WorldVision 89 Contest Thread | Äuszer, Tödlichebujoku

by **Antahbrantahstan** » Mon Mar 22, 2021 7:07 pm

23. ANTAHBRANTAHSTAN | إانتهبرنتهستن

MAYSA - Shine A Light
Tune: NIKI - Lose
m & l: Maysa Charanachitta, Oliver Vosumagi

The stage is dark, awash with blinding, suffocating void of black, before the stage lits up, revealing two violinists sitting in the front part of the stage, acting as a "gate" that slowly opens, revealing a dark, shadowy figure, before the stage fully lights up, revealing Maysa, wearing a brown-colored parang batik cape covering the entirety of her outfit, her face seemingly disheveled, probably from the thoughts of her loved one haunting herself all day, however, she carried on, singing with a calm demeanor. The stage seemingly understands her emotions that she went through, being mostly awash with smoke effects and soft white strobelights, with the LED screen turned off for most of the performance.

The camera is purposefully shooting her in black-and-white, eliminating every sign of bright colours true to the sad, almost depressing mood of the performance, in addition, the TV audience can see that the aspect ratio is somewhat different from the rest of the WorldVision entrants, having visible black bars on top and bottom of the screen, enhancing the somber mood of the song is the camera angles, who would shoot Maysa from a comfortable angle through several medium close-up shots, ranging from her right side, left side or the front, most of them shot from waist-up, while several alternating zoom out and far away shots complement the performance.

Everything feels like it’s so normal
The usual, but then things changed
All your laugh have lessened down
Replaced by endless frowns
The laughs that we shared before
Now becomes a breakdown
The pain that you have, i want to know why
I want to know how
Your warm smiles becomes this
And maybe i would understand
Why it happens so sudden
But i ain’t gonna stay silent
I’ll do the best that i could
I know,
There's still a spark left in your heart

Soon after, the black bars disappeared, and the black-and-white is then replaced with Maysa in glorious full color, heightening up the mood of her performance, still awash in an array of soft white light and smoke effects, Maysa continues on singing towards a somber, socially-distanced crowd, lots of them can be seen waving their phone lights. Maysa seems unfazed, however, as her voice, complimented with beautifully arranged strings and piano notes, thanks to the Todlichebujoki musicians that appear on stage as accompaniments, soar towards the entire crowd, highlighting her own thoughts toward her loved one, who can seemingly go away from this world anytime now.

Everytime you have slept
Or when you just wept
Stripping your armor away
Everytime you have slept
Or when you just wept, oh
I'll always shine my light on you
Mm

After several vocalizations, a dancer then comes in (the appearance completely up to your imagination), wearing an all white outfit, moving in rhythm to the song in a somber, almost tear-jerking manner next to Maysa, however, Maysa doesn't care, or rather, doesn't understand the situation that is happening around her, letting her voice becoming rough and rough as the song progressed, a probable sign that she simply cannot comprehend this situation anymore, holding on to her brown cape as if the cape is the only source of nourishment and protection for her own fragile self.

During the bridge part (I'm afraid.. onwards), Maysa then walks more towards the front part of the stage, embracing what she will become and how her fate will be, as if letting the audience see her upcoming fate, Maysa un-adjusts her cape in the process, and during this time, she finally noticed the presence of a backup dancer beside her and tried to reach out her hand, as if she is pleading for help, but it's too late, as he backup dancer has walked away from stage, disappearing like a speck of dust.

But your days feels like nights
That's dark and stormy
Dark clouds that's gloomy
Covering up your smile
Yeah, No matter how much i try
Every help, i would do
But you have locked yourself away
In your own, plexiglass barrier
I try to barge in
But you always said, “Please, just leave me alone”
Got my defense that i have
Crashing down the stairs
You always kept me restless
E-ve-ry-day, every night
With all the screams that you can’t shout
But the signs are clear as the sky
I'm afraid
Of losing you always
But i know, there's a spark in your heart
In your heart

Maysa then drops the cape to the stage floor, revealing a modest, somewhat old-fashioned maxi dress that she has wore underneath, stained with tear marks and smudged makeup patches. The stage then finally lights up in a dark, purple color, with the LED screen finally showing an image of a purple-lit glass surface, covered in water vapors. Maysa seemingly understood what just happened, and finally unleashed her voice in full capability, letting the audience know the sufferings that she went through because of her loved one, before slowly dying down, dying down.. and dying down, to a very somber vocalization of "mmm..", as if losing it. Slowly, yet steadily, the light darkens, engulfing the onstage Todlichebujoki musicians and turning them into just several silhouettes, yet several lights still shone on Maysa...

Everytime you have slept
Or when you just wept
Stripping your armor away
I'll always do my best
To make you feel safe
When you can't win anything at all
Mm, mm, mm...

Maysa, now finally alone in an endless void, drops down through the now smoke-less stage floor, and wept silently, before finally standing up to a thunderous applause from the audience, she then bowed down and said, "Thank You, Todichebujoku! Thank you, WorldVision!" before picking up her cape from the floor and walking backstage.

by **Placely Placington** » Mon Mar 22, 2021 7:20 pm

24 - Placely Placington

Seriously, Dave, What Are These Guys Called? You Hired Them To Sing For Us, Surely They Gave You Their Name Or Something - Interval Act

Tune: Van Canto - Battery

The last contest saw a first for Placely Placington as the higher-ups finally competed for the first time. And Dave the Hobo, who had already taken part in the past but was allowed to take part again because he was the Science Minister. It was an absolute smorgasbord for the ears as Chief President Man Dave McDaverson, Television Director, their new Health Minister (who still is definitely not a coronavirus despite what allegations people have made), Potassium Man, Chief Economist and probably others teamed up to do their song "We're Placingtoned!", which was supposed to be the opening song had their bid for WV87 won. It of course didn't and so they were relegated to play it in Rhim Flavezztowland. And it didn't go well, as not only did they die yet again but they also finished fourth from last with 31 points. But at least they got one set of twelve points, which one more than what that Elejamie country they keep giving five points to and copying their televotes got, so at least they had that going for them.

So once he was recloned and returned home, Dave McDaverson decided to give the contest yet another go. But he wanted to send the people who had volunteered to do his interval act if they had won, just to get all of the boxes checked off. Seriously, he asked them it they were up for it and they said yes. The downside was that he never really asked for their name. He remembered what they looked like but that was about it. In fact Television Director kept passive-aggressively trying to tell him to ask for their names and the one time Dave actually went through with it and got an answer he got devoured by house hippos again shortly afterwards, so Television Director just put in a huge bunch of filler names on the form and hoped for the best. Or that the organisers would learn their name when they arrived in Äuszer. They didn't.

Standard rule as always. No one wanted to go slog through the Placely Placington entry so a number of them decided that now would be the best time for a toilet break. The lights didn't go down or anything but it did just cut to the five of them, standing there on stage. They were completely covered by their cloaks and were waiting for the signal to start. Once they were given it, they put the microphones to their mouths and started to sing in some kind of harmony.

Ahhhhhhhhhhhhhhhh^{hhhhhhhhhhhhhhhh}
Ahhhhhhhhhhhhhhhh^{hhhhhhhhhhhhhhhh}
Akuji, A-kuji, Akuji, A-kuji (Ahhhhhhhhhhhhhhhh^{hhhhhhhhhhhhhhhh})
Akuji, A-kuji, Akuji, A-kuji (Ahhhhhhhhhhhhhhhh^{hhhhhhhhhhhhhhhh})
Akuji, A-kuji, Akuji, A-kuji (Ahhhhhhhhhhhhhhhh^{hhhhhhhhhhhhhhhh})
Akuji, A-kuji, Akuji, A-kuji (Ahhhhhhhhhhhhhhhh^{hhhhhhhhhhhhhhhh})
Akuji, A-kuji, Akuji, A-kuji (A-kuji Akujiiiiii, A-kuji Akujiiiiii)
Akuji, A-kuji, Akuji, A-kuji (A-kuji Akujiiiiii, A-kuji Akujiiiiii)
Akuji, A-kuji, Akuji, A-kuji (A-kuji Akujiiiiii, A-kuji Akujiiiiii)
Akuji, A-kuji, Akuji, A-kuji (A-kuji Akujiiiiii, A-kuji Akujiiiiii)
A-ku-uuu-jiii-iii-ii! (A-ku-uuu-jiii-iii-ii!)

Wow, that actually sounded perfectly pleasant. Everything seemed harmonious and actually quite decently made. And since the real life people made this song are German, there's nothing ruling them out from them having a go at the Eurovision, even if it does feel a bit unorthodox. And then you remember that this is a Placely Placington entry, so naturally there'll be a reason for something like this being played. Don't worry, it'll get worse.

HANKITY GRANKITY GRANKITY GRANKITY
HANKITY GRANKITY GRANKITY GRANKITY
HANKITY GRANKITY GRANKITY GRANKITY
AKUJI AKUJI
DANG (HANKITY GRANKITY GRANKITY GRANKITY)
DANG DANG DING DONG (HANKITY GRANKITY GRANKITY GRANKITY)
(HANKITY GRANKITY GRANKITY GRANKITY)
VA DOOM SHPLINK SHPLEURNK
HANKITY GRANKITY GRANKITY GRANKITY (bob bob ba-bo-bo bo-bob)
HANKITY GRANKITY GRANKITY GRANKITY (bob bob ba-bo-bo bo-bob)
HANKITY GRANKITY GRANKITY GRANKITY (bob bob ba-bo-bo bo-bob)
AKUJI AKUJI
HUUUUUUU (HANKITY GRANKITY GRANKITY GRANKITY (bob bob ba-bo-bo bo-bob))
EEEEEEEEEE (HANKITY GRANKITY GRANKITY GRANKITY (bob bob ba-bo-bo bo-bob))
^EEEEEEEEEEE (HANKITY GRANKITY GRANKITY GRANKITY (bob bob ba-bo-bo bo-bob))
GA GLUUM PLANG FLURK

Just as soon as the actual song started, the singers started to elevate themselves and glow gold from every single part of their body. Their cloaks then dissolved into ash, which in turn faded into nothing. The gold glow started to turn a different colour, a colour that's not supposed to exist and yet it somehow did. Their bodies morphed into one entire being, a dull grey figure that looks like a Pain Elemental but without a mouth. At least, not on its face. Its mouth was in its eye. While it was forming, a puddle of greyish-peach liquid was pouring out of it, which then solidified and started to expand. It creeped its way towards the crowd, essentially blanketing them and rendering them immobile. They were still alive and still aware, but they were unable to do anything about it.

Midway through the verse and out of sight of the cameras, we come across two familiar commentators. One of them was wearing a grey suit, a white undershirt, black shoes and a blue and black striped tie. The other was wearing a purple Hawaiian shirt with golden trees, a pair of light blue denim jeans and a pair of black and white designer trainers. They were both also wearing wedding rings on their respective fingers, although they were completely different designs and makes. And they were both wearing wireless headsets just so they could commentate on each song after the performance and talk about each entry during the postcard. They were, of course, Flynn Taggart and Cerin Erali, longtime commentators for ETV. While the mics on their headsets were turned off, Cerin turned to Flynn and disinterestedly said "They're killing the audience again." Technically they weren't but then again he didn't know that.

Flynn let out a mildly annoyed sigh and said "I'll get my gun." He then stood up, took his headset off and left the booth so he could find the shotgun that he brought with him for some unknown reason. I named him after Doomguy from the 90s novels so I have to have a Doom tribute in here somewhere.

AAAA-KUUU-JIIII AKUJI
The ultra force of evil (FLIBBITY BLIBBITY BLIBBITY BLIBBITY (bob bob ba-bo-bo bo-bob))
Is causing an upheaval (FLIBBITY BLIBBITY BLIBBITY BLIBBITY (bob bob ba-bo-bo bo-bob))
Right here in this cursed place (FLIBBITY BLIBBITY BLIBBITY BLIBBITY (bob bob ba-bo-bo bo-bob))
(AKUJI AKUJI)
He will turn you into his flesh (FLIBBITY BLIBBITY BLIBBITY BLIBBITY (bob bob ba-bo-bo bo-bob))
And it wouldn't be best (FLIBBITY BLIBBITY BLIBBITY BLIBBITY (bob bob ba-bo-bo bo-bob))
If you tried to run away (FLIBBITY BLIBBITY BLIBBITY BLIBBITY (bob bob ba-bo-bo bo-bob))
(BOB BURM BLANG BLOONG)
You will be imprisoned (AAAAA)
And part of his vision (KUUUU)
In his eternal conquest (JIIIII AKUJI)
(FLIBBITY BLIBBITY BLIBBITY BLIBBITY (bob bob ba-bo-bo bo-bob))
(FLIBBITY BLIBBITY BLIBBITY BLIBBITY (bob bob ba-bo-bo bo-bob))
(FLIBBITY BLIBBITY BLIBBITY BLIBBITY (bob bob ba-bo-bo bo-bob))
(AKUJI AKUJI)
Just a mortal piller (AAAAA)
He's not a killer (KUUUU)
Just a thing who'll infest (JIIIII AKUJI)
(FLIBBITY BLIBBITY BLIBBITY BLIBBITY (bob bob ba-bo-bo bo-bob))
(FLIBBITY BLIBBITY)
Bring forth the destruction
He'll start the reduction now!
(FLIBBITY BLIBBITY BLIBBITY BLIBBITY (bob bob ba-bo-bo bo-bob))
(FLIBBITY BLIBBITY)
(Aku-Aku-Aku-Aku) Akuji! (FLIBBITY BLIBBITY BLIBBITY BLIBBITY (bob bob ba-bo-bo bo-bob))
(FLIBBITY BLIBBITY BLIBBITY BLIBBITY (bob bob ba-bo-bo bo-bob))
(FLIBBITY BLIBBITY BLIBBITY BLIBBITY (bob bob ba-bo-bo bo-bob))
(FLIBBITY BLIBBITY BLIBBITY BLIBBITY (bob bob ba-bo-bo bo-bob))
Akuji!

There wasn't much else to say about the performance. The liquid by now had essentially covered the audience, breaking apart any part that wasn't essentially a person or a seat with a person in it. They were essentially cocooned in it, unable to move or grasp what had happened to them. Even the backstage performers were under the same effect when Flynn passed by. He was picking up some shells that just so happened to be lying around and sticking them into a backpack he had on him. He was also looking left to right every few seconds, just to make sure that there weren't any beasties lurking out there but also because guess. When Flynn made it to the stage he fired and caught the monster's attention, as not only did it make a familiar sound but it also screamed at him. Despite lacking a mouth on its face as it was actually located in its eye.

AAAA-KUUU-JIII AKUJI
Taking all the weakest (POOPITY ROOPITY ROOPITY ROOPITY (bob bob ba-bo-bo bo-bob))
Crumbling them to pieces (POOPITY ROOPITY ROOPITY ROOPITY (bob bob ba-bo-bo bo-bob))
And devouring them all whole (POOPITY ROOPITY ROOPITY ROOPITY (bob bob ba-bo-bo bo-bob))
(AKUJI AKUJI)
Capturing the strong men (POOPITY ROOPITY ROOPITY ROOPITY (bob bob ba-bo-bo bo-bob))
It won't be that long then (POOPITY ROOPITY ROOPITY ROOPITY (bob bob ba-bo-bo bo-bob))
'Til Akuji eats their soul (POOPITY ROOPITY ROOPITY ROOPITY (bob bob ba-bo-bo bo-bob))
(VUR BANG BLIMP BLOMP)
His conscience will spread (AAAA)
And when there's nothing left (KUUU)
He will evacuate (JIII AKUJI)
(POOPITY ROOPITY ROOPITY ROOPITY (bob bob ba-bo-bo bo-bob))
(POOPITY ROOPITY ROOPITY ROOPITY (bob bob ba-bo-bo bo-bob))
(POOPITY ROOPITY ROOPITY ROOPITY (bob bob ba-bo-bo bo-bob))
(AKUJI AKUJI)
And when there's nothing left here (AAAA)
Akuji will disappear (KUUU)
Find new realms to dissipate (JIII AKUJI)
(POOPITY ROOPITY ROOPITY ROOPITY (bob bob ba-bo-bo bo-bob))
(POOPITY ROOPITY)
Bring forth the destruction
He'll start the reduction now!
(POOPITY ROOPITY ROOPITY ROOPITY (bob bob ba-bo-bo bo-bob))
(POOPITY ROOPITY)
(Aku-Aku-Aku-Aku) Akuji! (POOPITY ROOPITY ROOPITY ROOPITY (bob bob ba-bo-bo bo-bob))
(POOPITY ROOPITY ROOPITY ROOPITY (bob bob ba-bo-bo bo-bob))
(POOPITY ROOPITY ROOPITY ROOPITY (bob bob ba-bo-bo bo-bob))
(POOPITY ROOPITY ROOPITY ROOPITY (bob bob ba-bo-bo bo-bob))
Akuji!

Flynn could only stare at the monster as it glared at him, then it started to frown as a wide array of tentacles emerged from its self. Instead of suckers on the bottom they were almost completely flat with some incredibly fine grooves in them that were just noticeable once you realised that they weren't normal lines. Flynn frowned back as he racked his gun then fired another slug at the monster. After it growled, it started to projeect pure energy and started to fire it at Flynn, causing the two to have a battle for the ages between a force that has probably existed for numerous timelines and universes, and a 50-something ice hockey goaltender turned entertainer and WorldVision commentator. You know, fun for the whole family.

EEEEEEEEEEEE BLEEEEEEEEEEE ^{GLEEEEEEEEEEE}
DINGA DAM EEEEEEEEEE BLEEEEEEEEE
JIMMA JIM JA JAM JIMMA JIM JOM JOM
JIM JA JOM JIMMA JAM JEEEEE EEEEEE
JIM JA JAM JIMMA JIM JOM JOM
JIM JA JOM JIMMA JAM JEEEEE EEEEEE
JIM JA JAM JIMMA JIM JOM JOM
JIM JA JOM JIMMA JAM JEEEEE EEEEEE
JIM JA JOM JIMMA EEEEE EEEE BLEEEE GLEEEEEEEEEEEEE
JIMMA JOM JOM

The battle was really on. Flynn kept firing shells at the monster without ever seeming to reload for some reason. Lord knows how that was possible. Meanwhile the monster kept firing pure energy out of its eye and its tentacles with Flynn managing to strafe most of them. He did get hit a few times but the good news is that, for a number of fourth-wall breaking reasons, all it did was just ruin his suit a bit. The entire audience and green room were still simply just greyish-peach coloured cocoons, unaware of the epic battle raging upon the stage and it's unknown what'd happen to them if Flynn lost it. Let's just hope he does, shall we.

(JOM) BRREEEEEEEEEEEEEEAAAAAAWWWWWWW (JIMMILY GRIMMILY GRIMMILY GRIMMILY)
BRIDDLY BROO (DINGY DONGER DINGY DONGER)
SKLOOOOOOOOO FNOOOOOOO (JIMMILY GRIMMILY GRIMMILY GRIMMILY)
SQUIDDLY SQIJJY SQIJJY SQIJJY (DINGY DONG DONG DONG)
BLOOBY BLOOBY BLOOBY (JIMMILY GRIMMILY GRIMMILY GRIMMILY)
BLOOBITY BLOOBOO BLERF (DINGY DONGER DINGY DONGER)
FNEEEEEEEURRRRRRR (JIMMILY GRIMMILY GRIMMILY GRIMMILY)
PFEEEEEEEURRRRRRR GEEEEEEREEREEREEREEREEREEREE (DINGA DONG DONG DONG DING)
BLIBBY BLIBBY BLIBBY BLIBBY BLIBBY BLIBBY (JIMMILY GRIMMILY GRIMMILY GRIMMILY DINGY DONGER DINGY DONGER)
BLIBBY BLIBBILY BLEEEEEE (SPLEEEEEEEEEEE)
SPLOOOOOOOOOOOOOOO (GREEEEEEEEEEE)
BLIBBILY WAH KIBBLY KOBBLY KUBBLY BLAH (FNEEEEEEEEE)
BLIBBILY BLOO SQUIDDLY SQLOO (VTEEEEEEEE)
POOPILY BRIPPILY PLONG (BLEEEEEEEEEEEE FRAH)
HANKITY HANKITY HANKITY HANKITY HANKITY BLONG

At that point the monster picked up Flynn with two of its tentacles and brought it closer to its eye jut so it can scream at him. It then threw him against one of the displays, which then saw him fall to the floor and drop his shotty. It then hovered over to him and it looked like it was about to attack. Flynn looked up and said a deadpan "Lech tizdayen." He then grabbed his gun again and returned to firing at the monster, his suit getting more and more damaged from the energy blasts.

FLINK FLONK FLINK FLINK FLINK FLONK FLINK FLINK
PRINK PRONK PRINK PRINK PRINK PRONK PRINK PRINK
GRINK GRONK GRINK GRINK GRINK GRONK GRINK GRINK
SRINK SRONK SRINK SRINK SRINK SRONK SRINK SRINK
SPLOOO

DINGY DONG

Flynn was feeling that he was low on shells. If he ran out he's probably have to resort to his fists and, truth be told, that would probably suck for him. So he disappeared back off stage to try and find some more, as well as get a drink because he was starting to feel a bit thirsty. The monster kept following him and commanded a patch of the liquid to solidify once he stuck his foot into it; it did but since he wasn't in it for long enough for the monster to get it done, it just made the shape of his foot instead before it reliquified. Fortunately, Flynn did come across a huge bunch of shell boxes that were there for some reason, alongside a cola vending machine. He stuck some of his loose change into the machine, got the drink he wanted and opened the ring pull with his teeth, drinking some of it and throwing the can away before carrying on fighting the monster that had managed to track him down.

No one can defeat him (BUMMITY HUMMITY HUMMITY HUMMITY (bob bob ba-bo-bo bo-bob))
And no one can beat him (BUMMITY HUMMITY HUMMITY HUMMITY (bob bob ba-bo-bo bo-bob))
When it comes to his own game (BUMMITY HUMMITY HUMMITY HUMMITY (bob bob ba-bo-bo bo-bob))
(AKUJI AKUJI)
The superior being (BUMMITY HUMMITY HUMMITY HUMMITY (bob bob ba-bo-bo bo-bob)) (YEAHHHHHHH)
Who'll send them all fleeing (BUMMITY HUMMITY HUMMITY HUMMITY (bob bob ba-bo-bo bo-bob)) (^YEAHHHHHHH)
Nothing will be the same (BUMMITY HUMMITY HUMMITY HUMMITY (bob bob ba-bo-bo bo-bob)) (^YEAHHHHHHH)
(FHQWHGADS _{(pronounced "Fa-hoo-kwa-gads" for the record)})
Worlds eaten by fire (AAAA)
And crumbling empires (KUUU)
Are all that's left in his wake (JIII AKUJI)
(BUMMITY HUMMITY HUMMITY HUMMITY (bob bob ba-bo-bo bo-bob))
(BUMMITY HUMMITY HUMMITY HUMMITY (bob bob ba-bo-bo bo-bob))
(BUMMITY HUMMITY HUMMITY HUMMITY (bob bob ba-bo-bo bo-bob))
(AKUJI AKUJI)
Ultra evil spectre (AAAA)
Ultimate infester (KUUU)
And your hopes you shall forsake (JIII AKUJI)
(BUMMITY HUMMITY HUMMITY HUMMITY (bob bob ba-bo-bo bo-bob))
(BUMMITY HUMMITY)
Bring forth the destruction
He'll start the reduction now!
(BUMMITY HUMMITY HUMMITY HUMMITY (bob bob ba-bo-bo bo-bob))
(BUMMITY HUMMITY)
(Aku-Aku-Aku-Aku) Akuji! (BUMMITY HUMMITY HUMMITY HUMMITY (bob bob ba-bo-bo bo-bob))
Akuji! (BUMMITY HUMMITY HUMMITY HUMMITY (bob bob ba-bo-bo bo-bob))
(Aku-Aku-Aku-Aku) Hail Akuji! (BUMMITY HUMMITY HUMMITY HUMMITY (bob bob ba-bo-bo bo-bob))
Akuji!

At this point, Flynn and the monster were battling back on the stage. Flynn was low on shells again but the monster was starting to give up. He fired his last slug at it and that seemed to have done the trick. It stopped dead in its tracks before it was pulled back over the audience. It started to glitch and corrupt as it let out ear-piercing, almost inhuman screams. Flynn, all tattered and torn but still standing OK, dropped his now depleted shotgun on the ground and stared at the sight before him, breathing heavily and unable to control his breathing in any other way. In a rare display of emotion, he let out a small toothy smile for some reason that even he didn't know as he watched the monster meet its end.

FLINK FLONK FLINK FLINK FLINK FLONK FLINK FLINK
PRINK PRONK PRINK PRINK PRINK PRONK PRINK PRINK
GRINK GRONK GRINK GRINK GRINK GRONK GRINK GRINK
SRINK SRONK SRINK SRINK SRINK SRONK SRINK SRINK
VRINK VRONK VRINK VRINK VRINK VRONK VRINK VRINK
HRINK HRONK HRINK HRINK HRINK HRONK HRINK HRINK
MLINK MLONK MLINK MLINK MLINK MLONK MLINK MLINK
ZRINK ZRONK ZRINK ZRINK
FLOOOOOOOO^{OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO}
JIMMA JIM JIM JA JOM!

At that point, the monster then exploded into an orb of Red Kola, which splashed onto the audience. Not only was it an elixir to free them from their cocoon and wipe the events of what happened away from their memories as if it never happened but it also doubles as a fucking delicious drink (#notspon). The elixir then followed the trail of the grey-ish peach liquid and dissolved it, not just to remove any trace of what just happened but also to free the people in the green room and behind the scenes. All of this while Flynn headed back to the broadcast booth, although he made a quick stop along the way to put his empty can of soda into the bin like he should've earlier. That wasn't the only thing he put away now he was done with it as he put his shotty back in storage. While the audience in the background gave a round of applause as if they saw an actually competent entry, Flynn began the long stagger back to the ETV booth so he could be reunited with Cerin and the two would be able to carry on commentating the contest, especially since Fatimania were making a return after a number of editions away from the contest.

(I am never going to write another Placely Placington entry like this, don't worry. Besides, their next one should be normal by their standards anyway.)

by **Indo States** » Mon Mar 22, 2021 7:20 pm

25. FATIMANIA

A Song Dedicated for College Lovelife and Remastered for 2021
Love Letter by Elena Marie Cuseta (Remastered by Vit Ešaň)

Prologue

March 21 2021, Leaving Fatima City via Pinewood City to Äuszer

During the Pandemic, 22-Year Old Elena Marie Cuseta has been Tested Negative on her COVID-19 Tests, and she even Received an Vaccine Before she Participate in the WorldVision.

Before she Departed Pinewood City Interstellar Express Terminal at 5:00 PM (3/21/2021), At Her Home in Indo City, Marie take an Shower at 4 AM, After Taking a Shower, Eating her Breakfast and she Prepared her Baggage that she will Bring. Before Going to Airport, She'd Brought her Baggage to her car and she've Gone to her Music Studio at Fatima City and She'd taken the High Speed Train to Pinewood City for 3 Hours.

After Rehersing at Fatima City, She is now Ready to go at the Terminal with her Musical and Technical Team by 30 Minutes to Fatima City Main Railway Station and Taken the High Speed Train to Pinewood City, She Departed Pinewood City in a Spaceship by 5:15 PM on Time to Äuszer.

The Performance

Before Marie Sings, An Edited Short Musical Movie was Begun which it is was a Full Short Movie of Love Leter. Where 14-Year Old Crisel (Starred by Patricia Dela Peña) met 15-Year Old Ivan (Starred by Keith Dela Peña), But that's not the Start of their Romance Yet. It begins in their Childhood Years, when 11-Year Old Crisel (Starred by Mariela Adamczyk) accidentally Slipped on a Wet Floor in their School but 10-Year Old Ivan (Starred by Fredrick Mangyan) Catches her. After a Years having a Romance in High School, They Graduated at the High School and Moved to College. But it Became Complicated, 16-Year Old Ivan wants Crisel Break their Relationships to Remove his "Depression" caused by his Complicated Life.

The Movie Takes 3 Minutes, Then the LED Backround Changes into Skies with Pink Background. Then Marie Appears and Started Singing, During the Performance, The LED Changes into Scenes from the Short Movie that Previewed Earlier. The First Clips in the LED was the Part 2 Where Crisel argues with Ivan about why he is cheating her with a Another Woman.

A Long Ago, My Lovelife has Broken that I didn't want to happen to me.
He's not Cheating at me but He's Joking at me for no Reason.
In our High School Days, we Write Love Letters Together without being Caught by our Parents.
We Just Talk in Real Life, not in Telephone or Text that my Parents could Caught me Dating since we are so Young, but this is a Puppy Love.

Is it a Failure of our Romance or Continued Love Life,
What Is the Thing that Hurts?

I Write this Letter for you, That I tell about our Love Life
But Today, You Break my Heart for no Reason.

But if you Apologize,
Don't let the hate Spread on me.

I Write this Letter for you, I Write this Letter for you to Love with you.

Menwhile, The LED Changed a Video. The Second Clip was shown in the LED Screen was The JS Prom Scene, when Crisel and Ivan Dancing Together.

Sometimes, We are Always having a Date
With our Favorite Foods (Favorite Favourite)
I Belive that Your Love during our High School Period is Better than our College Periods.
A Love Letters for ours.

Is it a Failure of our Romance or Continued Love Life,
What Is the Thing that Hurts?

I Write this Letter for you, That I tell about our Love Life
But Today, You Break my Heart for no Reason.

But if you Apologize,
Don't let the hate Spread on me.

I Write this Letter for you, I Write this Letter for you to Love with you.

Again, The LED Changed a Video Clip. The Last Scene was College Days and Their Last Moment where they (Crisel and Ivan) Break on their Relationships. The Saxophone was Played by Rose de Fuentes from Siena College Symphony Band (Instrumental Only).

(Saxophone Instrumental)

Is it a Failure of our Romance or Continued Love Life,
What Is the Thing that Hurts?

I Write this Letter for you, That I tell about our Love Life
But Today, You Break my Heart for no Reason.

But if you Apologize,
Don't let the hate Spread on me.

I Write this Letter for you, I Write this Letter for you to Love with you.

The Ending Scene in the LED Screen was the Mail Envelope Dropped from the Mailbox with the Song Title Addressed and the Singer's Picture in a Stamp, The Music Team and Marie Applauds by Saying "Thank You" to the Audience.

by **Nihilitia** » Mon Mar 22, 2021 7:58 pm

26 | Nihilitia

Makomarmu (Our Destiny)- ASUBA
Language - Hausa
Music - Sherifa Yakuba, Nindow Guzu, Yukuba Angel
Lyrics - Haruna Hari, Natalio Radu

Dagomba - Sorcerer

ASUBA, the group that will represent Nihilitia at the 89th WorldVision Song Contest, held in Äuszer, Tödlichebujoku. The group consists of 10 members, each from a different tribe in the southern plains of Nihilitia.
From Left to right: Samirah Gaba (16, Lu'u-lu'u Tribe), Tala Yakuba (16, Yumbu Tribe), Pearl Angel (8, Gado Tribe), Yukuba Angel (24, Gado Tribe), Talia Barokarku (25, Dutse Tribe), Hauri Hari (23, Sama Tribe), Fau Hauna-Dala (19, Farko Haife Tribe), Jouu Naganuso (17, Tsiro Tribe), River Parmana (19, Gobe Tribe) & Lila Nankonarsu (18, Karshe Tribe).

Rawa ga bugun ƙasa
Bari zukatanmu doke kamar daya
Rawa ga bugun ƙasa (ji ta!)
Bari kowa koma yadda muke da
Rawa ga bugun ƙasa
Bari zukatanmu doke kamar daya
Rawa ga bugun ƙasa (ji ta!)
Makomarmu shi ne koma Uwa Duniya

Uwa
Uwa
Kuna iya jin bugun?
Kuna iya jin bugun?

Rawa ga bugun ƙasa
Bari zukatanmu doke kamar daya
Rawa ga bugun ƙasa (ji ta!)
Bari kowa koma yadda muke da
Rawa ga bugun ƙasa
Bari zukatanmu doke kamar daya
Rawa ga bugun ƙasa (ji ta!)
Makomarmu shi ne koma Uwa Duniya

Saurari okin na Duniya, tana sha'awar sake farawa
Saurari okin na Duniya, tana sha'awar sake farawa
Saurari okin na Duniya, tana sha'awar sake farawa
Saurari okin na Duniya, tana sha'awar sake farawa

Rawa ga bugun ƙasa
Bari zukatanmu doke kamar daya
Rawa ga bugun ƙasa (ji ta!)
Bari kowa koma yadda muke da
Rawa ga bugun ƙasa
Bari zukatanmu doke kamar daya
Rawa ga bugun ƙasa (ji ta!)
Makomarmu shi ne koma Uwa Duniya

Saurari okin na Duniya, tana sha'awar sake farawa
Saurari okin na Duniya, tana sha'awar sake farawa
Saurari okin na Duniya, tana sha'awar sake farawa
Saurari okin na Duniya, tana sha'awar sake farawa

Rawa ga bugun ƙasa
Bari zukatanmu doke kamar daya
Rawa ga bugun ƙasa (ji ta!)
Bari kowa koma yadda muke da
Rawa ga bugun ƙasa
Bari zukatanmu doke kamar daya
Rawa ga bugun ƙasa (ji ta!)
Makomarmu shi ne koma Uwa Duniya

by **Waisnor** » Mon Mar 22, 2021 8:25 pm

27

WAISNOR

Virgin Marina - Poteryala ya sebya/Tune: London Grammar - Lose Your Head

Virgin Marina (real name - Marina Muratova) started her career as a singer in 2012, but became well known to Waisnorian music fans in 2016, when she was featured on "White Album", album of rather obscure singers, which were singing in a style which had their differences from usual pop songs. (Btw, most prominent of the singers that appeared in this album, Levitskaya and Company, already was participating in 84th edition of WorldVision)
Since then Marina became much more well-known in Waisnorian music scene, she already released 2 full albums. Her popularity was one of the factors due to which they decided to send her to the 89th WorldVision Song Contest in Todlichebujoku.

Now let's go to the performance:

Firstly the camera slowly zoomed into the center of the stage, but Marina was not visible. When the camera came close enough, Marina could be seen lying on stage in a semi-transparent gray dress. Throughout the scene there was smoke from smoke machines, Maria herself was wrapped in this smoke. ~~Basically imagine start of "Walk On Water" only with a real person and with a lot more smoke.~~

Хочу найти
I want to find

Свой тихий островок
My quiet island

Где я смогу понять
Where I can understand

Как обрести
How to get

Рассудка мой исток
Origin of my reason

И разум воссоздать
And recreate my mind

Marina slowly and gently got up and sat down on the stage. She began to spread the smoke with her hands, but it did not work out very well, the smoke still rushed towards her. The light illuminated the entire scene, and in the background there was a clear sky and sun.

Я не пойму
I can't get it

Как в этом мире жить
How to live in this world

Где все меняется
Where everything changes

И почему
And why

Не могу отпустить
I can't let go

То, что теряется
What is lost

Marina also calmly and quietly got up and got to her feet, while wind machines began to work from both sides of the stage, gradually increasing power. The smoke was gradually blowing off the stage, the wind speed increased, and Marina began to dance, making mysterious gestures with her hands, as if writhing.

Потеряла я себя
I lost myself

Свою душу раздробя
Shattering my soul

Ненавижу и люблю
I hate and love

О спокойствии молю
I pray for peace

Marina repeated the chorus again, continuing her dancing. Meanwhile, the camera rotated a full 180 degrees on its axis with Marina in the center. After that, the wind turbines reduced their strength, but the wind was still blowing. The background changed a little - now there were small clouds that slightly covered the clear sky, but the sky was still quite beautiful)

Я хочу
I want

Осмыслить свою жизнь
Make sense of my life

И разобраться в том
And figure it out

Что я кричу
What am I screaming

Средь жизненных кулис
In the midst of life

Где мне никто не знаком
Where nobody knows me

Marina calmly approached the edge and began to walk along the very edge. The wind machines turned off completely as Marina left them. Meanwhile, the background began to slowly unfold, before it was in an upright position, after the reversal it became horizontal.

Я не могу
I can't

Понять сама себя
Understand myself

И кто на деле я
And who I really am

Развею мглу
I will dispel the haze

Черту переступя
Crossing the line

И в разум свой смотря
And looking into my mind

Marina closed her eyes and began to slowly move away from the edge of the stage, but she did not move to the center, she was still more or less close to the audience. Behind them, someone slowly began to sing the chorus, gradually increasing the volume, and in the meantime, Marina began to dance again, still with her eyes closed.

Потеряла я себя
I lost myself

Свою душу раздробя
Shattering my soul

Ненавижу и люблю
I hate and love

О спокойствии молю
I pray for peace

After another repetition of the chorus, Marina opened her eyes and whirled around several times, after which she quickly fell onto the stage and the performance ended. After that, the light turned off, and when the light appeared again, Marina was on her knees, thanks to the audience: "Thank you, everybody! Good luck to everyone!" Marina said this, lightly smiling)

by **Greater Korean Juche Republic** » Mon Mar 22, 2021 8:49 pm

#28 - GREATER KOREAN JUCHE REPUBLIC
Let's All Stand Strong - Park Yong Ae

tune

Performance:

My nation is invincible, my nation is powerful!
My homeland of the people is a homeland of beauty!
So if the imperialists dare encroach…! 80 million bullets will strike them...!
Let’s all stand up strong! We can all stand strong!

Our efforts when combined make an impenetrable maelstrom!
Our dreams when melted cast a resolve stronger than iron!
So when the enemies shall come…! (They’ll all inevitably come, ah ah!) 80 million bayonets will pierce them…! (They’ll all inevitably fall, ah ah!)
Let’s all stand up strong! We can all stand strong!

[instrumental in which singer undergoes dance break with waving party flag behind her, backing singers sway]

Their false hopes can’t ever break us, their false words can’t ever shake us!
Our righteous fates will save us, our righteous truths will make us!
So when the foes’ bombs of demise fall…! 80 million of our mother’s shields will rise!
Let’s all stand up strong! We can all stand strong!

We can all stand strong!

by **Vartugia** » Tue Mar 23, 2021 12:33 am

29. Vartugia

Mr Peanut Cut- "Last Place Entry”

Caroline Konstnar- It’s Prom

Mr Peanut Cut is an fatimanian artist that for some reason represents Vartugia. This happens when you request a meme to represent a meme-nation.

Mr Peanut Cut runs toward the stage, drunk AF, and begins to do some cringy dance moves. His vocals are the poorest you will hear this evening.

At Worldvision, we spend a hour on this
At Worldvision, we end up becoming a joke
We lower our bar so low that we reached magma
But hey atleast no one bar us gets last place now

MPC does a dab and nobody cares. Except for him.

Worldvision, is great
Why the fuck am we performing this shit?

More bad vocals that get worse. He is seen saying a "not friendly word" that has been removed.

Yeet, Yeet
We gonna get your [RECTRACTED] in the evening
This shit is a song for reasons
I am convicted of third-degree manslaughter
We are gonna win this by cheating
I put c4 in your water and now everyone is dead lol

MPC does something not even the person writing this RP understands.

Vartugia, are breathtaking
We gonna win Worldvision now
Mooo
I have the Committee in my basement

Mr Peanut Cut does a cringy dance when suddenly, the police arrive and arrest MPC. This car crash of an entry is over and everyone is happy.

Out of the blue, we see a member of the Committee running across the stage has the said member, who is of unknown origin, has escaped the basement. The said member then gets saved by a police officer and is carried away to a safe place. Don't worry, the other Committee-members are also saved.

by **Plangainer** » Tue Mar 23, 2021 12:40 am

Plangainer has Withdrawn from the Worldvision Song Contest on the 5th of April.

by **These American States** » Tue Mar 23, 2021 6:25 am

31.

THESE

AMERICAN

STATES

U4

(We're Like Super) Sorry

U4, a popular American Statesian group worldwide, were selected to represent These American States.
U4 was formed in 1992 in Warmachine, Virginia. They were extremely popular n the late nineties and early 2000s before
going on hiatus from 2007 until a comeback in 2017.

Lead Singer Willie Bangor, had this to say: Yeah we're really excited to deliver a message to the World at large.
Things have changed. We have changed, Time moves on and so does the world, and....
We're Back...

TUNE

A massive curtain adorned in These American States Flag, cloaked the stage.

Jeniqua Flagg stood backstage, excited to deliver the opening lines, even if she wasn't part of the performance.

3 - 2 - 1

"forgive me, we're tired...
The Poor, Homeless, and Maskless
are burning our great cities

Though i refuse to conced the narrative
that the lawlessness
began with me,

i shall apologize, once more..."

-VP California Jones

Red, Black and Blue Flares shot up from the front of the stage, as the Song began and the American Statesian Flag Curtain fell to the stage and was quickly reeled away by stage hands.

Willie Bangor strutted to the front and center stage, dressed in this.

THESE AMERICAN STATES [AAAAHHH YEAH]\
WE'RE LIKE SUPER SORRRY [AAAAHH YEAH]

MUSLIMS
we're sorry that our country banned Muslims....
you can come back, just don't bring guns
or bombs, or drugs, or stolen goods
inside your hoods

Freedom
You'll get nothing free except for "FREE DUMB"
In the Empire of Lies the Truth is Treason
They've traded in all of our views,
It's all fake news now ...

THESE AMERICAN STATES [AAAAHHH YEAH]\
WE'RE LIKE SUPER SORRRY [AAAAHH YEAH]

I CAN SCREAM UNTIL MY LUNGS BURST OPEN
I'M SORRY FOR THE THINGS THAT THEY DID, ALRIGHT
I APOLOGIZE FOR RACIST HATERS
MOST AMERICAN STATERS....

INDIANS
Not Mumbai, i'm talking Native Indians
we're sorry we took your lands and your influence
The totem pole, the fishing hole, the tomahawk, and bird hawks

BLACK PEOPLE,
I'M sorry that you lost your back of bus seats
now you have to sit by people like me
Jeff Davis deserves, no History Words said...

THESE AMERICAN STATES [AAAAHHH YEAH]\
WE'RE LIKE SUPER SORRRY [AAAAHH YEAH]

I CAN SCREAM UNTIL MY LUNGS BURST OPEN
I'M SORRY FOR THE THINGS THAT THEY DID, ALRIGHT
I APOLOGIZE FOR RACIST HATERS
MOST AMERICAN STATERS....

THESE AMERICAN STATES [YEAH]\
THESE AMERICAN STATES [WE ARE!]

[guitar]

THESE AMERICAN STATES
THESE AMERICAN STATES
WE'RE LIKE SUPER SORRRY [AAAAHH YEAH]

[spoken]

This Song Goes out to all the Worlds Countries
We're Super Sorry, and we can totally Change!
This is for the all the people who've been alienated
by our misrepresented presidency of the past four years

Remember the Name.

These American States Are BACK!!!!

by **Todlichebujoku** » Tue Mar 23, 2021 1:32 pm

32. _Tödlichebujoku_

Lüö Mua

Tune: MARUV & Boosin - "I Want You"

Part 1: Jolyo's Story

It was always kind of depressing passing by these parts of Füüligekaikobu. Ashen ruins, hollowed-out apartments, broken glass and rubble swept up along the sides of the streets. Even as bands of workers and residents started to rebuild, the smoke stains and glowing slogans etched into walls were still as inescapable as the haze of dust kicked up whenever a breeze passed through. Jolyo Kantta exhaled against the window of the ley-line caravan, his breath fogging up the view of wreckage. All this from a storm of incompetence and hubris at so many levels of society. The singer and producer, better known as the leading member of the artist 3x3, was all too familiar with scenes of inequality and poverty along with his family, and struggles with the constant destructive specter of addiction in his youth had strongly colored his views on life and society. The uncaring attitude and token platitudes of the well-off constantly grated on his nerves, and seeing what ended up happening to the country... Maybe his brother Geolatso was right in moving to Britonisea. But Geo was always the more hot-headed one, and Jolyo didn't honestly feel like moving away to another country would solve the underlying issues permeating Tödlichebujoki society. He sighed as he zoned out into the far distance, the landscape transitioning to one of spottily scarred suburbs and soon to farms and forests. He did sometimes feel a bit empty creating club bangers and pop music, but listening to the beats helped him temporarily escape the soul-sapping reality, and he hoped that before long, he would be in a much better position to make real change in this country that he loved despite its many flaws.

Part 2: Hiroko's Story

Meanwhile, dawn began to break in Iisige-ka as Hiroko Kuppo started her morning routine. The heavy scent of tea permeated the air as she opened up the curtains, the apartments across the street reflecting the morning sunlight through the living room into the kitchen. She left a bit of cake for the kitchen sprite before settling down at the table to catch up with her friends on the matrix. The world around her was slowly healing, and Hiroko blessed the gods for it. The singer was so sure her burgeoning music career was doomed to be put on hold indefinitely as the chaos erupted around her, and the peace that finally fell upon the nation was a much-needed breath of fresh air for her spirit. It was just so nice to be finally able to sit with a cup of tea amidst the calm hubbub of the city outside, and enjoy the banter of her friends without fearing for her safety. But still, it was hard to forget the trials of the previous months, and how she had fallen into a downward spiral as it seemed her dreams were being crushed before her. Ever since she started her career under the pseudonym MB, Hiroko had aimed for the top, to walk the red carpets and breathe in the limelight. She had only just begun to appear on the national top charts, predicted to climb higher, but the civil collapse had brought the music industry into chaos and Hiroko's style freefell out of favor as rogue characters and niche genres took hold of the industry giants. She really thought it was all over, and had fallen into a despondent state, withdrawing from her friends and keeping her apartment locked down and blacked out. Hiroko justified this all to herself as just keeping safe and reducing risks, but deep down she knew it was about her insecurity about her future, enclosing herself in a last-ditch effort to have some feeling of control over her life. It was frankly the worst part of her adult life, losing her direction and her drive, feeling lost and adrift going nowhere. But luckily the tide did turn, and now there was a semblance of normalcy. Hiroko gleamed as she thought about her latest track finally achieving the success she had been hoping for, for so long, and savored the sweetness and butteriness of her breakfast as she basked in the strengthening glow of morning.

Part 3: Collision

The air was almost stiflingly warm in the Tsivos Arena, amidst the brilliant spotlight beams and the crowd of audience members. Jolyo and Hiroko glanced toward each other nervously as the scores were announced. The two artists had come together during a party thrown by their new label, Amjius Music, and soon realized that their personalities meshed, and after a jam session at Hiroko's apartment, that their music tastes did as well. Meanwhile, Amjius had been in contact with TÖBUK and Estegoa100 regarding potential acts for the second edition of Starfall, and noted the upcoming duo in the form of MXB as a strong contender. Though a Starfall participation hadn't been on their radar, Jolyo and Hiroko were delighted to embark on a new journey and spend a bit of time in the national spotlight, and if things went well maybe even the international spotlight! That, however, didn't really seem to be in the cards as the jury segment ended. Their own "Lüö Mua" sat in 3rd place, while Polkopian star An Na and PAKXRA's "Say My Name" led the scoreboard. Sure, it was a tight margin, but in the last Starfall it was all very similar, and the jury winner Rasiña continued on to win the competition. So the two were resigned to perhaps a nice bronze medal, or at least a future performance at some unspecified point down the line, and sat back to enjoy the show. That is, until the final international televotes began rolling in. In a shock twist, "Lüö Mua" received the top international televote score just as "Say My Name" came up short, with the 5th best score, leaving Jolyo and Hiroko with 199 points, a whole 22 point lead over second place.

And now it was time for the domestic televote. Oh dear. Second to last. That wasn't great. The points continued to be announced. "Yálleen", 22 points. "Llaunumo", 29 points. "Sredh Duhàv", also 29 points. "Say My Name", 30 points. The pair still stood at the top, with a 10 point lead. "Walk On Water", starring Eiya Eiya and the Izmeduan producer Letenje so beloved in Tödlichebujoku, 30 points. Wildcard entry "Achaea!", 37 points. Hiroko turned to Jolyo for a moment in disbelief. Could the WV veteran duo Hoch and Liinamaa's "GHOST" come in with a landslide? "GHOST"... 45 points, a total of 178 points and 5th place.

Which left... Jolyo and Hiroko gaped at one another in shock, the eyes of the nation converging upon them. Hiroko was more quick to bounce up and begin to celebrate, her dreams beginning to manifest themselves on air across the nation and beyond, while Jolyo continued to sit and dissociate for a minute before returning to his senses and standing up as well. On stage, well, one might say it were a magical moment, as snow white petals drifted down and glimmers of ethereal light danced around the pair as they met Rasiña and received their trophy- an enchanted figurine carved out of a small meteorite. The cheers of the audience filled the arena as the two stood facing the recording crystals, in a happy daze. It felt like such a dream, a vision, a fantasy, but the weight and feel of the cold meteoritic stone reassured Hiroko that this was all very much real. And of course, this meant that they were on to a far greater adventure. Soon eyes from many worlds would cast their eyes upon Äuszer, and the Starfall winners would bear the mantle as the host act, flashing their glitter and glamour for all to see.

An ice blue sheen covers the stage, glistening like a winter hoarfrost. And like hoarfrost, it melts away in the light of twin lines of white spotlights that turn on with the opening notes to illuminate Hiroko and Jolyo, strapped up in tight black latex marching band uniforms, studded with silvery white rhinestone insignias. They are backed by lines of female and male dancers respectively, in similar uniforms, though without the rhinestones and having sunglasses and black latex police caps instead. Hiroko gazes steadily into the camera view as the beat comes in, moving her shoulders back and forth in time with her dancers, her dark eyeshadow and lip glimmering in the lighting as the view hovers close in front of her. Her look is seductive, almost dangerous. Jolyo, on the other hand, has more of a confident and slightly playful vibe to him, a cocky look to the viewers as the camera view cuts to him

Tu-let soittamaan mulle
You come to call me up

Oh, soitat südántani
Oh, you play my heart

Tu-let soittamaan mulle
You come to call me up

Oh, soitat südántani
Oh, you play my heart

The two lines of dancers merge into one, from the back of the stage to the front, then spreads out into a V shape with Hiroko at the point of the V at front stage, all sides lit by spotlights directed at ground level, so that the dancers are illuminated by the reflected light. More fully lit than the dancers, Hiroko turns her head to the side, eyeing the camera view dismissively and haughtily before her visage transforms into a more interested, seductive, almost predatory look. Behind her, the background screen echoes the dance formation, with white chevron patterns crisscrossing one another and pulsing to the beat.

Kuulen sun laulavan, náen sun salttivan
I hear you singing, I see you dancing

Iskun kanssa
With the beat

Náet mun eláván, katsot mun liikkuvan
You see me living, you watch me moving

Laulun kanssa
With the song

She whirls around and squats to the ground, the dancers behind her continuing to stand, moving their shoulders and tapping their feet in time to the beat. With an head tilt and an inviting grin, Hiroko slowly rises back up as she approaches the end of the bridge, nodding toward the camera view amicably as she anticipates the entry to the chorus, anxious to ensure that it all goes perfectly

Voit soittaa, voit soittaa
You can play, you can play

Voit soittaa, voit soittaa
You can play, you can play

Mua milloin tahansa
Me anytime

Niin mennáán, ühdessá
So let's go, together

Niin mennáán, ühdessá
So let's go, together

Mennáán tehdáán mölüá
Let's go make some noise

The dancers freeze in position and the screen animations dissipate as the spotlights converge on Hiroko, causing a dazzling effect as light reflects off the rhinestones and latex of her uniform. Amongst all the light, a camera view cuts in, close enough to her to avoid the most intense flashes, and capturing an almost hazy view of her face as she regards the viewers with a smoky, enticing look, smirking ever so slightly, before the view cuts to a straight on approach in front of her for her last line, with her expression daring and her delivery soft but commanding

Nüt
Now

Oletko nüt valmis?
Are you ready now?

Odotan...
I'm waiting...

Lüö mua, kuin toppi.
Hit me, like a drum.

A flash of light erupts on the stage as a brass band, clad in the same outfits as the dancers, marches in along the back of the stage. Once they are lined up from the left to the right side, they begin marching forwards, just as the two wings of dancers behind Hiroko march to swap positions, all three groups crisscrossing one another without stopping or slowing down. Hiroko marches backwards some steps, before meeting up with the band and marching forwards again. It so turns out that the band member closest to her is Jolyo, and the camera view zooms in on the two nodding at one another to capitalize upon this fact. Meanwhile, alternating rows of spotlights shine straight down upon the stage, blinking to the beat, with a camera view arcing from above to capture all of the action and emphasizing the three-dimensionality of the performance during the dance break. As Hiroko begins to sing again, the dancers have formed a reverse V, but with each wing on the opposite side of the stage (really more like / . \ than a V, with the period where Hiroko is standing). The band members play, directing their instruments from one side to the other to the beat, as Hiroko joins the dancers in marching in place both forward and backward along with twirling, and she produces a baton from a hidden crevice in her uniform and launches it into the air

Voi tiedán
Oh I know

Paldies, paldies, poniña
Gracias, gracias, señorita

Voi tiedán
Oh I know

Paldies, paldies, poniña
Gracias, gracias, señorita

Voi tiedán
Oh I know

Paldies, paldies, poniña
Gracias, gracias, señorita

Voi tiedán
Oh I know

Paldies, paldies, poniña
Gracias, gracias, señorita

The lights fade out, leaving only a few that reappear and converge on Hiroko and Jolyo as they circle one another in center stage, Jolyo having managed to pass off his instrument to a dancer in the moment of darkness. They first circle face to face and then turn around, circling back to back, managing not to walk into one another by sheer force of choreography. The camera view rotates alongside them, just a bit slower so that it catches both of them, both with subtly flirtatious smiles as they make eye contact with the camera view

Sun, táütüü pitáá mua
You, need to hold me

Sun, táütüü tuntea mua
You, need to feel me

The dancers have disappeared, and as the band members form a half circle around Jolyo, Hiroko is suddenly gone. Jolyo strides forward with a bit of swagger, followed closely by the band members and their instruments, which are being held but not played. An animation of a circle pulsing and radiating out in black and white plays on the background screen, as the spotlights shine in diagonally around and above the group, forming a radial effect like an amphitheater of light behind them. Jolyo and the band make it to the projecting platform, and with the last lines he winks to the close-up camera view

Löüdám toinen laulu
We'll find another song

Hosankas pohyoisesta
A rhythm from the north

Nevetasci
In Nevetasso (the language)

Voin olla soittaya
I can be the player

Vaikka voit olla soitin
While you can be the instrument

Kuin sakarni
Like a symphony

Behind them, on the main stage, the dancers return, marching in a line from one side of the stage to the other, then turning to the right and bending over onto one another, embracing bodies and feeling their curves. They smack twice before rising back up and doing the same to the other side. Meanwhile, Jolyo runs his hands along the latex of one of the male band members at the front, who leans in with a flirtatious look, popping a quick smile at him as if to say "We'll do it soon", before turning his attention back toward the camera view and regarding the viewers with a similarly inviting expression, and a quick and subtle eyebrow raise at the last line

Voim soittaa, voim soittaa
We can play, we can play

Voim soittaa, voim soittaa
We can play, we can play

Valyam koko ayan
Our music all the time

Niin mennáán, ühdessá
So let's go, together

Niin mennáán, ühdessá
So let's go, together

Luomaan toinen náütelmá
To make another show

The lighting and effects tone down as the band members form a circle around Jolyo and lower themselves down to the floor, leaving only the singer standing and facing the camera view, a spotlight on him and a hazy glow around him on the platform, with some audience members illuminated as they wave flags. He gazes at the camera view as if it were a love interest, eyes flicking down as if checking it out, before cocking his head, turning his tightly covered body slightly, and flashing a smirk as he says the last line

Nüt
Now

Oletko nüt valmis?
Are you ready now?

Odotan...
I'm waiting...

Lüö mua, kuin toppi.
Hit me, like a drum.

The band members around Jolyo raise their instruments up as they play and begin to rise, creating the effect of a brassy flower rising around Jolyo, a dramatic sight as the camera view swoops around them. Soon after, Hiroko shouts "Yesim!" (Let's go!) as an array of white sparks jets out along the stage edge and the lights illuminate her appearing amongst the dancers in the main stage area. Jolyo and the band members march back down toward the main stage, shoulders swinging in time to the beat, where he meets up with Hiroko. The band members settle along the raised back of the stage as the dancers flank and surround the two as they dance back-to-back on a platform that levitates just about a meter, surrounded by two concentric rings of dancers and lit by beams of light that rotate around them, the camera view catching every flash and gleam off their outfits, as the stage floor pulses a deep brilliant red, illuminating the dancers from below. Another camera view arcs close in from afar, first capturing the overall vista before zooming into Jolyo and Hiroko with their intensely focused gazes, every movement matching as their platform rotates and the lights beam along their bodies

Voi tiedán
Oh I know

Paldies, paldies, poniña
Gracias, gracias, señorita

Voi tiedán
Oh I know

Paldies, paldies, poniña
Gracias, gracias, señorita

Voi tiedán
Oh I know

Paldies, paldies, poniña
Gracias, gracias, señorita

Voi tiedán
Oh I know

Paldies, paldies, poniña
Gracias, gracias, señorita

The lights thin out and the floor fades back to black, leaving a selection of the brightest lights interspersed with darkness and creating a harsh black and white effect. After focusing on Jolyo and Hiroko on the levitating platform, the camera view turns to the dancers, who have arranged themselves into a grid, all performing the exact same movements in time with one another, the harsh lighting creating the impression of otherworldly figurines. Oddly enough, Jolyo and Hiroko are nowhere to be seen. Only after some different shots of the dancers, including one along the stage floor that captures the forest of stark shadows and identical legwork, does the view finally come back to the pair on the platform who are revealed to have made it to the projecting platform among the audience, the levitating platform continuing to hover above

Sun, táütüü pitáá mua
You, need to hold me

Sun, táütüü tuntea mua
You, need to feel me

Sun, táütüü lüödá mua
You, need to hit me

Sun, táütüü soittaa mua
You, need to play me

Sun, táütüü pitáá mua
You, need to hold me

Sun, táütüü tuntea mua
You, need to feel me

Sun, táütüü lüödá mua
You, need to hit me

Sun, táütüü soittaa mua
You, need to play me

Hiroko, a sheen of sweat just faintly visible on her forehead, shouts a final "Yesim!", the lights having dissipated first on the dancers on the main stage and now dimming on the two singers on the platform. They whirl in place and raise a fist to the sky, just as the ring of lights around them plunges downwards to be replaced by a single light shining straight down up on the platform, backlighting them so that the camera view catches their silhouettes as it slowly zooms outward. The spotlight then slowly fades away, and the arena falls into darkness

"Thank you! Kiitos kaikille!" they shout as the lights come back on and the platform settles back down at ground level. Both performers are noticeably soaked in sweat now that the lighting is back to normal, but they are grinning and elated despite the discomfort. Hiroko in particular is glowing, still a bit in disbelief and holding back tears at making it all this way but absolutely dedicated to soaking this moment in nonetheless. Meanwhile, Jolyo is just vibing, his mind still trying to process the surreal feeling of having completed the performance, but is interrupted as Hiroko wraps him in a quick hug, and then the two bow. As they leave the stage, he looks a bit distant but the cool air of the back rooms helps bring him back to reality, and he chugs down a glass of ice cold water before settling down to watch... oh. Crustyland. Well that would certainly be an entertaining act to relax to, and keep his mind on entertainment and the good feelings he was enjoying.

by **Crustyland** » Tue Mar 23, 2021 2:57 pm

33.Crustyland
Lattsa Aileren - Blubber
Music and Lyrics - Lattsa Aileren
Tune Sugar

In what was hoping to be the nations best act so far didn't go to well. "Don't Feed the Fishes" landed Crustyland 30th place with 29 points and even a big fat 0 in the televote. Viewers up and down the country were torn between whether this was a bad thing or a good thing (how long had hey competed now). Some saw the 0 as a shock whereas some thought 0 was the best score you could receive and were surprised when the nations descended down the board instead of up. The nations had decided against any seal references in a bid to get more points which it seemed didn't work. Head of CRAP Benjamin Cranp asked, he was very upset. "What do people want?" Do they want more seals now then"?! Tony Turdison and Mandy Bigooty where still given a huge welcome on their return as thousands of fans turned out at the airport for their return. The plane dodging several seals as it landed.

Talk soon turned to the nations next entry despite the Countries Minister for Finances, blowing all their budget on a giant sandwich that had gone up for sale for 77 million Bonners on Ebay. Malta Comino Gozo AGAIN had to bail the struggling country out again! With the MCG Finance Minister reluctantly handing over a nice briefcase full of cash to the Crustyland officials and refusing to let go." "You do realise this is to bail you out and not for your own personal spending?" Lucas Spiteri said as he reluctantly handed over the briefcase to the friendly Crustyland Finance Minister who during the whole exchange had just stood there smiling without trying to prize the case of him. He had seen a HUGE tablespoon that tickled his fancy on EBAY. Sadly though the more competent officials with him took the briefcase off him and back to the treasury.

The country had chosen their next song and singer for WV. Their next entrant would be a song called "Blubber" a song singing about the nations extremely large sea mammal population which wasn't a plague at all... In a country infested with Seals, Walruses and Sea Lions everywhere, it was a surprise that the locals were not tired of yet another Sea Mammal reference. The song actually became a hit debuting at number 3 in the Crustyland charts before later becoming number 1. The song contains a mesmerising pop hook that reflects the sassy charisma behind the lyrical quality of this ear-catching musical composition. Lattsa Aileren is a 33-year-old singer from Sluttown on the main island of Crustyland aptly known as Crustyland Island. She attended high school majoring in mathematics, biology and chemistry. She sang in her school choir. She also graduated from her piano studies at music school and danced in the school's dance ensemble for 10 years. She has since become one of the countries best known singers.

The audience cheers as the stage which was dark lights up white as the song starts up. The camera is on stage and witnesses Lattsa as she is lit up as the song begins.She is wearing a light blue and white dress and candy pink high heels. The background LED's are of deep blue sea. There is a cheeky little grey seal in on the far left which gets bigger as the verse continues as it swims nearer to Lattsa. She has a cheeky grin on her face and places her hand on her forehead as if she looking at something far away and scouts the arena before turning to look back at the camera. The camera pans out slightly showing a body shot of her. There are three squishy looking boulders surrounding her two brown and one white and one squishy white boulder off to her right.

There's something out there bobbing in the sea
Something round, grey and free
What could this creature be, it's whiskers are long thing and lush
It's swimming about

The camera pans out as the white squishy looking boulder on her right starts to uncurl. It is a man dressed as a seal. It shuffles awkwardly nearer to Lattsa as she lowers her hand down and gently boops its snouts, as she sings "It swims closer to come get a treat!" She mimes giving it a treat as she bends down towards it. Behind her, the squishy lumps have started to rise up. The 3 men one dressed as a Seal and 2 dressed as Walruses The audience cheers.

And now it calls out blargh, blargh, blargh
What does it want
This greedy beast
I think it wants some fish..
It swims closer to come get a treat!

The lights suddenly go crazy zooming about over the arena in the colours of their flag, blue white and green. The LED background changes to an blue ocean. The water slushing about on the LED screens. The camera soars off outwards from the stage over the audience as Lattsa and her male dancers performa well-choreographed routine.We have an onstage view in front of them all, Lattsa looks at the camera with a sensual look.
As the chorus ends the sea mammals freeze behind her. The lights suddenly dim and it's just Lattsa illuminated on stage by a warm yellowish spotlight She spins following the on-stage camera, her stunning looks on a show for the viewer. As she sings "Look at your blubber!" the lights start lighting up the dancers behind her and she pets the nearest one to her. "Blubber" in big bold bubble-like writing appears on the LED's behind them before it disappears for the instrumental.

Swim over
Swim over
I have some fishies for you
Swim over
Swim over
Come over
Look at your blubber!

The lights suddenly go crazy zooming about over the arena in the colours of their flag, blue white and green. The LED background a blue ocean. The water slushing about on the LED screens. The camera soars off outwards from the stage over the audience as Lattsa and her male dancers performa well-choreographed routine.We have an onstage view in front of them all before it cuts to a view from above and then back to the dancing.

The lights calm back down again and change to white as the camera approaches Lattsa on stage as she sings. The dancers bob about behind her.

At the coastline it bobs up and down
Excited its tummy full

The dancers make raised their flippers to the mouths and mime calling out. Lastta grins. The dancers revolve in a circle around her as she sings to the camera directly above her. It zooms into her before it cuts to a frontal shot as the dancers disperse back behind her.

And now it calls out blargh, blargh, blargh
What does it want
This greedy beast
I think it wants some more fish..
It swims closer to come get a treat!

The lights suddenly dim and it's just Lattsa illuminated on stage again by a warm yellowish spotlight She spins following the on-stage camera as it spins clockwise around. She beckons towards it. She has a grin on her face. As she sings "Look at your blubber!" the lights start lighting up the dancers behind her and she pets the nearest one to her. "Blubber" in big bold bubble-like writing appears on the LED's behind them before it disappears.

Swim over
Swim over
I have some delicious fishies for you
Swim over
Swim over
Come over
Let me touch your blubber!

Lattsa and her male dancers then performtheir well-choreographed routine. Lattsa then struts with the dancers who are bobbing about towards the catwalk stage the camera following them we have a view from above the audience before it cuts to a spider camera from the left. Lattsa points to it as it reaches them. As she then sings and holds the last note "Ah Ah Ahhhhh..." the camera now positioned on a facial shot zooms out fast from Lattsa outwards towards the back of the arena. The LED screens change from the ocean to an array of blues and whites which rush about on the screen. The dancers carry on dancing behind. We have a view of the entire stage bathed in blue and green the lights racing out over the arena. The camera zooms back onto Lattsa as she finishes her song.

It's body is soft too touch it howls out for some more fish
Greedy little seal I have no fishies left
It swims about near the quayside
It's fat dark blubber blubber on show
Thats the tale of the seal I met Ah Ah Ahhhhh...
Blubber!

The crowd cheers as the songs ends. The entry seemed to have gone down very well actually! Lastta blows a kiss "Thank you! They all leave the stage.

by **Achaean Republic** » Tue Mar 23, 2021 3:20 pm

34| Achaean Republic
Fantasmagoria-“Tu Verdad”)
Tune: Fangoria-Un Boomerang
Music & Lyrics:Alexander Chévere, Elizabeth Chévere, Xavier Martínez-Chévere

From left to right: Alexander Chévere, Elizabeth Chévere, Xavier Martínez-Chévere

Alexander and Elizabeth Chévere, two siblings from the city of Santa Ana, Zacatecas, bumped into Xavier at a midnight showing of The Rocky Horror Picture Show. It was the first time in years the movie was being screened in English in Santa Ana since the seventies, and as campy B-movie horror film fans they were, the siblings couldn’t be amiss. Xavier, the bulkish, hairy friend was also hanging out aimlessly in the city, ditched by his friends who couldn’t go clubbing with him to the city’s hottest joints. Nevertheless, he found both Alex and Elli—and above all, Alex—interesting, struck up a conversation with them, and decided to hang out despite not knowing much English and not caring much about campy musicals featuring sweet transvestites and degenerate time warps.

And yet he loved it. And he loved being with Alex even more. And Elizabeth knew from the outset that both he and his brother were a thing.

During the day, Alex was a chemistry student at the University of Santa Ana—a bookish fellow that, in his young age, received three scholarships and was barely growing comfortable into his confusing sexuality. Elizabeth, his sister and best friend forever, was a secretarial assistant that worked for the City of Santa Ana, whose big frame, towering stature and administrative competence made her shine in the eyes of many people—and, for those politically minded, made her a shoo-in for a possible future in city politics. Xavier, however, had no drive nor ambition like his new best friends: he smoked a joint in the morning and strummed some guitar in his shoebox apartment near the outskirts of town, while he did some busking at the quarry and the local bus depot. He enjoyed playing some music, and his influences were as varied as his talents: Red Hot Chili Peppers, Nirvana, Maná, some bachata, some R&B, and maybe even some nascent dembow that people on the streets were listening to. Maybe he needed some inspiration from somewhere…from Alex, perhaps?

They named themselves Fantasmagoria as a carbon-copy rip-off of Spanish electropop group Fangoria, both their major inspiration and itself ripped off the classic American horror magazine that both Alex and Ellie used to sneak away from their Anglophobic parents when they were children. However, phantasmagoria was also termed the type of horror theater popular in the late eighteenth and nineteenth centuries where optical illusions produced by magic lanterns would show phantasms, illusions and deceptions to a suggestibly horrified crowd. They, however, attempted to shy away from the typical heavy metal expected to come from such a horrific idea; rather, they delved their strengths to dance and electropop and shatter the binary, which quickly catapulted them into gay icon status in the nation. This became even more pronounced when, in a concert in Corola, Xavier proposed marriage to Alex the night after same-sex marriage was declared legal in Achaea…and an audience member was randomly pulled as a licensed officiant for the impromptu wedding.

The trio dedicated themselves to electronica, satire and the ever-so-nebulous category of “queer pop” with a sly mixture of Scissor Sisters, Queen and the fabulousness of underground house music. Like Xavier said, “It’s music to make you party, music to make you think, music to make you cry—or all three, if you so prefer.” Elizabeth was the main vocalist with her raspy and somewhat husky voice many a critic compared to that of Annie Lennox. Xavier also provided backing vocals and played the piano, while Alex worked on remixes and promotions, which secured them a deal to compete in WorldVision: La Final, which led them to a plane to Tödlichebujoku…

They’ve heard so much from Tödlichebujoku—the flying dragons, the sex malls, the normalized gay couples, the exotic foreign cults—but Äuszer was on a completely different level. The city truly lived up to its “fire and ice” theme, with the lava-spewing glaciers and ice-carved temples with beautiful flowers on a spring-filled day. The temperature was colder than it ever was in Zacatecas, even colder than anywhere else in Achaea at this time of year. Still, despite the exotic languages that converged on Äuszer alongside theirs at their travels, the trio felt quite relieved that their queerness was not even a sight to gawk at—rather, it felt…normal.

While Elizabeth enjoyed sampling the Tobuans’ exotic libations and sampled their delicious foods, Alex and Xavier enjoyed hiking up some hills and having fun in some local clubs in the evening. When they were together, they tried to search for the infamous (by Achaean standards) sex malls so they could livestream and take pictures and giggle at the stores’ tastefully…exotic content. Nevertheless, the trio treated their trip to Äuszer not so much as a trip for a competition, but as a fun, sexy, irreverent and very meme-worthy trip. That being said, they needed to prepare their performance in the ginormous Ametsuči Dome and the massive stage they needed to perform in for thousands of fans throughout the Multiverse—and even more so, the adoring Achaean fans that voted them in.

The delegation decided to take advantage of the grandiose stage design to transform it into an opulent, eighties-style mansion in the vein of prime-time dramas like Dallas and Dynasty with its gaudy, gilded mansions and prominent marble columns. The LED screens transformed themselves into pieces of neo-Cornthians columns hiding beneath a promenade of stairs, giving the stage an aura of presidential excess. The idea was to submerge the audience into a three-minute fantasy filled with excess. Which is why the stage also had a small replica of an oil rig (despite the Achaean Republic not having any major oil deposits), a (painted) golden statue of a dollar sign atop of money bags with prop-corcino and euro signs (despite the euro not existing until 2002, a clear tongue-in-cheek sign of irreverent anachronism), and a gold-painted toilet that may or may not look like the one rumored to be owned by Donald Trump, the ultimate 80’s bad-boy posturing not-really-billionaire. After all, the props needed to scream excess.

Elizabeth was dressed with as much excessive 80’s fashion tropes as possible: Linda Evans’ Dynasty hair-do coiffed with enough aerosol to burn a hole through the ozone layer—twice. The big, bulging sunglasses. The neutral jacket/pantsuit combo with an embroidered white blouse and those killer shoulder pads that mean business. The men besides her were dressed in stereotypical 80’s clothes which were both hilarious and irreverent. To the left, Alex was serving a Gordon Gekko-style masculine corporate sociopath that made him look like a ridiculous caricature of Wall Street greed. On the other hand, Xavier was dressed in an outfit similar to Richard Simmons in his heyday, showing his bulging muscles and bearish frame with short thigh-high tight pants that demarcated a well-endowed portion of his body. He also had white knee-high socks and white sneakers.

The cameras pointed at Elizabeth’s body first. She turned to the camera and began to sing with her glorious frame displayed and her hands in her hips, sashaying towards the body in her elegant businesswoman fantasy as if she were running the catwalk. This was her moment, the opportunity to enjoy herself and display some confidence. As the lyrics of the song show, she used her grave voice to convey the disappointment at the failed relationship, her misplaced expectations, and her finality and resolution in terminating and moving on.

Ahora sé que tú no sabes jugar
Now I know that you don’t know how to play

Con los sentimientos de los demás
With other people’s feelings

Trataste de hacerme tan feliz
You tried to make me happy

Pero fue un error el quererte burlar
But it was a mistake trying to mock (me)

Behind her, the voices of Alex and Xavier could be heard and the camera expanded to display them. Alex on the left, Xavier for the right. They briefly did a chorus for Elizabeth once she sang a line or two as an echo. Despite trying to portray uber-masculine figures, they jokingly showed softer, more feminine mannerisms. Even if Alex tried to pull up a heavy suitcase prop with his right hand, his left hand wiggled from side to side. Even if Xavier tried to flex his muscles with vigor, he still displayed the same passion of an extremely energetic aerobics instructor—in fact, he barely recovered from a sprained ankle and a swollen pinky no later than two weeks before going to Tödlichebujoku! Nevertheless, they were present to play with social conventions of masculinity, valid in the 80’s and even more salient today.

Por favor, y aún no hay que desperdiciar
Please, there’s not much more time to waste

Pues no tienes propósito a cumplir
Because you hae no purpose to fulfill

Me imagino que tan lejos te irás
I imagine that you’ll go so far

Y nadie quería acompañarte a vivir
And nobody would like to be with you

For the chorus, the camera focused on the full upper bodies of all three performers (from the viewer’s left, Alex, Elizabeth, and Xavier) performing part of the safety dance popularized by Canadian New Wave band Men Without Hats, placing one arm atop of their head and another on their waist, then switching and then contorting their torsos to the viewer’s right. Then, each performer switched to a different tacky dance move once the stroke of the chimes could be heard: Alex providing a still-life version of the pogo dance craze that eventually became moshing; Elizabeth in the center walking like an Egyptian; and Xavier doing…nothing. He was supposed to squint his eyes and stretch his eyes as if he were “turning Japanese” (and it was done in the music video for the song, though not without some controversy on racial sensitivity and tone-deafness against Asian Achaeans in the midst of pandemic times). More so in Tödlichebujoku, with its magical realist proportions of spirits and folklore that begged to not be angered. So, he could only shrug his face and put his hands near his head. In essence, Fantasmagoria wanted to shoehorn every eighties reference they could in a three-minute song. And they were partially succeeding.

Aprendí a ser un individual
I learned to be an individual

A distignuir cuando hablas tu verdad
To distinguish when you speak your truth

Para ser más que un aprendiz para presumir
To be more than an apprentice that assumes

Una realidad
One reality

¡Qué sabroso! Libre para volar
How delicious! I am free to fly

Y afirmar cuán pobre es la dignidad
And affirm how poor is dignity

Déjame ser feliz sin saber de tu verdad
Let me be happy without knowing what’s your truth

For this next part, the trio climbed up three circular rotating platforms at the same time—Alex on the first one, Elizabeth on the center, and Xavier on the right. The cameras were fixed at them from the waist up, showcasing up close the ridiculously tacky, yet effortlessly stylish, 80’s couture they were wearing for the performance. The goal was to imitate as closely as possible the motions and caricatures present in the music video and bring it to the stage. Meanwhile, Elizabeth’s platform spun clockwise, while the boys’ spun counterclockwise. A quick aerial view of the stage would better how the motions of the spinning platforms, while the men were voguing and showing their soft and cunt (as a compliment) movements and Elizabeth was singing motionless, as if she were carrying a pet…or a luxurious fur coat in the tropics.

Me dijeron que estás sufriendo igual
They told me you’re suffering like

A un niño lejos de su papá
A child far away from his father

Un abrazo tan tóxico, es así
A hug so toxic, so it is

Una goma que no pudiste cambiar
A tire that you could never change

A close-up of the camera showed Elizabeth singing while Alex and Xavier turned and carried random objects reminiscent of the 80s, like a small piece of the Berlin Wall Alex “graciously” picked up from the ground in a forest in the German capital, or a big red ribbon lapel on Xavier’s coat reminiscent of the beginnings of the HIV/AIDS crisis, which hit the Achaean Republic hard but also provided a greater awareness of safer sex practices and visibility to the country’s LGBTQIA+ community of which they were part of, or Alex doing the Vulcan greeting from Star Trek: The Next Generaton, which incidentally premiered in AS1 in 1987, or Xavier sporting a blonde wig and getting slapped by Elizabeth reminiscent of the infamous catfights that occurred on Dynasty or even homegrown telenovelas which were enormously popular at a time. For some reason, Elizabeth was also carrying a Moonman reminiscent of MTV, which became popular with the Achaean youth and introduced a link between the nation, the diaspora, and the outside world. Like explained, the performers aimed for a nostalgic whiplash over eighties pop culture.

Si tuviera tiempo para ayudar
If I’d have time to help you

La imaginación cuando volverá
The imagination when it comes back

Los secretos que hoy se van a cumplir
The secrets that will be fulfilled today

No tienen razón ni algún radical
Have no reason nor any radical

Once again, the cameras showed the three performers pulling cheesy moves like the Roger Rabbit for Alex, the Cabbage Patch for Elizabeth, or the or the snake for Xavier. The dance moves were ridiculous, the reasoning nonsensical and just another attempt to shamelessly shoehorn as much eighties as they possibly could in one song. It was not hard to see, though, that they were having fun with it—a bit too much fun, if you’d ask the Achaean delegation. Meanwhile, the trio got out of the circular platforms and walked towards the cameras while pulling some of the Footloose moves, of which Xavier, ever the dancer, could pull off perfectly as the three of them were also snapping their fingers in rhythmical fashion.

For a moment, the cheers of the Tödlichebujoku crowd—and a few Achaean flags sprinkled throughout the audience here and there—were supporting the performance. High energy. Dream opulence. A sold-out crowd. What more could they want!? Beside them, however, the LED tiers appeared to grow darker and moldier, dirtier and opaquer. It was supposed to represent many things: the end of a very opulent decade, the coming of recession and crisis, the gilded appearances of opulence that were just mere illusions. Something was rotting inside this LED mansion, but the trio seemed unfazed and unbothered. They were busy dancing to care of their world falling apart on its own.

Aprendí a ser un individual
I learned to be an individual

A distignuir cuando hablas tu verdad
To distinguish when you speak your truth

Para ser más que un aprendiz para presumir
To be more than an apprentice that assumes

Una realidad
One reality

¡Qué sabroso! Libre para volar
How delicious! I am free to fly

Y afirmar cuán pobre es la dignidad
And affirm how poor is dignity

Déjame ser feliz sin saber de tu verdad
Let me be happy without knowing what’s your truth

Aléjate de mí, ahora soy felíz
Get away from me, now I am happy

No quiero pecar
I don’t want to sin

A rotating camera focused on the stage with the trio and the slowly rotting manor behind them growing dirtier and moldier. They, like before, sounded oblivious and stupid to the things happening around them. But it didn’t matter—they wanted to be carefree, happy and ready to enjoy whatever extremes of excess and opulence life could throw at them. It didn’t matter the way they crafted their wealth by widening economic gaps, destroying the environment or collaborated with spies to undermine the patria; so long as they looked good while sipping an Orange Julius and going to the mall with those killer shoulder pads, everything was fine.

For the final portion, a bird’s eye view of the camera focused on the trio as they were jumping and dancing, tying their hands as if they were barely paying attention to the world around them. They were jumping, spinning (how Elizabeth could pull that off in tight heels and tight frame was beyond a mystery) and kicking aimlessly throughout the stage. The trio was also humming the tune as the stage grew faded on both sides. It was important to show carelessness, alienation, resolution on the performance if only to hammer down the idea that they stopped caring and began floating towards indifference.

Déjame ser feliz sin saber de tu verdad
Let me be happy without knowing what’s your truth

De tu verdad
What’s your truth

Parara-pa-para-rara-para
Parara-pa-para-rara-para
Parara-pa-para-rara-rara
Parara-parara
Parara-pa-para-rara-para
Parara-pa-para-rara-para

Déjame ser feliz sin saber de tu verdad
Let me be happy without knowing what’s your truth

De tu verdad
What’s your truth

As the song ended, the crowd cheered and the three grabbed each other’s hands and bowed. They gave each other a hug and waved. “¡Gracias! Thank you!,” Alex said. Elizabeth blew kisses. Xavier made faces before they left. They sure had their fun. And they sure looked tacky—and fabulous!

by **Auphelia** » Tue Mar 23, 2021 9:51 pm

35

T H E A U P H E L I A N P E R F O R M A N C E

The Wailing of the Mothers

Dear Readers and Attendees of the 89th Annual WorldVision Contest,

This translation of The Wailing of the Mothers - from the 23,00,000 word (and only English) version published in 1909 by the Auphelian National Foreign Press - aims to provide a concise vision of a key passage in The Grand Journeys and Teachings of The Goddess, She Whose Names and Forms Are As Endless As Her Beauty, Her Life Which Gives All Good Things, one of the holiest and most revered cultural touchstones in the Auphelian literary and aural tradition. Without any other available points of reference, both the original Auphelian and the English translation were used to create this translation.

The primary consideration and challenge in commissioning a new English version for this WorldVision competition was brevity. Auphelian is a complex language in which much meaning is imparted in few sounds and symbols. The original English translation hewed more closely to the literal meanings of the original text, and due to this, even in the short passage to be performed, the length was easily quartered through the simplification of language and expression to evoke the feeling and meaning of the traditional Auphelian without the verbosity in the original English translation. Additionally, the Auphelian and original English versions contain many lengthy asides and descriptions deemed unnecessary for the time constraints of the competition, though the choice of what to omit has proven difficult. Literary translators must balance their responsibility both to the original text and to the readers in the language to which the text is being translated, and often this divide can be seen as an impassable chasm.

Ultimately, The Auphelian National Academy of Cultural Purity has deemed that the integrity of the intent present in the traditional Auphelian has been maintained while streamlining the performance, with the excluded passages also excised from the performance itself, which is to be sung in Auphelian. Enjoy this abridged translation of The Wailing of the Mothers, performed by The Divine Chorus of the Commune of the High Priestess.

T H E B E G I N N I N G

The lights and the volume came down slowly, the entire arena darkening, the audience murmuring among themselves as the atmosphere of the last song faded into nothingness, discussing their thoughts amongst themselves. After a few moments, the anticipation for the next performance began slowly building from the aether, that electric energy of people come together for a singular cause building into a living pulse, a need for the next song to be lost in. It had been a great night more music and they never wanted the ride to end. The lights continued to dim ever more until there was no light at all, even the massive screens of the stage gone dark.

A single spotlight came on with a deafening thwunk, illuminating three old women at the edge of the stage. Dressed in fine Auphelian silks, their white hair and hunched forms were elegantly draped the traditional fashions. They were Doyennes, foreign diplomats of Auphelia and the only group of Auphelian citizens permitted to leave the nation under the isolationist zeal of the now deceased Empress. They were the oldest of their profession and thus given this great honour to open the first exhibition of Auphelian culture to the outside world in well over a century. They stared out at the crowd with their wise eyes, a combined three centuries behind their gaze, and began to speak in three parts, each a quarter of a second behind the next, their ancient voices clearly ringing out through the arena.

Listen, children, to the tale we have to tell. Bend your ears and alight your eyes on this sacred ground, for history is to be reborn before you. The Goddess was once a girl, a woman of mortal inclinations, the daughter of The Mothers, those most holy of women who first created the earth. In time she would rise to be the shining beacon of glory that all Auphelians warm themselves against, but this is not the time for that. We speak to you today of tragedy, of heartbreak and ruin brought. There can be no joy found when you witness . . .
The Wailing of the Mothers.

With a second loud shuttering, the spotlight went off and all was dark again. Coughs echoed in the silent arena, soon joined by hushed whispers at the oddity of the performance so far. Was this not supposed to be a song competition? When was the singing going to begin? Could someone turn on a light? Where was -

A single gasp from thousands of mouths exploded just as the massive braziers on the stage did, pillars of flame illuminating the stage and the figures on it. Women in silk clothing stood on the stage, their faces painted in white and red, hair carefully braided and pinned up. Massive jewels glittered: woven into their hair, sewn on their clothes, embedded in the bracelets and bangles that covered their forearms. The risen platforms to either side were lined with more women of similar description, carefully posed with flame-tipped fans in their hands, fire licking up from the metal edges, illuminating the perfect masks of their faces. The world seemed to stand still for a moment as the fire flickered.

And then the performance began.

T H E S O N G

The soft padding of feet and faint crackling of flame was all that could be heard as the women on the stage began to walk in a circle, and another. It was two concentric circles, silk silently slipping across screens as they moved into position, jewels and metal bracelets catching the fire's light. The outer ring moves counter clockwise as the inner ring walks in the opposite direction, women gliding across the floor to an unheard rhythm.

Slowly their voices begin, a soft and murmuring language, the melodic sound of dozens of voices piling on top of each other, drifts of fallen notes piling up like snow into a melody. The language is indecipherable to the audience but the emotion remains, a faint melancholy settling over them.

We sing of the Mothers,
The first women,
Birthing the Land
And all good things.

And we sing of her,
The Goddess,
She of eternal life,
Her holy presence in its youth
During the time of Death.

The woman,
A girl seized
By Death, the cold-bringer:
A force implacable,
Insatiable.

The Mothers knew not
This wound delivered
In secret,
In silence,
In the calm after the glory of the harvest.

The women swirl and sway as they walk, the circles coming together and breaking apart in smooth movements. Whirling around each other in a mesmerising dance, their voices rise higher, brighter, a playful tone slipping in. A few voices break off, staccato chirping notes providing a measure as the other melodies swim around it. The women on the risen stage portions begin to move their fans and bodies in careful movements, all finding poses in synchronicity, pausing, and moving on to the next pose, their fiery fans skilfully wielded.

The girl was at play,
Peaceful and serene,
Her beauty immeasurable
As the endless fields of blossoming life,
Fresh and ready to grow after the reaping.

She was picking flowers:
The thrice-petaled purple,
The thick-stemmed red,
And beautiful white blooms.

Petals begin to fall to the ground from the ceiling, gently floating on currents of song. Red and white, soft as a dream and as sweet smelling as anything, they scattered themselves over the stage and audience, carried across the floor on hidden eddies of harmony. The staccato tones increase in pitch and the tempo increases, the women whirling in wider and looser patterns, their silks flaring out in a grand display of colour. But as the next verses come, words pouring forth in an endless flood, a sense of dread fills their tone.

Through the land she went,
Prickly blossoms too she picked, and red-tipped velvety leaves.
And the small budding red flowers on the banks of the river,
A lure for an untroubled brow.

All was the bidding of Death,
Who ruled the lives of all born,
Commanding life to cease forever,
Hoarding spirits as the blue-tailed chirp gathers berries.

The insidious blossoms,
A lovely sight from which
A holy awe and reverence borne,
Clouding her mind and senses,
Its sweet fragrance spread over the wide skies up above.

She smiled at the blossoms,
And it was reciprocated.
Even the Land in all its radiance was charmed to smile back,
The steady rivers and churning seas awash in joviality.

But then a tragedy would come.
The girl, a Goddess soon to be,
Reached down to pluck.
And at her touch they took her senses,
Lost to a world of sleep.

Half of the women stop in their tracks and cease to sing, the staccato notes abandoned. Their voices rise to shriek a note in discordance with the melody the rest of the women sing. The singers continue their pattern, weaving in and out from the still forms of their shrieking sisters. Their voices, however, continue their descent into misery.

It was on the banks of the river that she slumbered,
Not seeing the rising of the waters as they came closer to smell the flower.
And when her head fell under that line,
Air was scarce,
Drowning her in their life-giving waters.

Their shrieking morphs into a wail, a high keening. Still, they all began to dance again, a bit more forcefully. Their bare footsteps are silent under the ceaseless wailing, though the force of even more women singing can be heard over it. The song begins to layer, with some repeating past verses as others forge onward with the tale. Their circles form and reform, moving in ever more complex patterns.

Awakened, for she was now beyond sleep,
She cried out for help.
None heard her.
Not the Mothers,
Not her brethren,
Not even the golden fields which had borne their splendid harvest.

With this final line, the entire outer circle collapses and the twisted thread of the melody frays away into nothing, the wailing ceasing to give way to gasping and quiet weeping as the few voices of the inner circle go on, singing as simply as the song began. The women with flaming fans on the sides cease their movement as well, each in the same pose, fans pointed towards the dancers on the stage.

Only the sky saw her fortune turn,
The brightly burning blue seeing all.
Only the wind heard her cries,
The air currents listening to every word.

So long as the land of her birth,
The clear sky,
And all she loved were within sight,
The girl to be Goddess held hope.

As long as the octopus-crawling rivers,
Their strong currents carrying away her lifeless body,
Remained in view,
She would live in death.
In the light of the sky she would go on,
Fed by the warmth of a paradise lost to her,
And yet Death did not waver, leading her across the Land.
Its harvest was not yet complete.

As the next verses come, the fallen women rise from the stage, voices joining one by one to the continuing melody, picking each other up and beginning their circular traversal as the inner circle stands still in the centre, singing. The outer circle begins to run, each following the other, leaping in ways that cause their skirts to flare out. Their voices rise and fall with the sounds of the Auphelian language, conflicting tones once again rising to the surface.

Along the rivers they ran,
Her feet compelled to move like flashing silver,
Flecks of sparking riches
Flying across the banks.

The sea they soon came to,
And dove deep down,
The depths containing Death’s domain,
And all the wealth of life it amassed,
The girl now another bauble for the hoard.

The outer dancers slow as the inner circle begins to move again, returning to their concentric dance, each circling the other and trading places to the rhythm of the song. The women with fans pantomime whispering to one another in highly exaggerated, stylised poses.

But the wind felt pity for the girl,
And whispered its news to the birds,
Messengers of truth.
And the birds sang the message far and wide.

The peaks of the mountains,
The depths of the seas,
All rang out
Singing this immortal truth.

And the Mothers soon knew,
They heard,
And the sharp harvesting instrument pierced their hearts.
They could not bear the pain of her loss.

And again the women begin to wail, all of them this time, speaking through their cries, screaming their protestations to the heavens. Their whirling becomes more violent and forceful, each barely missing the other as they barrel through the space, speeding up in ever tighter patterns of movement. Their voices cry as one, painfully shrill voices melding with those more morose.

They tore off their crowns,
Cast off their jewels.
They threw cloaks over their shoulders and flew,
Taking to the sky as birds.

They soared for twelve days,
Searching for their love,
The greatest jewel,
Their most beloved creation.

In this time they did not eat the grains of the harvest,
Nor drink the sweet juices of fruit,
Nor bathe their skin in water.

They sought out the accounts of the grasses,
The land and the fruits on the vine.
They queried the birds
And took answers from the wind.

But none knew where the girl had gone
After disappearing into the sea,
Death leading her down
Her bright light to drown.

Several dancers seamlessly break away from the sea of swirling silks and limbs, making larger arcs out of the mass and returning into it again and again through the next verse, rattling their bracelets and whipping their heads.

On the twelfth day,
With no rest nor reprieve,
The octopi of the rivers took pity on the Mothers.
Delving down into the seas, they searched the depths far and wide.

In time they came with a message, and spoke to the Mothers:

And at this the women again broke into two groups, a dozen women flowing out of the main and turning back on them, speaking with one voice as the others began to repeat the previous line in hushed tones, layering it over the next verse.

“Mothers, bringer of the harvests,
Givers of life, it was Death who took your jewel, as you know.
Into the sea she was taken, as you know.
And to the hoard of greed Death has built she was taken.
And in darkest trenches,
In coldest waters,
We saw that which you love most.”

The dancers sang together again, all in a group and moving to the rhythm, their movements as synchronous as ever, wailing and screaming together as the song continued.

And so the Mothers now knew,
But they could not go to Death, for they were to be eternal,
Life being in opposition to Death,
And their essence being that which defies the entropy Death decrees.

The Mothers did not answer their helpers.
Instead they quickly set out to the coast, searching,
Crying out for the sky to brighten and reveal deeper into the sea.
Begging the water to part so they may see their love again.

But so too was the sky distraught and grey,
And so too was the ocean deaf with misery.
Only one would give them answer.

The dancers on the floor screamed out, the assonant Auphelian language rent apart by grief made physical, the sound of it almost painful to the ears. And yet it was tinged with hope, the women falling to their knees and rattling their hands and bracelets on the ground, a desperate entreaty.

“Land! You which was birthed from our womb,
Show us the respect a Mother must be afforded,
For if we have ever pleased your heart
Answer to us!
We seek our daughter, the first among women,
The brightest jewel of creation,
Our shining pride!
Stolen, stolen, stolen was she,
Cruel Death come as it does with all things,
But by this theft we cannot abide!
Renowned for her beauty and whose cry could transcend death,
We turn to you that you might aid in her return!
We call on you as the one who ranges from the highest peaks to the shore,
And to the depths of the ocean that you cradle in yourself!
Tell us, tell us of her condition!
Show us the sweet flower of her face,
The curving petal of her form!
Return her to us and we shall birth all manner of creatures,
Wondrous and resplendent in all the glory of our charity,
That they might frolic across you in wonderment!”

At this, the dancers continue their drumming and wailing as the fan women answer, their voices a chorus of dispassion against the raw emotionality, flames wreathing their heads as their steady dance continues uninterrupted by the wailing below.

“Mothers, whose womb strengthened my form,
I submit to you all reverence due.
But you must know that Death comes to all life,
As surely as the tides must come
And the harvest must be taken.
No one is responsible for her capture but you
Who gave her life at all,
A temporary bargain against the inevitability of Death,
To whom she must give recognition as her rightful sovereign.
I will not reveal her to you.
Your pain would only be prolonged through remembrance.
Forget her, a passing creature of flesh and blood,
When you have the immortal rivers made in your image,
The mountains carved as your breasts,
Mother’s milk flowing from their peaks,
Giving our soil life.
We will keep you company,
These undying things.”

The drumming of the dancers ceases and they remain kneeling, their backs arching and a single note pouring out from every mouth at once: a single, indescribable sound. It is a sound that demands reciprocity, reminding all who hear it of their worst moments. It is a sound that cannot be unheard, a haunting note that follows its listeners all their lives, haunting those quiet moments of reflection, tinging every empty moment with an unbearable melancholy. Yet through this, they sing.

And oh, the Mothers, how they wailed!
A grief seized upon them more terrifying than any before!
Their howls whipped the wind into a frenzy,
Embittered air tearing the freshly sown fields asunder,
The previous harvest blown far away!

The dancers are again on the move, a frenzied mob. Their cries turn angry, violent, whirling into a vortex of violence and agony. Silk whips about, cracking against the force of their spinning speed! Their feet pound mercilessly on the ground, a rumbling bass running through their song. Bangles and bracelets shake - a cacophony of gold, silver, and jewels crashing terribly against one another - on the furious arms of women driven mad. Their voices weave in many vicious melodies together, harsh and disjointed, crackling with passion. Massive wind machines spur to life, the women screaming into the gale; thunderous booms punctuate their howled harmonies; the braziers shoot flames higher and higher as the volume increases to a deafening level. Each word of the Auphelian language stretches on for an eternity and the women relish in their rage, feeding it and letting it feed on them. Even the fan dancers are spurred on, their movements harsher and faster, acrobatic leaps tearing jagged arcs of light through the semi-shadowed darkness. The pillars of flame cast wild doubles of the women on the walls and to the audience as they dance around, the sharp contrast of the fire-soaked stage and the darkened arena all the more pronounced. Their jewellery no longer sparkles: it burns, emeralds and sapphires and rubies shining as fiercely as the sun.

Their screams ripped apart the sky,
Riotous cracks of thunder and lightning crashing down,
Fire spreading as quickly as their rage,
Spurred on by the winds,
Their smoke clouding over all things.

The Mothers shunned the fertile lands they once gave life,
Retreating to the rocky mountains,
The Land quaking under their stomping feet.

Yet eventually, slowly, they do grow more calm. Their movements slow and the wind and the fire and their stomping gradually falls away until it is only their voices singing once again. They are tired, burnt and hollowed out by their anger. Fire has hollowed them out and there is an emptiness to their song. The flames in the braziers go down to nearly nothing, the women on stage left in a grey twilight. Some semblance of a melody comes back, bittersweet, layered voices dying down one by one as the end approaches until all sing the same song, the last note landing with utter finality.

But fury, hotly burning as the fires that ravaged the land,
Could go on only so long.
The Mothers stopped.
The wind stopped.
The fires and quaking stopped.
All went still

The Mothers wasted away with yearning,
And their rage had taken its toll,
Depression worsening its effect.
A most terrible year it was for the mortal races they had birthed.

The nurturers had stopped providing,
Their tears and the swollen banks of the rivers the only sign of their existence.
But salted water could not sustain the ravaged land,
And it withered.

Death came with eager appetite,
Adding ever more to its hoard.
Seeds fell but would not grow.
Clouds hung but would not burst.
And so it was that the world starved.

Twilight fades to night as the braziers gently extinguish, returning the arena to darkness.

by **Spiritual Republic of Caryton** » Wed Mar 24, 2021 8:57 am

36 - Spiritual Republic of Caryton

The Streetlights - The Dog For You And Me

The stage would open in a simplistic fashion, a few spotlights settling down on the band, in conservative black dresses and suits with gold floral patterns shining in the low gold light accents. They began to play their instruments, no sparkly or over-the-top modern theatrics in a nostalgic nod to the simplicity of the Spiritual Republic of Caryton. The youngest girl stood with a Carytonic flag in her hands- the boy with the Christian flag.

How could you think that you’re so alone-
When in the midst of flames, you’re carried home?
In a state of such great disrepair-
And a stricken poverty not yours to bear?

The opening singer smiled formally, the father's rich voice carrying across the stadium as his friends and family swayed in tandem. The tapping foot gave a liveliness to his lower half which made him stand out from the bouncing family members.

Liberty’s burstin’ through that door!
Tyranny’s fallin’ down to the floor!
She will save you by her holy grace!

Her name is Cary! Cary!
The dog for you and me!
She’s Cary! Our Cary!
The dog that set fam’lies free!

The group shifted around, the performers on the left walking to the right and vice versa. They happily bubbled and bumbled, swaying their arms happily.

How could you think that all is lost-
When she represents he who paid the cost?
In a christlike mercy, she took sins red as wine-
And turned them into a gold that will shine!

Stop thinkin’ about your sad sad past!
Let’s stretch our love nice and broad and vast!
We can make paradise through her happy grace!

Her name is Cary! Cary!
The dog for you and me!
She’s Cary! Our Cary!
The dog that set fam’lies free!

The group proudly stepped forward in unison, a golden bokeh pattern appearing around them with supporting strobe lights flashing brightly. The male grabbed his wifes' hand and looked forward.

How could you think that you’re out of time-
When you’ve never really committed a crime?
Repent and you’ll see that joyous glee-
And you’ll be happy eternally!

The new normal will come crumblin’ down!
The holy foundation builds your towns!
Sinful customs will be left behind her good grace!

Her name is Cary! Cary!
The dog for you and me!
She’s Cary! Our Cary!
The dog that set fam’lies free!

Her name is Cary! Cary!
The dog for you and me!
She’s Cary! Our Cary!
The dog that set fam’lies free!

After the bridge, the family and friends waved their arms in the air through the last two refrains, spreading out to go greet the audience, linking arms for the ending note with a look of christlike joy on their face.

by **Zamboodle** » Wed Mar 24, 2021 8:58 am

37. ZAMBOODLE

General Doukno Daewae - Prince of Zamboodle

After a long hiatus, the mad lads have returned.
https://www.youtube.com/watch?v=hqGoRxSEncY
-

The stage opened up with intense shades of red and brown around a boiling texture. The singer stood in a warlord outfit, clutching a microphone aggressively.

You make fun of my veelage,
But you don’t dare ever come.
Cause you know I’d kill you-
And chop off of your thumb!

Think you can defeat me?
I got guns for hundreds!
Your human rights mean nothing!
Think you can laugh me out of town?
I come and burn your field and house.
I’ll make your papa take off his gown-

He swayed his knees from left to right, dangerously swinging a machete slung to his body with no regard for the safety of the background singers around him. He thrusted sensually, nearly lobbing the blade into a performer's hand, narrowly avoiding a gory mishap.

I’m dae prince of Zamboodle,
Your d**k is a noodle!
I smuggle crack through poodle-
And we have fun!

I’ll make you so so so rich,
You think I won’t, b**ch?
I’ll give you millions in a hitch-
Give me your credit card!

I am dae prince of Zamboodle! Zamboo-dle!
I am a warlord!

I got dae case of dae sheet-blood,
It comes out like dae flood!
But I’m still dae hot stud-
I work out!

General pranced around the stage as his backers made swimming motions with their arms, pretend money raining down on the red and brown boiling. Some of the fake cash got spread around the audience, blatant counterfeit money flopping into the crowd.

I hate all dae people from dae Caryton.
They talk about Jesus but they don’t let us have fun.
They try to remove dae gae! It stands in my wae!
I got a hundred femboy slave!

A Zamboodlese flag waved high over a Carytonic flag on the ground, with feminine-looking blonde Carytonic boys being pushed on stage with ropes around their wrists and blindfolds over their eyes. They were obviously not actors. A lot of them looked panicked, tattered cross necklaces somehow defaced.

I’m dae prince of Zamboodle,
Your d**k is a noodle!
I smuggle crack through poodle-
And we have fun!

I’ll make you so so so rich,
You think I won’t, b**ch?
I’ll give you millions in a hitch-
Give me your credit card!

I am dae prince of Zamboodle! Zamboo-dle!
I am a warlord!

I got dae case of dae sheet-blood,
It comes out like dae flood!
But I’m still dae hot stud-
I work out!

General pumps iron in front of the audience, feeling the burn as the kidnapped boys are forced off stage, the background dancers holding each other's shoulders and swooping down, imitating each curl.

I shoot you with my AK47!
Talk sheet and I’ll send you to heaven!
I got dae machete and your d**k in my hand!
I kno you’re straight so I’ll make you my woman anyway!

In both ends!

General belts the bridge, unslinging his machete and skillfully spinning it around, making mock chopping motions as the backers thrusted. A zamboodlese drag queen struts on stage and poses provocatively.

I’m dae prince of Zamboodle,
Your d**k is a noodle!
I smuggle crack through poodle-
And we have fun!

I’ll make you so so so rich,
You think I won’t, b**ch?
I’ll give you millions in a hitch-
Give me your credit card!

I am dae prince of Zamboodle! Zamboo-dle!
I am a warlord!

I got dae case of dae sheet-blood,
It comes out like dae flood!
But I’m still dae hot stud-
I work out!

Oooh…. I work out.
Zamboodle! Zamboo-dle! I am a warlord!
I’ll make you so so so rich, (So rich!)
You think I won’t, b**ch? (You b**ch!)
I’ll give you millions in a hitch-
Give me your credit card! (I work out!)

The backers clumped into a circle, freestyle dancing until the end of the song as the drag queen stripped their clothes one by one, ending in a skintight body suit which they then used to enter an artsy interpretive dance which felt too out of place for this performance in particular. The song ended with a confused audience.

by **Natanya** » Wed Mar 24, 2021 11:07 am

Natanya will perform here

by **Elejamie** » Wed Mar 24, 2021 5:54 pm

ETV1 presents WorldVision 89 - English language commentary by Cerin Erali and Flynn Taggart

CE: Welcome to WorldVision 89! Bienvenido a WorldVision 89! Yalcom WorldVision 89! Live from I'm not even going to try in the Toad-licking-place!
FT: You really need to learn how to pronounce these place names before we jet off. Or during the quarantine.
CE: I know, I should but I don't know why I don't. Anyway, I'm Cerin Erali...
FT: ... And I'm Flynn Taggart.
CE: And we are your English language commentators for this evening. 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: Televoting works the same way it always does. You can call the number, you can send a text message to that number, you can use the app. They all end up getting added together and presented as our results for each of the different nations. Simple as that. So simple I recited what I said last time.
CE: Anything else to say?
FT: No. Other than we're performing 10th. You should know the drill by now viewers at home.
CE: Alrighty then, time to start?
FT: Time to start.

by **Kyritakia** » Thu Mar 25, 2021 2:53 am

sorry brah, not this time

by **Saviera** » Tue Mar 30, 2021 1:19 am

.::: 40 ✾ Saviera :::.
Heaven in Mind
Stoic Dotté
Tune: Rhythm Inside by Loïc Nottet

Yes, Stoic Dotté is his real name. He goes by Stoic and is a 19-year old boy with great artistic creativity. In fact, he wrote this song himself, called Heaven in Mind, and the Savieran delegation trusted him enough to give him full creative control over his performance.

He will be joined by 5 other backing performers, one of which is a lookalike of Britonish artist Mini-Surrey North. Such that, that particular backing performer goes by the stage name Surrey.

For the big show, Stoic decided that the staging was to be as avant-garde as the song. For the performance he was wearing a big black coat over a striped white-and-red dress shirt, with black pants. The backing performers, meanwhile, wear all-white outfits. The two male performers are each wearing a simple white t-shirt and pants. The three female performers, meanwhile, wear white crop tops with subtle shoulder pads, and white pants. Minimalist, but somehow almost futuristic.

The song begins. The intro consists mainly of clicking and snapping noises and a bit of bass synth percussion. As this goes on, the performers are standing on the middle of the main stage, with Stoic not too far away from them. They stand still, in front of the LCD background screens that shine a static white. The stage lights, also a bright, clinical white, are flashing to the beat. Although the audience can't see it, the camera through a few overhead angles shows that the LCD floor shows this abstract graphic that looks lik a white waffle or grid on a black background. This shape expands and retracts along with the beat.

After like 16 beats, it's Stoic's cue to begin singing. He starts low, with the notes of the song getting higher before the backing performers subtly vocalize. This repeats a few times, especially as the notes to the first line are repeated two more times, before the last line of this part sounds sonically different. The camera focuses on him at first, portraying an angle that shows nothing but him singing this first line into the camera. After singing this first line, the backing performers quickly adjust their positions, still standing in unique angles, before the camera goes back to Stoic for the second line. After he sings that second line, the backing performers all align themselves to face a 2 o'clock direction (facing the audience). Repeat again for the third line, and then the backing performers readjust themselves so that three of them face forward but a male backing performer faces the right, and Surrey to the left. In the last line of the next part, the camera zooms in from the back of the arena, and it is seen that each of the backing performers are moving their upper bodies to the rhythm of the last line below.

Glistening around the wonder
Stroll into the goal, no blunder
Clapping on the scene, I mumble:
“Clap to the clap, it’s all fun ’til it comes to mind”

Afterwards, Stoic and the backing performers all face the right, that 2 o'clock direction, and Stoic begins walking as he sings this next part. The backing performers walk as well, but at a slower pace, and they take turns, three of them bobbing forward while the other two walk erect, and then the two take a step and bow forward while the three straighten themselves, and repeat. They were walking almost kind of as if they were ploughing. As he sings this part, by the way, it is musically just a repetition of the above verse. The instruments are largely still percussion — I wouldn't exactly call them clicking noises, but there are some clapping-like noises and a low bass drum that doubles as providing the musical baseline of the song.

After the second line of the below part, they all straighten themselves and face forward. Now Stoic subtly retracts his chest inwards and pushes it forward to the beat, as if to symbolize a beating heart. The performers follow suit, but less subtly. In the fourth line of the next part, Surrey points upwards towards that 2 o'clock direction, and the other backing performers turn to look in that direction, but in sync with the rhythm of the song. In the last line of the next part, they all rapidly bop their shoulders up and down to the beat, as if laughing.

If you wanna see all over
Setting foot here on your clovers
The hot bad bitch within your brother
I wanna walk the walk, talk the talk
I wanna walk the talk tonight

Now comes the chorus which is musically interesting. Again, not a lot of instruments, but a synth-like sound buzzes through, adding some musicality to the song (i.e. it's not percussion). Stoic and the singers harmonize well with it, creating a sweet, enjoyable music experience. And meanwhile for this next part, I'm sure there is a little subtle choreography but you can't really tell as the cameras show the stage from a distance. But what is visible is that the stage lights are now flashing at incredibly fast speeds, at a seizure-inducing pace that has never been used at WV. In the background LCD screen, previously the white had been "disintegrating" into boxes, but this time black lines filled the screen, slowly expanding and turning the background screen black.

But if this life is borrowed
How do we get to grow?
If we win the maze, to and fro
The heaven in mind, it says to us:

Now lines of white trickle from above the LCD screens. Meanwhile the backing performers turn to a 8 o'clock direction and start walking to the beat, whereas Stoic walks to the same rhythm but turning at a 3 o'clock angle. The backing performers slow down as Stoic approaches the last line, and singing the last line Stoic faces straight into the camera. In this last line, the backing performers seem to whisper the line whereas Stoic sings it out. It is known that he also whispers this last line of the chorus in the studio version, but that doesn't matter here.

“Overcome the sorrow”
Like a dutiful prince that knows
With a seismic act, face the fact:
I wanna go to heaven, Jack

Immediately after singing that last line, Stoic spins 3 times, and then gets on both his feet, knees slightly bent as he faces down, recuperating from the stunt. Musically, the clicking noises and percussion return again — this is musically much like the intro, except now this takes the role of an instrumental break. As the LCD screens become filled with pure, clinical white, the backing performers are all facing forward, making some movements with their heads and feet in tune with the beat.

Not long after, Stoic stands straight up again and everyone on stage bows their heads down, before then jumping, turning 90° to the right. They then dramatically jerk their heads up, looking above, before turning 180° counter-clockwise, facing the direction in which they had previously turned their backs upon. Now, the performers begin to get into formation for the next verse, and Stoic walks towards them. Specifically, the performers are all facing different directions. Stoic reaches them and gets down, laying on his back as Surrey — the backing performer facing the audience — puts her foot on Stoic. The plan was for her to "step" on Stoic's belly, but he must've misjudged his alignment and Surrey ends up stepping on his crotch instead.

Stoic sings the next 3 lines of the song below from this position, facing upward into the camera, which has a top-down view of the situation. The floor screens once again form that waffle-like shape that expands and retracts to the beat. The all-white background LCD screens look like they're threatening to disintegrate into boxes, which can be seen because the camera angles switch a few times. They do so to the beat, just like the lights flash to the beat of the music.

Musically, just as you can see it is lyrically too, this is just a repetition of the second chorus from earlier. And in the fourth line of the next part, Stoic begins getting back up, which he does, but he seems to struggle to stand up straight. In an attempt to straighten his legs in a way that makes it look like part of the choreography, he takes a few steps forward dramatically to the beat. He also sings these last two lines more passionately than from the previous verses.

If you wanna see all over
Setting foot here on your clovers
The hot bad bitch within your brother
I wanna walk the walk, talk the talk
I wanna walk the talk tonight

As the chorus returns, so does all the musical attributes that were present. There isn't much variation on the notes of the chorus, but in my opinion it's not meant to be catchy. They are rather high notes; if this song was a drink it would be cold, but more like vodka than sprite. Quickly once again, black lines begin the fill the whiteness of the LCD screens while the stage lights start flashing again very rapidly. Soon, the background screens become completely black again.

At this point Stoic is just dramatically singing into the camera, almost bopping up and down, but also the camera angles alternate between closing up on him and panning across the stage. The latter camera especially provides quite a spectacle, with the dynamics of this lighting that our mastermind has persuaded the Tödlichebujoki technicians to do.

But if this life is borrowed
How do we get to grow?
If we win the maze, to and fro
The heaven in mind, it says to us:

That said, it does mean we don't really get to see what's going on up close, with the stage being more dark than light at this current moment. But fear not! Soon a camera much closer to the stage pans around, and we can see once again that white lines "drip" down on the black-filled LCD screens, and the performers are all walking. Stoic is walking to his left as we can see, but the backing performers are all walking in different directions. They do so to the rhythm of the song, but in the last line of the next part, Stoic walks at double the pace (technically still in tune with the rhythm), presumably to catch up to where he's supposed to stand.

“Overcome the sorrow”
Like a dutiful prince that knows
With a seismic act, face the fact:
I wanna go to heaven, Jack

Stoic sang the last word of the last line above almost bleating like a sheep. Who is Jack anyway? In interviews, Stoic has only said that "Jack" refers to the second person, the individual whom the singer speaks to. He has declined to elaborate. But this is the part of the performance where it gets interesting. Here comes the bridge; it is musically a repetition of the two lines at the end of the verse, and arguably also the most melodically catchy part of the song, with the notes moving upwards twice before coming back down. The musical line, as you can see with the lyrics, is repeated up to four times, and those clicking-like noises you may have felt earlier in the song have definitely come back.

Stoic jerks forward as the backing performers fill in the vocals of these next parts for him. While it seems like Stoic will need a second to compose himself, the backing performers are... doing some interesting choreography. The guys are each interacting with one girl. The third girl is between the two pairs, laying on her back with both feet kicking and thrusting into the air. The camera angle switches between a front angle showing the stage, and a close up of Stoic. When it's the latter, Stoic looks menacingly into the camera.

(I wanna walk the walk, talk the talk)
(I wanna walk the talk tonight)

Stoic now raises his right hand and brings it to his face as if to cover his mouth, but looks leftwards at the same time. When his hand reaches his face, it's as if he uses it to pull it back so that he looks forward. If you look attentively, you may notice how big his hands are, but most people aren't paying that much attention, let's be real. Stoic repeats this a few times, and at the end of this next part brings the mic to his face just so the entire multiverse can hear him exhale.

(I wanna walk the walk, talk the talk)
(I wanna walk the talk tonight)

Now he is raising and lowering his shoulders to the beat while the backing performers continue to do their choreography.

(I wanna walk the walk, talk the talk)
(I wanna walk the talk tonight)

Finally, as this bridge comes to an end, Stoic quickly raises his mic back to his face as he contributes vocally and sings this last part of the bridge along with his backing performers.

I wanna walk the walk, talk the talk
I wanna walk the talk tonight

By now, the backing singers are in a single line, with Stoic standing slightly in front, out of line. The chorus has returned for one last time, and you can tell that the performers are singing more passionately than ever, even if it feels like the musical equivalent of gasping for air. Black lines begin to fill the all-white background once again, and our 6 performers, all facing a 9 o'clock angle, are beginning to spin clockwise. The 5 backing performers are all pointing upwards at roughly a 45° angle, as if to look at something. Stoic spins clockwise along with them too, all of them rotating to the beat. Also, the lights are now flashing very rapidly once again, giving us a WorldVision performance that has never been seen in a lifetime.

After completing one rotation, the backing singers continue rotating but are now facing downwards and moving more organically. Stoic meanwhile, stopped once he was able to face the audience.

But if this life is borrowed
How do we get to grow?
If we win the maze, to and fro
The heaven in mind, it says to us:

As the song begins to come to an end, the now all-black LCD screens are being rained upon by white lines once again — you know the drill. The five backing performers are now facing a 9 o'clock angle while Stoic faces a 3 o'clock angle — the reverse. Now each of them slowly walk backwards to the beat. But the backing dancers aren't walking behind straight — they walk slightly to their right as well (towards the back of the stage), some more than others. At some point, they begin to kneel — at this point it's clear that they have now become aligned diagonally. Stoic keeps walking backwards. During the last line of this last part, Stoic begins walking at a normal pace as he faces the audience. The backing singers, meanwhile, lay on their backs.

“Overcome the sorrow”
Like a dutiful prince that knows
With a seismic act, face the fact:
I wanna go to heaven, Jack

As the song ends, the camera switches to a top-down view and you can see that the performers and Stoic are all aligned diagonally. This is the final shot, and soon as the audience cheers, the camera shows Stoic who politely says "Thank you". Soon after the stage is prepared for the entry from Saperetia.

by **Elejamie** » Tue Mar 30, 2021 3:45 am

ETV1 presents WorldVision 89 - English language commentary by Cerin Erali and Flynn Taggart

by **Saperetia** » Fri Apr 02, 2021 4:37 am

41-Saperetia
Performance by: Sienna Logan
Tuned to: This
Lyrics by: Yousef Wharton and Georgina Sheldon
Name: Never give up

**Begin part plays**
(pa-pa-papa-papa-para)
(pa-pa-para-pa)

Never give up,
You can do whatever you want, so do-on’t give up.
Dreams are always possible.
Shining away
You’ll be coming for them quick, okay

Never give up (Never give up)
Give Never Up (Give never up)
They’ll be gone
In a year or two

So needless to say
You should chase them now | because they’ll be going away
You’re slowly learning that most is OK
Say after me
The world can always be better

Never give up (Never give up)
Give Never Up (Give never up)
They’ll be gone
In a year or two

Instrumental Midsection

Oh, things that people say, yeah
Isn’t it better to dream and drift away.
They’re all things you can just forget
But in dream you can drift away
You can come for them anyway

Never give up (Never give up)
Give Never Up (Give never up)
They’ll be gone
In a year

(Never give up (Never give up))
(Give Never Up (Give never up))
They’ll be gone (Never give up)
In a year (Give never up, never give up)
(Never give up, Give never up)
(Never give up, Give never up)
(Neve give up)

by **Saint-Miron** » Mon Apr 05, 2021 11:40 am

#42 Saint Miron
Nyoka Parvarti - "Rumors"
Tune: Lorde - Green Light

The lights begin to dim as we see Nyoka
sitting on a double sided swing with the other person missing from the swing. Around her is a set full of curtains that seem to be covering an even bigger set. The guitarist plays the first note of “Rumors”, cueing Nyoka to begin singing.

I’ve been alone too long, how did we ever get this far?
We used to walk along the beach, listening to the songs you played on your guitar
I’ve heard all the rumors over and over again
I told you the story behind my favorite scars

Well I’m done listening to your lies
You’ve told too many
Always said that you would never leave
That we were gonna get, married
How’d it come to this?
Or did our love just seem to fade?
Seem to fade

Nyoka stands up from the swing set as the instrumental of the song begins to speed up it’s pace. She’s now standing in the center of the stage, microphone in hand.

I saw you out, with your girl
You took her out to our place
But I cant get, you out my mind, oh how I’ve tried
Oh I wish I, could get you back into my life
I need you back with me boy, it’s obvious

Nyoka rips off her skirt that was then covering her teal dress that stopped at her hips. The curtains drop, now revealing a circular LED screen set. 6 female dancers have made a formation behind Nyoka.

I’m so tired of, these rumors and lies, wherever I go
I need you back with me boy, it’s obvious
We took it too far, It’s been too long, but we can’t go home
I need you back with me boy, it’s obvious

We see Nyoka now laying on the ground as the visuals around her change into a more darker tone.

It’s always times like this, I wish we never parted
I always hate feeling this broken-hearted

The dancers begin to do a type of on the ground choreography around Nyoka as she sings.

You’ve heard all my lies, I should’ve explained
I’ve told too many
Always said that I would never leave
But now I’ve left, you alone
How’d it come to this?
Or did we just never even care?
Who really cared?

Nyoka and her dancers are now standing as the ladies form a circle around her.

I saw you out, you seemed fine
It took me a while, to realize
That I need you, and you need me, is that what it seems?
Come on and, please rescue me, from these dreams
I need you back with me boy, it’s obvious

The visual around Nyoka transitions into an eye-catching galaxy. Nyoka now singing the final chorus, we notice two dancers behind her seem to hook her up to the trusses above.

I’m so tired of, these rumors and lies, wherever I go
I need you back with me boy, it’s obvious
We took it too far, It’s been too long, but we can’t go home
I need you back with me boy, it’s obvious
I’m so tired of, these rumors and lies, wherever I go
I need you back with me boy, it’s obvious

Nyoka begins to float above the stage, leading up to a visual galaxy above. Confetti begins to fly as she’s now ending her performance.

We took it too far, It’s been too long, but we can’t go home
I need you back with me boy, it’s obvious

I need you back with me boy, it’s obvious (6x)

Nyoka ends the performance in the sky, confetti still falling.

by **Carrelie** » Mon Apr 05, 2021 3:59 pm

CarrelieOne presents: the 89th WorldVision Song Contest
in Äuszer, Tödlichebujoku.
With English commentary by Vian Genamman & Morneys Oter

Opening

V: "Welcome one, welcome all to the Worldvision Song Contest, the annual event where we all get together and unite ourselves in song! After Izmedu's win last year, Toblipedunopou is playing host! The theme here is ice and fire, I can't wait to see how it goes!"
M: "And I am also here to provide commentary but you can give all your attention to this woman who's got one foot in the grave."
V: "Just because you're 24 that doesn't mean that you can insult me based on age, okay? Anyway, here we are in the city I cannot pronounce, in an arena, the name of which I also can't pronounce!"
M: "The way we got here was also rather peculiar, we flew here on a dragon, would you believe. I don't even know how their broadcaster got them over to Carrelie."
V: "It's been lovely, I'm definitely going to write about my visit on my blog! Anyway, it's time for the opening! Let's see it!"

1. Carrelie
See entry post.

...

V: "And that was our entry, the first tonight! How lovely, we hope you do well, Mary!"
M: "Of course, it was an okay song."

2. New Zealandic South West Saint Martin

M: "And second tonight is our first newcomer, New Zealandic South West Saint Martin."
V: They're singing 'Posedata de abeloj' or 'Owned by bees'. It's being sung in Esperanto by Beans & Co.!"
M: "Beans & Co... It says here that they're one of four musical groups in the country, which has a population of exactly 17."
V: "Are they? Tell me more.."
M: "Formed of Vrouw Verplichte, real name Lucy McIchael, and her husband Man Gespannen, real name... Mans Gespannen, Beans & Co. is a group that.. and there's our cue to stop talking. This is Beans & Co, with 'Posedata de abeloj'.

...

V: "... Very South Alezia-esque, I do say."
M: "Indeed, reminds me of their previous entry."
V: "Will they return to the contest, do you think?"
M: "We'll have to wait and see."

3. Norrp

M: "And now for our second débutant, Norrp."
V: "All things considered, I have high hopes for this entry!"
M: "As do I. Let's fire it up!"

...

M: "That was amazing."
V: "Well, it surely was something. Good luck to them!"
M: "This is getting my dix points, no question!"
V: "Are you sure? This is only the third song!"
M: "Of course I am!"

4. Beepee

V: "Ah, good old Beepee, the little nation that could. They won the 85th contest, one year before our debut!"
M: "Beepee's entries are nice, I feel like schlager's a bit... It's something."
V: "I've loved Beepee's songs for ages now, they're a star! This time, Jolie Beaujaube is representing them with her song 'Only Love'!"
M: "And up she comes, number four: Beepee."

...

V: "How pleasant! Very colourful, I must say."
M: "It's certainly nice. Very usual of them."
V: "It's something indeed, Morneys!"

5. Estogium

V: "And now for Estogium. Apparently, they're re-using their entry from the 55th World Hit Festival, which I was unfortunately unable to watch as I was at my granddaughter Dianne's birthday party. I should tell you about it, everyone was there!"
M: "I was lucky enough to see this live the first time, and boy was it a treat. Not sure you'll like it very much though.."
V: "It's always worth a try, darling! So without further ado, here's... Feral? (What kind of title is that?)"

...

V: "I... I'm unsure what to think.. What about you, Morneys?"
M: "..."
V: "Morneys? Why are you drooling?"
M: "Hmm? Oh, it was nice!"

6. Scotatrova

M: "Next up is.. Scotatrova!"
V: "Mhm, correct! Their entries are fairly nice, very usual."
M: "Let's see if they can change that with this year's entry! Fire away!"

...

V: "I couldn't understand a word of that, how Scotatrovan!"
M: "Scotatrovan indeed, have any predictions on how this will do?"
V: "Oh, I couldn't, I'm not good at predictions!"

7. Malta Comino Gozo

V: "Malta Comino Gozo - they were the first nation to recieve our twelve points 4 years ago!"
M: "And they're here again with another pop song!"
V: "Of course! The jurors this year seem to like this genre, so this'll definitely be getting points! Look at them, walking up to the stage! This is.. sieve? With Summer Nights!"

...

V: "How lovely! No less expected from Malta Comino Gozo! Thank you very much, 5ive!"

by **Todlichebujoku** » Mon Apr 05, 2021 4:15 pm

Ensio emerges from the darkness and into the light, scaring a nearby audience member who was not expecting a stunning winged stallion like him to appear so suddenly. He trots over to the center stage.

"Amazing performances, everyone! Well, some better than others but anyway! It's voting time and you know what that means! Your broadcaster people will be letting you know how to vote, and in the meantime, here is our wonderful Nina Ebner with her icy chill 'Yáiset Südámet'!"

He promptly trots away and disappears into a nearby shadowy crevice, no fucks given. No one dares to make a sound as his co-host's unsettling omnipresence is busy sending chills up their spines.

- I N T E R V A L A C T -

Yáiset Südámet (Frozen Hearts)

Nina Ebner
(Tune: Ольга Бузова - "Мало половин")

The stage is dark. A streak of blue light opens up, from the back to the front of the stage, as a vertical bar of white, lined up with the blue streak, shows up on the background screen. A figure is visible as a silhouette, before it steps forward into the light, revealing herself to be Nina, wrapped in a slim white dress with ice blue threads woven through the fabric

Yáádán
I'm freezing

Poltan
I'm burning

It's so hard to keep a smile in this frigidness

Hüvá
Good

Varui
Evil

These extremes will break me down into the dust

Her expression languid, hopeless, she gazes distantly as snowflakes drift down around her, lit by soft, ethereal light. She raises one gloved hand, cradling a pile of snowflakes; on the other, she cradles sparking ashes. After reflecting upon them, she clenches her hands closed and releases them, leaving drops of ice-cold water and a wisp of smoke as she moves on

Feels so empty without passion within
Nothing left to feel, so let me sin
You're pinning me in silence, there's no way to win
The ice is growing colder, is this the end?

Crystalline chunks of ice congeal from the snow and rise around her, orbiting her from various distances. Laser thin lights shining horizontally gleam and shine off them as they pass by, spotlights pulsing vertically, the staging stark and minimal

Yáiset südámet, yáiset-yáiset südámet
Frozen hearts, frozen hearts

Yáiset südámet, yáiset-yáiset südámet
Frozen hearts, frozen hearts

Yáiset südámet, yáiset-yáiset südámet
Frozen hearts, frozen hearts

Nüt me olem, yáátá sisállá
Now we are, ice inside

The icy crystals separate into two groups: one rises, lit in blue, and the other falls, lit in red. Nina looks upward and gestures to the ones above her, then downwards to regard the deep red shards floating near her feet

Taivas
Heaven

Horna
Hell

My heart is splitting and it hurts so much to breathe this air

Lempi
Passion

Viha
Hatred

Do you know how much it hurts for me to be aware?

She peers into the camera view, level, measured, unnaturally calm. The spotlights are blinking to the beat again, over the stage and audience, as Nina continues slowly striding forward, like a model on a catwalk

Feels so empty without passion within
Nothing left to feel, so let me sin
You're pinning me in silence, there's no way to win
The ice is growing colder, is this the end?

She is joined by four dancers, all clad in white, who dance almost robotically with very clean, concise movements, and no notable expressions. Nina herself mimes what the dancers are doing to a certain degree, but a bit of emotion creeps into her face, a slight tremble in her expression, her hand upon her heart as if trying to warm it. After the first half, she turns away from the camera, looking downwards, as the dancers surround her. She dances with each of them in turn, letting them lead, absorbing more and more of their mannerisms as she does so, before matching their crisp, tight movements and emotionless visage with the last dancer

Yáiset südámet, yáiset-yáiset südámet
Frozen hearts, frozen hearts

Yáiset südámet, yáiset-yáiset südámet
Frozen hearts, frozen hearts

Yáiset südámet, yáiset-yáiset südámet
Frozen hearts, frozen hearts

Nüt me olem, yáátá sisállá
Now we are, ice inside

Yáiset südámet, yáiset-yáiset südámet
Frozen hearts, frozen hearts

Yáiset südámet, yáiset-yáiset südámet
Frozen hearts, frozen hearts

Yáiset südámet, yáiset-yáiset südámet
Frozen hearts, frozen hearts

Nüt me olem, yáátá sisállá
Now we are, ice inside

As the song ends, the dancers form a ring around her, bodies crouched low to the ground, arms linked, with the two closest to the audience arcing higher up, where Nina leans upon. They freeze, and frost forms upon their bodies, as Nina lays one hand upon a dancer, and the other on her heart, where an icy pattern begins to form. A tear is seen forming from one of her eyes, and freezes before dropping to the floor with an audible clink after the music has stopped. The softened lights linger for a moment, before finally fading out

Ensio struts his fine ass self back onto the stage, hooves clopping along in the silence and treating the audience to a bit of flippant side-eye as he does so, before finally turning his full attention toward them. MÜRKÜLLINEN's aura returns, gathering strength as she remanifests upon the stage, with the nearest audience members beginning to shiver uncontrollably. Oops.

"Well time's up!! All these interesting and wild nations will now be dropping their top 10 picks and we'll be adding them points up. Then after that we'll be seeing these televotes come in from the people themselves."

the time we shall witness the basest of life's ills take form. betrayal. favoritism. the guise of innocence and fairness. the worst of choices made in the name of freedom. and we shall watch. and await a new victor to rise out of the madness, the least despised of the lot.

"Aw we love optimism!" He pauses to shuffle his wings, as if to scratch an itch. "Anyway, while we do screen our international audience members for lack of taste, we certainly can't ensure that for their home populations. We do sincerely wish that the whole infection situation is neutralized soon, some of these past WorldVision results were really something else! But of course, on to our first set of votes."

HER misty presence pulls tighter as the ambient lights cut out, and leave a dull glow pulsating from within her amorphous self. Cast in harsh light, Ensio looks almost nightmarish, especially next to the throbbing cloud of smoky energy next to him.

ah. our first harbinger of the end. might you too be a victim of the plague?

Vian Genamman appears on the screen.

by **Carrelie** » Mon Apr 05, 2021 5:24 pm

Votes of the Carrelian Jury
Presented by Vian Genamman

"Bonsoir Au.. Ozzer? Sorry, let me just get my reading glasses.."

The audience laughs a bit. Vian puts on her reading glasses.

"Here we go, Bonsoir... Äuszer! I got it eventually! This is Mont-Réalle calling! Here are the votes of the Carrelian jury!"

"Ve Polcopïe, en pietie! Polkopia, one point!"
"Calosïe, de pietien! Kalosia gets two points!"
"Çâtrë-Méde, tier pietien! Saint-Miron, three points!"
"Åúphèlïe, quie pietien! Auphelia, four points!"
"Bêpê, évoîr pietien! Beepee, five points!"
"Éjaúme, sien pietien! Elejamie, six points!"
"Alèsïe, suít pietien! Alezia, seven points- Hmm? Oh, that's North Alezia, seven points! My apologies."

"And now we move on to our top 3! Opening our top 3, with 8 points, our weit pietien, is.."

"Our 10 points, dieze pietien, are for..

"And finally, our 12 points. Our douze points, our de-dieze. We're happy to present them to..."

"That concludes the votes of the Carrelian jury. Thank you very much for the show and goodnight!"

WorldVision 89 Contest Thread | Äuszer, Tödlichebujoku

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