WorldVision Song Contest 77 | IC | Majorium, Mister X

by **Mister X** » Mon Oct 21, 2019 1:24 pm

OOC Thread | Host Bid (including Stage Details)

Opening Act | Interval Act | Halfway through the voting | Results

The words "MRX presents" appear on a pitch black sky, punctuated by stars. The words fade out and the camera pans downwards to show a rural house on the top of a hill on a clear, starry night. We then cut inside and the music (set to this tune) begins to play as a mother kisses her six-year-old child goodnight on the forehead as he goes to sleep and she tucks her in, the camera constantly pointed at the child, wearing dark blue pyjamas with pictures of children's stars and moons on them. She walks away as the camera tightens on the boy's face. When she has left the room, he slowly gets up and goes over to the window as the camera cuts to a low-down shot from behind, capturing the boy looking upwards at the starry sky. The camera eases in on the stars before cutting to be in front of the boy in medium shot. He moves across to under his bed and pulls out a little box. Inside there is assorted paraphernalia as he takes out a large piece of cardboard sitting at the bottom of it, along with a pair of scissors. Sitting in front of the window, with the moonlight shining down on him, he starts cutting the cardboard into various shapes and re-assembling them on the floor, making several nice patterns. He places several pieces together in a circle, which almost looks like a vortex, and with a gentle explosion of light (at 2:08 in the music), the pieces assemble as one and the circle of WorldVision that encompasses WorldVision 77. There is a circular gap in the middle of the cardboard, but this is now filled with an orange light. The boy is encapsulated as the circle moves out of the window and flies across the night sky, spinning as it goes.

We first see, inside a cloud, which has the text "Proletariat City 29", a flashback of WorldVision 29 in Communist Quinntopia, Mister X's début, as we see (but do not hear) the members of Entourage performing "Na La Na La Na", Mister X's first ever entry. The logo slows down as it passes it, then speeds up, past clouds labelled "Restnov 30", "Celeste 31", and "Gronbis 32". The logo then slows down again when passing the cloud labelled "Carnise 33", showing a glimpse of Filius Deorum's disappointment in the greenroom as he loses the lead he had held all the way through the voting. The cloud then intercuts Filius's disappointment with celebrations of the winning Kishraeli entry from WorldVision 33. It then zooms past "Thatcher City 34", "Fontvielle 35", "Mullhipu 36", "E-Miezkom 37", "Peeto 38", "Rowland 39", "Rokkestat 40", "Quickenden 41", "Caen 42", "Monterra 43", "Yaru-Bzheriut 44", and "Lavington 45".

The clouds then stop as the logo spins out of camera shot, and some text comes across the starry night sky (at 3:20 in the music):

The logo comes back into shot, and then lingers on a cloud that says "Oreo City 46". Inside the cloud is MIster Xian entrant Owen Roberts shaking his head solemnly. He was almost on the verge of tears. Oreo City and WorldVision 46 was one of Mister X's very worst results, at least compared to pre-contest expectations. Roberts finished 15th. The logo then moves on to "Carnise 47", where Will Carter is in an even worse state, in tears as nation after nation gives him nul points, only finishing 14th. But then the logo moves across the sky further, and (at 3:38 in the music) it finds this text in the night sky:

The logo then zooms past "Phoda 48", "Prescott 49", "Kasin 50", and "Kyvivre 51", before pausing on "Langtree 52", depicting the 2nd place finish for Filius Deorum. The soundless flashback of snippet of his feel-good performance followed by the glimpse of 2nd place on the scoreboard is enough for the logo, which moves further around the clouds (at 4:10). It passes "Cherbourg 53", "Konikstaat 54", and "Dreiichibu-u-Mousiki 55", before it takes a nosedive, zooming all over Majorium, before pulling out of Majorium to go back into the house of the little boy (at 4:44). He is attracted to it and slowly moves towards the logo. It gradually drifts away from him, playing cat and mouse with the boy. He is excited and thrilled in his pyjamas, as only a six-year-old can be. He finally manages to touch it (at 5:34).

As he does so, the music provides something of a fanfare with the brass section: the camera zooms into his eyes, into his very brain, into his soul. He has been granted the access to the secrets of the contest: he sees the delights of the WorldVision Song Contest. We see inside his head - the new information of what has been imparted into his very soul.

Every pyrotechnic, every note, every dance, every song.

And he loves it.

His eyes get wider and wider. He loves it more and more. He holds on tighter to the logo and all of a sudden, it flies off again, carrying the boy with it effortlessly (6:00 in the music). We zoom back along the Heath River, the camera now showing the journey from the logo's point of view, before, as the camera slowly pulls out of the logo whilst it continues to whizz past clouds: "Pacretana 56", "Machievelihe 57", "Kaminkoboy 58", "Thatcher City 59", "Hajenired 60", and "Whorang 61", before finally coming to rest on "Ylfa 62" (at 6:24 in the music). It shows Filius Deorum's triumphant victory with WorldVision classic "Why, Why, Why?". And then, all of a sudden (6:36), the logo flies past the next clouds: "Beiszendmizu 63", "Varea 64", "Rouen 65", "Telm City 66", "Orkemdrem 67", "Dazajin 68", "Tampon Bay 69", "Ylfa 70", "Bright Falls 71", "Lipa 72"... by now, the logo has overtaken the camera: it is no longer in shot. The camera makes a sudden change of direction and looks at the final set of clouds: "Estograd 73", "Angradka 74", "Monterra 75", and finally, "Rosario 76".

At 7:04, the actions shifts to modern-day Majorium, taking a long shot of the city, before going on a whistle-stop tour, as the camera suddenly speeds up in order to catch up with the logo. and the logo is eventually caught up, and comes into the picture, taking up the entire camera shot (7:28). The logo text animates, and finally, the WorldVision Song Contest 77 has begun.

Opening Act: Morgana Infidelo - "WorldVision"
Tune: Tina Turner - "GoldenEye"

For the opening act, it was decided to reprise the Mister Xian act from the last WorldVision Song Contest to be held on Xian soil. However, the lyrics would be change to reflect more appropriate themes of WorldVision 77. Emerging onto the WorldVision stage like the queen of the night, Morgana Infidelo (which is a hybrid of Latin and Celtic names, and when translated into English, means "the disloyal dweller of the sea") stalks across the stage. Her choice of outfit is like something out of a costume drama, with a silky dulled golden dress adorned with rings and necklaces. She glides elegantly across towards the front of the stage. The back wall changes to animation of black smoke. In the background is a couple doing an Argentine Tango.

Welcome to a new beginning
The start of something that's brand new
Welcome to the start of something
That will be the making of you

Morgana moves to one side of the stage as images of the other nations' flags come up behind her.

WorldVision, the world in vision
WorldVision, songs for me and you
WorldVision, there's something for everyone
Who will win? Who will lose? Let's find out!

Morgana scuttles across the stage.

Majorium
Let's find out who will win here tonight
Majorium
It's your chance to set the world here alight
It's WorldVision, you know
The song, the dance, the world as one
And now, Majorium,
Are you ready? Are you ready-yyyyy...?

The camera fades to black and then fades back in on a super-close up of Morgana's face.

This is now a new beginning
The start of something that's brand new
This is now the start of something
And it's going to be the making of you

WorldVision, the world in vision
WorldVision, songs for me and you
WorldVision, there's something for everyone
Who will win? Who will lose? Let's find out!

Majorium
Let's find out who will win here tonight
Majorium
It's your chance to set the world here alight

The Argentine Tango dancers move towards Morgana at the front of the stage and start posing around her.

It's a song and dance contest
We've got for you tonight
And yes, let's go
It's time for a show
You've got a license to thrill...

Morgana is hoisted up by the dancers.

At WorldVision!
WorldVizh, WorldVision!
At WorldVision!
WorldVision!

With the final three notes she makes three dramatic poses in the air and the lights all cut to black on the last note.

The lights fade up, the logo appears on the back wall, and the camera zooms out - a seamless transition - and standing in the middle of the stage is Robert Baxter, amongst rapturous applause.

Robert: Hello, hello, good evening, and welcome to Majorium!

The crowd cheers some more and then the camera slowly tightens in on Robert.

Robert: Yes, thank you! Hello, and as the countdown to a new WorldVision ends, a brand new countdown begins. This countdown, or, I suppose, a count-up, shows just how far we've all come since we made our début back in Proletariat--

He gets some boos from the crowd for mentioning a Marxist term. He makes a brief pause, then continues.

Robert: -- City, and now we're back, bigger and better than ever before. This is the 77th WorldVision Song Contest, coming to you live from Majorium, Mister X!

He gets more cheers.

Robert: Yes! And welcome to the May Arena. Nearly 50,000 people are rammed in here tonight, all hoping to see a deserving and satisfying winner. But I couldn't do this alone, oh no. Please welcome my fellow co-conspirator... Sam Smith!

A short fanfare plays as the back wall opens to reveal Sam Smith. He walks forward to rapturous applause and a standing ovation from those who were seated.

Sam: I thought you were doing a good job alone!
Robert: Oh, funny.
Sam: Alors, ce soir, il y a plus de chansons pour vous, et vouz pouvez voter pour votre chanson prefere. Telephonez le numero--

An overview of the songs appears on screen.

Sam: -- avec le numero pour votre chanson prefere. Pour exemple, si vous voulez voter pour chanson 1, vous telephonez le numero avec "01".
Robert: Ace. In Latin?
Sam: hic nocte, si suffragor cvpis pro tvvs canticvm delicia, et cantico I tvvs canticvm delicia est, nvmervs cvm I vocare.
Robert: And in English?
Sam: If you want to vote for song number one, dial the number and add "01" at the end.
Robert: Right, the lines won't open--
Sam: Les lignes ne vont pas ouvrir...
Robert: -- until all the songs have been performed.
Sam: ... jusqu'a toutes les chansons ont été chantées.
Robert: OK, I think that's everything. Now, Sam, you take over, because, in a spot of cost-cutting, MRX have me doing 10 men's work. And so I'm off to the commentary box, whilst you do the honours!

Robert leaves and Sam turns to camera.

Sam: OK, Majorium, are we ready?

The crowd cheers in an affirmative fashion.

Sam: May the best song win, and let the WorldVision Song Contest 77 begin!

Performances | Playlist

Performance | Voting

03 Axuva

Performance | Voting

Performance | Voting

11 Bayilan

Performance | Voting

Performance | Voting

13 Ekoz

Performance | Voting

Performance | Voting

15 Polkopia

Performance | Voting

Performance | Voting

Commentary

Talvezout

PART I

Spiritual Republic of Caryton | Trinity Broadcasting Network of Caryton

PART I

Elejamie | ETV One

PART I

by **Ruritane** » Mon Oct 21, 2019 1:45 pm

0.1 Ruritane
Une Grenouille- "Ruritane Greatest Country"
Tune: Be Our Guest from Beauty and the Beast

Une Grenouille is an ethnic Polar from the island of Sakhalin, which has been a Ruritanois province ever since 1867.

Explanation of this song: Ruritane wanted to promote itself, misunderstanding the meaning of WorldVision.

Une Grenouille is dressed like a big frog. Her background artists are also dressed like big frogs. Behind them is Ruritane's flag. There are curtains, which are also Ruritane's flag.

Ruritane, Ruritane
Got my country on the brain
Once you're living there, you'll see
Life provides no pain
Waterfalls, great and small
Why, it's all it is
And the people are the greatest
And we are entertainers

The backup dancers join in the singing, becoming backup singers.

We are smart, we've got brains
After all, it's Ruritane
Everyone here looks their very best
Come on and take a glance at
Come and hold a dance at
Ruritane, Ruritane, Ruritane

During the next verse (you know where) flame effects come on. Une Grenouille's costume catches on fire. Une Grenouille and her backup dancers keep singing as one of them runs to get a bucket. At the end of this verse, a backup dancer throws a bucket of water on the fire, dousing it.

All the best, we're to blame
Your heart will be set aflame
If you don't meet a person sweet
You must be very lame
If you're bored or you're meh
None will make you say "feh"
The people are good-looking
In Ruritane, you'll get cooking
We're the best, take the test
Don't be like all the rest

Everyone puts on extraordinarily deep voices for this. Some of the backup dancers are laughing.

Pack your bags and move to Ruritane
There is a lot to see
Because we're the best
Ruritane! It's the best
It's the country we suggest
Ruritane, Ruritane, Ruritane!

All the background dancers run off the stage, leaving Une Grenouille, clutching a stuffed version of her frog costume.

All those other countries
Dystopias and all
They are fart, they aren't smart, they're ruled by darts
Ah, if only they were more like us
Then they would be okay
They're full of complaining
Too much with the paining
They're smelly and they're nasty and they're shills
Honestly, other countries give me the chills
But then I smell the happy fest
But, Ruritane, well it's the best

Une Grenouille throws her frog plushie off the stage. All the backup dancers do a hip hop routine, while Une Grenouille sings as loud as possible.

Ruritane, Ruritane
We're the Chosen Ones; we're blessed
It's not a snore, never a bore
All the greatest such delights
The feasts are many
People rarely scrape a knee
Multicultural diversity
All cultures and all creeds

Une Grenouille tries to break dance, but trips on her own feet.

Ruritane, Ruritane
My country is not too lame
Verily, we are the very best
Ruritane is nigh
Although we don't get high
Ruritane, Ruritane
Ruritane, Ruritane

Une Grenouille exits stage left like a villain, leaving her backup dancers to do all the singing.

Ruritane, Ruritane
Our country is so cool
And awesome it's insane
It's the best the best the best the best the best
And we're obsessed
If you need a break
From boring life or steaks
Come and immigrate
I promise you won't regret it

Une Grenouille pushes through her backup dancers, pushing some of them off the stage.

Ruritane!
Look at us!
You'll never think you've had enough
If you see you notice we're the best!
Wine, people, and song
Oh, you won't go wrong
With Ruritane!
Ruritane!
Ruritane!
This is... Rur...Itane!

Two dudes in panda costumes come out and carry Une Grenouille off the stage.

by **Main Nation Ministry** » Mon Oct 21, 2019 2:13 pm

02: Main Nation Ministry
Charlotte "Charlie" Huxley - Haunted Lover's Lane
Tune: Lemon Demon - Touch-Tone Telephone
Language: English

Pictured Above: Charlotte "Charlie" Huxley

Background: "This is Truth News reporter Erik Anderson here, reading the background for own newest musician performing for us at Worldvision 77, where-"
"Hold it!"
"Jessica Madden? What are you doing here?"
"Sorry that I have to do this, but I ain't going to have you embarrass Charlie!"
"Security! Someone get- MUFFFH!"

One minute of technical difficulties later..

"Sorry about that, folks. I will be the one describing the background for Charlotte Huxley. She's private with her life, so I'm describing what she wanted me to read what she wrote down, while she's backstage. And don't worry! I had already paid the Leader to be reading the background for Huxley. Erik Anderson is alright, I had to calm him down a bit, but he's alright."
"You punched me in the damn eye.."
"You were causing commotion dearie. Now where were we?"

"Yeah, so since basically it was nearing the end of October, where Charlie decided to ask me that she wanted to do WorldVision this month. She figured a Halloween song would do the trick as a seasonal performance, though she was convinced that it was going to be November. But you know how there is Christmas in July, where we still went with the idea. Both of us wrote the lyrics and music sheets, where I gave them a preview to the Leader, who proceeded to be disappointed in us as anyways."
"I need to take a leak, Jessica.."
"In a moment, Erik. So after much talk from the Ministry of Entertainment, they decided to let Charlie perform at Mister X. Place is already cyberpunk in my taste, but I'm sure they wouldn't go too harsh on Charlie. Already gave her some advice that you should have some fun with the performance. Criticism is expected, but you will still doing what's fun. Charlie's song, being Halloween and all, is going to double as somewhat of a love song. It's already charming thinking about it.." Jessica proceeds to blush, where Erik still visible raises an eyebrow.

"Are you two? Related? Like? Girlfriends or something?" Erik asks Jessica, where she looks embarrassed. "Let's not get into song analyzing, yet. I'm already going down towards the front seats to give her a bouquet after she performs. She will need some good self-esteem. So you dorks from where you guys are sitting better give her at least a vote!" Jessica said, before the postcard is shown.

Performance: After the postcard is shown, the stage darkens as a spotlight illuminates on the choir who sing the instrumental opening of the song, as they are dressed in outfits of black robes. Each one of them having a different type of Halloween mask on to fit the seasonal theme of the song. After they finished, the camera transitions to a starry night, as the camera moves around to show the full moon. A comet flashes by, because the camera goes down to focus on a hillside forestry outlook overlooking a city. The camera cuts to the actual stage, where the right hand LED wall is converted to show a city and it's neon lights below. Some fog machines are up to cover the floor of the stage with fog. The circle at the middle of the stage is flashing both white and blue lights in the background, while the lights above have been converted to resemble a starry night, as they are set to a low light setting and twinkle. In the middle of the stage, Charlie is sitting on a wooden bench, as a blue spotlight is cast upon her. Charlie is holding a microphone, wearing a vintage white dress where the blue spotlight gives her a more ghostly vibe. After the spotlight came on, she proceeded to sing.

It's almost night as I arrive back to my grave
A grave where I left after I had gone blue

The choir groups join in, as they continue to sing in the instrumental parts of the song.

I'm a strange urban legend
Clear ghost, cold as clay, full with fright
Cause of death, broken heart, things still scare me

Charlie wraps her arms around herself saying the next line, where the microphone is still near her.

Hold me tight (Hold me tight)

Charlie jumps up, where she sings the first part of the chorus of the song, where the choir chips in to add a comedic line at the end of the first chorus.

I see them all afraid of me
Yet you're the one who can see, that I'm not so bad (To cause potential harm)

Charlie dances with the music, where she lifts her arm into the air to point directly upwards, as she sings the end of the next section of the chorus. The choir joins in with singing along with Charlie.

I'm just a lonely ghost at a moonlit grave
If only they could not scream, maybe they will understand me now

Charlie finishes up the chorus with the choir.

I'm the leading star
At the haunted, haunted lover's lane
You're the leading star
At our midnight, midnight horror show

Charlie observes the "stars" above, as the lights above the stage continue to tinkle.

Oh, I'm glad you stayed, to watch the stars
Stars that fly over me, thinking about you

The choir chimes in again to sing with Charlie.

Since you're the only one who wants to help me cross over
Since you're the only one who wants to help me cross over to the afterlife
It's so true
I give and I give my undying love as I'm here with you

Cue the chorus dance and choir joining in.

I see them all afraid of me
Yet you're the one who can see, that I'm not so bad (To cause potential harm)
I'm just a lonely ghost at a moonlit grave
If only they could not scream, maybe they will understand me now
I'm the leading star
At the haunted, haunted lover's lane
You're my leading star, yeah!
At our midnight, midnight horror show

The camera then cues to the group of several youths running away with flashlights at the bottom of the hill, where the camera cuts back to the actual stage where it shows a first-person POV of someone sitting on the bench, where Charlie appears next to them, as she proceeds to sing. As she sings, she grows more supportive-looking and happy, as the bridge continues.

Feeling you now, you're so warm
My bones stay here from the storm
A spirit who's purpose to haunt
I'll still satisfy if you want
You don't cry now, not time to grieve
The supernatural is what you believe
Monsters made like me, they're out there
Somewhere in the dark to scare
For me to scare you just like them, which I refuse
Being together that can confuse
I'm another lady in white with you as my shining starlight

For the last chorus, Charlie gives a wink as she sings an alternative set of lyrics.

I see them all afraid of me
But you agree that I'm not so bad (To cause potential harm)

The choir joins in with singing the final chorus.

I'm just a lonely ghost at a moonlit grave
If only they could not scream, maybe they will understand me now
(Star, star, star)
I'm the leading star
At the haunted, haunted lover's lane
You're my leading star
At our midnight, midnight horror show

The performance ends where Charlie does a pose, as the camera transitions to an aerial shot of the city of Majorium. Within the audience as they applause, Jessica Madden who has a front seat tosses some flowers at the stage, which Charlie picks up.

by **Axuva** » Mon Oct 21, 2019 2:15 pm

by **Talvezout** » Mon Oct 21, 2019 2:45 pm

Felicidat Ramírez was born in 1988 in the town of Yrmis, on Zalfo Island. As a young kid, she sung at church meetings and local concerts. As a teenager, she was inspired by musicians like Selma Kulthumm, Umm Sharif Al-Qiriya, Saam Agostinho, and James Carneve.

Ramírez wrote this song as a tribute to her younger, pre-transition self. The song, "For You", is inspired by the trauma of gender dysphoria and a promise to her younger self, and other trans kids, that life will get better.

Ramírez would be standing on a platform in the middle of the audience in the arena. The performance would focus exclusively on the song, with just Ramírez and a 15 piece string and horn orchestra. The performers would be lit up a solitary of spotlight, a bright light in the midst of the darkened arena. Underhand key lighting would illuminate Ramírez, as various strobes would be going off during the beginning of the song.

I'm so wired for it, seen it, tried it
I'd die for you on my terms
I found my lessons learned
Surgeries, treatment, gain
Breathe in, breathe out, pain
No, no, novocaine
To find my inner grace
How come?

A young girl would stand up from the audience onto another platform. Ramírez and the young girl would reach for each other in a push and pull motion, with the platforms slowly moving through the crowd. The lighting would continue to illuminate them both, making the two performers two lights in the darkness of the arena.

The more you want the more people will hurt you
The more you burn away the more they will desert you
The more you run away the more they will come after you
I’ve never seen a person like me in real life
So I wonder if I could even succeed
And I wonder if you think I never think of you
And I wonder if you think I’ve forgotten you
Never seen someone like me in real life
But I’d do anything to save a life if it was you
Because the Virgin Mary never let her loved ones down

The young girl and Ramírez would finally connect, with Ramírez bending down to embrace and sing to the young girl. They would touch their foreheads together in an act of familial love, as the lights would focus on the two.

I, know just how lonely
It feels to be left with you, and only you
I, know just how lonely
Just come falling for me and I’ll run all the way for you

The lights would flash for a second and the young girl would disappear, leaving Ramírez alone in the harsh light. The platform would slowly bring her back to the main stage with the orchestra, as she would continue to sing. As the platform reached the main stage, she would step back onto the main stage, still illuminated in the light.

When I think back
All I see is black
I shed my old self
I gazed in the mirror, saw someone else
Get it on, 'cause I know that me is gone
And I’ve been all alone
Burning the fire for you
I’ll set the place alight
Rescue you at at night
All so things can get better too

Small spotlights would slowly shine on other parts of the stage revealing other female dancers of varying ages and races. They would slowly make their way to Ramírez, before embracing her in an act of understanding in love during the climax of the chorus. During said climax, the camera would go from circling around the group to pulling away from Ramírez in a fly-away shot, revealing the whole arena being light up thousands of lights. The camera would circle around the arena before flying back down to Ramírez and company, gently singing to the audience before reaching her hand to the camera as the song would end.

Oh, I know how it doesn’t feel so fair
Just call my name and I’ll be there
I know how it feels to be so lonely
Just look up, my dear love, I’ll be running down the hills to be with you
Come calling and I’ll be running down the hills to comfort you
I’d cross the entire world just to be there with you
I’ll make sure things shall get better too

by **Nahlcomo** » Mon Oct 21, 2019 2:50 pm

Massey Massie, Nahlcomo's hottest computer animated superstar, would be performing via hologram. Various random gifs would be looping on screens behind her.

"I LOVE YOU!"

Yelkki huestra zadoi yeg
Thur hafa ther rong skrallabo
Thur aefha sig e adyo andyinni hyratado
Yhull og bitteysa

Eleskadeyu aya jog iszhu
Oug allye hyer, allye hyre eska thig
Eleskadeyu aya jog ilomu
Oug allye hyer, allye hyre eska thig

Thyuo verdour ad muna ad reikna
Oug skirlirduo ekki ad framtinou
Oh I can taste the noise
And soiley I can drag
Organ drey, all day, all day

Eleskadeyu aya jog iszhu
Oug allye hyer, allye hyre eska thig
Eleskadeyu aya jog ilomu
Oug allye hyer, allye hyre eska thig

Oh, hoe!
Stand up jared oh little can or rey of
Oh fella fella fell or stand
Reyna on the
Say I have say and I and I jus dance
Oh can it can, can, can

Eleskadeyu aya jog iszhu
Oug allye hyer, allye hyre eska thig
Eleskadeyu aya jog ilomu
Oug allye hyer, allye hyre eska thig
Eleskadeyu aya jog ilomu
Oug allye hyer, allye hyre eska thig

Elkki huesta, ekki huesta sad I eg
Elkki huesta elkki huesta

by **Spiritual Republic of Caryton** » Mon Oct 21, 2019 2:54 pm

ENTRY #6 - SPIRITUAL REPUBLIC OF CARYTON

Brought to you by the Trinity Broadcasting Service of Caryton

Heart Full of Passion
Latanya Anderson (ft. North Georgine Soul Ensemble)
Genre: Modern Gospel

Latanya Anderson in her classic white robes seen on so many of her music videos.

Background: Latanya Anderson is a multiverse-renowned gospel singer and songwriter. She has been an important figure in Caryton, bridging gaps in women's rights, environmental issues, and even the incredibly taboo issue of homosexuality in the Spiritual Republic of Caryton. While she's still fighting the latter battle, she still considers herself a diplomat between the Gospel Church of Caryton and modern issues its youth are facing. That said, she is an incredibly devout member of the Church, inclining to agree with the majority of it's policies. With the general impression that her music is well-liked by the multiverse community, Latanya remarks that she is "obligated to bring the soul of Caryton to the international populace-- secular or spiritual." Having to miss WV76 due to illness issues, Latanya has received a multitude of heartwarming cards after her victorious battle against a concerningly severe case of salmonella from an international tour she had taken days prior. Now back and ready to compete, she remarks the group of youth she had taken to harmonize with her have "worked damned hard for this moment." In the performance, the Leading Reverend of Caryton, Dorothy Shirleyton, and her family will be in attendance alongside Cary-- who will not be performing this WorldVision. A notably bitter and uphill dispute was held between Carytonic and Mister X authorities about whether or not to let Cary in, but ultimately, their "the dog is a religious prophet to them and a huge symbol of their culture" argument got the lovable pooch in anyways.

Performance:

Heart Full of Passion

A small group of conservatively-dressed young adults from majority-Carytonic or African-Carytonic descent lined the futuristic stage near the back where the circle of lights resided. They were divided into two neat but separate block formations-- the left being vocals and the right being a smaller instrumental band. Within the first few seconds, Latanya walked out to the front and center of the stage. The LED screen to her left hand side displayed a softly gliding red bokeh dot background, with background sparkles. Her fans roared in enthusiastic applause. Some of them instinctively stood up, for the proper worship experience.

Latanya (spoken):

"Just letcho' worship rise up right heah in this moment."
-
Latanya (sung):
-
"The day ~ I ~ die is the good day that I ~ I-
Stand before you and your choice ~ Lord ~ the gate to heav'n-
My soul's on fire. That soul's on fire."

(spoken: "Stand up an' sing, sing-.")

By now, most of her fans were standing and putting their arms in the air, gently swaying to the beat. Those who knew the lyrics softly mouthed them to themselves. The camera pans towards Latanya from the diagonal right down to the diagonal left. She steps forth, once, crossing her legs as she did so. Her free hand, not holding the microphone, gently panned the entire audience before resting at her left side. The LED screen darkened its color and bokeh effect.

Combined:
The day ~ I ~ die is the good day that I ~ (Lat.: I-) I-
Stand before you and your choice ~ Lord ~ the gate to heav'n-
My souls's on fire. (Lat.: Rise an' say-) That soul's on fire.

So I pray; (Lat.: Lord-), heart full of passion.
Cryin' out; (Lat.: Those tears-), heart full of passion!

As the verse ended and the instrumentals lightened in preparation for the next one, Latanya strode forward, following the camera's movements forward. She extended her free arm, making a hand to the sky which she closed and brought to her heart, pulsing it three times. She let it fall again and rose her mic to sing again.

Latanya w/ Light Harmonies:
"My sin ~ rises ~ blocking that way but your -
Love ~ rises ~ strong enough to cast it away for good-
Lord, your faith is with me. You don't give way!
Your plan is in me! (Group: Your plan is with me!)

So I pray; (Lat.: Lord, sing-), heart full of passion. (Lat.: Oh, cryin' out those tears!)
Cryin' out; (Lat.: Those tears-), heart full of passion!

(Latanya, spoken: Say it again-!)

(Lat.: So I pray!) So I pray; (Lat.: Lord-), heart full of passion. (Lat.: You've set love with my life - cryin out' ~ those tears!)
Cryin' out; (Lat.: Those tears-), heart full of passion!

As things began to pick up speed, the LED screen changed to a panover of Latanya. The lighting turned a dark golden hue, with a light fog at her feet. She moved with the camera down right to the edge of the stage, doing some theatric hand movements to emphasize the devotional nature of this moment. She encouraged the crowd to worship with her as usual.

Latanya:

"Smile to Jesus now! Laugh to Jesus now!
He's coming from the dead!
(Everyone: He's coming from the dead!) ((Lat." He sacrificed-))

He sacrificed! (Lat.: You all lift yo' worship to the sky and say that he-)
He sacrificed! (Lat.: Say it again, that he died-)
He sacrificed! (Lat.: Lord set me on fire, I testify he-)
He sacrificed! (Lat.: Lighthouse of hope and joy, shine on me, that he-)
He sacrificed! (Lat.: He died so sin would die too! Say that he-)
He sacrificed! (Lat.: Use all the glory he gave you to sing out that he died-)
He sacrificed! (Lat.: Oh, You wanna tell it right where you are!)
He sacrificed! (Lat.: Let's go, oh!)"

It was at this point that her fans began to jump up and down, sporadically wave their arms through the way, wave their phones as flashlights, or bounce on their heels. With each "he sacrificed", even some people who haven't heard of her began to feel at least some form of the spirit and joined along to a lesser extent of clapping or moving their arms from left to right. Latanya herself bounced a bit, swaying her free hand from left to right. The group of vocalists did the same, swaying left to right in unison. The lighting strobed for a short second and then appeared a fiery orange as the sparks shot when the verses began to transition from the last "sacrifice" to the next one. She moved back to the front of the stage. The camera panned to Dorothy Shirleyton sitting in her seat, holding hands in a human chain with her kids, raising their collectively held hands up every so often. The camera transitioned to an image of Cary sitting on a red cushion, nodding along to the beat rather adorably. It was then that Latanya pulled her trademark pose, sinking to the ground, slamming it with her free hand in a prayer-like stance, the Spirit of the Lord and the song's worship running through her body visibly. She threw her head back to the ceiling, belting the following verse in a full fortissimo which, combined with the mic, came unexpectedly to newer viewers. She pumped her fist like an imaginary drummer.

Latanya with full Harmonies:

(Oh!) I stand for his love in me!
(Oh!) My heart's beatin' passionately!
(Oh!) To all sin that made me weak;
(Oh!) I will be freed!

(Oh!) I stand for his love in me!
(Oh!) My heart's beatin' passionately!
(Oh!) To all sin that made me weak;
(Oh!) I will be freed!

(Oh! Oh-) I stand for his love in me!
(Oh! Oh-) My heart's beatin' passionately!
(Oh! Oh-) To all sin that made me weak;
(Oh! Oh-) I will be freed!

(Oh! Oh-) His love is right in me!
(Oh! Oh-) My heart's beatin' passionately!
(Oh! Oh-) No sin will make me weak!
(Oh! Oh-) I'm at last freed! (Lat.: Yeah! Oh...)"

After the climax of the song, sparks shot violently for at least five seconds as Latanya returned her head back to normal, scooting forward. She dangled her legs off of the stage, and the LED screen turned to a simple dark blue background with twinkling lights. Once things quieted down, she lifted her head up to a crowd that calmed down but still stood with their arms gently swaying. She gave a teary eyed glance at them as unbeknownst to them, the risers containing the vocalists and instrumentalists moved back. The background lighting and LED screen turned off, giving the stage a dimmer look to it. The fog machine kicked on high, as she scooted back into the center of the stage. The fog began to obscure her bottom half.

Latanya:

So I pray ~ Lord ~ heart full of passion! (Lat.: I'm right here!)
Cryin' out ~ those tears ~ (Everyone:) heart full of passion!

As the song ended, the main lights turned off, turning the dimness into a pitch darkness which cast a hidden Latanya in a sea of black fog. As the instrumental ceased, a roaring applause was heard as the performers disappeared, utilizing the advantage the darkness gave them.

by **Greater Korean Juche Republic** » Mon Oct 21, 2019 2:55 pm

KOREAN CENTRAL TELEVISION
#7
GREATER KOREAN JUCHE REPUBLIC

Loyalty to Home
Genre: Retro NKPOP

Performed by the Pochonbo Electronic Ensemble featuring soloist Park Hyeon-Il.

Soloist Park Hyeon-Il, vocalist of the Pochonbo Electronic Ensemble

Kim Seyong-Taek, too absorbed by her national duties to perform in WV76 and this WV77 as a whole, sent the Pochonbo Electronic Ensemble to perform in Majorium. Korea's music never modernized due to the leadership of Eternal President Kim Il-Sung to preserve the integrity of Korea's nationalistic origins in revolution. Music is limited to revolutionary hymns and operas, military choral pieces, Korean folk music, and the retro pop music of Wangjaesan LMB and the Pochonbo Ensemble. Of course, there are some exceptions in soloist artists' modernity, spearheaded by Kim Seyong-Taek. This song in particular was made during the period of Marshal Kim Jong-Il and the Arduous March (which is important to note that in GKJR/World Conference history, had little effect on Korea beyond the natural disasters because of a neutral imperial china, a lack of sanctions, the residual economic prosperity of the 50-year-long Golden Age of Kim Il-Sung and no american superpower to stifle and starve Korea.) Adapted to purposes based on the recent Korean-Hanakiian conflict, this piece is expected to give viewers a taste of a Korea from such a long time ago.

Loyalty to Home

As the distinctly retro bubbly intro began, a previously dark stage lit up to a stereotypical red and orange background. The 3rd generation of the Pochonbo Electronic Ensemble-- including some original but aging members-- lined the background with their instruments. The male instrumentalists wore sparkly silver suits, the female instrumentalists wore a modest, silver blazer with a black undershirt, and the sparkly silver skirt reaching below the knee. There were 6 background vocalists-- all female and wearing a rainbow of joseon-ot (from left to right): solid red, yellow and red, green and yellow, blue and green, purple and green, solid purple. Some men doubled as reserve vocalists while playing instruments, and that was symbolized by an earpiece connecting to a mic in front of their mouths. With mere seconds to spare, Park Hyeon-Il rushed on stage wearing a glittery pink joseon-ot with puffed shoulders and cuffs. The background lighting shined a yellow, bridging the red and orange background, the LED screen turned on, showing the nation's latest Kimilsungia flower festival.

"Moving forward now, developing our homeland!
The people's will is solid, forever resistant!
La la- la la- la, loyal to home! La la- la la- la, forever happy!
Let my dear country thrive, under the Party's will!

Steady advancements now, under the Leader's command!
The soldiers' guns are primed, ready to protect her!
La la- la la- la, loyal to home! La la- la la- la, self-reliant!
Let my dear country thrive, under the Party's will!

(Group:) Let my dear country thrive, under the Party's will!"

Park and her background vocalists far behind her swayed from left to right, singing and moving in a bubbly fashion. She step touched lightly in between verse changes. The LED screen changed to depict about 100 people in cultural Korean clothing in a mass dance, wearing their Party Lapel pins in a rural mountain village, surrounded by trees under a glimmering sunset. Men and women from newlyweds to elders moved in the impressive circles. The background lights ran up and down, twinkling white like stars, rapidly turning on and off as the background color changed to a cool and soothing blue. The instrumental opened up to Korean People's Navy sailors marching out, bearing guns filled with blanks. Their Type-58s were shouldered, lining behind the soloist and in front of the performers. They turned their bodies in intricate patterns which helped the dance. The men and women were in clad white formals, with the women bearing red roses and ribbons over their lapels. The sailors formed a box which turned slowly, stopping once the square turned into a diamond with the men and women facing the audience. The soldiers then performed interesting gun-spin tricks, row by row.

"La la- la la- la, loyal to home! (Group: La la la-) La la- la la- la, shining in Juche! (G: La la la-)
(G: Ah-) Let my dear country thrive, under the Party's will!"

As the key changed, the diamond broke and formed into 3 lines of soldiers which popped up and down from lowest row to highest before merging to form one line, grounding their weapons. A beautiful woman in a pure white Hanbok sprinted out, holding a Worker's Party of Korea flag in her hands. She pranced about with the banner, spinning herself in it half-way across the stage before crouching down and rolling off with it gracefully until she was off stage. The LED screen depicted a Hanakiian jet fighter being shot down by a Yongmi T2 fighter, then the launching of the Changunbyeol-2 rocket, bearing the enthusiastic Korean astronaut woman as she made national history by orbiting the earth. The woman waved in front of the camera by the window before the view changed to the rocket launching off. The LED screen changed once more, depicting Korea's launching of the Hwasong-17 rocket. The sparkling continued, but the background colors of the staging changed to the original orange.

(Group: "Our spirit is eternal! None can stop our progress!
We'll carry out the vision that Kim Il-Sung fought for!")
"La la- la la- la, loyal to home! (G: Loyalty!) La la- la la- la, making history! (G: History!)
(G: Ah-) Let my dear country thrive (G: Country thrive-), under the Party's will!"

As the song quickly neared its end, the LED screen showed footage of thousands of civilians and soldiers raising their arms up and bouncing about for the 'manse' chant. The background lights went out and the color dimmed slightly. The woman returned, this time with the flag on a proper pole. She waved it about with both hands, the yellow symbol on the red background under a small spotlight. The soldiers moved up a few steps.

(Everyone:) "Let my dear country thrive, under the Party's will!"

As the clapping began, the woman joined Park. With the last beat, the flagbearer presented the colors, Park threw her free fist into the air, the row of soldiers fired their blanks into the air as sparks shot out. Afterwards, the screens and lights went dark for a few seconds, giving the group time to make their way out.

by **Scotatrova** » Mon Oct 21, 2019 3:40 pm

8. Scotatrova
Marcos Reçiona
Change
Tune: Emmelie De Forest - Only Teardrops

Marcos Reçiona was born in a suburb of Coŕalios, the capital of the nation of Osphen. His father was a native Osphenian, while his mother was Voxijan, who moved to her husband’s home shortly after their marriage. During his birth, his mother had tragically passed away due to complications during his birth. Afterwards, it was revealed that Marcos’ maternal grandfather was a Scotatrovian citizen who had moved to Voxija sometime in the 1950s. He held onto his Scotatrovian citizenship, and through the Scotatrovian Nationality Law passed in 1948, anyone who has a grandparent of Scotatrovian nationality is granted citizenship. Once he found this out, Marcos’ father had decided it would be best to move to Scotatrova to pursue greater opportunities when he was eight. Even though Marcos was now a citizen, the same wasn’t granted for his father, who was now living as an immigrant. By the time Marcos was 13, his father had become a naturalized citizen.

Marcos was put into school by his father so that he could end up learning Scotatrovian. During his years in the education system, he often felt left out and distanced from his peers because his complexion was darker from the rest of his classmates and because he spoke Osphenian. Eventually, he got the grasp of the language and finished secondary education. Instead of pursuing higher education, he decided he would pursue a path in music. He would also take several trips back to Osphen so he could visit his grandfather, who started his interest in music from a young age. Marcos’ grandfather passed away when he was 17, and shortly after that he began to become more entwined in the music business. At first, he was playing small gigs in bars all across the Viratis metro area. After about two years of the same small gigs, he was eventually noticed by an agent. The agent was very impressed with Marcos’ skills, and so he invited him back to his record label to talk more about his future aspirations.

Marcos performed two songs of his that he wrote to the agent and his team, who were very interested in him becoming part of the label. After much deliberation, Marcos took them up on their offer and became a musician. At age 19, just eight months after signing his deal, he released his first single, “Me prendze”, which became an instant hit and made him beloved nationwide in the span of a few weeks. He would go on to release several more successful singles afterwards before he started work on his album. Around the same time, Scotatrova had already introduced its national final for the WorldVision Song Contest. Marcos had been propositioned to submit an entry for the national final, but declined, stating that “I don’t think it’s the right time for me to enter the contest, however I do thank everyone that supports me regardless.” When WorldVision 77 got announced, everyone was curious as to how Scotatrova’s national broadcaster was going to approach the situation, given the way they handled the issue of WorldVision 76. Once it was announced there would be an internal selection, everyone could only guess as to who the next artist could be. Days before the entrant was announced, the broadcaster had approached Marcos and asked if he wanted to be their representative. To Marcos, it was completely unreal, he had never expected to actually participate in WorldVision, and now it was happening. It was an opportunity he could have dreamed of, and after some thought, he accepted the invitation.

“I just can’t believe today is the day. I think cultures from all over the world are so important to be seen, so I’m just really honored as a Scotatrovian of mixed descent to get up here on this stage. I come from a big musical family and I get my love of music from my grandpa. Back in Osphen, my father’s side of the family is full of musicians. One of the toughest things I think I’ve had to go through was never getting to know my mother, as she passed shortly after I was born, so I feel like I’m lost with my Voxijan heritage. That, and then losing my grandfather a couple years ago was also something tough that I had to deal with. I always feel like they’re always here with me though. All these years, people believing in me, it's all brought me to this moment, and I’m here to do my country proud.” - Marcos Reçiona

Marcos stood center stage as the lights dimmed all around. He was joined by another guy who stood behind him to the left. Marcos was wearing a large, hefty fur coat around him that drapped all the way down to his feet and a beanie that left the front of his hair uncovered. He didn't have much of a silhouette, except for his head and his arms. To contrast, the other male was wearing some rather comfortable jeans and a sweater, nothing too out of the ordinary, and he held a flute in hand. The background floutist then began playing the intro of the song. Marcos held the microphone stand that stood in front of him as the song started and a spotlight shined down on him.

I have heard all the lies
Just look me in the eyes
Say that you don’t
Believe them

The screen behind them then began to display dark gray stormclouds. Below him, the ground displayed the effect of water droplets as if it were raining. The camera angle was positioned down to Marcos' left, and from there you have a good angle of his performance. There wasn't much movement in his performance. He was just singing along to the tune, and never breaking away eye contact from the audience. This song has such meaning to him that he wanted this performance to be something that everyone could enjoy.

I’ve had to hide
For what I have always felt
And yes I’ve cried
But I learned what I’ve been dealt
Now I feel fine
Took me a while but I’m here
Nothing to fear

As he sang through the second verse, he began to seem to get more comfortable. He was slightly dancing along to the music, but also feeling the rythym as he sang. The camera pulled out away further from him this time, better displaying the stage. The gray stormclouds on the back screen began to light up with lightning. The beat of percussion from the song gave it the sound of a smooth, rolling thunder. It then refocused its angle back on his face.

I’m tired of seeing all the hate
I’m tired of seeing it just straight
Don’t let them try to change you
I’m tired of hearing that it's wrong
I’m tired of hearing to be strong
Don’t let them try to change you

You tried to put me down
Thinking you’re big and bad
But to me you are nothing

His voice began to rise in tone. It began to gain more emotion to it than we had first started singing. As soon as the chorus hit, the screen and stage lit up with pulsing light, again giving the feeling of lightning. This time, the drums erupted with more power as they were more prevalent in the chorus. Lights above now rained down, giving the impression that it was actually raining on the stage. The camera now found itself directly to Marcos' right, displaying a perfect shot of him along with what was going on onstage. For the verse following the chorus, his tone had hushed down again. As he was singing, a small smile formed as he was watching the audience's reaction.

I’ve had to hide
For what I have always felt
And yes I’ve cried
But I learned what I’ve been dealt
Now I feel fine
Took me a while but I’m here
Nothing to fear

Marcos grabbed his beanie and took it off. He held it firmly in his hands as he kept singing. As he neared the end of the verse, he looked down at it and dropped it on the floor below him. He had a smirk as he did it, and he regained his focus back on the song.

And yet, I’m tired of seeing all the hate
I’m tired of seeing it just straight
Don’t let them try to change you
I’m tired of hearing that it's wrong
I’m tired of hearing to be strong
Don’t let them try to change you

'

There was a shift in overall tone as he finished the chorus. The rowdy stormclouds on the screen had seemed to calm down as there was less activity, and they were even starting to clear up. The light-rain effect also began to die down, given the impression that the rain had now died down to a trikle. He gave an intense look to the camera as he began to unbutton his coat. He didn't break eye contact with the camera as he dropped the coat to the floor only to reveal a folded up pride flag that was kept in place on his back from the coat. He then continued onto the next verse.

You don’t have to change (x2)
Try to change you
You don’t have to change (x2)

Marcos then grabbed the flag, unraveled it and swung it around on his shoulder like a sweater. The stormclouds on the screen dissipated, and the rain effect stopped. Now, the screen transitioned to a beautiful little sprout in the ground. That sprout then began to grow. After a few seconds, it had sprouted into a large, beautiful rose.

I’m tired of seeing all the hate
I’m tired of seeing it just straight
Don’t let them try to change you
I’m tired of hearing that it's wrong
I’m tired of hearing to be strong
Don’t let them try to change you
Try to change you (x3)

The screen then stopped displaying the rose, and the entire stage had gone dark except for the single spotlight directly on Marcos. This is when he grabbed the microphone off its stand. As he sang the final line in the verse, he held his other arm out. He then looked upward as if he was telling someone the lyrics as opposed to just singing them.

I’m tired of seeing all the hate
I’m tired of seeing it just straight
Don’t let them try to change you
I’m tired of hearing that it's wrong
I’m tired of hearing to be strong
Don’t let them try to change you

Finishing the final chorus, the screen behind him displayed a quote that read "Promire tia que criar que diage et güe qüerás ésre ante oltres poex vethre ai thé." (First you have to believe that you are already who you want to be before others can see it in you.) With the end of the song, Marcos held his hand to his face as he was overcome with emotion. He looked out to audience and said "Scellia emor! Emor sempri ganara!" (Choose love! Love will always win!). He held up the pride flag in front of him as the audience erupted with applause. He just pulled a risky stunt, but the consequences didn't matter to him. He just had the performance of a lifetime, and that is all that mattered.

by **Ertzei Kishim** » Mon Oct 21, 2019 5:27 pm

. : 9 - Ertzei Kishim - أراضي الكيش - ארצי כישים : .
SambuCCa - Nine Lives
سامبوكى - تسعة أرواح | סמבוקה - תשע נשמות
Language: English, Hebrew
To the Tune Of - Girls Aloud - Something New

Placing second in the previous was a great success for Kishrael, with the win being denied to them only by a suspicious set of consistent 5 points from Lactatia to the eventual winners. Regardless, the result was well received among the broadcaster as a way to hark back to the era of more successful Kishraeli participations (with that said, Kishrael had finished in the top 5 in the last 4 contests, recementing its place as a consistent favourite within the WorldVision music scene). With the results of Kdam announced, Dani Grady & Naomi Ereira were selected as the representatives for Ertzei Kishim in the 77th edition of the contest, to be held in Majorium. However, they withdrew citing personal issues which made performing untenable, runner up Yair Dahan (who also signed a recording contract with HARESHET) also rejected the opportunity stating that there was a lack of time to put together a good enough entry, and so HARESHET turned to an internal selection - bringing back popular girl group SambuCCa who last participated in the 70th edition of the contest, earning Kishrael a respectable 8th place. The new song was based on the lyrical themes of the previous song, and was in a dance pop style more closer to a typical Kishi dance-pop entry, as a opposed to the success of the previous edition which saw rock emerge as a viable alternative for WorldVision success. SambuCCa were already very established in the Kishi music scene, it could be argued one of the most popular girl bands in Ertzei Kishim, alongside Cinderella Ra'ah - the difference being that SambuCCa had yet to go truly international, apart from one or two hits. With that said, SambuCCa typically preferred to sing in English which gave them an international appeal, however HARESHET had specified at least one verse in Hebrew for the song to be sent to WorldVision. The girls had been enjoying their time around Majorium, a very technologically advanced city, and one could only think of the wonders of rampant capitalism has on society. It was noted that they didn't see that many homeless, but they all knew that they'd probably been pushed to the side for the contest. Fun!

The girls were arranged in a line on the stage, dressed in black latex like so. Glowing poles had been placed on the stage, fixed at the bottom with metal stands, meaning the girls could hang off them for effect however they weren't illuminated as of yet. As the song started Aria (if you forgot the names go look at WV70) began singing. The wind machine was blowing ferociously, with a bright gold light behind the girls, thus they were obscured from view and just black silhouettes. They'd change poses every few seconds apart from Aria.

Dressed up to the nine-nine-nines
So baby let me get those tens
Living like we got nine-nine lives
We gonna paint the nights this time
Dressed up to the nine-nine-nines
So baby let me get those tens
Imagine if we had nine-nine lives

As the music interlude started, the lights went normal and you could see all the girls in full now; they had similar makeup, dark lips and eyes with glitter on the eyelids, cheek and neck. The marched in unison together towards the centre of the stage. Aria and Yona took the lead on the chorus, with the other girls supporting vocally. They were focused on looking like they were having a good time on stage, so for this part of the song at least they were less uniform in their positions, and were interacting with the crowd.

Dreams are wasted I assume
Counting stars in my bedroom
If I had nine lives
Think what I would do
Face the fear of loss, yeah we crashing through

As the next part of the song started, the stage lighting went black and the glowsticks (some 2-3m tall), lit up in harsh blue-white light. Rina took the first part of the verse while Gal the second half. The camera followed them closely as they danced around the glowsticks, rubbing it, going down on it, whipping their hair. The glow from them framed their faces beautifully to create the impression of a dark club, as white lightning effects flashed through the stage.

Histagarti bakheder hazeh
הסתגרתי בחדר הזה

Shakhakti eikh l'heiakhez
שחכתי איך להיאחז

Histagarti bakheder hazeh
הסתגרתי בחדר הזה

V'ldaat kshe'leharfot
ולדעת כשלהרפות

Histagarti bakheder hazeh
הסתגרתי בחדר הזה

Ki akhsav atah ne'elam
כי עכשיו אתה נעלם

Im rak hayu li tesha neshamot ah ahhh
אם רק היו לי תשע נשמות אה אה...

The camera then cuts to Aria again, marching forward as the others girls are still on the poles, she stands at the centre of the stage. Then Yona and Talia join Aria in the centre, adding depth to the vocals. Finally Rina and Gal arrive as they are ready for the chorus, marching in the direction of each side of the stage, fanning out and interacting with the crowd.

Dressed up to the nine-nine-nines
So baby let me get those tens
Living like we got nine-nine lives
We gonna paint the nights this time
Dressed up to the nine-nine-nines
So baby let me get those tens
Imagine if we had nine-nine lives

The girls jump and dance with the crowd at the front of the stage during the chorus, the stadium is pumping with white lights in the audience, as the camera cuts to some Kishi members of the crowd dancing to the song with their flags waving. The girls turn to look at each other for a moment, before heading back to the centre of the stage and reassuming a position like statues, posing in specific (sexy) ways.

Dreams are wasted I assume
Counting stars in my bedroom
If I had nine lives
Think what I would do
Face the fear of loss, yeah we crashing through
Cos' I'm on my ninth life tonight...

Slowing the song down again, Gal takes the verse. She steps forward, ahead of the rest of the group who are frozen in their positions at the back of the stage. With the first part of the verse done, each girl at the back of the stage takes a line from the second part of the verse, and as she sings it is reanimated back into life, until all of them have sung a verse, Aria then finishes the verse with an aggressive note, as they widen their gate for the chorus.

I think it's time for you to step up, step up
(I think you can, you can)
I think it's time if you want to be with me, me
I think that you know you do
How I floated through space
Thinking you'd follow my lead
Counting lines on my hand
Every road that led me to you
But now my feet, firm on the ground
Tonight reborn, I'm getting crowned
One on one ready to attack
All fired up yeah I like it like that!

The final chorus, the light show becomes brighter and more powerful, almost like strobe lights, but not stroble lights of course because they want the epileptic votes, and also closer to the beat of the song. The stage begins filling up with smoke from the bottom that eventually obscures their feet, and also fireworks from the centre of the stage emphasise the power of the chorus, as all girls are singing at the same time, while also dancing to the beat. The sparks shoot out the stage in time with the music, the effects on stage reaching a sort of crescendo of light and power, before coming to an extremely abrupt close.

Dreams are wasted I assume
Counting stars in my bedroom
If I had nine lives
Think what I would do
Face the fear of loss, yeah we crashing through
Final frontier I assume
Pull you in with my perfume
If I had nine lives
Think what I would do
Face the fear of loss, yeah we crashing through
Cos' I'm on my ninth life tonight, wings are spreading to take flight, cos' I'm on my ninth life tonight
Yeah we set this place alight, cos' I'm on my ninth life tonight, I know we will be alright
Yeah I'm on my ninth life tonight, and tonight we have the right, coz' I'm on my ninth life tonight x2

As the song ends abruptly, the smoke filled stage without the powerful lights obscures the girls from view. They jog to the front of the stage so they can be seen as the audience lets out a great chear. They shout "Thank youuuu world!' in shocking unison, albeit breathily, before heading off the stage for the next act.

by **Malta Comino Gozo** » Tue Oct 22, 2019 2:24 pm

10

Nation Name: Malta Comino Gozo
Official Broadcaster: MCG 1
Tune: https://www.youtube.com/watch?v=-RJSbO8UZVY
Song Title: Don't Listen
Artist(s) Name(s): Erba Sekondi ta Sajf

Famous Malta Comino Gozoan pop rock boyband Erba Sekondi ta Sajf has been internally selected to represent the country at the Wordvision Song Contest 77.

As the first bars of the song begin, the stage is completely blacked out apart from a blue spotlight on Luke's face. The camera is focused solely on Luke's face

Reckless adventuring
Pursuits ain't nothing when I'm wondering with you
I just wanna be part of all your curiosities

The Camera pans out showing the arena and the stage the drummer (Ashton) is at the back middle the other two singers (Michael and Calum) with guitars fround their necks are on plinths to the left and right of Luke. Each band member is wearing black trousers a black leather jacket and white t-shirt.

Still going strong
The lady smiles, she holds me prisoner hmmm
My feelings for you tonight
My head forgets that I was left in many pieces

Spotlights then appear on the rest of the band members and the plinths are illuminated yellow

Your love, your love, your smile your smile
Cry and cry
I try and I try and I try but you just

The background flashes orange to black and cycles throughout the first part of
the chorus

Dont listen, what do you want, what do you want
Do you want me back
I've tried playing it cool, but you aint texting me back
But when I'm looking, when I'm looking at you, I love you hmmmmmm

The background flashes purple to red and cycles throughout the second part of
the chorus
The camera pans for the first line and then centres on Luke, before moving to the other members singing and playing

Don't listen,
One minute you need me, you need me
Stop the confusion, the confusion, but you just aint ringing me back
So help me out I need you back in my life
I can't ever be lovable ooooohhh

Luke walks up to the edge of the stage and touches audience members hands ( girls scream with delight) The Camera zooms on each band member for 2 seconds showing them playing their instruments .

Curved lips she just can't disguise.
Faking the tears, the tears you just cant hide
Cause you make my heart love.
The strongest love I have ever felt
I can try to hide everything I stand for but I leave it on the side oohh

The camera pans out and curves round the stage showing an angle from above, then swooping in showing the entire stage Calum and Michael jump off their plinths and join Luke at the front of the stage, playing their guitars. The background flashes orange to black and cycles throughout the first part of
the chorus

Damn love, what do you want, what do you want
Do you want me back
I've tried playing it cool, but you aint texting me back
But when I'm looking, when I'm looking at you, yeah oooohhhh

The background flashes purple to red and cycles throught the second part of
the chorus The camera zooms on Ashton energetically playing the drums before zooming back to Luke.

Don't listen,
One minute you need me, you need me
Stop the confusion, the confusion please, but you just aint ringing me back
So help me out, me out, I need you back in my life
I can't love without you ooooohhh oohhhhh

The stage fades to black with deep yellow spotlights on the band members. The camera is solely aimed at Luke singing this part

Your love, your love, your smile, your smile
Cry and cry
I try and I try and I try but you just,
Resent me, and resent me oh baby whyyy resent me why resent me

The camera zooms on Ashton energetically playing the drums standing up as he plays the beat into the chorus.

Pyros at the edge of the stage launch and the stage lights flick between orange red purple and black to the beat of the song for the remainder of the performance. The camera pans out showing the whole stage and most of the audience.

Damn love, what do you want, what do you want
Do you want me back
I've tried playing it cool, but you aint texting me back
But when I'm looking, when I'm looking at you, yeah oooohhhh

The camera walks across the stage Luke looks into the camera with a sexy look.
Audience screams and claps along
Smoke fireworks launch

Don't listen,
One minute you need me you need me
Stop the confusion,the confusion, but you just aint ringing me back
So help me out, me out, I need you back in my life
I can't love without you ooooohhh oohhhhh

The camera swoops back to show the band singing and playing their instruments
The stage is still illuminated switching between orange purple red and black to the beat

Damn love, what do you want, what do you want
Do you want me back
I've tried playing it cool, but you aint texting me back
So help me out, me out, I need you back in my life
I can't love without you ooooohhh oohhhhh

The band members apart from Ashton disperse around the stage playing their guitars and lunging at the audience smiling ( Audience members cheer)
The stage spotlights zoom around the stage

Your love, your love, your smile, your smile
Cry and cry
I try and I try and I try but you just,

Don't listen,
One minute you need me you need me
So help me out, I need you back here back in my life

The audience bursts into cheers and applause "The band bows and cheers "Thank you so much we love you all!"

by **Bayilan** » Tue Oct 22, 2019 2:35 pm

by **Elejamie** » Tue Oct 22, 2019 2:55 pm

12- Elejamie

Eterna - Goodbye

Tune: Panama - Always

Left to right: Ryan Burns (keyboard, guitar, bass, occasional backing vocals), Bernard Jones (piano, keyboard, vocals), Mike Ramsey (drums, drum machine, vocals).

Ryan Alexander Burns was born in Coventry, AVEN, on 31st December, 1989. The son of a lawyer and an elementary school teacher, he was more interested in listening to music rather than making his own. While he did have some basic idea of how to play a keyboard due to him learning how to do so in high school, he originally wrote it off as something he’d never have to do when he sought employment. However, one Summer at the age of 16, he was so uninterested with the music that was dominating the airwaves at the minute that he made a Ꞅ20 bet with a friend that he could make something better that’d get played on the radio. Calling himself Lacemaker and with the help of some music software he downloaded, as well as a keyboard he borrowed off of a friend, he made a quick 4-track demo and sent it off to a couple of radio stations. To his surprise, one of the songs (which wasn’t named and thus was dubbed Song #3) did get a bit of playtime and, thus, he won that bet. He handed out a few copies of the demo to friends and kept a copy of it for himself but, other than that, he completely forgot about it after a few months and just carried on living life as normal.

However, at university while he was getting a law degree, he decided to resurrect the project, primarily to stave off boredom but also so he wouldn’t be so reliant on his parents for money. Using both his dorm and the university’s music studio as a way of making his music, he also learnt how to play guitar, bass and a whole heap of other instruments. To his surprise, he found out that his demo was quite popular and there was enough of a fandom to keep making tracks, so that’s what he did. As Lacemaker grew and that became his main focus, to the point where he ended up not going to law school after getting his Bachelor’s, he decided to expand from a solo project and ask a wide variety of guest musicians to either play with him live. Primarily because he wanted to include instruments he wasn’t really able to play but also because he decided he wanted to add vocals and he wasn't sure about his singing voice. Hiring a wide variety of musicians, both famous faces and up-and-comers, to help him out with performances and the odd in-studio thing he worked on, Lacemaker would soon prove to be a smash hit in the alternative scene despite tours being a rare occurrence and performances outside of the country being a rarity.

However, there were two musicians who completely stood out to him. The first was Mike Ramsey (born 12th May, 1986), a former drummer and backing vocalist for the Avon-based band The Sharp Nights, who had left the band amicably to concentrate on this new project. Originally having little to no interest in the style of lo-fi somewhat ambient music that Ryan was providing, he’d soon get into it after a few performances and would provide his own spin on things, adding more of a rock sound due to the use of an acoustic drum kit (only resorting to an electric one if the circumstances won’t allow it). He first worked with Lacemaker after answering a personal ad asking for a drummer for a live performance and ended up having such a great time of it that he decided to help out in future performances, only not showing up if he was otherwise unavailable.

The second was Kara Lindsay (born March 22nd, 1990). Born in Murgon, BNTT, she moved to Coventry when she was 18 for university. While she was studying microbiology, she decided to get a job working in a studio. While most of it was essentially being a runner, getting staff their drinks and all that, she also worked as a session singer given that she was part of a choir back in high school; although she also had some keyboard abilities, she wasn’t able to show them off for a variety of reasons. While he was recording tracks for a new song in a professional studio, he came across her singing in a studio and, once they both had some free time, he asked her if she’d be able to record some vocals on his new EP. She agreed to, although due to prior commitments, she had to leave it for a couple of weeks before she had enough free time. When she was able to record, he was interested by what he heard and asked her if she’d like to work together again. She agreed to and the duo quickly struck up a friendship that turned romantic for all of four weeks before returning back to just being friends.

Deciding to leave Lacemaker as a solo project, Burns and Ramsey would soon form Aeternus, the Latin phrase for “eternity”, with Ramsey providing drums and vocals and Burns providing everything else. Following a couple of demo recordings, in which a number of people (and even the band themselves once or twice) kept getting the name wrong, they decided to rename it Eterna, which has the same meaning but is in a few other different languages. After a couple of EPs, 3AM On A Monday Morning and Somewhere Sometime, the duo would then get to work on their first album Madrugada, which got released in early 2014. Although it received a fair amount of buzz in underground circles, often being described as the best Cross Plaza Scene release to never come out of the city, it wasn’t as successful on the charts. Shortly after the release of the album, Kara would then officially join the duo on keys and vocals to make it three and, after a brief hiatus, they got to work on their second album Be Careful How You Spend It, which was released later that year.

However, it wasn’t until the release of their self-titled third album in the Summer of 2015, where they started to gain a bit of traction, thanks to one of the songs being used in a TV show. However, it was around this time that they got noticed by Bernard Jones (born 24th October, 1987), a Bristol-born classically-trained concert pianist who was well-known for his piano concertos, primarily with the Coventry Philharmonia but also with a few other orchestras around the world and multiverse. Upon realising that they sampled one of his performances, albeit with permission, he got in touch with them and asked if they could do a session together, since he thought that them performing together would be much better. They agreed to it and a collaboration EP, simply titled Eterna and Bernard Jones, was released to positive reviews from both classical and electronic fans, who thought that the two artists’ styles meshed together very well. Deciding that they had a good thing going with him, he was allowed to join as the fourth member of the group, although due to his schedule he would often record his pieces as early as possible before heading off to where he needed to go. Despite this, they were able to record their fourth album Wedding Album, named so because it was released around the time Mike and Kara got married (Autumn 2017); it was also around this time that Bernard finally received Elejamian citizenship.

Following the brief mini-tour to support the album, Kara decided to leave the band as she was starting to feel a bit burnt out by it, although she’d also announced she’d still work with the band whenever they needed her. Now back as a trio, Bernard decided to learn how to sing just to ease Mike’s vocal duties. Although he was hesitant to show it off for their first few performances, he’d soon muster up the courage and began singing during a few demos before eventually being bumped up to co-lead vocalist. After a couple of non-album singles which featured his singing, Blaze of Glory and Don’t Forget That You’re Still Number One, they got to work on their fifth album Middle of the Road, which was not only released in late 2018 but also saw him and Mike split vocal duties, as promised. They announced they’ll take a year-long break following the WorldVision Song Contest to concentrate on other efforts but will be back in 2021.

In the last competition, held in the Kalosian capital Monterra, Elejamie did a whole lot better than they usually did when Yoneten “Yoni” Maenilon and Patricio Esposito, known together as Fata Morgana, finished a very respectable second place with 122 points, including four sets of 12 points (coming from Darkmania, Mister X, Saviera and Nekoni), with their song Angel (I Can Feel You Now). However, the result was mired in controversy when it turned out the Vartugian and Savieran juries had tallied their votes wrong, with the former giving Elejamie 7 points when they meant to give it 6 points (the latter did get their votes right regarding Elejamie but still made a few mistakes with other nations). Although the errors were fixed in time, the bad news was that as a result Fata Morgana had to be docked a point from their original 123 point finish to reflect the new score and, thus, Polkopia was handed their eighth victory; although they would’ve drawn with Anna Viktoreevna had the point not been taken away, they would’ve won the tie-breaker as more nations had voted for their entry, 21 as opposed to 17 (had Eurovision ‘91 and ‘96 pre-qualifier tie-breaker rules been enforced, Elejamie would’ve also won there as FM had four sets of 12 points compared to Anna’s three). Full of anger as a result of this, although still retaining a calm and tranquil expression on their faces, the duo stormed out of the arena and back to their hotels, even going as far as tracing “WHF” in front of any cameras to promote the rival World Hit Festival, before returning home the following day to finish off work on their second album Green Flash, which was 60% complete by the time they had left for Monterra. The album was released two weeks after the contest, although the band broke up the following day citing stress and demoralisation as causes, though they also admitted they’d still remain friends and won’t rule out any chances of a reunion.

They weren’t the only ones who were completely outraged by the announcement. Normally stoic and deadpan WorldVision commentator Flynn Taggart loudly and angrily exclaimed “Oh, fuck off!” and then stormed out of the booth, leaving co-commentator Cerin Erali to finish commentating the competition by himself for the first time since Elejamie’s debut in WV35. Elejamian fans who had been at the competition booed the winner’s reprise in protest of what they saw as an unfair preference towards the bigger nations (as fans can be dumb like that). Many viewers had tuned out in disgust and took to the various social medias to complain about the result, with a few accusing the competition of apparent favouritism (see last thing in brackets). Indeed, while the majority still congratulated Anna on her win, there was still enough salt to not make her a very popular figure in Elejamie. ETV had announced that they would not air the following WV, instead handing over broadcasting duties to a small music channel, citing potential boycotts and their own personal displeasure over how things went. And the normal media was quick to dub the incident the Monterra Screwjob or, in the Spanish-speaking press, El Robo de Monterra (Monterra Theft/Robbery), named after a more infamous incident that also saw someone else lose through unfair means, although that time was intentional as opposed to by accident.

However, things started to die down as time went on and the fallout began to dissipate. Even though ETV didn’t broadcast the competition, Cerin Erali and Flynn Taggart still made their way over to Rosario to commentate on the 76th edition as a special edition of the former’s podcast. The incident was later renamed the Monterra Heartbreak or El Desamor de Monterra (which means the same thing) by both the press and the internet, partially when they found out it was genuine human error and partially out of respect to the city of Monterra, whose government had said that they felt the name gave the city a bad impression. And, despite her still remaining not super popular in his home nation, Yoni Maenilon saying that he’d happily collaborate with Anna Viktoreevna one day to bury the hatchet between the two and to put the whole incident behind him. Despite everyone’s best attempts to recover from it, the controversy over WV75’s voting will remain a very sore spot to Elejamian WorldVision fans for years to come.

Fast forward to now. The day after the 76th WorldVision Song Contest had ended, with Polkopia being crowned the winner for the second time in a row, although fortunately without controversy this time, ETV announced that not only will they air the 77th edition but also that Elejamie will be competing. However, there was a lack of willing entrants to send over to the contest in Mister X. Not just out of fears of a repeat of what happened but also due to a lack of interest in the competition itself. Fortunately, a couple of days after the announcement, they got in touch with a small yet fairly popular band called Eterna who’d said they’d do it. Finally relieved that someone agreed to represent the country, ETV announced they had a new representative, although since they didn’t have a song yet that was the only bit of news they were able to put out.

Although the group prefer the World Hit Festival over the WorldVision Song Contest and thus being fortunate enough to miss over WV75 and its controversial ending, they still snapped up the chance to represent their nation in Majorium, primarily because they won’t be able to grace the WHF stage otherwise and this was the closest they’d get to that but also that they might as well go out in style before they go on their break (see last paragraph before song) and the WV would be their chance to do so. Deciding to go with a ballad as opposed to the dance-pop that gave them that controversial second place spot, they started to get to work on an entry. Going away to work on their parts separately, they reconvened the day after to finalise a rough draft. After reworking what they had, as well as adding anything they thought that would be required and Bernard winning the coin toss to sing on the song. They sent it off to ETV, who announced it as their entry for the 77th WorldVision Song Contest, although the band themselves were displeased with the first song and reworked it, although they were kind enough to leave the original version on the single release. Although there was still a considerable amount of criticism on what was arguably a one-hit wonder representing the nation, most of it dissipated when the actual song was released and listeners said it was likely to win them the competition, or at the very least return Elejamie back to form.

When asked about it, guitarist/keyboardist/bassist/backing singer Ryan Burns, who also wrote the song, said “We were at the end of touring for Eterna, the third album. The actual day before we were all to go home, in fact. And I got a message from my mom that my dad had a heart attack. And I was incredibly scared for him; what if he doesn’t pull through, how will I cope, those sorts of questions. And the dreadful fact that I never got to say goodbye to him if he goes. Though the good news is that he recovered, he’s been at full health now for the last three years now, but the fear remained with me ever since. So, after spending the last couple of years coming to terms with it, I decided to write a song about it. Took me a few days to get the lyrics done the way I wanted it and had to rewrite it to fit the music but I’m still proud of it. It’s a song about coming to terms with someone who’s passed on and saying goodbye to them for the last time.”

Regardless of the final result, the band have announced they will go on hiatus after the competition has drawn to a close. When asked about it, Ryan said he wanted to concentrate on his solo project Lacemaker; Bernard said he had a whole load of performances scheduled, both domestic and abroad, leaving him little to no time to work with Eterna; and Mike said that he’d want to work on his side project MiKaDeux, a duo consisting of him and his wife/former Eterna bandmate Kara Lindsay. Will they actually be able to succeed and bring victory home? Will they still achieve a respectable result even if they don’t win? Or will their result prove that Elejamie’s second place in Monterra was purely a fluke? Only one way to find out.

Colour guide:

Green - Bernard
Red - Bernard + Backing singers
Blue - Everyone
Black/White - Everyone (sans Bernard)

Once the postcard had finished, we then cut to a wide-angled shot of the stage showing all of the performers. From left to right there was Bernard Jones, sat behind a plain, old white piano which had the lid open; Mike Ramsey, sat behind a white drum kit, although the skins were black; Ryan Burns, standing behind a double decker keyboard stand, with a grey keyboard with colour-inverted keys on the bottom and a dark grey metallic coloured normal guitar-shaped steel guitar perched neatly on the top; and, to the far right to the point where they’ll be mostly off-screen for the stage unless the behind the scenes people do the right cuts, are a couple of backing singers, one male and one female and both local to the area. All the band members had a microphone next to them, with Bernard’s being bent in a way so he can sing lead while playing the piano, whereas the backing singers had theirs right in front of them as you’d expect. With the sole exception of Mike, all the men were dressed in a black suit in varying degrees of buttoned-up, an off-white shirt, a plain black clip-on tie and a pair of black dress shoes. Bernard had his jacket buttoned all the way up all neat and tidy, the male backing singer’s jacket was half-buttoned and Ryan’s jacket was unbuttoned all the way. Mike was the only exception due to him wearing a black waistcoat and no tie instead of a jacket and tie but otherwise had the same attire. The female backing singer was wearing a black dress with a white trim and a white collar, as well as a pair of black high-heeled shoes with a white sole, though fortunately for her the heel was nice and chunky as to avoid it breaking.

The lights immediately dimmed so that the stage was immediately bathed in darkness, followed by a single white spotlight pointing down at Bernard getting ready to perform. We then almost immediately cut to a close-up of him actually singing the song while he begins to play the piano, something that took a lot of tries but they managed to get it down to a small margin of error. Indeed, on the night, they managed to cut away a fraction of a second too early, something barely noticeable upon first glance but gets easier to spot if you rewatch it a copious amount of times.

Goodbye, it’s tough but I know
So long, I’ve got to let you go

Once Bernard was done singing his bit, we then cut to another wide-angled shot of the stage, which showed another white spotlight pointing downwards but this time it was on Mike who began to drum along to the beat. Or, rather, kick the pedal to play the bass drum. Afterwards, it cut to a short shot of Ryan, surrounded mostly by dim light other than a few areas of light from Mike’s spotlight, playing steel guitar by sliding a tone bar over the strings on the body with one hand while he used his other to pluck the strings on the neck. When Bernard was about to sing again, the camera then cut to him doing so.

I know that you can’t hear me
Now rest well, my friend, your soul’s now free

The lights briefly dimmed before all of the spotlights turned on at the same time, right when they began to sing again, completely illuminating the stage to reveal the band to the audience and, most importantly, to the folks back home. The stage itself was a simple affair, with the screens behind the band being completely black as if they were turned off (mainly because they were) but the light underneath the stage was a bright white. There were no gimmicks, no dancers, no images, nothing to distract from the simplistic on stage performance on stage. Just three people playing their instruments and two local singers backing them up. Nothing more, nothing less.

Goodbye, it’s tough but I know
So long, I’ve got to let you go

As he sang the first line of the next verse, he closed his eyes as he still played the piano. He did a reverse blink, opening his eyes briefly before closing them again, during the break before re-opening them halfway through the second line. All of this while the camera slowly panned from the left of Bernard to his right, stopping when he finished his verse.

Now you’re gone
And it feels like my life’s been torn apart
An empty soul and a broken heart

Right after that last verse, the cameras slowly faded to black while the stage itself remained the way it was. It then immediately cut to a slow-motion zoom onto Mike, playing his drums while staring intently into the camera. When it came time for the second line, it then cut over to Bernard who shook his head to the right twice in time with him singing the first two words of the line before keeping his head straight while finishing the rest of the verse, looking into the camera from time to time but for the rest of the time either having his eyes closed or looking down at the keys he was pressing.

Farewell, my guiding light
Got to let you vacate this world
And gently go into that night

The lights, both on the rig above the stage and the white light below the performers, immediately turned off and left the stage bathed in complete darkness, to the point where it might’ve seemed like a power cut if it weren’t for a few other sources still producing lights. However, the instant the entire band and backing singers started to sing again, the lights immediately came back on, a bit brighter than before but fortunately not enough to irritate anyone’s eyes. Not just that but there was also a row of flames shooting out of the row of pyrotechnics right at the front of the stage, far away from any of the performers, camera people and audience members.

Goodbye, I won’t forget you
So long and sleep my dearest friend
Goodbye, I will wait for you
Because I know that soon we'll meet again

During the instrumental break, the camera panned around quickly, showing all of the band members from left to right playing their instruments, before cutting to a close-up of Bernard playing a couple of notes on his piano. Once that was over, we cut to an overhead shot of the audience, some of whom were clapping in time to the beat, making its way to the performers, fading in to Bernard pressing the same keys again. When the time came for the outro, Bernard just kept playing his piano and instead left the singing to the other members with the camera slowly panning over to Mike and Ryan singing their bits.

Goodbye, now that it’s over I’ll accept the truth
That I must go on without you
(Goodbye) Goodbye, though I thought I’d tell you that this ain’t the end
(Goodbye) Take care because I know we’ll meet again

The camera then cut over to the backing singers singing the first “Goodbye”, before immediately cutting to Bernard playing his instrument, cutting once again to a close up of him hitting the same couple of notes on his piano. Afterwards it cut to the same backing singers, the male of whom started to raise his hands into the air as he sang and lowering them when he was done, before the camera cut yet again, this time to Mike drumming.

(Goodbye)
(Goodbye)

Once all the vocals were done, we see the lights start to dim but still lighting up the musicians. After a mostly wide angled shot of the performers, we then cut to a brief few seconds long behind close-up shot of Ryan pressing a few keys on his keyboard, moving one of his fingers slightly to play the next note, before cutting to an extreme close-up of Bernard playing the last few notes of the song on the piano. Immediately after the song was over, he lowered the fallboard so it was covering the keys, with the resulting faint sound even getting picked up by the microphone.

Barely a second later, the audience applauded to show their gratitude to the song. Indeed, it cut right to a group of Elejamian fans, carrying not only flags of their home nation (with a couple of flags from other nations being in the shot) but also a couple of signs. One of the signs was a simple sign to spur on the band, with a picture of the band in the middle, “Eterna(l)” at the top and “Champions!” at the bottom. However, the second sign, just out of view but making its way back in and out due to the fan shaking it, showed the words “Avenge Fata Morgana!” in big block capitals, painted to look like the Elejamian flag, as a reference to the thing I mentioned at the start, with a little, yet big enough to be clearly seen, tongue out emoji in the bottom right hand corner just to show it wasn’t the sign-maker being serious.

When the time came to acknowledge the crowd, the band got up from behind their instruments and simply waved to the crowds. They didn’t smile or anything, they kept the same blank, neutral expression they had throughout most of the song; a stylistic choice given the type of song they had performed and they felt that showing any sort of emotions that could be seen as “happy” would taint that message. They even went as far as to agree not to smile or celebrate any votes given to them, including any 12 points should they receive any. Bernard then leaned down and spoke into the piano microphone, saying a simple “Thank you.” before most of the band left. A couple of them stayed behind to help the stagehands get ready for the next act before they too disappeared off-stage.

by **Ekoz** » Wed Oct 23, 2019 12:36 pm

by **Achaean Republic** » Wed Oct 23, 2019 4:49 pm

14 | Achaean Republic
Anamaría - “Tierno”(Tender)
Tune: Belanova-Niño
Music & Lyrics - Anamaría Benítez, David Rojas

Anamaría Benítez was waiting for a chance to fame when she entered Worldvision: La Final. The spunky twenty-five-year-old with raven-black hair and an eternally sunny smile enjoyed singing as a passion, an adventure, a discovery. She grew up in a family of storytellers, writers, teachers and poets in the rural Corola town of San Fernando. There, she learned how to sing to the canaries and the ranchers working on her grandfather’s sprawling hacienda. She grew up with the bolero classics of yesteryear, the ones that couples would slowly dance to at bars and weddings. The simplicity of rural life also carried over to her adulthood as she always wore frilly dresses and large hats that shielded her from the sun. The same boots she wore while picking up coffee and sugarcane with her grandparents were the ones she carried behind the stage, rubbing at them for good luck––and the ones she featured on her first LP, Monumentos (“Monuments”).

When she was 18, she wanted to study Agricultural Production in the Rural University of Corola in La Cañada, following the footsteps of her parents and grandparents. There, she met the love of her life––local student and now-guitarist David Rojas––as she studied in the mornings and sang in a local bar in the evenings for spare cash and the sheer joy of singing. But one fateful day, a high school music teacher stopped by the local dive bar for a few beers after work. As he came in, he was enthralled by Anamaría’s raw, yet soothing voice singing old bossa nova and jazz classics he even forgot to remember from his jazz days at college. After Anamaría finished performing, he spoke to her in private and convinced her to train with him so that she could perfect her voice––for free––, for it would make her a star.

Anamaría’s time through college was essentially tripartite, as she had to study, sing, and practice singing some more for over a year. His meeting method s were strict and forceful, yet fair. She couldn’t miss class. She couldn’t fail a test or he would quit teaching her in an instant. But he was also attentive, careful, and understanding, a very weird combination in a stern teacher. She launched her voice to a soul-searching process and her personal commitments also suffered because of the training. But it also prepared her to produce Monumentos and her hit single, ¿Qué Esperas de Mí? (“What do you expect from me?”)

Eventually Anamaría hired Diego Cañas, a psychology student from the Rural University who also moonlighted as a drummer in his local church, to create a small-time band that wrote local hits like “Mi Mayor Deseo” (My Greatest Wish), “Tamarindo” (Tamarind) and “Pezuñas” (Hoofs), all songs geared towards rural life that have deeper meanings in love, sex, and the reality of young adult life in rural Corola. These singles became a hit in Southeastern Achaea, with “Tamarindo” in particular becoming their calling card nationwide.

This song brought them to Worldvision: La Final. Everybody knows what happened next.

They were content with their performance until the votes from Tödlichebujoku broke the tie and tipped the scales to Anamaría’s favor. Like the rest of the band, she was shocked, surprised, elated, and also felt a bit sorry for Manamma, whom she enjoyed her entry the most out of all other performers, even if she thew eggs, ketchup and glitter at their car when they left the Centro Corolano para la Mujer. They were ready to show Achaea––and the world––that they were ready to shine.

________________________________________________________________________________________________________________________________________
As the song begins, the high camera focuses on the orchestral ensemble congregated on the stage. A local Corola orchestra composed of female violinists joined the stage as they began their tunes. David was playing the electric guitar on the camera's left side. Diego was drumming on the right. The stage had a light, pinkish hue that transformed into short bursts of red, orange, yellow, and pink colors, as if reminiscent of an Achaean twilight or sunrise. Suddenly, Anamaría walked to the stage, dressed in a short, V-neck lace red dress that accentuated her cleavage. Her hair was coiffed in a light bun that was covered by a red amapola, a dark-red poppy that almost has the intensity of blood. She chose the red dress because it made her feel passionate, emotional, and tender, as the song she was about to sing. It was a
great way to start her trip to stardom, her Worldvision journey, and it also complemented the red sneakers she bought at Zara for the performance.

Tierno, lo veo en tus ojos
Tender, I see it in your eyes

Quizás pienses en mí
Maybe you think of me

Te quiero escuchar
I want to listen to you

Porque
Because

También te extraño
I miss you, too

Perdóname
Forgive me

Déjame entenderte
Let me understand you

Déjame enseñarte
Let me teach you

Her presence on stage is magical and wistful. Her voice is somewhat shaky, shakier than in her many rehearsals. On the back of her mind, she wanted to excel in her performance, more so since the voting controversy, as she wanted to really prove herself and to the Achaeans that she's got the star power to carry the win. The screens behind her show fields of flowers, the best views of her San Fernando hometown. The first LED screen has fields of bright-red amapolas and a white hand carrying them. The second LED screen features hilltops and mountains like the ones in San Fernando––the same ones that, on a clear summer day, would let you see all the way to Corola and the Caribbean Sea. If there was some way of grabbing votes, she said, it was clamping up on the cuteness.

Quiero enseñarte el amor
I want to teach you about love

Quiero vivir por ti
I want to live for you

Quiero enseñarte el amor
I want to teach you about love

Espero que tú te sorprendas
I hope that you feel so surprised, love

Anamaría's performance is stoic and static, yet also charming and innocent. The camera circles around her frame as she played with her eyes, winked at the camera, and gave small kissy faces to the viewers in the stadium and at home, too. Another camera focuses on the violinists, all clothed in red and having a red amapola in their heads. Two-piece skirts and dresses, onesies and pantsuits. They had white hair, black hair, red hair. They had tattoos, promise rings, bouquets of flowers, and decorated red strands on their violins and cymbals. Some looked serious, and some were laughing and joking at and with each other. Yes, they were competing, but they were also having fun.

A quick glance at the camera revealed a cheering Achaean crowd in a corner of the expansive stadium, and another one focused on the band's performers. Now, with the camera back on Anamaría's frame, as she prepared to sing the second stanza of her song...in English. It had been decades since Achaeans sent a song with English and, whenever they did, they were not very successful. But protestations of the Achaean Academy of the Spanish Language be damned, AS1 would dip their waters into ~~pandering international audiences~~ expanding their reach through English. Of course Manamma, the bane and sworn enemy of the Corola media empire, protested. But they went ahead anyway with the hopes of pleasing the public.

Tender, you’re so young and so pure
Don’t ever stop dreaming
I cannot wait so long
Because
I also miss you

Anamaría walked a few steps here and there, attempting to pick up her balance as she sang her notes. The screens behind her switched to red, white and black dots as the camera focused on her side and the orchestra. She closed her eyes for a moment as she tried to focus on delivering those high notes while forging a sense of longing, excitement, hope, and expectation for the future. She wanted to feel free and enjoy the moments on stage, with her beloved David and her best friend Diego, as the song geared towards its climax.

Quiero enseñarte el amor
I want to teach you about love

Quiero vivir por ti
I want to live for you

Quiero enseñarte el amor
I want to teach you about love

Espero que tú te sorprendas
I hope that you feel so surprised, love

Hay tantas cosas para descubrir
There are so many things to discover

No debes de olvidar
You cannot forget that

Nunca es momento de sufrir
Never’s a moment to suffer

Ven a volar, en a volar
Come fly with me, come fly with me

Quiero, oh, oh…
I want to, oh…

As the song ended and Anamaría sang the final high note, a wide pan of the stage featured the LED screens going dark, the clashing sound of cymbals dying out, and the fiddling violins taking over the final seconds of the song. The lights on the stage began to dim as well, darkening the whole stage, with Anamaría's light first snuffing out as she stood quietly with her head held on high. Then a few other lights, the ones showing David and Diego, were turned off. Slowly, the lights from the orchestra were snuffed and they quit playing their music. Until the end, there was one young violinist dressed in red and pink who was playing the last strings of the song on her violin. Before her light is snuffed out, the young violinist smiled and waved to the camera, violin in her left hand and the bow on her right. As the light was snuffed, the crowd clapped––and more so the Achaean crowd who traveled all the way to Majorium to support their band.

The lights on the stage turned on again. "Gracias, Majorium! Thank you!," said Anamaría, waving to the crowd and trying to hold off any tears. David and Diego were beside her, David on her left and Diego on her right, waving and kissing to the crowd. On the background, the violinists hug each other, dance, and celebrate that their performance was complete.

by **Polkopia** » Thu Oct 24, 2019 6:19 am

WIP WIP NAE NAE

by **Mercedini** » Fri Oct 25, 2019 1:42 pm

#16 MERCEDINI
Milo Sibernic & Mia Rina - "Lenzuoli (Bedsheets)"
Tune: Lauv & Anne-Marie - "f*ck, i'm lonely"
Music: Milo Sibernic, Johan Serrazzi • Lyrics: Milo Sibernic

After their four edition hiatus, Mercedini are back at the big one for the first time since their victory in Lipa, where Ylinqar ran away with the WorldVision title by a whopping 17 points, giving Mercedini their first ever WorldVision title at the twentieth time of asking, or something like that. Since then, other projects have diverted host broadcaster ENM's attention away from in international song contest, but they return better than ever, looking to lift the title once again and place Dini firmly in the WorldVision ethos. Delegations have gathered in Majorium, Mister X for the 77th edition for the song contest.

In a rare decision by the executives of ENM, they have decided to send the duo of Milo Sibernic and Mia Rina, sending a song written by Milo himself which would've have originally been a commercial release. The duo have had recent commercial success with their blossoming careers now put to the test in Majorium as they join forces for this bouncy pop song about blossoming love and the rarely-talked-about situations that couples experience. With a title now firmly under their belts, ENM executives can now relax and send music that best shows the nation's eclectic music scene, and that begins now. A good result is what many hope for in Mister X, and with a good performances, that is certainly achievable on a good night.

The sixteenth performance of the night begins with the opening chimes of the song ringing out across the arena. There is a pink hue placed upon the stage as the LEDs and regular light all turn pink, as the moves in from the side of the stage, as it moves in on a simple home setup with a small sofa, tables with plants and a mirror hung up on a wall where Milo is sitting in front of. He stands up as the first cycle of notes comes to an end and his first approaches. He stands up and faces the mirror, the camera on the stage moves closer and faces the reflection of Milo, who sings to the camera via the mirror. His light coloured tracksuit captures the lights as he sings the first verse of the song.

La mezzaluna vola sopra, le strade soncalma
Il fruscio degli alberi risuona
I lampioni brillano attraverso le tende
Pronto per un altro giorn'famai
The Crescent (referring to the moon) flies above, the streets are quiet
The sound of the trees ring out outside
The street lights shine through the curtains
Ready for another familiar day

The camera moves back as Milo turns to face the real camera on stage as they both move around the room, with Milo holding his heart and singing into the camera as he tries to squeeze out every last meaningful note out of the song, as first impressions to the voters are key. Even though he is singing in his native Mercedinian, he mimics and charades the meaning of the words with his free hand, allowing the international audience to understand what the song is all about. As the song approaches the first chorus, he sits on his mini-single bed as he looks into the distance as the first chorus comes in.

Solita, solita (ah), tu l'hai guaramita
Solita, solita (ah), tutto rezol da
Loneliness, loneliness, you cured that
Loneliness, loneliness, all fixed by...

A flash of white happens on screen in time with the 'te' of the song as the first chorus begins in the song. He dances around his makeshift room like a young child as pink and white projections flash around the room, giving a nearly psychedelic feeling to the visuals as it combines with the song. The camera remains on stage in a single, uninterrupted shot for the viewers at home, and continues to be combination of slowly moving tacking shots and static shots from a single angle of the room. Milo finished with the song by leaning with his back to the wall.

Te luenzoli, luenzoli, luenzoli è
Ma aioti, aioti, aioti
E eccoci stasera, calmi e tranquilloni
Te luenzoli, luenzoli, luenzoli-zuoli yeah
Your bedsheets, bedsheets, bedsheets is
My helper, helper, helper
And here we are tonight, calm and tranquil
Your bedsheets, bedsheets, bedsheets

The same camera on stage then moves through the wall to an identical green room which houses Mia, with similar chairs, tables and plants as Milo's room, but will intricate and specific details which makes this room have a difficult identity than that of previous. Mia was leaning agains the wall in a similar way as Milo as his her performance, effectively passing on the baton to the female vocalist as she prepares to sing the second verse.

She is just as personal to the camera as Milo, as she sings to the camera and direct herself around the room, taking in all four corners to reveal that it is an open set-up and the three walls that aren't separating the two vocalists are open and are plainly visible with the camera looking out into the audience with Mia in the foreground.

Yeah I restlessly crave these moments, as days turn to nights
Your heartbeat is the only thing I feel
I'm too far gone to ever think 'bout laying on my own
So just stop by if things just get to real

She retreats back into the room where she mimics Milo's actions towards the bridge and dances around her room in the lead up to the chorus. She sits on her bed and picks up a teddy bear off her bed as she sits down and sings to the teddy bear with a camera in front of her. She turns the head of the teddy bear in front of the camera as shes turns simultaneously

Solita, solita (ah), tu l'hai guaramita
Solita, solita (ah), tutto rezol da
Loneliness, loneliness, you cured that
Loneliness, loneliness, all fixed by...

Mia throws the teddy out of shot at the same time as her 'te' and stands up for her version of the song's chorus, this time with added backing vocals and a more funky bass riff on the song, showing the progression of the song from chorus to chorus. With the two vocalists sharing the load of the song, it gave them some time to relax and focus on themselves on stage. Mercedini's return to the contest is an accomplished one, even if the thought of winning their first title has firmly been taking off the table since the previous contest they were in.

Te luenzoli, luenzoli, luenzoli è
Ma aioti, aioti, aioti
E eccoci stasera, calmi e tranquilloni
Te luenzoli, luenzoli, luenzoli-zuoli yeah
Your bedsheets, bedsheets, bedsheets is
My helper, helper, helper
And here we are tonight, calm and tranquil
Your bedsheets, bedsheets, bedsheets

The two singers now stand firmly in their two halves as the camera retreats to reveal the two-room setup on stage, with the green room on the left and the pink room on the right. The audience now come into view with a small cheer ringing around the arena as the audience members spot themselves on the big screens in the arena. Flags are beginning to wave across the arena with pink and green lights begins to merge.

The two singers begin to tear the walls and merge as one big room with the two beginning to spot each other between the holes, before the supports cave in and allow the wall to fall and the two performers to stand face to face with each other for the first time.

La notte passa, ora per ora
Disteso, attratto tuo calora
Non voglio mai che il sole sorge
Nirvana in questa stanza per...
The night passes, hour by hour
Laying still, attracted to your heat
Never want the sun to rise
Nirvana in this room for...

La notte passa, ora per ora
Disteso, attratto tuo calora
Non voglio mai che il sole sorge
Nirvana in questa stanza per du
The night passes, hour by hour
Laying still, attracted to your heat
Never want the sun to rise
Nirvana in this room for two

The two embrace for a short period of time as Mia sings her small solo, it gives a brief pause in the song for the performers and audience to catch their break before they break their embrace and walk out of their rooms and onto the stage main floor.

Hmmm (Hmmm, hmmm)
Stanza per du
(Hmmm, hmmm)

The two make it to the main stage as their rooms are now no longer the main focus of the performance, pink and green confetti rains down as a number of sweeping shots make their way to the front of the stage before sweeping back round to the side to take in the scope of the arena. The two performers are singing at each other as if it is just them in the room, but a dancing audience is clearly visible as bouncing hands and waving flags fill portions of the footage relayed to the viewers at home. Lights pulsate between pink and green, symbolising the two performers singing together, when before they were explicitly separated.

Te luenzoli, luenzoli, luenzoli è
Ma aioti, aioti, aioti
E eccoci stasera, calmi e tranquilloni
Te luenzoli, luenzoli, luenzoli-zuoli yeah
Your bedsheets, bedsheets, bedsheets is
My helper, helper, helper
And here we are tonight, calm and tranquil
Your bedsheets, bedsheets, bedsheets

La notte passa, ora per ora
Disteso, attratto dal tuo calora
Non voglio mai che il sole sorge
Nirvana in questa stanza per...
The night passes, hour by hour
Laying still, attracted to your heat
Never want the sun to rise
Nirvana in this room for...

La notte passa, ora per ora
Disteso, attratto dal tuo calora
Non voglio mai che il sole sorge
Nirvana in questa stanza per du
The night passes, hour by hour
Laying still, attracted to your heat
Never want the sun to rise
Nirvana in this room for two

The two performers stand together and the closing notes ring around the stadium with cheers already building in Majorium to finish the Mercedinan song, the first song in four editions. The two performers had a big job to do as they represented their nation to try and get Dini back as a solid contender in song contests like this. The audience had welcomed them back with open arms, and the two performers couldnt hide the smile on the faces as they turned to thank the audience. "Grazij, Thank You!", the two bowed in front of their adoring audience before
a brief transition was made to the post card of the next song.

by **Antahbrantahstan** » Fri Oct 25, 2019 10:49 pm

17. ANTAHBRANTAHSTAN

Safina Grant-Dangdut

Tune: SKE48-Ikinari Punch Line

m: Yuliana Vergina Citra, Dewi Ana Santosa
l: Yuliana Vergina Citra

Bonus (Dance Inspiration): Iris Mittenaere & Anthony Colette's Argentine Tango, in tune to Havana by Camila Cabello

RR, the former Anturian WV licensee, faced a huge backlash after Ruslan Miroslavovic, their selected artist cannot compete in WorldVision, Ruslan himself also fueled the fire after he claimed that RR did not give himself enough creative control with the staging and how his song is going to be performed, thus forcing him to abandon WorldVision and pursue better job offers, including acting and endorsements, much to RR's dismay.

In order to keep things at bay and make Antahbrantahstan participate in WorldVision again, RR sold the Anturian WorldVision rights to their rival broadcaster Vega, a channel commonly associated with the hip, urban youth, afterwards, Vega scouted several artists who they felt might be able to participate in WorldVision, they would later shortlist the candidates, who would then sing in front of the judges assembled by Vega.

And finally, Safina Grant, an unknown artist, was selected. She would later be given lessons in vocal, choreography, and personal branding, after her lessons ended, she was later given the WorldVision song by Yuliana Vergina Citra, the author of the song, however, Safina doesn't feel that the song suits her personality, and thus, she gave Yuliana some directions in refining the song, but, Safina would later be pleased with the final product, and felt that "this is what WorldVision needs", whether or not the statement is true, will be proven here, in Majorium.

We see the stage, being very dark at first, until the sound of trumpets wakes the audience up into existence, and now, the stage is awash with red lights, with some pyrotechnic effects accompanying it, Safina wasn't shot by the camera at first, however, she would later appear, wearing a sequined bright red tuxedo and trousers, along with a small, red top hat, she at first sits on the stage, before standing up to let her backing singers (four woman in total, wearing red blouses) join her in singing.

Malam ini sangat sepi (This night is very, very quiet)
Semuanya hanya ingin merebahkan diri (Everybody just wants to lay themselves in bed)
Tak mengasyikkan (It's really no fun)
Namun ada seorang pria (But there's a man in here)
Wajahnya pun mengisyaratkan (His face seems to show that he's feeling something)
Sebuah rasa, oh, kebosanan (A feeling, oh, boringness)

Safina would then try to "dance" but fails miserably, her backing singers "notice" this, and gives her some encouragements to keep on dancing.

Aku ingin berdansa di bawah rembulan (I want to dance, under the moonlit sky)
Jangan malu, janganlah ragu (Please don't be shy, and don't be afraid)
Ikutilah, derap langkah kakiku (Just follow me, and my own footsteps)
Aaaaaah

The backing singers would then sing while doing some heavily modified tango movements, both solo and in pairs, with Safina looking amazed at her own backing singers, however, Safina knows that she still hasn't put the audience in the mood to dance. Some pyrotechnics also accompanies the singers in the chorus part.

Ndang ndut, Ndang ndut
Dengarkan bunyi seruling (Listen to the sound of seruling)
Ndang ndut. Ndang ndut
Oh asyik sekali (Oh, this is very fun)
Ndang ndut, Ndang ndut
Apakah dirimu pusing? (Are you feeling dizzy?)
Ndang ndut, Ndang ndut
Semuanya pun berputar (Everything seems to be spinning)
Inilah, keajaiban dangdut (This is it, the miracles of dangdut)

Safina would later see a man entering the stage, wearing black t-shirt and trousers, with the backing singers trying to make her talk to him, afterwards, Safina would sing this verse to him in a very seductive tone, earning both cheers and jeers from the audience.

Ternyata kau luar biasa (And i don't know you're so amazing)
Apakah ada yang belum dirimu pelajari? (Is there anything you haven't learned?)
Cinta, misalnya (Love, maybe)
Senyum manismu tidak pantas (Your sweet smile is inappropriate)
Untuk jadi milikmu saja (For you to have it as your own)
Dekatkan saja. sedikit saja (Make it a bit nearer, just a little bit)

Safina then guides the man too the "dance floor" which is the middle of the stage, still awash in the same red light. Safina then makes the man sit down and watch her alongside her backing singers perform a dance specially for him. Safina would later throw her hat at the audience during the "Aaaaaaah"

Kini kau makin mahir, melebihi aku (And now you're more talented, even better than me)
Ini waktu yang sangat tepat (This is the perfect time)
Untuk katakan semua rahasiamu (For you to tell me, all of your secrets)
Aaaaaah

Safina and her backing singers would then dance, performing a simplistic dance routine but with complicated hand movements, the audience is now in the mood that there is something sexy going on stage, with Safina's dances being energetic yet delicate enough to follow, some young audiences can be seen performing the dance childishly.

Semua, semua (Everything, everything)
Ku ingin kecup semua (I want to kiss all of it)
Semua, semua (Everything, everything)
Tubuh dan pakaianmu (Your body and clothes)
Semua, semua (Everything, everything)
Habiskan semua (Finish it all)
Semua, semua (Everything, everything)
Penuhi dengan energimu (And fill it with your energy)
Lantai ini tak pernah terasa sangat hidup (This dance floor has never been so alive)

Suddenly rain begins to pour in the middle of the stage, and the light would dim a little. Safina then takes off her tuxedo (no worries she wore a sleeveless white shirt beneath), and the man begins to dance seductively alongside Safina, making Safina perform several tango steps with him, later, after the instrumental break stops, the backing singers would then dry out Safina and the man with hairdryers (solely for comic effect)

Safina would then continue singing, with the man beside her, with the song going to end, it's time to prepare for the curtain call.

Mungkin kau sangat ragu menjalin cinta (Maybe you're too afraid to make relationships)
Tak apa-apa, marilah kita (Oh, that's okay, now it's time for us)
Akhiri saja, dansa kita yang manis (To end all of this, our very own sweet dance)

Safina and the man would then dance alongside the backing singers, performing both modified and pure Argentinian tango dances in rhythm to the song, with fires accompanying them, with the trumpets and beats echoing throughout the arena, it's the perfect conclusion for an otherwise very upbeat song.

Ndang ndut, Ndang ndut
Dengarkan bunyi seruling (Listen to the sound of seruling)
Ndang ndut. Ndang ndut
Oh asyik sekali (Oh, this is very fun)
Ndang ndut, Ndang ndut
Apakah dirimu pusing? (Are you feeling dizzy?)
Ndang ndut, Ndang ndut
Semuanya pun berputar (Everything seems to be spinning)
Inilah, keajaiban dangdut (This is it, the miracles of dangdut)

The audience then erupted in cheers and applause, and Safina, alongside her crew, bowed down to the audience, said, "THANK YOU MISTER X!" and walked backstage.

Glossary:
Ndang ndut: onomatopoeia for the sound a gendang drum makes
Seruling: a traditional flute instrument

by **Vartugia** » Sun Oct 27, 2019 10:48 am

18. Vartugia

Lil` Generic Rapper, but with less autotune and no talent- "This Rap Is Just…. No!”

Afroman – Because I Got High

Now I don’t have a clever joke to write here so this will be blank forever. Im sorry

“Lil` Generic Rapper, but with less autotune” enters the stage completely naked, minus a black bar around that area of the body. He decides to smoke a joint on the stage while everyone are staring at a naked, homeless drug-addict. This is peak Vartugia, ladies and gentlemen.

Let me smoke this motherfu....
This is the shit
Listen honey, its our time, biatch!

Completely stoned, he walks to the microphone stand and he then [RECTRACTED] the stand. He also sing, but not even remotely in tune, key or tempo and it sounds like torture.

I was gonna peform at Worldvision...
But im from Vartugia
I was gonna sing something that was lit af
But im from Vartugia
My entry is just an unfunny mess, and I know why
(Let, man)
Because im from Vartugia
Because im from Vartugia
Because im from Vartugia

A security-guard then walks on the stage to remove the stand to make the singer stop [RECTRACTED]ing the stand.

We was gonna win Worldvision
But, we are Vartugia
(Let us get that point we don’t deserve)
We plagerized a real life song
Like everyone else
Now everyone are gonna lagth at us now
(Dafuq?)
Because im from Vartugia
Because im from Vartugia
Because im from Vartugia
(crank that, crank that, crank that plagarism)

He then yells and keep walking stoned back and foward all the time.

We had a song that litterly was a killer
But, we are Vartugia
I wanted to sing a sad ballad
(ah hell no!)
But im from Vartugia
I made a poor joke about punching my kids and wife
(Dafuq?)
Because im from Vartugia
Because im from Vartugia
Because im from Vartugia

He falls.

Now we are gonna get last place
Since i am from Vartugia
(What the f….?)
Now i made everyone cry tears due to this
Since i am from Vartugia
And now everyone is deaf and dead inside
(Dafuq?)
Because im from Vartugia
Because im from Vartugia
Because im from Vartugia

He tries to do a dance, but he is still stoned and he keep falling.

I honestly dont know what to write here
As im from Vartugia
(help me sing, I'm serious)
I wanted to esaplish commiunism everywhere
But im from Vartugia
Now we get yeeted from the podium
(y`all communists)
Because im from Vartugia
(Please stop!)
Because im from Vartugia
(I want to go home)
Because im from Vartugia

A steadicam from the left simply runs away as the singer

I mess this entry bad
Because im from Vartugia
Now everyone is deppresed from this song
Because im from Vartugia
(Can ANY vartugian sing in tune and not fuck it up?)
Now i have depresion from singing this song
(Dafuq?)
Because im from Vartugia
Because im from Vartugia
Because im from Vartugia

Some (******)r gonna give us their 12 points
Because im from Vartugia
(Language, motherfucker!)
And i end up writing a freaking long sentence that breaks the flow of the orginal tune that this is based on
Because im from Vartugia
(stop this song, stop this song)
And if you wonder why this sing sucks balls
(Dafuq?)
Because im from Vartugia
Because im from Vartugia
Because im from Vartugia

This entry officaly sucks your left testi(cle)
Now i want to go home and play some videogames

He gives the middle finger to everyone and yell loud. He is still stoned.

*Pure gibberish*
Now fuckers, please don’t call our numbe…

The """""singer""""" walks off the stage by litterly falling off it and is never seen again.

by **Mister X** » Mon Oct 28, 2019 3:08 am

Merlin Cook - "Call Me"
Tune: Martynas Levickis - "Telephone"

Merlin Cook was chosen to carry the great honour of representing the Constitutional Monarchy of Mister X for only the third time on home soil in 49 editions. The song chosen, "Call Me", was designed to be dramatic and powerful, and ideally keeping in with the theme of the contest in many years. An orchestra stands at the back of the stage, playing the song rather than having a backing track. At front and centre is a man with an accordion.

(0:13)
Sometimes I have told you just exactly how I feel
And now you're leaving me alone, not on an even keel
Look, I know that, baby, you still don't feel that way
And yet if you could see me now you know what I would say

Merlin side-steps across the stage along with two or three others on either side.

(0:27)
My phone is deafeningly silent, I know I want it to play
That ringtone that you always said was really rather gay
And baby, now you've left me here and now I'm all alone
Lying here, I'm naked and I'm staring at the phone

The lights become red and Italian, dramatic. Two dances make their way across the stage and starting doing the Argentine Tango as the camera cuts between them and Merlin.

(0:41)
Just call me, just call me, I just want to hear you again
I know you don't but I want to start talking again
Just call me, just call me, I just want to hear you again
I know you don't but I want to start talking again
Just call me, just call me, I just want to hear you again
I know you don't but I want to start talking again
Just call me, just call me, I just want to hear you again
I know you don't but I want to start talking again

The lights get more and more dramatic as the music builds to a false finish.

(1:08)
Oh, please, why don't you
Oh, please, why don't you
Oh, please, why don't you
Why don't, don't you call--

All of a sudden, the lights cut down to a more natural state as the second verse begins.

(1:21)
You know that I still like you but that's not what it's about
And I am really not the one who's going to scream and shout
I don't like how it ended and I'll always feel that way
But baby, please just listen now to what I have to say

The camera takes several wide shots before taking close-ups of the orchestra.

(1:35)
Just call me, just call me, I just want to hear you again

(1:41)
Just call me, just call me, I just want to hear you again

The camera cuts to the dancers behind Merlin doing the Argentine Tango.

(1:48)
Oh, please, why don't you
Oh, please, why don't you
Oh, please, why don't you
Oh, please, why don't you
Oh, please, why don't you
Oh, please, why don't you
Oh, please, why don't you
Why don't, don't you call--

The camera fades to black, then fades into a gentle zoom of Merlin from front-on.

(2:19)
Let me know how you feel, and then my wounds, they may heal
Even if there's no way back here for me
And I thought it was right when you would hold me tight
But if there's no way back here for me...

As the song reaches its climax, the cutting becomes more rapid as a shower of golden sparks showers the back of the stage, adding some yellow and orange to the red and black lighting.

(2:40)
Baby, why won't you just call me?
Nothing about this will ever set me free
Baby, why won't you just call me?
Nothing about this will ever set me free
Baby, why won't you just call me?
Nothing about this will ever set me free
Baby, why won't you just...

(3:04)
Call me?

(3:05)
Call me, me
Call on me?

The song finishes and Merlin takes in the applause.

by **Merecendi-** » Wed Oct 30, 2019 3:38 pm

_20. MERECENDI_

Tune: Iggy Azalea ft. Anitta vs. Afrojack, Jewelz & Sparks ft. Emmaline - Switch X Switch

p!skip

Izzy In The Middle

Izzy In The Middle is composed of members Kalsey, Pola, Normandi, Walinda, and of course the eponymous Izzy.

Ey, it's the Izzy whiz

Your song it sounds so dreary and I'd like to deafen now
I'm not the only one, not the only one
Bye....

Dick in the dough with 34 jizzies
Yall know what, yall worse than Izzy
Skip

Big bad bitch got taste like Ebola
Ugly ass beats like chewed up granola
Skip it, skip it, on a roll
'Cause Izzy, Kalsey, Pola, Normi, and Wali got yall

I hear your dick ass cry in the chat
Swearing revenge so petty in fact

s k i p
One vote, two votes, three votes, SKIP
And we skip
One vote, two votes, three votes, SKIP
And we skip
One vote, two votes, three votes, SKIP
Spittin' out, spittin' out words, "Fuck you, bitch"
Spittin' out, spittin' out words, "Fuck you, bitch"

No matter what you wanted...
One vote, two votes, three votes, SKIP
Bye...
Them suckers get too salty and they SKIP
One vote, two votes, three votes, SKIP

One vote, two votes, three votes, SKIP
Now someone's added "Spirit" so they SKIP
Spittin' out, spittin' out words, "Fuck you, bitch"
And we skip

The song is then skipped. Security escorts Izzy In The Middle off the stage, as stagehands clean up the stage for the next act to perform.

by **Todlichebujoku** » Wed Oct 30, 2019 3:40 pm

21. _Tödlichebujoku_

Tune: BEAST IN BLACK - Sweet True Lies

"Mürsküstá"

MÜRÁKKÁÁN

Some time ago...

Icy wind tousled Valdi's hair as he shot through the air of Eisige-ka. He didn't know exactly what to expect when he and his bandmates expressed interest in Sinun Valintasi, but winning was a huge surprise- especially against acts such as EKranz and Hina Ruoho. The voting was wild, with no clear conclusion right up until the final few votes. The news came as a shock then and it still rang true now, as snowflakes stung his face and his heart beat in nervous anticipation. "One more practice here at home," his bandmates Sakke and Haru had said. It seemed like such a good idea at the time, during the post-celebratory high. But now he felt like he was going to need a gallon bucket to sneeze into when he arrived at the studio. Why, by the powers below, do I do this to myself??, he asked himself with exasperation. But his torment soon came to an end as the building came into view, and he descended through the flurry of flakes to dock his broom and head inside.

The studio was a pretty new one, though a bit tucked back in a slightly more industrial part of town. It wasn't much like their first, which was an empty space owned by.. whom again?? Ah yes, Voitto's blood-uncle's cousin-in-law. Honestly Valdi had no idea exactly how that happened, but Voitto was always full of surprises, so in a way it wasn't that strange. Sometimes Valdi wondered if Voitto's connections were somehow responsible for their band MÜRÁKKÁÁN's explosive rise to fame, but the numbers were quite non-anomalous, as a statistics-oriented friend had reassured him more than a few times. Coming back to the present, Valdi nodded to the gang before ducking away into the restroom, blasting away at the tissue with enough noxious noise to summon a demon. With a head mostly cleared, it was time to act as nothing odd had happened, and get with the program.

The accent lights are an unapologetic shade of blue, before being replaced by a wash of brilliant spotlights as the music begins. The band is front and center in the stage with all their instruments and gear, dressed up in stylized ancient winter gear. They almost look like completely different people compared to how they appear out of performance

Poika, poika, voin pelastaa sut tánáán
Boy, my boy, I can save you tonight

Silvery confetti spurts out from along the stage edge with the drumbeat at the end of the line. Voitto goes wild on the guitar as the camera pans about him

Banberet, lentávát pois hornasta
Angels, they fly away from hell

Mutta ogikset, virtaavat youkkoina maan páállá
But demons, pour out in masses upon the earth

Ya nüt mürskümme, vahvistaa tappaa
And now our storm, strengthens to kill

Almost in a trance-like state, perhaps as if possessed, Haru growls with the energy of a wild man-beast, his body language bestial as well. The rest of the band members echo that, with exaggerated movements and gestures

Come take my hand
I'll battle for you, we'll
Follow the light

Gesturing to the surprisingly soft lighting above him with the last stanza, Haru is joined by Valdi and Voitto for the chorus as wind machines blast fog at the band, shrouding the stage in a maelstrom of light and mist, the camera panning close to their heads, which are above most of the fog

Poika, poika, voin pelastaa sut tánáán
Boy, my boy, I can save you tonight

Álá astu takaisin pimeáán
Don't step back into the dark

Kuulen sut kilyunut apua mürsküstá
I hear you calling out for help from the storm

Me paeta
We'll escape

Mürsküstá
From the storm

The stage lighting dims somewhat, so that it is just the glowing mist with some occasional flickering from strobe lights. The mist begins to dissipate as the next verse begins- for the first line, a warm golden glow rims the stage around the band before disappearing back into cold white light

Tulisiya, kutsuu asuinpaikastaan
The hearth, calls from its abode

Askel askeleelta, nákömme háipüá yumalallisen karyaisu
Step by step, our sight fades away with the divine roar

Taivaat sodivat, emmeká voi katsoa
The heavens war, and we cannot watch

Lightning bolts in the background add to the effect, as the camera glances by close to Haru's very animated face, as he reaches out in an overly dramatic fashion

Come take my hand
I'll battle for you, we'll
Follow the light

Sparks erupt along the edge of the stage as the chorus begins, a veritable storm of mist and wind behind around the band, lightning flashes and strobing behind them

Poika, poika, voin pelastaa sut tánáán
Boy, my boy, I can save you tonight

Álá astu takaisin pimeáán
Don't step back into the dark

Kuulen sut kilyunut apua mürsküstá
I hear you calling out for help from the storm

Me paeta
We'll escape

Mürsküstá
From the storm

Haru leaps toward the edge of the stage, jumping and reaching outward

I'll battle for you, we'll
Follow the light

Arrays of spotlights sweep out over the audience with the final pair of choruses, sparks once again flaring out from the stage edge, and the occasional flickering and strobing light along the edge of the venue

Poika, poika, voin pelastaa sut tánáán
Boy, my boy, I can save you tonight

Álá astu takaisin pimeáán
Don't step back into the dark

Kuulen sut kilyunut apua mürsküstá
I hear you calling out for help from the storm

Me paeta
We'll escape

Mürsküstá, ohh
From the storm

Poika, poika, voin pelastaa sut tánáán
Boy, my boy, I can save you tonight

Álá astu takaisin pimeáán
Don't step back into the dark

Kuulen sut kilyunut apua mürsküstá
I hear you calling out for help from the storm

Me paeta
We'll escape

Mürsküstá
From the storm

All effects cease with the end of the song, as the band becomes enveloped in darkness except for the spotlights immediately above them, creating a high contrast final moment

"Kiitos Majorium!" they shout before bowing and exiting the stage.

by **Estogium** » Fri Nov 01, 2019 3:13 pm

#22 ESTOGIUM
Mae Heart - "Don't Leave Me"
Tune : Birdy - "Give Up"
Language: English
Duration: 4:00

In what will be Estogium's 30th attempt at trying to get their hands on the WorldVision Song Contest trophy, the nation will be looking at Mae Heart who will represent Estogium with the song "Don't Leave Me".

ORIGINAL RVC POST;

Estogium received their best placing, 8th, since the 62nd WorldVision Song Contest last edition as Alexandra scored big in Achaean Republic but now we have Mae Heart representing the nation with "You Will Lose Me"

Last night on the "THE BIG REVEAL: ESTOGIUM", RVC released the official song for Estogium at the WorldVision Song Contest with it receiving rather good reviews. People have been comparing "You Will Lose Me" to Ellie Morgent's "Healer" which received 2nd place at the 48th WorldVision Song Contest with 117 points - which remains as Estogium's best result at the WorldVision Song Contest. This is the second song in the strategy that RVC are trying out in order for the nation to get their first win - something that they have not achieved since they debuted at the 33rd WorldVision Song Contest in Ekoz. It seems to be working so far with Alexandra coming 8th last edition, a placing Estogium is no longer used to as of late because of the nation's patchy record at the contest...

With Estogium's recent patchy participation at the WorldVision Song Contest, the nation hasn't had the time to keep up the good placings that the nation used to receive, with Estogium's best era so far has been their 9 edition run during the 46th and 54th WorldVision Song Contest, which saw the nation place in the top ten six times and score Estogium's only 100+ finish. While Estogium has placed in the top 3 since the 54th WorldVision Song Contest, Estogians are pessimistic about Estogium's chances at the WorldVision Song Contest these days. Since the turn of the 'decade', Estogium has participated at four different WorldVision Song Contests; 71st, 73rd (which the nation hosted), 74th and 76th contests where Estogium placed 10th, 9th, 17th and 8th. The 74th WorldVision Song Contest, which was held in Polkopia, was seen as a shock when Estogium managed 59 points but came 17th place. The 17th place made RVC re-evaluate why they are participating in the WorldVision Song Contest with them planning a five-edition strategy from the 76th WorldVision Song Contest to try and better themselves at the Contest. So far, it seems to have worked with Estogium receiving 8th place - placing higher than their neighbours Britonisea for the first time since the 61st WorldVision Song Contest, 15 editions ago. This edition, Estogium told the World who they'd be sending to the WorldVision Song Contest much earlier than they usually do. It was done to Mae Heart to represent the nation with "Don't Leave Me" with a style of song Estogium hasn't send to the WorldVision Song Contest for quite some time.

Mae Heart is a young, 22 years old singer from The Estograd, located in the North West of Estogium. She had quite a quiet life compared to most of the other musicians that will participate in the upcoming WorldVision Song Contest. Initially, she didn't have singing be her main career. She is currently training to be a neurosurgeon but whenever she finds time in her very, very busy schedule, she finds time to sing at open mic nights and even sometimes sings at her university's music fundraising events too. She wrote her own songs before she went to bed. Mae said that sometimes she would feel a certain way and jot down the words she felt in a notebook before she went to bed and apparently dreamt of the melody that would go behind the tune. When the WorldVision Song Contest was announced to being held in Estogium, in her home city of The Estograd, it made her excited to have Estogium in the spotlight for the first time ever on an international scale. As thousands and thousands of tourists from around the World; Axuva, Izmedu, Achaean Republic and even Britonisea travelled to The Estograd, she realised that she wanted more of this and so looked to RVC, the public broadcaster of Estogium at the WorldVision Song Contest, and wanted to one day be a part of it all - becoming a representative for the nation.

She understood that this would have great responsibility and would take up a lot of her time, but she didn't mind, she knew that she was in the right frame of mind to do this. She was excelling at her neurosurgery course and found some time to invest more of her into music. She submitted a song into the RVC portal but didn't hear anything from RVC for quite some time...This happened before Estogium withdrew from the 75th WorldVision Song Contest. During the 75th WorldVision Song Contest preparations, Mae received a call from officials at RVC that stated that as a part of the new scheme that Estogium was going for, her and her song would be a perfect fit for the nation and they would like her to represent Estogium at one of the upcoming WorldVision Song Contests that Estogium is due to participate in. She accepted and went to RVC with more details before developing her song, "Don't Leave Me".

It was hard for the RVC Officials to touch a song that was so very personal to the singer - even though it did need some help to move it to single quality. The song, "Don't Leave Me" speaks about Mae finding her mother deceased in her flat when she went to visit her. In the song, Mae sings about her thought process when she found her mother dead; trying to resuscitate her, calling the ambulance before realising herself that there was nothing that she could do. She explains that when she found her mother like that, the only thing that helped ease the pain was listening to music, writing down her thoughts and trying to "make something of it" with this song being one of the products of the many songs she wrote about the experience. She thought that this would be the best one to submit to the Contest before while it's personal, it is universal. It doesn't have to be a song about death...for some, it could be something less dramatic. RVC wanted the song to sound more ethereal and less punchy like how it was a demo. They decided to add certain instruments and backing vocalists to do that before they released the song...

The reception for the song has been pretty good as well, with many seeing this as a good and real attempt by Estogium to place highly. There's a lot riding on Estogium this edition with many hoping that the nation will do well...

Mae Heart walked to the middle of the stage and smiled, taking a deep breath in before taking one out, making her feel relaxed and ready for the performance ahead of her. Mae Heart was wearing a long dress that flowed and looked pretty beautiful on her. There was smoke coming from the floor of the stage, making the staging look a lot more ominous. As Mae stood in the middle of the stage, projections of the night was being shone onto her, making the scenery look a lot more dramatic than it would've looked without it. After the Estogian postcard finished, the audience came in with a cheer before dying out. There was a shot from each angle, with the camera changing each time there was a beat in the song...Mae started to sing;

The night was cold, a callous chill
Moonlight hidden by clouds
Your room, freezing, then I touched you
The pattern repeated

Blinked my eyes, I'm left alone
Shook her 'til the realisation kicked in
Had no chance to say goodbye
Laying in a pool of my tears by her bed

The camera zoomed out from a close up of her face submerged with the projections on her, with four dark figures appearing behind her, winged to the side with two on each side. They looked as though they were all handling microphones in their hands. She looked towards the camera as it zoomed out and went over the audience ever so slightly. The mood in the arena was kept the same, still quite cold and ominous with the blue of the projection and dim blue colours around the stage adding to the effect...

I'll never... forget how... you looked so sound,
You looked in peace.
Please wake up, please don't leave
Can you hear me?
Respond to me.

*The* pain - oh it aches
But I know you would
Want [ooh-oh-oh, don't go] me to carry on, but I can't
Why did you
Have to leave me? Have to leave me?
Respond to me.

During the chorus, the lights had slightly brightened up the arena but nothing much happened except for the fans being turned on a bit which flicked her hair back. She moved place a bit, facing in a different direction which is where she would be picked up in the small gap between the chorus and the verse; she took a deep breath during this section. As she picked up the camera here, the projection on her face wasn't there anymore but instead, high exposure was put on the camera with her face looking pale amongst a black background with sparkling stars which fit the instrumentals of the song...

I cannot be angry with you,
Needed someone to blame.
I need to find solace, that's all
It might help numb the pain

Grabbed my phone, time's against you
I was desperate, I thought I could save you.
Saw glowing men - our angels
Covered you up in black - and drove off without me.

During the line, "saw glowing men - our angels" - a flickering blue and red light was shone towards her, of course symbolising an ambulance light. She looked as though she was looking in the distance, with a smile of relief appearing on her face. Though as she continued to sing, that smile slowly disappeared with the lights also dimming. She looked at the camera as soon as the line "drove off without me". After that, there was a wide shot of the whole stage, with Mae walking over to the centre of the main section of the stage with the circular light object behind her.

As she started to sing the next chorus, the lights circled around the circular light object once, with the camera zooming into her face from quite a long way a way, slightly turning as it got closer. She looked up as she begun to sing this section.

I'll never... forget how... you looked so sound,
You looked in peace.
Please wake up, please don't leave
Can you hear me?
Respond to me.

*The* pain - oh it aches
But I know you would
Want [ooh-oh-oh, don't go] me to carry on, but I can't
Why did you
Have to leave me? Have to leave me?
Respond to me.

We then moved onto the bridge section, with all of the stage dimming into the darkness with a bright spotlight on her with a line of lights along the back lighting up and moving ever so slightly to provide a tiny bit of light. She turned to another camera which was higher up than she was and interacted with it as she began to start singing the chorus of the song.

I couldn't eat, no, I didn't sleep
I still can't
I can hear your voice and can't make it stop
Make it stop

[oh oh make it stop]
Oh...

At this part of the song, in the middle of the stage, she quickly dropped to the floor with a camera along the track capturing the exact moment when she hit the floor quite harshly. The camera slowly tilted upwards towards snow which was falling from the rigs on top, onto her. Another shot then met her front on, from out of focus to focus, capturing her on the floor in a ball. She looked up when she was finishing off this chorus, straight towards the camera. The camera slightly crabbed to the right as she was singing this section; delicate movements, representing how delicate her emotions are during the song...

I'll never... forget how... you looked so sound,
You looked in peace.
Please wake up, please don't leave
Can you hear me?
Respond to me.

*The* pain - oh it aches
But I want you to
Know [ooh-oh, don't go] that for you, I will carry on.
Why did you
Have to leave me?
*Why??!*

At this section, the same camera that she looked at started to quickly move outwards as she started to sing "Have you to leave me?" And before she decided to belt the last "Why?". Light exploded onto the stage, with intense deep blues - similar to the ocean - filled the screen with hues of orange too - two colours that appear on the Estogian flag. As the camera quickly zoomed out, Mae held her hand out towards the camera, almost moving forward as though the camera was moving her with it as it moved out.

(Why) I'll never...
(Did you) Forget how...
(Have to) You looked so sound,
(Leave me?) You looked in peace.
(Why) Please wake up
(Did you) Please don't leave
(Have to) Can you hear me?
(Leave me?) Respond to me.

(Why) *The* [oooh-ooooh]
(Did you) pain - oh it aches
(Have to) But I know you would
(Leave me) Want me to carry on, [ooh-oh-oh, don't go] but I can't
(Why) Why did you
(Did you) Have to leave me?
(Have to) Have to leave me?
(Leave me?) Please don't leave me.

At the end of the song, she felt emotionally exhausted and so didn't speak as the audience cheered. She slowly got up and walked off the stage as the stage personnel moved onto the next act of the evening.

by **Voxija** » Fri Nov 01, 2019 3:33 pm

23. Voxija
Voxa el-Rashid - "I Am Here"
Tune: "This is Me" from The Greatest Showman

Voxa was surprised to be chosen to represent Voxija in this year's edition. Her debut in WorldVision was also Voxija's debut, where Voxija got a meager 22rd place.

In the years between Voxa's appearances, she got married to the love of her life, Eneko Varrijela, and had a beautiful daughter, Vixenta Varrijela. They accompanied her to Majorium, and are in the audience cheering her on.

Voxa el-Rashid wears her trademark white lacy gown, with a matching hijab. She curtseys gracefully, as if before royalty. Just out of sight, barely visible behind Voxa, covered in shadow, are Voxa's backup dancers.

There are no lights except for a blue spotlight that shines on Voxa but obscures the backup dancers. Soft music begins to play, and then Voxa starts singing.

If you don't know what to do
If they don't trust you
When they say your life's a lie
If they try to make you die
Don't sigh, don't cry
If they say you can't be true

Voxa starts walking on the stage and the spotlight follows her and expands.

Well, don't let the haters bring you down
Don't let them throw you to the ground
Yes, I will help you

The backup dancers emerge from the shadows. They are wearing skin-tight black outfits that still cover their bodies from neck to toe. They do a choreographed routine that looks like they are freestyling. Voxa sings louder and full of passion.

When no one thinks you are being right
I'll show them all; I'll prove you're bright
This is how it will be
You have nothing to fear
I am here
Pump up, pick up your feet
I'll have you dancing to my beat
Yeah, yeah
No one bad will come close
I'll chase away the ghosts
I am here

The backup dancers move away from Voxa. The imaginary camera goes to a crane shot, filming the performers from above. The backup dancers start singing the song, joining in with Voxa. Voxa spins around, letting her gown billow.

If you let me
I will help you
Your problems will be fixed
Oh yes oh yeah yeah oh oh yeah

Voxa el-Rashid is the only one singing this verse. The backup dancers joun in on the last two lines.

If those who want to harm you
Get their way
Well, not today
Drive them away
I won't let the villains win
You'll be solving all your problems and
Reaching for the stars
Yes I will help you
That's what I'm here for
That's what we're here for

Voxa and her backup dancers do the same dance routine. They punch the air. On the second line, they drop to the floor and do a breakdancing routine.

Well, don't let the haters bring you down
Don't let them throw you to the ground
Yes, I will help you

Voxa gets up from the floor. Her backup dancers stay on the floor until "I am here", when they get up, form a circle, and run around behind Voxa.

When no one thinks you are being right
I'll show them all; I'll prove you're bright
This is how it will be
You have nothing to fear
I am here
Pump up, pick up your feet
I'll have you dancing to my beat
Yeah, yeah
No one bad will come close
I'll chase away the ghosts
I am here

Here, the backup dancers sing along with Voxa, waving their arms around to create an ethereal effect.

If you let me
I will help you
Your problems will be fixed
Oh yes oh yeah yeah oh oh yeah

The backup dancers retreat for the first two lines, and then thye join in for the rest of the verse.

Don't think that no one can help you
I'll help you, I'll help you all
Don't let the haters bring you down
Don't let them throw you to the ground
I will help, they won't hate
And I know I won't be late
I am here

The backup dancers collapse crouching to the ground. Voxa sings this verse alone.

Pump up, pick up your feet
I'll have you dancing to my beat
I will help, they won't hate
And I know I won't be late
I am here

The backup dancers pick up Voxa while she sings this verse. After Voxa sings "throw you to the ground", the backup dancers bring her down gently. They all do a spin. At the end of the song, gouts of fire shoot in the background.

Yeah, don't let the haters bring you down
Don't let them throw you to the ground
They won't throw
You to the ground
Yes indeed
Yeah
I am here

The performers bow and exit the stage.

by **Talvezout** » Sat Nov 02, 2019 1:06 am

"Buenos tardes, good evening, and welcome to Worldvision 77, live from Majorium, Mister X! After a multi-contest break, we are finally back here in Worldvision! We're being represented by Felicidat Ramírez, and I am 100% sure she's gonna do a great job for us. I am Isobella Bachelor, and I'll be your commentator for the evening. Now let's get started!"

OPENING ACT
"For reference, Majorium was based of futurist ideas, at least that's what the tourism brochure I'm reading said. Anyway, that was a properly Misterxian introduction, I would say. Dramatic, serious, yet with a tone of grace. And oh my god, that flash back of older Worldvision contests. We got second place in Worldvision 46, and we haven't had anything like that since. Hopefully, Ramírez will change that. Also that opening song! That woman can sing, I absolutely loved it."

01 - Ruritane
"How bombastic, I think? Feels like something I would hear from a Markoveich and Marks show, but I digress. It felt like a wild clash of styles - I mean you got the theater styling, the hip hop dancing, that frog costume... it all felt like it was a bit too much frankly. but maybe that was the purpose of it? I don't know, Worldvision is weird. I still remember when Missus X sent in a woman giving birth to the tune of a motor car being fixed up. Or when VIR sent in silence. This feels like it should be in that grand tradition of "what is this", but then again what do I know?"

02 - Main Nation Ministry
"So, for reference, Haunted Lovers Lane is seminal swan song album by the electronic music group outfit, K-3. The album itself is a meditation on the stature of relationships within modernity, and frankly, it sounds like something that could have been released yesterday. Except, of course, it came out in 1969. The album combined pop sensibilities with electronic music stylings - think the academic electronique they were all doing at San Marcos College. The titular song of the album, Haunted Lovers Lane, talks about feeling abandoned and used by your lover, even though you have never met them. I actually did a cover of one of the songs, I Miss You, all the way back for La Arca in 1990. Oh wait, we weren't talking about that album?"

03 - Axuva
"So apparently, I just blabbed off for a solid 3 minutes about something that wasn't even relevant to anything. I feel like a bloody fool. Anyway, Axuva. What a name. Do you pronounce it as "ax-youva'? Or is it "as-uva"? For reference, in International, or "English", the "x" sound is pronounced like "/ɛks/". But in Talvezian, it's pronounced more like "/ɛs/", like "xochitl" or "xempachuil".

04 - Talvezout
"Oh, what can I say but that I absolutely love her. Felicidat just did the performance of her life, and honestly, I'm hedging that it's gonna stick with the voters. Yeah, it sucks we are going this early, but at the same time I feel that our entry is strong enough to do well in spite of that. And those high notes at the climax of the song, simply gorgeous. No matter what result we get, Felicidat has done us proud, and she should feel proud. What a way to return back to Worldvision, don't you all agree?"

WorldVision Song Contest 77 | IC | Majorium, Mister X

WorldVision Song Contest 77 | IC | Majorium, Mister X

13 | Ekoz | STE | Alliana Carlsson - Free Fall

22 | Estogium | Mae Heart - Don't Leave Me

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