WorldVision 83 IC Thread - St. Christopher, Llalta

by **Beepee** » Mon Jul 06, 2020 9:35 pm

20. BEEPEE
"Hold Me"
Performed by
Betty Wont

Music and Lyrics: Alotta Regina
To the Tune of: Обними меня - А́ни Ло́рак

Performer - Betty Wont

Betty Wont's childhood was notably tough.

Born in the small town of Chilton, Betty was raised by a single mother following the death of her father in one of the worst industrial disasters in Beepee, when Betty was only 4 years old.

At the age of 6, she and her siblings were placed in the Halle Lou Orphanage. Run by the wicked, but glamorous, Halle Lou.

At the orphanage, orphans were required to design and sew couture fashion from every day objects such as paper towels, refuse sacks and fishing wire. Each Thursday, the orphans were then required to lipsync for visiting childless couples who would choose which orphan would sashay into they lives.

It was during these pageants that Betty developed the desire to become a singer.

After several failed runway battles, Betty was eventually adopted by Norma and Norman Normal. Norma worked in the typing pool at the local council whilst Norman was a lowly clerk in a bank.

Betty flourished with the Normals and often performed at various school and local stage shows. However, at the age of 18, Mr and Mrs Normal informed Betty that there was no future in music and she should focus on a more sensible career.

Heartbroken, Betty fled to Norkfolk Pinewoods in the hope of finding fame and fortune as a singer. However, she failed to get more than occasional open mic sessions at the diners where she worked as a hostess.

At the age of 24, Betty got her big break, being chosen to represent her home country at WorldVision 81 with the song "Fight For My Love". Betty's first attempt was marred by vomiting on stage shortly before the performance was due to begin.

Betty was the 10th singer to perform, preceded by the Vartugian entrant and succeeded by the Eljidan entry. Betty finished 22nd on the night out of the 34 entrants.

Betty was then chosen, again through internal selection, to sing in World Hit Festival 51 in Sinnlichšukai with the song "Love Me". Betty, opening the performances, scored Beepee's best result to date finishing 5th (of 20), and scoring top points from both the Waisnor and the Fatiman Federation juries. "Love Me" reached a peak of No.2 in the Beepeean charts.

Since WHF51, Betty released her debut album "But I Wish He Would" containing the two singles performed at WV and WHF, and 10 other tracks, including "Hold Me".

The Song

The song "Hold Me" was performed at the first Beepeean Song Featival, narrowly beating out Sherry Tryfle in the final set of votes from Achaean Republic to win by two points.

Alotta Regina, who wrote the music and lyrics, describes the song as a 'tender mid tempo bop with lustful undertones'.

Commentary

For televisual viewers back in Beepee, Hugh Jakeman provides irreverent and biting commentary.

"You know, I was once told that you shouldn't start drinking until the singing was over. That performance proves that old adage wrong. I'm pouring the chardonnay now...

Now! It's that moment you've been waiting for all night, it's us. Trying our best once again.... can we run away with the grand prix this year?

Betty's our girl. She's singing the song 'Hold Me', a delightful little ditty.

Betty's been doing very well in rehearsals and puts in a very solid performance... here she comes... let's cheer her on in word and gesture."

Performance

Betty strides onto the stage and stands centre stage, back to the audience. The nerves which hindered her performance in WV81 appear to have vanished and she now stands as a strong, confident woman: comfortable in her own skin and ability. Her backing dancers, Omar Gosh, Mustapha Wyne, Eoghan Muhnie and Holden MacGroyne stay just off stage. Also, backing vocalist Pat MacGroyne stands in the shadows in preparation to add depth to the vocals.

Betty, is dressed in a short black dress with faux fur trim and collars with dangerously high silver and black heels. Her backing dancers dressed in black denim Jean's and mesh shirts.

The postcard ends and the stage is in darkness as the music begins. As the music kicks various colourful lights spray across the stage and the audience. A spotlight finds Betty who turns to look over her shoulder, she lifts her microphone and begins...

Looking at you, looking at me,
From across the room tonight,
Knowing is wrong, feeling so right,
You'll be coming with me.

As she sings 'from across the room' she winks down the camera, smiling as the steadicam operator runs round to Betty's front, and frames the audience behind her. As Betty sings 'feeling so right', she looks coyly at the floor before looking demurely at down the camera and walking towards to the steadicam.

Betty turns fully to the audience, and the steadicam operator runs off backstage as the large boomcrane camera swoops in toward the front of the stage. Betty begins to walk to the front of the stage.

Taking you home, holding my hand,
I feel your beating heart,
Shaking inside, feeling alive,
Anticipation.

As she sings 'anticipation', Betty puts her free hand on her thigh and demurely pulls it up the side of her body, ruffling the bottom of her dress. The full set of stage lights go on, in a warming golden glow.

A wind machine kicks in and pushes her hair backwards, creating movement for the audience at home.
The camera changes to a stage wide view as the first chorus arrives.

Hold me in your arms, tonight
Keep me in your arms, 'til morning,
Wrap yourself around, me now,
It's electric, feels electric.

As Betty sings she throws her free arm around herself. Holding herself tightly. With the lines "electric", betty flings open her arms.

The steadicam comes on from side stage sweeping across stage toward Betty. The four male dancers also rush onto stage at a low level, dancing around Betty and then holding onto her legs.

Hold me through the night, so close,
Let me feel your arms, around me,
Never let me go, I want you,
To hold me, just to hold me.

The four backing dancers move away from Betty, and they and Betty move in synchronicity. Stepping forward, back and to the side, wrapping their arms around themselves as the chorus continued. As the next verse begins the dancers rush off stage.

The stage lights turn to a burnt umber colour slowly changing through deep ochre to a golden yellow colour as Betty sings through the next verse...

Morning so bright, sun on my skin,
I reach to pull you near,
I feel you stir, you reach for me,
Dont disappear.

As she sings 'reach for me' she reaches her hand towards the audience, the boomcrane camera rushes towards her outstretched arm and as she pulls her arm back towards her, the camera moves with her in towards her.

Without a word, without a sign,
I feel you close to me,
I know that now, without a doubt,
You'll stay forever.

The boomcrane camera cuts to the wide angle and the full stage is visible to the televisual audience, and betty repeats the choreographed routine.

Hold me in your arms, tonight,
Keep me in your arms, 'til morning,
Wrap yourself around, me now,
It's electric, feels electric.

As the lines 'electric' are sung, a firework curtain sparks at the back of the stage. This allows time for the backing dancers to come out for the second time and repeat the choreographed moves.

Hold me through the night, so close,
Let me feel your arms, around me,
Never let me go, I want you,
To hold me, just to hold me.

As the chorus ends, the backing singers run off stage again.

Betty holds the final 'me' extending the note, now come the musical interlude and Betty adds to the music with harmonious vocals...

Aaaaaayyy
Aaahhoooohaah
Oooohh
Yeeeahhaaaaayyooooo

The stage lights dim focusing the audiences attention on Betty as the boom camera pulls in close to her. She sings the bridge chorus part quietly.

Hold me in your arms, tonight,
Keep me in your arms, 'til morning,
Wrap yourself around, me now,
It's electric, feels electric.

Following the quiet bridge chorus, the boom camera zooms out quickly, to show the full extent of the stage. The lights blast full in orange, gold and canary, and indoor fireworks shoot up from the ground in flame, as Betty sings the next chorus with gusto.

Hold me in your arms, tonight,
Keep me in your arms, 'til morning,
Wrap yourself around, me now,
It's electric, feels electric.

With lights blazing, swirling amber colours across the stage and audience. The steadicam comes onstage to take a close up of Betty as a wind machine, blowing at full tilt, blows Betty's long brown hair behind her. Betty continues at full belt....

Hold me through the night, so close,
Let me feel your arms, around me,
Never let me go, I want you,
To hold me, just to hold me.

The final drum beat fades and Betty stands wrapped in her own arms. Grinning from ear to ear, obviously delighted with how the performance went.

Closing Commentary

For Beepeean televisual viewers, Hugh Jakeman once again returns to provide witty and patriotic commentary...

I dont know about you, but I thought that was very good. Let's raise a glass of chardonnay to.... oh wait... I'll have to top up this glass... The tv audience will hear a small pop and the sound of a wine glass filling. Now where was I....

Yes Betty did very well, but these international juries are a fickle bunch. Let's all keep our fingers and toes crossed.

Next....

by **South Batoko** » Mon Jul 06, 2020 10:49 pm

21. South Batoko
Mariam Nurjun - I S S U E S
Tune: Gabbie Hanna - Monster (until 2:55)

The music starts. A light starts to shine on her, but she keeps her head down until the beat before the lyrics. During the lyrics, she just does some hand motions as choreo.

[Verse 1]

Alone, wand’ring in the forest called my mind
Convincing myself: “It’s OK”
Praying in my head that my demons aren’t here
Wish they’d all just leave, go away

[Pre-Chorus]
I can’t even sleep at night because of their screams
Really, they don't want me to feel good
They always come back, to haunt me in my dreams
Clearly, I'm ment’ly in my childhood

[Chorus]
Yeah, I’ve got some issues, but you have got some too
We’ve all got some issues, they make us feel so blue
An oasis of help, seems like it’s so near
But fata morgana struck again, oh dear
Yeah, I’ve got some issues, but you have got some too

[Verse 2]
Broke all my bones, just to see the world clearly
It's not worth the trouble, it seems
When I found out, I just thought: “Really?”
Everyone just feels like a machine

[Pre-Chorus]
People don’t realise I’m not ment’ly OK
Can’t even go a day ‘thout crying
They just think I’m acting, they all just run away
They would rather just see me dying

[Chorus]
Yeah, I’ve got some issues, but you have got some too
We’ve all got some issues, they make us feel so blue
An oasis of help, seems like it’s so near
But fata morgana struck again, oh dear
Yeah, I’ve got some issues, but you have got some too

[Bridge]
Тикө, такө, теле-телемин (Tikö, takö, tele-telemin)
It’ll just all be OK
Тикө, такө, теле-келеѕин (Tikö, takö, tele-keleżin)
Ше бүдє́т горошо (Śe büdyét horośo [Everything will be fine])

Her voice drops down a fifth on every syllable of "horośo".

[Chorus]
Yeah, I’ve got some issues, but you have got some too
We’ve all got some issues, they make us feel so blue
An oasis of help, seems like it’s so near
But fata morgana struck again, oh dear
Yeah, I’ve got some issues, but you have got some too

Instead of the actual IRL tune's ending, the bridge's music plays. In the first half, she just does some arm and leg movements. In the second half, she walks backwards, with the camera following. Then, she falls out of sight, onto a bean bag, making it look like she has fallen into a void.

by **Kalosia** » Mon Jul 06, 2020 11:09 pm

22
Kalosia
#OBSESSED — Sierra Elena
performed in English to the tune of You & I — Asmik Shiroyan

Sierra Elena Maržini is a Kalosian singer and model. Now in her early 30s, her career in the entertainment industry is sailing quite smoothly, with her schedule typically fully booked months in advance. With photoshoots, recording sessions, and gigs, it would be quite hard to get hold of her.

Well... that's how it was up until February when the pandemic struck. With stay-at-home orders, life slowed down for Sierra Elena like she had not experienced in years. Suddenly, she found herself with more time than she knew what to do with. Despite the disappointment of cancelled bookings, she initially tried to approach it as an extended retreat. Yoga and meditation for days. Frequent at-home spa sessions, with face masks and glasses of wine. While she had enough alcohol to last several months, things quickly sobered as she realized she was going to be in for the long run.

It's not that Sierra Elena was broke, but it eventually dawned on her that she wanted to keep moving. This withdrawal from public life was starting to take a toll on her, and she deeply missed the Sunday brunches, the late night parties, and all the socializing that to her was just another week in life. It's true that she had all her fans and followers on social media, but that just didn't cut it. Her manager even had to convince her to not open up an OnlyStans page. All she wanted was to feel alive again, or at least to feel something.

Eventually, Sierra Elena heard about all the memes the Kalosian internet sphere were making out of that song, Portami, which came 14th at the WorldVision Song Contest 81. It was funny that this woman was repeating the same word over and over again, but where was this performance from? Oh... that WorldVision thing. In the past, Sierra Elena had scoffed at the idea of performing at a contest in some random country alongside a bunch of nobodies, only to flop. What even do you get if you win? A few dollars and some worthless scrap metal disguised as a trophy? Surely not worth her time... Though, perhaps it was the deprivation of being at home for such an extended period of time, but the idea of doing WorldVision suddenly seemed like possibility to her... what if?

So the diva did her research. She knew of Ǧamilah — they weren't friends but they'd see each other at awards shows. That hippie treehugger duo who won Festival dëla Kanžu, Corpus Calosum, was there too, and so was that leftist social justice warrior Nawra... oh look, Ricky Alain! Ricky, who competed as a soloist in WorldVision 39 had written not only Kalosia's WorldVision 43 and 71 entries, but also a few songs for Sierra Elena. Wait, Without You is a WorldVision song?!

Eventually she stumbled upon the two WorldVision entries of Lessandra, whom she was friends with. At a video call session over a home cooked brunch, Sierra Elena talked about it with Lessandra. The latter was definitely supportive and was able to convince Sierra Elena to take the next step. Sierra Elena's management, too, was supportive. They reached out to Ricky Alain's management to see if it was possible to write another song for Sierra Elena, but the request was turned down. Looking at the demo tracks the studio had saved for future use, however, they found a song with some potential. This track was then polished and reworked into the song it is now: #OBSESSED.

By the time the song was submitted to RTVK, the broadcaster had already chosen Max & Bella to represent them in Tiferet, however agreed to shortlist the song for WorldVision 83. Sierra Elena, who was so desperate to travel and get back out there in the world, offered to cover a notable portion of the budget out of her own pocket, including staging, travel, and accommodation costs. It wasn't long until they were confirmed to have been selected as the next Kalosian WorldVision entry.

Soon, Sierra Elena set off to Llalta. They got on a flight to Britonisea as there are no flights to Llalta and from there Sierra Elena rented a luxury yacht that took her and a few people on her team to St. Christopher. For two weeks she remained onboard, sailing around the perimeter of the island and docking a few times to buy food — and oh, how nice and fresh the ingredients were. Although there wasn't that much to do (and the data signal isn't the strongest out there in the seas), this was miles better than having to spend another few weeks at home with little else to do. When there was signal, Sierra Elena did post to her social media, invoking supportive jealousy among her million or so followers that she could be out there living her best life at a time where many Kalosians could barely do much at all. Practicing and planning for the big day also ensured that she never ran out of things to do in that boat.

Once the two weeks were over, she disembarked and reunited with the remainder of the Kalosian delegation, who opted to undergo their 2 weeks in a hotel on land. The head of delegation introduced her to the backing performers — a male dancer named Sebastien Lumley-Sydenham and 3 backing singers, all of them coming from Britonisea in order to reduce travel in and out of Kalosia. A few rehearsal sessions and it looked like she was all set. And whenever she wasn't preparing for the big day, she was out sightseeing or otherwise doing recreational activities. Luckily for her, she picked up a few brochures at the hotel where she was staying and added paragliding, rowing, and hiking to her itinerary. As a result, she barely took part in meet and greets and other activities within the WorldVision bubble (except for where it was necessary, such as press conferences and rehearsals). Truth be told she was really here as a tourist first and as a WorldVision contestant second. She did attend the opening ceremony, which was a red carpet event much like what she was used to before the pandemic struck. It was her first time seeing most of the contestants (and in some cases learning of the existence of some of the countries competing), and she had a great time socializing with other acts, even if some of them were weirdos she would rather avoid had it been any other gala reception.

For the big night, Sierra Elena was wearing a gold cloak. She was standing at the back of the stage in front of a mic stand. As the song began, the LED strobe lights in the background began to twinkle vividly, reflecting the twinkling of the piano in the song. As Sierra Elena began to sing, the lights became calmer. Her voice was quite powerful that it echoed throughout the arena and back into the mic input, causing the feed to echo as well. That was quickly fixed by the sound technicians in time for the second line, though at this point they were practically guaranteed to get an earful from her (at least when she finds out — thank God for earpieces!). Regardless, with this being a live performance with no filters or autotune, Sierra Elena had to vocally give her all to ensure a decent performance.

Babe, I wanna let you know
When I fall into your arms, don’t ever let me go
Take a chance, you’re worth my every while
You give me life

Standing tall full of confidence, Sierra Elena continues to sing. She snaps both of her fingers in tune to the beat of the rhythm, her firm and precise movements reflecting the excitement she had performing in front of such a large audience for the first time in months. The background screen was showing blue abstract graphics, looking like a tunnel.

And you hold the key, unlock my happiness
With no limits, all infinite when you’re loving this
It’s a blessing, the way that you save me
In every smile

Now Sebastien, the dancer, can be seen entering the stage. Wearing white jogger pants but otherwise barefoot and shirtless, he runs onto the stage fluidly and soon surrounds Sierra Elena. He grabs her attention as he glances over his shoulder towards her. They make eye contact. Eventually, he walks behind her and she faces forward towards the camera.

You are the moment that I could never plan
You bring the best of me when you take my hand
You give me energy, it’s like I can fly
You give me life…

Sebastien pulls away her cloak, revealing a glittering gold minidress. Sierra Elena quickly grabs her mic off the stand and struts down the stage, with Sebastien following along behind her to her right, walking stoically. In the third line of the next part, Sierra Elena reaches the front end of the stage and quickly turns towards Sebastien, extending her hand towards him. But then in the last line Sierra Elena retreats her hand and places it on her heart, while the dancer withdraws his hand as well, playfully spinning away and making him seem irresistible to Sierra Elena.

So call me obsessed, baby
Cause you’re the best, save me
Call me obsessed, please forever be mine
And give me life… I need you to survive!

As she sings the Oh-oh-ohs of this break, Sierra Elena turns towards Sebastien and pursues him, walking back to the main stage towards the beat. In the second set of oh-oh-ohs the camera shows a close up the three backing singers, grooving to the beat.

As the next verse comes along, Sierra Elena is on the left side of the stage while Sebastien is now on the right side. As she sings the first line, she makes a peace sign towards the camera, signifying the number two. In the second line of the next part, they slowly walk towards each other.

Beyond the sands, it’s just the two of us
And as you look me in the eyes I know who I can trust
Hidden treasure, but I feel the chest and
You give me life

As the pre-chorus kicks in, she smugly smiles towards the camera, head tilted slightly back as Sebastien dances swiftly, circling her in hip hop style movements. The golden strobe lights kick back in and the flashing gets more intense with every beat in this rhythm.

You are the moment that I could never plan
You bring the best of me when you take my hand
You give me energy, it’s like I can fly
You give me life…

Sebastien gets up, composing himself to Sierra Elena's right (the viewers' left). Again, she struts down the catwalk while he marches in step with her, and every other beat two shots of pyrotechnics — one from the left, one from the right — launch into the air from the extremities of the stage gradually down the catwalk, symmetrically.

So call me obsessed, baby
Cause you’re the best, save me
Call me obsessed, please forever be mine
And give me life…

Now Sebastien and Sierra Elena arrived at the front of the catwalk and as she sang this next part, the lights slowed down.

I need you to survive!

The two briefly looked at each other and then turned their heads back in two beats. As she sang the next part, Sebastien again danced around Sierra Elena hip hop style while she mostly just freestyled to the beat.

Give me life, give me life
Give me life, give me life, give me life
Give me life, give me life
Give me life, give me life, give me life

Now as the camera zoomed in on Sierra Elena, Sebastien disappeared.

Give me life, give me life
Give me life, give me life, give me life
Life!

Now Sierra Elena turned back and walked down the catwalk back to the main stage. The camera is showing a shot of the stage from the front and as this happens a pyro curtain falls.

So call me obsessed (Baby)
(Cause you’re the best, save me)

Now the camera switches to a closer angle of Sierra Elena as she arrives back to the main stage and turns around.

Oh baby, baby yeah (Call me obsessed, please forever be mine)
And give me life…

Sierra Elena kneels as she lets out this long note. A camera pans around the stage and the audience cheers.

I need you to survi~i~ive!

She quickly gets up again, and as she sings the next part she is suddenly joined by Sebastien.

Cause you’re the best!

As it comes to the final line of the song, Sierra Elena and Sebastien take a few steps forward to the beat, in sync.

And give me life
I need you to survive!

And as the song comes to an end the camera dramatically zooms out as they turn their heads toward each other. Sierra Elena, overwhelmed by the emotion and enticed with the presence of such an attractive man, embraces Sebastien for a few seconds. Maybe she was #OBSESSED with him.

But quickly, she comes to her senses and turns to the crowd that was cheering for her, saying "Thank you WorldVision! Love you lots!" before promptly leaving the stage as the stage crew prepare for the next entry, from... from... whatever country it was. Don't care. They probably don't matter. It's not her problem anyway.

As long as the cocktail she requested is waiting for her in the green room, all is going to be well.

by **Antahbrantahstan** » Tue Jul 07, 2020 12:47 am

23. ANTAHBRANTAHSTAN | إانتهبرنتهستن

KRESNADEWI-Helpless
Tune: Weird Genius ft. Sara Fajira-Lathi
m & l: Raymond Taniadi, Hilbram Santosa, Eka Wicaksono, Selina Lawson

KRESNADEWI is a musical project formed by three famed YouTubers-slash-musician Raymond Taniadi, Hilbram Santosa and Eka Wicaksono, who shared an intense passion in music-making and were united because they happen to share the same music taste, originally conceived as a side project, KRESNADEWI catapulted to fame after they made the ambient EDM track, Sayang, sung by Islander Rosanna Soares, and ultimately, they began to embark in a personal musical endeavor while trying to balance the life between being a YouTuber and a musician.

Selina Lawson, full name Selina Anisa Lawson, originally worked as a model, thanks for being blessed with what the Anturian beauty standards consider good looks, however, she found the modeling life to be incredibly exhausting and later on, broke off her modeling contract in order to focus on her university education and find her true passion, soon after, Selina got scouted by a talent agent while she was strolling around in a mall, although Selina was a bit suspicious with the events that transpired within a short time frame, Selina later on signed with the entertainment label, who, coincidentally, happens to house KRESNADEWI.

After grueling lessons in singing, fitness, dancing, acting and variety charms, Selina went on to make a solo debut soon after, however, Selina was unhappy with the way the entertainment label didn't give her creative control, and soon after, she was forcefully enrolled in a songwriting camp with KRESNADEWI, originally, they were very hostile with each other, however, after discovering common interests in music, they bonded and became best friends, which helps KRESNADEWI and Selina write a song demo in no time.

When news spread that RR is changing MGP Anta format in light of the COVID-19 pandemic, Selina approached KRESNADEWI to write a song, under one stipulation that they let her give creative control, soon after, Selina thought that the song demo that they recorded earlier was suitable to become a WV entry, yet, KRESNADEWI was very reluctant to change anything about the demo, and while situation turned hostile, Selina then turned on the TV which happen to show a documentary on Javanese Gamelan, enchanted by the mysteries and their rhythms, this happens to be the groups' "Eureka" moment that ultimately made them inspired and finally complete the mixing and mastering of "Helpless".

"Helpless, like what the title said, is about someone trying to save their friend from a bottomless pit", Selina says in an interview, "While some people are fortunate enough that their friend can be saved, some, if not all have their friend succumbing to it, which i find saddening, like, this kind of thing happens not just in Antahbrantahstan, but in the whole world too." said Selina, "I hope this song can perfectly encapsulate all of that feeling, all of that trauma, and maybe... just maybe, inspire everyone to start taking care of their acquaintances, and to always reach them out, and... try to help them, as best as they could." Selina continues, "This song features Javanese gamelan being combined with electronic synths, and, in my opinion this creates an otherworldly mix of sounds that, for me represents how to some people, they think of people that needs of mental help as outlandish, somewhat, um, "abnormal" to society, and we tried to replicate that feeling in this song, hopefully, this song can be.. some kind of reminder that there are lots of people who need to be helped, even if they don't ask to, it's better to check up on them once in a while, cause, you never know what they have gone through." Selina concludes.

After the Anturian postcard finished playing, the stage lits up a bit, in tandem with the mysterious, sharp gamelan noise playing, signaling the beginning of the Anturian song. Afterwards, we zoom in towards what seems to be an inside of the subway, with Selina and what seemed to be her friend sitting on the "subway" chair, the LED screen and the surroundings are adjusted to match the subway-themed environment, as is the extras, who can be seen around Selina and her friend sitting, standing while holding the subway handle, or chatting with each other at a comfortable distance, however, the set has an unnatural, almost dimmed lighting that accompanies them. Selina and her friend wears a normal, white-coloured school uniform with tartan motif skirts, while Selina's makeup is done normally, letting her glam come through her face, her friend's makeup looks like as if she has finished crying. Selina at first doesn't notice, however, as time passes she realized that maybe there's something wrong with her friend.

As the camera continues to shoot Selina and her friend, her friend immediately stood up, walking away from the camera's point of view, in spite of this, Selina continues to sing softly, ignoring her friend, it wasn't only several seconds later that the camera switched angles and started shooting her friend, who is now standing, holding a bus handle-like object that is hanging from the stage ceiling, afterwards, Selina stands up, trying to grab her friend, although her friend would later walk away from Selina slowly, though seemingly unaware, or rather, ignoring Selina's existence.

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

As the instrumental quiets. Selina grabbed her friend which caused them both to be face-to-face with each other, everyone on the "subway" now stares with empty eyes towards them, Selina later displaying a scared emotion during her singing, although her friend seems to be ignorant about what is happening around them, living in her own world, during the "Don't turn your back and run away" part, the synth becomes more and more intense, combined with the grey coloured strobe lights becoming more and more haywire and disorienting as the song progresses, culminating in the "Before it consumes you" part, wherein the strums of kecapi (a traditional Indonesian string instrument) seems to be a secret signal for Selina's friend, wherein she then closes her eyes, holding tightly into the bus handle, and immediately, bright, blinding light begins to envelop the the "subway" and the entire arena.

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

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

A multitude of disorienting, flashing lights of red and white begins to cover the arena, wherein through glimpses we can see Selina panicking, with full-blown wind machine being used to achieve maximum effects, some papers are also shown flying throughout the stage, after she sang the chorus, the lighting immediately becomes normal, being the depressing grey hue that we have seen before, now Selina is on stage, alone, now wearing a pure white cotton blouse, with patches of makeup and dirt on it, covered with smoke, wherein the LED screens begin to show images of wayang (an Indonesian shadow puppet) that can be seen by the audience, doing unknown motions that can be described as both dancing and fighting each other. Momentarily, Selina's face turns from an expression of panic to a calm, expressionless face, seemingly possessed, doing traditional Javanese dances with outmost grace and demure in rhythm to the mismash of the synth and gamelan noises that now can be heard by the audience, contrasting with the fear and hopelessness that she had shown before. Her friend cannot be seen at all while she is dancing.

Mengapa dirimu, tak kunjung menahu

Why do you still don't know?

Terlalu lambat selamatkanku

That it is too late to save me now

Soon after, Selina returns back to her sanity, seemingly unaware that she has been possessed before, although now, all signs of subway that she entered with her friend before is gone, replaced with a misty forest landscape that looks like it hasn't been visited by any kind of civilization, with smoke effects and fake, plastic trees being used to achieve this kind of effect. The cameras continue to shoot Selina, seemingly agonized that her friend is away from her sight, Selina would later on realized that she might not find her friend, and started to dance with outmost grace, succumbing to the temptation that the Javanese forest spirits have offered, Selina would then move towards an edge of the stage that Llalta puts, seemingly moving away from the center of the stage.

Trying to escape this hell
And now i know what it's like to feel your pain

Later on, while Selina is singing, she seemingly notices that there is someone seeing her from behind, and afterwards, she then turned her back and saw a faint glimpse of her friend, standing motionless in the other edge of the stage, Selina then stops dancing, as if returning to reality, and immediately reached her arm to hold her friend, trying to bring her friend back to reality and save her once and for all, afterwards, Selina would later on runs to save her friend, however, as she is running, blinding white lights envelop the arena once again, in tandem with the faint strings of kecapi music playing in the instrumental, distracting Selina and making her cover her eyes to save herself from the dangers that might reach her.

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

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

Suddenly, a dizzying frenzy of red and white begin to envelop the whole arena, coupled with the mysterious mist from before that finally highlights the climax of the song, immediately, Selina has decided, through a combination of her movements and expressions, that maybe saving her friend from this void isn't worth the sacrifice, and, seeking to join her in what seemed to be a blissful life, free from worldly beings and pleasures, lets her body be overtaken by the forest spirits, and immediately, the stage is engulfed in vivid, blood red, wherein Selina dances with an unnatural grace, behaving like a Javanese shadow puppet, with a multitude of Balinese kecak dancers, with torches perched around surrounding her, treating her as if she is some kind of mother goddess, presumably some embodiment of Dewi Sri (Rice goddess) that will bring prosperity, or some kind of paganistic Javanese goddess whose records disappear as time goes by, soon after, the gamelan sounds slowly become softer, and the stage immediately turns pitch black, causing the dancers and the torches to disappear, seemingly being a figment of Selina's imagination, as a single spotlight shines on Selina, Selina then drops to the floor, and kneels towards the audience.

Mengapa dirimu, tak kunjung menahu

Why do you still don't know?

Terlalu lambat selamatkanku

That it is too late to save me now

Selina then stands up and said, "Thank you, Llalta! I Love you!" much to the audience's applause and screams (happy of course), and afterwards, she runs of backstage in preparation for the next act.

by **Polkopia** » Tue Jul 07, 2020 2:27 am

Kasia Vipčak // "Restless"

Once on stage, Kasia stood in the very center, wearing a loose maroon blouse and loose-fitting thin black pants. Her long, dark hair was pulled behind her head, exposing her entire face which was lightly done-up with makeup. Her stylist had applied eyeshadow in the same color as her blouse, before lining her eyes in a thin black liner, extending out past the corner of her eyes, giving her a slight 'wing' style. Her lipstick was in the same hue as her eyeshadow and the rest of her makeup was very minimal, save for a light layer of foundation and concealer in order to make her skin glow in the unforgiving lighting that high-definition stage lighting could be. Once Kasia took the stage, her backup singers also situated themselves at the very back of the stage, completely hidden from view for now. For this performance, the Polkopian delegation improvised a bit upon learning that the Llaltese bid had won the right to host the contest. As the proposed stage did not include an LED floor, the Polkopian delegation took it upon themselves to bring a long tile which would project an LED pattern, and have it situated underneath Kasia in order to mimic an LED floor. The tile itself was only 2 meters wide, but 10 meters long in order to match the dimensions of the stage. The tile would extend from the center of the main stage, all the way down the catwalk and end where the front of the stage ended.

As the instrumentation played, the LED panels on the far sides of the stage showed gold speckles disappearing and reappearing rapidly, while the main screen in the very middle of the screen showed Kasia's head, turned around so that the audience only saw the back of her head, until she turned around and the audience saw her profile. Though it only showed her head and the very top of her shoulders, one could see that she didn't wear a top to cover her body. In an interview with a Polkopian journalist during rehearsals, Kasia revealed that she preferred it this way in order to visually display a vulnerable side of her, while the song would audibly describe her own vulnerability. The arches reaching out from the center screen would slowly illuminate in a similarly-colored golden hue as the other LED screens until they were fully illuminated by the time that Kasia started to sing her verse. The stage floor remained dark until she started signing, when a single spotlight made Kasia visible to the audience. She held her microphone tightly and walked forward slowly along the LED panel (Which at this point had not yet shown a pattern). She maintained a stern expression as she looked at the camera and continued forward.

It's midnight and I'm restless.
My eyes are closed, my mind's awake.
A million thoughts are racing.
But only I can lose this race.

The LED screen on the floor panel started displaying a pattern now, sending thin golden lines flying from the front of the stage, under Kasia's feet and disappearing toward the back of the stage. Kasia continued to slowly walk forward and by the end of this verse, she was standing at the very front of the stage. The initial camera angle showed a closeup of Kasia as she walked forward, but then switched to another angle by the second line which showed an overhead view of the catwalk of the stage, emphasizing the patterns on the LED panel animation that was occurring as she sang. The next angle showed a full view of the arena so that the entirety of the LED screens in the back were visible, along with those displayed on the panel below Kasia.

Silence can be so loud, oh.
And it's ringing in my head.
But no one's here to save me.
As I'm drowning in my bed.

The camera spun away as an exiting transition and the next shot was shot from the catwalk of the stage so that the audience was seen in the background. Kasia extended her free arm to the side, looked up, and sang the first line. She furiously pounded her chest as she sang the second line, squeezing her eyes shut, whereas the third and fourth lines resulted in the camera rapidly retreating from Kasia, who turned around and sang at some of the closest members of the audience. As she sang the last words in the pre-chorus, she bent over and backed away from the crowd and the camera captured one last angle from above before transitioning to the chorus.

And I know that I've, been here before,
But I don't know if I can, take much more,
I know I've won some battles, in this war,
But I won't stop the fight.

The camera rapidly zoomed out as soon as the chorus began so that the entire stage was viewable from the audience back home. The lights changed from the previous golden color scheme to a blue one, and the pattern on the LED floor panel now resembled a sort of celestial pattern that dotted various parts along the panel, where blue comets flew across the panel and disappeared from sight. As the chorus began, Kasia ran across the floor of the LED panel as she sang. As she did, some of the fabric from her pants trailed behind her. She held her arm out in front of her as she ran until she sang the third line, at which point she stopped in her tracks, spun around, and threw her arm out to her side. As the background singers sang the oh oh oh oh parts, the lyrics of that bit would be shown on the background LED screen surrounding Kasia's profile.

I'm tired of feeling restless.
I'm tired of being up all night.
Dying as I lay here, oh
Trying to make it all feel right.
Always overthinking,
Hearing voices in my head.
I'll tell you how I'm doing,
If you will listen to me.

During this next bit, the lights would become dark once more, save for the LED screen, which was the only part of the stage emanating any sort of light. Spotlights flew around the audience, however, and the camera rapidly panned throughout the audience, where members were jumping, dancing, and singing. All that was visible of Kasia was her silhouette, where wind machines made it so that her hair and the loose fabric of her clothes blew behind her, and rapid camera movements added to this almost chaotic feel of the stage.

Restless
Restless
Restless

The lights turned back on, illuminating the stage in the same golden hue as it had been during the first bit of the song, and Kasia walked around the perimeter of the front of the stage, turning her head to the side in order to look at the camera, which was positioned in the front of the stage, moving around the perimeter in the same arc that Kasia walked in. The view featured some of the audience members who were sitting in the very front of the stage and flags that were being waved by some of the members behind them, though none of these blocked Kasia from being visible to the camera. This positioning occurred throughout this verse and the camera angle never changed. During the third line, Kasia paused in her walk in order to slightly bend down and squeeze her eyes shut in order to sing the "woah" with more power than she had done throughout this verse, but then resumed her walk once finished.

I'm always independent
Thought I'd do this on my own.
But now I've come to realize, woah
Some things you can't do alone.

The lights dimmed and the background LEDs ceased showing their patterns, minus Kasia's profile, which was the only thing visible in the back for now. Columns of fir spurt out from the perimeter in short bursts as soon as she started to sing ever line in the pre-chorus, and every time they did, one arc on the back LED screen would illuminate in a powerful red color, starting from the inside. By the time she sang the last line, all of the arcs were colored in the bright scarlet hue and the stage lit back up in similarly-colored tones. Kasia, meanwhile, stood at the part of the stage where the catwalk meets the main stage and as she sang, she kept a stoic expression. Meanwhile, the intense lighting that the fire gave lit up her face in intense red and orange colors.

And I know that I've, been here before,
But I don't know if I can, take much more,
I know I've won some battles, in this war,
But I won't stop the fight.

As Kasia sang the chorus one final time, the LED panel beneath her showed an image of paper. Every second that passed, the edges of the paper seemed to be blackening and crumbling until the final spot left was where Kasia stood. Midway through the chorus, the spot that she stood on burst into flame and Kasia looked up, extending her arm up toward the ceiling. As soon as this happened, the background vocals kicked in, resulting in "ohs" being displayed randomly along the LED screen in the back, before they too burned up and disappeared from view. The final camera shot of the chorus was a closeup of Kasia, who almost looked as if she was pleading to the audience as she sang, "If you will listen to me."

I'm tired of feeling restless.
I'm tired of being up all night.
Dying as I lay here, oh
Trying to make it all feel right.
Always overthinking,
Hearing voices in my head.
I'll tell you how I'm doing,
If you will listen to me.

As this bit played and the song concluded, Kasia tentatively stepped forward, and the animation on the LED panel made it so a rocky path appeared right where she stood. She proceeded to walk forward toward the very front of the stage and every step she took resulted in the same animation being displayed in the spot that her foot made contact with the floor. By the time the song was over, Kasia had made it to the front and stood there with her chest out and her hands at her sides with her palms facing out. The song was over and the lights dimmed.

Restless
Restless
Restless
Restless
Restless
Restless

"Thank you Llalta! Love yourself!" She shouted in the microphone as she left the stage.

by **Elejamie** » Tue Jul 07, 2020 4:57 am

ETV1 presents WorldVision 83 - English language commentary by Cerin Erali and Flynn Taggart

CE: Welcome to WorldVision 83! Bienvenido a WorldVision 83! Yalcom WorldVision 83! I'm Cerin Erali...
FT: ... And I'm Flynn Taggart.
CE: And we're here live in St. Christopher! Over in Luh-lalta? Yalta? Llama?
FT: Something like that.
CE: Anyway, we're here in the country that won last time and we're your English language commentators. For a Spanish commentary, Iyilim language commentary or to sing-along to each entry, please press the red button. Thank you. Para Español, Iyilim o karaoke, pulse botón rojo por favor. Gracias. Aspenol, Iyilim o cereoc - Ancelis o Aspenol, ne Iyilim - plaes toc rad boton. Fenci.
FT: Though there are some changes, the televoting still works the same way.You either dial the number, text SONG, S-O-N-G in all caps, followed by the entry number to the other number, you click the button on the app.
CE: Yes, that's right. I'm sure you've heard the news and how that televoting thing from last time will be a permanent fixture. It's been fixed, though without a trial run, but it's now a forever thing until it gets repealed.
FT: I'd raise some concerns but just as long as it keeps them entertained, I guess.
CE: And I'm not bothered by it. Again, it's fun and it's suspenseful.
FT: Any other news?
CE: Not in particular, no. We're song #7 so, naturally, we can't vote for Jon Navarez, Lake Mizumi, Mason and their big song together. It's a shame and we're at the mercy of everyone else but we might do really well.
FT: I've listened to our song and it probably won't.
CE: We'll see. We've got a long night ahead, so let's get on with the show!

by **Syrche** » Tue Jul 07, 2020 5:22 am

25. Syrche

MLE Cleary
In My Life
Tune: Niamh Kavanagh - In Your Eyes

WIP

WIP

Margarethe Lavreen Elisabeth Cleary, a 37 year old former performing artist from Carpenter City, Syrche, had won the Sunlight Song Contest and been chosen by the international juries to represent Syrche in Worldvision. Against all odds she had made it here, to St. Christopher, Llalta.

12 editions had passed since Syrche's last foray onto the WorldVision Stage, but MLE Cleary felt up to the task. Now she stood backstage, excitedly awaiting her call to the stage where she would perform the song that she had crafted. Life had many ups and downs, and 2020 was already been a bumpy year, but MLE beamed.

Polkopian Kasia Vipčak left the stage and the crowd quieted down a bit as the lighting dropped into darkness. The Title Card was shown, and the music began as MLE entered the stage area.

The backgroundfaded into the screens into the panoramic background, lightly sprinkled with stars to accentuate the theme.

Your loves a rollercoaster, and it's been a bumpy ride
a neverending fall from a peak too high to climb
was it expectation? did i fail to really see
full of wants and wishes that never came to be

The performance itself was fairly subdued, as MLE was more focused on powerful vocal showing and less on acrobatics. Even the lighting was kept to a minimal, in the soft blues and yellows that had oft been associated with Sÿrchesi entries.

For the Chorus, MLE centered on the stage, singing directly and confidently to the audience.

In My Life
I've spent some time, thinking it over and
It's time for me to raise my head
It's time to take a stand
In My Life
i realize, life isn't over yet and time
Time is on my side at last,
In My Life

After the chorus, the lights were turned down, leaving MLE in near shadow as she drew back and toward the edge of the stage. Through the next verse, the light slowly builds intensity, revealing a glossy, starstruck look on her face.

You changed my existence, like the planets had aligned
took all my attention, like a moon locked to the tide
was it infatuation? did i lose my sense of me?
immersed in all we never were, but suddenly i can see

The Lights flash back into full, splashing MLE's sequined red overcoat, and revealing her beaming smile as she aproaches center stage, giving every ounce of herself to the performance; leaning into the microphone and out toward the audience.

In My Life
I've spent some time, thinking it over and
It's time for me to raise my head
It's time to take a stand
In My Life
i realize, life isn't over yet and time
Time is on my side at last

For the first time in the performance, MLE makes use of the entire stage, sauntering about from Center to Left and back toward the right, strutting her stuff and shaking her hips the whole way!

I've never felt so free
Free to express just who i am
I'm going the distance
I've never before but i can!

At this point, she is joined on stage by apair of backup singers who casually strut in from both sides of the stage and begin to echo the chorus vocals. They are dressed similarly to MLE, and stay off to either side of the stage, swaying to the music.

In My Life
I've spent some time
my life isn't over yet, and time is on my side

MLE threw her head back briefly and extended her left arm, gripping the microphone firmly in her right as she belted the final chorus.

In My Life
I've spent some time, thinking it over and
It's time for me to raise my head
It's time to take a stand
In My Life
i realize, life isn't over yet and time
Time is on my side

MLE held the last note as the lights began to dim and the audience cheered.

"Thank YOU! On behalf of Syrche, Thank You all so very much!"
MLE Cleary blew a kiss to the audience, and exited the stage.

by **Ko-oren** » Tue Jul 07, 2020 5:29 am

We'll take 26 then.

by **Titaniumland** » Tue Jul 07, 2020 7:30 am

27. TITANIUMLAND
Michael Lu: "Tethered To U"
Tune: Benjamin Kheng: "Wicked"
Music: Michael Lu & Sasha "SasHI" Hill / Lyrics: Michael Lu

Michael Lu was born and raised in the capital city of Rowland, in a family of athletes. His father is a tennis player, while his mother is a pole vaulter. The apple doesn't fall far from the tree. Lu showed his interest in track and field. He lost his opportunity in participating in the national championship when he was 19, due to temporary leg injury. After his recovery, his uncle, Benji Lu, asked him to portray track-and-field legend Andrew Lee in 2010 sports biopic, Glossary. Due to his outstanding performance, Lu was nominated in Best Supporting Actor at the 10th Golden Circles, the most prestigious award in Titan cinema.

Lu was also introduced to the music industry when he contributed as a backing vocal to a track "Bones" by phenomenal rock group The Collar in 2013. He then met producer Sasha "SasHI" Hill and talked about starting his music career. He released his debut album A Comma in 2016. The album led him to receive the award for Album of the Year and Best New Artist at the Titan Music Awards 2017. His successful career didn't stop there. He performed to a large crowd in Rock in Titans music festival 2018. Then, he released his sophomore album Bridges in 2019 and peaked at number one in Titan Album Charts.

He was approached by broadcaster TNT to represent at the Worldvision Song Contest. "I'm so honored to represent the Titans at the Worldvision. I think we all can agree that it's a big dream for all Titan musicians," said Lu during a virtual press conference before the release of the "Tethered To U". The song was written by himself and his frequent collaborator SasHI, who also co-wrote Titan entries at the 74th and 81st contests. "I wanna tone it down a little. I wanna remind you of the beauty of falling in love. I think Joelle [last edition's entry] set such a high standard, so I feel a lot of pressure right now," Lu explained.

For the performance, Lu would be joined by eight members of Rowland Queer Chorus, an LGBTQ+ chorus based in the capital city. They stands side by side with each of them LED standing mic. On stage, there would be a huge glass box, inside of it, a dancer Rickie Lee. (OOC: Similar to the glass box in Farid Mammadov's Eurovision performance.) There would be also white flower petals surrounding the stage.

PERSONNEL
Rowland Queer Chorus - chorus
Rickie Lee - dancer

LEGEND
Italic indicates the part is sung by the chorus.
Bold Italic indicates the part is sung both by Lu and the chorus.

Lu is wearing his collaboration collection with Titan clothing label Midnight Revenue. It consists of a blue tie-dye shirt and pants. Rickie is wearing a black sleeveless shirt and black pants. The chorus is wearing another collection of Midnight Revenue, also consists of blue and orange tie-dye shirts and oversized pants.

I've been feeling kinda pointless
That I'm with you less
I've been feeling down
I've been feeling so down
I've been thinking about how
You're a miracle worker
Make me thinking 'bout
How are you even real?

After the postcard ended, the camera pans around the sky then Lu is seen standing on stage. The lights are dim as we can only see him. Lu starts singing the first verse. Lights point at him from upper left, center, and upper right. Lu interacts with the camera while he walks forward.

The way we love made me think
How lucky I am to have you
The way we flow made me think
There would be more that we could do
I'd be still trembling
Every time I'm with you
That's how I know I'm tethered to you

Lu still interacts with the camera. Lu is moving his body side to side while still standing in the center. Towards the end, the LED mic starts flashing and stage lights also flashing on the chorus. They move side to side while snapping their fingers. Lu moves around the stage. The camera pans him moving in a circular motion.

I'm tethered
I'm tethered to you
I'm tethered
I'm tethered to you
I'm tethered
I'm tethered to you
I'm tethered
Now that I'm tethered to you

The stage is completely light. The camera pans the glass box in a circular motion. The chorus moves side to side while clapping their hands. LED lights mics are moving to the beat of the song. The camera pans back to Lu interacting with the chorus.

I've been ignoring the sirens
To buy you diamonds
I've been breaking down
Breaking the law for you
I've been thinking 'bout the distance
Building up bridges
Make me build them all
Build them all by myself

Lu walks from the edge of the stage towards the center. Throughout, Lu interacts with the chorus. The camera pans from the front. The LED lights mics are light as Lu approaches the related vocalist. Then, the camera pans the dancer in a glass box. Lu puts his hand on the glass box and Ricki touches Lu's hand. Ricki follows Lu's movement.

The way we love made me think
How lucky I am to have you
The way we flow made me think
There would be more that we could do
I'd be still trembling
Every time I'm with you
That's how I know I'm tethered to you

Lu and the chorus perform a simple dance routine, with Ricki as Lu's shadow. Lu walks forward towards the end. The camera pans around the stadium. The stage lights shine on Lu while the camera zooms in on him fast.

I'm tethered
I'm tethered to you
I'm tethered
I'm tethered to you
I'm tethered
I'm tethered to you
I'm tethered
Now that I'm tethered to you

The stage lights Lu walked towards the glass box. The camera panned shoulder-length of Lu leaning on the box while Ricki spread his hands trying to hold Lu. The chorus approaches him putting their hands covering Lu's face. Then, when the chorus puts away their hands, Lu disappears.

Oh, the way we love (Oh, the way we love)
Oh, the way we flow (Oh, the way we flow)
Oh, the way we are (Oh, the way we are)
I'm tethered to you (Ooh, you're tethered to me)
Oh, the way we love (Oh, the way we love)
Oh, the way we flow (Oh, the way we flow)
Oh, the way we are (Oh, the way we are)
I'm tethered to you (Ooh, you're tethered to me)
Now that I'm tethered to you
Oh, yeah, yeah

The camera pans the chorus as they are moving forward. They leave the mic stands while they are interacting and singing to each other. Lu still disappears throughout the bridge. The camera pans the dancer in a glass box still dancing. It finds out that Lu is performing on the back of a glass box dancing to the same moves as Ricki.

I'm tethered
I'm tethered to you
I'm tethered
I'm tethered to you
I'm tethered
I'm tethered to you
I'm tethered
My soul is tethered to you
Oh, the way we are
I'm tethered to you
Oh, the way we are
Now that I'm tethered to you

The music stops. Lu is now on top of the glass box. Ricki is now upside down doing the same movement as Lu. Lu and the chorus sing while clapping their hands over their head. The camera pans the situation inside the stadium, where all the audiences are also clapping their hands and chanting the song. The camera then pans to a group of fans spreading the Titan flag while they are chanting the song. The final shot includes a mid-view of the stage then zooms in on Lu putting his fist to the sky. Lu then shouts "Thank you Llalta! Thank you!".

by **Estana and Thaos** » Tue Jul 07, 2020 9:47 am

28
ESTANA AND THAOS
Tesero - "The Flood"
Music & Lyrics - Mila Sevin, Diemo Corsento, Laila Virn, Mical Tesero, Francesco Saai
Tune

Tesero hadn't exactly planned to end up on the Worldvision stage after a 5 year hiatus which has almost permanently split the group up. It was a perfect storm of meetings and persuasive members at the Estanian broadcaster that led to the five members coming back together for one of the highlights of their career.

They had spent a lot of their career in a constant experimental, discovery phase where they would switch up the dynamics of their group and sonically evolve with every song that they would write. And they would write a lot. Tesero is certainly known for their pen, and their long discography which seems to never end, but you can never get enough. The founder of the group and the man that brought all five of them into one place to create the magic, Mical Tesero, was born in 1985, the oldest of the group, but certainly the biggest child. He loved the sound of the 80's and carried that through with him in his life, and continues to be beside him in his creative work to this day.

After a stunning 11 albums in just 10 years, Tesero had decided it was time for a break in 2015, citing a creative drought as the reason for the hiatus, and it was a split opinion about whether or not they would eventually come back together again or not, as many groups of the same calibre had not ever seen each other in the same room after the same circumstances. Their strong friendship and musical determination, however, dragged them back into the studio one last time, to write the twelfth record - "Fiume" - meaning "River" in Italian. The Italian language is a lot of what makes the music great, but their Worldvision song is not the same. It's almost out of their comfort zone to have a full song in English.

The broadcaster contacted Mical with this exact intention, to have them perform for Estana and Thaos (Mical being from there), with a song in English, with high hopes and a sparkly sound. They wrote "The Flood" in just five hours, after arriving in the same room. The song is, on the surface, about the fading love someone feels as something gets in the way of the two people. Looking deeper, it's more about the connection of the five, and how they wish the music industry (the flood) won't remove the deep attachment that they all have to each other. Each of them had a hand in crafting the production of the track, but most of the song was written by Mila - knowing that she had been most affected by the separation, and this might help her heal.

Mila recording part of the song in May

The hardest part of the process was actually getting all five of them to get to Junteräpten International Airport in time, after they had to take three different flights at different times directly from Lipa's NAB Airport. The girls had managed to get there fine, and were actually waiting for a day in Junteräpten, before the men of the group were going to arrive in the city. Once they were all there, and tough words had been spoken to Mical, Diemo and Francesco, they set sail from a beautiful little boat, heading for the destination of the 83rd Worldvision Song Contest in St. Christopher. They took to the city really well and loved the tiny-ness of it all, admiring how the community of townspeople stared at them in their glamorous jewellery and extravagant dresses. They shopped in the several marketplaces across the city, near enough purchasing everything there was to offer, bumping into many different artists who they were about to compete against in the outside arena just down the road, on the green. They adored having a chat to Euna from Axuva, who exchanged kind words and also gifts from their nations, such as the national daisy flower of Besen and a basket of food from Euna, which they completely devoured an hour later in their hotel room.

The hotel room was fine for them, although they had not expected it to be that small, nor have they ever stayed in a hotel that small. It genuinely was a nice experience for them however, as they spent most of their time exploring the many different locations of St. Christopher, and meeting many other acts, as well as communicating profusely with their delegation about how much time they were planning on spending partying in the main area of the village just across from their hotel - which had a lovely little pub, something Francesco took to extremely quickly.

The five members photographed on the streets of St. Christopher

During rehearsals, pundits had thought that they might be out of it most of the time, with Francesco clearly being tipsy throughout most of their slot, but it was okay, it was just rock n' roll right? Their song often entertained the crowds of natives in the city, who had come to watch the enormous event take place in their home. Estana were going to perform 28th, which was a struggle for Mical, who tried to keep awake throughout the day after going out with his bandmates all night, watching all the other acts perform their song for the first time and trying to pass the time until they were supposed to be on.

It was all going smoothly, and it felt almost like they were running out of places to see and people to embrace, before it was just one night to go. They all certainly felt the pressure of going on to perform the next day, it was a giant amount of pressure, especially as they were about to premier Estana and Thaos in the contest in front of the entire world will hundreds of millions of viewers.

At the parade of nations, they came out in individually fitted and nowhere near cohesive outfits, made out of lots of fabric, almost 70's looking. The ladies wearing abnormally long trousers, and high heels that elevated them to the level of the tallest member Diemo. They had an unexpected amount of cheers and applause from the crowd which had gathered all around the large stage positioned in the middle of a large, quadratic area of the greenland outside of the main city. The camera displayed the glistening ocean behind them as they entered out from the back of the stage and then made their way to the green room type space, where they chit-chatted with the World's acts and discussed how nervous they were to get on the stage.

It was a tense moment for the band, as they supported the first few acts with enthusiasm, but turned into a nervous mess as the numbers drew closer to 28. It was 10 and then all of a sudden it was Axuva at 14, and then we had Llalta appearing on the stage as the 17th song and then it felt like they had blinked and it was 27 already and the fear had made them furiously scared of the reaction they would receive. To be honest, they were also petrified of the infamous NIL POIS. They were getting rushed on stage, as they had to switch into their creative music zone. The postcard of Estana had begun to play. They heard the muted cheers backstage, and before they knew it, showtime. The lights go down and the glittery instrumental had begun to cover the crowd in happiness. "Questo è tutto ragazzi." Mila whispers to the group.

As the five of them enter the stage, with Mila and Francesco heading to the right of the stage where there was two microphones, and Lila, Mical and Diemo walking off towards the drum kit and several other instruments. The glittery sparkle of the instrumentation at the beginning of the song lights the vast outside garden of souls on fire, they scream out in excitement. The group are shocked at this reaction but at the same time feel elated to be back with each other doing the only thing that they know how to do well. Towards the beginning of the guitar and kick drum portion of the first verse, the flashing lights in orange - meant to portray the national colours of Estana - fade into insignificance, and a simple lighting layout consisting of just two spotlights on either side of the stage, and use of the main lights glowing slowly in orange, which are stationed way at the back, high up on the setup of the construction.

Francesco sings softly for the first time, "the flood is on its way". His face lights up in the beautiful shape of a smile, reaching his hand out to the crowd, as if to say that he sees them and that they are living in this moment together right now. To his left, Mical and Lila have begun to combine the kick of her drums with the swift instrumentation of his guitar. Diemo plays the bass underneath the arrangement, lifting up the tone of the sonically quite sad track.

With his singing of the first verse, Francesco feels the music as he normally does, through the use of his hands - probably the equivalent to the bass face that Diemo portrays all across his expression. He swishes them about, but still, maintains a short distance between him and the microphone stand. He had always been a fairly restrained performer, much more in the business of keeping himself true to the time when he was not known internationally, keeping it all about the music in his heart and the music that flows like a river of sweet words out of his mouth.

During the chorus, all of the members use their voice and light up the stage in a stunning arrangement of the harmony, which covers the beautiful range of all five members. "Oh, ahhh" sings all of them, and after this they exchange a warm glance over at Francesco, who takes over the main hook of the track. He truly does hope the flood won't take the love away in that moment. Throughout, he thinks of the small things that have happened in the group's history that makes me him both reminiscent and joyous that this gets to happen to them again. His confidence builds towards the end of the first chorus, evident from the quick pull of the microphone out of its stand, and he begins to walk up to the front of the stage.

Here, he tells the story directly into the eyes of the audience at the front of the stage, who are greeted by the soft eyes of Francesco and the warm voice that is pushing out of the speakers at both sides, and landing like honey to the crowds all over St. Christopher. He strolls off to the left side of the stage, and then in a humorous moment, walks directly back to the right side and then yet again walks back over to the left side.

The arrival of the second chorus brings the arrival of an avalanche of blue lighting which covers the stage like an ocean, and the only thing not affected by this, the five people who are giving their entire beings on stage. This signifies the strength and the bond of these people, all coming from different backgrounds, with different dreams, yet still here they are, all together for maybe the last time ever. It was so important that they would live for right now, frankly, they knew that they would not win - and so they had barely even glanced into the camera throughout the entire performance. They loved the thrill of the audience, and the faces of those who felt emotional as they sang for the second time, "Oh, aaaah".

Francesco repeated the first verse, this time he had walked over to Mila who was right next to him now, and he sang. He sang into her eyes, the dreamy blue seaside paradise that they were, and the emotions that she had kept in for a long time came out like waterfalls, and you could hear the audience cheer in encouragement, as she had begun to shy away from being seen for a while. He embraced her softly, continuing to sing, referencing her as the fortune-bringing sky spoken of in the song.

For the last time, they joined each other in unison, knowing that their journey was not going to end anytime soon, and this was a milestone that they needed to push them to be in one place, and share their story, their passion and their music. Joining him for the last lines of the chorus, each of the five members all joined in for the final time, "I hope the flood won't take love away".

They ran into each others arms after the final strum of the guitar, which Mical had practically dropped to embrace each other, and they didn't say anything. It was a special thing for them to be on the stage right now, after the long years, the drought had brought a flood, a flood of love and forgiveness. They all shared their thanks with the audience, and had to be rushed of the stage by staff, just before the postcard of the next nation, 29, had begun to play.

by **Antenovaria** » Tue Jul 07, 2020 11:17 am

29. Antenovaria

https://www.youtube.com/watch?v=KDUOLz9ZL2g

Sabrina and Aurora would stand against each other on their backs and they rotated on a prop that was on stage as they sang the intro and there would be vintage televisions behind the prop.

Lemme know
Lemme know, lemme know, let me know

Sabrina would walk off the prop, moving to the sound of the song and her own voice and Aurora would dance in the background as she sang her verse.

They think it’s all so quiet
But there’s more than silence
Sound all the sirens
All the fresh flowers
Being picked out
Acting like them pirates
Feeding their filthy diets
They think it’s all relaxed yeah
But the world’s on fire

Aurora would come down off the prop as well and they would start to sing together and do the same dances and the lighting on stage would be red, with psychadelic visuals on the LED screens

Losing all control
Thought it was me and you against the world
Lets block out the sound
You take me round and round
Get down get down get down
Baby look around
You’re a bit of a fool to think it’s down
Lets block out the sound
You take me round and round
Get down get down get down

Sabrina would sing and they would continue dancing next to eachother

Come down baby I’m all yours
Feels like im goin psycho
'Til you said you would cut off the whole world
If little old me would be yours
And baby I really know for sure
That i’ll always be yours
Despite it all we keep it in tempo
No one can break between this lasting love

Sabrina and Aurora would sing together again and they would start to move to the song flowing with the beat of the song and move their hips.

Losing all control
Thought it was me and you against the world
Lets block out the sound
You take me round and round
Get down get down get down
Baby look around
You’re a bit of a fool to think it’s down
Lets block out the sound
You take me round and round
Get down get down get down

Sabrina and Aurora would be shwon by Arial View and they would lay down as the stage projected a grassland and they would lay on a picnic like mat

.

[Bridge: Kali Uchis]
Lemme know
Lemme know, lemme know, let me know

[Verse 3: Jorja Smith]
The noises are driving my crazy
What world are we livin in baby
You’ll take my mind off that
You bring all the joy that I needed
You fell from the sky and
Came into my life
Oh baby
I need you more, more
Losing all control
Thought it was me and you against the world
Lets block out the sound
You take me round and round
Get down get down get down
Baby look around
You’re a bit of a fool to think it’s down
Lets block out the sound
You take me round and round
Get down get down get down

[Bridge: Kali Uchis]
Lemme know
Lemme know, lemme know, let me know

[Outro: Kali Uchis]
Taking me' 'round and around and around, all the sounds, all the sounds
All of the sounds, all the sounds, all the sound, takin me round now

by **Peoples Republic of Joyea** » Tue Jul 07, 2020 1:07 pm

by **Llalta** » Tue Jul 07, 2020 2:51 pm

host intervention 2 perhaps

by **North Alezia** » Tue Jul 07, 2020 2:54 pm

COMMENTATORS:
Ishtar Hamaza
Lily McHammerson

IH: Hello and welcome to the 83rd Annual Worldvision Song Contest! I'm Ishtar Hamaza
LM: And I'm Lily McHammerson! You're tuning in to ABA Channel 3, and we're reporting from St. Christopher, Llalta (they departed earlier than the team)! You can change the commentary language to your desire. Just press the red button in ABA Interactive! There are 10 other commentators, two each in every language of Indonesian, Arabic, Hebrew, Russian, and Aramnan. If you want other language, maybe Buginese? Japanese? maybe we can give subtitles to you
IH: Exactly. We can also tell you that the public can vote for songs they like like usual! You can call in the number, or you can go to your nearest FABA to cast your vote, or you can click the red button available on your remote. Your bill will be paid later.
LM: Hah. And also, look at these stars! This is obviously a homage to the slogan, "Wish Upon A Star"
IH: And by the way, we actually bid for the contest, almost won, but lost in a tie-breaker. It's fine, tho. And ABA are actually having a discussion whether to bid for host again...
LM: Huh, the song for the opening gave me the feeling like I'm looking up to the sky, and stars around me.
IH: I can see that, and we can see the lives of the families in Llalta. And everyone loves a bit of piano! Isn't that beautiful...
LM: Yeah. There's a lot of stars implemented here. I like it. Next time we had the chance to host, I hope we can do this well!
IH: We're not as quaint as Llalta, though.
LM: Yes. But there sure are ways that we can show what North Alezia is like!
IH: We can talk about us later, just look how LBN made their video. Every wish came really true...
LM: And another wish will come true right here in St. Christopher... Who'll win?

CHOIR
LM: Everyone loves a bit of choir! I like the lyrics.
IH: I love these type of songs. Especially as a welcoming tune.
LM: Lovely from Llalta once again! No wonder they won. Their musical culture is already beautiful!
IH: Wonder if Esther is in a choir? Maybe not.
LM: Beautiful, I say. Beautiful.
IH: Makes you cry, actually. Our friends made too much tearjerking moments!
LM: Culture difference. They love it on the start, we love it on the end.
IH: Shush!
LM: Oops. Well, here's Eric McGarisson! AAHHHH! ERIC HIMSELF!!! GIVE ME WATER!
IH: You really a fan of alot of people in there...

PARADE OF NATIONS
LM: Well, that was over with. And look at the nations walking, waving, enjoying the moment knowing that they're on live TV in front of thousands in stage and millions maybe billions watching in front of their beautiful maybe interactive TV Set...
IH: And it's us next! Look at Izdar and Samara. They look really happy as siblings, although I hope they follow the COVID-19 precautions.
LM: They did follow. They only did it for a split second...
IH: So many countries... Well, let the contest begin! Prepare your money, your remote, your phones, or your trip to FABA! HERE WE GO!
LM: Whooooo!

ALL ACTS

1. PROLUVIA
LM: And to start, we're having a very dancable and positive song. But... I don't know, people who have short attention spans, might not like this
IH: For some reason, I kinda feel that way. But the lyric is good, the music is indeed enjoyable, but I feel that Proluvia can do better in selecting their songs. Oh yeah, I can say that the music is kinda motivational, so that's a plus.
(Screen: Voting for Proluvia? Call 010-1010-1010-01, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

2. HIGHLY RANKED
LM: It was rumored that they withdrew together with Amuaplye?
IH: Really sad. I actually expect myself to laugh on every moment they're on stage...

3. BRITONISEA
LM: And finally we're listening to good music!
IH: I feel empowerment here.
LM: Exactly! The music gives power to women out there, and the lyrics gives addition to the sense of power given by the song. KAYLEY also has a good voice, and I can't wait to see what Britonisea has to offer, because I know they have a lot! Like, they won WHF last edition in a very kick-*ss style! Very good song from Britonisea, .....
Both: AGAIN!
IH: JINX!
LM: noooo..... (silence)
IH: Actually, we need you so we can progress. Lily McHammerson.
LM: HAH! Never Jinx me again in a commentary live session.
(Screen: Voting for Britonisea? Call 010-1010-1010-03, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

4. SCOTATROVA
IH: I like his voice. It gives balance to the instrumentals. Really good especially comparing to the last edition's song from Scotatrova.
LM: Yes. And I sense small sense of progress in the song. And Lucas is hot. I can say that.
IH: It's not without criticism, though. Sadly, it grews old too fast. And the progress is too... hm... Can't decide what word to use.
LM: But I can say that it's still a fine song and might bring Scotatrova a better result. Because there might be people who like the song. Overall, pretty artistic too.
(Screen: Voting for Scotatrova? Call 010-1010-1010-04, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

5. ZAMBOODLE
(both are basically on fire, where both extinguish each other)
both: *inhale deeply, and exhale*
IH: OH COME ON! I KNOW IT'S ZAMBOODLE, BUT... JUST, INNALILLAHI! (Islamic word that's used for facing stuff that's way past someone's limit of patience)
LM: Let's... let's... ugh... Even though it's anger inducing and profanity inducing, yes, I sense mothers closing their child's eyes here. I mean... It's too profane that ABA might even censor this song entirely like wipe wipe woosh! But it's in our protocol to not censor everything. Let's.... ugh... say good things, okay? Okay. Let's see... I like the harmony, and the vocals are actually top notch. I like it ONLY on that departement. But, I'll be fairly surprised that SOMEONE might vote for this.
IH: Religious people might don't like this... I mean... ugh... let's go to the next song. The music is actually good. THAT'S THE SINGLE THING THAT I'LL SAY. AND THE SOUTH MAYBE MIGHT LOVE THIS SINCE THEY HIT THEIR BRAINS THE WRONG WAY.
(Screen: Voting for Zamboodle? Call 010-1010-1010-05, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

6. IZMEDU
IH: I like the start. Kinda sound ethnic
LM: Yup. Let's dance! Wait. You'll mock me again. Nah. Anyway, love the remix music.
IH: Very lovely, I'd say. The lyrics, and the theme. "A Wild Heart Runs Free"
LM: Another song that made you adventurous. Everytime you hear this, you'll be out somewhere new. And you feel you're going to walk, explore, and experience stuff that is new to your eyes.
IH: Huh. I don't know you can be so poetic. Wait, you're a poet yourself. Anyways, I agree that this song is ethnically beautiful. Love it.
(Screen: Voting for Izmedu? Call 010-1010-1010-06, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

7. ELEJAMIE
IH: Once upon a time, I was actually bored... And then I'm still a bit bored.
LM: I know... I mean, the staging is good, but... It's just.... Actually, when the lady starts singing, it's just getting better and better. For some reason, I think of vaporwave everytime I'm hearing this.
IH: Like a home exercise video slowed down many many times. Their previous formula is splendid. I don't know will we vote for this? But I think the public will like it. A bit boring but artistic song from Elejamie. But they caught a special market again. Last time with housewifes, this time maybe Gen X people.
(Screen: Voting for Elejamie? Call 010-1010-1010-07, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

8. ERTZEI KISHIM
LM: Okay, I think perhaps this is our winner. Maybe others may disagree, but it's people opinion. I love this!
IH: Exactly. Everything about this, Sandy, the music, Hebrew, it's all mixed properly like how you bake a cake! A serious upgrade from last edition. I'm also predicting that the jury and the public of North Alezia will love this. Especially people that are Jewish or live in Tel Hadiv. I can tell that Robi's celebrating right now. He's one of the National Juries and might also be our spokeperson again after last edition. He's a Muslim living in Tel Hadiv,
LM: Beautiful... Really beautiful. Like the feeling of the singer having a tantrum, just... Yes! Also, maybe you don't know, but we actually voted 12 points for this song back in Kdam! Although some don't like it. It may either win, or lost badly depending on how everyone feels about this. But I'm optimistic this might be another good result for Ertzei Kishim.
(Screen: Voting for Ertzei Kishim? Call 010-1010-1010-08, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

9. CARYTON
LM: I appreciate the modesty. Like, religious people would love that. They're polite and sing good, they might say. BUT!
IH: Once again, the tune and the lyrics are just not..... hm..... universal, sorry.
LM: But the voices are... okay... the song is... okay.
IH: And one that I like is they always giving reference to their national principles. That's so brave of them!
(Screen: Voting for Caryton? Call 010-1010-1010-09, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

10. NORTH ALEZIA
LM: Okay, That's US! Haha I like it. Samara and Izdar are really good siblings! And they have beautiful voices! I mean, those guys wearing white, resembling death (in Islamic values). That should get few points from people all around!
IH: But there's one thing. We play it too safe. Sure we got 17th last edition, but I don't think it's wise to play it entirely safe!
LM: Hm. Yeah, but the music, the voices, the lyrics. We actually made it better than last edition.
IH: We might be going home crying happy with this. But the chances are super small and we have to pray like nothing else in order to get the best result for our country. A good song from us, might do well.
(Screen: Sorry, you can't vote for your own country. You will be charged and your vote won't count. Honestly, we get it. But you just can't, okay?!)

11. NEKONI
LM: A good chill song for Nekoni. Lyrics are good with meaning included inside. Good job from Nekoni!
IH: It's message hits good for me. And it's not repetitive. Good job from Nekoni!
(Screen: Voting for Nekoni? Call 010-1010-1010-11, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

12. MALTA COMINO GOZO
LM: Ooooh I like this as well. It's upbeat, the progress is also implemented well.
IH: Another song that made you adventurous. This might get many love from the jury and public. And I like the message, even though I never read the message, I feel there must be a message inside. You just have to search inside and not giving anyone the blame.
LM: OH! Hahaha. Another good song from MCG. They also love our songs, you know? Really good job, I say.
(Screen: Voting for Malta Comino Gozo? Call 010-1010-1010-12, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

13. SOUTH ALEZIA
IH: South's on it again... I'm speechless. This song is also profane, the vocal is earrape, the camerawork sucks. I mean, just... I can't believe South did a stunt like this! The song is actually good.
LM: Yeah. I mean, WTF is on drugs again, huh? But small question, PEOPLE PREDICTED THIS TO EARN VOTES? I am fairly surprised. And the singer... I can't say anything,
IH: We have good community teamwork, though. So maybe the public will vote for this. And South might vote for us.
LM: I still can't believe someone actually liked this song. (Lily opened her phone, googling "Is it legal for North Alezia to invade South Alezia?"
(Screen: Voting for South Alezia? Call 010-1010-1010-13, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

14. AXUVA
IH: Euna is beautiful... Her voice is also fun to hear on a serious song. What a lady.
LM: And the progress put on the music. It's something worth the wait. I almost wanted to say that the song is boring, but oh well, Euna proved me wrong. This might do well for Axuva. And that upbeat is good to hear!
(Screen: Voting for Axuva? Call 010-1010-1010-14, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

15. THE HLHATA STATES
IH: OH FOR SWEET SAKES WE WIP DANCED SOOO HARD THEY EVENTUALLY WITHDREW.
(Screen: Voting for The Hlhata States? Call 010-1010-1010-15, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

16. BESEN
IH: Oooh. I expected this from Besen. The Sexy Country according to North Alezians.
LM: Love the Italian title as well. "Spericolata" Oh not just the title. Part of the song is also in Italian.
IH: Applause. Applause. I like it, very upbeat. Surprisingly, this edition, I can't find many songs that I don't like and want to criticize. Good job everyone for that. Music is good, the lyric is good, the singer is sexy. Very good entry from Besen. However, there's one thing though. I'm sorry, but I think that Besen might've overhyped the song with promotional videos... The song is sadly not worth the wait even though it's good.
(Screen: Voting for Besen? Call 010-1010-1010-16, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

17. LLALTA
LM: Host turn! But yet, we still have to do the
IH: wip wip wip wip wip
(Screen: Voting for Llalta? Call 010-1010-1010-17, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

18. THESE AMERICAN STATES
LM: I don't know that he's a DJ. But I'm gonna say this. He's not winning this one.
IH: Gotchu there. The music he made is pretty stellar. But the lyrics are just... no. He's lucky he didn't mention Islamophobia or any kinds of racism, or this song might flop hard hard HARD in North Alezia! I mean, come on.... His voice is decent, tho.
LM: Huh. Yup, only few positive words can we say for this song. Decent, but might not win or even flop.
(Screen: Voting for These American States? Call 010-1010-1010-18, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

19. WAISNOR
IH: I like the club esque music. This might go well and bring Waisnor a good result. The voice is also beautiful. The lyrics are in Russian, which is a big plus for Pyaliva voters.
LM: I love her voice. Feel like going to my nearest sidewalk and dance right there. A really good song from Waisnor. People like me at first find it boring, but it'll grow. It just needs time to grow.
(Screen: Voting for Waisnor? Call 010-1010-1010-19, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

20. BEEPEE
IH: Very upbeat. I like it, the music might be boring, but like Waisnor, it'll eventually grow in you every time you listen to it. I might call Beepee an elegant country. Betty Wont is beautiful, with her story as well.
LM: Agree, and she had it really rough. She lived in an "orphanage" managed by Halle Lou. Halle Lou was supposed to be attending the Aliziyyat Drag Race later in August. But after the revelation, North Alezians are refusing Halle's arrival.
IH: Wow. Really something that needs attention. Anyway, I love the words as well
(Screen: Voting for Beepee? Call 010-1010-1010-20, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

21. SOUTH BATOKO
IH: I like the lyrics. Everyone has issues. Everyone! And you don't have to hide it. It's like a small poke at Kalimat back in WHF.
LM: Yeah, the lyrics is pretty nice. However, the music has me wondering "huh?" it's just hm....... it's good, but.... it's kinda.... strange. But, The message is obvious though, and they bring up a beautifully made set of lyrics.
(Screen: Voting for South Batoko? Call 010-1010-1010-21, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

22. KALOSIA
IH: I imagined people on a night club for some reason while listening to this. Pretty fun to listen to
LM: And we got very good lyrics here. Also, it's Kalosia. What do you expect more from them?
IH: Exactly. This is what we could expect from Kalosia, although I kinda expect something a little bit more upbeat than this. Overall, pretty good/
(Screen: Voting for Kalosia? Call 010-1010-1010-22, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

23. ANTAHBRANTAHSTAN
LM: This is an Indonesian pleaser. Another moment where I feel Indonesians are voting in droves. Anyway, the music is pretty stellar, I like the lyrics, it's near perfection!
IH: I agree. I honestly can see Antabrantahstan winning with this. What a song...
(Screen: Voting for Antahbrantahstan? Call 010-1010-1010-23, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

24.POLKOPIA
IH: Really good song from Polkopia. They really have it right with their Landa Vy Polkopia, and we voted there. I forgot the details, tho.
LM: Anyways, the music is good, I like the lyrics, especially the part when Vipcak sung "But now I've come to realize, woah
Some things you can't do alone." That's another song telling you to ACTUALLY ASK FOR HELP WHEN YOU REALLY CAN'T DO SOMETHING ON YOUR OWN.
IH: Guys, it's fine to ask for help. Anyway, my only criticism that it might getting a bit teeny tiny fetus-y tad repetitive. Others may disagree but its maybe just my tastebuds.
(Screen: Voting for Polkopia? Call 010-1010-1010-24, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

25. SYRCHE
IH: And would you look at that. Someone brought us to the 90s! Really lovely song with an able singer with a beautiful voice. This might get votes from the jury and the public, especially the... guess it! h-h-h....
LM:h-h-h-h
BOTH: HOUSEWIFES!
IH: Yes, this would go well with Mother's Cleaning Day.
LM: No kidding, I also like Cleary's appearance. What's her hair secret?
IH: Criticism? hm... maybe might not go well with kids? but what do they know about 90s music...
(Screen: Voting for Syrche? Call 010-1010-1010-25, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

26. KO-OREN
IH: It's that time of the hour again. Let's go. 3...2...1...
both: wip wip wip wip wip wip wip
(Screen: Voting for Ko-oren? Call 010-1010-1010-26, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

27. TITANIUMLAND
IH: I love the title, the lyrics as well
LM: I can say that Titaniumland selected the right singer. Lu is handsome, he can sing, and he can definitely perform live. Just like many others, it's another musical wonder that made you feel adventurous. But something, meh. I almost want to say that it MIGHT drowned by other songs we heard tonight, but people will eventually found something unique with this song.
(Screen: Voting for Titaniumland? Call 010-1010-1010-27, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

28. ESTANA AND THAOS
IH: A drum start. Gotta like that. AND ANOTHER TRIP TO THE PAST! What's with people bringing old songs. And that instrumental start was too long it might pull voters away. Especially those with a short attention span.
LM: There's something uneasy about the vocals... But I gotta say that I like the lyrics and the instrumental. But maybe cut back the instrumental just for a few seconds and we have a good song. Other than the good but too long instrumental sessions and vocals, everything went out to be fine.
(Screen: Voting for Estana and Thaos? Call 010-1010-1010-28, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

29. ANTENOVARIA
IH: Let's go. 1... 2... 1 2 3 4
BOTH: wip wip wip wip wip
(Screen: Voting for Antenovaria? Call 010-1010-1010-29, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

30. PEOPLE'S REPUBLIC OF JOYEA
BOTH:wip wip wip wip wip
(Screen: Voting for People's Republic of Joyea? Call 010-1010-1010-30, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

31. SAVIERA
IH: Some people might like it, some people might not like it. The music kinda divides stuff. But personally, I kinda like it. The lyrics is the best of this act. This shows a very important message about how can someone destroy others lives. If you're in an abusive relationship, we advise you to actually call the police especially if the other reverts to stalking, because sadly manipulative relationships still happen, and they have to be put on a full stop.
LM: You sound pretty serious about this.
IH: Of course I am! I just can't believe someone used their significant other for their gain. It's pretty stupid and unforgiving. A very good lyrics from Saviera, might get votes from the public, especially victims of manipulative abusive relationships. The jury still needs time to think. But hear what I said previously!
(backstory: Ishtar sometimes work as an Activist for Healthy Relationships and Women Rights)
(Screen: Voting for Saviera? Call 010-1010-1010-31, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

32. ZEGANAS
LM: Sounds average. Joyful music and lyrics, but somehow still emits that "average" feel.
IH: Agree. The lyrics are indeed joyful. Other than that, pretty average.
(Screen: Voting for Zeganas? Call 010-1010-1010-32, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

33. EKOZ
LM: As a lady of quality, I declare Faram as hot.The start might be boring, but it got "patched" with the good enough reff. It got the progress good.
IH: The lyrics might felt a small tid-bit vulgar, but they hide it perfectly. So it's fine for everyone! Good job, Ekoz. And yes, Faram is the correct guy to sing this song. His voice is actually pretty safe.
(Screen: Voting for Ekoz? Call 010-1010-1010-33, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

34. ESTOGIUM
LM: Another hottie according to the lady of quality.
IH: Ladies gonna love him. Why do everyone has to appeal to the ladies? Well, not everyone.
LM: Anyway, I don't know, it might took people time to understand and get used to the song, but until that, sadly the music is a bit average. People gonna hate that opinion I just stated. And the lyrics, I'm pretty fine with it, but looking at their previous record, I think they can do better than that.
(Screen: Voting for Estogium? Call 010-1010-1010-34, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

35. NORMANDY AND PICARDY
IH: Metal! What a new thing. We rarely heard metal on this kind of contest! But... why do I sense this might did poorly in North Alezia? Hopefully it's just me.
LM: The lyrics are made pretty well with the genre, though. Kudos to Normandy and Picardy.
(Screen: Voting for Normandy And Picardy? Call 010-1010-1010-35, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

36. LA MONTEVIDEO
IH: Another unique music! Well made and fun to listen to.However.... It's just..... ambiguous. I like the click reminding me of my old childhood drawing on paint and stuff, the lyrics are pretty well made, but...
LM: I'm sorry, but there are too many stuff I can't understand about this... It's just so.... I don't know! I'm confused about this entry! But looking at their musical selections, I'm pretty sure they will do well someday. But I'm confused... let me just......
IH: There... there... It's not all their fault... Come on, they did their best, and it's appreciatable of them.
LM: You're right. Okay, I'm back in. Good job, La Montevideo, but you can do better.
(Screen: Voting for La Montevideo? Call 010-1010-1010-36, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

37. NATANYA
(Cmon Natanya, you can do it wip wip wip wip...)
(Screen: Voting for Natanya? Call 010-1010-1010-37, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

38. ACHAEAN REPUBLIC
LM: Pretty quality music, and another one with a good hearable music! But it's kinda... meh. It's good.
IH: And we can say that this is another song with a good meaning, thus meaning that this is another good job from a good Telenovela producer, Achaean Republic! However, it starting to get a little tid bit teddy bear meow-ly repetitive
(Screen: Voting for Achaean Republic? Call 010-1010-1010-38, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

39. TALVEZOUT
IH: This is WAAAAAYY OLDER than stuff we heard tonight. This is even more of a nightclub feel.
LM: The singer is beautiful with a gorgeous voice, as well! And the lyrics also! Remember lads, You Are what You Are!
IH: Wait? YOU ARE?
LM: Yeah. You Are. Wait up-hol up.
both: (tried to sing Imara Syafani's You Are)
IH: ok enough. Anyway, one criticism is that it might get a little boring after hearing it whole.
(Screen: Voting for Talvezout? Call 010-1010-1010-39, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

40. ELECTRUM DIPLOMATIC OFFICES
IH: Kids will like this one. They might say "That song's really funny"
LM: HOLY S*** DID SHE JUST HISS AT US! OH THAT'S IT I'M CONFRONTING THAT ***WIPE! rngoaonasdvonbdslnbflbnasbofarbl;nsdv
(LM trying to go outside while IH holds her back)
IH: Calm down! We're on another country! We have to keep North Alezia's reputation as easygoing, happy, and open!
LM: You're right. And the lyrics are pretty helpful to help us win Worldvision. And the ABA better take note on what are they suggesting for a victory-worthy song. Also, that dance is pretty shady, but we're not grading the dance here. But actually, she's pretty popular around! And I actually heard about a Fan Club back home in Zafizamarrah. And, this is probably obviously literally undebatably a South pleaser. Good job.
(Screen: Voting for Electrum Diplomatic Offices? Call 010-1010-1010-40, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

41. MISTER X
IH: I felt comfort hearing this. There's our modern taste which I like, thus meaning that the song is pretty upbeat and listenable.
LM: I agree, the lyrics are beautiful as well, showing that we are eternal winners. I may have understood the song in a wrong way, is there something inside? hmm... meh. Overall, a very big improvement from what we heard from Mister X. Good job! And....
(Screen: Voting for Mister X? Call 010-1010-1010-41, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

42. MISSUS X
LM: The song is almost entirely the same! Wait up-hol up. IT'S BECAUSE IT ALMOST IS EXCEPT FOR THE NEW RENDITION! VERY CREATIVE!
IH: I've never seen things like this done before by any country participating! The lyrics have almost the same meaning...
LM: These two countries really do cooperate a lot between each other. But then, who will the jury vote for?
IH: We don't know. But looking at authencity and innovation itself, we can assume that the public will love both and immensely vote for both. Welp, time to break your phones pressing 41 and 42!
(Screen: Voting for Missus X? Call 010-1010-1010-42, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

43. TODLICHEBUJOKU
IH: They bring us quality. Again. It's soft, yet upbeat and modern.
LM: Lyric-wise, I like it. It's pretty glamour and I'm pretty sure there is another meaning hidden inside. What a contest we're having.
IH: This will go well with teenagers. I can say that.
(Screen: Voting for Todlichebujoku? Call 010-1010-1010-43, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

44. MERECENDI
LM: What.... is... going on.... It tried to be Medieval, yet... it's modern. It's really a fun combination and experiment, but why do I feel something on the music making phase went wrong?
IH: The lyrics are also... hm..... "medieval" or sumthin'. Can't think of anything smart...
(Screen: Voting for Merecendi? Call 010-1010-1010-44, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

45. ETHANE
LM: A good duet! What a song we have here. It's so calm it's soothing
IH: I don't know... It might hits people as a bit boring, but like many songs tonight, people will eventually like it.
LM: I agree. IS THAT RAP? hmmm..... I gotta dip more here.
(Screen: Voting for Ethane? Call 010-1010-1010-45, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

46. NACHLOMO
LM: And to close the contest lets dance to this dancable song! I won't mind. The floor's sturdy enough.
IH: It's dancable... In a weird way. CLAP CLAP CLAP
LM: The lyrics at first glance... are pretty dark.
(Screen: Voting for Nachlomo? Call 010-1010-1010-46, 5 votes per person $0,25 or Press RED on ABA Interactive Set, or cast your vote in your nearest FABA store.)

by **Saviera** » Tue Jul 07, 2020 6:37 pm

.::: 31 ✾ Saviera :::.
I Can't Forgive
Simonella E. Kohlee
To The Tune Of A Dream Come True By Cilla Black

Throughout the Years, Simonella E. Kohlee has Gone on a Journey of Finding Herself. It Has Been a Journey of Acceptance and Healing as Well, After Years of Doubting Who She Really is and Constantly Being Put Down by Others.

In Fact, We Have Seen a Part of Her Story Already. Simonella Previously Represented Saviera at the 70th WorldVision Song Contest in Ylfa, Talvezout, with a Song Called I'm Not a Failure. In This Song, She Realizes That She is Not a Failure. This is Important Because This is Her Response, Her Show of Strength Towards All the People Who Have Doubted and Discouraged Her in Life. This is Her Let It Go Moment, Where She Realizes That She Has the Strength to Face All Those in Life Who Have Put Her Down, and Can Keep Blossoming and Growing.

At the End of the Night, Simonella Came 7th, Giving Saviera Its First Top 10 Result and Overall Best Result of All Time. Well, Now She's Back.

The Song She's Going to Sing is Called I Can't Forgive and Addresses a Related Issue She Has Dealt With in the Past. Of Course, All that External Pressure She has Faced was Not Good for Her, and When She was at One of Her Lowest Points, She Entered a Relationship with a Man That Made Her Feel Better at the Time. She was Led to Believe That Being with Him was the Solution to All Her Problems.

However, as It Turns Out, He was Very Manipulative and Gaslighted Her. Although She had Somewhat Healed from Her Past Problems That Caused Her to Reach Such a Low Point, There Came a Time Where She Knew She Needed to Leave the Relationship. There was Not Much She Could Do Unfortunately, Despite the Pain He had Caused Her. He was Abusive, Both Physically and Emotionally, and Domestic Violence was Unfortunately Present in This Relationship.

Eventually, the Relationship Came to an End After He was Killed in a Car Accident. Although the Abuse Stopped, It Still Left a Hole in Simonella's Heart. Although She Needed to Leave the Relationship, She was Still Attached and Not Yet Ready to Deal with Life After the Breakup. Simonella Began Seeing a Therapist, and is at a Much Better Place Now. I Can't Forgive, Therefore, is a Reflection of Her Thoughts as She Laments the Tough Life She's Lived Through, in Regards to the Domestic Abuse She Experienced.

For the Live Show, She Won't Be Joined Once Again with the Tall Barnacle Choir, However It's Okay Because She Needs Space to Deliver Her Special Moment. As the Song Begins, She Stands Alone in the Dark. A Single Spotlight Shines Upon Her. She Starts to Sing, Stating How She Feels About Her Former Lover-Turned-Abuser.

I can’t forgive
What I have lived
When you inflicted all your pain onto my soul

As Simonella Can Be Seen in the Changing Camera Angles, One Can't Help But Notice That the Audience Members Have Turned on Their Phone Flashlights. In This Next Part, She Reflects on the Dwelling She Experienced Shortly After the Loss of Her Loved One Following the Car Accident, Despite His Manipulative Behaviour. She Suggests That She Still Experiences Attachment from the Relationship, Which She Channels Below.

Although I know
I should let go
But in my heart there lies a deep hole

As the Song Now Turns Towards the Verse, She Discusses the Trauma She Faces as a Result of the Abuse She Enduered During the Relationship. Despite the Very True Fact That She Experienced Abuse, It Appears as Though She is Also Struggling to Separate the Fact that He Made Her Feel Loved and the Fact that He Made Her Feel Hurt. This is a Reality Faced by Many Victims of Domestic Abuse. It is Trauma That Simply Doesn't Go Away.

In every waking hour
I walk on thorns and flowers
Of all the words and actions
That you’ve made upon me

As We Return to the Chorus, She Again Addresses the Impact of the Accident that Caused His Death. Specifically, Because He is Now Deceased, She is Unable to Obtain that Closure She Deserves to Have, Despite the Countless and Numerous Lies that He had Told Her Throughout the Course of Their Relationship.

I can’t forgive
What I have lived
Your lies have left in me a hunger for the truth

And Now She Describes the Steps She Has Taken Next. Still, Dealing with Trauma is an Uphill Battle and It is No Surprise, Unfortunately, that Things have Been Rough for Her.

I try to heal
But still I feel
My cries and prayers are unanswered

But That Doesn't Mean She is Giving Up. No, Simonella Refuses to Give Up. Instead of Stepping Back, She Puts a Foot Forward in Her Path to Healing. This is a Very Empowering Moment for Her, and a Flurry of Emotions Run Through Her Thoughts as She is About to Regain Control of Her Life.

But now I’ve run my patience
With new determination
I’ll cut that final string
I’ll bring myself some closure

As the Song Reaches Its Climax, Some of the Stage Lights Come on Although the Scene is Overall Dim. They are Golden in Colour and Reflect This Moment of Enlightenment that Simonella has Just Experienced. Now, She Announces Her Newfound Strength and Determination to Move On and Become Herself Again — Proudly. As She Attempts to Hold Back How She Feels Deep Inside, a Tear Runs Down Her Cheek.

I can’t forgive
But still I’ll live
Because to be myself again, I must be whole

As She Delivers the Final Line of the Song, Simonella Smiles, Declaring That She Won't Forgive. Not That She Can't. By Doing So, She Empowers Herself and Allows Her to Make Her Own Decisions. By Doing So, She Regains Control of Her Life Away From Those Who Have Harmed or Hurt Her in the Past.

I won’t forgive

As the Song Ends, the Crowd Cheers. At This Moment, Simonella is Taken Aback and Realizes How Much Support She Has Around Her on Her Journey of Reclaiming Herself. Overwhelmed by Such a Warm Reaction, She Puts a Hand to Her Mouth for a Moment Before Expressing Her Gratitude Into the Microphone: Thank You Christopher! God Bless Saviera!

by **Zeganas** » Tue Jul 07, 2020 7:11 pm

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32
Zeganas
Suhraund Saund
Let's Have a Party
Photo of Suhraund Saund, the band coming from San Manasso, Zeganas

Having been a big and popular band in the city of San Manasso and the general west coast area of Zeganas, Suhraund Saund formed 22 years ago. Their musical style tends to be considered alternative rock and can be upbeat, but also energetic and angry. This worldvision though, they're going for something very upbeat. the band comprises of four band members.
Muso Jekoni, 41 M (lead singer, tambourine)
Sotava Reynolds, 40 M (main guitar, backing vocals)
Yoshin Teshi, 43 M (bass guitar)
Mitsu Hiki, 39 M (drums)

Tune of the song is Meet Me On The Roof by Green Day

The postcard for Zeganas plays and the camera shows the stage dark. Soon, the stage lights up with spotlights on the 4 band members of Suhraund Saund as the intro guitar and clapping starts off the song. Lead singer front and center in the stage, guitarist to his right, bassist to his left, and drummer elevated up in the back part of the stage. More stage lights turn on and an animated plaid design on the screens as the singing begins. In parentheses are the backup singing of the guitarist. The camera in front of the stage quickly zooms in on the lead singer.

I'm making plans for tonight (tonight)
Checklist 1 2 3, finding someone my type (my type)
Someone just for me
But first I gotta get my gatsby on and tell people about my party (party)
Alright now time to invite

As the chorus starts, the screens change from plaid to an animation of a house party going on. The camera showing shots of all the band members and rotating around the lead singer.

Let's have a party up at my place, oh oh-oh
Let's get cray and smashed like my face, oh oh-oh
Let's have a party at my place, oh oh-oh
Let's get cray and smashed like my face

The animation changes to a rotating black and white hexagonal pattern on the screens as the next verse comes up

My motto's live and let live. (let live)
What is next for me? I just gotta forgive. (I will forgive I will forget)
Checklist 1 2 3
But first I gotta get my gatsby on and tell them about this (about this)
I will fall into abyss.

Right when "I will fall into abyss" is said, the spotlight on the lead singer turns off and back on, intentionally. And the chorus goes back on and an animation shows a house party again.

Let's have a party up at my place, oh oh-oh
Let's get cray and smashed like my face, oh oh-oh
Let's have a party at my place, oh oh-oh
Let's get cray and smashed like my face

And now the guitar solo shows a closeup of the lead guitarist strumming away as multiple spotlights are on him for the solo, and the display screens behind show the closeup on them. The singing begins again and the camera slowly zooms into the lead singer, facing the camera directly. When he says "I see you across the room" he points at the camera.

And I see you across the room, oooh-ohhhh
Let's get cray and smashed, get higher than the moon

The final chorus starts and sparks fly up from the stage's pyrotechnics parts.

Let's have a party up at my place, oh oh-oh
Let's get cray and smashed like my face, oh oh-oh
Let's have a party at my place, oh oh-oh
Let's get cray and smashed like my face

At the end of the song, the drummer holds his drumsticks up, the bassist and guitarist hold their instruments up in the air, and the lead singer says "Thank you everyone!" and holds his mic up. And the postcard for the next entry plays as the cameras zoom out.

by **Kingdom Of Houston** » Tue Jul 07, 2020 7:41 pm

Hello we Here at The Palace Of Houston Extend our Gratitude that you are so friendly we usually are bullied

by **Ekoz** » Wed Jul 08, 2020 8:47 am

Aleks Färam - Not The One (Ekoz)

Holding hands and strolls under the sun,
Thinking you and me could be some fun,
Devil’s prowling right before my eyes,
Tangled in a great big web of lies,

A hazy September night, I made my move under the sunset,
Your eyes so dark, so deep, how did you seem so perfect?

Loved you callin’ me like crazy,
Loved you asking, hold me tight, tight?
Loved the fiery nights in bed, yet,
Something perfect can’t be right...

Fuck all that we ever were,
Got down with another guy,
I know now that it’s all fake,
Words mean nothing cos it’s too late.

You are not the one,
So just move along,
You are not the one,
S’go ‘head, get gone
You ain’t number one,
Don’t stay for long,
You are not the one,
Don’t care, get gone.

Loved it when I called you baby?
When I gripped you, held you tight, tight?
Sweat flying on the bedrest,
But your mind was occupied, right.

Fuck all that we never were,
Got down with another guy,
Don’t cry ‘cos its all fake,
Words mean nothing cos it’s too late.

You are not the one,
So just move along,
You are not the one,
S’go ‘head, get gone
You ain’t number one,
Don’t stay for long,
You are not the one,
Don’t care, get gone.

Say ciao, say adios,
Guess moving on won’t get no harder,
You already made your bed,
Hope your new man is who you’d rather,

Loved it when I called you baby?
When I gripped you, held you tight, tight?
Sweat flying on the bedrest,
Shame your mind was occupied, bye.

Fuck all that we never were,
Got down with another guy,
Don’t cry ‘cos its all fake,
Words mean nothing cos it’s too late.

You are not the one,
So just move along,
You are not the one,
S’go ‘head, get gone
You ain’t number one,
Don’t stay for long,
You are not the one,
Don’t care, get gone.

by **Estogium** » Wed Jul 08, 2020 12:54 pm

#34 ESTOGIUM
Rory Abrahms - "Tell Me Why"
Tune : Dermot Kennedy - "Power Over Me"
Language: English
Duration: 3:25

Rory Adams will represent Estogium at the 83rd WorldVision Song Contest in Llalta!: With his powerful ballad, Rory Adams will take to the stage in Llalta for yet another Estogian entry. The 83rd WorldVision Song Contest marks 50 editions since Estogium debuted at the WV as North Britonisea. RVC are hoping that this song will appeal to many voters...

After the postcard played for Estogium, it was time for their nation to have a shot at winning the WorldVision Song Contest. Estogium were hoping that Rory Adams would make an impact on the scoreboard for the nation's 50th anniversary but only time would tell. At the start of the song, as the music came up, it looked rather dark on stage with a simple spotlight from behind him. You could see the silhouette of Rory standing in front of a microphone with a stand. As the hums came in, there were close up shots of the microphone and Rory slightly touching the microphone with his lips. The scenery was still dark until he started singing, with a harsh lighting hitting against his face.

Don't tell me that you are sorry,
Don't tell me another lie.
I can't see remorse in your eyes oh no.
And though my heart, it is broken,
And though you're the root of my pain,
I can't help that I still love you, I do
Call me a doctor, my heart is broken

As we moved from the verse to the pre-chorus in the section before, the camera slightly moved outwards as Rory followed the camera with his eyes. Throughout the first section of the song, it was mostly murky and dark, with the man not having any changes in facial expressions. Rory touched his chest as he sang about how his heart was broken as he slightly leant towards the camera with his neck. It was now time for the chorus, with the camera quickly tracking towards him as he sang "So tell me why don't you love me?", before showing the whole stage as he sang "Girl, why". Lights quickly flashed (softly) behind him on a higher platform where there were backing singers on different levels singing the "Girl, why" sections. The male singers were lit during the first "Girl, why"s.

So tell me why don't you love me? Girl, why?
I've prayed for your love every single night.
So tell me why don't you love me? Girl, why?
Why am I not good enough, can't I be yours tonight?
So tell me baby, tell me why.
(Why, why?) So tell me baby, tell me why
(Why, why?) So tell me baby, tell me why

As we moved to the "Girl, why" sung in a higher pitch, the female backing singers were lit up along with the male ones. The camera cut between Rory and the singers behind him. Rory was looking directly in the camera, now with a confused expression as he wanted to know why he wasn't loved. As we moved into the next verse of the song, he gripped the top of the microphone on the stand before turning abruptly to his left where he was met with a camera. He started singing to the camera.

I reminisce 'bout our alone time,
Roses, chocolates, the best white wine
I'd fall asleep in your arms, your love, oh was mine
You'd whisper sweet words in my ears,
The kind that sent chills down my spine,
Beautiful hymns, you had me paralysed.
Call me a doctor, my heart is broken.

He turned around slowly to the front where most of the audience was, watching him and waiting for what is going to happen next. As Rory sang the lead up to the second chorus, he closed his eyes before taking his free arm up to the top of the microphone which was on the stand. He belted out yet another strong and powerful chorus. There were similarities between the first and the second chorus in terms of what was happening.

So tell me why don't you love me? Girl, why?
I've prayed for your love every single night.
So tell me why don't you love me? Girl, why?
Why am I not good enough, can't I be yours tonight?
So tell me baby, tell me why.
(Why, why?) So tell me baby, tell me why
(Why, why?) So tell me baby, tell me why
(Why, why?) So tell me baby, tell me why,
I still want a chance, so tell me, why

He slightly changed it up for the second chorus before leading into the bridge section. He continued singing with there being a wide shot of the audience with him in the middle of the festival-like stage. A few members of the audience cheered, especially those from ABEN who took advantage of the air bridge between the Union and Llalta (even though the nation claims there's no need to have one). As we moved into the bridge, any ounce of colour disappeared quickly as a Steadicam was bought onto the stage as it circled around Rory who was under a single spotlight. Rory was looking up as he sang, not making any eye contact with the camera.

Is this really the end for us?
So, is this the time we say goodbye
I know I won't recover, you did this to me, baby
That I'm now left incomplete, Girl, why?
I've prayed for your love every single night.
So tell me why don't you love me? Girl, why?
Why am I not good enough, can't I be yours tonight?
So tell me baby, tell me why.

Oh, I can't help how I feel no, how I feel no
Oh, I can't help how I feel no, how I feel no

It was now time for the final chorus, and this time there were hues of deep rouge that appeared on the stage along with the backing singers now always being in the light. Rory was giving it his all here as he snatched the microphone away from the mic stand. He was interacting with some of his backing singers who were pointing and interacting back with him. As he went more and more into the chorus, he moved out towards the audience, waving towards a few members who were watching. THough, to be honest, this was the 34th song of the night and they most probably have around another 6 to get through and so those audience members didn't really respond to him.

So tell me why don't you love me? Girl, why?
I've prayed for your love every single night.
So tell me why don't you love me? Girl, why?
Why am I not good enough, can't I be yours tonight?
So tell me baby, tell me why.
(Why, why?) So tell me baby, tell me why
(Why, why?) So tell me baby, tell me why
(Why, why?) So tell me baby, tell me why,
I still want a chance, so tell me baby why

Finally it was the end of the song and the audience cheered respectingly. "Remercio Teis" the Estogian said before walking off the stage as the stage crew personnel, probably some kiddies from the local school, prepared for the act from Normandy and Picardy.

by **Normandy and Picardy** » Wed Jul 08, 2020 1:04 pm

35 - Normandy and Picardy
"On lutt'ra jusqu'à la fin" - Les Vandales
Tune: (Powerwolf - Demon's Are A Girl's Best Friend)

From left to right, Antoine Fourier, Michel Bradeau, Marc Deschamps, Guillaume Vasin and Henri Vasin of the group Les Vandales, who are representing Normandy and Picardy in St Christopher

The song opened with a blood-curdling scream and a flash of light, before the viewers at home were treated to a variety of shots of the stage. Smoke covered it like a thick carpet, or like a sea, billowing over the edges out into the crowd. The production team had been worried about the potential for the wind to affect this, given of course the venue for this contest is open air, but luckily everything was working fine. What could be seen on the stage? Rising from the smoke where are series of raised platforms, their surface just beneath the smoke, such that the gravestones and sacrophagi-style tombs' bottom edges were hidden from view. They were covered with all sorts of ivy and other plants and made to look old, as if they had been there for years and a graveyard had been transported onto the stage.

One thing, however, was missing, namely the band themselves. Then, there was a sudden cut, and a hand burst through the top of the frontmost sarcophagus, twisting around. Then, it was burst open, revealing Marc, the lead singer of the band, had been lying within. He is dressed as in the image above, i.e. the usual aesthetic of the band, such that it looked as if he were a ghoul or a dead man come back to life. This naturally fitted the dark bluey-green glow across the stage, allowed for by the main backing lights including a series of very slight spotlights on the various sarcophagi, as well as the use of the LED strips on the floor to provide an underglow. It was this generally moody set-up which provided the backdrop as Marc sung the first verse, the shots being from stage level via steadicam, before fading out and back in to some wider out views after the first half of the verse.

Jour après jour
Tu sens toi-même diminuer
Ta propre vie, ça t'oublie
Et tu es disparu en mer

Ou peut-être ta bière t'apelles
Ta pierre tombale écrit elle-même
Tu regarde le monde disp'raître

As the song entered its prechorus, the attention shifted to the other tombs, through which more hands and even an old guitar, also made to look old, disused and grown over, broke through the thin shell-like constructions that had been used to entomb the various band members. The camera cut to each one, sometimes via shots looking over Marc's shoulders and showing him singing, as each one burst through in turn, before cutting away to allow the band members to get up properly and set up, including some techies running on stage to provide a keyboard, itself also decorated to match the aesthetic, returning to focus of Marc, almost toying with the camera before pushing it away as the chorus began.

Chaque instant dure pour toujours
Et te peut seulement compter tes jours
Mais maintenant, ce n'est pas ton, ton temps

Then came the first big chorus. The band were finally all risen and the focus now was on the band playing, taking advantage of the unusual set up to create almost a festival like feel, the natural territory of a band like Les Vandales. The background LED screens showed a stormy night, with flashes of lightning and, towards the back, even signs of a stormy scene; luckily, the general weather was not as stormy, although it might definitely have helped even further with the atmosphere the band were trying to create. Then again, an actual storm probably would have ruined things. Anyway, yep, big, stormy, lightning, all that jazz, with various wide panning shots of the stage and the band performed, interspersed with shots of the audience (hopefully) rocking along.

Ooooh
Ce n'est jamais facile, ce chemin
Ooooh
On lutt'ra jusqu'à la fin
Ooooh
Même si c'est toujours le même refrain
Ooooh
On lutt'ra jusqu'à la fin

As the song switched into English for the second verse, perhaps aiding with getting the message across for the crowd and the multiverse more widely, and the language the band more usually sing in (although of course they are all native French speakers), not much else changed really. The band continued to perform as one might expect, soaking up the feel of this unusuaul setting for WV but one which suited them perfectly, the cameras taking closer look at the different band members all in their get up, again as above, as they rocked along. You could see they were even enjoying themselves, seemingly forgetting the massive pressure of performing for millions; they were in their zone here. As the verse progressed, Marc walked up closer towards the front of the stage, revealing a chain holding him back towards his grave for extra spook reasons/band aesthetic reasons, against which he tried to pull.

And you sit there
You're waiting for the clock to stop
Waiting to be free for just a night
Wishing your little life away

And don't I know that it's easy
To believe you'll never be free
Never to escape monotonity

The prechorus came again, and what is there to say. Well, the gravestones all appeared to crack, which naturally provided something to do, whilst certain LED panels in the back suddenly seemed to glitch, before showing shadowy figures, presumably clips of members of the band, as well as murky images of skulls etc., helping to add a little extra than simply a stormy background. It turns out nobody in Normandy and Picardy is aware of how actually to use an LED screen. They would have loved Eurovision 2018's stage. Anyway, yep, that's your prechorus.

And though one foot is in the grave
You've got so much more to give
So go on out there
Get going and just live

As the song entered the chorus once more, again not much different happened. The usual camera shots to show off the stage and the band performing, having the time of their life here in a random field on a little island far from home and in front of millions of pairs of eyes elsewhere, including everyone back in Normandy and Picardy; none of this occurred to them, and they simply focused on trying to get the audience to dance and sing along in whatever broken French they could muster, or in any case make some noise and show their general support/

Ooooh
Ce n'est jamais facile, ce chemin
Ooooh
On lutt'ra jusqu'à la fin
Ooooh
Même si c'est toujours le même refrain
Ooooh
On lutt'ra jusqu'à la fin

Everything seemed to wind down to a single, eerie spotlight shining of Marc, looking straight towards the steadicam and singing with a wry smile across his face, and with a rather intense gaze. Waves of this green could be seen to spread across the floor of the stage via the LED strip lights as the bridge progressed, almost like a heartbeat of someone exhausted, or expectant, and indeed the band had clearly thrown a lot of energy into it, but the song itself seemed to be waiting impatiently to get to the big final chorus.

And I know that you've heard it all before
A message from above to give you hope
And though it's easy just to give up now
Keep going on

A brief lull. Marc stood, arms gripped on the mic stand that he had been using for the most part (he obviously had removed the mic when he had walked up and around the front of the stage, before returning to his initial position closer to the general stage area). A sudden camera shot to Guillaume's hand hovering above the guitar strings, waiting to burst into life one more time. Then back to Marc as everything seemed to explode. He pushed aside the mic stand, holding on to the mic as he did so as the view suddenly zoomed out to show the whole stage. Sparkler type things could be seen to come out of the gravestones (this indeed is why they had to crack open at some point) to add some extra pizzaz. There were the obligatory fast cut shots with the beat towards the end of the chorus, with bursts of fireworks matching the lighting in colour to accompany them. The final few seconds of the perfomance showed Marc crouched down next to one of the tombstones on which "YOU" was written, with the date of the contest given below as the day of death, before a bang of fireworks. Nice and dramatic, as you would expect.

Oooooh
We know this life won't give us anything (Give us anything)
Oooooh
But we fight on 'til the end
Oooooh
And even if every day feels the same (It all feels the same)
Oooooh
On lutt'ra jusqu'à la fin

That was it, fate was out of their hands now. "Merci!" they seemed to shout in unison as they all came together as one group, bowing to the audience, before leaving to allow the next act to set up. They had a long night ahead...

by **La Montevideo** » Thu Jul 09, 2020 7:40 am

Bakground: La Montevideo Are Debuting Here In Llalta, & Its Divisive At Home. Some Think We Have No Chance, Others Think We Can Stand Out From The Rest.

Additional Info: Nation Name: The United Federal Kingdom of La Montevideo
Official Broadcaster: LABU (Latin American Broadcast Union)
Artist(s) Name(s): Eberhard Moreno, Francis Amor, Teo Palmer, & Julia Martinez. {Era Nova}

Tune: Music using ONLY sounds from Windows XP and 98!https://www.youtube.com/watch?v=dsU3B0W3TMs

Performed In Spanish

Song Title: Time in Imperfectness

As Era Nova Walk On Stage, Fans Are Exited For What La Montevideo Will Bring To The Table.

Once... (Una vez...)

It Was All We Got! (Fue todo lo que tenemos!)

Once, there was a time, where there was everything, (Una vez, hubo un tiempo, donde había todo,)

But it had to spread, it thinned, the edges all looked like a ring, (Pero tenía que extenderse, adelgazarse, todos los bordes parecían un anillo,)

Tens of Millions Years flew by like a speck of dust, (Decenas de millones de años volaron como una mota de polvo,)

Solar Systems & Black Holes & Elements, Oh My! (Sistemas solares y agujeros negros y elementos, ¡Dios mío!)

It Was All We Got, In The Time In Imperfectness. (Fue todo lo que tenemos, en el tiempo en la imperfección.)

Beat, Fans Are Waiting For The Second Stanza, To Sing Along To.

And Now... (Y ahora...)

The Finale! (El final!)

Earth, In Pre-Life Times, Hit By Our Future Moon, (Tierra, en tiempos anteriores a la vida, golpeada por nuestra luna futura,)

Relatively soon, Earth is A Bastion of Life, In The Ocean, (Relativamente pronto, la Tierra es un bastión de la vida, en el océano,)

Ozone, Land Species, Life itself is nearly extinct, Era of the dinosaur, (Ozono, Especies terrestres, La vida misma está casi extinta, Era del dinosaurio,)

Yucatan Asteroid, Life itself again endangered, (Asteroide de Yucatán, la vida misma en peligro otra vez,)

Pyrotechnics Go Off.

Rise of mankind, Neanderthals, Civilization & Agriculture, (Auge de la humanidad, neandertales, civilización y agricultura,)

Industrial Revolution, World Wars, Now Today With Our Own AI! (¡Revolución industrial, guerras mundiales, ahora hoy con nuestra propia IA!)

It Was All We Got, In The Time In Imperfectness! (¡Fue todo lo que tenemos, en el tiempo en la imperfección!)

At The End, Pyrotechnics Go Off Again. Era Nova All Say "Thank You Worldvision!", And Walk Off Stage.

[note: spanish translation in parentheses]

by **Spiritual Republic of Caryton** » Sat Jul 11, 2020 12:00 am

COMMENTARY - SPIRITUAL REPUBLIC OF CARYTON
Commentary by Carol Emerson, Master's Degree in Music - Music Theory Concentration
Broadcast by the Trinity Broadcasting Network of Caryton

Carol Emerson, in her outfit for tonight's event

TBNC SPECIAL EVENT OPENING HYMN
Beautiful Retreiver - Extended Hymn

0:00 - "You are tuning in to a special event broadcast by the Trinity Broadcasting Network of Caryton, WorldVision 83."

"Beautiful Retriever! Illuminate our darkened paths!
Pet of Christ and dog of God!
You turn sin as red as wine into your shiny coat of gold!
We will love you forevermore!

Cary, our companion. Cary, our messenger.
Christlike and noble your heart aligns.
Forgiving, candor. Loyal, understanding.
You guide our hearts to eternal love.

Cary, our sunshine. Cary, our moonlight;
Christlike and noble your heart aligns.
Generous, loving. Faithful, caring.
Jesus shines through your radi'nt deeds.

Beautiful Retriever! Illuminate our darkened paths!
Pet of Christ and dog of God!
You turn sin as red as wine into your shiny coat of gold!
We will love you forevermore!"

"Good evening to those subscribed to the Trinity Broadcasting Network of Caryton. Members of the Gospel Church of Caryton and god-fearing people across the world, this is the 83rd edition of WorldVision in St. Christopher, Llalta. I'm your main commentator, Carol Emerson. A beautiful area with a stellar theme, if I do say so myself. As we do reflect on the name of the town, I do emphasize that we offer a momentary prayer for all the performers, so that they may give us our best, and offer a warm and family-friendly experience. Attending tonight's event are high level clergy of the Gospel Church of Caryton, Leading Reverend Dorothy Shirleyton, and Cary the Golden Retriever, alongside the mayor of Bridgeson and all the representatives who made that bid possible, extending a warm welcome and congratulations to the people of Llalta."

0 - Opening Act

"Why, that was absolutely marvelous. A splendid way to open the contest!"

1 - Proluvia

"It was an alright start to this edition, if I must say. I don't presume it'll be too popular, but indubitably it's nice. I'd say it's... above average. Not in a snide or mean way of course, it really was enjoyable. Elaborating, it just feels like a B-rate song. Certainly not mediocre by any means but not a winning entry. If you'd like to vote for this song, please do call in or click the bubble."

2 - Highly Ranked

NIL

3 - Britonisea

"Well, an admittedly good entry from Britonisea. A nice kickoff to this event, and certainly a treat to hear. The song has some good resonance with me, even if the delivery is unexpected and unconventional from a Carytonic point of view. I'd say it's rather lovely and may earn a couple of points. If you liked it, please do call in or click the bubble labeled "Britonisea"."

4 - Scotatrova

"Well, it had some taboo references, sadly. Scotatrova has a tendency to promote artists in relationship drama. However, the musical analysis from a professional's standpoint lists the music as above average and the lyrics as respectable. Friends, if you'd like to vote for Scotatrova, visit gospelchurchofcaryton.src/wv83 and click the bubble.

5 - Zamboodle

"Well I never! That song was insensitive and sinful, absolutely shocking. Especially the choreography!"

6 - Izmedu

"A particularly moving song with a clear message to be conveyed. I quite like it, in candor. Put simply, this is one of those songs that I personally can feel myself dancing to. If somebody told a good Carytonic citizen to choose one "foreign work" to host a gala for, it would be this. Church opinion comes in as mediocre and indifferent: not particularly offensive but still unfamiliar to our musical tastes. If you liked this song, please do call in or click the bubble."

7 - Elejamie

"Why is his voice so artificial? The female soloist, however, has beautiful resonance. The lyrics are moving but-- is that alcohol in the choreography!? Never mind that, I feel compelled to touch on the chemistry between the soloists. Quite admirable, especially towards the end. The music style, in practice, is so alien that the Carytonic panel seems respectfully indifferent. However, the lyrics and stage appeal quite makes up for it. Church opinion is neutral, mainly because of the alcohol but it's such a minor factor considering Caryton is probably the only prohibitionist state out there. Quite a resounding performance. If you liked it, call in. Carrying on..."

8 - Ertzei Kishim

"The song felt unfamiliar and alien to me, and had explicit references. Personally, I would have expected better from Ertzei Kishim. This is certainly a disappointment, but if a certain family feels otherwise, feel free to call in or click the bubble."

9 - Spiritual Republic of Caryton

"A beloved entry from the Shirleyton Trio. I believe that it's refreshing to hear church-centered music, especially considering the last entry."

10 - N. Alezia

"I believe this to be a moving, artistic song that is audience-friendly. Certainly will bring in a lot of support from Caryton proper. On the analysis, lyrics and music are both high, combined with an approving level of church support. Artistic camerawork as well. If you'd like to vote for N. Alezia, call in or click the bubble."

11 - Nekoni

"It was quite alright. I don't feel too strongly. If you'd like to vote for Nekoni, call in or click the bubble."

12 - Malta Comino Gozo

"I'm impressed, once again. The Carytonic People have always been longtime fans of MCG, and they've maintained our admiration for another edition. The song has conventional music theory in its harmonies, and has a clear message while abiding by moral decency. If you'd like to vote for this entry, call in or click the bubble."

13 - S. Alezia

"I'm speechless. It's so profane and absurd, but so catchy. I found myself dancing along, sort of. A perfect score in regards to music and lyrics, but with drastically low church approval and choreography scores. Half and half, but I assume it's comical enough to get enough ironic votes to get a decent amount of our points. Despite the rampant booing, I think the North has a solid chance of being outdone by the South. If you'd like to vote for this entry while it's still funny, call in or click the bubble."

14 - Axuvia

"I don't feel too strongly for this, but I'm sure someone likes it."

15 - Hhalta

NIL

16 - Besen

"I'm sorry, but that was a serious display of witchcraft and satanry. Every single edition there has to be the abhorrent sexual entry that we have to black out."

17 - Llalta

"Quite a lovely entry from our host. If you'd like to vote for this piece, please call in or click the bubble."

18 - These American States

"It's a good song if you disregard the racist and classist lines. However, the recent news events in those American States make me ponder what the leader of a country in turmoil is even doing at a competition like this. If you'd like to vote for DJ Trummmp, call in or click the bubble."

19 - Waisnor

"It's a decent song about love, but I fear that despite our approving ratings across the board, that it's mediocre enough to not rake in international interest. However, I could be wrong. If you'd like to give this good piece a vote, call in or click the bubble."

20 - Beepee

"That was rather energetic, no? The vocalist was talented, as well. If you'd like to vote for this entry, please do call in or click the bubble."

21 - South Bakoto

"Another talented vocalist with a good and solid head voice. Her range in those intentional voice breaks is astounding. Across our scoring board, the results are above average. I feel like South Bakoto has a solid chance in hitting the mid-tier of a few country's votes. If you'd like to vote for this entry, call in or click the bubble."

22 - Kalosia

"It was sweet. The lyrics are appealing, and it's inoffensive. Like before, I'd respectfully label it as above average. If you'd like to vote for this entry, call in or click the bubble."

23 - Antahbrantahstan

"Quite alright, if you ask me. Nothing much to comment on besides the above-average nature of it. Carrying on..."

24 - Polkopia

"Ahh, it's a shame. Just like Ertzei Kishim, I expected much better out of Polkopia. It just doesn't stand out like it typically does. Musically, it's okay but it's just not noticeable to the Carytonic eyes. If you feel otherwise, feel free to vote by calling in or clicking the bubble for Polkopia."

25 - Syrche

"I'm breathtaken! Finally, finally! A song that Caryton can actually relate to. The genre, the vocalist, the music theory. It's all there. I'm bewildered at how on point Syrche's performance was, and it has... an almost perfect score! Friends, we may have found a solid second place in Caryton's votes before the contest is even over. If you'd like to vote for this entry-- and I'm sure you will-- call in or click the bubble!"

26 - Titaniumland

"Why are they wearing prisoner jumpsuits? They look like hoodlums you'd find in a maximum security prison, maybe even death row. This foreign fashion-- if you can even call it that-- has earned a few laughs from the Carytonic audience back home. Aside from that, it was an oddly compelling entry. Church opinion is neutral, albeit the lyrics are shockingly well placed and the vocalists are talented. This, despite being so odd, has compelled us. Finally, actual harmonies within a group piece. If you'd like to vote for this nation, call in or click the bubble."

27 - Estana and Thaos

"Another song that is somewhat relatable. It has a nostalgic feel to it, the lyrics are respectable and it's genuinely good. The key term, friends, is the word somewhat. This is a song which I believe will place somewhere! If you'd like to vote for this entry, call in or click the bubble."

28 - Antenovaria

"I don't really have much of a opinion on this song. Surely, it'll drum up some support."

29 - PR Joyea

NIL

30 - Saviera

Carol was not able to provide active commentary, because near the end of the song, she choked up and began to cry. The Carytonic audience boomed in tearful applause. When she collected herself, she only uttered two words.

"Perfect score!"

31 - Zeganas

"Despite this being an ill transition from the emotional Savieran entry, and despite it having unholy and illegal nuances in it, the song is genuinely okay. It's energetic, but I doubt it will have any Carytonic points. Church leaders are scowling. If you'd like to vote for this entry, call in or click the bubble."

32 - Ekoz

"I stand corrected and hereby apologize to the people of Zeganas and their performers. If anything has counter-ecclesiastical influence in it, it's this song. The song not only touches on pre-marital sex. A resounding no on the church opinion scale. I also feel like from a music theory perspective, the song lacks the charisma it brutally tries to make up by appealing to hormonal sex-crazed teens in countries that aren't Caryton."

33 - Estogium

"A refreshing change from Estogium. I quite liked it. I feel it will gain a respectable amount of votes. Nothing much to say about it, save for the fact that recently broken up couples everywhere can relate. If you'd like to vote for this song, call in or click the bubble."

34 - Normandy and Picardy

"Oh my! It's so harsh. I can't in good conscience listen to that heathenistic instrumental."

35 - La Montevideo

"I'm confused. Really confused."

36 - Natanya

"It's odd, but I think it's one of the best songs since Saviera tonight. Great lyrics, energetic music, and decent church approval. Expect some points! If you'd like to vote for Natanya, call in or click the bubble."

37 - Achaean Republic

"I feel like the message behind this song needed to be conveyed, simply put. I don't feel too strongly about the music, however. If you'd like to vote for it, call in or click the bubble."

38 - Talvezout

"Wonderful! I feel so connected to the gospel-type genres back home. She's a popular artist, and this will no doubt earn a reasonable number of Carytonic points."

39 - Electrum D.O.

"No. Just... no. The oddest entry I've seen all night, I'll give them that."

40 - Mister X

"It reeks of egotistical people and narcissistic worldview. Like, if bad sportmanship was put into song, it would be this. I don't mean to be cruel, it's a decent sounding piece, but I say these things in the presence of our Lord: saying you'll win and will always win and showing how far you've come to winning is a sure way to lose, unless it's a funny entry like South Alezia."

41 - Mrs. X

"The fact that they made a sequel makes me even more upset."

42 - Todlichebujoku

"I'm let down. For Todlichebujoku, they always give the Carytonic audience an amusing opinion, be it positive or negative. It sounds too generic for my taste but surely someone will feel more for it. If you'd like to vote for this, call in or click the bubble."

43 - Merciendi

"It's really been a streak of bland or upsetting, isn't it? I think the stage effects have made our viewers develop cataracts 50 years early."

44 - Ethane

"The lyrics are repetitive and uncreative, the musical instrumental is auditory assault, and I've seen about 3-4 other breakup pieces this edition. The streak continues. One good thing I'd like to say about this entry, however, is the fact that the stage charisma between the two is absolutely marvelous."

45 - Nahlcomo

"It's a beautiful dress, politics aside. References to God were totally inappropriate, but unlike the last several entries this was a pleasant ending, and for that I thank you Ms. Jenkins."

by **Natanya** » Sat Jul 11, 2020 5:09 am

37. Natanya

Helayna Azuma - Colourful

Tune: Superfly - Beautiful

Helayna Azuma, as seen in a promotional image.

Helayna Azuma is a Natanyan singer and musician from the eastern city of Tanzburg. Growing up in a middle-class neighbourhood, Azuma was exposed to different musical talents from a young age. However, it was not until her early teens in which she decided to try and step into the spotlight herself, entering into her local school district-ran talent competitions, often achieving a podium position after performing. This string of strong performances gave her the confidence to pursue music in a more professional manner, so she enrolled, at the age of 15, into a local music school with plans to become a live performance artist.

Azuma grew to mainly be a backing singer for when Artists performed in the city only really taken the limelight herself when she would perform In Theatre especially during the Christmas pantomimes. While she was not Opposed to taking her career in the direction of original music and studio releases, she was content with where she was already in life and in her career. she became fairly well known among the musical elite of Tanzberg as a go to backing singer and was fairly popular with the locals for her performances in stage shows and tribute shows in which she would perform covers.

Despite having a reputation built upon singing other people’s songs, a scout from the national broadcasting company approached Azuma with the concept of her singing for the nation at the WorldVision Song Contest. Initially taken aback by the offer, Azume did eventually get back to the scout and come into talks with NTV about representing the nation at the next edition of the competition. Being that the song she would represent the nation with would also be her debut original single, Azuma felt as if there was a lot of pressure on her and almost withdrew her participation, However moral support from her social circle reassured her that she was capable of doing so, and she chose to compose the entry completely by herself wanting it to be true to who she is as an artist.

The song, named “Colourful”, is an emotional and meaningful up-tempo pop song with lyrics focusing on the concept of moving on from bad experiences and seen the light and beauty that life has once again. Azuma partially based this off her own trials and tribulations as an up and coming artist and as a human being but also avoided making it too personal as she wanted this to inspire others rather than just be about her own life. the song received a positive reception from the directors at NTV and went on to officially be announced as the Natanyan entry for the 83rd World Vision Song Contest.

Hosted in the small city of Saint Christopher, Azuma arrived sometime earlier in order to focus fully on the competition, as well as to experience the local culture. being that this will be the biggest performance of her lifetime, nerves definitely started to set in Throughout the rehearsals the week before, so as a way to combat this and try to create more domestic hype for her song Azuma started is social media campaign for citizens to show their support. The campaign was successful while this obviously worked for publicity it also helped reassure Azuma before the big performance on the night that her city and her country were behind her 100%.

Azuma patiently waited backstage for her turn to Perform on the night of one of the biggest WorldVisions in recent history, performance 37th, Azuma spent the time before do in vocal exercises and posting to her social media stories, speaking to fans for some time in a live video just before she had to pay to go on stage, once again helping her calm her nerves and creating excitement back home for the upcoming Natanyan performance. As the performance before her came to a close she knew it was now or never for her, so she took one deep breath in, told herself a calming mantra and walked up onto the stage with the determination to give it her all.

As the music starts and the camera began to pan onto the dimly lit stage, the television audience was greeted with a monochromatic filter. Once the music pics up, the camera angles change from around the arena, with the backing L.E.Ds also showing quickly panning black and white shots of some plains landscapes. As the verse begins, Helayna stands at the centre-back of the stage, wearing a long and flowy black dress, waiting for the camera to get to her. It stops at a half-body view and Helayna starts singing into the camera. First, she stays still on the spot, using her free hand to mirror the lyrics in symbolic hand movements. However, in the second verse she slowly begins to walk forwards, the camera moving back as well at near-enough the same speed in order to keep the same shot, with the hand movements also continuing.

As if an arrow shot through me,
As if my heart had failed to function,
Cold grey skies and a lacking compassion,
Still time goes on either way.

No looking back out of fear,
Didn’t know if I could look forward either,
Stuck in a stalemate in my own mind,
Still rivers flow like the blood in my veins.

Into the pre-chorus, the camera switches to a full body view from the side, with Helayna turning each time to face the camera in it’s new location, reaching out for it as if she was signalling for it to come back to her. On the final lyrics before the song goes into the chorus, the camera pans upwards and outwards giving an angled birds-eye-view of the stage and the audience.

But every night brings in a new dawn,
The clocks don’t always sit at midnight,
We may see in monochrome now,
But a full spectrum shines out in the light.

Into the chorus, a wall of lights slowly builds behind Helayna, who sings and moves with much more passion than in the verse. For the first line the camera gives a far back, left-to-right pan of the stage, with a pan from back in the audience forward to the stage pan occurring for the second line and the third line receiving an off-centre upper body shot of Helayna. In the fourth line where the vocals coincide with a cymbal beat, another “wall” of spotlights appears on each cymbal beat, each one further out into the audience than the last one. For the 5th to 8th lines, the staging much repeats, except for the very last lyrics in which the spotlights disperse and the camera goes out of focus while turning off to the side at an angle.

Rainbows can’t shine without the rain,
Nor can the flowers bring gardens to life,
I’ll get up and see,
I’ll get up and run into the rain today.
A sea of different shades and sounds,
A sea filled with different possibility
I’ll get up and see,
I’ll get up and believe life has its beauty.

The camera focuses back on Helayna, who is on the left hand side of the stage, as the walks across it, both her and the camera weave through backing dancers, with the camera not once showing their faces as they stand there in position. In the second of these verses, the camera cuts with each line to a different position on the stage, in which another of the faceless backing dancers’ changes to a different position.

Do we have to follow the lines of others?
Open your mind and you’ll be free.
Do we have to hold onto our hatred?
Open your heart and you’ll be free.

Follow the stream that you can see,
Watch it turn into a mighty river,
Listen to your heart in your chest as it beats,
Know that it too can be big and bold.

The staging here is the same as the staging for the first chorus, just with added backing dancers

Rainbows can’t shine without the rain,
Nor can the flowers bring gardens to life,
Be the one out there,
Go out into life’s symphony,
A sea of different shades and sounds,
A sea filled with different things to see,
I will breathe it all in,
I will take in any pain and doubt.

In the bridge, camera pans around the stage and audience at different angles, showing glimmers of colours and coming gradually in and out of focus from shot to shot. In the final drum beat before the chorus, rows of lights shine out and the camera quickly cuts from shot to shot

Rainbows can’t shine without the rain,
And I’ll be there anyway.
Rainbows can’t shine without the rain,
And I’ll be there anyway.

In this final chorus she walks towards the front of the stage down the runway that juts out into the audience. The camera now in full colour shows Helayna in a new colourful outfit and reveals that full time she was wearing colourful eye make-up. she also wears a reflective jacket on her upper half and as she walks down towards the front of the audience different coloured spotlights are shone onto the jacket creating ricocheted lights in various different colours of the rainbow shining out into the audience.

Rainbows can’t shine without the rain,
Nor can the flowers bring gardens to life,
I’ll be me,
For I am full of hidden colour too,
A sea of different shades and sounds,
A sea filled with feelings that are new,
This is gonna be for me,
This will make me get up and believe life has its beauty.

In the final pre-chorus lines, In time with each beat, a plume of coloured powder (Holi-style) sprays upwards from the edge of the stage, each plume a different colour from the last. High into the sky, after it is shot upwards, the coloured powder disperses onto the crowd.

Life is colourful,
Life is colourful.

As the song comes to a close, the camera comes into focus to reveal a smiling Helayna stood at the front of the stage in a mist of colourful dust, with some of it landing on her and colouring her outfit even more. As the final beat plays, she bows to the audience and thanks them for watching and cheering (and getting covered in colour). "Thank you all, you are all beautiful, you are all colourful, goodnight!"

by **Achaean Republic** » Sat Jul 11, 2020 2:35 pm

37| Achaean Republic
Yiselle and the Marines “Dilema"
Tune: Lous and The Yakuza - Dilemme
Music & Lyrics:Yiselle Clark-Duvalier, Andrés Calderón, Yassir Sierra

“Aquí no hay racismo.” There’s no racism here. This is a common, popular refrain in Achaea: that, despite the tensions, riots, looting and confusion regarding racial relationships in the rest of the world, the Achaeans would never fall to the trap of racism. “We all come from the same bunch of plantains,” said the famed bomba musician Segismundo Ávila. “We all eat the same foods. We are all baptized on the same water, and heated up by the same fire. Does it make sense to treat someone as a lesser being because of their race?” This has become a creed that many Achaean social scholars and philosophers have titled the rainbow theory, an offshoot of the Brazilian racial democracy theory, where the country has valiantly escaped any efforts at racial discrimination throughout the decades, while at the same time acknowledging how the national racial discoursed has changed dramatically as the country has evolved and taken the reins over its identity.

However, things are not so much simple at the outset. Despite being 13% of the Achaean population, Afro-Achaeans are ten times more likely than White Achaeans to be arrested for minor offenses, and jailed more than twenty times than other Achaeans of different racial categories; four times more likely to be in precarious employment schemes, and seven times more likely to receive welfare; six times morel likely to die of chronic health conditions like diabetes, high blood pressure, renal failure, and cancer; and are twelve times as likely to be evicted from their homes. Only five Miss Acaya winners are of Afro-Achaean heritage, and one of them wasn’t even born in the country. Very few singers, painters, dancers, writers and performers of Afro-Achaean heritage have received prestigious national prizes for their work, despite being admired in the population in general. Since the most recent constitution in 1950, only one President has been of Afro-Achaean heritage—and even then, he was forced to highlight his White American heritage for fear of tarnishing the image of reconciliation in the country. Even many Afro-Achaeans would balk at calling themselves simply “black;” rather, they would use terms such as canelita suave (“soft cinnamon”), café con leche (“coffee with milk”), and ébano (“ebony”) instead of using negro (“black”) outright. For many, this negative disavowal of their history has led to many Afro-Achaeans to feel diminished, disempowered, and disfranchised from life.

This was the experience of a young woman named Yiselle Clark-Duvalier, a singer-songwriter from Pallés, a wealthy Rosario suburb. Her father was noted Estogian professor Adolphus Clarke, who fell in love and married local coffee plantation heiress Roseline Duvalier, herself of gens de coleur Haitian descent and also partial owners of the Hacienda Duvalier on the outskirts of Rosario. Despite the general malaise and poverty experienced on the Island beyond the tourist traps and glassy convention centers, Clark was raised with what many would consider a silver spoon: Instead of speaking with that sing-songy trepidatious accent, she was well-spoken in Spanish as well as English and French (his father never spoke Britonish at home, and her mother believed Haitian Creole was a bit boorish to learn). Instead of playing with drums and seashells, she was playing the piano and the clavicle as extracurricular pursuits. While many Rosarianos have never even been to the Achaean mainland before, Yiselle spent her summers wearing the top fashions in Estogium and Britonisea while she spent her Christmas holidays on Catholic mission trips to Haiti, her mother’s ancient homeland and just a skip-hop away from the more-developed Fortune Islands. While aloof and privileged, it was hard for even Yvette to not alienate herself from the dynamics of race, poverty, and crime that face her city. These intersectionalities would shape her music in the future.

When she was a teenager, she begged her father to let her study in a public high school a few blocks away from her estate instead of shipping her off to an elite boarding school in Estograd or Boschke or Nice or Montreal. This would prove disastrous: she would be rejected by most of her peers for her somewhat snobby and classist attitudes, all up to the way she held her spoon while eating and saying the Hail Mary in French. Among the richer students, she was instantaneously rejected for eating soup joumou on New Year’s and having relatively pedestrian hobbies instead of water polo and skiing in the Italian Alps. This, coupled with the increasing violence of the drug trade, the tail end of Achaea’s worst hyperinflationary period alongside increasing dissatisfaction with the mainland and possible secessionary rumors. In essence, This would drive her into a low-grade depression coupled with despair. In essence, Yvette was too black to be rich, and too rich to be black. It wasn’t supposed to happen, but it did.

Things didn’t fare better for Yvette when she moved to Corola to study at the prestigious Catholic University of Corola’s Art Institute to study Music Theory on a scholarship sponsored by the Islas Fortuna state government. She was chided by even richer students for being too poor to pay her way to school despite her family’s wealth. Rosarianos are still stereotyped as being lazy, superstitious, dirty, backward secessionists, and Yvette’s wealth was even denied as that of drug dealers and mafias and Voodoo priestesses. These tense interactions also made her repudiate her wealth, which fueled her passion for music and political activism, attempting to expose the racism and classism inherent in Achaean society. With her newfound friends—the ones that wouldn’t balk or objectify her skin—, she created Yiselle and the Marines, a group that became mildly famous in the Achaean indie-university circuit. After graduating, Yvette-as well as drummer Matthew Badillo, DJ Genaro Viera, and guitarist Javier Molina, they would travel to diverse pubs and concert venues throughout Southeastern Achaea until, one day, they received a fateful call from AS1 while having lunch at a Corola cafeteria.

While they negotiated with AS1 regarding the terms and conditions of their performance for either WorldVision or World Hit Festival (they thought the music would best suit the latter contest), the group began hammering details of their first album, Protecciones Sociales (“Social Protections”) with their song, Dilema (“Dillema”), a pean on Yvette’s skin color and an indictment of racism despite her privileged upbringing.

When the Achaean Republic’s name was called through the loudspeakers, Yvette and her troupe walked with small Achaean and Llaltese flags in their hands. All of them wore masks that matched their outfits: Yvette with her black-and-white mask and the performers with yellow-and-orange masks. They kept their two-meter distance within each other while walking across the stage. For the first time, Yvette could finally see the Llaltese sunset in its full splendor: the singing birds, the hills and valleys, the Oceanic summer that feels bitingly cold for any Achaean crossing the tropic of Cancer; the Celtic music inspiring them; the fresh air that mixes in with the smoke of the Llaltese households setting up the fire. All of this filled Yvette and her team with a sense of awe and pastoral wonder, as if they settled into a fairytale not unlike the stories they read before bed. Did they see a goat grazing near the crowd?

Once the Achaean postcard is over and the cheers return to the open field at the valleys of St. Christohper, Yvette is standing near the center of the stage, almost subtly shivering from the Llaltese cold. Where many in the audience have gloves, jackets, and a hot cup of apple cider courtesy of June Summerfields’ inn, Yvette is wearing a shirt with the face of Martin Luther King and draped behind his head with the Achaean flag instead of the American one. The caption is also translated: instead of “I Have a Dream” in English, it says “Yo Tengo Un Sueño” in Spanish. She also has a somewhat-warm and quite dilapidated plaid red cardigan she bought at a vintage store at a duty-free shop on layaway in Doportedas. It wasn’t supposed to be part of the outfit, but it did look cute—might as well wear it if it makes her feel warm and somewhat comforatble. She also has ripped dark blue skinny jeans she purchased at an Old Navy in Corola, and red Converse shoes she purchased…at some store she even forgot in the first place. Her hair is curly and frizzy, the way she likes it—it's been years since she last used perms or relaxers to straighten her hair, instead letting the curls form on their own in the tropical Caribbean sun. The change was jarring to say the least, despite practicing her performance many times with gritted teeth—the cold, bone-chillingly cold, was adept at killing her or slowly turn her into an iguana. At least she looked fabulous, though.

Beside and behind her are four shirtless black men. All wear the same brand of denim pants. But their chests are covered and glistening with body paint of various iconic black resistance leaders. The farthest man had Kaduba, a noted Igbo slave from Rosario who avenged the death of his lover by burning his master’s house and destroying his stables at the expense of his life. The man to the nearest left of Yvette had a picture of Arturo Brown, Achaean revolutionary general and liberto that was woefully denied the presidency of the nascent republic by the first Junta due to the color of his skin. The man on Yvette’s right had a body painting of Tracey Norman, Clairol’s first black trans model, who turned heads in Achaea and gave the black LGBTIQ+ community a voice in the nascent gay rights movement. And the man beside him had a painting of Malcom X—not Achaean, of course, but undeniably an influential leader for a substantial group of Afro-Achaeans that converted to the Nation of Islam on the outskirts of Rosario and directly competed with the Pentecostals for their souls. All have resisted and embraced their blackness in one way or another. Something Yvette, with all her wealth, couldn’t believe for herself until today. But they, ¡poor men!, felt the Llaltese cold with a bigger bite than Yvette. They’ll talk about it later with her.

A full-frontal camera view shows Yvette standing surrounded with explosive LED images of two divergent images found in many Achaean cities, particularly in her hometown Rosario: the colorful and humble, yet dangerous barriadas, where most of Yvette’s friends at high school grew up, and the luxurious estates and condos dotting the Caribbean shoreline, her mother’s coffee plantation notwithstanding. The four men stand behind her, hands tied and something jingling as she sings.

Por qué tú me tratas como un problema
Why do you treat me like a problem

Si soy mujer negra y digna de pena
If I’m a black woman and worthy of pity

Yo no quiero ser parte de tus esquemas
I don't want to be part of your schemes

Déjame llenar toda mi alacena
Let me fill my pantry, please

Ensangrentó mis manos de día y noche
My hands bled all day and night

para ver tal cual grandioso derroche
So I could see so much waste in me

Vivo de tal vez y quizás
I live with maybe and perhaps

pisando mi calcañar
Stepping on my heel

es el diabo que me tienta
The devil is tempting me

a disparar mis problemas
To shoot my problems

On a side camera, however, eagle-eyed viewers would notice they are chained by the hip instead of the arms and legs as they used to do in Achaean prisons until the Supreme Court banned the practice in 1979. That they are brought back, even for a performance, feels subjective and subordinate. It offers a bitter taste of past oppression—even for a country that tries to actively deny its racist past.

As the men slowly move, they have to be careful while moving with the chains, since one false, sharp move could bring all of them—and Yvette, and thus the performance—tumbling down. The swift movements they have to make in the Llalta cold does not help either. But they use their shivering cold and turn it into art, driving home the indignation they feel in their bodies.

yes, yes, yes sir

The front camera returns to Yvette and the men in V-formation. They jump and throw shapes in the air to the camera with a look that feels almost reckless and violent. In the first utterance of “Yes, yes, yes, sir,” they throw their first in the air at the same time. The LED screens behind and surrounding them briefly show the iconic picture of American athletes Tommie Smith and John Carlos raising their fists in the Black Power salute at the 1968 Mexico City Olympics, an enduring symbol of resistance for many Afro-Achaean civic leaders to this day. They continue to mix their hands and bodies together, enmeshed in their chains, until they quickly reorganize in the second utterance of “Yes, yes, yes, sir” and repeat the same Black Power salute.

They move like this—aimlessly, helplessly, mystically—because they have been called monkeys and savages. They throw signs because the have been called gangsters because of the way they look and the inflection of their voice. And yet, they carry the same hip-hop swagger and make it their own culture, even if the others would refuse to understand.

Si mi color te ofende
If my color offends you

déjame ser yo tu problema
Let me be your problem

yes, yes, yes sir

Si mi color te ofende
If my color offends you

quizá sea yo tu recompensa
Maybe I’ll be your reward

yes, yes, yes sir

Si mi color te ofende
If my color offends you

déjame ser yo tu problema
Let me be your problem

yes, yes, yes sir

Si mi color te ofende
If my color offends you

quizá sea yo tu recompensa
Maybe I’ll be your reward

yes, yes, yes sir

The dancers’ movements are somewhat erratic and impulsive, jumping around and somewhat pushing each other to the lengths of the stage, somewhat appearing as they are pushing each other through their chains. Yvette, being relatively skinnier, is slightly pulled back and forth, swayed by the rhythm. She attempts to be a force of stability while singing and looking at the camera that circles around the performers while, at the same time, a small mist envelops their feet and encircles them. The lights on the stage floor glow white and red, giving off an aura of fear and loathing that encapsulates the anger an “othered" and marginalized community experiences each day.

Yvette’s sight faces to the top camera she looks at while she sings the next two stanzas. She and the dancers beside her lock into each other’s arms across each other and begin to carefully tilt their heads. Yvette’s head stays steady and fixed while singing. It’s hard to portray the dizziness and confusion the men beside her are feeling when she has none. But she can definitely draw into the pain of her own confusion, being considered too rich to be black, too black to be rich, too smart to be simple, and too simple to be smart. The violence she experienced was much more subdued thanks to her family’s wealth, but that never meant she would be ensconced in her privilege. The next stanza reflects her to the speaker—the government, the authorities, the police, the media—that her skin is not an excuse for their mistreatment, while the other shows a biting sense of irony at her perceived “poverty" because of her skin color.

Por qué tu me quieres ver humillada
Why do you want to humiliate me

si no te dije una palabra
If I’ve never said a word to you

porque soy de ébano y malvada
Because I’m evil and made of ebony

mas no te dejaré pisar mi alma
But I’ll never let you step on my soul

Por qué tú me tratas como un problema
Why do you treat me like a problem

Si soy mujer negra y digna de pena
If I’m a black woman and worthy of pity

Yo no quiero ser parte de tus esquemas
I don't want to be part of your schemes

Déjame llenar toda mi alacena
Let me fill my pantry, please

On another side camera not quite unlike the previous refrain, Yvette and the dancers pose as working chain gang members as if they were shoving axes to rocks or shoveling imaginary clumps of dirt into the air. Their faces are angry, torn, forlorn, somewhat frustrated for doing the job. Once again, it feels subjective and subordinate—and above all, oppressive in the Llalta cold.

Yes, yes, yes, of course yes, sir

Once again, they move shamelessly and aimlessly throughout the stage, as if they attempted to laugh at the way soothsayers and doomsayers portrayed the community as directionless and unambitious. Little did they know of the strides they have made or the choices they face faced, and they are still sidelined—which is why the performers drag and sway left to right, all the while bungling over the chains, tripping their feet and stomping themselves. The cold doesn’t help, but this is not the time to complain about that inconvenience.

Si mi color te ofende
If my color offends you

déjame ser yo tu problema
Let me be your problem

yes, yes, yes sir

Si mi color te ofende
If my color offends you

quizá sea yo tu recompensa
Maybe I’ll be your reward

yes, yes, yes sir

There was Yvette’s tone—cynical, whimsical, ethereal. Every step to the next, the performers would crowd around her and prop her up, move her somewhat-limp body like a marionette, guide the direction of her steps without caution. In a sense, it was violent. It was poignant. Her feet were covered by the red fog as it also highlights the dancers’ sweating and bulging muscles in the misty evening.

The next scenes become rapid-fire tableaus and five-second sketches of iconic images, making a fashion out of their chained, yet nimble bodies without tying themselves up in a metallic knot. In the first line, a dancer crouched below her feet while two others carried her and the last one pointed her finger towards the sky, as Alaa Salah did in Sudan. In another scene, the men quickly surround Yvette in a two-by-two formation and replay the image of Ieishia Evans standing her ground in Baton Rouge. For many Acheans, indifferent Achaeans or those Achaeans that don’t understand foreign languages (of which are many), it’s not a far-fetched proposition to believe that those things don't happen on this very small and crowded island. But for the ones that are othered by a society that ignores them or sweeps their troubles away, these are the signs of change—that an opportunity for transformation is possible, abundant and within their grasp.

No tengo que hacer millón de cartas
I don’t have to make millions of letters

para escuchar mi voz a las galaxias
So I can hear my voice to the galaxies

Ellos sabrán que soy su atacada
They will know that I’m attacked

Cuando designe mi fragrancia
When I label my fragrance

Tanta envidia me carcome
So much envy gnaws my soul

Mas soy mejor de lo que proponen
But I’m better than what they think

Aún así, soy fuerte como un noble
Even so, I’m strong like a noble

Y mi vida no es lo que impones
And my life is not what you impose

The camera once again angles to a very common refrain, where Yvette’s face is placed in the middle alongside the surroundings of the performers. They extend their hands as if they were to be handcuffed, a sadly not-uncommon refrain in the Achaean slums where police officers hunt for prey—er, arrest for hooligans and inveterate creeps. And yet it served to be a crippling cycle of Stockholm Syndrome: they deserve it, they get arrested and maybe put to death even before they are ever guaranteed their constitutional day in court. Their faces portray such longing for justice—one shirtless performer hides his eyes with his forearms—, such frustration, such passion, such anger, such fear. Which is why Yvette sings the refrain with such irony.

Yes, yes, yes, of course yes, sir

The front cameras slowly pull back and show the entire stage as Yvette and the performers slowly break themselves from the chains they were placed too or, you could argue, they placed themselves. Eagle-eyed viewers would notice that, in a blink-and-you’ll-miss-it moment, the dancers break their chains from the hip and throw them to the ground. (To avoid hampering the performance, the chains are hooked to magnets instead of hooks and pins that only need to be pulled with a small amount of force.)

Free from the chains, they keep moving aimlessly, helplessly, mystically as these “monkeys" and “savages" have finally woken up to their power. They throw signs because these “gangsters" are now doctors, boxers, poets, musicians, politicians. And yet, they carry the same hip-hop swagger and make it their own culture, blending it to Achaean culture, even if the others would refuse to understand.

Si mi color te ofende
If my color offends you

déjame ser yo tu problema
Let me be your problem

yes, yes, yes sir

Si mi color te ofende
If my color offends you

quizá sea yo tu recompensa
Maybe I’ll be your reward

yes, yes, yes sir

Si mi color te ofende
If my color offends you

déjame ser yo tu problema
Let me be your problem

yes, yes, yes sir

Si mi color te ofende
If my color offends you

quizá sea yo tu recompensa
Maybe I’ll be your reward

yes, yes, yes sir

Yes, yes, yes, of course yes, sir

"¡Gracias! Thank you!" Yvette shouted to the Llaltese crowd, a monochromatic crowd, somewhat befuddled and confused about the Achaean performance. For the first time in quite a while, the Achaean performances did not rely on the standard sex-party-sex scheme with upbeat Latino sounds; rather, it attempted to address sociopolitical inequities in the system, which also bleeds over into their music. It is their hope, thus, that it resonates with a "woke" and captive audience throughout the Multiverse.

by **Elejamie** » Mon Jul 13, 2020 4:56 pm

ETV1 presents WorldVision 83 - English language commentary by Cerin Erali and Flynn Taggart

WorldVision 83 IC Thread - St. Christopher, Llalta

28 | ESTANA AND THAOS

COMMENTARY TIME :D

33 | Aleks Färam - Not The One (Ekoz) [WIP]

34 | Estogium | Rory Adams - Tell Me Why

35 | Normandie et Picardie: On lutt'ra jusqu'à la fin (WIP)

36: La Montevideo: Time in Imperfectness

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