WorldVision Song Contest 75 | Monterra, Kalosia

by **Kalosia** » Mon Jul 22, 2019 4:38 pm

OOC Thread & Host Bid
(The bid is the post right below the OP)

Official YouTube Playlist

As the WorldVision anthem plays, millions of people across the multiverse tune in to witness the 75th WorldVision Song Contest, about to take place. As our beloved ode finishes playing, viewers are treated to a sight of a starry night as the tune linked above begins to play.

As the beautiful music continues, viewers are treated to scenes of viewers from across the multiverse tuning in to watch WorldVision throughout the years, much like the opening of Eurovision 2010 in Oslo. The scenes range from intimate living room settings to much more bigger venues such as bars and even entire arenas. With each one, it is apparent that WorldVision fills them with joy, which is symbolized by sparkles that emanate from each person watching that join into one big trail.

After this trail passes through WorldVision 74, it flows into Kalosia where the music then drastically changes into something more upbeat and jazzy. Then viewers are treated to a journey through different sites in Kalosia that the trail passes through, as it gets closer to Monterra, before eventually ending up in the Monterra Concert Hall, the venue of the 75th WorldVision Song Contest.

Hello, WorldVision is On!
tune: Another Day of Sun — La La Land Cast

Now the camera cuts to a view of a vintage TV set, displaying a close up of a pair of hands about to play a piano. At the same time those hands start to play, the tune linked above begins. The camera slowly zooms out, revealing that this is on the satellite stage, and rotates around the stage. It is revealed that there is a woman sitting on a couch opposite the TV, and looking at it, she sings the next part.

I think about that day
My nana left the TV running on a night in May
I was ten years old but I was smiling ear to ear
Because I wanted to be here
On this grand stage

The camera shows enough of the background that you can see a figure standing on the main stage, albeit blurry. The girl gets up and looks behind, sees the figure, and the camera's focus changes to reveal that there is a man standing on the main stage, looking towards her. She then gets off the couch and walks towards him at a rapid pace.

Went to live the dream
To get where I am now isn’t as easy as it seems
To be able to sing and dance in front of the whole world
Bring joy to every boy and girl
In every day and age

Now the two of them are together, but then you see what looks like office employees walking onstage passing the two of them. The camera appears to be distracted and follows them instead.

The workers rush to get back home
No one wants to watch alone
The multiverse’s greatest show
You’ve ever seen

Now a middle-aged couple walk on, passing the employees, and the camera follows the two of them.

When all the nations gather ‘round
And mom and pop are settled down
To hear the sounds they have to offer
On the TV

Switching to a wide stage shot, it is revealed that everyone on stage is now doing choreography. Lots of wavy movement, full of grace. Although everyone doesn't do the same dance, altogether they seem to unite in harmony. They all sing this next part.

Come, sit back, the show’s about to start
It’s music for our hearts and minds

And when it all begins
No matter who will win
The room is full of grins
So come on, WorldVision is on!

Now several people come on stage, dressed as everyday members of society, including tradies, students, baristas, police officers, reporters, etc. As this happens in the background, the camera focuses on the first man from earlier, who sings this next part.

The dancing carries on
The rhythms, they are resonating ’til the break of dawn
The ballads that will resonate without a sense of time
Will never ever pass its prime
But that is completely fine

The camera switches to the first girl from earlier, who sings this part. She then begins to walk, although it isn't clear where.

The workers rush to get back home
Cause no one wants to watch alone
The multiverse’s greatest show
You’ve ever seen

The man and the woman meet and share these following lines like in the tune.

When all the nations gather ‘round
And mom and pop are settled down
Let’s enjoy the music offered on this journey

Now they're all doing a group choreography together on stage, with the initial man and woman leading at the front.

Come, sit back, the show’s about to start
It’s music for our hearts and minds

And when it all begins
No matter who will win
The room is full of grins
So come on, WorldVision is on!

Now everyone scrambles to bring couches and chairs from backstage onto the main stage. From the way the furniture is being pushed onto the stage, they all appear to be wheeled. They are set up in a straight line and are made to face the audience. In the next part, the camera briefly focuses on the lead man and woman.

Come join the whole world
With every boy and girl

Now the man and woman each pull a nearby person to join them on the couches, and the remaining dancers follow suit.

Hello, WorldVision is on!

Hello, WorldVision is on!

Hello, WorldVision is on!

Hello, WorldVision is on!

Hello, WorldVision is on!

Hello, WorldVision is on!

At this point, a large amount of the performers are sitting on the chairs/couches, and now several scrambled to sit on the floor in front, and a handful go to stand behind at the back. It really looked like one really big family about to tune in to the TV.

Hello, WorldVision is on!

Hello, WorldVision is on!

Now the camera shows the people at the leftmost part of the stage, and they start a wave. The camera follows as the wave goes from the left side all the way to the right side of the stage. Once the wave has been completed, the camera switches to an angle showing the ead man and woman, sitting smack at the middle of the long line, and everyone sings the song's final line.

Hello, WorldVision is on!

The camera dramatically zooms out as everyone on stage dramatically extends there arms as the song ends.The camera quickly switches to various shots of the crowd cheering, and at this point the various performers on stage have quickly began to move all the furniture backstage. Now a single couch is left, and sitting on it is the lead woman and another female performer looking about her age. Once the crowd calms down (by this time all the other furniture will have been removed from the stage), the camera zooms in on the two as they carry a conversation.

by **Kalosia** » Mon Jul 22, 2019 4:39 pm

"Wow, I'm so excited for WorldVision!" exclaims the performer.

"I am too!" replies the lead woman. "The acts performing tonight have come from all around the multiverse and I can't wait to see them perform!"

"Thanks for inviting me to your WorldVision viewing party by the way, I think it's going to be so much fun enjoying the show with all of us here tonight!" The crowd cheers.

"But..." the performer continues, "I haven't really done my research and I don't really remember who's going to sing tonight."

Parade of Nations
tune: Someone in the Crowd — La La Land Cast

The few gasps and the barely audible jeers in the audience are quickly drowned a piano chord. The lead woman gets up as she sings this next part.

You’ve got the invitation
You’ve got the right address
You’ve done the preparation
You’re ready to impress

The performer follows suit and sings this next part.

But who are all the nations
Together, here with us tonight?

Quickly, the two of them whisk the couch offstage, exiting with it and leaving the stage empty. A voice calls out "Please welcome, the 35 participating countries in the 75th WorldVision Song Contest!"
A woman in a short deep emerald dress carrying the flag of Amuaplye walks out, followed by that country's entrants, Love And War. The voice over announces each country as they present themselves on stage, while the tune continues as an instrumental. One by one, entrants from the remaining countries follow suit in a similar manner.

01 Amuaplye
Postcard / Entry / Votes

~~02 Talvezout~~
Postcard / Entry

03 Polkopia
Postcard / Entry / Votes

04 Voxija
Postcard / Entry / Votes

05 Axuva
Postcard / Entry / Votes

06 Scotatrova
Postcard / Entry / Votes

07 Kishrael
Postcard / Entry / Votes

08 New Saria
Postcard / Entry / Votes

09 Vartugia
Postcard / Entry / Votes

10 North Arenia
Postcard / Entry / Votes

11 Main Nation Ministry
Postcard / Entry / Votes

~~12 Venkatanaros Imharajuvaripieta Rdraskska~~
Postcard / Entry

13 Oceanland
Postcard / Entry / Votes

14 Ceyesca
Postcard / Entry / Votes

15 Elejamie
Postcard / Entry / Votes / Commentary 1, 2

16 Achaean Republic
Postcard / Entry / Votes

17 Greater Korean Juche Republic
Postcard / Entry / Votes

~~18 Antahbrantahstan~~
Postcard / Entry

19 Kalosia
Postcard / Entry / Votes

20 Caryton
Postcard / Entry / Votes

21 Lactatia
Postcard / Entry / Votes

22 Normandy & Picardy
Postcard / Entry / Votes

23 Besen
Postcard / Entry / Votes

~~24 Britonisea~~
Postcard / Entry

25 Cary from Caryton
Postcard / Entry / Votes

26 Nekoni
Postcard / Entry / Votes

27 Darkmania
Postcard / Entry / Votes

28 Tödlichebujoku
Postcard / Entry / Votes

29 Izmedu
Postcard / Entry / Votes

30 Mister X
Postcard / Entry / Votes / Commentary

31 Pambudia
Postcard / Entry / Votes

32 Saviera
Postcard / Entry / Votes

33 Balkvla Islands
Postcard / Entry

34 Nightom
Postcard / Entry / Votes

35 Natanya
Postcard / Entry / Votes

By about 2:16 (in the linked tune video), the last nation has walked in. That same voice from earlier calls out again, "Please welcome your host, Magdalenë Ferer!"
Indeed, Magdalenë walks out after the last entrant, wearing a short vibrant crimson dress. As the music briefly breaks, the lights become dim, save for a spotlight on Magdalenë. The camera closes up on her and she in turn looks straight into the camera, her eyes reflecting a sincere, emotional longing.

But there’s only so many songs that we will hear tonight
We’ll watch as the world keeps spinning round
One day in the future, may we see so many more
Countries who will come and join along

She slowly starts dancing to the rhythm of the song, which continues. As the pace of the music begins to take off, Magdalenë is gradually joined by the flagbearers, each one getting their own spotlight. The dark green hues of their dresses make our host shine and stand out like a blooming rose in a sea of thorns.
Eventually, the song reaches its original tempo and that dramatic build up has lead to a pause. The stage lights kick back in, bathing the venue in a golden glow. Magdalenë and all the on-stage performers do some rather light choreography while singing this next part (although none of those performers have a mic with them). They are vocally supported by the performers from the previous set, gathered backstage singing into a mic.

All the nations gathered in this one big huge parade
Marching through the streets, so come make way
All the nations gathered on this giant stage today
Ready to be singing proudly
Ready to be dancing proudly
Waving their own flags

As the song comes to an end, Magdalenë walks to the front while the other on-stage performers gather to the middle-front of the stage.

It’s time to hear all the competing songs!
GOOD EVENING WORLD!

The song ends with a greeting exclaimed by Magdalenë, which is met with a thunderous response by the crowd. She waits for them to calm down before continuing.
"It is such an honour for me to be able to greet you all at the 75th WorldVision Song Contest, here in Monterra. We Kalosians have watched as the contest has been away from home for over 25 editions, and I can say on behalf of all of us here that it is a major pleasure to be able to welcome you all onto the lovely island we call home."
The crowd cheers.
"As you know by now, 35 countries will compete in tonight's show. All of them bringing forth songs that spark bits of emotion into the lives of the people they represent, and ultimately it is the ability to enjoy those emotions that bring joy into our lives. Tonight, we will here a variety of music from across the multiverse, from a wide range of countries and cultures. I hereby invite you to sit back and relax as we begin our musical journey throughout the multiverse."
The crowd cheers again.
"Once all the songs have been performed, I will come back to show you how to vote. But for now, it is time to hear the song from Amuaplye, who has the honour of performing first this edition. Are you ready?"
A short pause for dramatic effect.
"Let the WorldVision Song Contest begin!"
Sparks shoot out from the floor outlining the stage, followed by the cheering of the audience, before the camera cuts to the first postcard.

Opening Acts
Hello, WorldVision is On! / Parade of Nations

Interval Acts
How to Vote / When Our Hearts are in Monterra / This Summer / We'll Meet Again

Voting
Halftime Scoreboard / Final Results / Reprise

by **Amuaplye** » Mon Jul 22, 2019 4:43 pm

1. AMUAPLYE
LOVE AND WAR - SYDNEY
Leningrad - Menya Zovut Shnur (My Name is Shnur)

The band enters, as a scale model of the Sydney skyline covers the entirety of the stage. (Made from a photo taken on January 1, 2019). The band starts playing, as a small piece of artillery is placed on a small building, aimed at the model of the Government Complex.

Help! (x8)

Sydney is destroyed and you are doing nothing
You say "We'll help", and we all say "Go now"
The Parliament is nothing but cronies and tyrants
There are real problems out here, y'know

Your government is all weakened
The towers that once greeted us are now gone
What a wonderful city Sydney was,
Now in complete ruins and filled with utter hate and rage

The camera focuses on the artillery cannon, as it fires off a shot, hitting the model of 1 GovCom, the camera following the shot the entire time. The building bursts into flames, and smoke fils the skyline.

Chorus (x2):
Sydney is burning, Sydney is burning,
Terrorism and death has ruined the city
With the missiles, and all of the riots, and the bombers, so rampant.

The upper floors of the model of 1 GovCom fall off, and fall down to the ground, causing a 2nd explosion that set some of that area on fire, mostly 2 GovCom. More smoke covers the skyline as the fire quickly spreads. The camera pans throughout the burning skyline at street level, making it look like it was seen from a pedestrian.

The shining city on the hill is no more
The skyline in tatters, a grand failure now,
The AEC has only brought us dictators,
No wonder we all rebelled and thousands died,
Oh, but Bishop, you are ineffective,
Will you bring freedom to the people again?
We almost certainly hope that you will soon,
But you're making the Proposers your cronies.

The 1/4 of the skyline is now in flames, the camera switching between showing the band performing, and showing street level shots of the burning city skyline. Several buildings collapse, causing several small explosions.

Chorus (x2):
Sydney is burning, Sydney is burning,
Terrorism and death has ruined the city
With the missiles, and all of the riots, and the bombers, so rampant.

One of the band members sets off a bottle rocket, which flies towards the crowd and detonates, though above their heads, as to not hurt anyone. Around 1/3 of the Sydney skyline is on fire at this point, as a plane, with "Will you do anything?" written on it, flies over the stadium.

With Chuikov removed, there's all out rebellion and chaos,
After all, his counter-terrorism guy blew his brains out,
He might've been to blame for this
And Perry perhaps just sped it up,
Parliament was burning, and now it all is,
Maybe those eighteen victims all died in vain,
Those 1,644 lives,
Don't seem to matter to you.

1/2 of the skyline was on fire, and more and more started to collapse as the camera moved away from the burning buildings to prevent damage. The band still played as smoke surrounded them from the blaze behind them.

Chorus (x2):
Sydney is burning, Sydney is burning,
Terrorism and death has ruined the city
With the missiles, and all of the riots, and the bombers, so rampant.

The blaze is extinguished, and the camera tours the burned ruins of the skyline, as the band starts to wrap up the song. As soon as the song ends, the camera shows a birds-eye view of the skyline, which is mostly charred and in ruins.

by **Talvezout** » Mon Jul 22, 2019 5:14 pm

by **Polkopia** » Mon Jul 22, 2019 5:36 pm

03. Polkopia

Anna Viktoreevna - Feel Like This Again
Tune: Tiësto, Jonas Blue & Rita Ora - Ritual

Anna Viktoreevna had already been a relatively well-known and established artist in Polkiopia prior to the 75 Worldvision Song Contest. Anna participated in the Landa vy Polkopiya for three editions prior to this attempt, however, she had failed to win all three of her previous attempts. In preparation for this contest, Anna collaborated with Gregori Vakschuk, one of Polkopia's leading music producers, in order to bring an entry for the Landa vy Polkopiya which would secure her victory and allow herself to represent her home nation in Kalosia in front of the largest audience in the multiverse. She did face some immediate backlash upon releasing her entry though, with many Polkopians writing it off as a generic pop song with little to no meaning, and many believing that it had no chance of even making it to the Grand Final. When the qualifiers of the Landa vy Polkopiya were released, many were in fact surprised to learn that the song had qualified to the Grand Final and was one of five songs in line to represent Polkopia. For Anna, this was nothing new, as she had made it to the Grand Final for the previous Landa vy Polkopiya, but she was thankful all the same.

During her performance at the Grand Final, Anna struggled to hit one of the high notes and her voice cracked as a result. Many Polkopians immediately took to social media to poke fun at the artist, despite delivering a strong performance after that note. Anna knew that she had not given her best performance and had apologized to all of her fans immediately after performing. Anna felt incredibly disappointed in herself and truly believed that she had no chance of winning the contest. During the votes, however, Anna was surprised to find out that she had placed first, after winning the international jury votes and coming third in the domestic televote, thus allowing her to have another chance to perform her song in front of a large audience. This honor didn't come without backlash though, and many Polkopians were furious that her song had won. Several prominent Polkopian influencers also expressed their views, with one noting that by the PNB allowing itself to send such a cheap entry to Worldvision, they've strayed so far from their roots and aren't sending something "Polkopian" to the contest, citing the fact that the song placed third among Polkopians. A petition was launched immediately after the results were announced to replace Anna Viktoreevna with Sergey Borisčev and his song, Praktika, which had won the televote. Borisčev immediately denounced this and said that he would refuse to participate if this was the case, as Anna has won the contest fair and square. The petition had over 2,000 signatures, but the PNB decided to send the winner of the Landa vy Polkopiya to Worldvision, despite this. The entire event caused a great deal of controversy in Polkopia and attracted a lot of media attention, however Anna distanced herself away from all of it the best she could. She refused to give any interviews or make any public appearances during the scandal and when it was all settled, Anna and her team returned to the public setting once more on the basis that they would not be asked any questions on the events that had happened. For Anna, this was a low point in her career, as the negativity and backlash took a massive toll on her mental health and she found it incredibly hard to focus on her preparations for Worldvision.

During this period, several Polkopian artists and activists stood up for Anna, including Sergey Borisčev, Mirella Santana, Elise Grace, and Nikol, all of who had either participated in Worldvision, or attempted to via the Landa vy Polkopiya. These artists not only defended Anna on social media, but some of them even visited Anna and allowed her to speak her mind without fear of any media attention on anything. Sergey Borisčev took this a step further and hired a mental health team to take care of Anna during this time and is one of the primary reasons Anna was able to regain her confidence as a performer and step back into the public sphere and focus her energy on delivering an incredible performance at Worldvision. Currently, the two artists consider each other best friends and rumors have already begun circulating around Polkopia that the two have started dating, but this has not been confirmed by either party. Sergey is said to have accompanied Anna on her journey to Kalosia and will join her in the green room as a part of the Polkopian delegation.

Upon arriving in Kalosia, however, Anna and her delegation enjoyed a much less stressful reception than in Polkopia. It was decided that the team would arrive a couple of days early in order to sightsee and relax for a couple of days before the "Worldvision season" began and the team would be scheduled to give countless interviews and rehearse for hours and hours each day. Anna and her team were exposed to culture and cuisine which seemed unheard of in Polkopia. Anna herself documented her experiences, noting how she very much loved Azimu and Stufatu, staples of Kalosian cuisine, which seemed rich in flavor compared to the relatively bland Polkopian food back home. Several pictures documented the team's trips to several of Kalosia's most pristine beaches and important historical sites and, for the first time in a while, Anna seemed to be genuinely enjoying a stress-free lifestyle. Everything has to come to an end, however, and after a few days of relaxation, the team was hard at work scheduling interviews with several of the multiverse's most prominent broadcasters and blogging teams. Again, the same restrictions on questions were put in place as they had been in Polkopia and, to Anna's satisfaction, the international community seemed to respect these wishes and did not refer to the controversies in Polkopia as a result of her Landa vy Polkopiya win. After several days of preparing, the time eventually came for Anna's big night on the Worldvision stage. She was ready to give a breathtaking performance and do her nation proud. This was to be the biggest night of her career and she was prepared to give it everything she had.

Anna was situated backstage with members of her team. Most of them were talking amongst themselves but Anna was intently watching the parade of nations commence. First was Amuaplye and she watched as the members of Love and War walked down the stage with the flag of their nation. She looked back at Sergey and gave a nervous smile. Her heart was pounding in her chest but she felt more excited than anything. This was the moment she had been waiting for several years, and she was going to enjoy it as much as possible. It seemed as if hours passed before the next country, Talvezout, was announced. The bright purple flag of Talvezout was carried down the stage, followed by Lorenzo, the artist representing Talvezout once again. Anna held her breath and nearly stumbled forward as Polkopia was announced next. Looking back at Sergey, stifling a laugh, she turned back to see the audience cheering as her nation was presented. Draped in thin white jacket which reached her knees in order to hide her outfit for her performance, she walked down the stage, blowing kisses to the camera as it approached her. Although she only had a few moments of screen time, she continued following the Kalosian carrying the Polkopian flag and waved toward some of the members of the audience as she passed by. Eventually she returned to the back of the stage and hugged members of her team as other nations' performers were presented. Her heart was still pounding, but she knew that she didn't have a lot of time before she was set to perform, so they made their way further backstage in order to finalize some last-minute details for Anna's performance.

As per usual, the stage was completely dark prior to the performance, and the audience anxiously waited to hear the Polkopian entry for this year's Worldvision. Once the opening notes of the song played, deep purple and blue lights flickered on around the stage in a 4-count pattern until the entire stage was illuminated in these colors. What was revealed on the stage was a massive pyramid with two bases - the first one being ten steps or so from the floor of the stage and the second base being 5 steps taller than the other one. Muscular, shirtless guys draped in short colorful skirts stood single-file on either end of the stairs, each of them wearing a masquerade mask decorated with elaborate colors and designs. The top of the pyramid wasn't revealed until the fourth and final illumination of the lights, which occurred just before she began to sing. When the top of the pyramid was revealed, it showed that the top had no platform or anything for anybody to stand on. Half a second after the lights illuminated the top, however, the platform finished rising from behind the pyramid and fit into place at the top. When this happened, the audience at home could hear the massive cheering from the crowd that ensued from this. On the platform, a massive golden throne was placed in the center and Anna was seated on the throne, with her legs hanging over one of the arms of the chair. Two men, who were dressed in a similar getup as the others, were standing on either side of her. One of them held a massive fan decorated like a peacock's feathers and was fanning her face and the other man held a ceramic bowl with various assortments of fruits, though he stood perfectly still. Anna maintained her medium-length blonde hair which was styled in the same way as it had always been. She wore a gold and white one-piece unitard-esque outfit studded with various gemstones along the outside of the outfit. Long trains of red and orange fabric were stitched to the back of her outfit and were draped over the sides of the platform atop the pyramid. She wore golden high heels and long golden earings dangled from her ears. Her makeup, meanwhile, was relatively minimal and she only wore a light amount of coverup, lipstick, and mascara. Moments before she started singing, she hung her head back over the arm of the chair and let her face be fanned. She narrowed her brow and pursed her lips in a sexy expression before lifting up the microphone to her face and singing.

Too hard to breathe
Just you and me
I'm losing sleep
Ohhh yeah...

Between verses, the camera shifted to various men along the stairs, who were all standing perfectly still. During the time that it took the camera to do this, Anna adjusted her position so she was sitting normally in the throne. When she started singing, Anna leaned slightly forward and seemed to be singing directly at the camera with a slight smile on her face.

This one's on me
Drink up, honey
I'm all you see...
Babe

Anna held our her free hand and the man who had previously held the bowl of fruit took her hand in his and she stood up and walked down the stairs in-sync with the beat, along with the other man who had been fanning her. By the end of the first line, the three of them had made it to the lower base of the pyramid. During the second line, the two men stepped behind her and moved their hands all over her body and Anna closed her eyes and allowed herself to sing with a sensual expression. For the third line, the two men hoisted her up and she looked up at the camera - which now showed an aerial view of the stage. By the fourth line, she had been brought back down.

So sit back, relax, and hang your head back, I'll take it straight from here
Don't let me go, we'll take it real slow, don't have to go nowhere
Do this all night, no end in sight, when I'm with you I feel alive
Feel alive

The crowd erupted in another massive round of cheering as the chorus began. The men who were perched on the ends of the stairs began to slowly walk down to the floor of the stage and the two men alongside Anna did the same. The lights changed colors between deep blues, purples, pinks, and reds throughout these next few lines. By the end of her lines, the men had all made it to the floor of the stage.

If I'm honest, I never want this to end
Don't have to play pretend
Oh, boy, make me feel like this again

My heart is
Pounding right through my chest and
Can't give my mind a rest and
Oh, boy, make me feel like this again

For the drop, the lights continued to flicker in the same pattern as before, only this time spotlights of similar colors made their way around the crowd. The camera zoomed out to see an overview of the arena which was flooded with various deep shades and then cut to various people around the crowd who were jumping and dancing along to the song. The camera then cut back to the stage and the fabric behind Anna was blowing straight up into the air, due to a wind machine below her. She lifted her free hand up to control the fabric a bit and hung her head back, bending her knees and moving her body along to the beat, occasionally singing when it was her cue to do so. The man at the bottom of the stage circled the pyramid, all doing synchronized dancing involving jumping, punching, roundhouse kicking, and flipping.

Oh, boy, make me feel like this again

Oh, boy, make me feel like this again

When the chorus ended and the verses began, Anna slowly moved down the steps as she sang. The men, meanwhile, paired up and did another round of choreography which consisted of hoisting their partner up and spinning him, jerky arm and shoulder movements, and gymnastic-floor techniques. By the last line of her verse, she was halfway down the stairs. The same two men who were with her at the beginning left the circle below and climbed up the stairs to join Anna.

So scream my name
When we're alone
And fan the flames
...And late at night..

When our lips meet
It feels complete
So take me there

The two men who joined her hoisted her up on their shoulders and climbed down the stairs in-sync with the beat and by the first line they had made it to the stage floor. For the second line, she pushed her free hand out in front of her and all the men around her fell to their knees and lied on their backs in-sync with one another. During the third line, she walked forward and pulled her hand into her body and the men slowly got back up to their feet.

So sit back, relax, and hang your head back, I'll take it straight from here
Don't let me go, we'll take it real slow, don't have to go nowhere
Do this all night, no end in sight, when I'm with you I feel alive
Feel alive

During this part, Anna and the dancers all hung their heads back and moved their hands over their own bodies slowly. The camera shifted from Anna, to one of the dancers, to another, over and over, showing each of them for a half a second or so, before moving back to Anna. During the second half, one of the man had approached her and they started dancing with one another in the same fashion as before.

If I'm honest, I never want this to end
Don't have to play pretend
Oh, boy, make me feel like this again

My heart is
Pounding right through my chest and
Can't give my mind a rest and
Oh, boy, make me feel like this again

During the drop, she flung her hand to the side, throwing him off of her, and she started dancing her own choreography, involving squatting, hair-flipping, rapid hip and chest movements, and spinning. The background dancers resumed the same dance that they had performed during the previous drop.

During the breakdown, the LED lights had turned a deep teal color, but a dark purple spotlight was shown on Anna as she sang this part. Meanwhile, two female background dancers, dressed in similarly-colored leotards as Anna joined her and stood on either side of her, holding their hands behind their backs and looking down. During the fourth and final line, Anna held the last note longer than in the studio cut, resulting in a massive round of applause and cheering from the crowd.

So sit back, relax, and hang your head back babe

Don't let me go, we'll take it real slow, babe...

Oh... Do this all night, no end in sight babe...

Oh... anywhere, everywhere...

Because Anna held the last note longer than expected, the background singers sang the first two lines. The camera was only focused on the three women on stage at the moment, and the two background singers, meanwhile, shot their hands up into the air and popped their hips in-sync with the beat. The crowd clapped along and Anna joined the background singers in singing and dancing for the third line. When the drop happened again, she continued to sing, except that she moved from the main stage and strutted down the catwalk. The LED light in the middle of the stage fluctuated from a deep blue, to a purple, to a teal, matching the lights around the stage. Halfway down the catwalk, Anna unclipped the fabric from the back of her outfit, letting the material fall down on the catwalk as she moved forward. At one point, she moved to the edge of the catwalk and reached out her free hand to the cheering members of the crowd standing and dancing adjacent to the catwalk and touched some of their hands before making it to the island. She sang the last few lines on the island of the stage, and during the last line, the lights dimmed and the camera focused in on her face.

If I'm honest, I never want this to end
Don't have to play pretend
Oh, boy, make me feel like this again

My heart is
Pounding right through my chest and
Can't give my mind a rest and
Oh, boy, make me feel like this again

If I'm honest, I never want this to end
Don't have to play pretend
Oh, boy, make me feel like this again

My heart is
Pounding right through my chest and
Can't give my mind a rest and
Oh, boy, make me feel like this again

Oh, boy, make me feel like this again

When the song ended, Anna covered her face with her hands and hung her head down. Smiling, she waved to the crowd. "Thank you so much! Thank you!" She shouted in the microphone before leaving the stage.

by **Voxija** » Mon Jul 22, 2019 5:50 pm

4. Voxija
Jason All This Time - "Keep on Dancing"
Tune: "Cake by the Ocean" by DNCE (clean)

The band

Left to right:
Amaya Zubionda
Andoni Agaburu
Elixane Udezgarrija
Jason Srivjan (stage name)
Damen Viskarret
Zain Vigartea

The band met each other in a small, smoky bar in Xirroni. The bartender introduced them, and the found that they all wanted to make music. Thus, the band was formed, but they didn't get their name until the next month, when someone stole all of the cookies from Amaya's cookie jar. Jason declared himself to be the culprit, leading to the band's name.

The road to stardom was long and arduous. The members of Jason All This Time would sleep in bowling alleys and eat ramen noodles for their one meal of the day. In the spring of 2015, they sold out to a Chinese record company and gained stardom.

After a couple of years performing in China, Jason All This Time moved back to Voxija, receiving similar acclaim and applause as the Beatles arriving in America. Voxijans had always liked Jason All This Time, and what they saw as "their" band had finally arrived in their native country.

Now, Jason All This Time is the subject of many memes. Most Voxijans have at least heard of the band, and the band has a dedicated base who call themselves the Timers.

Slowly, slowly, the band members walked onto the stage after Polkopia's performance. They were nervous, feeling like they had a lot to live up to, but they squashed their anxiety and knew they would do well.

The two singers of the band, Elixane Udezgarrija and Jason Srivjan, positioned themselves in the center of the stage, striking poses. The rest of the band, playing instruments, assembled themselves behind the singers. They are wearing outfits like in the picture.

The lights turned on. The singers did a little dance move, and then the song began.

The Code
Black=both singers
Red=Jason
Blue=Elixane

The singers start with their heads in a downward position and their hands across their chests. The lights are grey and the screen behind them is showing muted images of an inner city street.

Why me
Why me
I used to feel that life always went wrong
I felt bad until I found the cure
I picked up my feet and started dancing
Dancing, yeah

The lights perk up. The singers do a simple dance routine, stepping from one end of the stage to the other, while beams of light in the colors of the Voxijan flag pour over the band, moving all across the stage.

I used to feel the worst ever
Felt like the worst thing ever
But then I started listening
I began to love to dance
That helped me out of the funk
No longer in a funk
And when I feel it coming back
I listen to music and it won't come back

The singers begin jumping, singing the lyrics of the song while twirling their hands in the air. The background shows images of bright colors and people dancing in places like a nightclub and the beach.

So I just start dancing
I dance to the songs inside my head
Oh, yeah
I don't care what they all think
I leave the sad behind
Now I keep on dancing, always be dancing
I keep on dancing
I'm happy forever, yeah yeah yeah
I'm finally complete, it's in my soul
Oh yeah yeah yeah yeah
Always be dancing, I keep on dancing

The singers calm down. The spotlights are a calm light shade of cyan.

Indeed
Now I know that life is the very best
Dancing and rocking, yeah, all night
I'm going out tonight it feels just right
Indeed, oh

The singers jump to stage right, clapping their hands. They do a dance move they privately call "the boogie". The back screen shows magnified images of the band. The spotlights extend across the whole stage.

Now I feel like the best ever
Feel like the best thing ever
Because I started listening
I love dancing in life
I'll never be in a funk
Never again in a funk
I'll never feel it coming back
Listen to music and it won't come back.

The singers slide back to the center of the stage.

I'll always keep dancing
I dance to the songs inside my head
Oh yeah
I don't care what they all think
I leave it all behind
Now I keep on dancing, always be dancing
I keep on dancing (dancing forever)
I'm happy forever, yeah yeah yeah
I'm finally complete, it's in my soul
Oh yeah yeah yeah yeah
Always be dancing
I keep on dancing (woah, yeah)
Oh yeah yeah yeah yeah
Always be dancing
I keep on dancing (woah, yeah)
Oh yeah yeah yeah yeah
Always be dancing
I keep on dancing (woah, yeah)

The singers dance, doing a mock-waltz mixed in with some modern dance elements. When they are done, all of the band members pop up, waving from behind their instruments.

I just like dancing
It makes me happy

Several backup dancers join Jason and Elixane for this part of the song. The back screen shows images of confetti.

I'll always be happy
Dancing in the streets and on the beach
Oh yeah
I don't care what they all think
I left it all behind
I keep on dancing
Always be dancing
I keep on dancing (dancing forever)
I'm happy forever, yeah yeah yeah
I'm finally complete, it's in my soul
Oh yeah yeah yeah yeah
Always be dancing, I keep on dancing

The backup dancers come to the foreground for the early part of this verse. Jason joins them. Their energetic dancing and stomping almost drowns out Elixane. She steadily gets louder until the last two lines, where Jason joins in.

Dancing in my mind, dancing in my sleep
Dreaming, I'm dreaming, I feel it in my mind
Dancing all night
Feel it and I scream (oh yeah yeah yeah yeah)
I keep on dancing
Always be dancing

by **Axuva** » Mon Jul 22, 2019 6:52 pm

still wip some lyrics aren’t final and editing is needed+visuals

Brandy shuts the door as her guide walks away from the door. Her cousin stands on the other side of the room and Brandy places her bag on the table, removing the bag of cocaine, and lining it up on the table and aligning it quickly. She does a line, and her cousin, Vanessa who also happened to be a backup dancer of hers watches. She wants to say something but she knows that it won’t stop her. Brandy falls to her knees and Vanessa’s eyes dart over to her and she sprinted over. She went to help her up but brandy stopped her, as she claimed “I’m fine.”She slowly got off the floor, plopping herself in a chair. A long and silent pause happened. Vanessa looked at her “Okay.. well it’s about to be time. J-just make sure to get ready in time… This opportunity is not something we can mess u-“ Brandy interrupted her. “Nessa I get it just go get yourself ready and stop. I know.” She explained. “Brandy, you don’t understan. You doing this could affect your performance and I’m trying to get you to stop this stuff! It’s not okay and it’s SELFISH.” Brandy looked “Dont fucking raise your voice at me I know what I want.” She said as she got up. “We are both grown women and I know what the fuck I want for me and you do not come for me okay?” “Brandy stop doing this, you’re high and you don’t know what you are talking about, just sit down!” Brandy looked at Vanessa. “You don’t have to judge me like that!” and Vanessa ended up being fed up. “Brandy what the fuck! I’m trying to let you understand! What don’t you understand? THIS IS MESSING UP YOUR LIFE. IT’S MESSING YOU UP. THIS CAN AFFECT THE CAREER YOU WANT AND YOUR LIFE. YOU CAN DIE. You have family INCLUDING ME. We don’t want to lose you.” Brandy looked at Vanessa. “Get out Vanessa, just go.” Vanessa looked at her in disbelief and tears started to form in her eye . She walked out the room and slammed the door shut and started to walk down the hallway to her dressing room. Brandy slouched down in her seat more as she began to cry. She got up and looked at herself in the mirror, turning to her outfit and she began to put on her outfit. As she was beginning to get on her outfit, her high she longed for was beginning to go away and she started to no longer feel it, she quickly tried to change her mood to show nothing had happened. She walked out of the dressing room with a smile on her face in her outfit, and she met with her crew, and they all began to make their way to the stage, as a bit of her high was still able to make a presence. The other half of her started to realize she had a problem, She had to clean up her act for the stage.

Brandy stood in the middle of the circle at the end of the runway as the dancers surrounded her, posing until she started to sing, as she started singing they got on the floor slowly, pushing 1 leg up in the air, moving to the beat.

[Verse 1]
How lovely, I hope you find something new
How lovely, You want something more, Go head and choose
How lovely, I’ll put your bags by the door
How lovely, Dont come and ask for more

They started to slowly progress out of their laying pose, pushing their upper body upwards and getting on their knees, waving their arms out across Brandys body

[Pre-Chorus]
You took my love and tore right thru it
This girl is gone, you messed with me
You took my love, and played all in it
So now it’s time to say goodbye to you

They walked off the Stage B circle, moving to the runway, as the backup dancers pushed their arms up in the air, waving them around to the beat.

[Chorus]
Baby go on, Take on the road
Kiss me goodbye, I’m out the door
Baby go on, Take on the road
Kiss me goodbye, I’m out the door
They stopped in one spot getting in formation on the runway as Brandy stood in the front, and they started to dance

[Post-Chorus]
My destiny is calling and
My life is perfect without you
Now I know all the answers and
My life will be right without you

They stopped dancing, and started to creep to the main stage as Brandy sang the next lines of the song.

[Verse 2]
How lovely, Take your exit, say no more
How lovely, I dont need you by my side anymore
How lovely, Pack your bags and find someone new
How lovely, cause you and me are through
As they made their way to the main stage, the backup dancers got on the floor and started to move their arms around Brandys body again, as Brandy sang the pre-chorus of the song and Brandy moved slowly to the beat as she felt on her body.

[Pre-Chorus]
You took my love and tore right through it
This girl is gone, you messed with me
You took my love, and played all in it
So now it’s time to say goodbye to you.

As the beat started to crank up again, they started getting off the floor in fast motion, getting back in formation, swinging their upper bodies to the ground and coming up off the ground and dancing with the most enthusiasm and strength in their bodies.

[Chorus]
Baby go on, Take on the road
Kiss me goodbye, I’m taking it home
Baby go on, Take on the road
Kiss me goodbye, I’m taking it home

The dancers started to swing to the beat with their body and their hands left and right as Brandy sang.

[Post-Chorus]
My destiny is calling and
My life is perfect without you
Now I know all the answers and
My life will be right without you

As brandy starts to sing the bridge, they started to move slow to the beat and Brandy touched her body

I hope you find something, something new, something new
Go head and find something new
Something New
Something new
Something new

As the beat started again, they started to repeat the same dances that they did earlier in the song and sparks started to rain on the back of the stage, as they were in front of them.

[Chorus]
Baby go on, Take on the road
Kiss me goodbye, I’m taking it home
Baby go on, Take on the road
Kiss me goodbye, I’m taking it home

[Post-Chorus]
My destiny is calling and
My life is perfect without you
Now I know all the answers and
My life will be right without you

As the song stopped, they paused and a bang was heard as sparks flew from the left and right side of the stage and the sparks continued to rain down in the back and Brandy smiled, sinking into the stage with the lift.

by **Scotatrova** » Mon Jul 22, 2019 7:04 pm

6. Scotatrova
Mateo Garcia, Andrea Montreal
Please Don't Go
Tune: Maluma, Anitta - Sim ou Não

Mateo Esteban Barrios Garcia, known professionally as just Mateo, is a Whitmorean singer-songwriter signed to Curona Records. Born and raised in Gramercy, he developed an interest in music at a young age, and began recording songs at age 16. His debut album was relased in 2013 when he was only 19. It wasn't until 2015 with the release of his breakthrough album "Hodiar" (Today) which led to many successful collaborations. Mateo has several singles that have charted within the top 10 on the Whitmorean music charts, including "La Veinta". Andrea Savera Montreal is a Constancian singer, songwriter and dancer. She began singing at age 8 in a choir from a Catholic church in the Casimba neighborhood of Cana. At the age of 16, after a video of her singing a song went viral, she signed a contract with Vidal Music Constancia the following year. Andrea rose to national fame in 2013 after releasing the single "Alegthe", which reached the top of the Constancia Hot 100 chart. In September of the same year, she released her debut studio album which received a triple gold record certificate and platinum certification.

Mateo = Red
Andrea = Blue

As the music begins, both Mateo and Andrea enter the stage from opporite sides. They continue before ending up right in front of each other, and begin to dance. The two of them get close, but at the same time keeping their distance, each giving the other an intense yet playful look as their eyes meet. Just then the lights all around them being to strobe in medium intensity to the beat of the song, with flashes of pink and blue also coming from several other lights around the stage.

Did you think that I
Would not want to stay with
You, baby please don't go
Don't go, don't go, don't go, don't go (x2)
Baby I know that your love for me is real
I would never want to leave you
Never baby, baby

Andrea then turns around and slowly starts to grind on Mateo, while he looks on and still dancing. She then turns around again to face him and sings as if she's singing the song to him. Once her part is finishes she takes a few steps back while Mateo begins his verses. As he sings them he keeps his eyes on Andrea as she dances on her own behind him. At one point she points to him and they both smile at each other as he continues.

Let me be everything you want
And I think I can do that
Maybe I can come show you tonight
If not then I'll make you long for it (x2)
And if only you, you, you would allow me
And only you, you, you drive me crazy
I can say that I love you
But it seems to be over
You missed out on a good lover, baby

Mateo then goes off further to the right of the stage as he concluded his verses. The camera zooms in closer to his face as he sings, and for a quick second it looks like he winks to the camera. They start walking back to each other and eventually end up in front of each other again, dancing. Yet again it seems as if they are singing to one another, each giving each other glances that seem to suggest a little more than the performance at hand. Andrea begins to make hand gestures that give one the impression that someone is talking to much and does it to herself, while looking somewhat unimpressed. She gently pushes him away with one hand and steps away, with both hands on her hips.

Don't lie to me, cause I know it
You think you're good, but I sense it
Let's see if you can make it through the day
It won't go how you think, it will be my way
I'm in heaven, when you're with me
But when you depart, I can not see
Let's see if you can make it through the day
It won't go how you think, it will be my way

Andrea is now spaced about 10 feet away from Mateo. As she continues through her verse, Mateo smiles and continues dancing along to the beat. Andrea makes her way toward him and he as well, and they pass each other, both looking back. That is when they both turn around and Andrea puts one hand on the back of Mateo's neck and one leg up on his thigh. He attempts to grab it before she lightly pushes his hand away while smiling at him. He raises both hands and she steps away.

It can all go how you want
Not if you keep teasing and trying to taunt
Its not real cute, aha
I can see that its all fun
Stop acting like you have won
And I can't decide
If I'll let it slide

The camera pans up closer to Andrea's face and slowly positions itself off to the left side as she keeps on dancing, before it zooms out. When it zooms back in it focuses in on Mateo, as he looks on while Andrea finishes her verses. He nods his head while smiling and sings along to her verse quietly.

Did you think that I
Would not want to stay with
You, baby please don't go
Don't go, don't go, don't go, don't go
Did you think that I
Would not find out about
What you tried to hide from, from me
That's a shame, baby

A frame of the two of them from the lower right is visible, and Mateo ends up behind her while they follow each other's rythym. She begins to bend down slowly before shooting straight up and walks away smiling. Mateo puts his hand up with a confused smile but goes along with it. He approaches Andrea as she waves her finger in a "no" position and he steps back.

Let me be everything you want
And I think I can do that
And I've decided that I
Can't say goodbye
Baby don't cry, it'll be fine
And if only you, you, you would allow me
And only you, you, you drive me crazy
Whatever you do, please
Try your best not to go, go, go, go

They end up side by side with each other facing the audience as they finish their last verses. Close ups of the sides of their faces are displayed as the cameras positioned on either side focus on them. Mateo gives a smug smile to the camera and so does Andrea as the frame merges into one with the two of them. As it zooms back out, they again go to each end of the stage.

It can all go how you want
Not if you keep teasing and trying to taunt
Its not real cute, aha
I can see that its all fun
Stop acting like you have won
And I can't decide
If I'll let it slide

Did you think that I
Would not want to stay with
You, baby please don't go
Don't go, don't go, don't go, don't go
Did you think that I
Would not find out about
What you tried to hide from, from me
That's a shame, baby

As the song comes to a close, Mateo takes the time to say into the mic "Andrea, Mateo, mulde greixas!" The two of them then seemingly go in for a kiss, and stop right before they do only to smile and give each other a hug. They then both wave at the crowd before they walk off stage excitedly.

by **Kishrael** » Tue Jul 23, 2019 4:56 am

. : 07 - Kishrael - كشرائيل - כשראל : .
Tatyana Shapsugh - Taḥt At-Tilj (Under the Ice)
تتيانا شبسوغ - تحت التلج
Language: Arabic, English
To the Tune Of - Dua Lipa|BlackPink - Kiss and Make Up

From the girl that participated a few years ago, Tatyana Shapsugh has transformed into a fully fledged pop star. The now 22 year old from an affluent Circassian family in Rakaphy was once again preparing to step into the international spotlight, this time at WorldVision. Her debut song "Irgaṣ Ilee (Dance For Me)" landed her a top 10 place in the Kishraeli charts, and her success meant that she was signed full time under the RESHET label. Her debut album achieved again, good success in Israel, peaking at 9 in the charts - in fact, the song chosen for WorldVision is from said album. A smart marketing move, a good performance in the contest will lead to album AND single sales. Winning the revived Kdam-WorldVision was no given right for Tatyana - Sigal Barda who achieved 5th place in WorldVision and Elissa Dahan are both still considered bigger names than her, but when the votes began rolling in, there was no doubt who would win. The international jury consensus made her confident, but Tatyana still didn't feel like she was challenging for a win. "I feel like we got such a great result last year, it would be crazy to think I can do the same. I'm not aiming for that, I just want to have a good time and make Kishrael proud, that's my motto", she said in one of her pre-rehearsal press conferences. She was right to be cautious, her song currently charted at a high if 17#, this time last year Cinderella had already spent a number of weeks at number 1 (eventually having one of the highest selling songs of the year), RESHET was not expecting a repeat of last year.

The Kalosian organisers had prepared a parade of the nations; each artist would walk out in order of the draw and be introduced to the crowd pre-show. Kishrael was drawn after a strong entry from Scotatrova, who went out before her to large cheers. Even though it was only ceremonial, Tayana was hopeful the public would receive her just as well. Holding the Kishraeli flag and wearing a long black jacket to hide her outfit, she proudly marched out onto the stage, smiling at the crowd as she strutted. The warm Kalosian crowed cheered for her, as did the large Kishraeli brigade within the stadium. Lifting her nation's flag proudly, she marched with a smile down the runway and back off the stage again - now was time to prep for the performance.

Tatyana was standing on the far out podium of the stage, wearing a zany outfit inspired by neo classical artistry, with a modern twist. On the runway stood four backing singers, all dressed similarly in plane white body suits with fringe details on the shoulders, each of them spaced evenly along it. Also on the podium stood a classical style bust on a pillar, the bust stood just below head height (around 1.5m from the ground). The bust was of a young handsome man, made seemingly of marble. As the song started, the stage erupted into bubbly pinks and purples, with a static effect running through the runway, podium and backing screens. As Tatyana starts singing, she's leaning on the bust, with a "I'm over it" look on her face - her makeup is a striking pink, to emphasis the wildness of her outfit.

I paved the way that would leave me alone, don’t need no one to rescue me
Time to forget, but I’m not sure I want to, how do I switch it off
I know there ain’t a reason to place a bet that I know I’ll lose
This ain’t desire, this is the last one of the games that you will play

Tatyana points to the main stage, and as her backing singers sing the "Ayayayayay" parts, they all march to the main stage in a militaristic unison. Tatyana following behind, but less extreme in her posture or walking as she flirts with the crowd - the camera showing a wide shot of the stage with it's dynamic colour schemes.

(Ayayayayayay) – I don’t remember asking for your opinion?
(Ayayayayayay) – Can you drop the bullshit just this time

As she gets to the main stage, her backing singers form up around her. She is then joined by a further 4 dancers who are dressed in the same outfits, but have no singing role, only dancing. Tatyana sings, while moving seductively in front of the camera (she's making love to the people at home yas queen hunty house down boots) - the dancers and singers flow around like an uneven hoop, they rise as they go behind her and drop lower so they don't interfere with the frontal camera angle while continuing to hold one another. During the "Taht at-talj" parts they break up from their self created hoop and spin in time with the music, their fringed shoulders creating a beautiful pattern for a camera view from above.

Leysh ḍaleyt aḥfar a‘mag, lamma kul ma kaan biddi kaan hon
ليش ضليت احفر أعمق، لما كل ما كان بدي كان هون

‘andana ṣeyf ḥelo bas halaa wigi‘na taḥt at-tilj
عندنا صيف حلو بس هلأ وقعنا تحت التلج

B'raahin al-kul lilmilyon shekel, raagṣah ‘alḥaagah taa‘t shee
براهن الكل للمليون شيكل، راقصة عالحافة تاعة شي

‘andana ṣeyf ḥelo bas halaa wigi‘na taḥt at-tilj
عندنا صيف حلو بس هلأ وقعنا تحت التلج

Taḥt al, taḥt at-tilj, taḥt al, taḥth at-tilj
تحت ال-تحت التلج، تحت ال-تحت التلج

Taḥt al, taḥt at-tilj, taḥt al, taḥth at-tilj
تحت ال-تحت التلج، تحت ال-تحت التلج

Tatyana squats down first, then goes onto her knees. Her dancers lay around her, moving to the beat, Tatyana leans back on her knees as a camera catches her from above, she looks into the camera while singing, then rises back up to her knees, then feet while singing the final part of her. Her dancers also climb up at this time and join her, beginning to move their way to either side of the main stage. The singers stay with Tatyana.

W'al-marrah al-jaayeh ba‘mil heyk, maa raḥ ykoun ay shee zayyna
والمرة الجاية بعمل هيك، ما رح يكون أي شي زينا

Bitfakkir taḥtaaj ila ḥad taani, whalaa ana ba‘rif kamaan
بتفكر تحتاج الى حد تاني، وهلأ انا بعرف كمان

Oufee al-bard had, raḥ akhalee naari m'wal‘ah
وفي البرد هاد، رح أخلي ناري موَلعة

Ya ṣeyf, aḥlaam ḥelweh zaman wiṣil inu t'naam
يا صيف، أحلام حلوة زمن وصل انو تنام

Tatyana stays in the centre of the stage, with her singers forming in a box formation, each one spaced around 3 metres away from each other and also from Tatyana. The four dancers, two either side of the stage then run from each side of the stage to the other. Every time they run passed one of the back singers, the backing singer spin and drop before rising again, their fringe once again creating a dynamic pattern. The camera follows Tatyana from the centre, so that the chaos can be seen in the near foreground and background, but Tatyana is in focus, walking towards the camera and the front of the stage. She then starts moving to the podium as her dancers continue to perform on the main stage.

Ayayayayayay – I don’t remember asking for your opinion?
Ayayayayayay – Can you drop the bullshit just this time

Leysh ḍaleyt aḥfar a‘mag, lamma kul ma kaan biddi kaan hon
ليش ضليت احفر أعمق، لما كل ما كان بدي كان هون

‘andana ṣeyf ḥelo bas halaa wigi‘na taḥt at-tilj
عندنا صيف حلو بس هلأ وقعنا تحت التلج

B'raahin al-kul lilmilyon shekel, raagṣah ‘alḥaagah taa‘t shee
براهن الكل للمليون شيكل، راقصة عالحافة تاعة شي

‘andana ṣeyf ḥelo bas halaa wigi‘na taḥt at-tilj
عندنا صيف حلو بس هلأ وقعنا تحت التلج

Taḥt al, taḥt at-tilj, taḥt al, taḥth at-tilj
تحت ال-تحت التلج، تحت ال-تحت التلج

Taḥt al, taḥt at-tilj, taḥt al, taḥth at-tilj
تحت ال-تحت التلج، تحت ال-تحت التلج

As the final verse starts, the stage colours cool into greys and light blues, like lice. The dancers and singers stand at the back of the stage, cold and unmoving. Tatyana squats in front of the bust and seductively moves down it, before moving back up and grabbing it with one hand, spinning around it and wresting her shoulder on the head. As she sings the "Under the Ice!" she drops down again in front of the bust in a squat position and closes her eyes, letting her one microphone hand rest on the pedestal of the bust.

Three a.m hits and you’re still wide awake
Yeah you’re deep in love, but just not with me, not with me
So sweet summer you were good to me but
It’s time you go to sleep, so numb my lips as we go!
U-under the ice

With the chorus starting, the backing singers and dancers rush in unison to the podium as Tatyana stands and continues to sing. The stage bursts back into pinks and electric motifs. When the dancers arrive they begin to dance around Tatyana, writhing and grinding in time to the song, but not on Tatyana, who has a comfortable distance from them in order to give enough face face face to the camera. As the song begins to close down, the stage once again goes grey and pale blue. Tatyana then lies down on the stage and looks up at the camera, singing the remaining "Taht at-tilj"s. As the song ends, the visual at home for viewers freezes over live ice, Tatyana then pumps her fist and the screen "smashes", with Tatyana's face smiling behind it, she winks as the song ends.

Leysh ḍaleyt aḥfar a‘mag, lamma kul ma kaan biddi kaan hon
ليش ضليت احفر أعمق، لما كل ما كان بدي كان هون

‘andana ṣeyf ḥelo bas halaa wigi‘na taḥt at-tilj
عندنا صيف حلو بس هلأ وقعنا تحت التلج

B'raahin al-kul lilmilyon shekel, raagṣah ‘alḥaagah taa‘t shee
براهن الكل للمليون شيكل، راقصة عالحافة تاعة شي

‘andana ṣeyf ḥelo bas halaa wigi‘na taḥt at-tilj
عندنا صيف حلو بس هلأ وقعنا تحت التلج

Taḥt al, taḥt at-tilj, taḥt al, taḥth at-tilj
تحت ال-تحت التلج، تحت ال-تحت التلج

Taḥt al, taḥt at-tilj, taḥt al, taḥth at-tilj
تحت ال-تحت التلج، تحت ال-تحت التلج

Taḥt al, taḥt at-tilj, taḥt al, taḥth at-tilj
تحت ال-تحت التلج، تحت ال-تحت التلج

Taḥt al, taḥt at-tilj, taḥt al, taḥth at-tilj
تحت ال-تحت التلج، تحت ال-تحت التلج

With a huge roar from the Kalosian crowd, she stands up and shouts in Circassian "Тхьашъуегъэпсэу!" before blowing a huge kiss and jogging off the stage with her singers and dancers - a performance well done and hopefully a result to go with it.

by **The Sarian** » Tue Jul 23, 2019 9:36 am

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

Foreign Press Notes:

To aid foreign media, the SariVisual Network (SVN) have provided a short press briefing to offer facts and information about the entrants and song.

General

This is The Sarian's first entry since WorldVision 50, where they were represented with Harriet Engel's 'Fight for Love'. The nation first entered in WorldVision 32, and has finished in the top five four times, including one victory in WorldVision 45.
The entirety of the population of The Sarian now live on the island of New Saria, with the capital city of Beaumont. Both the name The Sarian and New Saria are used interchangeably.

Borderline
Borderline are a group made up of members Katya (23), Matt (20) and Leo (23). They were internally selected by SVN after open calls for entries.
The group originate from the Castle district of the capital, Beaumont. Leo and Katya were childhood friends. Matt joined the group after meeting Katya at a protest against commercial whaling.
The group have received only modest success before WorldVision, but have built up a moderate following on social media. They are active in a number of social movements and went viral last year after a creating parody song of the populist Florican Party Leader, Pierre de Soulsby.
Missiles was written by Leo, who is the group's primary songwriter.

Missiles
The song is about climate change, and the culpability of big corporations and the powerful. The song is an extended metaphor that the powerful's unwillingness to act has the same impact on the masses as if they had shot missiles at them.
The song also attacks the apathy of the general public, though draws a deliberate comparison between the small-scale "self-created bullets" of the masses and the large "missiles" of the powerful based on the potential positive impact each group had the ability to make.
The bridge makes reference to praying - a commentary on the use of what Borderline deem "pointless gestures" rather than meaningful action.
The song also draws reference to the disproportionate impacts of climate change, especially in Leo's rapped verse.

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 postcard of Vartugia.

by **Vartugia** » Tue Jul 23, 2019 9:52 am

09. Vartugia

The Friendatubbies- "Let`s Go Commit MassAtrosities!!!11”

Teletubbies - Teletubbies says “Eh-oh!""

The Friendatubbies are a ~~bunch of sycopathic massmurders~~ family friendly things with such beloved creatures like Dinky Spinky, Dipshit, Ethnic Cleansing and Murder Spree. Perfect for children ~~but lets ignore that they have killed 420,60 million~~.

The sound of some baby laughter is heard as we see a happy sun across the stage as the Friendatubbies runs and then plays some ring around the rosie thingy. They sing but not remotely in tune.

Meet the Friendatubbies
Meet the Friendatubbies
Meet the Friendatubbies
Meet the Friendatubbies

The audience at the venue is so confused that the fuck is happening? They then present themselfs, in the most childish way possible.

Dinky Spinky (Dinky Spinky!)
Dipshit (Dipshit!)
Ethnic Cleansing (Ethnic Cleansing!)
Murder Spree Murder Spree (Murder Spree!)

Friendatubbies (Friendatubbies!)
Go commit death (YAAASSSS!)

The audience with open eyes realizes that they are fucked. The Friendatubbies then jump off the stage, pulls up chainsaws, knives, swords, and guns and then begin to slaughter everyone (including the contestant at the greenroom, the camera operators, backstage crew, producers and journalists). A group tries to run away, but all way out are locked and they end up being murdered by Friendatubbies.

The Friendatubbies then jumps back up to the stage after the mass-murders and dances some awfull dance moves. Ethnic Cleansing randomly falls off the stage ~~despite she is in the middle of the stage but I don't want to use extra afford in the RP lol~~.

Dinky Spinky (Dinky Spinky!)
Dipshit (Dipshit!)
Ethnic Cleansing (*Screams in agony*)
Murder Spree (Murder Spree!)

Friendatubbies (Friendatubbies!)
Go commit death (YAAASSSS!)

A random sheep enters the stage and what The Friendatubbies do to the poor sheep will not be written as it surely will break the Forum-rules. The long answer is that its a bit lewd and end with the sheep `s head being cut of.

And then, more unfunny dances while everyone is dead.

Dinky Spinky (Dinky Spinky!)
Dipshit (Dipshit!)
Ethnic Cleansing (*The sound of dying*)
Murder Spree (Murder Spree!)
Friendatubbies (Friendatubbies!)
Go commit death (YAAASSSS!)

The Friendatubbies then randomly takes up a dead corpse and then rips off the dead corpse's heart. They then sing but they sound so satanistic this time for some reasons.

Hey Hey Worldvision
We are won the song fest
We is family safe for kids
As long we have no blender
Oh Shit! Oh Shit!

They get normal voices again as Murder Spree throws the corpse of the stage, and then spills the stage with blood.

Dinky Spinky (Dinky Spinky!)
Dipshit (Dipshit!)
Ethnic Cleansing (*Is dead*)
Murder Spree (Murder Spree!)

Friendatubbies (Friendatubbies!)
Blood!

The sun goes down as if nothing has happened. The venue is full of dead corpses and this by default end the contest leaving 3/4 of the Vartugian act the sole survivor and the winner by default. The rest of the thread happens as if the Friendatubbies committed sewerside.

by **North Arenia** » Tue Jul 23, 2019 10:28 am

10 | North Arenia
Irene Duelaiy | "Spell"
Kim Petras - Personal Hell
Music - Irene Duelaiy, Marc Dabele, Rona Neam and Leo Raan
Lyrics - Irene Duelaiy and Erica Rodman

(Ah yeah)
Summer’s done, all on my skin
Patience thin, I’m gonna sin
I don’t know bout you, but I want it
Damn it’s late, dark is closing in
Supernatural, sweating fits
So I am ready, boy, let’s be close

Lately I’ve been lonely you see
Come give me company
Lately I’m torn, fighting this fire
I need you on me, oh

Baby, you have me under your spell (ah yeah)
Shaking, I’m nervous for what comes next (ah yeah)
Baby, love is so hard to express, for me
Baby, you have me under your spell (ah yeah)

So obsessed, need a fix
Maybe I want another sip
I’ve been wondering if you love it too
Running wild, original
Can’t be touched, we’re animals
I’ve been wondering if you’ll touch me too

Lately I’ve been lonely you see
Come give me company
Lately I’m torn, fighting this fire
I need you on me, oh

Baby, you have me under your spell (ah yeah)
Shaking, I’m nervous for what comes next (ah yeah)
Baby, love is so hard to express, for me
Baby, you have me under your spell (ah yeah)

(Damn, yah!)
Craving, craving one sweet time
All of this is for you
Craving, craving, one sweet feeling
You could save my life!

Baby, you have me under your spell (ah yeah)
Shaking, I’m nervous for what comes next (ah yeah)
Baby, love is so hard to express, for me
Baby, you have me under your spell (ah yeah)

(Ah, ah)

by **Main Nation Ministry** » Tue Jul 23, 2019 11:26 am

11: Main Nation Ministry
The Leader and his Musical Entourage - The Wildest West
Tune: Primus - The Devil Went Down To Georgia
Language: English

Pictured Above: The Leader, looking crazed and evil as always.

Performance: WIP

Narrator - Normal Text
Leader - Purple Text
Gunslinger - Green Text

The stage has some changes to fit the performance, some minor and some major. On the satellite stage, a prop miniature clock tower have been constructed, which has a platform for the narrator and other actors to stand on. The background is showing a desert landspace, where an old-looking tree is in the middle of the main stage. After the postcard, the camera shows the Leader, reading a map before bundling it up in a ball, where the music starts. Several musicians with fiddles and some guitars proceeded to play on the clock tower platform. The Leader gets on a motorcycle, where he rides towards the main stage offstage. The narrator, dressed in a cowboy outfit, proceeds to sing and narrate.

Somewhere in the wildest west
The Leader went down to an old tree
For a mighty duel
From someone rather cruel
For spectators force to have unsee

The camera focuses on the main stage, where a couple of cowboys were practicing shooting at the old tree, where the Leader arrives directly on the right side of the stage, dressed in cowboy garb to match the theme. He parks his motorcycle on the end of the stage, where he proceeds to walk to the middle.

Seeing the hotshots loading lead
Their hats and guns lighting up the bark and wood
The Leader appeared
After being jeered
Saying,

The Leader proceeds to sing his lines, since he has a hands-free microphone earpiece which lets him sing, without needing an actual microphone. In-character, he surprises the group of cowboys, where he behaves mischievously.

"Ain't you lowlifes no good!"

He nodded with his hat, as he introduced himself to the group.

"I see myself as someone
Who knows in battle to not miss
Seeing a demise in my own eyes, I will offer you this"

The Leader pulls out a large golden revolver, spinning the barrel, as he then starts to spin his own gun.

"If you know that you can aim straight at me
I offer that one of you
To a crazed gunslinger duel
Both of us duel
To see which one of us goes blue"

Someone stands in front of the group, where it is seen that it's a young man wearing a brown cowboy outfit without a hat. He proceeds to challenge the Leader to the duel, where the Leader smirks as the gunslinger is singing.

Someone yelled, "I am not afraid
Even though it's a deathwish
I challenge you too
With my bravery true
I send you back on a brass dish"

Now two men prepare the ultimate duel in history
Because their outcomes in their fates will now be no mystery
If one of you wins, you are spared so you can live your life
If those who lose, goes to the afterlife

Both the Leader and the gunslinger stood on each end of the stage, getting ready for the duel where one man stands in the middle, getting ready to signal the two.

When the Leader stood his ground
Saying,

"This is my dear craft"

The Leader pulled out his revolver again, where he proceeded to laugh. In the middle of this, one of the other cowboys from the group sneaks away from the rest and darts over to the clock tower using the walkway, climbing out with a gun.

Pulling out his large gold revolver
Letting out a large sick laugh

When both of the two opponents holstered their guns, the signal man raised his hands in the air, getting ready to start the duel. The cowboy on the clock tower aims his gun directly at the Leader, where it looked like he didn't seem to notice.

When the duel started, someone tried to cheat
Where they got a deadly shock
The Leader knew he was being played
So he let his gun start to talk

Just as the duel was about to start, the Leader immediately noticed the one on the clock tower, where he immediately pulls out his gun and shoots the cowboy, causing him to fall from the clock tower. Some musicians performing on the platform start to switch the tune from fiddles to a combination between fiddles and electric guitars, where the Leader starts to shoot at the ground near some other cowboys, as the lighting is switched to red. After tormenting the cowboys as punishment for trying to cheat him, he calmly reloads his gun, as the lighting effects are switched back to normal. The original tune is performed again, as the duel officially starts.

Even when he is fazed
Opponent said,

"Gave me quite the big scare there
I go by your rules, not for fools
We shall play this duel fair and square!"

Ultimate duel in the history of worlds
Reality now moves on, where the line blurs
Only one winner going out so strong
No major risk that must not end up wrong

The signal man raises his hands again, where there was a moment of silence as an actual showdown was happening. Both men stand in silence, waiting for the command to draw, where after half a minute, the signal man throws his hands down and yells "Draw!" Both the Leader and the gunslinger pull out their guns and open fire, where the Leader's gun gets shot off his hand, where he reacts in shock. He immediately shrugs off his frown, as he pulls out a golden bullet to toss to the gunslinger.

The Leader rubbed his hand
Having his gun shot off his grip
He gave his thanks, giving the one
A gold bullet as a tip

Just as the Leader was about to return to his motorcycle, the gunslinger sang his last lines for the Leader to hear, where the Leader took notice.

Opponent said,

"Leader, you're a good sport
We are both on the same tough level
I'm proud that I made a risky deal
With the Ministrian devil!"

With the last chorus, the song wraps itself up.

Ultimate duel in the history of worlds
Reality now moves on, where the line blurs
Only one winner going out so strong
No major risk that must not end up wrong

As the song ends, everyone who came from Main Nation Ministry were forced to applause, since it is their Leader performing after all. Some solders immediately starts throwing roses to the stage (pretty much ordered from the Leader), where the Leader and the musicians takes some. The Leader runs up to the walkway and takes a bow towards the applause, as the act cleaned itself up for the next performance.

by **Venkatanaros Imharajuvaripieta Rdraskska** » Tue Jul 23, 2019 1:12 pm

12 - v ir

by **The Micronation of Oceanland** » Tue Jul 23, 2019 3:30 pm

#13 - The Micronation of Oceanland

Lauren Morel and the Oceanland High School Show Choir "Bluewater"

About the Artists:

Lauren Morel is a 16 year old resident of the Micronation of Oceanland. She is a moderately known pop artist and her voice has many variants that make her desired by talent agencies abroad. However, Lauren remains adamant that she base herself in her home "country". With a range from a medium alto to a medium soprano, most pieces come easily to her. She has released her new song "Stars Are Shimmering To Me", which is going to be featured in tonight's performance. Lauren has claimed all of the female solos in tonight's performance, and with her is a male soloist for the ballad, Matthew Jefferson. Lauren is a sophomore in the Oceanland HS' show choir "Bluewater" which has won several international competitions with their song and dance prowess. Bluewater is a sizeable grouping of 32 men and women. Oceanland's population is around 2,250, so it is obvious the economically prosperous micronation has investments and exchange students from several other nations to study there for a heavy price. Native students study for free, but Oceanland makes heavy profit from mansion-bearing families that want their son or daughter to study on an islet getaway.

Pre-Performance:

Bluewater was exceptionally early to the venue, despite spending a long while touring the city and having a good time. Bluewater's positive energy seemingly wasn't just on stage. As highschoolers walked with iced coffee and confections in their seafoam-colored choir jackets, they went into the venue with an optimistic look. Conversing with various famous artists from abroad and getting signatures, the teenagers seemingly raised morale of all involved performers. When it was time to go on stage, they prayed and hoped. The main choir would be dancing on the main stage, and Lauren and her partner (occasionally) will walk the catwalk if need be. Pyrotechnics and sound assortments waited nervously for it to begin.

----------------------------------------------------------------------------------------------------------------------

"Stars Shimmer over Oceanlandia" Medley

As the fanfare began, the spotlights shined on the choir in question. Across the main stage were groupings of 4 -- two men and two women (or in other occasions 4 women)in striped dresses/dress shirts that matched the red and blue of the Oceanlandic flag. These groups collectively held the Oceanlandic flag around their waists, wrapping it around them. There was one group of 2, who presented fake rifles near the center of the stage. LED's displayed drone shots of the 5 islets in the Carribean from above during sunset, the pastel rainbow of bermuda-style housing quite beautiful to look at. Lauren stood in the front stage from the catwalk, holding a massive Oceanlandic flagpole, the colour being held by her male partner. Her blonde hair was waved and in neat braids crowning her. She had pastel blue baubles that matched her dress

Patriotic Song: Oceanlandia

-

Choir:
"Free and independent, resolute and brave-
Martyrs have took their cause to their grave! (Cause to their grave!)
We, your citizens are pridefully graced, (Citizens... ahh, graced!)
To keep our great defenses braced!"

Lauren took a step further down the catwalk, her partner following. The groups began to turn in circles, the flag going with them. After three rotations, they stopped on the word braced and broke formation, walking into 3 lines in staggered windows.

Choir:
"Look towards the lighthouse! (Lighthouse-) Patriotically glide!
As our fair nation begins it's historical stride!"

As the song built up, the flag-holders of the 4 advanced to the front of the stage, collecting in the catwalk behind Lauren, the front of the ranks crouching, making two layers of flags. As the next phrase began, the male threw the flag high. A fan for this purpose blew the banner in a mighty effect as the background shifted to fireworks over the tiny capital of Marleytown. Sparklers on stage began and lighting turned a wavy red and blue to suit the patriotic purpose. Those in the background raised their arms and looked to their diagonal right in a patriotic gaze as if the nation was comforting them.

Choir:
"Oceanlandia... Oceanlandia! We gift to thee...
Ev'ry feeling (of good, ev'ry feeling)... ev'ry strife (ev'ry strife-)...
We gift to thee..."

Lauren Morel - Stars Are Shimmering To Me

-
As the song changed to something more delicate, everybody but Lauren walked backstage for a costume change. Lauren planted the flag on a clamp holder slightly off catwalk. The lighting dimmed to a barely perceivable navy blue spotlight, shining just on Lauren. Christmas lights above flickered yellow and white stars, and the LED's revealed the constellations above. Fog and bubbles came from pyrotechnics. Lauren smiled at the crowd, waving gently.

Lauren:
"The stars are shimmering to me; and I loved them.
All my dreams came true in your shiny embrace.
I felt so comforted in - your patterns.
They were so significant, I haven't forgot yet."

Lauren's voice was so soft and it appears she chose a cooling, comforting mezzo-soprano, adding little edits to her tone to make it special. She sat down, folding her hands in her lap, her striped dress matching the barely flapping Oceanlandic flag next to her. She made eye contact with several cameras, softly nodding to them as the blue light became more seeable, illumining her in blue as the constellations spun. Her light makeup made her frame even more attractive.

Lauren:
"I know that sometime the sun must rise-
Matthew:
"So don't be afraid..."
Lauren:
"I know that babe your eyes- (your eyes)"
Unison:
"They have a cosmic flame."

Matthew came up behind Lauren in a black dress shirt and black dress slacks, putting his hand on her shoulder when he made their entrance. She looked up to him hopefully. He pulled her up and they began a slow dance, rotating a few times before Lauren hesitantly let his hand go with resolute and inspiration in her eyes. Viewers could have sworn that Lauren was tearing up, but no tears fell. She had controlled her own emotions to make the scene more emotionally memorable. The fog drifted by as she slowly and hesitantly made her way off stage to do her costume change. The rest of the choir made their way out to give her time. Boys were in what Matthew wore, girls were in a black halter dress with white christmas lights blinking from them like the ones above. She sung the following phrase as she left the stage. By the time the phrase ended, she was off stage.

Unison:
"The things we know about the stars above."
Lauren:
"They make me dream of my eventual rebirth-"

With Lauren out of the way, the choir moved to the front of the stage in a semi-circle, arms on shoulders, hands held. They looked to one another with an expression of genuine love for each other and what they did. A few of them embraced as they sang. The costumed group tilted their head occasionally as the lights revealed the previously obscured but glowing costumed people.

Unison:
"The stars are shimmering to me... (They're shimmering to me-)"
The stars are shimmering to me! (They're shimmering to me.)
My gaze out the window... (just count!)
Just count the stars inside your dreams.
Count the time, count the breaths, count the people (the people you meet!)
Count the sounds of love."

By this time, Lauren had returned in a black and gold halter dress with yellow shimmering christmas lights rapidly blinking. The people surrounded her with a loving gaze, shaking their heads in nostalgic friendship. When she began singing, and when she got to the word 'stars', the pyrotechnics went crazy with fireworks, spark showers, and smoke, twinkling lights strobing and spotlights shining randomly about the crowd.

Lauren:
"Just open up your eyes, and see... the... stars! (The stars are shimmering to me!)
The stars! (Ah... they're shimmering!)
Can you see them, can you see them, can you see the twilight?"
Unison:
"The twilight...starlight...ah....!"

As the second song ended, all the performers gazed up to the stars above. The pyrotechnics cooled down as the track changed. The upbeat energy changed the lights to yellow and red with light fog and even some bubbles. On the background LED's, regular Oceanlandic people from the toddlers to the elderly are dancing to their own beat and style in Marleytown's town square. They are all in colorful tropical tshirts that matched the buildings behind them. The focus shifts. A young married couple spinning, a grandmother doing the disco, even the students before in the past, doing the same dance that was now being choreographed in the center of the camera. The choir began to dance to an upbeat and high energy choreography (check the video if you're really interested.) and a few girls in the striped flag dresses walked out with the handheld banners, batons or miniature Oceanlandic flags.

Mashup: "Dance For Everything + Stars Are Shimmering To Me Reprise

Men:
"I know the storm is brewing, don't mope around 'bout it."
Women:
"I know you're hurt my child, don't start to cry and shout!"
Both Parts (with variance)
"I got some happiness, it's in the melody! (and harmony, harmony! Harmony, harmony!)

"I know you're sad. (Yeah, you're sad.)
Move your feet up! (Move 'em up!)
I know your potential. (Yeah, yeah!)
I know you're brave! (Yeah you're tough!)

You gotta sing! (Belt that note out!)
You need to move!

Lemme show you how to do it, feel the music, hey!"

The group spread out into typical lines, in windows. A few men and women speckled the catwalk which gave way to a bowling pin formation of 5. Lauren was at the front, two boys behind her (one of them Matthew), and three girls behind them. They danced the same choroegraphy of the main group, and as did the speckles behind them that occupied the catwalk. The patriotically-dressed youth had the same choreography and blended in to the star-dressed, save for their choreography was altered to accommodate their banners/flags. All throughout the performance, they cheered, hyping each other up.

Unison:
"Dance if you're good! Dance if you're bad!
Dance if you're smiling, or if you got a frown!
Don't think about it! Keep your feet on the move!
Don't it feel good to say? (Hey, hey!)"

Lauren:
"Now, I really don't know if tomorrow I'll wake!
But I know that if I do, it's that my body I'll shake, yeah!"

Two Boys:
"Now I really don't know if my dancing's spot-on,
Either way, it's a smile that I'm gonna don, yeah!"

As the song built up another time, the hype of the students got real and they smiled to each other and the audience. Lauren fell back into her formation, as choreographed, and they caught her, front-flipping her to her position. She spun several times, bringing her arms up and down on-beat of the music.

Choir:
"Just dance if you're good! Dance if you're bad!
Dance if you're smiling, or if you got a frown!
Don't think about it! Keep your feet on the move!
Don't it feel good to say... (Don't it feel good to say?)

Just dance if you're good!"

The group clapped several times and sunk into a bow. Lauren grabbed the flag as baton twirling striped dress wearers advanced to the front of the stage supported by flag-bearing girls in the same dress. Lauren raised the banner, supported by the wind produced by the fan. The LED's turned to a view of Ascension, a town on one of the Islets of Oceanland, featuring a large flagpole on the peak of the steep island.

Choir:
"Ay! And don't it feel good to say? (Don't it feel good to say?)
Oceanland, I hail to thee!" *

Oceanland, I hail to thee was the starting sentence of the Oceanlandic anthem. As the group sang that, they extended their arms to the flag Lauren waved and twirled about with. The striped dress girls raised their objects, and sunk back into formation. Lauren was picked up by the group, hoisting the flag further. Once sunk down, she put the flag back off-stage in its holder. The group on the catwalk retreated back to the main group, Lauren taking point front and center.

Choir:
"Don't it feel good to see the stars? (To see the stars!)
The stars are shimmering to me! (The stars come.)
Shimmering to me... (Don't it feel good to see light!?)
I see starlight!

As the song built up a final time and that subliminal "Don't it feel good to see light?" by the mezzo-sopranos added a final push to the ending which made it even more valuable, the song ended up on a climactic note, spotlights shining on the group with their arms raised to the air, Lauren smiling and nodding her head. They held the pose in the straight lines, their windows sharp and clear.

The group bowed once more and made their way off stage.

Oceanland went into it's debut with full force.

by **Ceyesca** » Tue Jul 23, 2019 4:34 pm

14. Ceyesca
Ariana Torres - "heaven"
Tune: Ariana Grande - "better off"

**this performance is based off of the "better off" performance in the "Ariana Grande live at the BBC" special

Ariana Torres has been a well established singer-songwriter in Ceyesca and the world! With five albums, four of which have been #1 on Billboard. She comes from Marseille, but moved to Milan in 2001 aged eight after her father's death. She grew up singing and doing musical theatre which helps her greatly with her career. She has already participated in two other editions of WorldVision (67 and 74) and she cannot wait to be back!

Ariana approaches the stage from the back, as she heads towards the microphone in the centre the crowd erupts, roaring and cheering her on. The backdrop is of clouds, dark grey thunder clouds. The sad beat starts playing and automatically the audience is captivated and quiets down to listen to her angelic voice. She is alone with the microphone, no dancers, only a background orchestra. Then, she begins.

Away from the drama
I know you want to understand that
I’d rather you give me your heart
Than to have nothin’ at all
You see all this goin’ on
I see your gaze and your smiles too much
Gives me a little hope with love
Nah, I’ve never really been the one to know, yeah

She sings with such emotion that the audience is hooked. She's at peace with herself on stage, closing her eyes and singing to the audience. Lullaby like. She is dressed in a black gown and it is apparent that she is peaceful. The backdrop becomes clouds with sparks of thunder.

I’ve never been so good at this to start
I’ve always been the loser
They got me failin’ every chance i have with love
Or just forget about ‘em
They come and they go, those feelings don’t matter, no more
Hate thinkin’ of all the heartbreaks
And I’m wishin’ for you to stay, yeah

The audience is now totally captivated by Ariana, some of them so into the performance that they are crying because of how emotional it is. Rumor has it that this song is about her late ex-boyfriend, Nick McKenzie. She continues singing, with the orchestra behind her.

All I see is your heaven
All I need is your lovin’
Don't you lie and say I was hurtin' without 'em
'Cus I'm your heaven, babe
Don't go ahead and deny it

She sings, and she lets out a tear, clearly thinking about her ex. She pushes through and continues singing in her angelic voice as the violins continue with their beautiful harmonies.

I gotta go and face it, I’m not meant for you
And neither are you
Through love and pain I don’t seem to ever match with you
Can’t match with you
Let’s go and dance and sing and defy all of the rules
Just because we can
You keep admitting you love me and can’t ever leave me
Can’t seem to believe what you say, yeah

She starts doing little dances with her arms, but she is still closing her eyes. After all, she is mourning a loved one. She sings and the audience is dead silent, all admiring her beauty, voice and emotion. Her black gown makes her look like royalty, and her appearance makes her look like a mockingbird, ready to be freed by singing this song, a symbol of letting go of the past.

I’ve never been so good at this to start
I’ve always been the loser
They got me failin’ every chance i have with love
Or just forget about ‘em
They come and they go, those feelings don’t matter, no more
Hate thinkin’ of all the heartbreaks
And I’m beggin’ for you to stay, yeah

She does a little bit of more dancing, but quickly stops and she is too focused on singing her way to emotional freedom. She sings and the audience is hooked, feeling every emotion she's feeling with every word she sings.

All I see is your heaven
All I need is your lovin’
Don't you lie and say I was hurtin' without 'em
'Cus I'm your heaven, babe
Don't go ahead and deny it

This time, she sings the chorus a note higher, adding a harmony to it. She sings, and sings gently, peacefully as if she is whispering, but her voice is loud and clear in the arena. Wearing black, she is mourning the death of her ex, a symbol the audience catches onto much later as they're captivated by her voice.

All I see is your heaven
All I need is your lovin’
Don't you lie and say I was hurtin' without 'em
'Cus I'm your heaven, babe
Don't go ahead and deny it, yeah

The backdrop changes to above white clouds and sunlight, representing triumph. Again, she sings the chorus a little bit higher than the previous time, adding more harmonies to this already beautiful song. The orchestra gets louder but gentler, being more of a support to Ariana's angelic voice. She sings the last line, just as the orchestra finishes. She holds onto that last note, and finishes. The audience is feeling all kinds of emotions. "The performance went way too quickly!" some say, while others cry as they mourn with her. She wipes a tear from her cheek as she is received by thousands upon thousands of claps and cheers. She has fulfilled her duty, and has been freed.

by **Elejamie** » Tue Jul 23, 2019 5:20 pm

15- Elejamie

Fata Morgana - Angel (I Can Feel You Now)

Tune: Deepest Blue - Deepest Blue

Left: Yoni Maenilon (vocals). Right: Patricio Esposito (production, occasional backing vocals)

Yoneten “Yoni” Maenilon was born in Portham, Rosetta, on 7th May 1992. The only child of Setaeveni and Elan (née Donovan) Maenilon, a fisherman and a stay-at-home mother respectively, Yoni was originally planning on following in his father’s footsteps and becoming a fisherman. However, he always had an interest in singing and would often join in whenever he was on his father’s ship or in the church choir. In his early teens, he decided to take on singing as a career. He formed a band with a few mates but, other than a few jam sessions at school, they never got anywhere and essentially dissolved. He did perform as a backup vocalist at a number of gigs in the Portham and Rosetta areas, which paid well and showed off his vocal prowess but were sporadic enough to not make it a feasible career unless he went on tour. And while he was originally going to take part in the first series of The X Factor back in 2015, he decided against it at the last minute for reasons unknown.

Patricio José Maria Esposito de Argüello, or just Patricio Esposito for short, was born in Edgebaston, Midland, on 13th October 1993. The fourth of five children, as well as the only male, he was born in a musical family, as his father Esteban served as a session keyboardist for a number of bands in the 70s and 80s, his mother Rafaela is part of a flamenco ensemble where she was not only a dancer but also a palmista and occasional castanet player, his aunt Luisa Esposito was a one-hit-wonder back in the early 1990s under the name with Tus Ojos (which she performed just as Luisa) and both he and his older twin sister Soraya were both piano prodigies ever since they were young, winning a couple of national competitions (and even an international one in 2005). At the age of 15, he and a couple of his friends were involved in a serious car accident; although none of them were killed and the two friends managed to get away with light injuries, Patricio was injured quite badly and would develop epilepsy as a result, although fortunately he has it under control thanks to medication. At the age of 18, he along with Soraya and a mutual friend would form the Christian music group La Gran Comisión, which combined traditional Catholic hymns, performed in both Latin and Spanish, with modern electronic music. Despite the group’s popularity and a number of concerts, the band never recorded any studio material (their sole album, Pues Ha Resucitado, was released in early 2019 after a long search for any recorded material and consists solely of live recordings, though according to Patricio some recorded live material is still lost) and would break up after a couple of months.

In 2016, Yoni started to date Patricio’s older sister Mercedes after meeting her through a dating site. They hit it off and, eventually, Yoni would later move to Edgebaston to be able to spend more time with her, as well as to try and find some work. There, he met Patricio and the two would quickly hit it off due to their mutual love of electronic music, namely the group Monochrome Haze. Although Yoni and Mercedes would eventually grow apart and then break up, he still managed to remain friends with Patricio and, a couple of weeks after the breakup, the two decided to form a band. After a couple of name changes, they decided to go with “Fata Morgana”, having read it in a news article. After scraping together enough money from a number of jobs to afford enough for studio time, the duo would crank out their debut EP Sundog in 2017, which not only proved to be an underground hit but would also attract the attention of their idols, who’d not only remix a couple of tracks (namely the title track, which would become their first top ten hit, peaking at #5 in the charts) but would also help co-produce their first album Corona. Released in early 2018, the album provided them with a couple more top ten hits including their first #1 I Can Feel Everything Around Me. They’ve also announced that a second album is in the works, with the possibility of this song being on it depending on how well it does.

Although the duo have a popular LGBT following and fans have even shipped the two, they are both heterosexual. Patricio is currently engaged to model Carrie Mulhavey (who will make the trip with the boys and will be part of their entourage in the green room), whereas Yoni’s currently single with his sole companions being his two corgis Sherry and Monty, as well as his calico cat Marigold. They do, however, acknowledge and show appreciation to this side of their fanbase: they have given interviews to a number of LGBT publications both at home and abroad, all of their love songs are intentionally genderless so they could apply to both same-sex and opposite-sex relationships, they frequently joke about being a married couple (even though, in reality, Yoni continues to reside in Edgebaston whereas Patricio moved to the city of Iceland in the northwest of the country), donate a percentage of money made from album and single sales to LGBT-related causes and their first live TV performance was on the rebooted Saturgay Evening tv show, where they famously performed shirtless.

This, however, isn’t a cynical attempt to curry favour with the LGBT community but rather because the duo are arvent supporters for LGBT rights, mostly due to them having family non-straight family members. Yoni’s great uncle Veni Maenolin (1933-2016) was not only the co-founder of the Gay and Lesbian Iyilim Committee (or Gae Lesbi Iyilim Comiti in the Iyilim language), which was essentially the first organisation dedicated to the rights of LGBT Iyilim (native Elejamians) but in 1969 he also helped overturn the Moral Protection Act, which saw a ban on depictions of same-sex relations in media (which was made as a compromise due to a large amount of opposition to banning homosexuality entirely). Patricio’s uncle Gregorio Esposito helped organise the first gay pride parade, held in Playa de Rocas back in 1978 and would end up becoming the first openly bisexual mayoral candidate in the country when he ran for mayor of that same city in 1985, coming in fourth of five candidates with 13% of the vote. And his youngest sister Lucia is openly lesbian, with Patricio being the first person she told and the person who supported her the most before she told the rest of her family. End of pointless filler.

In the last competition, held in Angradka in Polkopia, Elejamie managed to make a comeback in style when Samir Ghatak, performing as Artist Unknown, managed to come in 13th place with 66 points. Although not that many nations voted for it, with it receiving votes from just eight nations (out of the 32 that gave their votes), it was still able to get high marks from the ones that did, including twelve points from VIR and Mister X but also ten points from Normandy and Picardy as well as hosts Polkopia. Indeed, the lowest it got from another nation was four points, coming from Kishrael, though it also received quite a few sixes as well. As a result, ETV considered it a successful return and announced an internal search for their entrant for the 75th WorldVision, eventually deciding on upcoming electronic duo Fata Morgana, consisting of lead singer Yoneten “Yoni” Maenilon and producer/occasional backing vocalist Patricio Esposito.

Although both Maenilon and Esposito aren’t fans of the WorldVision Song Contest or the World Hit Festival, openly saying that the former was a “popularity contest” and the latter didn’t interest them, they still took up ETV’s offer on taking part in the 75th WorldVision Song Contest. In Patricio’s words: “We were hitting a bit of a brick wall coming up with songs and lyrics. Sure we had come off a nationwide tour that dipped into other countries but we were raring and ready to go back into the studio and record some more stuff. If only we could think of something. Then ETV got on the phone with me, asking if me and Yoni wanted to represent us at the WorldVision. I wasn’t keen on the idea and neither was Yoni but a couple of fried chicken sandwiches and a couple of beers later we sent them back a message saying we would. With full creative control, of course.”

After ETV begrudgingly accepted, they got to work on their entry. Using an old poem Yoni wrote for his ex-girlfriend as a base, they got to work on laying the foundation for their song. Changing some of the lyrics due to them being too specific towards someone, guess who, Yoni managed to come up with a rough draft of their song. In the meanwhile, Patricio used an early cut of one of his old songs and, after a bit of tweaking, the duo made a demo of their entry, which they titled Angel. Although they weren’t keen on it, they realised it had some potential and, after a brief rewrite, rework and additional bass from Monochrome Haze frontman Mark Hanton (who won’t be appearing on the night but is credited on the record), the duo submitted their second version to the ETV offices, who were impressed with it and announced that it would be Elejamie’s entry to the 75th WorldVision Song Contest in Kalosia. Will it be the nation’s first top ten entry, or even win it for them? Probably not but we shall see...

Parade of Nations

Backstage, the two of them were anxiously waiting for their number to be called so they could make their appearance on stage. After all, they were drawn number 15, which meant they had to wait a while before they could appear. As they watched contestants from the other countries show up on stage - Amuaplye, Kishrael, that country with the long name everyone can’t pronounce but instead calls by their initials VIR (to the point where the Iyilim name for said country is literally VIR) - they both discussed and debated what they’d do when they showed up on stage. This slowed down as it got closer to their number and completely stopped altogether when country #14, Ceyesca, headed out on stage, not just because they’re nearly out of time but because they had a clear-enough idea of what to do.

And then it was showtime. Stepping aside to let a blonde woman holding their nation’s flag pass by, someone who was roughly their age and wearing the same short emerald-coloured dress that all the other flag ladies were wearing, they began to follow suit and headed onto the stage just as the voice from earlier boomed the name of the country they hailed from. However, unlike the other entries, the duo had taken a bit more of a casual approach with their entrance. Patricio was wearing a black shirt with a dinosaur on its side and the phrase “T-Rex no like push-ups” written on it, a pair of black chino trousers and a pair of plain black trainers with all the laces neatly tied up. Yoni, on the other hand, was wearing a grey hoodie, a pair of blue jeans and a pair of brown slip-on shoes. The reason for this? Patricio was feeling a bit too warm backstage and so he took off the ice hockey jersey he had on top of his shirt, whereas Yoni was in a bit of a rush and, thus, didn’t have time to get changed into what he’d be wearing when it was time for him to perform. Fortunately, he was able to take his outfit with him to the Monterra Concert Hall, where the contest is going on, though his next task is to find somewhere where he can get changes without getting disturbed. Should hopefully be easy.

They then followed the flag lady further out onto the stage, with the crowd giving a round of applause and cheers as they stepped right out. Not necessarily because they were the favourites or anything like that but rather the standard cheering given out for the performers. Yoni and Patricio, on the other hand, waved at the crowd, waved at the cameras and gave both of them a thumbs up from time to time. They didn’t really say much but, for the people having to watch it on TV, they could clearly hear a faint “Hola” from Patricio and a “Halo” (pronounced the same way as “hello” but with a small pause in between each syllable) from Yoni. There was a slight bit of nervousness from the two, which they were mostly able to mask with their go-getter facial expression and small fist pumps as if to say “let’s do this”, but then again you would be nervous to some degree too if you were on one of the biggest stages in your career about to perform on one of the biggest nights of your life.

After the introductions and niceties were over, the duo then headed off stage and bumped into Ceyesca’s very own Ariana Torres, who not only represented her country in the contest before this one but also appeared before them in the parade of nations. Upon meeting her, he simply said to her “Best of luck.” Once entry number 16, AmbiDextra from the Achaean Republic, finished her bit and went off-stage, he did the same to her. He didn’t stick around for everyone else, however, as he then went on to find somewhere to get changed while Patricio headed back to his table, waiting for not only his bandmate to get into his outfit but also for their number to be called so they could finally perform. Here’s hoping nerves won’t get the better of them.

The entry proper

After the postcard, we cut to an above shot of an already illuminated stage with two figures standing in place. The figure in front was standing in front of a microphone already in the stand, whereas the second was standing a fair bit behind him, behind a keyboard stand, a second smaller fold-up table with various other electronics such as a drum machine perpendicular on the right to it and a second microphone, used to provide backing vocals when necessary. The backing projectors just showed a dark blue background, with smaller lighter blue concentric circles dotted around; static for now but when the time was right they’d do some more.

Eventually, once the duo were both ready, the music started to kick in as we cut to a zoomed-in shot of the keyboardist playing his instrument to start the song. The camera would then gradually zoom out to reveal that the figure behind the keyboards was music-maker Patricio Esposito, who was bobbing his head a little bit to the beat as he kept pressing the keys of his keyboard. He was dressed in the same pair of black chinos he wore earlier and the same pair of black trainers as well but he was also now wearing his Edgebaston Shamrocks ice hockey jersey, just a plain one without a player or their number on the back. And, to top things off, he was wearing a pair of blue polarised aviator sunglasses, which weren’t necessary as his epilepsy isn’t photosensitive, but he wore them anyway as he thought they looked cool.

As it zoomed out, we could see those concentric circles slowly pulsing in the background in time with the bass. And, indeed, once it zoomed out far enough, we could finally catch a glimpse of lead singer Yoni Maenilon dancing along to the start of the song as he waited for his cue. He was dressed in a much more simpler yet arguably more striking attire, much different to what he was wearing earlier. For a start, he was dressed in a plain white shirt, where the bottom three buttons were done up but the top four weren’t, giving a glimpse of his tanned, toned and vaguely muscular chest underneath. He was also wearing a pair of white jeans which may have been a little bit baggy but still fit alright, a gold cross necklace underneath his shirt to compliment it and a pair of white and black trainers. Once the moment was right, he took the mic off of the stand; although he very nearly fumbled it as he was getting off, it turned out to be intentional as it was something he did during rehearsals. Either way, once it was off the stand, he stared deeply into the camera, moving his head as the camera moved or when it changed to look into another camera and began to sing:

And so there I was feeling down
Felt like no one else was around
I’d given up on everything
And then you came in

Just before the next part of the verse began, the camera cut over to Patricio, who would press a button on one of the electronic machines on the table near him. Fortunately, for him, it turned out to be a drum machine which provided the necessary electronic percussion to the next verse. Once he did that, he kept playing his instrument while the camera could cut over to Yoni, who was being viewed from the side as he began to sing the next verse. Towards the last line of the verse, the camera could then slowly move in front of him, just as he smiled and got ready to sing the chorus.

And so I always thought that love was blind
In truth I couldn’t see the sign
That my angel laid out for me
And my life starts new

Around the same time of the third word of the chorus, there was a small flash of light from all the lights surrounding the stage. Fortunately, it wasn’t too bright a flash, mostly because Yoni never really liked bright flashes of light as they irritated his eyes. Fortunately, a well-timed blink prevented this, though it was more natural than what he did during rehearsals. Also, the backing projectors all showed a bright yellow background, with the blue concentric circles still pulsing to the bass, though the only difference is that they're spaced out a bit more due to them growing angel wings. Eventually, when it came to the last line of each bit of the chorus, Yoni moved the microphone away from his face due to the last word echoing.

I can feel you now
It’s like I’m in heaven
And nothing’s ever gonna stop me
And things are gonna get better better better better better better

I can see you now
And you’re right beside me
And it’s like my eyes have been opened
To a world I’ve never seen before before before before before before

Once the chorus came to an end, the light became more subdued. The backing projectors went back to showing a dark blue background with the lighter blue circles losing their wings and going back to where they were. There was also lighter blue light on the floor projectors that also slowly pulsed in time with the music. A second or two after the echoing subsided, Yoni got right on with the next verse.

Your smile can light up a room
And how it burns brighter than the Moon
I would write a bad poem for you
Like I just did there

During the little break in between verses, as well as during the first line of the next verse, the camera would snake its way over to Patricio, who would lean over and sing into his mic at the same time as Yoni, as evidenced by the italicised line. Once he finished singing the line, the camera immediately cut to Yoni continuing with the rest of the verse.

You’re the greatest gift that God could give
A million words, all positive
Let’s all forget about the past
I can start again

The camera would then go back to Patricio as it cut to a close up of him playing a few notes on his top keyboard with one hand, while offscreen he was still playing a few other notes on his bottom one. The top keyboard was for bass whereas the bottom one was for the melody. After a couple of seconds of this, the camera would then cut to Yoni, who went back to dancing. Once the instrumental break came to an end, Yoni span around on the spot before he got back to singing the first part of the chorus. Indeed, much like earlier, there was a great display of light on that third word of the first line of the chorus.

I can feel you now
It’s like I’m in Heaven
And nothing’s ever gonna stop me
And things are gonna get better better better better better better

Once the second start of the chorus began, Yoni began to strut along the catwalk as he began to sing it. Indeed, not only did the camera start with a side view of him doing so but the moment he reached the podium it then cut to a camera fright in front of him, though when it reached the last line, the cameraman moved around to show a shot of him from the back. Meanwhile, back on the part of the stage that Yoni was on before he started his strut, not only was Patricio still playing his instruments but he also kept providing backing vocals, namely the stuff in the brackets that lasted throughout the last line.

I can see you now
Like you’re right beside me
And it’s like my eyes have been opened
To a world I’ve never seen before before
To a world I’ve never seen before (Ooh… before)

During the second instrumental breakdown, the lights started to dim, with the only sources of light being a faint blue light from the projectors behind the group and the area on the floors surrounding the two being the only sources of light. However, despite this, Yoni was still able to notice a female member of the audience, a raven-haired girl with a blue beanie, a blue shirt and white trousers standing close to the stage, looking like she didn’t really want to be that close. He wasn’t sure if she was feeling a bit uncomfortable because of all the people around here or because he had a small feeling a crush was going to happen anytime soon. Either way, he decided to do something unexpected.

Moving the microphone away from his mouth, he leaned over a little bit and, while he wasn’t able to be heard by the audience, lip readers and those close to him could hear what he was trying to say: “You OK down there? Do you wanna come up?” He then reached down and stuck an arm out for her to grab onto, which she did, before he managed to pull her up. Sure he missed the first “Things are gonna get better” due it being sampled but he didn’t miss the second one. Once she was up on the stage, he walked her to the middle of the podium and let go of her hand, walking around her in a circle (with the camera doing the same thing to get a side view of him doing so) as he sang the first bit of the chorus.

I can feel you now
It’s like I’m in Heaven
And nothing’s ever gonna stop me
And things are gonna get better better
And things are gonna get better (Ooh… better)

Upon the start of the second half of the chorus, he turned back around to face the audience and sing to them. While the girl stayed in the middle of the podium, she began to dance to the song, with the camera going back and forth between her dancing and Yoni singing. It wasn't the most graceful of dances but given the events that lead up to it and how it came out of nowhere, there was no time to pull off a complicated and choereographed dance. Plus she was just that into the song.

I can see you now
Like you’re right beside me
And it’s like my eyes have been opened
To a world I’ve never seen before before
To a world I’ve never seen before (Ooh… before)

When it came to the last bit of the song, the camera then moved up until it was face level with Yoni, before immediately cutting to a camera that showed a wide-angled shot of him from behind right in the middle of the verse. And, as always, there was a flash of light around that third word.

I can feel you now...

As that last bit began to echo, Yoni raised a fist into the air as the lights began to dim again, starting with the lights at the front of the stage before the ones being projected underneath him and Patricio, with the screens behind them also going dark. The keyboardist, however, kept playing his instrument until the song came to an end; indeed eagle-eyed viewers could see him lowering a switch with one finger as he kept hitting keys with the other hand, almost as if that was him fading out the music live before their eyes.

Once the song finally came to an end, the lights turned back on as the audience began to cheer. Patricio rushed away from his keyboard stand and over to the middle podium before he and Yoni wrapped an arm around each others’ shoulders in a side hug. While the girl who was on stage with them was being helped back into the audience, the two members of Fata Morgana did a few bows to the audience, though they had to turn around so they could face the different parts of the audience who couldn’t see them. Yoni then said into the microphone “Thank you Monterra, have a great evening!” before he and Patricio began to walk off stage, having stopped side-hugging once Yoni finished his bit, letting it get ready for the next act to perform.

by **Achaean Republic** » Tue Jul 23, 2019 5:29 pm

16. Achaean Republic
AmbiDextra-"Al Amanecer" (To the Morning)
Music: DJ Sneezy, Andrés Martín
Lyric: Patricio Abrantes, Orestes Pereira

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Marlene Brown Vizcarra was born in the poor barrio of El Congó in Rosario, Fortune Islands. She grew up in a music-filled household with a West Indian father, a steel pan player, and an Achaean mother, who worked as a lunch lady in local public schools and moonlighted as a gospel singer in her local church. Many rhythms collided with each other as she grew up in Rosario: dancehall, salsa, cumbia, merengue, champeta. But her true love was the steel pan drums she inherited from her father, the ones she used to play, to cook, to reflect her face in the sun (with makeshift glasses, of course!), the same ones that inspired her to become a singer.

When she was 16 years old, Marlene started singing in local bars, clubs, and pubs around Rosario, performing as a back-up singer with popular reggae artists like DJ Ceja and DJ Ñona. With those, she felt inspired to bring her father’s steel pan drums and incorporate them in her music. This led her to being discovered by music mogul Tony Gañejos, who wanted to exploit the black rhy…erm…I mean, explore the musical trends that the Fortune Islands offered to the rest of Achaea. With him, she sang her first reggae hits: “Presea" (Medals), “Pa' Mi Gente del Barrio” (To The People of My Neighborhood), and “Ternerito" (Tender). This made her moderately successful, and even garnered her an Agüeybaná Music Award for Hottest Urban Musician. In the first phase of her career, she was simply known as Lady Marlene.

In the 2000s, she exploded on the Achaean music scene with soca, her father’s native sound, and a new name––AmbiDextra, or “Ambidextrous”, that made her garner her first hit, “Bombazo.” She also garnered greater soca hits with “Lucío" (Show-Off) in 2009, “Bellaqueo Intenso” (Intense Horniness) in 2011, and “Pa’bajo Los Hombres” (Down With Men) in 2013. Her reggaeton-infused soca with Latin rhythms allowed her to become one of the Achaean Republic’s most successful female urban singers.

She won WorldVision: La Final with "Al Amanecer” (To The Morning), which quickly premiered in the Agüeybaná charts on #1 for three weeks straight.
_________________________________________________________________________________________________________________________________________
As the Achaean Republic’s postcard ended, the stage faded to black. As AmbiDextra begins to sing, the stage is filled with holographic images of Carnival revelers dressed in costume, jumping, drinking, and grinding on each other. AmbiDextra is dressed with a succulent, feathery Carnival costumer made of aqua blue, hot pink, and aqua feathers, bejeweled with Swarovski crystals and beaded with hot glue and mesh. There is something uniquely maddening about this costume––the tacky and the gaudy, mixed in with the bold and the sensual. Her tattoos are showing on the side, and her diamond-studded brassiere is barely covering her breasts. She isn’t a big girl by any means, but as a Rosariana, she shows off her curves with pride.

Behind her, five more revelers follow in a V-formation, all dressed with the same, barely-there masquerade costumes they would typically wear at Carnival. This was the time for the women to celebrate themselves, celebrate their freedom, celebrate their shamelessness and lack of expectations.

Estoy lista pa' rumbear...
AmbiDextra

Sali 'e trabajar,
I'm out of work

me voy a bañar
I'm going to shower

hasta el amanecer (amanecer)
Till the morning comes

ron cañita stride,
Moonshine rum at stride

un poco de whiskey tonight
a little bit of whiskey tonight

asta el amanecer (amanecer)
Till the Morning comes

As AmbiDextra grips her microphone, the costumed crew begin following her and dancing with the beat of the music.

Del canto la primera
From my block, I'm the first one

que le gusta la fiesta
That enjoys the party

La que mueve y perrea, mueve y perrea, mueve y perre––
The one moving and grinding, moving and grinding, moving and grind––

para!
and stop!

Las enemigas,
My enemies

las que me envidian,
They're jealous of me

no soportan el brillo de mi cabeza
They can't stand the shine coming from my head

y todo lo bailo aquí
And everything I'll dance it here!

The backup dancers behind AmbiDextra hurry along to the camera and begin posing. As the camera circles around them, one of the dancers starts wining, moving her hips in a suggestive motion, showing off her tattoos in her right calf. Another model gyrates her glutes to another dancer beside her, and begin wining together.

Al amanecer,
Till the morning comes

al amanecer,
Till the morning comes

al amanecer,
Till the morning comes

al amanecer
Till the morning comes

al amanaecer,
Till the morning comes

al amanecer,
Till the morning comes

al amanecer,
Till the morning comes

al amanecer
Till the morning comes

AmbiDextra struts to the catwalk near the stage, singing along with the rest of her dancers. The holograms and screen images capture people dancing in Carnival, beer, rum, confetti, glitter, and sweaty bodies enjoying the tropical sun. A quick, screen-shot glance at a camera point out a small cluster of Achaeans on the fanzone, cheering on and dancing with their national flags and LGBT flags, as well as the blue-and-red flag of Rosario, AmbiDextra's hometown.

Te quiero besar,
I want to kiss you

con mi corillo vacilar
And have fun with my crew

hasta el amanecer
Till the morning comes

Quiero acostarte
I wannna lay you in bed

en la cama del Telegram
In the faces of Telegram

hasta el amanecer
Till the morning comes

Mi misión la primera,
I'm the first of my mission

me tiro en la perrera
I throw myself in the doghouse

la que mueve y perrea, mueve y perrea, mueve y perre-–
The one moving and grinding, moving and grinding, moving and grind––

¡para!
and stop!

Las enemigas
My enemies

quieren justicia
They want some justice

Me les río en la cara
And I laugh in their faces

por que soy fresca
'cause I'm so fresh

y todo lo bailo así
And everything I'll dance it here!

AmbiDextra smiles and raises her voice to sing her refrain––all while dancing in long heels and a thirty-pound costume adding to her thin, yet strong waist.

Al amanecer,
Till the morning comes

al amanecer,
Till the morning comes

al amanecer,
Till the morning comes

al amanecer
Till the morning comes

al amanaecer,
Till the morning comes

al amanecer,
Till the morning comes

al amanecer,
Till the morning comes

al amanecer
Till the morning comes

Te quiero besar,
I want to kiss you

con mi corillo vacilar
And have fun with my crew

hasta el amanecer
Till the morning comes

Quiero acostarte
I wannna lay you in bed

en la cama del Telegram
In the faces of Telegram

hasta el amanecer
Till the morning comes

Mi misión la primera,
I'm the first of my mission

me tiro en la perrera
I throw myself in the doghouse

la que mueve y perrea, mueve y perrea, mueve y perre-–
The one moving and grinding, moving and grinding, moving and grind––

¡para!
and stop!

Las enemigas
My enemies

quieren justicia
They want some justice

Me les río en la cara
And I laugh in their faces

por que soy fresca
'cause I'm so fresh

y todo lo bailo así
And everything I'll dance it here!

Al amanecer,
Till the morning comes

al amanecer,
Till the morning comes

al amanecer,
Till the morning comes

al amanecer
Till the morning comes

al amanaecer,
Till the morning comes

al amanecer,
Till the morning comes

al amanecer,
Till the morning comes

al amanecer
Till the morning comes

The refrain continues as the holographic images turn to visual fireworks and costumed dancers with cups filled to the brim with rum on their hands. As the music slowly crawls to an end, AmbiDextra's backup dancers slow down their gyrations and clean off the beads of sweat on their brows. It could be barely noticed by the heavy lighting and the caked-on makeup, but an eagle-eyed viewer at home could see how one of the dancers' makeup was running over her face. They were sweating. But they were having fun.

As the song ends, AmbiDextra bows to the cheering crowd and says, "Thank you, Monterra! Gracias!" They all leave a bit blistered from three minutes of intense wining on high heels, making way for the next song of the night.

by **Greater Korean Juche Republic** » Tue Jul 23, 2019 6:31 pm

Entry 17 - Greater Korean Juche Republic
Childhood Memory, performed by Supreme Leader and Eternal Mother Kim Seyong-Taek, and harmonized by singer Ri Do-Tang
* Courtesy of Korean Central Television (KCTV) *

Kim Seyong-Taek in traditional Joseon-ot, the same one she will be wearing in the performance.

Just like WV-74, the leader of the Greater Korean Juche Republic would be performing once more. Security measures were taken, but this time it would be more minimalist. KCTV would be excitedly covering it with a team of cameramen and VIP attendees as usual. Pochonbo Electronic Ensemble would play the cover live. Kim Seyong-Taek emerged on stage and walked down the catwalk to the mini-stage. Ri Do-Tang made way for the main stage, standing behind Kim to her diagonal right. Before the song began, she addressed the crowd as usual.

Kim Seyong-Taek: "Hello, WorldVision 75. This is the second time we meet. I'm sure most of you knew what career I pursued before becoming the Dear Leader. Ultimately, this song isn't about me or my people. It's about home, and how it is important for everyone to remember their nativity with heart and prioritize their hometown well. Thank you."

Childhood Memory

The music began and the lights dimmed, save for two spotlights shining on both women in matching Joseon-ot. A distant, wispy fog coated the floor and made the girls look mystical. With a calm demeanor, Kim began as the screen behind her showed a Juche Korean woman in a soldier's uniform. Her insignia showed that she was around a sergeant of the Korean People's Army. She has a line of three medals and around 6 ribbons. Over her heart is the lapel pin, featuring the faces of the 3 late leaders below a Juche symbol. The woman wandered around a dying winter forest, hands clasped in one another.

(anything underlined is harmonized by Ri)

Kim Seyong-Taek:
~ ~ ~
"After the long journey... of my maturity.
I've felt a weighty distance to my hometown and family.
Oh, the pain of separation runs so high!
The feeling of nostalgia cuts so deep!

Wandering this maze of my life,
I want to return home!"

Kim pressed her hand against her chest, gently swaying to the beat. Ri only came in when needed but when she did her higher octave harmony was near unforgettable. The two, despite being so far away and separated by the swirling fog which now glowed green due to the lighting, had such a great chemistry as a duet. The woman in the picture looked distressed. She trudged through the snow, her weapon slung across her back. She came to a passage in the trees and saw an authentic Korean village surrounded by mountains and snow. In the center was a statue of Kim Il-Sung, and the standard red message boards and propaganda paintings graced the already beautiful mining village. A smile stretched her face and she began to run through the snow towards it, twirling around and making snow angels in between bursts of running and rest.

Kim Seyong-Taek:
~ ~ ~
"Some days I can barely bear the thought... of my eventual return.
Has my homeland changed so drastically... just because of my absence?
Oh, the pain of separation runs so high!
The feeling of nostalgia cuts so deep!

Approaching such a changed town,
I wonder where my childhood memories were."

As the dictator had a look of visible sadness in her eyes, and as her partner got closer to the catwalk, the spotlight suddenly switched off of Ri, obscuring her in the fog, a testament of memories lost due to changed surroundings. The woman looked at the town's new industrial district, all of the new residents, and she struggles to find her family house. A few old neighbors grace her with good news and show her about, smiles on their faces. A dinner scene is revealed in the neighbors house, where the girl-soldier merrily eats with her siblings and neighbors.

Kim Seyong-Taek:
~ ~ ~
"Despite my family's new prosperity... I can't help but feel obsolete.
Where did all of my past treasures of life flock to next?
Oh, my dear General!
Father of my home country of Juche!

I can't tell where you are,
But I'll carry on your legacy to start anew."

The woman stops at the grave of her mother in the town's cemetery and lays a floral tribute and a salute. She then walks to the statue of Kim Il-Sung, looking up at him with tearful eyes, missing the man who founded the country. She realizes that her home has been forever changed, and she must carry on living to progress her life to eventually make memories for others later in her life. With tearful eyes and a smile, she spins and makes the same snow angels, knowing that she belongs in her home, no matter how changed it might have been.

In the time it took for the song to end, the spotlights shined again and Kim and Ri were united. It was a simple piece, but hopefully it captivated the audience enough to earn them some extra points. They walked off the stage back to the security of their guards.
-

by **Antahbrantahstan** » Tue Jul 23, 2019 7:55 pm

18. ANTAHBRANTAHSTAN

Ruslan Miroslavović-Sanctuary

Tune: FTISLAND-Take Me Now

m & l: Miroslav Sekulić, Mélanie Magrin, Alexandra Weber

Ruslan is already well-known in the Anturian music industry, known for training with FOUR before debut (and thus being close friends with them), he would then set his mark on the Anturian music industry with his debut studio album, Summertime, the album sold a modest 150.000 copies at the time of the writing, which is very common in Antahbrantahstan.

Born to an Izmeduan father, Miroslav Sekulić, and an Anturian mother, Triana Ambarwati. Ruslan becomes the second ever Anturian representatives to be a mix-blooded person, the first being Sara-Lorena Huntington, who is of Anturian-Britonish ancestry, however, Ruslan dislikes it when people keep talking about his parents, as he wants to be known for his music rather than gossips.

Ruslan always loved rock music from the start, he already submitted songs to MGP Anta many times, but he was rejected, this song, however, becomes his lucky charm as the song successfully got selected as one of the 20 semifinalists, and won the show.

Ruslan will try his best to represent his nation and his voice at WorldVision, so, he hopes for success this time, good luck, Ruslan!

My bones are dried out
And my visions are gone
I just wanna get out
But i will be alone

I'm inviting you
To join me on this ride
I'm inviting you
To some place that i know

Where we can rest a bit, where we can just relax
Where we can rest a bit, where time has finally stopped, oh, oh

Sanctuary
People said i can't
I'll turn "can't" into "can"
They might be true
I'm going nowhere
And now i'm lost
But i will try to find it

(Find it out)
(Search it out)
(Look it out)

by **Kalosia** » Wed Jul 24, 2019 7:41 am

19
Kalosia
Mama Kantera — Corpus Calosum
performed in Kalosian to the tune of Skúšame sa nájsť — Peter Bič Project (alternative link)

Silvio Raneri and Maria Kartas make up Corpus Calosum, a folk duo from Altan in the Kalosian highlands. Their name is a reference to the Corpus Callosum, a part of the brain that connects the two halves of it together, and it is played with Calosia, an alternative spelling of the name of the country they have been selected to represent at the 41st World Hit Festival in Izmedu. The concept is that the two halves here represent modern and traditional Kalosia, and through their music they want to send a message that there are aspects of the past that a modern Kalosian identity should not leave behind.

In the case of this song, they wanted to continue upon the environmental theme involving Mother Earth that they had built upon in a previous song of theirs — Gaja. Corpus Calosum are no longer strangers to the Kalosian music scene. Gaja was the song they entered into the Festival dele Melodie Kalosiane which gave them the right to represent Kalosia at the 41st World Hit Festival. They later won and brought home Kalosia's second ever World Hit Festival victory. Following this success, they penned a song which they entered into Festival dë la Kanžu Kalosianë (FKK). FKK, or the Kalosian Song Festival, is the nation's equivalent to the Italian Sanremo, the Albanian Festivali i Këngës, you name it. It is a renowned, world-class production by RTVK, a domestic song festival which remains immensely popular even with competition from WorldVision and the World Hit Festival. It is held once a year and the biggest musicians from all over Kalosia enter their biggest new hits, in a show where all the songs reflect a cultural Kalosian identity.

Despite the fact that the songs that compete in FKK are consistently higher in quality than the songs that compete in Festival dele Melodie Kalosiane, somehow an FKK competing song, let alone winner, had never been chosen to represent the island nation internationally, ever since our debut on the international musical stage over 7 years ago.

However, that began to change in the past couple of months. In May, the winning song of Festival dele Melodie Kalosiane was a song that was originally to be entered in FKK, but was disqualified due to technical issues. It won the national final by a landslide and came 4th at the World Hit Festival. Time passed, and after Festival dëla Kanžu Kalosianë had wrapped up, RTVK announced its decision to send the winning song to the WorldVision Song Contest 75.

There were multiple factors taken into consideration. First, the winning act, Corpus Calosum, had won the World Hit Festival. Since the first Kalosian WHF winner re-entered her song into WV, the decision to enter a Kalosian winning WHF act into WV was merely about forming a tradition, albeit not with the same song. Second, it let the steam off the increasing public pressure to send the FKK winner to the WorldVision Song Contest. Finally, it was hoped that the entrant would be able to benefit from the momentum of the WorldVision Song Contest being here in Kalosia, on home soil.

Of course, Corpus Calosum were honored. They had brought a song contest to Kalosia, now it was their turn to compete at a song contest in Kalosia.

The song, "Mama Kantera", means "Mother Will Sing". The 'mother' in the case of this song is actually a reference to Mother Earth (as previously mentioned), and the message the pair is trying to bring forth is that Mother Earth will continue to survive long after we have brought ourselves into oblivion. It appears to be based on the scientifically-proven notions that the earth and its atmosphere can recover eventually no matter how bad we humans damage it, although humanity and life as we know it today may not necessarily be able to come along with the planet into the future. The vocals will mostly be provided by Maria, with Silvio with his guitar taking a more supportive role.

The two will be dressed in white for the occasion, wearing the same clothes they did in Polumisec as a sign of good luck. To complete their iconic fashion style, Silvio's guitar will be adorned with the same decor based on traditional Kalosian motifs that they had at the World Hit Festival.

As the postcard finishes playing, the crowd goes wild already, welcoming Corpus Calosum onto home soil. The crowd gradually comes down, and, seemingly abruptly, Maria begins to sing.

Mama kantera la storia
Di soji feľi kë viveronu
Mama kantera ma nesun školtera
Perki në školtavamu a lej

The previously dark LED screens start to display a forest. The hues are mostly a dark golden colour with splashes of red and brown. An autumnal theme appears very prominent throughout this staging.

Mama kantera di sia pasatë
Rëkordera di tudi noji spaľi
Mama suvivera apre noj moramu
Perki lei es fortë, kantera:

The stage lights begin to shine brighter than ever, showering the stage in golden light. Members of the crowd sing along with Maria.

Na na nana na na
Na nana nana na na
Na na nana nana
Na nana na na

Corpus Calosum did not want to rely on any gimmicks or what have you in order to boost their message or create impressions. As proven at WHF41, their minimalist, simple staging was enough to put their message across. The audience, at this point, started clapping along to the beat.

Lë tšelu briľera senzë o kon
Li feľi di mama kë n’impranu
Mama kantera unë ležio per noš
Ovez es noji oreľi kadë kanta:

Now, as the audience had managed to learn the chorus, practically the entire arena was singing along with Maria.

Na na nana na na
Na nana nana na na
Na na nana nana
Na nana na na

Now the camera panned on Silvio, who by now had taken out a violin and started playing a solo on it. While this was happening, off-camera Maria took her mic off the mic stand, and brought the stand to the side of the stage where a member of the stage crew came to collect it.

Once the violin solo was over, Maria was standing, camera focusing on her. Off-camera, Silvio went to grab his guitar again.

Žatšu o foku, suvivera
Perki es pju fortë dël tempu
Kadë samu debol, saperete la veritë
Mama kantera senzë o kon noš

Now both of them were on camera, and they started walking down the catwalk. A pyro shower went off in the background, adding to the entry's rich golden hues. This pyro shower was initially rejected by Corpus Calosum, but eventually they agreed to it as they ruled that it didn't unnecessarily distract too much from the message of their song.

Na na nana na na
Na nana nana na na
Na na nana nana
Mama kantera senzë o kon noš

They reached the end of the catwalk, having went through a sea of people waving flags and clapping their hands. They took their places on the satellite stage, where they continued to perform for the rest of the song.

Na nanana na nana nanana
Nanana nana na nana
Na nanana na nana nanana
Nana nana

Na nanana na nana nanana
Nanana nana na nana
Na nanana na nana nanana na

The song ended and the crowd went wild. Maria and Silvio took a bow. Overwhelmed by the warm response by the home crowd, Maria exclaimed into the mic: "Gražia Kalosia! Thank you!"

The camera panned into shots of the cheering audience for a couple more seconds before the postcard for the next country — Caryton — began.

by **Spiritual Republic of Caryton** » Wed Jul 24, 2019 12:42 pm

#20 - Caryton

Brought to you by the Trinity Broadcasting Service of Caryton

Latanya Anderson and the Blessed Gospel Choir of Caryton

Before the Performance/Background: Latanya Anderson is a multiverse-renowned gospel singer and songwriter. She has been an important figure in feminism and rights for people of all races, backgrounds, or sexual orientations. While only the latter of the three is an issue in Caryton not being elaborated on or even pursued by the Ecclesiastical Meritocracy, Latanya declares that she is a devout member of Caryton's unique denomination of the Gospel Church of Caryton. Since there is no separation of church and state, the Blessed Gospel Choir of Caryton has cells nationwide. It took a serious evaluation of members on the small-town to the national scale, and people from all over Caryton have been selected to perform with Anderson. The Gospel culture of Caryton is one of wonder. On one half, it's traditional choir music but on the other, a soulful and energetic adventure. Senior church staff, the Leading Reverend, and even Cary will be in the attending audience.

Performance:

I Know He's My Lord

As the piano introduction began, lights shined on the stage. A comforting tone of gold set itself on the background. The choir was neatly organized in an arc of nearly 45 people, barely fitting on the stage but managing. They wore white and gold robes, interchanging every 2 performers between the two colors. Latanya stood before the arc, facing the crowd in the robe pictured above. (look at reference). There was a band below the stage and the conductor was leading in the front row. On the vertical LED screens were aerial shots of the winter suburbs of the capital, Georgine. On the bottom was a simple golden bokeh effect where yellow circles of light floated about aimlessly. Latanya picked up her mic and smiled out the crowd.

"Let's lift up the sound of worship in heah. Praise the lawd, right!?" She got a good sized amount of cheering from her fans as she began to sing.

"It's a world... of misfortune.
It's a world of sorrow and pain.
But there's a beacon, not too far... keepin' me goin'.
But I know He's my Lord."

Latanya began her solo with as much soul as the eager crowd expected. Already, a few people began waving their phone flashlights in a steady tempo matching her voice. Her deep alto struck a chord in many of her fans hearts, tapping into their emotional and spiritual reserves. A few devout Christians of all denominations began to stand and wave their arms in the standard gospel "lifting up the worship". The Leading Reverend, Dorothy Shirleyton, the grandmotherly leader was tilting her head to the music enthusiastically. In between stanzas, Latanya took two steps forward, swaying her shoulders about.

"There's a sob... from the mountains! (Female Soloist: Oooh)
It's Daniel, trapped with those lions. (FS: Yeah yeah heya..)
But he's delivered... saved from certain death, yeah.
'Cause I know he's my God."

As Latanya continued, she began moving to the foot of the catwalk, shaking her head to the beat. As the chorus (next stanza) came up, she intensely moved her fist about and let it go into a raised arm, caressing what seemed to be the holy spirit up above. Gold changed to a fiery orange and a few sparks gently came up, not making too much noise. The colors of the Bokeh turned orange, and on the LED screen it changed to a view of the nativity scene, a baby Jesus resting snugly in the manger.

"There's a staircase... to heaven!
So many poor souls... try'na climb!
But the demons, they grab their ankles!
Draggin' them down, down to the depths of hell...

But there's a savior... with a holy name.
His name makes those demons die!
He lifts up our souls, redeeming us of our sins, yes he does!
And I know he's our Christ! Yeah!"

The LED's changed to a few seconds of Jesus being beat by the romans and crucified. However, by the time she got to "there's a savior", it depicts a glowing, translucent Jesus after his Resurrection. His followers were gathered at his feet. Latanya walked the catwalk, swinging her free arm passionately left to right, in a fist as she mentioned demons, but bringing it to her heart at the mention of Christ. The choir backed her up with the occasional "ooh", having yet to have their moment. But that moment would soon come.

Choir:
"There's a staircase... to heaven! (Latanya: There's a staircase... up to heaven!)
So many poor souls... try'na climb! (L: Too many poor souls, try'na climb!)
But the demons, they grab their ankles! (L: Oh, but the demons, the demons grab their ankles, yeah!)
Draggin' them down, down to the depths of hell... (L: Drag them down, drag them down to hell!)"

As the song built up to its climax, Latanya extended her hands to the audience, getting most to sway from left to right with her. "Can I get a Hallelujah in heah!?" She quickly asked before taking a breath for the next stanza. The audience gladly repeated by then. All three LED's showed a presence of sunbeams coming from an opening on the clouds onto a Carytonian church. She rocked back on her heels, nodding to the enthusiastic choir.

Unison/Latanya Only Mix:
But there's a savior... yeahheyaheya... (C: Ooh...)
His name makes those demons (C: Demons!) die in due time. (C: They die in due time!)
Where's your pride, my child, to see your life through to the rapture?
'Cuz just to let evil win would be a sin!" (C: I know it, I know it, I know it-)"

As the song neared its end, Latanya sunk to her knees and looked to the ceiling, assuming a prayer-like stance with nothing but pure worship running through her veins. This was typical of her in passionate songs like this and made her all the more unique. A small part of the audience (namely those from Caryton) began to sing along at this point, some with tears in their eyes.

Choir:
"I know that he's my Lord..."
Latanya:
"Lord knows... I know... He's my God... yeah! (C: Oh, praise the lord!)"

Unison:
"Let's lift up the worship in heah 'cause I know that he's my...Lord! (L: Lord...!)"

After the group went into unison and finished on the word Lord, fog rapidly poured out and pyrotechnics had a field day with whizzing and whirling explosions and sparks, confetti raining down on the choir. Latanya rose up, bowing, extending her hands to the band, then the choir, which respectively bowed.

"Have a blessed night, yall!"

by **Lactatia** » Thu Jul 25, 2019 10:22 am

21. Lactatia

Raisinquanda NoGlutenInThisBitch Jones - Cock Cock (A Doodle Doo!)

Raisinquanda entered the stage a couple of seconds after her postcard was shown. Like, two people clapped. She sang pretty well actually but was joined on stage by three cows, one of which had a leash on it.

We belong to each other
Like a hen and her rooster, hey
We're all in a barn!
Clucking day and all night, clucking every night, yeah!
And you've got me paralyzed.
And you know that this feels nice.
(cock cock, cock a doodle do, oh)
Wooooooooo!

Images of roosters flashed on the screen and Raisinquanda rode on the back of one of the cows. The animals looked around in confusion. Everyone was confused.

Cock cock!
I can see your big big cock!
Your rooster's in its pen and calling out my name, oh!
You know, baby when we cluck cluck cluck
You make me wanna scream oh cock a doodle doo!

Cock cock!
I can see your big big cock!
Your rooster's in its pen and calling out my name, oh!
You know, baby when we cluck cluck cluck
You make me wanna scream oh cock a doodle doo!

cock a doodle do, oh!

We belong to each other
Like a hen and her rooster, hey
We're all in a barn!
I'll lay your eggs all day, and we'll cluck all night.
Wooooooooo!
(cock cock, cock a doodle do, oh)
(cock cock, cock a doodle do, oh)
(cock cock, cock a doodle do, oh)
Wooooooooo!
La la la la oooooohhh....

Cock cock!
I can see your big big cock!
Your rooster's in its pen and calling out my name, oh!
You know, baby when we cluck cluck cluck
You make me wanna scream oh cock a doodle doo...!
Woooooo.... yeah!

You know, baby when we cluck cluck cluck
You make me wanna scream oh cock a doodle doo!

Cock cock!

by **Normandy and Picardy** » Thu Jul 25, 2019 12:42 pm

22 - Normandy and Picardy
"Allons-y" - Tonnerre et Éclair
Tune: ("Echoes" - Lola Marsh)

The Beauvais-based band "Tonnerre et Éclair" (Thunder and Lightning), who will represent Normandy and Picardy in Monterra
Antoine (drums) on the left, Marie (vocals) in the middle, Maurice (guitar) to the right

As the song begun, everything was very moody, with very low lights, smoke seeming to wisp around on the background LED screen, as Marie walked towards the front of the stage, illuminated by one single flickering light. Then, as the guitar kicked in, two more spotlights at strange angles shone down to illuminate Maurice on the guitar and Antoine on the drums, one either side of Marie and then when the clapping begun, two backing dancers were also illuminated. They were all dressed as if this were the performance of a group from the 60s, the backing singers with large beehive hairdos and this theme was to be confirmed when the background LED screen "turned on", going through a brief - and deliberate - spot of static before cutting to a sort of generic 60s design. Was this just because it sort of fit the music? Was it to represent a longing for the past, especially an airbrushed view of it given Antoine's skin colour? Annoyingly, no one decided to tell us, so it's up to you I guess.

In the morning light a shadow's waiting, standing out of sight
It speaks to me in tongues
Whispering until its will's been done

High up on the hillside where pride and strength died
The poor man's boy speaks up
In his mother's own make-up

As the prechorus began, a black and white chevron spiral pattern like this replaced the image on the central LED, which was all that remained in focus, with the camera shot angled such that her head was in the middle of the rotating pattern. A faint slightly red light was used to higlight her slightly as she sang towards the camera, but with her head turned down slightly.

Allons-y, he said
Allons-y, and he wound up dead
So I stand and wait
Ready to accept my fate

As the chorus began, Marie began to walk away from the rest of the group, swaying slightly to the music as she did, and walked up along the walkway connecting the main stage and the satellite stage. The cameras gave a series of panning shots of the stage and of her walking along, including some close ups which showed the distance that was growing between her and the band. As the cameras passed her by Marie reached out and tried to keep in frame (without, obviously, stopping her walking to the satellite stage. The rest of the band on the main stage, who were themselves shown a few times, carried on as they had been in the verse. As the chorus ended, and Marie held onto the final notes, the camera specifically focused on her.

And I know that it means nothing
I'm not going anywhere
And I know what you're probably thinking
They say I'm gone
And if I wake up in the morning
You know I'll keep on singing
Otherwise I'll be on the hillside
Cause I never hide

As the chorus ended, given the brief guitar solo the cameras switched to focus on Maurice playing the guitar, which had a series of coloured lines shaped in the outline of the guitar emanating from it and expanding, thanks to the holographic technology the Kalosians had kindly provided for the contest. The background had returned to the generic 60s patterning. He walked forwards from the rest of the band as he played the solo, turning around along with the steadicam operator on the stage so as to give a shot with the audience in the background, turning 360 degrees. The backing singers then pulled him back to his original position, so that the band was all set up as before. The feed then returned to show Marie, who in the time taken up by the solo had enough to reach the satellite stage and lay down on a specially placed spinning platform covered in LEDs, so as to continue the LED floor. Naturally this had been quite expensive for SRNP, and had actually taken a lot of the relatively small staging budget. It was actually to stay still during the verse, but be aware it is there. Anyway, Marie was laid on this platform/disc thingy as the verse began, and the camera slowly zoomed in on her from above. She held a book to her chest with both hands, which was shown as the camera got closer to be a copy of The Sorrows of Young Werther, of course a far cry from the laughing and smiling referenced in the lyrics. Beneath her, both the satellite stage's LED screen and the platform showed a surface that looks like old paper smattered with ink.

In the pages where characters laugh and smile I feel lost and alone
Somebody throw me a bone
Tell me I'm not alone

And I think of the boy who told me about himself that time
He said it'd all be fine
I'd just step up to the light

As the prechorus began, the platform/disc contraption began to spin around. The background behind seemed to dissolve away and leave nothing but an abyss, leaving Marie on her platform turning around, stretching her arms out and with her head titlted to one side. The camera suddenly turned upwards to show the two backing singers approaching from along the catwalk, at which point she seemed to pull herself up.

Allons-y, he said
Allons-y, and he wound up dead
So I stand and wait
Ready to accept my fate

Marie remained stood on the disc, which continued to spin, whilst the two backing singers danced counter to the motion, clicking their fingers and generally swaying. The camera focused on this rather weird scene, before turning to show the situation in the majority of the arena. More panning shots followed, ever the mainstay of a Normand stage, include a few shots above the audience. The camera then returned to focus once again of Marie, still turning around, as the chorus ended. The camera followed her as she held the final note of the chorus.

And I know that it means nothing
I'm not going anywhere
And I know what you're probably thinking
They say I'm gone
And if I wake up in the morning
You know I'll keep on singing
Otherwise I'll be on the hillside
Cause I never hide

The view changed to show the band once again and the background of the main LED screen behind them, which had returned to showing the rotating chevron pattern, but this had now extended to all three screens as if they formed on large, but discontinuous, screen. More camera shots! The focus remained most on Antoine and Marie, with one shot of Antoine playing the guitar being superimposed over Marie dancing and turning on her pedestal. The arena returned to the base set up used whilst the production teams set up between acts whilst the postcard is playing at about the 3:30 mark. A team of technicians walked on stage, as if working to clear the stage. The fact that this was being shown naturally caused some confusion; clearly the song was not over, so why were they clearing up? Marie began to walk back towards the main stage whilst Antoine and Maurice stood rigid. The technicians ran forward and grabbed Maurice. The camera feed at home, from a position which again suggested it was no longer rolling and was being set up for the next act, suddenly zoomed in on Maurice and the technicians. Maurice's eyes, which had been closed, suddenly opened (at about the 3:38 mark) whilst the technicians suddenly turned and looked to the camera, as if they were shocked at being caught in the act. Everything then cut to black.

by **Besen** » Thu Jul 25, 2019 1:14 pm

23 | Besen
Alana Deviney | "Sick Joke"
Melanie Martinez - Soap
Music & Lyrics - Alana Deviney

Growing up in the most normal neighbourhood, and finding her way as a musician in the same way as many others like her, Alana Deviney should feel like the most meta artist in the industry. But she has struck a cord with many thanks to her poetic lyrics which detail the pain of life, and recovery from the ashes of negative experiences. Her life as the sole daughter of a single mother, leaving her idle father soon after birth, makes for excellent songwriting - probably due to the nature of its relatability. And even beyond this, she handles every song on her own and critics hold her at a high standard thanks to her usually chilling production. Alana is humble though, often away from the spotlight and constantly interacting with her fans in her own online bubble.

Her discography is broad and often criminally underestimated for its artistic integrity. Taking into her account her debut album from 2009, "Superstar", which debuted at 56 on BMC, critics thought it was near perfect and yet it was nowhere near a "hit" piece of work commercially. Even still, it has spawned classics amongst youth where they have found a feeling of home in her music. So, since then she has emerged as an alternative powerhouse with her fans keeping a tight hold on on her - almost claiming her for themselves.

As for Worldvision, she said this:
"I wrote "Sick Joke" for my new record - originally for the lead single. It came around as I was digging through old polaroids, and I stumbled across photos from my days at school. I had found myself remembering a boy in particular whom has shaped my love life in a way that I will never ever get away from. He left scars that I will never get off me. And so writing the lyrics came easier than most of my other tracks because I opened up chests of emotion that I hadn't mentally accessed in a while. And the production came soon after - with the strange beat drop which sounds like water dropping almost. I used that sound to demonstrate the feeling of cleansing my soul from him and trying to feel okay with myself after this odd and emotional experience that I had once in my life. For example, my favourite lyric that I think sums up this song is: "My love filled me up and I hate it". That sentence makes me very reminiscent of a part of my life that often comes up in many different places. I reckon a lot of people will relate to this record unfortunately."

(Can’t believe it was all just a sick joke)

’Twas a lonely Tuesday evening
Wondered just how you were doing
You know that I could never get enough
It felt like I was drowning in it
My love filled me up and I hate it
I never got to tell you I’d had enough

I float above the clouds though, with you
Even through my endless woe
Baby, I wish you understood
God no, I start to know
That I was so in love with us
Now it seems so unreal

I ended it on a bad note
Decided it was all just a sick joke
I felt you wanting to let go
Decided it was all just a sick joke
I ended it on a bad note
Decided it was all just a sick joke
I felt you wanting to let go
Can’t believe it was all just a sick joke

Months go by, I’m only falling
So I build my own memorial
Then I wanted to feel it all again
It was over when I said I adored you
Looking back, it’s all so messed up
You played my heart just like a video game

I float above the clouds though, with you
Even through my endless woe
Baby, I wish you understood
God no, I start to know
That I was so in love with us
Now it seems so unreal

I ended it on a bad note
Decided it was all just a sick joke
I felt you wanting to let go
Decided it was all just a sick joke
I ended it on a bad note
Decided it was all just a sick joke
I felt you wanting to let go
Can’t believe it was all just a sick joke

I ended it on a bad note
Decided it was all just a sick joke
I felt you wanting to let go
Decided it was all, all
Just, just a sick joke
I ended it on a bad note
Decided it was all just a sick joke
I felt you wanting to let go
You walked away and left me to choke

WorldVision Song Contest 75 | Monterra, Kalosia

WorldVision Song Contest 75 | Monterra, Kalosia

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