Worldvision Song Contest 103|IC Thread

by **Britonisea** » Sat Nov 19, 2022 2:08 pm

Withdrawn.

by **Antahbrantahstan** » Sat Nov 19, 2022 7:50 pm

Withdrew

by **Achaean Republic** » Sun Nov 20, 2022 6:38 pm

25| Achaean Republic
Marco Tolentino-"Quise Hacerte Feliz"
Tune: Thiago Pantaleão - Desculpa por Eu Não Te Amar

He was a long-time fan of Xanadu. His parents should’ve known he was that gay.

He loved and admired Olivia Newton-John and everything she fabulously did in the eighties. Grease. Xanadu. Physical. That time she represented the United Kingdom in Eurovision and Johnny Logan was drowned out by a stale Spanish presenter on an RTVE cue broadcast on rival channel TVA, tracked down on an obscure YouTube channel. But then he felt inclined to follow other iconic divas. Cher. Madonna. Boy George. George Michael (even though he was young, of course he knew he was some type of gay). His interest in eighties music and Laser Discs and vinyl and compact discs. The new wave brought on by Spanish band Mecano competed with the smooth rock sounds of Duran Duran he got from his uncle who lived and worked in London and hung out near Liverpool, close to Manchester. There were times and a time that he sent letters and he would write back with gifts like tea bags and crumpets and vinyl from popular British shops. Then there were times he wouldn’t write at all. They shared the same musical tastes, which sort of isolated him from the rest of his tropical-loving family. They managed to make each other feel understood.

Then one time, he stopped responding back. Months passed by, and nobody had a word from his uncle. They didn’t know if he was alive or dead or missing or disappeared. His mother pleaded to the Achaean Embassy in London for something—anything—regarding her missing brother. His father anguished over why he had to leave the island to press his luck elsewhere for little pay and minimal rights when he had everything he needed in the country. It was as if he was hiding away from something, hiding away from them.

They found him in an apartment, lying broken and decomposed, with a cryptic letter stapled on his face: “Quise hacerte feliz.” I wanted to make you happy.

Who was that person? Marco thought to himself while his mother was crying inconsolably for her dearly departed brother.

The Achaean Republic had an awkward direction after the first contests of WorldVision’s new century. The songs presented by the delegation made enough traction on social media, but it wasn’t enough to gain traction in the Multiversal charts. Ratings were stable, but middling enough that many executives were reconsidering the budgeting spent by recruiting artists to compete in WorldVision: La Nacional or the channel-sponsored investment that could attract talent and increase the company’s bottom line. Success in the charts is needed to lead to success in the company coffers. Case in point: last edition, the country reached middling results with a high margin on the right-hand side of the board, an all-too-common occurrence. Many musicólogos in and out of the country questioned the country’s stunning decline from winning the edition almost eight editions ago to not cracking it in the top five, not even at least the top 10, in few editions in a row. What could be done in order to reverse the decline?

Marco Tolentino was approached by the Achaean delegation’s board of directors, who liked his eighties-style, bubblegum pop-infused musical style that was radio-friendly enough and ready to fire up as a TikTok dance craze (because we all know a song is popular enough when somebody decided to make up a TikTok dance for it). Marco was a bit weary about this sudden approach (he was getting ready to launch his first LP by December, right in time for the holidays), but decided to take his time and evaluate the tempting offer. He wanted to reach fame and success—in his own way, so no wonder there was reluctance on corporate media that wanted to either Flanderize or de-queerify his message. (“I have no message,” or so he said in an interview to Rolling Stone Latinoamérica a few days after the internal selection was completed.) But I guess that message—and the money—was too important to pass up.

Off to StrayaRoos, then! It sounded like a journey.

StrayaRoos had an issue with emus. And kangaroos. That was the first thing he read when he arrived the airport and found a few emus lounging around at the baggage claim. There was even a sign that said, “Do not feed or molest emus or kangaroos,” which made him even more curious. Who would be stupid enough to feed or even molest such majestically violent creatures!?!? But anyway, as it suddenly became de rigeur according to various unsuspecting tourists, he took a quick picture (¡pa’l Facebook!) and uploaded it to his social media. He looked fabulous!

Arriving to the hotel, he was surprised at how the arid land of Richmond had suddenly burst into life. There was so much to do in the rough landscape, escaping emus and kangaroos and wrongly flushing toilets and all that. It was interesting to see the speckle of Achaean fueguero flags in the WorldVision clubs and the arena where he was shuttled in and out, every day for almost a week, trying to get all the camera angles and the leotards and the family shows right. There was so much to do, so little time to explore the city and perhaps taste the apparently sweet concoctions of emu meat.

The stage was set for Marco’s performance. The butterfly-like stage set had somber, darkened colors while the postcard was passing on the Multiversal television screens. He was ready. He was nervous. He was excited. He and his band of merry queer dancers (it seemed like a running trend for Achaean performances) were trying to get their blood pumping, getting themselves primed and ready for the show. The four dancers were wearing plain-colored leotards with garish, neon colors that could only be found in the eighties—sizzling lime green, Miami Vice orange, sky blue—with white fimbriations on the edges that showed their bulging muscles, with short-shorts sponsored by Adidas that eerily matched their dresses and protruded on their bulging bulges. They also had white socks with blue and red lines, black Classic Reebok shoes and bands sweat bands along their heads as if they were trying to soak up the sweat bursting in between the lights and the dances. It was physically demanding. It was queer, but maybe not queer enough.

So it was important to take stock of Marco, who wore a green mesh top he bought at Sheen days before a party at the Constantinople, which showed off his quite rippled chest and tattoos arching around the sides of the back. He also wore wristbands and sweatbands, and carried a bottle of water with a plastic water bottle, spraying cold water on his face before beginning the performance. He needed to be careful because he needed to sing and dance without ruining his microphone and making himself trip and fall or his dancers.

They were stretching at the beginning of the song, doing slight pirouettes while other dancers were trying to show off their muscles. The stage was set into an eighties’ style vector art screensaver poster one could see on memes, projected behind the dancers and covered with neon lights reminiscent of a cheap Tron parody. He was ready to play with mannerisms and fiddle around with a boombox as he was shown hearing in full masc form when the camera impressed himself upon him. He then skipped and hopped to the center of the stage where a camera panning to the center saw them taking a pose and stretching together, Marco playing the part of a very enthusiastic aerobics coach.

Déjame saber cómo fue
Lo que era, pasó
Un gancho al corazón

Another camera angle to the viewer’s right showed Marco and the dancers inputting energy by quickly sliding front-to-back and back-to-front, switching places around him while marching and prancing (maybe prancercising?), shuffling and placing their hands as if they were driving and revving up a motorcycle. Marco looked intently at the camera and pointed at it as if he were pointing at the viewer, sliding to the left and right, gyrating his hips and slowly arching his back and showing his booty. If it was too gay, he wouldn’t apologize. It was his time to shine.

Te complací al final, pero no pienses
Que lo nuestro era un adjunto
La pasión dice más cuando alguien
Como tú mereces alguien estable y no oculto

Y mi cama grita por placer
Pero no te quiero conocer, ¡no!

For the chorus, the eagle-eye view of the stage focused on Marco and his dancers, who were in a cross-shaped, x-like fashion. They extended their hands to the viewer’s left, flicking their wrists. They extended their hands to the viewer’s right, flicking their wrists again. They stood in position, as if they were in attention, with Marco bending over and puckering his lips and blowing air kisses three times—from the left, the center, and the right—snapping fingers and swaying to the left and right as if he were doing the Carlton, moving the arms and body in a circular motion in a demonstration of pop cultural ridiculousness. I mean, he enjoyed ridiculousness and diversion if it meant things could finally be fun. Might as well.

Yo quise hacerte feliz
Pero ya no podía sentir
Yo quise hacerte feliz
Pero ya no podía sentir
Ven, vuela alto y buscarás
Alguien más que quiere entregarte así, lo sé
Yo quise hacerte feliz hasta aquí

Yo quise hacerte feliz
Pero ya no podía sentir
Yo quise hacerte feliz
Pero ya no podía sentir
Ven, vuela alto y buscarás
Alguien más que quiere entregarte así, lo sé
Yo quise hacerte feliz hasta aquí

Once again, Marco needed to repeat the song. At least the tune was easy enough and the music was catchy, the dance was also simple enough that the audience could at least try to lead its way into it and make TikTok videos on it. He lightly snickered to himself whenever he was asked to do a silly challenge or when he was cajoled into making one with his dancers like the #QHFChallenge that quickly overtook Achaean TikTok with a fabulous response. As the camera angles glazed and switched over and the projections rose to create a valuable performance wiling to engage with the crowds in the Multiverse and the people of StrayaRoos as well. Maybe even with the emus. It would be funny if the emus suddenly grew arms and began dancing as well, with their beaks lifted up in the air. Hopefully the Vartugians didn’t notice. Or the Placely Placingtonians.

Déjame saber cómo fue
Lo que era, pasó
Un gancho al corazón

Once more, Marco had his prancersicing skills on point and to the test with the sliding camera angles and the chaotic energy the dancers providing, quickly sliding front-to-back and back-to-front, switching places around him and marching and prancing and following his lead, shuffling and placing their hands consciously and impulsively, almost instinctively, gazing and trying to remember the steps. Dancing was a methodical exercise. But it was also emotional, and Marco of all people knew that sometimes the moves switched and swerved depending on the fashion. Once more, Marco looked intently at the camera and pointed at it as if he were pointing at the viewer, sliding to the left and right, gyrating his hips and slowly arching his back and showing his booty. If it was too gay, he wouldn’t apologize. It was his time to shine.

Te complací al final, pero no pienses
Que lo nuestro era un adjunto
La pasión dice más cuando alguien
Como tú mereces alguien estable y no oculto

Y mi cama grita por placer
Pero no te quiero conocer, ¡no!

Now the chorus was finalizing. The cameras transport once more to an eagle-eyed view of the stage with the same dances by Marco and his team, this time with a focused intensity and an air of breathlessness over the intensity of the song and the music, trying to remember all the technicalities involved and the lyrics and the steps while enticing the public (and the emus) to join on the music, who were in a cross-shaped, x-like fashion. They extended their hands to the viewer’s left, flicking their wrists. They extended their hands to the viewer’s right, flicking their wrists again. Stand in position. Bend over and pucker up. Blow kiss, kiss, kiss. Move the hips. Jazz hands! Snappy fingers. Go be ridiculous. Have fun. Be ridiculous. That’s what the world needs: more people who aren’t afraid of being ridiculous.

Yo quise hacerte feliz
Pero ya no podía sentir
Yo quise hacerte feliz
Pero ya no podía sentir
Ven, vuela alto y buscarás
Alguien más que quiere entregarte así, lo sé
Yo quise hacerte feliz hasta aquí

Yo quise hacerte feliz
Pero ya no podía sentir
Yo quise hacerte feliz
Pero ya no podía sentir
Ven, vuela alto y buscarás
Alguien más que quiere entregarte así, lo sé
Yo quise hacerte feliz hasta aquí

He quickly unfurled an Achaean pride flag and waved it with pride. “Thank you! Thank you so much!” He said to the audience that was cheering him on and applauding him. It was thrilling. It was exuberant. It was everything he needed for a moment, ready to pursue much more.

by **Axuva** » Mon Nov 21, 2022 11:47 am

withdrawn

by **Norrp** » Tue Nov 22, 2022 1:39 pm

27.Norrp

Song

Julian Bacer's new euphoric new pop anthem “unboxes the life of a closeted young man”. The mid-tempo synth-pop anthem, tells the rather relatable story of a gay male who feels hollow and insecure. The song features unique melodies, outstanding vocals, and powerful hooks. Lyrically, Julian delivers. His writing skills are impressive. His love for the man, who obviously is very good looking and Julian can't help but fantasise over them. He may not be right for them but that won't stops him being vocal about it.

Born in Mikertlburg, Julian whose 25 struggled for many years to accept himself as a gay person. Always feeling like an “outsider,” he turned to music for comfort and strength, taking piano lessons and learning to play guitar and flute. In high school, Julian was a self-described “band geek” with long hair, who wore the same Paul McCartney T-shirt day after day. In addition to marching band, he sang in show choir and several other bands. With his Dad, Mom and brother, Julian enjoyed scouting, ultimately attaining the rank of Eagle Scout. completed his freshman year of college in the music business program at Belmont University in Flaedo, before returning to Mikertlburg to attend community college and the University of Flaedo at
Flaedo. With a deep sense that music is the only thing he could ever do in life, Julian put his college career “on hold” in 2011 to focus on writing and recording music. In addition to being a musician, Julian has become an active figure in the lgbt movement in Norrp too.

The entry begins with the song flashing a candy pink. The guitar rings out with a slight echo. Julian stands centre stage. He is wearing a long sleeve dark blue shirt with the first top button undone and white chinos with sneakers. Julian lifts his head up. The camera floats towards Julian who smiles. The beat is simple as the guitar carries on through the verse. Julian has a big smile on his face.

He's a powerful man
Such a muscle man
Muscle up to him,
He'll let you rub his tan
He's a strong man,
Such a forced man
Muscle in with him,
He'll let you... hold his hand

The LED background at the back flashes the dancer's athletic body and then changes to rainbow colours which mix alongside flashing coloured spotlights. He snickers as a muscular man wearing only athletic trousers and a blue tank top appears next to him. Suddenly Julian becomes more animated leaning backwards accompanied by some theatrical dance moves. This chorus is more subdued. With less beat. The gym dude does some fantastic choreography quite like ballet around Julian. We have various camera shorts of the stage and close ups of Julian.

I'm now a lover's man
That suits me fine
And I'm out of time,
But we'll all be fine!
And now I'm knackered
And feeling kind
But I'm not even worth a dime
And that just suits me fine.

The beat kicks up and the lights flash in time. The performance has been suitably camp. The dancer moves into the background and lies down waiting for the chorus. The camera swings towards and around him as he sings well! He smiles. The verse ends with drums leading to the next part.

He's a muscleman,
Such a fit man
His body is fine
Yeah, he's my toy man
I'm not an apple in a line,
I'm in that way inclined
For God's sake be mine,
And please don't go blind

The LED background at the back flashes the dancer's athletic body and then changes to rainbow colours which mix alongside flashing coloured spotlights. Julian points towards the man as he moves from right to left in front of him. The gym dude does some fantastic choreography quite like ballet around Julian. We have various camera shorts of the stage and close-ups of Julian. Julian looks exasperated but optimistic. Behind him, the buff man flexes and struts around.

I'm now an lover's man
That suits me fine
And I'm out of time,
But everything here is just so fine
And now I'm knackered
And feeling kind
But I'm not even worth a dime
And that suits me fine

The vocals echo out as the stage becomes darker. Pulling all his might he sings beautifully.

I'm not an apple in a line,
I'm in... that way inclined
For God's sake be mine!

The dancer appears behind Julian and moves his hands slowly down his torso. Julian shuts his eyes and leans his head up towards him almost embracing the dancer. His vocals are modulated. They stare at each other and smile and the dancers suddenly spin away.

'Cause I've got this stud,
And it needs a habit
And now I'm out of time
But you're a friend of mine
And we'll both be fine,
And not out of line
Again you'll be mine,

The next part is accompanied by recorded backing vocals as Julian starts the next chorus by singing "Ahhhh!" Pyros shoots upwards around the stage. Hitting the note perfectly he then proceeds to carry on with the lines. The whole stage is awash with colour as he prances around the stage from left to right the camera floating above. His voice is exquisite. The dancer dances in the background as Julian walks to the right of the stage with swagger. He has some gay over the top theatrical dance moves as he lunges and waves his arms and spins.

I'm now a lover's man
That suits me fine
And I'm out of time,
But we'll all be fine
And now I'm knackered
And feeling kind
But I'm not even worth a dime
And that suits me fine,

The dancer joins him for the last 3 lines as the pair embrace as the chorus comes to an end.

And that suits me fine
He's a muscleman,
He's my muscleman
He is so fine

They two hug and Julian waves and thanks the crowd! The crowd are very energetic!! They cheer deafeningly

by **Nativist Australia** » Wed Nov 23, 2022 12:06 am

28. Nativist Australia

Song: Annabel
Tune: "Alane" by Wes

Verse 1:
Sing me a song
Moving and sombre
I thought I should stare at your middle
Might wanna jump on with you in my heart

Verse 2:
Sing me a song
When you sing a song let me hear it
I thought I should stare at your middle
Might wanna jump on with you in my heart

Chorus:

Annabel, my, you look fine, girl
I just want ya all mine, girl (2x)
Bring us another
Oliver Tambo

Verse 1

Chorus

Bridge:

Come a little closer
Closer to my heart
Just come a little closer
Gotta make a start

Chorus

by **Beepee** » Wed Nov 23, 2022 4:38 am

29.

"Rumours"
Performed by
Norma Deen

Tune: Helene Fischer - "Liebe ist ein Tanz"

OVERVIEW

Ever present since their first entry at WorldVision 79, the delightfully enthusiastic nation of Beepee is back once again, with the kind of schlager that gets your toes-a-tapping!

From a faltering start, the little nation that could has enjoyed some success at WorldVision. Beepee has podiumed four times in Worldvision history. On the podium at 84, 92 and most recently in 98, but who can forget Claude Bols nail-biting televote victory in Worldvision 85 with "My Heart Beats".

Always keen to impress, the ever hopeful Beepeean Occasional News Corporation has once again turned to a trusted professional schlager singer to try and steer Beepee back towards the top 10.

SINGER BACKGROUND

Norma Deen was born in Stonebridge in the forgotten lands of North Prarie. Her parents worked as school teachers, teaching science and mathematics. Following the collapse of North Prarie, Norma officially changed her nationality to Beepeean. She lives in Hercules in the Cootamundra Islands.

Norma struggled, as many immigrants do, to settle in and adapt to her new live. But her parents were good, kind people and they allowed Norma to progress at her own pace.

After several months, Norma Deen settled into her new life in Hercules. Once settled, she found making friends easy and quickly gained popularity and a large circle of friends.

She began singing as part of a choir, before striking out on her own. She was quickly signed to a small schlager label in Hercules. Her eponymous debut album in 2015 performed well but failed to break into the schlager charts. Both her following albums failed to reach the same level of sales. As a result she was dropped in 2018. Despite this a small but enthusiatic following of schlager fans meant Norma was able to contiune touring and working on her craft.

When an early song was chosen for an advert for a popular soft drink in late 2020 she was thrust back into the limelight and was chosen to represent the little nation that could at World Hit Festival 61.

Her performance of the song "Impatient" at WHF61 was widely lauded by Beepeean critics and the song topped the Beepeean Topplist Charts for 3 weeks. As a result of her excellent showing, Norma gained a legion of new fans and was signed to BONY records.

Performing again at World Hit Festival 63 with the song "Breakout", the first single from her album of the same name. Norma Deen shocked everyone with a second place finish, until that point the best ever finish for the little nation that could.

Norma Deen's "Breakout" headed to the top of the Topplist music charts staying there for a month and making its way into the IBA charts. International recognition is rare for Beepean artist so to make their way into the IBA charts is highly unusual.

Norma was then given the auspicious honor of representing Beepee at WorldVision 100 held in glorious Kalosia. Norma performed "Upside Down".

The song charted on the IBA charts, and peaked at number 5 in the Maltese Comino Gozo charts, cementing Norma's position as Beepee's biggest international star, despite finishing 25th in the final.

Now, delightfully, Norma is back at WorldVision with her new track "Rumours", which has been her biggest international hit to date, peaking at number 3 on the IBA charts.

SONGWRITER BACKGROUND

Georgia Tasda and Tess Koh

The song is written by Beepeean songwriting powerhouse duo of Georgia Tasda and Tess Koh, who also wrote Norma Deen's previous international entries, "Impatient", "Breakout" and "Upside Down". In addition, Georgia Tasda also penned "'Til Now", Hugo First's entry for World Hit Festival 55.

Georgia and Tess met at the Conservatorium of Music in Beepee. The pair had an instant connection and a lifelong friendship has started to develop.

Upon leaving the Conservatorium, Tess with her degree in songwriting and Georgia with her degree in contemporary performance, determined to work collaboratively, the pair briefly toured small bars and clubs, performing upbeat Beepeean Schlager-pop.

However, with their act stalling and failing to attract a record deal, the pair were instead spotted as songwriters where they found more success.

RICHMOND

Norma was greeted at the airport by the private taxi. It wasn't too long a flight, but Norma was never truly keen on flying and was looking forward to arriving at her hotel in Richmond.

The ride to the hotel was relatively quick, taking in some fo the sights of StrayaRoos fifth biggest city.

Richmond itself seemed pleasant and comfortable. The locals made their way through the town centre which had been festooned with bunting for the upcoming Worldvision. It seemed the city was looking forward to the hosting. As Norma looked out the car window, she song the throngs of fans milling about, but all she wanted to do was get to the hotel and sleep. There would be plenty of time to explore later.

As the taxi pulled to a stop, Norma looked out and with shock. 'Is this the right place?', she wondered. Before her was the Crown and Anchor pub, a rustic-style 1700s pub set on the green serving cask ales.

She leaned over to the driver 'is this the Crown Hotel?', she whispered. The driver nodded 'it's rooms above the pub', he confirmed. Internally, Norma groaned.

Norma had heard stories, all bad, about the host city: emu wars and cassowary fights, to name some of the horror stories. She phoned her manager. She was ready to complain about the hosts choice of hotel, but she was quickly put in her place. The hotel had been booked by BONC.

She walked into the bar. The kindly proprietor, greeted her warmly. He was aware that an international recording artist was staying at his homely hostel. It was something of a coup, he felt.

Norma was shown to her room. Chintz wall paper and floral bedsheets. It wasn't nearly what she had expected, but she lay down on the bed, and it was comfortable. She found her slumber, quickly and happily.

The next day she awoke, suddenly her worries about the accommodation had melted away. She felt refreshed. Looked out over the street from her window.

Although it was early, she had to keep up with her routine. She put on her training gear, plugged in her pods and set of on a brisk run. She ran beside the river that ran through the town, passing by the locals drinking coffee on the benches. Looking at the river boats as they made their way up the river.

She turned through the cobbled and slabbed streets, smells of early morning empanadas baking at the changes bakery filled the air. A doll shop filled with well dressed dolls in local StrayaRooian garb.

As she turned a corner, she ran, literally, into a local, Ted. He was carrying a coffee which almost spilled over him, as she bounced off him and fell to the ground.

She looked up at him. He had a kind face although he was flustered, he smiled as he stretched out his hand to help her up.

She blushed, apologetically. 'I'm sorry', she said, 'let me buy you a replacement'. He tried to object but she insisted and finally he gave way, and the pair headed to a nearby coffee shop.

Ted, noted Norma's accent and asked if she was here for the 'singing show'. She smiled. She noted his accent, being different from that of other locals. He said he had recently come to coach the soccer team. She smiled.

They arrived at the coffee shop. He ordered two coffees and some biscuits. She tried to pay, but he got his way and managed to pay. The pair sat in and chatted comfortably. A couple of WorldVision fans walked on and spotted them pointing and whispering. Norma smiled at them and they asked for autographs, which confused Ted for a moment, until he realised she wasn't just a visiting fan.

The pair contiuned to cast, until Norma needed to excuse herself to go to rehearsals.

The next day, the local press had photos of the pair and spread rumours about a budding romance.

PERFORMANCE

As the national postcard is being shown on the big screens, Norma and her dance troupe prepare themselves on the stage. Norma has a skin tight, shimmering and sequined silver leotard on. Her backing dancers, a mix of male and female, are wearing white trousers, the males bare chested beneath white jackets the women with white boobtubes below their jackets.

At the rear of the stage, a band with backing singers, a drummer, keyboard player, bass player and electric violinsts prepares themselves for the pop fuelled schlager about to begin.

Norma positions herself centre stage. Her dance troupe ready themselves for the energetic performance about to begin. One of the male backing dancers comes up behind Norma and they hold a tender pose.

The director puts up the Beepeean Ident....

29. BEEPEE
"Rumours"
Norma Deen

The playback mic begins to peep acknowledging the start of the song.

An expectant murmur begins to fill the auditorium.

The electric violins begin...

I deny it,
But my heart reminds me,
Everytime I see you walking by,

Norma and her backing dancer hold the pose her hand gently stroking his neck. Tenderly, she sings. There's a coyness about the start of the song which belies what is to come.

As she sings, "everytime I see you walking by", the male backing dancer slowly and rhythmically begins to step away.

As he does, and as the next stanza begins, the rest of the backing dancers begin to move from their starting poses and begin to form a v shape on the stage with Norma at the head.

The Roosian director maintains interest throught the opening stanzas, by cutting between front views, side shots and long distance shots of the stage looking over the packed auditorium.

I can hide it,
Pretend that I'm fine,
I can act aloof when you say my name.

As the bridge continues, the backing dancers perform a choreographed piece where they pull their arms into the rody and thenstretch their arms out "brushing" aside those rumours. Its simplistic but effective, as the Roosian director pans across the front of the stage.

But all those rumours, that I've overheard,
I brushed them aside as if they were so absurd,

As the chorus begins, the backing singers at the rear of the stage, begin to take over the "Tell me that it's true" parts to allow Norma an opportunity to breath through the choreography.

The dancers begin their routine. It's powerful and vibrant, racing with the music.

The Roosian director focusses on the dancing, interspersing with shots of some of the 15,500 strong audience...

Tell me that it's true, You're in love with me
Tell me that it's true, 'Cause I want to believe
Tell me that it's true, You're in love with me
Tell me that it's true, I don't want you to leave

Don't be afraid to tell the truth,
Please don't break my heart in two,
But if the rumors aren't true,
I really can't blame you,
Just say what's real.

The lights on the stage beam and point towards Norma as she finishes the chorus.

As they do the backing dances trott of to hide off-stage.

As the next stanzas are being sung, Norma acts demure echoing the lyrics. The break allows Birma the opportuntiy to centre herslef after the energetic dance routine. Yet, despite the coy nature, there's still a warmth in her that exudes through the camera to those watching a home.

I'm waiting
Anxiety's rising
My friends all say that you feel it too

If you're frightened
Just don't deny me
I'm waiting to hear the truth from you

As the bridge begins once again, the dance troupe come back onstage surrounding Norma. Their synchronised dance moves blocking Norma from the camera view.

As she sings "I brushed them aside", the dancers break from in front of her and Norma is lifted into the air by two of the backing dancers. Before being returned to the ground in time for the choreographed chorus dance routine.

'Cause all those rumours, that I've overheard,
I brushed them aside as if they were so absurd,

As the chorus begins, the Roosian director is happy to make wicked cuts between the various cameras int he auditorium. The director times the cuts to the rhythm of the song, its an effective visual feast.

Indeed, the Beepeean Delegation would be very happy as the crowd seem to be bopping along with the song. Some die hard fans clearly know the words and are signing along in full voice.

Indeed, there are plenty of happy smiling faces on the audience throughout the performance,and not just from Beepeean fans who have made the trip.

Tell me that it's true, You're in love with me
Tell me that it's true, 'Cause I want to believe
Tell me that it's true, You're in love with me
Tell me that it's true, I don't want you to leave

Don't be afraid to tell the truth,
Please don't break my heart in two,
But if the rumors aren't true,
I really can't blame you,
Just say what's real.

Rumours!
Rumours!
Rumours, haunt me!

The camera focusses on Norma as she sings "breath, by breath, by breath", her body convulsing cyclically with the words. She smiles down the camera as she "waits for something real", before the Roosian director quickly zooms back from the stage to show the whole auditorium, where flags are waving and people are loving the show.

Breath, by breath, by breath
I wait for something real
But when will you see
The silence is killing me

As the final chorus is begins, throughout the auditorium the audience claps in time with the beat.

The claps echo around the massive arena, and Norma feeds of the energy the fans of WorldVision are giving. The lights in stage brighten and flash along with the beat, as the performance reaches its crescendo. Norma and her backing dancers pound and stomp their way through the chorus.

Tell me that it's true, You're in love with me
Tell me that it's true, 'Cause I want to believe
Tell me that it's true, You're in love with me
Tell me that it's true, I don't want you to leave

Don't be afraid to tell the truth,
Please don't break my heart in two,
But if the rumors aren't true,
I really can't blame you,
Just say what's real.

Tell me that it's true, oh yeah
Oh oh Tell me what is true.

The song ends, Norma hand raised to the roof, standing powerfully centre stage. A single backing dancer tenderly wrapped around her in a tender embrace, brining the choreography full circle.

Some fireworks splay up from the main stage, a whoosh can be heard as the sparkles take flight.

Norma is spent but elated with her performance.

The auditorium erupts with spontaneous flag waving a cheering, and Norma smiles and waves as she heads off stage thanking Richmond and Worldvision as she goes.

She heads backstage, making way for абсолютно не вкрадена група from Spring Ukraine. She smiles and says 'good luck'...

by **Spring Ukraine** » Wed Nov 23, 2022 1:27 pm

30: Spring Ukraine
Ok so, this is my first Worldvision entry on either of my countries. Expect Best Belarus to participate next time.

ABOUT THE BAND
I have no clue what to name the band, so for now they are called "absolutely not a stolen group". (But in Ukrainian, of course.) Let's just say that everyone from the original band would probably be honored. Anyways, this band is from the uh Carpathians yup (we have that territory) and they are really talented

ABOUT THE SONG
The song's title means "forest land" in English, which is what I usually call Spring Ukraine as in my dispatches. I think it's happened multiple times in both languages.

LYRICS
I uh, definitely didn't use Google Translate for the lyrics. Anyways, here ya go (no pun intended I swear):
Гарна лісова земля
Лісова земля
З багатьма рослина
багатьма рослина

Щодня пташки співая
пташки співая
Ой, природа найкраща
природа найкраща

Ой, природа найкраща
природа найкраща
Це таке чудове життя
чудове життя

Це таке чудове життя
чудове життя
Мені все подобається
все подобається

Гарна лісова земля
де живе вся природа
Трава завжди зелена
Я надовго залишуся

найкрасивіші квітая
найкрасивіші дерева
З усім так
чудово бути

by **Plangainer** » Sat Nov 26, 2022 8:27 am

Alas, the country had seen to withdraw from the 100th edition of the Worldvision Song Contest following Victoria 'Melanii' Melane's sudden accident in the country capital of Monterra, Kalosia. To her, the conflict of both rationality and her denial had set her to feel torn between the decision of the broadcaster, whom ought chose to avoid such as special centennial edition due to a few bruises and wounds that weren't much akin to the severity of the papercut? It wasn't really difficult to understand why everyone had been worried, but her desire to get on that stage nevertheless was enough to drive her to compete for a spot once more, would it mean getting back into the Melodine line-up and go through the stress and anxiety of waiting your public and jury scores to climb up?

Sitting on her bed she looked up at the ceiling, it was the same one she had slept under for a month now until her family, friends and even her colleagues at the label had been absolutely sure she was fine, hearing and watching as the months go by and the contest progressed several editions with Plangainer nowhere present in the draw of such a significant show - such significance she held herself, that she did not want to let her fans down. She couldn't have it all, that was what she believed. She wanted to be healthy and alive and back on her feet again, which would mean getting back on her feet and her music, and most importantly on that grand stage.

"But it doesn't hurt to give a try..."

It kept repeating in her head like a mantra, the scribbles of the lyric inserted along with the melody, her album was just about finished but she was thinking what kept her from feeling fulfilled was not her album, nor the song. The song was perfect, she knew that. The lyrics were something she was proud of, she could sing it forever without tiring out. But what was missing?

"As the terror breaks, Like a broken heart..."

Her road-trip gave her a lot of time to think, to ponder away from the contest, the craziness of the studio and life at work overall, to a place where she could have a little bit of peace and quiet. A place where she could contemplate, where she could just be...

It felt like an imperfect scenario to her, that's why she took the trip, to go somewhere far, far away. Not because she needed to be away from the spotlight, or her fans, but to think about everything else that had happened, maybe she had a bit too much on her plate and her mind was so overworked that she had lost track of her priorities. She thought that by taking a trip and having some time off, she could get back on track. It was what she thought, until her phone rang.

"Don't say I couldn't keep it to myself..."

The stabbing synth mixed with the perfectly cut percussion made her smile, it sounded so much like the kind of music she wanted to make from the start, something that would bring joy to her audience. It was something that made her want to sing, a song that made her want to dance and put on a show, something that she could feel the urge to perform and to release into the world. Working with other talents much like Archer McNeil and Brandon, whom she had known for years now, had been a delight to work with, she didn't have to worry about the composition and the arrangement of the song, as they already knew what road they wanted to take with the song. She didn't know what was going to happen next, she didn't know if the song would be released as a single, or whether it would be a part of her next album, but she did know that she wanted to get back to work and put on a show. The song slowly became what she was now, trying to experience something she never really experienced before, but she knew she wanted to make it a reality, it somehow bled into the very composition of the song, giving it a new edge, a different vibe, that made it what it was. Maybe it was good, or maybe it wasn't.

But it was her, and this much she knew, and the joyful smiles from both her peers and herself as the phone rang with a familiar voice to Victoria that made her want to scream and shout out loud, they were getting ready to set sail once more.

"But it doesn't hurt to give a try"

"Give A Try"
Performed By: Victoria 'Melanii' Melane

Song Written by: Eloisa Serrato, Victoria 'Melanii' Melane, Archer McNeil
Producing by: Archer McNeil, Victoria 'Melanii' Melane, Brandon Lowee, Roy S. William
Mixed By: AIM Studios, Diamond Records

Song Runtime: 2:46 (2 (Two) Minutes, 46 (Forty-Six) Seconds)

Description:

The story of internal combat between two sides of one heart, half of it ruled by guilt and self-demolition, the other reigning with reassurance and optimism as
they try find resolve amidst a personal break up with a soul significant other.

The song which Victoria 'Melanii' Melane and other notable individuals such as Archer McNeil and Roy S. William have been crafting amidst Victoria's recovery
from an accident in Monterra, Kalosia and Plangainerian absence from the contest. The song was revealed during the National Heroes Day on November 10th,
later confirmed to be an internally selected entry for the Worldvision Song Contest.

Unlike the previous entries of which had been picked by both jury and public through a televised national selection show in Plangainer, the broadcaster had
announced that Melodine would not be this edition's method of selecting the performer, choosing to opt the show to be a separate contest as a temporary
exclusion.

Listen to the song HERE!

"The song is accompanied by both atmospheric, punchy and bassy synth sounds, with rhythms reminiscent of EDM classics mixed with experimental pop elements - a very well known signature across works by and in association with Archer McNeil. It starts from a slow and growing howling undertone, the synthesized melody fading in the first few moments of the song before making a comeback accompanied by a slow but then growing percussion, and then switching to only the rhythmic element as the song moves onto the chorus. As the song ends, we are met with a more ambient and more smooth accompaniment, inducing an ethereal sounding reverie before the song and vocals promptly cutting out into a sudden silence.

The vocals nicely move with the song, a tiny detail including vocalization to sound robotic across the song with reverberated backing vocals bringing power into the chorus and breakdown parts of the song, which helps to establish foundation and bring more uniform and variety into the music.

Astonishingly interesting production accompanied with good songwriting by Eloisa Serrato, Victoria 'Melanii' Melane and Archer McNeil makes this one of many strong musical tracks made by the artist. But there are still a few elements that were let loose and could definitely be better put together."

~ Liverly. (8/10)

Slowly, but surely, her time to shine was quickly approaching, one by one did each nation perform their acts as she watched from the sidelines, the delegation enjoying their time in the country and in the crowded venue, her colleagues had joined them as well in the little green room, giving her a moment to relax and just take it all in before she; herself, had to perform, feeling proud of what she had done up to this point. She knew that it was only the beginning, but for now she was just happy to be here, she could feel it, and she couldn't wait to let everyone see it.

It felt surreal, standing on that stage, with her fellow friends, colleagues and delegation behind her, it felt like a dream, but she knew it wasn't. It was real, and it was happening, the crowd roared and applauded as every act went on, countless of smiling contestants entering and leaving the stage, the lights flashing, the cameras rolling, the fans cheering, the juries taking notes and the public voting, Victoria was right in the middle of it all, getting ready to step onto that stage and give it her all, having most of the country behind her, supporting her and believing in her, even if she didn't know where her next step would lead her, but she did know that she had to make the most of it, that she had to let the world see what she was capable of, and not just this one night, but for the rest of her life.

She could see as one of the crew approached their green room in a jog, looking at the clock she knew that she had to go, it was time to go on stage, the dense crowd watching as the other performance went on, spectacles of choreography, music and art all wrapped into one, each one different from the other, each one unique in its own way, but save for the country she was representing, each and every contestant was going through their own battle for glory in the contest, and so was she. She could feel her heart beating as she was being prepared, the sound crew gently and carefully setting up her in-ear monitors, the sound check was going well as she was given her microphone, the group of dancers who had joined in on the act also getting ready as they all high-fived and shared several words of encouragement with one another, for Victoria it wasn't about the prize or the title, it was about being able to perform, to sing, to dance and to just be herself and with others, especially with how happy and contempt the dancers looked.

The preluding act ended, the lights dimmed and the crowd began to cheer once more as the screens cut away to a postcard, HER postcard. She didn't have the time to take it in before she was allowed to step on stage, watching as the vast crowd had welcomed her entrance, the dancers rushing to the sidelines as the floor was slowly being flooded with foggy mist by the under-floor apparatuses, the bright overhead lights illuminating the environment around them as she could barely see the end of the venue, no one could lie to say it didn't look ten times more massive than what she had seen when she first stepped foot on stage.
The crew rushed off as the music from the postcard neared its end, the lights falling to a pitch black as she heard the audiences loud cheering echoing in her ears as the live broadcast had switched back to the arena, the entire audience on their feet as they took in the grandeur of the stage, the mist still swirling around the arena, the fog creating an eerie atmosphere around them, hearing the voice in her in-ear count down to the start of the song.

"Intro in 3... 2... 1..."

#31 Plangainer

The shot opens on a spider cam which slowly descended from the furthest ends of the venue, the stage - lit by a mixture of maroon red in the center and a fire orange as it goes from center to the furthest ends of the stage, Victoria, stands lit by an overhead light as it cast a hard shadow onto the floor, fully overtaken by the swirling fog that made it look akin to that of a cloud, the illumination from the boundaries giving the scene a drastic undertone as the song speared into life, the crowd roaring as the performance had begun. The feign starry-like lights from the audience who watched becoming part of the scene as the shot blurred into a Steadicam which had closely zoomed into her face as her head stays relatively still as she stared down in the floor with her eyes closed, the face shrouded in the darkness as the lights overhead cast a discerning outline which easily allowed her to be separated from the dark background whilst the camera faded towards the close up.

The shot was set in a square aspect, a 4:3 with visible black bars covering the left and right portions of the screen as she raised her microphone to sing the starting verse, the cameraman slowly zooming out as the shot opened wider to showcase more of the surroundings light by the red lighting, including the dancers, who were standing in almost statuesque positions, scattered across various positions to open the blank space on the stage as the fog enveloped their legs, adding to the mystic appearance as Victoria sung, the shot slowly stopping once it had reached out to Victoria's waist.

Simplicity taking it to the extreme
It's just like that, probably for the best of it
Maybe the symphony sings all of us to sleep
But I stay awake

The song picks up as Victoria's head now rose, looking onward with her face lit up by a narrow band of light from the left of the stage, rising from the mysterious shadow as her face was now lit up by that one light source, some of the onlookers from the crowd whistling as they start clapping along to the muted percussion and the camera begins to slowly rotate in a perfect circular motion around her, the background scrolling as the shot sees the vast openings with the crowd with Victoria looking forward, her shoulders slightly parting as the percussion progressed along the track, breaking her away from the stoic stance and giving her some choreographic presence apart from the other frozen dancers who continued to stand in their locked posture.

That was until the camera returned to face Victoria from the front, as her eyes now befell to follow the lens, the dancers behind her now slowly turning their heads towards the singer as their stances were quickly broken by the sudden quickening of the progression that breached into the ambient, the lights emphasizing the growth in rhythm with a strobe of brighter red each time the snare hit, their shoulders also repeating the exact same motions as Victoria. Her head slowly tweens to the left, her hair falling down from the crest of her shoulders as they maintained their direct relativity and hung towards the direction of the ground, the shot now pulling out to encompass the entire stage in full, including with the dancers as it began to garner the attention of the crowd and earning a resurging cheer as the shot fades into a sudden black.

It's time, for me to say my sorry goodbyes to my lover
Say my words like a broken record
Slip under the covers
As the terror breaks
Like a broken heart

As the song broke from its synth ambient to a more rhythmic section accompanied with clapping, the broadcasts cuts to a camera by the edge of the stage's front, this time with a different aspect ratio giving the shot cinemascope black bars at both the top and bottom of the screen, making the open space on the stage feel incredibly wider as the camera slowly moved up and zoomed the frame out as it now had the stage included with its now electric visuals of red and white that displayed across the LED screens behind and on the floor behind the singer and the dancers. Victoria - now lit in the standard white mix of orange, the dancers still lit in a discerning red glow behind them, their faces and front remaining in the shrouded darkness - began to switch to the pre-intro to the chorus as she held her hand up against her chest, where she pat the area along to the beat as she now had her attention to the crowd, feeling herself crack a smile at the clapping coming from the audience, who followed the accompanying beat and the percussion, but later returned to her to a more serious and in-tone expression the song had set the tone of.

Intricate choreography presented as the tension was building, one dancer of the whole group lit up by the overhead light fixtures from above, casting light that left a harsh shadow onto the floor as their arms and bodies began to break away into a expressional choreo with every two beats causing the light to start switching dancers from random order, their feet sidestepping out of their original positions closer towards Victoria one by one. Those who returned back to a darkened red spotlight froze in place whilst Victoria still remained lit as she sung, her eyes set towards the other standing camera directly forwards from where she was facing.

It's just not nice, but that's all I can do
Don't say I couldn't keep it to myself
And that heartbreak is my own damn fault
But it doesn't hurt, to give a try

The beat picks up, and so does the aura of the stage as the foggy mist on the floor now begins radiating a warm orange with a mixture of red, making the dancers who stood there now more prominent on the set than before. The dancers quickly rush to Victoria, their hands reaching out as they surround her, their silhouettes flickering in sync with the strobe of the lights and the music. Victoria's eyes widen, her mouth slightly opening as her arms are now reaching out to embrace the others, holding their hands tightly as she closed her eyes. The dancers step back in sync as they form an even circle and begin to spin around her, the focus shifting between the dancers as they revolved around her, their hands reaching out towards her whilst others grasped onto each other and seemingly forced one another apart and together.

The visuals on the screens were now showing flowing refraction, accompanied by thin lines which reacted to the bassy undertone by splintering into a noisy mess as it went down the graphic before returning into a shape of a line as it spun in an turbulent movement, the dancers also doing the same with their arms and hands as they circled around the singer, the shot now of a Steadicam moving in a wide circle around the performers as the shot was zoomed out entirely to use the openness of the venue and make the space seem larger as they performed at the bottom of the screen, showing the illusion if minusculity by the performers.

(Give a try, give a try)
(Give a try, give a try)
If its so damn hard (Give a try)
Then why is it right (Give a try)
(Its not a crime)

The camera continued to pan in a constant orbit, the dancers and singer expressing their choreography in perfect sync as the lights overhead gave the whole scene an explosive feeling of power while they performed. This - accompanied with the visuals of refracting particulates that decorated both the floor and backdrop LED screens - gave the overall composition more chaos whilst the dancers performed in full force, Victoria seemingly looking around her and at the dancer as the beat maintained its heightened force, the camera now slowly zooming in towards her in the midst of it all before she takes off running away from the circle and towards the very front of the stage.

It's just not nice, but that's all I can do
Don't say I couldn't keep it to myself
And that heartbreak is my own damn fault
But it doesn't hurt, to give a try

Victoria suddenly stops her momentum mid-run as she looks ahead, the dancing slowly disappearing as she lets go of the dancers' hands as the part away from the singer, and now her feet break away from the ground as she starts walking to the left side of the stage, her feet kicking up some of the fog as it left a trail behind her, only to stop again at one spot. The cameras began cutting to several various angles as the rythmic pulsing of the lights return to their stoic state as the beat of the song slowly died down, the shot then switching to a free-moving crane camera which slowly rotated around her as she stares ahead to the audience whilst the dancers now slowly step back into the middle of the stage, the shot then panning to the other side to show the other half of the stage where the other group of dancers was performing, but this time, they were moving in the opposite direction and towards the other bundle of dancers.

The singer completely felt herself encumbered in the music, her body and emotions riding on the same wave as the rest of the tones and notes within the song, her body slowly twisting itself into a more angular position as her hair started began to feel a slight breeze as it lifted up into the air as she stared ahead, her eyes fixed to the audience.

I lift myself, and say don't be sorry
He wants it too, better say before he would
The air I breathe, outside that of my own prison
Word of farewell, oh

The shot now switched to a camera flying in from above, the glowing fog rushing towards the middle of the stage as Victoria slowly walks towards the center of the stage, her hair lifting up as it moved about in the wind, her expression now lost in the deepness of the song as she stares forward with her lips slightly parted, her eyes now almost closed as if she was going to take a breath. A white line as it appears to connect her and the other dancers as the fog seemed to drift between them, the camera descending down to look at her from the front with a slow zoom as the shot starts to slowly tilt to the side.

The dancers in the background seemingly tilted along with the camera, their arms now stretched out and reaching out to the singer as they connected with one another in a long line as they began to sway their hips with the movements, the camera now pulling out as the stage grew smaller.

It's time, to let go of all the guilt I held forever
Live my life for another moment
Oh, how I keep moving
And you call my phone (You call my phone)
Darling how you've been (How you've been, yeah)

The moment broke into another show of choreography as the lights blinked a few times along with the percussion once the song started to kick back into power, the dancers moving their arms faster and faster, their feet stomping harder in sync with the beat. All the while Victoria was standing in the center as she stared out into the audience, her legs and body now moving a bit more steadily as she looked down, her hair whipping and flowing about in the wind as the fog was starting to get kicked up into a twirling spiral, the effect causing the lights which were radiating from behind to appear like a pulsing pearly glow.

Her dancers rushed through the wall of fog as it became thinner, the lights shining bright as they made their way towards the singer, the beat picking up to match the increasing speed of the action, the fog dissipating at their feet as it was being pushed aside by the dancers, their movements becoming more complex in nature, with arms reaching behind them before returning forward as they changed their positions in an instant, accompanied with the quick movements of their feet. Victoria looked to be in control of the dancers this time, as her movements were now being replicated by some of the dancers as the beat went on, the song now growing more intense with the synth stabs now sounding to have more clarity in the track.

It's just not nice, but that's all I can do
Don't say I couldn't keep it to myself
And that heartbreak is my own damn fault
But it doesn't hurt, to give a try

As the song reached its climax, the stage erupted into a splendor of orange and blue, the dancers now standing in orderly line behind Victoria as the strobes of light danced with the beat, white firework arcs shooting up high into the air every second beat from the rims of the stage as a wall of sparkling pyrotechnics flowed down from the ceiling of the bottom of the stage behind them, the audience clapping along to the song as the venue was lit in a full blown psychedelic show as the song comes closer to the final chorus, the visuals accompanying their choreography showing a stormy sky as the song reaches its peak.

The shots cut from one cam to another, several angles capturing one or two dancers and another maintaining focus on Victoria herself, followed with a Steadicam which moved across the back of the stage from behind the performing artist and dancers as it showed the venue lit up in full. Victoria feeling the sweat dripping down her cheek as she closes her eyes and sings.

(There's no heartbreak and none at fault; Give a try, give a try)
(There's no heartbreak and none at fault; Give a try, give a try)
If its so damn hard (Give a try)
Then why is it right (Give a try)
(I gave a try, oh and did I try)

The song slows into a simple synth background mixed with a deep bass as the lights slowly fade into black as the song ends, Victoria now lit up by only a singular mere spotlight with the rest of the dancers behind her who were now mere shadows once again, extending their arms out as they slowly rose them higher and higher, the shot slowly descending from up top to head level while looking down at Victoria as she stands tall with her arms outstretched as she looked up at the camera, the aspect ratio transitioning back to the 4:3 which had been set at the start of the performance, closing in on Victoria as her eyes stared at the camera, her expression having a softness to it despite her eyes looking stoic.

The shot then suddenly cuts to the camera by the front of the stage capturing as the dancers suddenly fall onto the floor and into the returning fog, the lights behind them dying to a meager darkness as the music stops.

It's just not nice, but that's all I can do
Don't say I couldn't keep it to myself
And that heartbreak is my own damn fault
But it doesn't hurt, to give a try

As silence befell the Richmond Pavilion, the audience erupted into a thunderous cheer, rising over themselves to applaud the singer as she rushed towards the dancers who were standing up from the floor, who were jumping up and down, throwing their fists into the air in happiness and waving at the crowd together. As Victoria bears a smile on her face, she rose the microphone back and screamed out with joy, "Thank you all so much, thank you Richmond!"

She waved goodbye to the audience whilst the cheering and clapping continued, as the crew began preparing for the upcoming performance and the broadcast cut to the upcoming participants postcard.

by **Mister X** » Sun Nov 27, 2022 7:03 am

Lauren - "Never Leave You Alone"
Tune: Mariette - "A Million Years" (alt link)

The Xians are doing OK at WorldVision with a fourth place and a second place in the last two editions, the second place on home soil beaten only by Malta Comino Gozo's runaway winner. It was only Mister X's second ever second place finish, to go along with its one win. Since Mister X returned to the contest, its "Series 2" of entries have generally produced quite good results but without the magical X factor it has arguably needed to turn good entries into great ones. This entry, however, by stalwart Lauren (yes, Mister X have all four of their female artists on a revolving door) and the intention is provide classy pop music, if there can be such a thing. It's the Xians' first diplomatic visit to StrayaRoos and so far at least there have been no major moments of offence.

There is a small strings section on stage behind Lauren who is standing front and centre, wearing all-white like an angel. She is joined on stage by four dancers: four white skinny men. They are showing off their chests by means of not wearing a shirt, and they all wear white trousers on their bottom halves. The strings open up this song. The camera focuses on them, with the rest of the stage in darkness but the strings in one white, cold, spotlight. It's not really naturalistic lighting, it's whiter than that, but everything else is turned off. There are small flashes of light, subtle, on the little riff in the song just before Lauren starts singing. When she does, there is a gentle zoom in on her as the lights turn up.

Never give you up, never let you down
I'll never desert you by running all around
I will never leave you alone
Whenever you say yes, or even if you will say no
You don't know how far I'll go
And you don't understand how much I need
So I will never leave you alone

The dancers all run towards her ("whether you stay") with the camera in all the wide shots ever so slightly slowed down, and then run away from her ("whether you go"), before a giant close-up of Lauren on the second line of the chorus. Then they all motion to the right ("whether it's yes") before running over to the left and making the same motion ("whether it's no"). Followed by a crash zoom on Lauren's face, which introduces the chorus to the viewers.

Whether you stay or whether you go
Baby, I'll never leave you alone
Whether it's yes or whether it's no
Baby, don't you know...

The dancers have attached themselves to bungee cords and launch themselves outwards on the first line of the chorus, flying over the heads of the audience before swinging back on the second line and landing on their feet. There are more aerobatics for the rest of the chorus, whilst the camera captures their movements like flying angels, gracefully soaring in and around the stage, before cutting back to Lauren for the third and sixth lines of the chorus. The lighting is busy but classy - no strobing, nothing overly dramatic, but lots of lights going in all directions during the chorus.

Don't you know how far I'll go?
I will never leave you alone
I will never leave you alone
If you stay or go
I will never leave you alone
Baby, I'll never leave you alone

During the short instrumental, Lauren joins in with the dancers' play, with them dancing around her gracefully and treating her like the goddess and a deity this song is meant to be. On a spiritual level, this song has many meanings. On the one hand, if you're not reading too much into these lyrics, this is a luvvy-duvvy song about how much the singer loves someone else. On another level, you could read into it as a pathetic spurned lover shallowly and stalkingly hanging on to the man of her dreams. On another, you could argue that God is doing the singing and His omnipresence is the meaning of the song. Certainly the staging takes the final option.

Baby, I'll never leave you alone
Baby, I'll never leave you alone

All the lights, save for one on Lauren and one on the string group, turn themselves off as Lauren begins the second verse. It has a bit more of a kick to it than the first verse but equally is only a verse and is not a chorus or a pre-chorus.

So don't you ever make me cry by you saying goodbye
'Cause baby, I'll move away with you
But even if you tell a lie I will never hurt you
'Cause I will never leave you alone

The dancers emerge, bungee-less, back onto the stage and make slow-motion movements, but this time the camera is running at normal speed and it's the dancers who are moving slowly.

Whether you stay or whether you go
Baby, I'll never leave you alone
Whether it's yes or whether it's no
Baby, don't you know...

This time, the dancers run down the walkway-catwalk-thing (the sticky-outy bit) of the stage, all step by step in unison, jumping at the end of each line of the chorus. They continue in this pattern until they reach the platform at the end of the walkway-catwalk-thing, upon which they perform a choreographed small routine during the instrumental. Lauren walks behind them during the chorus.

Don't you know how far I'll go?
I will never leave you alone
I will never leave you alone
If you stay or go
I will never leave you alone
Baby, I'll never leave you alone

During the instrumental, as the dancers perform their routine, Lauren reaches the platform and stands front and centre. For the next section, the platform raises up (it's the 2013 Eurovision stage in the host bid, so like Bonnie Tyler in that year's Eurovision), whilst the dancers stand equidistantly around the bottom of the platform.

Baby, I'll never leave you alone

Baby, I'll never leave you alone
No!
Never leave you alone!
Baby, I'll never leave you alone

All the lights bar one, on Lauren, turn off, and she completes the song alone in super-close-up.

Babe, if you stay or babe, if you go...

That completes the Mister Xian entry and the crowd go ballistic. Lauren is lowered and thanks the audience for their kind support.

by **Kalosia** » Sun Nov 27, 2022 9:13 am

33
Kalosia
No — Klaravalë
performed in Kalosian to the tune of Je remercie mon ex — Camille Lellouche

Note: This entry uses the music video version of the song, which includes extra parts omitted from the studio version.

It was for the first time in Kalosia's 11-year, 81-edition WorldVision history that the nation had voluntarily withdrawn from the contest when it was held in Mister X last edition. While 102 was far from the first WorldVision in which Kalosia was not present (thanks to a few disqualifications and related penalties), this absence was unprecedented and the first in a long, long time. Since serving the one-contest ban during the 46th WorldVision in Oreo City, Antahbrantahstan six years ago, the island nation successfully maintained a streak of 55 consecutive participations. Of course, now, the streak has been reset and we have returned to square one.

But why did we withdraw? When the withdrawal was announced on the day of the deadline for entry submission, RTVK cited logistical and financial issues. Indeed, the last-minute introduction of a semifinal format for the 100th WorldVision Song Contest in Monterra caused the organizers to overspend. As a veteran host broadcaster, RTVK had allocated funding based on their past experience and then some, taking into consideration a potential dramatic increase of participating nations and a need to go above and beyond due to the novelty of the milestone edition. But the budget did not consider the possibility of having to produce and broadcast more than one show. The decision of the WorldVision Committee to hold semifinals ended up becoming a shock to the system that had been set in place, and to enable the entire show to happen financially, RTVK ended up tapping into the funds that had previously set aside for future contests. And this was on top of post-WV100 fatigue among the local population and WHF participation funds being 'borrowed', causing Kalosia to miss out on the 64th and 67th editions of the festival as well.

Now at this point, WV100 has long been over and these 'future contests' have walked into the picture. For WV101, Niél sBor & Co were able to make it to Besen, albeit with limited funds and thus, limited staging opportunities. Niél and his team also offered to cover some of the costs relating to his participation. For 102, however, the delegation were unable to find a way to make Kalosia's participation viable in time for the contest. It was at this point also that the HoD, Gabriél Ferer, decided to step down to focus on his next endeavour in his music industry career. Considering his background in hip-hop, and the fact that his picks for WV have returned somewhat mediocre results, perhaps it isn't his forte to participate in a musical event where his kind of music just isn't as appreciated.

Gabriél's successor, the new Kalosian HoD, was able to secure just about enough funding to pull through with a WV return. She decided to do what had previously been done and offer entrants of the most recent Festival dëla Kanžu Kalosianë the chance to either bring their entry to the international stage, or compete with a new song. Last year, of the 24 acts competing in FKK 2021, 5 of them ended up going to WorldVision, with 2 of them deciding to reprise their respective entries. This edition, Klaravalë will be the second act from the 2022 cohort to make it to the WV stage.

Klaravalë came third in FKK, having come fifth with the juries and coming joint second the televote alongside Mariella Kasanu & Žankarlu Fra. Her song went on to become as commercially successful as the winning entry MeowMeow, which as we know came a respectable 2nd in the WV100 televote and 4th overall.

Klaravalë, real name Ǧosefinë Klaravalë Franki, is somewhat of a rookie in the Kalosian music scene. After a short-lived participation in The Voice Kalosia, she continued to build her music career as a pop singer. Slowly and surely, she gained momentum and her songs began to be more and more known, although not yet a household name.

The song, simply titled 'No', is one of defiance. It is sung from the perspective of a love interest who repeatedly rejects one's advances, although the latter does not seem to get the hint. It is catchy, it is fresh, it is modern, and hopefully it will win the hearts of viewers watching the show.

And for the big night, Klaravalë is wearing a light, sparkly black dress designed for ease of movement. She is joined by one backing dancer, a shirtless man wearing white sweatpants, and four backing singers who are kept out of sight. Onstage there is this huge setup of flowers, making the stage resemble a garden (see music video of tune for reference). The hall is mostly dark, so is the stage, except for neutral, white lights that illuminate the flowers.

Now, the song begins with the harmonizing of the backing singers. As they vocalize, the camera begins with a wide shot of the stage and slowly zooms towards Klaravalë, who is in the center with the dancer. Both of them are kneeling, facing each other. Their eyes are locked in a gaze full of tension, although not the tension one would hope to find. As the camera begins to zoom in, Klaravalë opens her mouth, and individual LED strobe lights in the background start to sparkle along to the beat.

Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au detu no es, no es

As Klaravalë sings into the mic, which in this case is a headpiece, she gets up and moves forward. The dancer moves out of the way, as the camera switches dramatically between angles, most of them close ups of her. The lights no longer sparkle but continue to give a show, dancing to the beat.

Ǧa ja au detu: No
Kadë tia animë a venitu a mi uv un soñu
Ǧa ja au detu: No
Dopu au viduto toji maneri u riálta
Ǧa ja au detu: No
Ja në san inkantatë di tia sedužio
(Semprë kosi)
Kestu amurë së perde ula tradužio
(E semprë kosi es)
Spetiz tu pëlë žornu kë dišu si?
(Në vidiz tu?)
Kë ja
(Au dešidetu)
Voilà

Now, the dancer returns to the scene. Klaravalë performs some dramatic choreography with him. It is a very tense one, as the body language suggests that the dancer desires her, but she isn't interested in him. In fact, her moves almost appear to express disgust.

Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au detu no es, no es

Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au detu no es, no es

Now the choreography is a bit more refined. Klaravalë has retreated to a corner by the edge of the flower setup, simply standing as she sings. The dancer stands at a distance, facing her. The camera angles play it up to really show the tension between the two of them. Halfway through this next bit, she turns her back dramatically to face him.

Venrediés al bar, un biker di wiski
Sto penšandu per molti minuti
E vidu unë rëfležio, era di ti
Staj gardandu a mi

She approaches him as she continues to sing, as if to confront him. It's very cinematic.

Vidu traversu tia ilušio
(Semprë kosi)
Ja konošu tia intenžio
(Es semprë kosi)
Në ešiste un ‘noj’
Solo es soňi toji
(Në sapiz tu?)
Kë mi
(Mi në plaši tu)
E poj…

And now they break into dance again. The camera angles here are a bit more dynamic and aren't close ups, capturing the full movement going on on the stage.

Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au detu no es, no es

Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au detu no es, no es

Somehow, the choreography makes them end up being locked in each others arms. The cameras close up on them as Klaravalë sings as she continues to stare at the dancer at point-blank range.

Në poši salvarë kestu
Ma poši ankorë fermarë-ti andarë
Kredi kë tu sej inarestabilë
Pero ja san imovibilë, hey

Tu në poši salvarë kestu
Ma poši ankorë fermarë-ti andarë
Kredi kë tu sej inarestabilë
Pero ja san imovibilë

Now, Klaravalë pushes him away. He is now practically freestyling around the stage, while she stays put in the center, maybe taking an occasional step or two forward. Although she is more static, she still sings with her body, making gestures and exhibiting body language that reflects the message of her song.

Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au detu no es, no es

Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au detu no es, no es

Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au detu no es, no es

Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au ja detu: No, no, no
Ǧa au detu no es, no es

Suddenly, the lights go dark, and the strobe lights flash rapidly as the two perform some choreography together and the backing singers take over.

(No, no, no)
(Ǧa au ja detu: No, no, no)
(Ǧa au ja detu: No, no, no)
(Ǧa au detu no es, no es)

(Ǧa au ja detu: No, no, no)
(Ǧa au ja detu: No, no, no)
(Ǧa au ja detu: No, no, no)
(Ǧa au detu no es, no es)

Now Klaravalë and the dancer are in the same position as they were at the beginning of the song, and the lights are neutral and static. The camera, closed up on them, slowly pans out (although not too far out), so that the final shot is them with the flower garden setup in the background.

Spetiz tu pëlë žornu kë dišu si?
Në vidiz tu?
Au dešidetu
No es

After a moment, Klaravalë laughs, and the dancer helps her up. "Thank you WorldVision!", she says, as the audience cheers.

by **The Hlhata States** » Mon Nov 28, 2022 3:15 pm

34 ♥ THE HLHATA STATES
"RESET" by 川岳あかり(Akari Gawadake)
Music ♥ Akari Gawadake, Kenji Mikage, Suzuhara Kotone, SKINE2, Forrest
Lyrics ♥ Akari Gawadake, Kenji Mikage

Tune ♥ "Connected" by 浜崎あゆみ

The cover for Hlhata Statesianese singer Akari Gawadake's single, 'RESET'. The track is The Hlhata States' song at WorldVision 103 in Richmond, StrayaRoos.
♥

At the 102nd WorldVision Song Contest in Thatcher City, Mister X, Juniar represented The Hlhata States for the 3rd time in a row, following their participation in the 100th and 101st WorldVision Song Contest with the songs 'ERA' and 'Abracadabra' respectively. Though the two entries placed around the middle of the scoreboard both times, it was a vast improvement from The Hlhata States' results before, placing 27th and 17th. However, at the most recent WorldVision, Juniar performed their song 'LOVE ME 4 ME', a retro inspired H-Pop song accompanied by Juniar's signature synchronicity. For the first time in WorldVision history, The Hlhata States' had finally broken not only into the top 10, but landed themselves a podium position, gaining a remarkable 3rd place with 218 points. Considering the nation's results in the editions prior, it seemed like a miracle, the nation breaking their previous points and placing record from the 101st WorldVision Song Contest. No longer was The Hlhata States' a background nation, now considered a serious contender. Furthermore, the viewing figures for the grand final of the 102nd WorldVision Song Contest skyrocketed, doubling from 1,000,000 in WorldVision 101 to over 2,000,000 viewers. It seemed like The Hlhata States' had finally found their feet, beginning to run towards a promising WorldVision tenure, headed by the HSBC. However, what was to come? Though they had found a formula within the bright, H-Pop sound, there was so much talent that strayed far from what the nation had come to show on the international stage. With more eyes on the blossoming HSBC, the pressure was on to continue their rapid success.

Due to Juniar's rapid success thanks to their WorldVision participations, numerous artists from all over The Hlhata States expressed interest in participating, from up-and-coming artists to some veterans of the music scene. With bountiful choice for once, the HSBC had a tough time searching for acts that would represent The Hlhata States the best. There were even rumours of the nation being represented by Juniar once again, as well as The Hlhataneseian icon, Ishiko Muramura. However, no news was revealed from the HSBC. Most feared the worst, such as withdrawal, which would ruin the flow of The Hlhata States' upward trend. Eventually, The Hlhata States revealed their intention to participate late into the WorldVision cycle, though it did not exactly comfort fans, who wondered whether the HSBC would truly partake or whether they would produce a rushed, low effort entry. And yet, by the 26th of November, there was still no news, and the future did not seem bright. Behind the scenes however, the HSBC was working diligently to present something new to the table. Following Juniar's 3 participations, The Hlhata States had grown their own unique sound of bright and elegant H-Pop songs. The HSBC were sure that there was more to offer however, especially in a time of great creative prosperity, presenting the unique challenge of having too much choice. The Hlhata States, though underdeveloped, is rich in musical culture, from folk to H-Pop, from their own style of underground electronic music to the rising generation and their indie music. The HSBC were looking for something fresh and on trend however, hoping to show the best of present Hlhataneseian music. Though H-Pop remains the most popular style of music, the underground scene of The Hlhata States were awash with trends from the 2000s, the reintroduction of rave, trance and dance music becoming popular once more. And there was one name who seemed to pushing this once niche trend into the eye of the general public: Akari Gawadake.

The HSBC immediately noticed her following her Summer 2021 hit, "DAWN", a trance style track which swept the music scene, topping many Hlhataneseian charts, thrusting electronic music back into the spotlight once again. Inspiring a movement of y2k fashion and music back into The Hlhata States, Akari Gawadake has been named one of the biggest style icons of the early 2020s, appealing to the younger generation in particular. Though the HSBC had previously attempted to invite to represent The Hlhata States, she has declined each time. However, following the success of Juniar's 'LOVE ME 4 ME', she finally returned a call to the HSBC, sending a demo over for consideration. The demo was of 'RESET', a high energy trance track which features many musical staples from the early 2000s. Though the HSBC were hesitant at first, the track perhaps being a little unconventional for the WorldVision Song Contest, the head of the HSBC, Shouta Ito, pushed for the track to represent The Hlhata States, citing its characteristics as a surprising showcase of all that The Hlhata States has to offer. After much back and forth, Gawadake was eventually picked to represent The Hlhata States at the 103rd WorldVision Song Contest, the announcement being made last minute, much to the bemusement of hopeless Hlhata States fans.

With the track revealed on the 28th of September, The Hlhata States finally confirmed participation, the entry being drawn to perform 34th, after Kalosia.

川岳あかり

AKARI GAWADAKE
Born 23rd of January 2001 ♥ Age 21
Akari Gawadake is a Hlhataneseian singer-songwriter born in Neo-Yahoshinobi who is most famous for her signature club/trance style of dance music. Gawadake first appeared in the underground club scene, becoming a renowned DJ at the age of 16 at the ハウッセン, one of The Hlhata States' biggest clubs. There, she was known for her cute, 2000s inspired fashion style partnered with her intense sets, famed for her focus on ambience. Over time, she began to sing and produce her own songs, played alongside her regular setlist with immense success. Following a viral video which highlighted her cute aesthetic with the dark, mania of her beats, she was signed to Uniscope Records Hlhata, where she made her official major label debut with the single 'XO'. Though it failed to break into the mainstream, it proved successful within the club scene, hitting #1 on the Hlhataneseian Dance Charts. Though her audience appeared niche, it didn't take long for her music to break into the mainstream, with her 2021 single 'DAWN' becoming viral on multiple video platforms as well as finally breaking into the top 5 of The Hlhata States' Top 100 Singles Chart. Furthermore, she has played a huge part in reintroducing the fashion and music trends of the 2000s into mainstream media in The Hlhata States. With a cute, feminine style and a dark and heavy musical style, she has become especially adored by a teenage demographic, a source of envy for many, her self-produced and performed songs creating a unique vision unseen by anyone else of yet. Heralding such a unique concept and resurging genres thought long dead, she has become a pop icon within The Hlhata States, spawning a shift in the music world seen by no other.

For the 103rd WorldVision Song Contest, Gawadake will represent the nation with her dark trance track 'RESET', the title track of her upcoming debut album of the same name. Released on the 28th of November 2022, 'RESET' is a dark club banger which describes a love that is destined to fail, a love that is only cured by separation. Written by Hlhataneseian songwriters Akari Gawadake, Kenji Mikage, Suzuhara Kotone, SKINE2 and Forrest the song has managed to top the singles chart, Gawadake's first single to do so, as well as reach 20M Spotify streams and 25M Youtube views within the first week. Harkening back to the futuristic visions of the early 2000s, the song has become a hit amongst clubs and raves more than anywhere else, as well as on youth dominated social media platforms, where the song has become viral. Though international reactions have been mixed, particularly regarding its position as a WorldVision entry, deemed far different from what has previously been sent by The Hlhata States, though the song is critically acclaimed within The Hlhata States.

踊ったり泣いたりする音楽を作るのが好きです。脱出する。「RESET」のように。

I like to make music that makes people dance and cry. To escape. Like ”RESET”.

Akari Gawadake on HSBC1

♥

As the postcard begins, Akari Gawadake takes her place centre stage, ushered in by numerous amounts of backstage crew. Despite her introverted nature, she was not at all scared of what was to come. Having performed many a time at venues and festivals far larger than this, this would be nothing but yet another milestone in her blooming career. However, she still retained the pre-performance butterflies she had always had. A few deep breaths would expel them, though she had always learnt to embrace such nerves. As seasoned as she had grown to be, she had learnt that nothing could replicate the rush of nerves that coursed through one's body, expelled in every syllable and note, in the slight strain of emotion that many singers learn to lose, all the things that made a compelling performance. The parts of a performance that come naturally to us even if we don't want to. Listening to the seconds pass her by, each precious moment before the performance, she takes a deep breath in, looking out at the vast black sea of the audience awaiting her performance. This was it, her chance to move the world.

As the postcard begins, the countdown begins in Gawadake's in-ears. As the crowd quietens down and the arena fades to black, preparing for the beginning of the Hlhataneseian entry, she steps forwards, her eyes tightly shut as the countdown hits zero.

The song begins almost instantaneously, the electronic beat constantly pulsing throughout the arena. After a brief flash of white light, a multitude of spotlights around the stage strobe in streaks of white, like beams of lightning striking the pitch-black stage. The camera begins by taking rapid fire shots of the stage, spinning in some moments to disorientate the viewer. With lighting reminiscent of a monochromatic rave, the atmosphere is intense, matching the harsh introduction of the song. With every 'whoosh' noise, a few of the lights billow outwards, expanding outwards into the arena like a blooming flower. The floating beams normally raised above the stage are lowered as close to the stage as possible, flashing white alongside the triangular panels upon the LED screen. Throughout the whole introduction Akari is obscured by a cloak of shadows, letting the music and lighting speak for itself.

Once the music shifts to a moodier, subtler section, the lights dim in intensity, slowing down to match the music. The stage is still nearly pitch black however, rows of overhead spotlights flashing white in random patterns, Gawadake engulfed in a blazing white spotlight every once in a while. As the camera pans across the stage to align with Akari's eye line, a flickering spotlight shines upon her, finally illuminating her. She wears a sleeveless elegant white dress which falls to her ankles, tapering off into ripples of lace. Butterflies are embroidered subtly in white upon the entirety of the dress, hundreds gathered at the bottom. Her hair is dyed blonde, and she has straight bangs and wavy hair which falls to her chest, a white butterfly adorned on the sides of her head. Though the outfit contrasts the dark, futuristic tone of the song, she wears an abundance of jewellery in silver, bangles and bracelets clustered on her wrists with layers of thick, heavily decorated rings all with slightly gothic and futuristic style designs. With a torn veil elegantly draped over the back of her hair, she takes the image of a princess of the future, her body adorned with subtle wires and chains as if she were an android, her face jewelled and beaded. Her make-up is light, smoothening her skin so she looks almost plastic.

As she begins to sing the first verse, she takes the microphone gently to her lips, the shadows still obscuring many of her features. The shots are close-ups of unconventional areas, obscuring key details such as her eyes and her full form to create a sense of mystery, alluring the viewer into the performance. Her voice is somewhat hushed, as if holding back her emotions. By the second section of the verse, the music picks up once more, a harsh streak of light flashing to the newly introduced beat. The lights slowly pick up in intensity of the final section of the verse, growing more and more rapid with every beat. This build-up eventually grows into a bright flurry of lights, obscuring Gawadake in slashes of light. Her voice begins to grow more emotive too, beginning to use her hands to gesture what words cannot say, her dress flowing elegantly with every slight movement.

夜中が我らを全て飲み込む
あなたは私を抱えるでも寒いです

もしかし、別個タイムラインに物事は
違うだろう、我らは決して知りません

Yonaka ga warera o subete nomikomu
Anata wa watashi o kakaerude mo samuidesu

Moshika shi, bekko taimu rain ni monogoto wa
Chigaudarou, warera wa kesshite shirimasen

The night engulfs us whole
You hold me close but it is cold

Maybe things would be different
In another timeline, we will never know

As the chorus begins Gawadake sings the first line, her voice entwined with the strain of sorrow, thrusting her hands towards the camera which zooms out, her eyes twinkling in the lights. As the lights billow outwards, blinking before fading into black, the LEDs showcase a wash of ocean emanating from where she is standing, covering every surface in a graphic of waves and oceans, the camera zooming out to capture the full effect. For the first time in the performance, the stage is largely bathed in sapphire and white lights, billowing outwards to match then sudden openness of the song. A line of sapphire lasers splay open, flickering and blinking to match the slight glitchy effect added to the instrumental. In this sudden moment of elation, the camera focuses on the expanse of the stage as well as framing Gawadake so that she is bathed in light. As she sings, her voice filled with yearning, she reaches up towards the sky, the camera circling her from below to make her look more powerful, a gleam of light obscuring her slightly.

She sings the second line, a deep pulsing beat returning to the soundscape, accompanied by a chaotic flash of lights to the beat. As the song continues to build up, slowly but surely, Gawadake brings the microphone to her lips, painting her story with her words as her voice strains with emotion at the higher notes. Upon the LED screen, the ocean begins to glitch to the rhythm, replaced by a multitude of other landscapes from deserts to cities, all tying a dystopian and futuristic style to them. The effect is extremely subtle however, not to take the spotlight away from Gawadake, spits every word out with lament. The camera takes a wide, panoramic shot of the stage, the lights of the audience waving to the beat, the scene akin to a rave.

リセットしましょう、会ったことがないふりを、再びぬ影になる
リセットしましょう、私たちの物語のページを燃やす

Risetto shimashou, atta koto ga nai furi o, futatabinu kage ni naru
Risetto shimashou, watashitachi no monogatari no pēji o moyasu

Let's reset, pretend we've never met, become shadows again
Let's reset, burn the pages of our story

The short instrumental break starts and the camera begins to take short and disorientating shots of the stage, of Gawadake and of the arena. Gawadake steps back, the lights starting off dimmer as they pulse in no particular order. The shadows grow more intense in order to create confusion and obscure all forms, enhancing the craziness of the sequence. As the beat begins to build-up however, the lights grow more and more intense to the ever so that each shot is like a still image, a freeze frame of the performance in action, Despite the lack of props and dancers onstage, the performance is no less exciting, the constant pulse of lights and chaotic sequence of shots continuing to raise the tension. As the next chorus nears, Gawadake returns to centre stage, pulling the microphone to her lips in preparation. Throughout the instrumental, the LED screen displays two holographic heads of blue light beginning to glitch, growing more violent as the instrumental builds, eventually ending with a crescendo, the heads shattering into a thousand tiny fragments. However, the LED is only seen briefly, like mere impressions upon your eyes, a distant dream.

The arena bursts into a flurry of white strobe lighting, engulfing the stage in a storm of white streaks, covering Akari. At first, the camera takes a wide panoramic shot of the stage, an eclectic mix of white spotlights, Gawadake a small figure in the mass of lights. The LED screens are black, apart from the occasional flash of one of the triangular segments, though briefly depict white outlines of robotic heads exploding similarly to the one seen prior. The effect is subtle, given the mass amounts of strobing which obscures it. The camera then takes a few close-up shots of Gawadake singing in the heart of the storm. She raises her hands up to the sky, her eyes tracing its path as the camera pans upwards, following her hands trajectory. Pulling her hand back to her chest, the camera zooms out, past the countless heads in the audience. Though the arena is filled with lights, the darkness is just as bold, swallowing what isn't lit up in black.

リセットしましょう、運命が決めるなら、下広大な夜空千の星の、
リセットしましょう、我らは別の人生でにまた出会する

Risetto shimashou, unmei ga kimerunara, shita kōdaina yozora sen no hoshi no
Risetto shimashou, warera wa betsu no jinsei de ni mata deai suru

Let's reset, if fate decrees, under the vast night sky of a thousand stars
Let's reset, we'll meet again in another life

The second verse begins and the LED screen depicts the ocean once again, moving past in a deep blur, as if the screen were moving past the seas itself. The camera zooms out from Gawadake, spiralling as it does, to create a sense of distortion. The lights still continue to strobe, though with less intensity than the chorus, matching the slightly softer tone. As she begins to sing once again, her voice wrenching with pain, the LED screen behind begins to depict a chaotic display of lyrics of the song, in both English and Japanese, as well as a multitude of white outlines of images, such as faces, buildings and galaxies, all appearing in and out of view in the blink of an eye. Some of the images appear distorted and glitchy, throbbing violently to the beat, obscuring other images as they collage onto the screen. The camera shots return to being close-ups of her, rapidly changing from shot to shot, from eye to side profile etc. The first section of the verse is less intense, the lighting matching suit, taking advantage of chiaroscuro as long, dark shadows lash the stage dramatically.

However, as the verse picks up in energy, the lights return to their normal, strobe intensity, the camera take wider panoramic shots of the stage to capture the complicated lighting sequences. As Akari sings, she bends over slightly, hunching as she sings the higher notes, each word coiled with a touch of tragedy. Pulling herself up however, she continues to sing, tightly grasping the mic as if it were keeping her alive. Engulfed in the battlefield of spotlights, the camera zooms into her as the verse draws to a close, the white lights speeding up as it builds up for the final chorus. She lashes her hand out towards the camera, her eyes locked directly in front and into the lens, though she is obscured by a stray spotlight flaring in the lens every once in a while.

我らの間の距離が延々と大きく
衛星、のように、我らの重力を裏切る

もしかし、それは意、図されていません
其れでも、君以外に逃げ場がない

Warera no ma no kyori ga en'ento ōkiku
Eisei, no yō ni, warera no jūryoku o uragiru

Mo shikashi, soreha i, zu sa rete imasen
Sore demo, kimi igai ni nigeba ga nai

The distance between us eternally grows
Like satellites, defying our gravity

Maybe it wasn't meant to be
But, I have nowhere to run but you

As the final chorus begins, the arena is lit up in a triumphant volley of bright white strobe lighting, as if every light in the hall were flashing for the finale. With an army of lasers splaying outwards and upwards, the camera takes a far pan of the stage, the crowd a sea of jumping silhouettes, eclipsed by the intense lights. The LED screens show a chaotic range of images, intertwined by a cyber ocean passing by, emanating its waves across every LED surface of the stage. Furthermore, the LEDs are covered with lyrics from the song in both English and Japanese, seemingly appearing and disappearing with a glitchy effect. The white outlined images appearing on the screen are similar motifs to those seen before, of heads, of landscapes and anatomical and cultural symbols, appearing within the blink of an eye, a brief glimpse. A multitude of images relating to butterflies appear, both flying sporadically across the screen as well as appearing torn up and burnt, viewed in both anatomical and natural ways. The LED screens are so hectic, images appearing for only milliseconds before being replaced by another, apart from the flock of butterflies. A number of CGI images are also utilised for the viewer at home to see, replicating many of the images seen on the LED screen, integrated into a 3D space so that they do not look out of place.

For the final chorus, Akari uses her last ounce of effort, her voice contorted with pain and sorrows. Clutching the fabric situated over her heart, she dramatically flings her hand out, only outshone by the sheer rapidity of the lighting and LEDs. The camera takes a multitude of varying shots, from close-ups, capturing her pure emotion, flared with lights, as well as grand, wider shots showcasing the energy of the arena, the lighting reaching far and wide in a rapid flurry of strobing. As she sings the final line, the camera zooms into her, shifting shots within seconds despite focusing only on her. Though she held her gaze with the camera, as the chorus progresses and the music consumes her, Gawadake looks into the far distance of the arena, looking, yearning, for something, someone. She sings the final note, holding her note before her last breath echoes throughout the arena, her head dropping forward in exhaustion.

リセットしましょう、運命が決めるなら、下広大な夜空千の星の、
リセットしましょう、我らは別の人生でにまた出会する

Risetto shimashou, unmei ga kimerunara, shita kōdaina yozora sen no hoshi no
Risetto shimashou, warera wa betsu no jinsei de ni mata deai suru

Let's reset, if fate decrees, under the vast night sky of a thousand stars
Let's reset, we'll meet again in another life

As the song draws to a close, the final instrumental section plays, the lights finally calming down as they billow outwards, flickering and flashing off one by one. The LED screen, still showcasing the ocean passing by, depicts two large planets in the shape of holographic robot heads in the distance, looming over the horizon. As the two near, they draw closer to one another, their heads turning to face one another. However, as their lips meet, they explode into a supernova of shattered and glitched shards and wires, bursting as the song ends, the lights flashing one last time. Meanwhile, Gawadake regains her professionalism, standing up straight, her eyes closed and her head faced downwards as she waits for the song to end, her body swaying slightly to the rhythm of the pulsing track.

The song ends and the crowd erupt into a cheer, a small smile growing on Gawadake's face as she bows for a few seconds. Not quite sure what to do after, she exits the stage cautiously, her small yet true smile remaining upon her face as if proud of her performance, a feeling she rarely got as a perfectionist.

♥

by **StrayaRoos** » Mon Nov 28, 2022 6:17 pm

Sajuna: and that was The Hlhata States,with RESET,by Akari Gawadake, and the last entry of the night,so it’s time for the interval act,then voting will start to be revealed
Mat Jak: so it’s time
Both:

WORLD,START VOTING NOW!

Interval Act placeholder

Mat Jak: First,we’ll need to explain how it works,so we’re bringing in the executive supervisor of the 103rd WorldVision Song Contest,Adam Seqar!
Adam Seqar: Thanks for the introduction,now to explain the voting,first we will receive votes from the 29 Professional Juries from each participating nation,awarding 12 points to their Favourite entry,10 to their second favourite and 8 to 1 for the rest of their top ten entries. After that,we will have votes from the public in each nation combined to equal the Jury points,then we combine the jury and public results to get our winner.
Sajuna: And Do we have valid votes from the 29 juries?
Adam Seqar: I can confirm we have received 29 valid sets of Votes,and now we can contact the respective nations
Mat Jak: the First Nation to announce their points is the Fatimanian Federation

by **Indo States** » Tue Nov 29, 2022 5:23 am

01. Fatimanian Federation

Kristina Nijnzërg
RTV Celebrity and Actress-Singer

"Hello and Good Afternoon from Schripol at the Southern Fatimanian/Indoesh, or Samaran Province of East Samara, Today, i am going to cover the Jury Votes of Fatimania. Let's go to the Leaderboards after we Completed our Jury Votes."

First Stage of the Voting:
1. Vartugia
2. Crustyland
3. Placely Placington
4. Aenglide
5. Terra Zealandia
6. Pemecutan
7. Flusia

"And Finally, here's is the Last three, and the First 8 Points goes to Malta Comino Gozo, then the Second 10 Points goes to the Alezian Union, and the Final 12 Points goes to Waisnor. This is the Leaderboard for now, and Good Morning to Besen, and a Good Day from Schripol, East Samara, here in Fatimania. Up Next is the Slnečnica with Elena Marie Cuseta, Stephanie DeLasscher, and Serena Patricia Valsino-Tan Commenting on the Whole Song Contest, Stay Tuned!"

COUNTRY	POINTS	COUNTRY	POINTS
Waisnor	12 Points	Terra Zealandia	5 Points
Alezian Union	10 Points	Aenglide	4 Points
Malta Comino Gozo	8 Points	Placely Placington	3 Points
Flusia	7 Points	Crustyland	2 Points
Pemecutan	6 Points	Vartugia	1 Point

by **Northern Beepee** » Tue Nov 29, 2022 6:29 am

02. Northern Beepee

BT4W

Good Evening, Richmond. This is Melaleuca, Northern Beepee calling.

As Northern Beepee's entrant to WorldVision 100, I know how nervous all the competitors are backstage and I want to wish them the best of luck tonight.

Now, I am pleased to present the results of the Northern Beepee Jury.

1 point to Placely Placington
2 points to Tummilandia
3 points to Terra Zealandia
4 points to Crustyland
5 points to, our neighbours, Beepee
6 points to, our lovely hosts, StrayaRoos
7 points to Norrp

And now, our top 3

Congratulations to everyone and goodnight.

by **Beepee** » Tue Nov 29, 2022 6:40 am

03. Beepee

Hello Richmond.... Hello WorldVision!

This is BONC Norfolk Pinewoods calling.

I am delighted to be presenting the result of the Beepeean Jury tonight. Rumours
are it was a tough decision for our Jury tonight.

On the screen now, are the first points from the Beepean jury.

1 point to Northern Beepee
2 points to Flusia
3 points to Waisnor
4 points to Mister X
5 points to Malta Comino Gozo
6 points to Kalosia
And
7 points to Pemecutan

And now for our top points

Thank you Richmond... goodnight.

by **Tummylandia and Susistan** » Tue Nov 29, 2022 7:07 am

4. Tummylandia and Susistan

Guillermo Torres, Mexican-Tummylandian singer-songwriter

"Maajon adlaw, buenas dias, and good day from Ciudad de Nethinge, Nethinge, Tummylandia and Susistan! Today, we will be having our jury votes! We'll like to show you the official jury votes live from Nethinge."

1 point - Spiritual Republic of Caryton
2 points - Terra-Zealandia
3 points - Norrp
4 points - Crustyland
5 points - Kalosia
6 points - Northern Beepee
7 points - StrayaRoos

Our top 3 points are!

And finally, with our grand finale... drumroll please...

Have a good night and congratulations to everyone who participated.

by **Jencilland** » Tue Nov 29, 2022 4:56 pm

Hello I'm Lamba Fangwilï here with Jencilland's points! The top three were extremely close, our jury was struggling to decide who would get out 12, 10 and 8 points.

12 go to Ildonya!
10 go to StrayaRoos! (Also thank you for hosting!)
8 go to Spiritual Republic of Caryton!
7 go to Carrelie!
6 go to Mister X!
5 go to Waisnor!
4 go to Pemecutan!
3 go to Aenglide!
2 go to South Batoko!
1 go to Plaingaineir!

Thank you and have a good night!

by **Norrp** » Tue Nov 29, 2022 5:09 pm

12 Jencilland
10 Malta Comino Gozo
8 Northern Beepee
7 Caryton
6 Mister X
5 Crustyland
4 Carrelie
3 Tummyland
2 Aengide
1 Alezian Union

by **Flusia** » Tue Nov 29, 2022 5:43 pm

:::07. FLUSIA:::

“Halo, World!”

“It’s me, Miklós Sör again! Did you miss me? No? Alrighty then. I loved the show! I’m calling from Flusia, but I wish I could be in Richmond with all of you! Unfortunately, though, I am deathly afraid of emus.”
…
“These are the Flusian jury points.”

“Our 8 points go to…”

[align=center]

“Our 10 points go to…”

“And finally, our big fat 12 points go to…

“Thank you so much, Strayaroos and the world, and good luck to our other contestants! Thank you, Worldvision!”

by **StrayaRoos** » Tue Nov 29, 2022 9:21 pm

Sajuna: Thank You, Flusia. Now we can reveal the current top 5,which is....

Sajuna:..... Waisnor, Achaea, Caryton, StrayaRoos and Pemecutan!
Mat Jak: Now,it's time for ________ to vote,Hello?

by **Waisnor** » Wed Nov 30, 2022 4:27 am

WAISNOR IS CALLING

"Grodno is calling, everybody, hello! Daniil Fomin is here and... I just looked at the standings right now and we are in the lead! That's epic! *pumping "hell yeah!" fists in the air* Oh, yeah, the votes) Let's get on with it: "

1 point - ACHAEAN REPUBLIC
2 points - AENGLIDE
3 points - SOUTH BATOKO
4 points - CARYTON
5 points - HLHATA STATES
6 points - FLUSIA
7 points - ALEZIAN UNION

by **Vartugia** » Wed Nov 30, 2022 10:38 am

12 - Tummylandia
10 - Placey Placington
8 - Northern Beepee

7 - Plangainer
6 - Kalosia
5 - Waisnor
4 - Achaean Republic
3 - ~~Spring Ukraine~~ South Batoko
2 - Flusia
1 - StrayaRoos

by **Aenglide** » Wed Nov 30, 2022 2:40 pm

Aenglide Votes

12 - Hlhata States
10 - Malta Comino Gozo
8 - Beepee

7 - Waisnor
6 - Carrelie
5 - Terra Zealandia
4 - Flusia
3 - Norrp
2 - South Batoko
1 - Kalosia

by **Terra-Zealandia** » Wed Nov 30, 2022 2:42 pm

Terra Zealandia Votes

12 - Alezian Union
10 - Plangainer
8 - Pemecutan

7 - Mister X
6 - Spiritual Republic of Caryton
5 - Aenglide
4 - Achaean Republic
3 - Crustyland
2 - Northern Beepee
1 - Illdonya

Worldvision Song Contest 103|IC Thread

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