World Cup 83 - Concert Thread

[Banija]

WORLD CUP 83
EQUESTRIA & BANIJA

Concert Thread

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World Cup 82 | Cup of Harmony 75 | Baptism of Fire 70

Welcome to the 83rd World Cup, being hosted by Equestria and Banija!

On occasion for the World Cup, the Royal Banijan Soccer Association feels as if the tournament is a celebration of the bonds that we all hold as nations in this ever-changing world. The world Coming together and descending upon Southwestern Atlantian Oceania for the greatest competition in the multiverse's most popular sport is indeed a special moment, and deserves to be celebrated. This concert is open to participation from all- for those nations who are part of the 32 who make the final, for the 140 or so other nations who participate in World Cup Qualifying, and even for artists from nations who did not participate in World Cup Qualifying. A celebration of cultures around the globe.

The World Cup concert will be held at the Liberty Stadium, in Istria, Moravica. A domed stadium with a capacity of 70,000 for gridiron and almost 80,000 for concerts, it is the largest indoor venue in Banija. ICly, of course, it is held on the eve of the World Cup's opening ceremony & match, which will take place about four hours to the South, in the nation's capitol city of Busukuma.

If you have any OOC comments, questions, or concerns please post them in the World Cup Discussion Thread (see links at top) or send one of the hosts a TG. You can post in this thread anytime between now and the start of the World Cup Finals. Enjoy!

[The Sarian]

.:: Borderline - Missiles ::.
.:: To the tune of: Therapie Taxi - Hit Sale ::.

The Sari performer is Borderline - a group made of Katya (23), Matt (20) and Leo (23). Due to represent New Saria in the 75th WorldVision Song Contest, the group are known for their politically provocative music and performances. Missiles is an attack on the rich and powerful for their culpability in the climate emergency, likening it to shooting missiles at the populace. The anger in the song is complemented by occasional gallows humour ('so much for my plans' etc.), and self-awareness of their own culpability in the crisis. However, there is a deliberate contrast drawn between the 'bullets' of the masses and 'missiles' of the powerful. The song also draws reference to pointless gestures, likening it to 'praying'.

---

As the music begins to play, the camera follows a single piece of ash falling from the top of the stage. It descends in free fall, with the camera following it's every chicane before landing atop Katya's head as the lyrics begin. The camera shifts in focus to Katya, who stands alone on the stage. She is wearing a full black romper with specs of black sequins going up the full length. Standing with her back to the audience, she slowly turns whilst singing the first verse whilst the camera remains close-up on her face and upper-torso.

Yeah, the end’s nearly here
The end is coming near
The flash can be seen
Bound for you and me

And the clock is over (so much for my plans)
But you wanted more and more
And took too long to care

The camera pans out from Katya and follows Matt as he enters the stage from the left-hand side, carrying a microphone. Matt is wearing skinny, black jeans and a black t-shirt. The t-shirt has jet-black sequins rising up the length, though this is not immediately obvious except when it reflects the light.

As the camera pans, it becomes obvious that the stage is covered in ash. A brief shot shows Matt's footsteps as he walks toward Katya.

I start to see the sweat (too long to care)
I start to see the sweat (at least there’s no regret)

On each beat in the chorus, a small, silent firecracker bursts at a random locations under the layers of soot and ash that cover the stage. Katya and Matt stand diagonally opposite each other, so as to be simultaneously singing at each other and at the audience. The camera smoothly shifts throughout the chorus from wide and over-head shots of Katya and Matt, where the small explosions can clearly be seen to more close-up shots of the two.

He said tear it down (tear it down)
Let it all, let it all burn
We’re running out of time (running out of time)
They’re coming for us, coming for us next

They want to bring us down with their missiles
So we will have treat this like our last night
They want to bring us down with their missiles
So we will have treat this like our last night

The camera cuts to Leo, who is standing on the walkway which leads up to the stage. Like the other two, he is dressed all in black with a sequined jacket covering a black t-shirt. He is carrying a lit cigarette which he hold in the same hand as his microphone. The camera stays close to him for the entirety of his rapped verse as he walks slowly backward down the catwalk.

(Yeah, yeah, yeah, yeah, yeah, yeah)
Why did we assume that we’re like them
Stuck up in their palace, not facing the same
Faced with a disaster they don’t condemn
Knowingly refusing to comprehend any of our fear

They want to bring us down with their missiles
No ways left to fix it
No time for a breakthrough
Thought we were the biggest
All there’s left is to be scared
There’s no trace of fairness in our self-created
-Bullets

As Leo's verse ends, he flicks the ash off the end of his cigarette and the stage ignites to be covered in small, managed flames. The flames reflect off the sequins on the band's outfits. Throughout the second chorus, the camera pans through the flames and provides close-shots of the band, who are all now in the centre of the stage.

He said tear it down (tear it down)
Let it all, let it all burn
We’re running out of time (running out of time)
They’re coming for us, coming for us next

They want to bring us down with their missiles
So we will have treat this like our last night
They want to bring us down with their missiles
So we will have treat this like our last night

The camera goes close-up on Katya's face, the reflection of the flames can be seen in her eyes. The camera isn't entirely in focus, and a soft overlay of the flames adds to this effect.

Yeah there’s something in the air, prayers are filling up the night
As we prepare to die, knowing there's more we could have done
There’s something in the air, we are living without hope now
The silence of the night, quiet before mayhem

Throughout the previous verse, the camera had gradually come more in focus. Katya was now fully in focus, and the camera started slowly pulling away from her.

He said tear it down
Let it all, let it all burn

A heavy smoke machine now comes in, almost engulfing the stage. A number of lights from the back of the stage burst through the smoke to the beat, one at a time, giving the a blitz-like effect. The camera stays with the trio in a slightly wider shot than previously, though just their upper torsos can be seen through the thick smoke which completely covers the stage.

He said tear it down (tear it down)
Let it all, let it all burn
We’re running out of time (running out of time)
They’re coming for us, coming for us next

They want to bring us down with their missiles
So we will have treat this like our last night
They want to bring us down with their missiles
So we will have treat this like our last night

They want to bring us down with their missiles
(He said tear it, tear it all down)
They want to bring us down with their missiles
(Let it all, let it all burn)

They want to bring us down with their missiles

The camera follows Leo as he slightly breaks away from the group. He is the only member that can be seen in the shot.

No ways left to fix it
No time for a breakthrough
Thought we were the biggest
All there’s left is to be scared
There’s no trace of fairness in our self-created
-Bullets

On the final 'bullets', Leo makes a pistol sign with his hand before the lights all around the arena momentarily fliker off for half a second. When they fliker back on, the camera shows a wide shot of an empty stage. The smoke has largely dissipated but a wisp can still be seen. A slight wind effect causes some of the soot the shift. The camera lingers on the scene that looks like a wasteland for a few seconds before moving on to the next entry.

[Polkopia]

Elise Grace - Over Again
Tune: Ani Lorak - Сумасшедшая

Elise Grace represented Polkopia at the 72nd Worldvision Song Contest and has since remained one of Polkopia's most well-known pop stars, not only domestically, but abroad as well, having performed several concerts in nations all across the multiverse. After placing 3rd and effectively ending a series of poor placements in prior Worldvision contests, Elise's popularity soared in Polkopia and her competing song, Over Again, remained at #1 in Polkopian charts for several weeks following the end of the contest. While Elise has moved on from Worldvision and has since released her debut album, she continues to remain an avid supporter of Polkopian acts at Worldvision and is often their most vocal supporter on various social media platforms. When the opportunity arose to perform at the World Cup, she immediately took on the challenge, despite some of her earlier qualms with performing at concerts. It was a no-brainer which song she was to perform, and she took it upon herself to recreate a similar staging to that of her iconic performance in Besen years earlier.

Once the instrumentation played, the lights surrounding the stage lit up. Elise herself stood center-stage and wore a long, thin, pale-yellow outfit that resembled a dress, but stopped at the knees. In the back, waves and waves of ruffles fell behind her and in the torso, her chest was covered of course, though she showed only slight amounts of cleavage. Her shoulders were completely exposed as well, but the outfit was fashioned in such a way that the piece was connected by a bit of fabric that wrapped around the length of her forearms. Her long, black hair was in the same fashion as always - wavy and well-kept, which fell along her shoulders and down her back. She wore minimal makeup - save for a dull red lipstick and some blue eyeshadow, and blue sapphire studs were in her ears to match the color of the eyeshadow.

On-stage, Elise stood on top of a pedestal with a grated surface in the center in order to make room for a fan, which was placed directly below. Elise stood right on top of it, with dress covering the grated surface. The fan started to blow, and the long trails of fabric on Elise's dress blew upward. With one of her hands, she grasped the hem of one of the ruffles, directing how it flowed to ensure they didn't cover her face and interrupt her performance. She slightly leaned a bit, poking one of her legs out in front of her as she did so, while her back leg was covered by the ruffles of her outfit. She carried the microphone in her free hand, which she would use to sing the majority of the song.

Everything we've known since we were kids
All we've imagined,
Were just fairytales
That we've brought to life in this world.

Every pain and tear shed
Was worth it in the end
For every second I spend
With you, my best friend

The lights flickered slightly, drawing several cheers from the audience, and Elise's hand - the one holding the hem of her dress - threw the fabric above her and moved her hand so that it caressed the back of her neck and chest. The fan continued to blow beneath her, though it was at a much weaker setting than before, allowing for her outfit to flow behind her at a much more controlled rate. Four backup dancers, who were previously unseen by the audience, began to march forward. Two of them were shirtless males who wore black leggings, and two of them were females who wore black leotards. By the end of the bridge, they had all formed a horizontal line with Elise in the very middle.

Don't look back now, look back now, don't look back.
Keep looking ahead, I'll stay with you 'till the end.

The dancers danced throughout the first half of the chorus, engaging in a series of twirls, coordinated arm and leg movements, and tumbles. At the moment Elise sang the first "We're high above the ground" the dancers crowded around her and lifted her up. The camera, meanwhile, showed an overhead view of this, and Elise looked straight into the camera, smiling, extending her free hand out to her side, before being gently set down by the dancers.

If you fall
I'll be right beside you to pick you up.
We'll dance through the sunset, you and I.
We both know we're unstoppable.
We're high above the ground, all over again
High above the ground, all over again.

During the instrumental break, the dancers danced in the same horizontal formation as before and the camera did a full 360 around them. Elise, meanwhile, moved her hand to grasp the hem of her dress and she hung her head back, assuming the same graceful position as she did during the opening piano melody. When the camera moved in front of her, however, she moved her hand to her face and blew a kiss to the moving camera, before singing the next verse. During the next verse, the dancers moved so that Elise was at the end of the horizontal line of people on stage. The dancers all assumed a position one right after another in a way so that each of them adopted the same position a split second after the next. This went on for the entirety of the next verse.

Every mistake we've ever made,
We've done them together.
I don't regret a thing.
Let's do them all again.

But if we break down
We'll dust each other off
Tie up all the loose ends
And ride this wave 'till the end.

The camera whipped around Elise again, who wagged her finger at the camera, smiled, and winked. The dancers each grabbed a hem of Elise's dress and each moved to a different spot so the four dancers formed a square and Elise was positioned at the very center.

Don't look back now, look back now, don't look back.
Keep looking ahead, I'll stay with you 'till the end.

The dancers threw up the fabric and moved close to Elise to begin dancing the same routine as before. Instead of picking her up though, they picked up one of the female dancers, who flipped over Elise and landed on her feet behind her, before rejoining the group of dancers.

If you fall
I'll be right beside you to pick you up.
We'll dance through the sunset, you and I.
We both know we're unstoppable.
We're high above the ground, all over again
High above the ground, all over again.

During this instrumental break, the dancers engaged in a dance consisting of several arm-waving movements at a rapid pace. Elise moved her free hand in such a way that it was somehow in-sync with the dancers, despite the fact that her legs were hardly moving. Members of the audience, meanwhile, began to notice fog slightly creeping in from the edge of the stage and beginning to meander toward the center, where Elise and her dancers were positioned. Elise sang the bridge with the camera up close to her.

Don't look back now, look back now, don't look back.
Keep looking ahead, I'll stay with you 'till the end.

Elise unclipped a fastener at the back of her outfit, letting the ruffles fall to the ground as she walked forward. The dancers continued the same routine as before.

If you fall
I'll be right beside you to pick you up.
We'll dance through the sunset, you and I.
We both know we're unstoppable.
We're high above the ground, all over again
High above the ground, all over again.

For the instrumental break, the dancers lifted Elise up and flipped her, catching her on her back inches from the ground, resulting in a series of cheers from the audience. The dancers marched forward and clapped their hands above their head as Elise brushed the hair out of her face and laughed. Moments after this, the audience began clapping along in-sync to the dancers' claps, and soon after, the song was ended and Elise was the only visible element on stage. She placed both hands to her lips and blew a kiss to the audience.

"Thank you Banija!" She jumped in place and shouted into the microphone, before hugging her dancers and leaving the stage.

[Darkmania]

Darkmania

MagikClod feat. Jürgen Güldtërk- "Rytmen komme frem" (Rhythm comes foward)

Rat City feat. Isak Heim – Kind of Love

---

“Worldvision was amazing. But the bad thing is that it ends. Let's try to sing this song again at the World Cup Consert" - Jürgen Güldtërk on social media revealing that he and MaglikClot are to perform at the WCC.

Grëg Täsmalg (Left) and Frëdrÿk Äskerbarg (right) meet each other at the Ertü Musÿkk Sël has since played together, creating top charts after top charts in the domestic Darkmanian top 40 charts. Given this as well as that they have played in concerts and festivals outside and inside of Darkmania has made then the top candidates to follow Erÿk`s footsteps at Worldvision. They will be joined by an up-and-coming artist, Jürgen Güldtërk.

---

The stage is ready and unlike the performance in Monterra, Kalosia, the staging are a bit stripped down. There are just Jürgen and MagikClot on the stage, and all of them cutely wears the colours of the jersey of the national darkmanian team in football. Jürgen also wears his trademark hat that he wore at Worldvision. He also has placed his microphone on a microphone stand.

La musikken 
(Let the music)

Lage en rytme 
(Make a rhythm)

Glemme tanker. Bare vær med 
(Forget thoughts. Just join)

Vonde tanker skal bort 
(Hurtfull thoughts shall go away)

La mørke sinn bli lyse sinn 
(Let dark minds become light minds)

Vanskelige tanker kan være gledesdrepene 
(Hard minds can be a killjoy)

The LCD screen behind the stage slowly gets colourfull.

Ja-aaa. Vi er her for hjelpen 
(Ye-ees. We are here for the help)

Vi skal reise seg, og vi glemme våre tanker nå 
(We shall rise up, and forget our thoughts now)

Og jeg går 
(And i go)

Ja-aaa. Vil du danse med oss? 
(Ye-ees. Do you want to dance with us?)

Ingen vil bare sitte å kjede seg med dette 
(No one wants to sit and bore themself with this)

Og jeg går 
(And i go)

Jürgen sings for his life.

(La rytmen komme frem) 
(Let the rhythm come foward )

La rytmen komme frem 
(Let the rhythm come foward )

(La rytmen komme frem) 
(Let the rhythm come foward )

En gledesrus av noter 
(A rapture of notes)

(Ukjente melodier for deg til å danse) 
(Unknown melodies gets you to dance)

Ukjente melodier for deg til å danse 
(Unknown melodies gets you to dance)

(Ukjente melodier for deg til å danse) 
(Unknown melodies gets you to dance)

He unplugs the microphone from the microphone stand and is set to perform

Så alle har en 
(So everyone has a)

Vanskelig liv 
(Hard life)

Ikke bare fokuser på svarthet 
(Dont just focus on the darkness)

Fokus på hvithet 
(Focus on the whiteness)

Pust ut 
(Breath out)

Bare gi faen og dans dine sørger vekk 
(Just give a fuck and dance your sorrows away)

Oh-ooh, La musikken 
(Oh-ooh, Let the music)

Overta kroppen 
(Take over the body)

Hvorfor bare mørke når melodier overtar dit sinn? 
(Why only darkness when melodies takes over your mind?)

Nå skal vi fjerne alle 
(Now we shall remove every)

Mørke horisonter 
(Dark horizons)

Alt kolapser helt ut 
(Everthing is colapsing our)

Ja-aaa. Vi er her for hjelpen 
(Ye-ees. We are here for the help)

Vi skal reise seg, og vi glemme våre tanker nå 
(We shall rise up, and forget our thoughts now)

Og jeg går 
(And i go)

Ja-aaa. Vil du danse med oss? 
(Ye-ees. Do you want to dance with us?)

Ingen vil bare sitte å kjede seg med dette 
(No one wants to sit and bore themself with this)

Og jeg går 
(And i go)

(La rytmen komme frem) 
(Let the rhythm come foward)

La rytmen komme frem 
(Let the rhythm come foward)

(La rytmen komme frem) 
(Let the rhythm come foward)

En gledesrus av noter 
(A rapture of notes)

(Ukjente melodier for deg til å danse) 
(Unknown melodies gets you to dance)

Ukjente melodier for deg til å danse 
(Unknown melodies gets you to dance)

(Ukjente melodier for deg til å danse) 
(Unknown melodies gets you to dance)

(La rytmen komme frem) 
(Let the rhythm come foward)

La rytmen komme frem 
(Let the rhythm come foward)

(La rytmen komme frem) 
(Let the rhythm come foward)

En gledesrus av noter 
(A rapture of notes)

(Ukjente melodier for deg til å danse) 
(Unknown melodies gets you to dance)

Ukjente melodier for deg til å danse 
(Unknown melodies gets you to dance)

(Ukjente melodier for deg til å danse) 
(Unknown melodies gets you to dance)

La rytmen komme frem 
(Let the rhythm come foward )

Det er ingen som kommer til å kjede seg 
(There is one one who will get bored)

En gledesrus av noter 
(A rapture of notes)

Ukjente melodier for deg til å danse 
(Unknown melodies gets you to dance)

Alle sammen, vær med og syng! 
(Everyone, come on and song!)

(La rytmen komme frem) 
(Let the rhythm come foward )

La rytmen komme frem 
(Let the rhythm come foward)

(La rytmen komme frem) 
(Let the rhythm come foward)

En gledesrus av noter 
(A rapture of notes)

(Ukjente melodier for deg til å danse) 
(Unknown melodies gets you to dance)

Ukjente melodier for deg til å danse 
(Unknown melodies gets you to dance)

(Ukjente melodier for deg til å danse) 
(Unknown melodies gets you to dance)

Det er ukjente melodier 
(There are unknown melodies)

As the last part of the chorus gets sung, confetti begins to rain and litter the stage. There ends up creating a akward moment where Jürgen brushes his hat as it is full of confetti with colours from all around the world.

Vi skal reise seg, og vi glemme våre tanker nå 
(We shall rise up and forget our minds now)

Og jeg går 
(And i go)

Det er ukjente melodier 
(There are unknown melodies)

Ingen vil bare sitte å kjede seg med dette 
(No one wants to sit and bore themself with this)

Og jeg går 
(And i go)

He bows and thanks, everyone.

[Free Republics]

Free Republics
Rule Theriault, Performed by The Republican National Soccer Team, LLC Cheerleading Squad
Tune

The Coach of the Republican National Soccer Team, LLC Cheerleading Squad, Nova Hellstrom-Hancock, led her squad onto the stage in their cheerleading uniforms. Before they performed, she grabbed the microphone:

Hello, Banija! On behalf of the entire Republican National Soccer Team, LLC organization, I want to thank you for organizing this World Cup concert. If it were in the land of the Talking Horses, whom we hate even more than you do, we probably wouldn't be performing this song today! Since there is a large audience watching in the Free Republics, I want to encourage everybody to vote for Golden Age in our Assembly elections so that I may become the leader of our Assembly and lead the Free Republics into a Golden Age where the government serves the common people, not just the rich and powerful! Without further adieu, I present a song we've been working on for a long time in honor of our Soccer General, Rule Theriault!

The entire Cheerleading Squad began singing in tune from behind a podium:

When Theriault first, at destiny's command,
Arose to coach our glorious team,
This was the charter of our land,
And all Republicans sang this strain:

Rule Theriault! Theriault rules the world!
Republicans never, never, never will be vanquished.

The nations not so blest as we
Must, in their turn, to defeat fall,
While we shall flourish great and free:
The dread and envy of them all.

Rule Theriault! Theriault rules the world!
Republicans never, never, never will be vanquished.

Still more majestic will we rise,
More dreadful after each foreign goal,
As the loud blast that splits the nets
Serves but to rouse our national team.

Rule Theriault! Theriault rules the world!
Republicans never, never, never will be vanquished.

The lesser nations never shall succeed;
And all their attempts to break us down
Will but arouse our furious flame,
To breach their net and secure our victory.

Rule Theriault! Theriault rules the world!
Republicans never, never, never will be vanquished.

To us belongs the World Cup;
Our cities will in victory shine;
All our players will be legends eternal,
And every stadium where we play, ours.

Rule Theriault! Theriault rules the world!
Republicans never, never, never will be vanquished.

After they finished the song, Nova Hellstrom-Hancock returned and took the mic again.

A flawless performance, if I do say so myself. From this point forward, the song you just heard shall be our official fight song! Thank you Banija. We wish you the best of luck in the World Cup when you aren't playing us.

[Zwangzug]

The Sesquipedals hail from Keppal City, and their song, "Harmony Sound," is argued by some to be a tribute to the local club and their players. Most people agree that they were nominated under the assumption Zwangzug would fail to qualify and then were pleasantly surprised when they actually made it.

(Source: Harmony Hall)

We took the field amid the flames
And now we face one endpoint in the journey
Can't tell what the future holds
When far beyond us, still the road is turning
But the fire's still burning.

Rooters want a voice, voices want to chant
Chanters drone as one till it drowns out every rant.
I thought we'd be free from all the risk and fear
But every time we're knocked down we just wait till the next year

As we reach up, the harmony cup still lingers
Anybody with a common goal could never forget the sound
Of eagles tearing up the grass you thought was common ground
I don't wanna live like this, but I don't wanna die.

Within the walls unyielding lies a nervous mind
That cracks like the ancient fractals
Beneath the cosmos' gloves there dwell
The calloused hands that always return to practice
Hungry as the jackals

Dreamers want a cause, cosmos wants a star
Stars all want to rise until they burn too far.
I thought that we would break, I knew we wouldn't bend
But now we have to face the truth, there's no room to pretend.

And inside the palace, the harmony chalice beckons
Anybody with a common kit could never stand alone
Couldn't take the blame without a chance left to atone
I don't wanna win like this, but I don't wanna tie.

And without fail, the harmony grail is waiting
Anybody who's looking back is gonna be left behind
There's something good still coming if you look beyond the news
I don't wanna win like this, but I don't wanna lose.

And without bound, the harmony sound will echo
Anybody on the melody line will dazzle and shine as well
For every wall that rises there's another dream within
I don't wanna lose this way, I guess we'd better win.

[Vangaziland]

The state of Vannish football has been nonexistent. New Gazi, the West African homeland to just over half of Vangaziland's citizens, recently closed the doors of its football program. The Mainland's football program also folded, despite an expensive overhaul. The only Vangazi anybody would watch during World Cup 83 would be one woman clad in dark orange silk.

Tatiana Axelson is the summer's rising star within Vannish territories. Her managers scheduled a spot towards the end of the show. Laser effects cast shapes and strobes to the various beats of her songs. She ran through quick samplers of a few songs, leaving the international audience with a taste of what she had in store.

Marketing executives hoped potential fans would look her up (and buy music in the process). A World Cup performance was major exposure for any Vannish entertainer. Vannish fans have started social media campaigns and petitions based around getting Tatiana involved in the international song circuits.

Her performance started with a song based around encouraging a break-up. The marketing team told her it would appeal to her target audience. At the end of the day, that was what her album was about. Red Crown Records was pushing Ms. Axelson into becoming the next Vannish icon.

"So you don't have to their crap,
tell them shut their trap.
And shut the door."

She stretched the last note of door, the melody of the other words having bounced up and down while sung fairly quickly. An upbeat tempo and steady beat gave happy vibes.

"One day they wish they could crawl back.
But don't take their jack.
Just keep it closed."

Again, she stretched the last word in a way that almost made it sound like it rhymed with door. Almost.

The beat suddenly cut and was 'DJ mixed' into a more aggressive beat. The notes became smooth and flowing. A simulated violin played the same three notes over and over. *One-twothree. One-twothree.*

"Summer day and the shades are light navy."
"Hotter than buttered biscuits and gravy."
"Drive Vannish Motors, I don't wan't... no Mercedes."
"Wave my hand, wave my hand,"
"To all-those who hate me."

Now her singing was closer to rap. Each line seemed to be tuned to those three violin notes. Menacing accompaniments added to the background cacophony.

The beat flipped again to something with more bounce, zing and pop. A choppy, almost snare of a tone beat clear notes until synthesized beeps added flavor. Her pace went from the fast pace of the last song to slow, drawn out calls.

"Strolling through Blue Coast, all I need is you.
You know what we do. To-gether we're two.
Got my hot cocoa. And my RoCoCo.
Stop play-ing the fool.

"

She ended the last verse by repeating the last line until the music faded and it was time for a high note.

"Stop pluh-ay-yayaya…ehhh-uh-in... The... Foooooooooo0000000o, "the crowd started to cheer. "000OOOO0000l."

Tatiana dropped the microphone and started to walk off stage.