,
Weighing down on my chest.

The footage on the screen was now much less grainy, although still in black and white. It showed a slightly older, heavier Radulescu, his having grown a moustache. He was standing at a podium in front of the same palace, now fully restored and with Rustonian flags and banners everywhere. The actors were now dressed in suits, the women wearing skirts and suits, their hair in shawls. It was a direct replica of the speech being given on the screen, and just as silent.

For a while, all was well,
They cheered as I strode in.
I sat on a throne from which a tyrant fell,
What fresh hell was to begin?

Our country was rotten to the core,
He left us all to waste.
A people sold out by a whore,
To rebuild, I would make haste.

The Radulescu on the screen's eyes flared and his mouth barked, he shook his fist as his piercing gaze washed over the crowd. The actor did the very same, and both were subject to thunderous, silent applause.

And believe me when I say,
I did my very best,
My follies haunt me as I die,
Weighing down on my chest.

As Ahmad sang the chorus, the screen cut to a clip of an old Rustonian propaganda film, which showed several moving graphs of projected industrial, agricultural, and mining output over a five year plan. The numbers were absolutely ludicrous.

I put my people to the grindstone,
Working in fields, factories, and mines.
For my sins, I cannot atone,
When it all unravelled like twine.

Ahmad sang, his voice tinged with guilt, remorse, and sadness. As if he was on the verge of sobbing. The screen now showed footage of an older Radulescu giving a fiery, impassioned speech to a large crowd of industrial workers. They all had serious expressions upon their faces, and routinely broke out into thunderous applause. The actors acted out a very different scene. The actor playing the older Radulescu repeatedly cracked a whip above the heads of the other actors and actresses, his face a mask of pure rage and piggishness. The other actors looked terrified and dirty, those dressed as industrial workers swinging large hammers into something, sparks flying. Those dressed as farmers kept their heads down and swung sickles at fake crops. Those dressed as miners swung pickaxes into rock.

Ten years into my reign,
I was forced into a slaughter.
Thousands died, screaming in pain,
On that gruesome day, god gave me a daughter.

As the elderly singer wailed his lyrics, the screen showed a court room. Several beaten, abused men stood trial, looking downwards at their feet as the judge berated them for Fascists sabotage and foreign espionage. Finally, the judge condemned them to hang. The actors played out a very different scene. It showed two thirds of the actors dressed as dirty, disgruntled peasants, holding signs and protesting. The remainder of the actors were dressed as soldiers, holding mock rifles loaded with blanks. One of the actors, dressed as an officer, raised his arm and dropped it, chopping the air. The 'soldiers' took aim and 'fired' their guns, and the 'protesters' fell to the ground amidst a pool of stage blood. The lights went out once more, giving way to the sounds of the instruments and background sounds of bodies being dragged off and fires roaring, finishing with the sound of a newborn baby's cries.

And believe me when I say,
I did my very best.
My follies haunt me as I die,
Weighing down on my chest.

The screen was blank. There was now only a wooden desk, complete with telephone and personal items, where the faux massacre had been. The actor playing Radulescu looked sorrowful, tears gently cascading from his face. He held his head in his hands, leaning over his desk. This continued until Ahmad had finished the chorus, in which the actor and the desk were again enveloped in darkness.

In the fires, I'd plunged the nation,
In a suit of armour, it was cast.
The masses were lulled into peaceful sedation,
An uncomfortable reflection of the past.

I was a saviour, my regime would preach,
I was a hero, the snakes would say.
To love their leader, they were made to teach,
To die in my name and to obey.

And believe me when I say,
I did my very best.
My follies haunt me as I die,
Weighing down on my chest.

As Ahmad sang and played, the screen lit up with old Rustonian propaganda, emphasizing the strength, unity, freedom, and prosperity of the Rustonian nation under Radulescu. The actors were once again divided into 'audience' and 'speaker', but this time the speaker was dressed to look like a combination of priest and commissar, holding a portrait of Radulescu and pointing to it, mouthing praises as if Radulescu was some sort of deity.

Now, as I lay dying,
Amidst an empire of rust and tears,
My betrayal leaves this old man crying,
I've wasted away all my years.

The lights shined down upon the actors' part of the stage as Ahmad continued to sing and pluck the keys. The screen showed footage of Radulescu's funeral proceedings. On it, men and women cried in the streets, congregating around the passing convoy of cars bearing his portrait, as well as the hearse itself. There was, once more, a new actor playing Radulescu. This one lay in a hospital bed, pale and sickly, his hair messy and unkempt, his face contorted into a pockmarked grimace. The rest of the actors and actresses surrounded him, dressed as generals, Party members, and one looking exactly like Radulescu's daughter. They all looked somber, and the daughter was gently sobbing, holding Radulescu's trembling hand.

And soon enough, when I perish,
She'll rule from a den of snakes.
I only hope the power she doesn't cherish,
I pray she doesn't make my mistakes.

The screen continued to play footage of funeral proceedings. The actor playing the dying Radulescu smiled weakly at the actress playing his daughter, wiping away her tears. He reached to the stool aside his bed and placed his peaked cap upon his sobbing daughter's head, signifying that she was now to lead the nation upon his passing. She bent down next to him and kissed the dying man, wrapping her arms around him in a hug that he was too weak to share.

Please, believe me when I say,
I did my very best.
My follies haunt me as I die,
Weighing down on my chest.

Ahmad's singing died down into a whisper, dripping with raw emotion. The screen simply changed to footage of Radulescu's daughter delivering a speech. The actors' scene had changed as well. His daughter was now dressed in the military tunic her father so famously wore, complete with peaked cap, sash, baton, and a chest full of medals. She spoke in front of the 'crowd' of other actors with fiery passion, in the spitting image of her father.

And please believe me when I say,
I'm not what I want her to see.
A cruel tomorrow for a bitter today,
This isn't what I wanted to be.

The screen cut to an unidentified Party member giving a speech denouncing Radulescu's daughter. The actress playing Radulescu's daughter continued with her fiery speech. From the darkness, Party members and police grabbed her from behind. Her face contorted into one of betrayal and rage. She kicked, screamed, punched, and clawed at her captors as they dragged her into the darkness. As the last word was sung, Ahmad continued to play, the tune growing darker and slower. Moments later, the sound of a single gunshot could be heard, referencing Radulescu's daughter's assassination. The screen went black and the lights shining upon the actors' area became dark in an instant. Ahmad stood, taking a step from the piano. He raised the microphone and uttered a dry, raspy "Thank you" before walking off stage, merging into the darkness.

WorldVision Song Contest 23 - Contest/IC Thread

WorldVision Song Contest 23 - Contest/IC Thread

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