WorldVision Song Contest 78| IC |Valletta, Malta Comino Gozo

by **Malta Comino Gozo** » Tue Dec 03, 2019 4:33 pm

WorldVision Song Contest 78
Valletta, Malta Comino Gozo

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

The Arena is pitch black. We cut to the opening video. A black screen waves crashing against a shore. the words "MCG 1 presents" fade in as more waves crash against the shore, with a gentle swoosh as the waves roll back out to sea over a rocky coastline. The words fade out, as the black fades to the waves crashing against a sun kissed coast. The camera is pointed downwards. Its just past sunrise. A flock of seagull swoops in left to right. The camera pulls out further to sea picking up speed and, bang, fades to black, and cuts to a full back of the camera rising from the ground pulling out showing a sunrise over the capital of Malta Comino Gozo, Valletta.

The sky is littered with clouds glowing from the sun lit sky. Church bells echo in the background. The rays from the sun shoot out from 6 angles penetrating the clouds. As this happens we cut to a shot of the arena currently in complete darkness apart from a hot fireball sun that takes up the main LED at the back of the main stage, and a few phone torches from eager spectators obsessed with capturing everything on film. As each sun ray shoots out at 5 second intervals, huge thin spotlights shoots out from the top of the stage into the arena, each one shoots of at an angle bathing several parts of the arena in a soothing yellow glow. The crowd erupts into cheers. Flag silhouettes can be seen punching against the light glow creating an almost wavy skyline. Each line of light gets wider and wider until the entire arena is washed in a beautiful, morning sunny glow. A soft twinkly bell chime can be hear gradually getting louder and louder. The camera cuts back to video as the introduction to the kingdom begins. The music is simple and elegant to fit the theme of the contest. The words Simplicity and elegance appear at the start. The video ends with no place like Malta Comino Gozo.

Opening Video

We cut back to the arena as the lights dim. The sun rises from the middle of the stage upwards glowing brighter and brighter. A camera angle shot downwards from the ceiling reveals 12 dancers each curled up in a ball holding white LED cubes. The huge LED catwalks and the rest of the stage twinkle in a sea of blue. The mood quickly changes from simple and relaxing to upbeat as a sudden beat kicks in and the arena is plunged into black( not a powercut MCG is famous for) and spotlights flash from the ceiling sporadically. Crowd cheers loudly with excitement as the music begins to start.

Opening Act: Malla Infidelo Gold

Malla can be heard singing but cant been, the LED at the back of the stage opens and she struts onto stage as the chorus kicks in. The dancers prance around the stage with their LED cubes. They change colour to red and white as the throw them to each other. The choreography is energetic and almost ballet like, with twirls, and throwing the dancers in the air and catching them. (During rehearsals 2 cubes were smashed, thankfully this performance goes off with out a hitch). By the end of the performance the 12 cubes are stacked in a grid and the LEDS form the logo of the 78 WV contest.

"Oh darling no
This heart is free
A brand new day
Is at my feet

And I'm singing low
Low and sweet
Giving more soul
Give it all to me

She grabs the mic from the stand

It all feels like gold
Gold to me
Might not be diamonds
But it shines for me

It all feels like gold
Gold to me
It will last in silence
Welcome to MCG
Singing yeah yeah yeah yeah

Malla struts across the stage in front of the dancers to the right hand side of the stage and bends down and sings to the nearest audience members.

Simple things
That light me up
What a beautiful world
And I see the love

In everything
And everyone
When I'm digging softly
Ooh the tide will come

It all feels like gold
Gold to me
Might not be diamonds
But it shines for me
It all feels like gold
Gold to me
It will last in silence
It's MCG!
Singing yeah yeah yeah yeah

Camera pans around the arena, the 19,000 strong audience can be seen singing along to the Yeah Yeah Yeah. Malla walks down the right catwalk a huge smile across her face right hand out touching the audience outstretched hands amongst a sea of flags. She stays on this catwalk for the rest of the song.

Open my eyes
I see there's so much beauty
There's is so much more than I ever believed
High touching the sky
Where the angels keep falling
It's all good to me, it's all good to me

It all feels like gold
Gold to me
Might not be diamonds
But it shines for me
It all feels like gold
Gold to me
It will last in silence
This is MCG!
Singing yeah yeah yeah yeah

Malla points her mic at the audience as they sing along enthusiastically "Sing with me!!!!"

It all feels like gold
Gold to me
It will last in silence
It's all good to me
It all feels like gold
Gold to me
It will last in silence
It's all good to me
It's all good to me
All good to me
All good to me
So good to me"

She bows to the audience, not quite believing she has just performed at Worldvision!

The lights fade up, the logo appears on the back wall, and the camera zooms out.

A voice from the heavens bellows out amongst a excited audience! "Ladies and Gentlemen please give a huge warm welcome to your hosts for tonight.... Michela and Ian!

Michela: Hello, hello, Lejla tajba, and welcome to Valletta Arena.

The crowd cheers

Ian: We are honoured to welcome you to the Kingdom of Malta Comino Gozo. To think... we have only participated twice and ALREADY we are hosting this spectacular show. We are truly humbled and eternally grateful.

Michela: Eternally grateful (in a weird high pitched voice, almost alien like)

She gets a large laugh from the audience

Ian: Sounds familiar... not sure where from

Ian and Michela: This is the 78th WorldVision Song Contest, coming to you live from Valletta Arena, Malta Comino Gozo!

Large cheers.

Michela: We have a SELL OUT, there's actually 19,000 people in here tonight, all ready to party, sing and enjoy what this stunning country has to offer. And I've heard the King ...
She's interrupted by a huge cheer she smiles at Ian

Michela: The King is actually watching tonight!

The camera zooms into Michela and Ian's faces they have a cheeky smile

Michela and and Ian: Evening King Will

They give a cheeky wink to the camera

Michela: Again from everyone here in MCG, thank you and lets get this Worldvision off to a start! OK, are we
ready?

The crowd cheers in a very affirmative way.

Ian and Michela: May the best song win, and let the WorldVision Song Contest 78 begin!
Audience cheers with excitement.

An overview of the songs appears on screen.

Performances | Playlist

~~Peoples Republic of Joyea~~

~~The Democracy of HUElavia~~

Participating Countries

1 Greater Korean Juche Republic
2 Spiritual Republic of Caryton
3 Amuaplye
4 Lons
5 Talvezout
6 Todlichebujoku
7 Peoples Republic of Joyea
8 Diarcesia
9 Zamboodle
10 Polkopia
11 Ruritane
12 The Hlhata States
13 Scotatrova
14 Ertzei Kishim
15 Nekoni
16 Malta Comino Gozo
17 Voxija
18 Elejamie
19 The Micronation of Oceanland
20 HUElavia
21 Achaean Republic
22 Natanya
23 Nahlcomo
24 Saviera
25 Vartugia
26 Lactatia
27 Yvesia
28 Estogium
29 Mister X
30 Kalosia
31 Izmedu
32 Teesdexxia

by **Greater Korean Juche Republic** » Tue Dec 03, 2019 4:43 pm

1- Greater Korean Juche Republic

"Our Mother Leads Us" - Park Hyeon-Il & Ensemble

For the fourth time in WorldVision, the Greater Korean Republic signs up hurriedly and quietly. With one entry scoring decently, the nation is trying its hand at a less traditional approach in a way that shows the prosperity of the nation. Kim Seyong-Taek unfortunately could not perform again due to leadership duties congesting her schedule immensely. However, Park Hyeon-Il seemed to be slightly well received.

Our Mother Leads Us

-
-
-

The stage seemed relatively empty-- bearing only Park in a wholly white joseon-ot, the illumination of her Worker's Party of Korea badge glistening heavily. Behind her was a small ensemble. The screens displayed a bright red sun illuminating a field of planted rice under several Party banners. The soloist already began that entrancing sway that all Juche Korean performers seemed to bear.

Ensemble:

"La la la la la la! Ah- Our Motherland!
Soloist:

Marching on, joyful steps!
Everything's alright in our motherland!
Singing on, dancing now!
Change is unfurling in our motherland!

Our dear Mother... now leads us~!
In our Jucheist country!
Our people's will is invincible;
And we're proud of our motherland!"

The formerly neutral white stage lighting turned a revolutionary read and bright red spotlights shone on the performer as the LED screens bore thousands of men and women of the Korean People's Army goosestepping in unison, bearing their ceremonial rifles.

Soloist

"Moving now (E: Moving now!), running forth! (Running forth!)
Nothing wrong exists in our motherland! (Ah... la la la!)
Charging now, (Charging now-) loading arms! (Loading arms-)
We serve to defend our motherland! (Ah... our motherland!)

Our dear Mother... now leads us~! (La, la la la la!)
In our Jucheist country! (La la la la la!)
Our people's will is invincible;
And we're proud of our motherland!"

During the instrumental, Park spun around in her joseon-ot, swaying from left to right with an enthusiastic look on her face. The spotlights wildly shone around and turned into a cooling blue, fog forming at her feet as the LED's went from a launch of their manned satellite to footage of Hanakiian planes being shot down by Korean Anti-Air in the recent conflicts of mid-2019 that resulted in the successful defense of the motherland.

Combined:

"Producing now! Forging on!
Manufacturing for our motherland!
Farming now! Working now!
Labor for the life of our motherland!

Soloist:

Our dear Mother... now leads us~! (La, la la la la!)
In our Jucheist country! (La la la la la!)
Our people's will is invincible;
And we're proud of our motherland!"

As the song went to the chorus one last time, the LED's switched to the victorious KPA celebrating before the statues of Kim Il-Sung, Jong-Il, and Jong-un in a mass dance with civilians in the reconstructing Pyongyang as men and women enthusiastically clapped along. The lights strobed and changed back to the aforementioned red as the fog now accented to waist-level, the hypnotic movements of Park dispersing it around her in a synchronized art show.

Combined:

"Our General now leads us!
A country unique to the world!

Soloist:
Our people's will is invincible;
And we're proud of our motherland!

Ensemble:

Our Mo-ther-land!"

With the orchestral hit on the final note, Park quietly bowed and moved off stage.

by **Spiritual Republic of Caryton** » Tue Dec 03, 2019 4:44 pm

#2 - Spiritual Republic of Caryton

Latanya Anderson in a slightly different version of her robes she wore last concert.

Latanya Anderson: Let's Feel His Love

Latanya Anderson returns for the third time to WorldVision as an ambassador for her group, faith, and genre of music. With a much more modern and upbeat version of her typical gospel music planned, she hopes to make this WorldVision something special. With music played by the North Georgine Soul Group like last time and background voices and dancing performed by the Dorothy Shirleyton High School Show Choir. Latanya has no words for this WorldVision except an offer of prayer to those needing spiritual help. Her trip to Malta Comino Gozo was supported by Leading Reverend Dorothy Shirleyton, Carol Emerson, and several high ranking clergy and influential Carytonic citizens. All in all, Caryton makes a relatively large part of the audience-- as usual.

The background ensemble wears a simple black dress shirt, pants, or dress bottom for women. The show choir bears a grey tanktop for men with grey sweatpants and grey dress shoes-- and a grey dress with retro pastel pink ankle warmers for women-- sleeves covering the arms and skirt going below the knees. However, the dress itself is still incredibly casual and light.

-

Performance:

Let's Feel His Love

The song introduces with a speaker-- Latanya's father, Aaron-- in a suit. The stage is empty as he begins. The lighting focuses on an inspirational pastel yellow vibe with the largest screens bearing inspirational bible verses on a yellow bokeh background with the outlying screens featuring videos of a sunrise over a golden wheat field, giving an uplifting air to it.

Aaron Anderson:

"It's an honor to be here with none other than my child, my daughter. I ask everybody to stand as Tanya comes in! Latanya!"

As the instrumental hits, bright sky blue lights contrast the pastel yellow neatly. The Carytonic audience immediately claps in perfect time as the bubbly introduction begins. As the father shouts "Tanya" for the third time, the brass kicks in from the ensemble previously hidden by darkness-- now cast in the same sky blue light. As the brass kicked in, the show choir of about 25 boys and girls of high school age ran in to their positions in three staggered lines, when they arrived into positions, they ran in place, enthusiastically clapping as Latanya Anderson walked out in a simple white robe as the LED screen changed to an inspirational panorama of the christmas light-bedeckled Georgine City in bokeh dots of beautiful holiday lights at sunset when combined with the yellow and blue ambiance gave an otherworldly joy to it. Bubbles instantly began to shoot out as she began.

Latanya: (spoken)

"Lord, help their hands be put together!
Here it goes:

Latanya: (sung)

You forgave our mistakes-
You sent your son for us!
So let's feel-- His love!"

As she began singing, the show choir behind her began swaying from left and right, swooping their arms in massive and impressive waves. The spotlights all shone on her, as the blue overtook the yellow and gave a fresh atmosphere to the stage as the LED's swapped to green fields panning a young girl freely playing in the Carytonic landscape. Latanya took the center of the stage with a bounce in her step, the music already pumping her up.

Latanya:

"You have blessed us so true-
Lord, you are reliable!
So let's feel-- His love!

(spoken: It's real easy, sing!)"

At this point, Latanya lead the show choir behind her in the next few phrases. She bounced from side to side, raising her arms passionately to the ceiling, which got all of her loyal fans or any avid person who appreciated gospel music to begin worshiping by swaying their arms. Some even began using their phone flashlights. The show choir scrunched into two long lines in which they pedaled their arms behind them and kicked their legs high in an energetic and peppy fashion.

Ensemble:

"You forgave our mistakes- (Lat: Come on, sing you've blessed us so true!)
You sent your son for us! (Lat: I say you are reliable!)
So let's feel-- (Lat: Sing for His love!) His love!

(Lat: Sing the next phrase, you forgave our mistakes!)

You have blessed us so true- (Lat: Lord, you forgave our mistakes!)
You are reliable! (Lat: So let's feel!)
So let's feel-- (Lat: His love!) His love!"

Latanya moved back as the show choir rapidly advanced to the front of the stage, climbing the steps to a podium the audience did not even know that the techs secretly set up behind the show choir. As she raised her free arm without the microphone up, she began fervently swaying it as she somewhat continued to lead the show choir which took a few seconds to party with the audience before collapsing back in around the podium, breaking into male and female pairings who spun and energetically pranced around the podium, giving it a cool spinning effect as the bubbles continued and the lighting turned a fiery orange as all screens displayed fragments of the same image-- Carytonic men and women dancing to presumably the same song in their churches in a gospel fashion. The spotlights moved to the podium.

Latanya:

(spoken, Lat: Somebody sing; with our sin!)

Ensemble:

"With our sin, (Lat: With our strife!)
With our strife! (Lat: Sing; Let's feel!)
Let's feel- (Lat: His love-)
His love!

(Lat: With our sin!)

With our sin! (Lat: Put your hands up if you want to say with our strife!)
With our strife! (Lat: Let's feel!)
Let's feel (Lat: His love!)
His love!"

As the show choir stopped spinning, they retreated to the back of the stage, covering the podium where Latanya retook the front of the stage, the podium being secretly whisked away as everyone was distracted. The choir broke into a few moments of freestyle dancing with exciting facials as Latanya moved forth, thrusting her arm towards the crowd. The spotlights followed as the orange intensified and sparks shot up only to cool down to the same sky blue as before, as the bubbles resumed.

Latanya, spoken:

"Come on, put your hands together!"

As the instrumental began again, the mood completely reset and they were back at square one.

Latanya, spoken:

"Sing it to them, you forgave our mistakes!

Ensemble:

You forgave our mistakes- (Lat: You are reliable!)
You sent your son for us! (Lat: So let's feel!)
So let's feel-- (Lat: His love!) His love!

(Lat: Sing you've blessed us so true-)
You have blessed us so true- (Lat: You forgave our mistakes!)
You are reliable! (Lat: So let's feel!)
So let's feel-- (Lat: His love!) His love!"

As the song built up, Latanya fled to the middle of the stage where the choir filed an arch behind her where they swayed from left to right in an ecstatic version of a gospel swing. The LED imagery switched to a bold fire burning as the coloring changed to a powerful yellow.

Latanya:

Now show me you can sing; with our sin!

Ensemble:

"With our sin, (Lat: With our strife, yeah!)
With our strife! (Lat: Sing; Let's feel!)
Let's feel- (Lat: His love-)
His love!

(Lat: So sing that our sin!)

With our sin! (Lat: With our strife!)
With our strife! (Lat: Let's feel!)
Let's feel (Lat: His love!)
His love!"

As the song came to its middle point, the show choir returned to its neutral running in place position at the back of the stage as Latanya stayed where she was, passionately pumping her fist into the air as to encourage the crowd and audience.

Latanya, spoken:

"Now let's raise it up right here! People better be raising their arms! Let's party into it! If you really love him tonight, party into it! It's real simple, here it goes:

Latanya:

Let's feel... His love!
Let's feel... His love! Oh-ho say!

Ensemble:

Let's feel... His love! (Lat: It's real easy, sing let's feel!)
Let's feel... His love! (Lat: Party it up one more time, sing let's feel!)
Let's feel... His love! (Lat: Another time, sing let's feel!)
Let's feel... His love!

Latanya, spoken:

Let's make some noise right heah!"

As the song neared its climax and broke into the instrumental break, the show choir ceased their activities and split into partnerships where they did intense, foot-heavy choreography while completely sucked in to their partner. Even the slightest raise of the arm seemed intentional and professionally done. People in the audience kept swaying their arms or soaking in the moment. No prominent lighting or screen changes occurred, save for the ceasing of the bubbles.

Latanya, spoken:

"Y'all loving it! You worship and you're keeping on sing! Come on now! - This is my favorite part!"

It was here the screen intensified into a rosy red and lighting brightened severely. Latanya moved to the front of the stage and assumed her famous worship stance, collapsing to her knees and being emotionally overwhelmed. Every arm movement was directed towards the sky as the spirit and the spirit alone moved her. The show choir advanced with heavy stomps and began partner work such as leaning into, spinning, and lifting the girl of the duos.

Ensemble:

"Grateful! (Lat: Mercy!)
Mercy! (Lat: Jesus!)
Jesus! (Lat: Let's feel it!)
Let's feel it!

Grateful! (Lat: Mercy!)
Mercy! (Lat: Jesus!)
Jesus! (Lat: Put your soul on it!)

Latanya:

Sing, grateful! (E: Grateful!)
Mercy! (E: Mercy!)
Jesus! (E: Jesus!)

Grateful! (E: Grateful!)
Mercy! (E: Mercy!)
Jesus! (E: Jesus!)
Let's feel it! (E: Let's trust it!)

Grateful! (E: Grateful!)
Mercy! (E: Mercy!)
Jesus! (E: Jesus!)
Somebody raise your arms up!

Ensemble:

Grateful!
Mercy! (Lat: Raise your voice now!)
Jesus! (Lat: Say let's feel now!)
Let's feel it!

A vocally tired Latanya sit on the ground, head tilted down to the stage emotionally, eyes locked on her microphone. The show choir stepped behind her and stopped, standing still. The colors turned off, leaving a stage lit by white lights. The LED screens turned off.

Latanya:

"You sent your son for us!
So let's feel-- His love!

You have blessed us so true-
You are reliable!
So let's feel-- His love!"

As the song ended, Latanya tore the mic away, the last few words deathly quiet. Upon the end of the song, the show choir knelt down in a final position as the lights turned off and applause filled the area.

by **Amuaplye** » Tue Dec 03, 2019 5:17 pm

3 - AMUAPLYE (WIP)

Matthew Cuevas - Uncertainty

Tune: Panic! at the Disco - There's a Good Reason These Tables Are Numbered Honey, You Jusy Haven't Thought of It Yet
Lyrics: Matthew Cuevas
Music: Matthew Cuevas

Matthew Cuevas is an Amuaplyean musician, known not only as the bassist for the rock band Love and War, but for his solo career. He has worked with Love and War since 2004, replacing Michael Landry, who left the band after being arrested for assault and battery after drunkenly punching a bouncer at a club in Adelaide.

He is well known for being one of the more moderate members of Love and War, at least in the political sense, being center-left compared to the far-left politics often talked about in Love and War's songs.

He started his solo career in 2007, right in the middle of Love and War's dormant period, between 2005-2010. He mostly did covers of other songs in clubs in Amuaplye, and released his first album in 2011, entitled Yet Another Pop Album, satirizing pop music and deconstructing its tropes. The album received generally favorable reviews, but only charted at around #90, due to the relative obscurity of both him and Love and War at the time.

He and the band he was in was launched into stardom in 2019, shortly after the EP The Amuaplyean Powder Keg was released. It shot up to #1, and with it, led to Love and War launching its first worldwide tour shortly after they appeared during WorldVision 73.

With this newfound popularity, Cuevas did a second album, How Not to Run A Country, which talked about politics like the songs in Love and War, but swapped the angry and harsh sound of metal and rock, and replaced it with somewhat softer genres like pop and jazz. This song, "Uncertainty", charted at #1 from late September to early October of 2019.

This song acts like a style parody of his own work, seeming like a rambling and nonsensical version of a Love and War sound with a pop-like tune to it.

After zooming out from the postcard, the camera lingers on an empty stage for around 15 seconds before Matthe walks onto the stage, illuminated by a single spotlight. The stage is silent, which was deliberate. Matthew cleared his throat, and cued for the band to arrive. A large ensemble of people entered the stage carrying their instruments, all wearing the same outfit as Matthew (think this, sans cane):

"3... 2... 1... Go!" Matthew shouted, and the band began to play. Matthew grabbed the microphone and started to singing.

Please leave all baggage, controversies and crimes with the press
And from that moment, you'll be so validated and enabled
They are careless of their past exploits already and oh-so ignorant of it
They are ignoring all of their past transgressions and...

Matthew started to walk across the stage, and took the left path, stopping so that he was facing the audience at around the second line, before making his way back up to where he was at.

Please leave all baggage, controversies and crimes with the press
And from that moment, you'll be so validated and enabled
They are careless of their past exploits already and oh-so ignorant of it
They are ignoring all of their past transgressions and...

As he repeated his previous lines, he made it up to the center of the stage, as the other musicians (at least the ones that could play whilst walking) walked over to the left and right paths.

When you're too busy pretending to care about people whoa oh
Everything just falls apart without

It's a new scandal, didn't seem bad, but they can't stand it
But since the press is not always right
You're wondering, will my reputation survive?
Haven't you heard 'bout new scandal
Didn't seem bad, but you can't stand it

Oh what a lovely sight, the burning printing press
And I bet you just can't keep up with (keep up), with such a ruined job
Tonight tonight, we are, we are
A silent majority
I bet that your voters all hate you and to them you're all gone
Talk to the voters, choke back tears, and keep telling them all that
You're innocent

Oh and don't forgot about the ones on the inside
They just so happen to be the ones that got you right there

It's a new scandal, didn't seem bad, but they can't stand it
But since the press is not always right
You're wondering, will my reputation survive?
Haven't you heard 'bout new scandal
Didn't seem bad, but you can't stand it

Haven't you heard 'bout the new scandal
It didn't seem bad, but you can't stand it

And I know, that you know It just doesn't feel like a great day
With no one critiquing your deeds
It's always scandals and constant attacks
Because the news just doesn't seem that much fun without

by **Lons** » Tue Dec 03, 2019 5:25 pm

4. Lons
Halfway - "Shattersoul"
to the tune of Gooey by Glass Animals

At the start of the performance, the stage is barely lit with a deep green colour slightly flickering on the stage's screens. As the first notes play, the lights come on slightly, giving an ambient vibe, which is shoddily amplified by many bushy plants standing on the inner pathways coming out from the main stage, which appears to house several more plants as well, shrinking the main stage's floor area but giving the impression the stage has transformed into a makeshift forest. The piano notes going upwards are reflected in the triangular LED screens, which take turns briefly flickering brighter.
Halfway comes into view in the back of the main stage, standing on an elevated platform to rise above the vegetation.

I'm so far gone
Been there, done that, all so long before
A story told
JOEWJOJ princess and her prisoner

As the drums and bass kick in, Halfway gets down from the platform, to appear at the front of the mainstage which had been kept clear of all too many plants, barring one solitary plant. Now it can be seen he is wearing a simple outfit, jeans, a white shirt and a brown jacket.

Froze my vital veins
Took my soul and put me through her pain
Now I don't know
How to get out of her labyrinth

Halfway moves towards the left middle platform in the crowd, through the "canopy" on the walkway which leaves a small corridor for him to walk through. Every last beat (the one that's off from the other three) the low green on the screens flashes in red, which gets brighter every time it shows up.

Trapped me by the heartstring
Knows my every move
Only wants to hurt me
And I'm ill-prepared
A difficult proposal
Knows where my passion lies
Trapped inside her heartbeat
Shattered naked cries

The arena is filled with a red light and the surface of the mini stage on which Halfway is standing looks as if it is cracked during the chorus. The TV camera takes a shot of Halfway from above, and while this is happening, extras dressed in dark robes and hoods, barely noticable, come down the boardwalk to end up in the crowd, each prepared to steal a plant away.

Why is this so hard
Don't know where to start
Stuck your red glass shard
Into my bleeding heart

The lights return to ambient green with red beats and Halfway starts walking back to the mainstage, and while he moves along to the mainstage, the extras clear out the plants behind him.

I don't need to say
That I'm not gonna stay
I dont think I'll run but
I need to escape

Having returned to the main stage, it becomes clear that on the left side of the stage, there are significantly fewer plants.

New perfume
Pulls me in and tells me something new

Briefly, Halfway steps to the left side of the single solitary plant central in the main stage, while the lighting changes to blue for a single beat.

And something new
Means I have something new to prove

This time during the pre-chorus, Halfway walks up to the right side. Similarly this time the colour on the screens changes from the soft and ambient green to red on the fourth beat, gradually becoming more frequent and vibrant until by the time the chorus rolls around, they are all red.

Pulled me by the heartstring
Gives me nothing back
Only wants to hurt me
And I'm on my back
A different religion
More lows, fewer highs
Trapped inside her heartbeat
Shattered frightened cries

With the last line "shattered frightened cries", Halfway stomps on the halfway platform's led screen surface, which "shatters" it. All the screens are red by now, and now the entire stage is filled with red light, the extras coming down the platform during the first part of the chorus again. The camera takes a from above view again

Why is this so hard
Don't know where to start
Stuck your red glass shard
Into my bleeding heart

Making his way back from the right platform this time, Halfway returns to the main stage during this next part.

I don't need to say
That I'm not gonna stay
I dont think I'll run but
I need to escape

Back on the main stage, it's clear there are less plants altogether on the stage now. The lonely plant in the middle still stands, and two basic lines of tall houseplants on either side also still stand, but all other vegetation has disappeared.

Oh, let me know why
She is so inclined
I try to find the difference
But can't see through the vines
Have I lost my patience
Or am I free of mind
Let me take a new step
And breathe the air outside

During this last pre-chorus, the extras reappear on the stage, barely visible behind the taller plants. For one last time during the performance, the screens in the arena turn red and red light fills the performance. On all the screens, cracks begin to form on every snare hit, synced with Halfway firmly putting his foot down, or swinging with his fist.

Tore apart my heartstrings
Left me in reverse
Only wants to hurt me
But I've been through worse
A positive perspective
I look to the skies
Freedom is a virtue
Is it a surprise?

On the final beat, the cracks make the screens fully shatter and show an animation of the glass falling down. Now, vibrant green now shows on all the lower screens and the floors, while the upper half of the screens on the wall become blue, as a slightly shattered horizon. During the chorus, all the extra take the final plants off the stage.

Why is this so hard
Don't know where to start
Stuck your red glass shard
Into my bleeding heart

Now that only one plant remains on the stage, in front of Halfway, four extras return to the stage, and, still in black robes and hoods, begin to undo these, showing their bright outfits.

I don't need to say
That I'm not gonna stay
I dont think I'll run but
I dont think I'll stay

The extras hone in on Halfway, or rather the final plant he is standing next to, surrounding him with bright colours which had kinda been absent during the rest of the performance, as Halfway himself walks forwards during the next part, a hidden background chorus sings along with him.

Oh, stick it
In my bleeding heart
Stick it
In your shattered soul
Stick it
In your shattered soul
Stick it
In my bleeding heart
Stick it
In my bleeding heart
Stick it
In your shattered soul
Stick it
In your shattered soul
Stick it
I don't think I'll
stay*

The extras take the plant off-stage, and Halfway thanks the crowd before heading off-stage as well.

by **Talvezout** » Tue Dec 03, 2019 5:26 pm

05 - TALVEZOUT - SUNNY SIRACAUSO - "FEEL MY LOVE"
Melody is "Cellophane" by fka Twigs.

Following a somewhat middling result in Mister X, Talvezout went back to the drawing boards. After looking at all of their options - withdrawal, national final, internal selection - they decided to go with a tried and trusted route: asking an established artist to contribute to the Worldvision entry. Sunny Siracauso wound up being tapped. After fielding four different songs, "Feel My Love" was chosen.
The song was written after Siracauso suffered an extremely nasty breakup with her boyfriend of five years. The song is an exploration of the feelings that Siracauso had, delving into the doubts she had about herself and her life. To best represent the song, the performance will lack any major theatrics, focusing mostly on Siracauso.

Siracauso would begin sitting on the ground, half sitting, half laying down. She would be singing directly to the camera above her, as if she was singing to the viewer itself. Her face would display a look of concern, like if she was singing to her former lover.

Oh, I tried to do it for you
Why did I do it for you?
Yet you never did it for me
You would never do it for me

Siracauso would slowly get up while still singing to the camera. A light would reveal a giant pole behind her, gleaming in gold. As her voice would swell in her singing, Siracauso would grab the pole before slowly making her way up it, pole dancing along the way.

And now we’re far, so far apart
And now we’re far, just so far apart
You pushed me away, we’re both all alone
You blamed me for it all, always my fault

As she was slowly pole dancing her way to the top, Siracauso would slowly shed her clothes. Her first layer, a rather furry and cumbersome jacket, would be replaced with a sleek and form fitting gown. As she was making her way up, a projected background would display the last two lines of this part of the song, "You destroyed it like broken glass / The love we could have had." As she would finish singing this part of the piece, a light would reveal a suspended figure in the air, shrouded in cloth, slowly performing acrobatics.

And I just want to feel that you're there
But I don’t want to hurt myself, again
I tried, but I just got so overwhelmed
When you left, of course I blamed myself

I just wanted to feel your pain
I just wanted to make you feel loved
I tried but it was just too much
You destroyed it like broken glass
The love that we could have had

Siracauso would continue to perform her pole dancing as she would slowly try to reach the clothed figure. It would slowly rise in the air, and she would slowly make her way up as well. She would shed the gown, revealing a simple white body suit.

Did I love you too much?
Please, tell me if I did
Or was I just not enough
But everything was always for you

Did I want you too much
Were you jealous of my love
And yet you never did it for me
And I never saw it there

Siracauso was now finally at the apex of the pole. With a look of hope and yet fear in her eyes, she would reach out to the suspended figure across from her, hoping to make a connection. The figure would only glance at her before going back to it's acrobatics in the middle of the air. Dejected, Siracauso would try to make that simple connection once more.

But I just wanted you to feel my love
And I don't want to have to share our love
I tried so hard, but it was just overwhelmed
And when you’re gone, I blamed myself

As the suspended figure would reject her hand, Siracauso would slowly fall and crumple onto the ground, quietly sobbing as she fell. A soft voice from above would sing the following lyrics as Siracauso would lie on the floor, a crumpled and dejected ruin. The final layer of her clothes would give away, revealing a flesh-colored body suit. The words "I was never enough." would be printed on it; the camera would zoom on and linger on these words as the song and the lights faded out.

And you're waiting, how you’ve been watching
And you’re watching me, hating me
You’re waiting and hoping
That I'm not enough.

by **Todlichebujoku** » Tue Dec 03, 2019 5:31 pm

06. _Tödlichebujoku_

Tune: RIYA - POLYUSI

ALCHEMY

Hina Ruoho

Unfeltebijon-o, six years ago

"No."

"Yeah, no."

"I'm sorry, it's a no from me too. Thank you."

Hina trembled as the reality of the situation sank in on her. She thought she had sung wonderfully, she thought she had practiced enough, she thought it would be a breeze to pass through the auditions of A Nova Estrela to make it big in the show. This sudden rejection so early in her journey came as a shock, something she she could barely process as she shuffled out of the room and into the bustling hallway beyond. Ignoring the crystalcasters pointed her way, she packed up her bags and headed home, eager to leave this temple of her humiliation and weep into the sheets in her apartment. As she stepped outside, the brilliant sun seemed to mock her plight- wasn't it drizzly just a few hours ago? She shaded her eyes from the light and hurried to reach the privacy of home before she collapsed into an emotional mess.

Kaltekasai, prior to WV77

Hina patted off the sweat from her performance before eventually making it back to a seat in the stage lights. It wasn't easy making it here, though of course it still felt strange. The embattered singer had spent years honing her voice, going to coaching, and practicing to ensure she would never again face such an embarrassment again as had happened so many years before. And now, here she was in the spotlights of nationally aired Sinun Valintasi, for the chance to perform on the international WorldVision stage. She sang and danced her piece, making sure that everything went precisely as planned- every move, every note, every glance at the viewers. And now it was time watch the results come in.
The domestic results shocked her- last out of the three? Well it was perhaps to be expected, given her hard road to fame. Hina took a few moments to breathe deeply and center herself- everything shall go as it was meant to go. But soon the tide began to turn. The Polkopian jury, the Kishim jury, the Achaean jury, all gave top points to her, bringing her to the top two, and thus the honor of representing Tödlichebujoku in Worldvision 78. While it was no sweeping victory, at least she was validated with the chance at her moment in the international spotlight, which was all she could hope for at this point.

Estegoa, prior to WV78

"So what is 'ALCHEMY' all about?"

Hina smiled warmly, before speaking. "'ALCHEMY' is about how some people have a very rational and logical approach to love- they strip romance down to a formula and don't realize that there's so much more to a relationship than can fit in thaumaturgic methodology or what have you."

Aina nodded. "And for our international viewers, what do some of your lines mean? The ones that are more unusual for them, such as the references to a 'birthing momma' and 'thaumolabe'?"

Hina laughed lightly. It was a bit of a unique choice on her part to aim for some Tödlichebujoki authenticity instead of subscribing wholly to the norms of the beyond. "Ah yes! So 'birthing momma' refers to the mother that birthed you- that line implies that the love interest's mother wouldn't have fallen for such a formulaic approach to love and thus wouldn't have consented to having a child with such a person or any of their relatives! And ah, a thaumolabe. That's the one instrument that measures concentrations of magic, don't know where we'd be without em!"
The two ladies laughed, before moving on to discuss other aspects of Hina's performance and career. However, Hina kept coming back to that question about her lyrics. Would her choices pay off? She hoped so. If the lyrics didn't, then hopefully the second half of her act would earn her some enthuisiastic support.

The stage sparkles blue, before fading back into darkness. Silhouettes of female dancers standing on pedestals become visible with white backlighting, as a curtain of vertical blue lasers appears along the front of the stage. All the performers are facing backstage. Behind the dancers, the backlighting gleams off an array of brass instruments with their players, arranged in a semicircle. Hina is on a wide circular pedestal in the center, hands on her hips and high above the rest, viewed in profile with the lighting. As the song begins, she cocks her head over to look toward the audience, still backlit by the stark spotlighting. With the instrumentation amping up, each dancer turns around to face the audience and become illuminated from the front, in a sequence from the edges to the center, with Hina herself being the last to turn around. Now firmly in the spotlight, Hina is seen to be wearing an oversized white lab jacket tied tightly at the waist by an extravagant belt with what appears to be a bronze buckle embossed with runes along with a set of sleek silver high heels, while her backing dancers are all clad in slightly less extravagant outfits- modest white blazers, slim white slacks, white pumps. With a smirk at the camera, Hina begins

Your face is flushed in confusion, as we cross again into the beyond
You grasp vials of three different potions, you're trying again, to master the game
While I grow tired of this day by day
Your birthing momma never felt this way

She reaches out as if feeling the faintly visible laser curtain, before pulling back and rolling her eyes dramatically, then suddenly squats down, knees splayed out, before slowly rising back up. Behind her, the dancers writhe in sensual motions. Hina runs her hands along her body, over the lab coat, eyes closed and head tilted upward as if swooning, aching for some real contact, before snapping back to the camera and wagging her finger "no" with the chorus

You strip me down to alchemy, divining what you please
Babe I'm not your fantasy

Strip me down to alchemy, divining what you please
Draining all my energies

The camera runs along the arc of brass players before turning to capture the backside of the dancers as they now act out concerted sensual dance moves. The laser curtain blinks out starting from the middle as the rest of the lighting becomes more harsh. The dancers are lit in especially stark lighting compared to Hina, who tosses her hair and makes stomping motions, before embarking on a series of lascivious pelvic thrusts and booty popping, of course in time to the beat. Spotlights sweep out and criscross through the spaces in between the backing dancers.

Não
Ei, ei, ei, ei

As the beat intensifies, several spotlights begin to strobe on Hina as she thrusts and whirls with incredible poise and ease considering her heels. The camera flies by for a close up as she stares directly into the camera with a seductive smirk, and tears open the top few buttons of her coat, revealing just enough to avoid scandalizing parents while still titillating those who enjoy the female form. Hina now begins to dance as one with her dancers, coordinating their suggestive moves with the music

As she begins the chorus, she squats down low and gazes daringly toward the camera, her gestures becoming dismissive with the next lines. Behind her, the dancers dismount from their pedestals and lie down around Hina's pedestal, with choreographed movement in a dynamic pattern as the pedestal begins to light up with strange inscriptions and equations, slowly beginning to sink down toward the stage floor

You make this devoid of emotion, and here's another test that's gone wrong
Don't come back and tell me you're sorry, oh you know it too, there's nothing to prove
It's time for me to whip you into shape
Come on dear, hands off from that thaumolabe

Hina throws her hair back as she swings her legs over in order to sit on the edge of her pedestal. Throwing one arm back behind her head as she angles back to lie down, one leg raised slightly in an alluring manner, she gazes upward into the softening, warm lights, before slowly sliding down the edge to be caught by her dancers, who have shed their formal clothing for lingerie

You strip me down to alchemy, divining what you please
Babe I'm not your fantasy

Strip me down to alchemy, divining what you please
Draining all my energies

Nestled in the writhing mass of her dancers, Hina is relaxed in her position, as multiple limbs reach out and caress her

Não
Ei, ei, ei, ei

The dancers suddenly strip Hina of her lab jacket, revealing a skintight fiery outfit. The dancers nearest her nuzzle her as they help her to her feet, while the others couple up for plenty of lady on lady action. All around the stage, the screens show animations of fire, highlighted with streaks of chemical colors. Hina strikes poses in the center front of the stage as her dancers spread out to either side, caressing, humping, and grinding in choreographed coupling, each time followed by a blast of fire from the edge of the stage. The two dancers next to Hina pet her amorously in time to the beat, fingers trailing where no camera dares to go, Hina's eyes shut in ecstasy

In a flash, the lights cut out as the beat is deconstructed, leaving only sporadically flashing spotlights upon the stage. With each flash the dancers can be seen fallen to the floor, coupled in scissors, Hina reclining as her two dancers gyrate their behinds towards her while on all fours, Hina grasping both ladies with an orgasmic grin, before both backsides slide back and collide with one another. In the next shot, above the stage and facing directly downwards, Hina is lying prone on the ground in bliss as her dancers encircle her on all fours, arranged back-to-front while thrusting in synchrony

Strip me down to alchemy, divining what you please
Babe I'm not your fantasy

Pyros shoot out from along the stage edge as the ladies tumble outward in a controlled fashion, once again well-lit by the stage lighting, and begin to march in a line toward one of the projecting platforms. The spotlights repeatedly angle down along their path, even after the retinue stops, drops to the floor, couples up again and begins thrusting, top to bottom and so forth, flipping once before the song ends

Não, não

The final shot is of Hina on top of a gasping dancer at the end of the projecting platform, legs intertwined while surrounded by the audience. She gazes into the audience with a twinkle in her eye and a satisfied smirk on her face, before she winks and the lights blink out back into darkness.

Heavily breathing, Hina rises to her feet and gathers with her dancers. With the lights returning to normal, she breathily mutters, "Kiitos, Valletta, thank you all oh so much," before nodding and sashaying out as she and her danceres all turn around in one motion.

by **Peoples Republic of Joyea** » Tue Dec 03, 2019 5:34 pm

7. Wild

by **Diarcesia** » Tue Dec 03, 2019 6:01 pm

8: DIARCESIA

Charles Green and Lauchlan Eccleston - Ambulabunt Me Ta Pantamu
Languages: Diarcesian Latin and Standard English
To the tune of Ylvis, Taylor Swift - The Fox Belongs To Me

The legacy of Williamine 'MINA' Megalus's performace at the 27^th World Hit Festival put the spotlight on many up and coming artists throughout Diarcesia, though their focus (and the reach of their songs) since then has mostly been regional, until now.

In the nation's debut at WorldVision and sponsored by the Arcesius Teleorasi network, the solo artists Charles Green and Lauchlan Eccleston collaborated and are all set to introduce their newest song, to be later released in the leading music stores and streaming services.

The below interview is done in Diarcesian English, which is different from the Standard English in the song

Arcesius Teleorasi Interviewer: Charles and Lauchlan, both of you grew up in Hylvobrigia, did you ever get to have joint gigs prior to this?
Lauchlan: I vaguely remember at least one time. There was a scheduling conflict in this venue that called for only one vocalist, but Charles and I arrived. The owner is at a loss on how to accommodate both of us. He seemed to be unable to pay us full rate.
Charles: *laughs* And I told the owner, 'just this one time, you have me for free. I happen to want to have a duet partner to test some new sound'. It did influence my subsequent work.
Interviewer: Tell us some more about your entry to WorldVision.
Charles: We took about three days to write it, and maybe a week more to perfect it. We were plagued with writer's block throughout the writing process, then one day it just clicked. ' How about we look at our unreleased stuff?' Lauchlan was like, 'salvage what's left in the cutting room floor that wouldn't work in our previous songs'?
Lauchlan: That's pretty much it. And it'll explan - spoiler alert - why the choruses are sang differently each time.
Interviewer: I bet you'll be excited to share it with everyone soon. *Charles and Lauchlan nodded* Just a little more time, folks, for Diarcesia's performance and the other nations at WorldVision 78, to be broadcast live at Arcesius Teleorasi.

Color Key:
Charles Green
Lauchlan Eccleston
Both

The lights gradually brighten in a yellow-white color, simulating the height of the morning. The LED screen shows several trails of footprints in a walking speed entering and leaving the space. Charles, with an acoustic guitar, and Lauchlan, with an electric one, enter the stage in opposite directions. White footprints are left in the screen at the floor on where they step, which dissipates to dust after three seconds. Both of them wear a suit and tie.

Iuideri oti den thamatho
I thought I will not learn

Antha currere stus dromus
If I'll ever hit the streets

Iuideri oti den boro
I thought I never could

Tote ho soter muenit
But today my savior came

Se miastigma uidimus ta
Been so long since we last met

Matia se auto to astico
In a concrete world chaos maze

Chaoticolabyrintho
I see your eyes, and you see mine

They focus on the front rows of the audience.

What did I just sense

The screen zooms out and the scenery changes to a very long footpath in a park with skyscrapers in the morning horizon. The animation moves along the path towards the skyscrapers, though it does not look any closer to the viewer.

Ta rologia se argorythmo
Clocks ticking in slow cadence, and

Coritse sti necraphysa
Damsel in still imagery

Cantare liganturologia
Stringing words to make people sing

No one can tell

As the guitar sequence pauses, they emphasize their final strum

Tocherimu levo monotu
My arm's stretching against my will

Auta inae phantasiamu
This must be a fantasy

Cae posuit cherites dicamu
And I see her hand on mine

They raise their voices and look at the audience again.

In a journey

They skip around the stage, enthusiastically exaggerating all their movements. The LED screen speeds up and lights shower the stage and the audience.

Ambulabunt mazimu
Well you could walk with me

Aperioristomerus
There's no bounds in this world

Euprepea eche phyge
Throw all caution to the wind

An experience

Cae loquere mazimu, oh
And you could talk with me

As participes anamnises
And share newfound memories

Ambulabunt mazi me, eh
And you could walk with

The everything slows down back to normal speed.

Ta pantamu
My everything

From the main stage, they walk down the first set of catwalks to their respective platforms. As they do so, it's as if they mean to sing the song to the ladies they pass. The screen transitions to an animation that represents the lyrics.

Thelo se deferat spitisu
I want to walk you home

Thelo se deferat spitisu
I want to walk you home

Pano apo to lopho, ligare tes cardiesmas
There's a place yonder hill, linking your heart and mine

Performing on the smaller platforms, they now face each other in preparation for the upcoming duet phase. Charles sings the higher notes, Lauchlan the lower.

Hyparchena, merus metaxu, cardias cae moeras precor uidendum
There's a place, between the heart, and fate that I pray you see

Chloeropsoma cyanotholus
Verdant knoll with azure dome

The smaller LED screens change to focus to the performers on their respective side. On the final "Pe-pe-pe-peplo", the screens focusing on Lauchlan freeze one at a time. Same with Charles's for the final "Portasa-a-as"

Transibimus apo to brochope-pe-pe-peplo
We'll go through the veil of ra-a-a-a-ain

Pe-pe-pe-peplo
Ra-a-a-a-ain

Pe-pe-pe-peplo
Ra-a-a-a-ain

Cae imus catephthean pros portasa-a-as
And walk straight toward your do-o-o-o-or

Portasa-a-as
Do-o-o-o-or

Portasa-a-as
Do-o-o-o-or

The LED screens focusing on Charles and Lauchlan revert to a continuation of the animation. They face the audience again.

What did I just sense

As in the first chorus, the screen, lights, and motions are sped up and exaggerated. They skip around the stage and catwalks as they please.

Ambulabunt mazimu
Well you could walk with me

Aperioristomerus
There's no bounds in this world

Euprepea eche phyge
Throw all caution to the wind

No one can tell

Tocherimu levo monotu
My arm's stretching against my will

Auta inae phantasiamu
This must be a fantasy

Cae posuit cherites dicamu
And I see her hand on mine

In a journey

Ambulabunt mazimu
Well you could walk with me

Aperioristomerus
There's no bounds in this world

Euprepea eche phyge
Throw all caution to the wind

They split their lines to sing again.

An experience

Cae loquere mazimu, oh
And you could talk with me

Ambulabunt
Walk

At this point, they should be back in the stages between the catwalks.

Me ta pantamu
With my everything

Smoke appears on the sides of the stage and the screen's background transitions to cyan. While performing the instrumental section, Lauchlan calls out to Charles.

"Hey Charles, we should sing the next verse in English."

Charles looks surprised. "This is not part of the plan," he replies incredulously, though he continues to play the music without interruption.

"I know, trust me. Are you ready to do this?"

Charles beams at him. "I'm as ready as I ever am, let's go!"

Oh, if I couldn't bridge the chasm now
If I fail to keep my vow
We will only rise again
We will withstand any pain
I'll go to any length
I shall strive with all my strength
I got your back you got mine
Side by side we'll just be fine

Everything fades to black except for spotlights that track Charles and Lauchlan as they switch back to Diarcesian Latin.

On "historiamas", The lights flood the room again, moving to the beat, and smoke issues from the sides of the stage.

Ti sentio canes den
What did I just sense

Indicare ute explicare emperia
No one can tell nor describe the experience

Inae se ena taxidi
I'm in a journey

Gia na scribare historiamas
To pen our story

They walk the second set of catwalks and as they reach the edge, they slowly spin around so they can face those of the audience who would otherwise be behind them.

Ambulabunt mazites giapanta
Well I could walk with her forever

Aperioristomerus
In this boundless world

Euprepea eche phyge
Throw all caution to the wind

Participes neemnimes
Share new memories

More smoke fills the stage behind them. This time, Lauchlan sings the high voice, Charles the low one. Some more lights show up. They look at each other until the Lauchlan starts his last "pantamu", when they turn to the audience in front of the stage.

Percipimus (Agapoglossa ena, alithenomysterio, legitur giamoeramas)
We understand (The language of love is, verily mysterious, and inscribed in our fate)

As iungere cheriamas (Temperat cardiesmas)
Let's join our hands (This gives warmth for our hearts)

Ambulabunt (Me ta pantamu)
Walk with my (e-e-everything)

Ambulabunt me ta pantamu (Ambulabunt me ta pantamu)
Walk with my everything (Walk with my e-e-everything)

As they finish their entry, they shout out to the audience, "We love you Valletta! Thank you!", bow, and exit the stage.

by **Zamboodle** » Tue Dec 03, 2019 6:03 pm

9. Zamboodle

Zamboodle Supah Soldahs - Caryton Nativity Story

Background: Zamboodle is a small, impoverished African country filled to the brim with rebel organizations, warlords, and child soldiers. The nation is plagued with ebola, AIDS, and genital mutilation out of wacky religious beliefs. Caryton sent its missionaries to the country out of hopes to change it, but the missionaries ironically broke off from the Gospel Church of Caryton and made their own denomination-- one that strays from Caryton practices of forbidding homosexuality, moralistic lives, etc with an all-around more liberal air to it. However, the Zamboodlean "Supah Soldahs" - a travelling fledgeling performing arts group from the rural villages up north haven't been informed of their differences from the main church-- and thus still believe they are devout GCC followers.

Church Background (for those unfamiliar with Caryton - required to understand performance): Up until 2017 the general lands of Caryton were under an oppressive and genocidal regime- the Republic of Alta - who targeted Christians to consolidate their power. Various rebel groups formed but never organized. One in particular was lead by Charles White-- a revolutionary strategist. One day, Charles came across an old lady claiming that a Golden Retriever was divinely anointed. Under several tests, Cary proved to be of christ-like ability, previously performing miracles. The church was formed then and there, and Dorothy Shirleyton-- the now leader of Caryton-- helped organize it. The revolution was surprisingly bloodless, with only a couple of battles toppling Alta. Dorothy Shirleyton is given the position of leadership after passing a merit test. Most non-christians or those who saw the GCC as blasphemous defected to surrounding countries, and thus the Spiritual Republic of Caryton was formed.

* note 1: Dorothy Shirleyton had a daughter who suffered through breast cancer.
* note 2: Dorothy Shirleyton used to have a skin condition that dotted her skin in red splotches. She no longer has this, but was infamous for her illness as a youth.

Caryton Nativity Story

The scene opens up to a stage, bearing a horribly done makeshift model of a Gospel Church of Caryton chapel. In the background, several people in downtrodden clothing serve as the orchrestral, alongside some stereotypical looking african tribal background dancers blocking view of them in a long line. A group of around 12 people stood in front of the background church-- looking straight out of a Wakaliwood movie. A few of them looked like "rebels" with an apparent warlord leader holding a golden AK47 with a larger than life drum magazine. Several had sheathed machetes stained with fake blood.

Narrator:

"And now, the story of our new religion, told to us by some old guy on the streets - about Cary-ton dae canine."

Dorothy Shirleyton, audience:

"Wow, this is going to be very nice!"

Ensemble:

"Caaaaaaryton!"

The performers started bounced up and down, leaning into the crowd, supporting the narrator as she continued to speak. No LED screens came on yet, and the lighting was simple.

Narrator:

"Let's go all dae way back 1 year in time. (Ensemble: Caryton!)
To the Republikk of Alta, Oktobah 20 and 18. (E: Caryton!)
A big and grey village of Kapital Deestrict. (E: Deestrict!)
There was slavery and oppression... (E: Crack wheep!)
But also in this settlement was a dumb sheet who would change everything!
His name... was Charles White!

Ensemble:

Hay-ya-ya-ya-ya-ya-ya-ya-ya!
Char-lee White! Stupid peasant!
Nobody likes him, whole town warlord man!

"Charles White"

Aye, my name is Charles White, and I'm going to sheet on this baby!
(Dorothy Shirleyton, audience: WHAT!?)

Ensemble:
No, no Char-lee! Don't sheet dae baby!
Char-lee White! Don't sheet dae baby!"

Cue the performers undergoing some stereotypical dancing to the point of Charles' announcement, where they shook their fingers at him in unison as he wove a fake baby doll in and out of his legs, underneath his buttocks. The spotlights shone on him doing this. Cameras capture the Carytonic audience with mouths open agape. Even the dog looked uncomfortable.

Narrator:

"Suddenly, the doors opened, and an old insane lady appeared before Mr. White.

"Old Witch Lady:"

Char-lee! Don't sheet dae baby. I'll get rid of your AIDS... if you spay this dog!"

The doors opened and a hunched back African man stumbled out, with whiteface on. They were obviously the old lady. He spoke in a deep bass, drawing some laughs from the audience. The performers resumed their tribal dance. Charles was given a stapler as a fursuited Golden Retriever ran on stage, tricked into this by a Zamboodlean prince scammer, believing he was going to a furry convention. Charles ran towards the dog with a rusted stapler aimed at its crotch. The furry ran off stage, rusted staples being fired into its costume but thankfully leaving the man unscathed and without any injury to the private areas. This was all done with exaggerated arm movements that reminded one of the car dealership inflatables.

Ensemble:

"Hay-ya-ya-ya-ya-ya-ya-ya-ya!

Narrator:

Charles White took a stapler and got to work, then his AIDS went away!
Then, a great lion named Simba came down from dae death star!

"Simba"

Charles White, your nation is sheet!
You should lead a revolution and make a new one!
Worship this dog for directions! (E: Hooraaaaaaay!)

Narrator:
And dae dog used her magical powers to consolidate a foundation for a new land! Geor-geena-Siti! (E: Geor-geena-Siti!)
Char-lee tried to convince all dae villagers to follow him and his dog Jesus.

"Charles White":

Liberation! Theocracy! No more slavery for Kapital Deestrict Stapler People!

The performers broke into a funk dance as the Charles White character pulled out a stuffed Golden Retriever toy in the absence of the fursuited man who had successfully escaped.

"Charles White":

I got dae golden dog! (Ensemble: Gold dog!)
She go to lead dae pepole! (E: Dae pepole!)
We gotta stick together! (E: Carytons!)
We got to sheet together! (E: We're Carytons!)
And so we shoot dae soldier! (E: We shoot shoot!)
And so we cut deir hands off! (E: We chop chop!)
And we fight dae oppression! (E: Caryton!)
By putting this dog above everyone! (E: We're from Caryton!)

"Dorothy Shirleyton":
Not so fast, Gospel Church of Carytons! You shall not call yourself Christian!
(Ens: Down from dae chapel, look who come! It is dae Caryton pastor, Dorothy Shirleyton!)
Yes! I am Dorothy Shirleyton! I chopped my daughter's nipples off! ((*))
That made God angry, so he turned my skin into nipples, for punishment! ((**))

A horrible attempt at a Dorothy Shirleyton costuming stumbled in, whacking Charles with a cane as the performers formed a conga line.

Ensemble:
Dorothy Shirleyton, her skin was nipples!
What will you do, Chah-lee, will you fight dae mammogram wo-man?

"Charles White":

Not fight her, help her! (Ens: Ooooh!)

Narrator:

Charles White took his magical staple dog and rubbed it against Dorothy's nipple-face, and behold, she was cured!

It was at this point that he rubbed the stuffed toy against the others face, of which the Dorothy character turned around, quickly wiping off the red splotches, and turned around, portraying being cured. The conga line stopped and the ensemble revealed a few African hand drums of which they poorly played.

Ensemble:

Ca-a-ry! Magical AIDS dog!
Dorothy! Dog on her nipple-face!

Narrator:

Dorothy Shirleyton was so grateful that she decided to lead the Carytons on their revolt journey!

"Dorothy Shirleyton:

Compassion!
Christianity!
Let's be really f*cking conservative to everyone!

"Charles White"

I got dae golden dog! (Ensemble: Gold dog!)
She go to lead dae pepole! (E: Dae pepole!)
We gotta stick together! (E: Carytons!)

The performers thrusted forwards to the front of the stage, partying with the audience as Charles White began his solo. By the time he finished, they returned to their positions so that the narrator could speak. The makeshift church was already falling apart ever so gradually.

Narrator:

Now comes dae part of our story that gets very sad. (Ensemble: Awhh...)
After refraining from pornography for so long, Charles White had gay sex... and became sick...with dysen-cary.

The performers rolled out a sheet and seemed to be arranging something in their pants as Charles did the same. A few background drummers intensified their beat.

Ensemble:

Gay man grab other boy, clothes away all cut!
Private go into dae insides, blood come out dae butt!
Boy get sick from dae dinner of beans and duck,
Sheet-blood down dae privates, sheet still in dae butt!

As this elaboration of dysencary began, Charles was depicted ripping off a twinkish boy no older than 19's shirt and depicting sexual relations with him. Charles then groaned, crouched over the sheet, and pressed a button, squeezing a bottle of ketchup through a hole in his pants where it fell onto the sheet depicting water. The boy was depicted getting sick and bending over, pressing a button that squirted both ketchup and a brown fermented fish paste that smelled pretty convincing all over the sheet and Charles White's pants.

"Charles White":

Gooh, oh frick!

Narrator:
Oh no, dae warlord Char-lee is now getting sick!

Ensemble:

Gay man grab Char-lee, dirty meat in dae mouth!
Sheet go down his throat, sheet go down dae stomach
Blood come out dae butt!
Blood go in dae water, water go to bathing!
Bathing go to dae drink!
Sheet-blood in dae stomach, sheet-blood in dae mouth!
Sheet-blood in dae insides, sheet-blood out dae butt!

At this point, the performers joined Charles and the other. As Charlie depicted oral with nothing but air and his hand, he gagged and groaned, obviously getting sick. In synchrony with everybody else, ketchup, the fermented paste, or both shoots straight into the sheet, which they then portray scooping up with an invisible cup, drinking, and bathing until which they got even sicker and shot out more paste.

After that cacophony of laughter and cringing was over, two warlord looking techs dragged the soiled sheet off stage.

"Charles White":

Dorothy! You must take dae golden dog and lead the Carytons to independence!

"Dorothy Shirleyton":

Desperation!
Mortality!
Spread of Gay!

I... got dae golden dog! (Ensemble: Gold dog!)
She go to lead dae pepole! (E: Dae pepole!)

Narrator:

Even though their warlord had died, dae Gospel Church of Carytons stuck together and fought off the Alta, and were strict to everyone they came across!
And then one day, the Carytons finally won and made Geor-geena-Siti! (E: Geor-geena-Siti!)

As Charles White dramatically depicted his death from dysencary, the ensemble formed the congo line again with the portrayal of Dorothy Shirleyton at its head.

Narrator:

And there, the Carytons danced with robots, and were greeted by Spongebob!

"Spongebob":

Welcome Gospel Church of Carytons! Now, let's have as many babies as we can and make big, moralistic families! Woohoo!

As the horrible depiction of spongebob left the chapel with a lazily painted yellow box and red tie, the setup collapsed behind him but the performers didn't seem to mind. The group did a war cry before continuing towards the song's climax. The men unveiled paper towel tubing as makeshift sex organs, which they then used to dance with the female partners or a stuffed cat toy. The LED screens flicked on to portray the Carytonic capital and a cascade of red light illuminated the performers.

Everyone:

F*ck your woman, f*ck your cat! Our reverend is super fat!
Spread dysen-cary as fast as we can! Here in Georgine City Land!
We love you, love you God! (Ens: Now we have rabies!)
Love you, love you God! (E: Caryton has rabies!)
Love you, love you God! (E: Super gay rabies!)
Love you, love you God!

Cary, magical AIDS dog!
Dorothy nipple face!
Sheet-blood out dae butt!
We all say f*ck, f*ck Caryton!

As they recounted the song's events per line, "Charles White" raised the stuffed dog, walking from stage left to stage right, and as did "Dorothy Shirleyton", throwing pepperoni slices everywhere to represent their affliction, two tribal women threw red and brown pom poms from behind them and under their butts towards the audience. The performers got into a line and raised their arms on the word "Caryton". As a bugler played the last two notes, a screen formed, casting two shadow silhouettes depicting male genital mutilation with a machete and a hot dog. On the last hit, specialized cannons shot the ketchup and fermented fish paste into the audience, really making the seating area smell like "sheet blood". The warlord fires several blanks from his Golden AK into the air and then goes on to gut punch and pretend to execute his comrades. Dorothy Shirleyton faints from her chair and paramedics had to be called. She was inches away from a heart attack.

Several Carytonic people walked out of the auditorium for a few minutes after that performance.

by **Polkopia** » Tue Dec 03, 2019 6:37 pm

10. Polkopia

bangrz - Space
Tune: BANKS - Gimme (Performance Version)
(Only the song)

Karolina Kapchuk, better known by her stage name, bangrz, was originally selected to represent Polkopia at the 77th edition of Worldvision, following her victory at the Landa vy Polkopiya with her song, Space. Unfortunately, in the days leading up to the contest, Karolina was diagnosed with pneumonia and was unable to perform in Mister X, where the 77th edition was held. As it was far too late to send another artist, the PNB had no choice but to withdraw from the contest, leaving many Polkopian fans devastated, as their nation had won the prior two contests and there was much talk about the possibility of winning a third - something that had never been done before in Worldvision history. The contest was still broadcasted in Polkopia, however, and millions tuned in to watch the show. While all of this was happening, one question was on the fans' minds - who would represent Polkopia in the next edition? Would the PNB give bangrz another shot, or would the Polkopian entry be selected via national final? This question was answered moments after the conclusion of Worldvision, with the PNB deciding that bangrz would represent Polkopia in Worldvision 78 in Malta Comino Gozo with her song, Space. Many fans were overjoyed at this decision since bangrz's song was a huge hit among Polkopians, however there was an underlying feeling of skepticism underneath all of the joy, as many were wary of giving this artist another chance after her health failed her and forced Polkopia to pull out of the contest. Be that as it may, many Polkopians were supportive of this decision and were enthusiastic about the PNB's decision to send her to Valletta.

At the age of 22, having just finished music school and on her way to pursue her music career, Karolina suffered a major blow to it all which took shape in a skiing accident, which led to the amputation of her left leg. As the accident left her unable to deliver performances that were at a high level, many higher-up music executives immediately dismissed signing on this new artist and wrote her off, citing her injury as a career-ending tragedy. It took years of recovery for Karolina to resume her normal life and through this, she maintained her vocal capabilities through several long practice sessions. From this, she became inspired to continue her music career through her own standards and sought to develop a new look and style that had never before been witnessed in the Polkopian music industry. This was to be the creation of bangrz - her new musical identity which was to focus on pursuing one's dreams and aspirations despite certain physical limitations. She took on dancing as a side hobby and posed dance covers on several online video sharing sites. Her channel grew to over one million subscribers by the time she turned 27, and her online fanbase continued to grow. When she announced that she was submitting a song to the Landa vy Polkopiya, many of those in her fanbase were incredibly supportive of the artist, despite the initial hesitation that Karolina had with performing in front of a live audience. At 28, it had been more than 6 years since she had last performed in front of a live audience and the first time she was to do so with her injury. Nevertheless, she performed at a standard that exceeded her expectations and won a landslide victory over the international jury, giving her the honor of representing her home country at the next Worldvision. Unfortunately, health issues caused her to pull out of the 77th edition, but she vowed that she would use her time off to perfect her performance and deliver something in WV78 that would be unforgettable.

The atmosphere in the Valletta Arena was insane as members of the audience clapped, screamed, and cheered on the Polkopian act as the postcard was shown on the large LED screens, signaling that Polkopia was the next nation to perform. Once the postcard ended, the stage faded into darkness and the last few cheers from the audience began to die down. There was a long pause of darkness, and one could only wonder if there had been some technical issues from the Maltese delegation, but soon enough a small spotlight was shown in the middle of the stage. Just then, Karolina's legs were visible as she slowly walked forward. There was a long, pointed, pyramid in place of her normal prosthetic leg, and the sound of its tip echoed throughout the arena as it tapped the stage while she walked. The arena was completely silent - no one dared interrupt this moment, which was already beginning to build up a lot of drama before the actual performance. Suddenly she turned 90-degrees and the sound of the tip of her implant scraped along the metal surface of the stage floor, resulting in an eerie screech from the friction. She continued to walk forward, with the spotlight only illuminating her legs. She scraped her prosthetic along the floor as she stepped forward two more times until she stopped and tapped the metal boot covering her other leg with her prosthetic, before stepping forward one more time. When she stepped forward again, the LED screen on the floor of the stage gave the illusion that she had slightly cracked the stage. Her next step resulted in an even larger crack from the stage floor, and the spotlight turned a deep shade of red. Suddenly the lights in the background began to light up so that Karolina's silhouette was visible. She appeared to be wearing a short, ruffled dress and a sunhat, however not much else was visible. What was interesting was that there were four large ropes holding her from the ceiling, and in an instant they yanked her up and she quickly descended on another point on the stage. The ropes then lifted her up slightly and she began to twirl in place, slightly airborne, and she extended her prosthetic so that it scraped along the surface of the stage in order to stop her. She began walking forward again and the background LED screens showed a beating heart being pierced by all sorts of arrows. The heart kept bleeding as the background noise grew louder and louder until the heart melted into a red sea that overtook the screens and Karoline was lifted up. The introduction was over.

The opening notes of the song played and the voices of the (unseen) background singers played, only there was a robotic effect added to their voices. For each note that they sang, the LED triangles above the stage flickered in a deep red hue - the same color that was used during the introduction. The camera then changed to a zoomed-in view of the base of the stage - which was still completely black. As the opening instrumental notes played, the camera slowly moved upward and soon, Karolina came into view, gracefully flipping among the ropes which suspended her. The spotlight which illuminated her remained the same deep-red that has been present in the majority of the performance so far.

Woah-oh-oh, give me space yeah yeah, give me space yeah yeah
Woah-oh-oh, give me space yeah yeah, give me space yeah yeah

Despite the fact that she was flipping and moving whilst suspended high above the stage, she sang the notes perfectly. Her microphone was attached to the hem of her torso so that it picked up the audio crystal-clear without the need to hold a microphone. The camera picked up new angles with every line that she sang so that the performance maintained the already high level of drama that it began with. Her prosthetic blade was still clearly visible swinging around the ropes with the rest of her body.

Baby, I stand out in the crowd, crowd
So play the music real loud, loud
And I'll drop it to the ground, ground
But you better give me space
(Woah, oh oh, oh oh)

Supersonic
The way my body moves - it's symphonic
Exotic, chaotic, erotic.
But you better give me space
(Woah, oh oh, oh oh)

The lighting faded to a bright golden color and a golden rain animation began to play on the LED screen. Glitter rained from the ceiling and fell on top of Karolina, who was slowly lowered to the stage floor as she sang the bridge of the song. The camera trained in on her face, which stared at the camera intensely for most of the lines. Even when she looked to the side, she maintained a serious, almost grim expression.

I can be your girl, your girl.
A drop of sweet liqueur, liqueur.
I'll be the poison in your world
(Take a sip and you will find, I'm the girl that you may like)
(So come on and)

She unclasped the ropes from her outfit and moved forward in a rough, jagged pace, jerking her limbs with every step she took. After the second line of the chorus, she seemed more fluid as she assumed another position, but resumed the same, jerky movements as before. The light intensity increased and decreased in-sync with the beat. Lasers colored in a deep-red appeared on stage too and the LED screen gave the illusion that these lasers extended infinitely behind the stage. Although the lasers were around her, Karolina's jerky movements avoided contact with the lasers as she proceded forward.

Come on, come on, boy, boy, can you handle me now?
Bet you never knew.
Come on, come on, boy, boy, you'll never forget me
I'll be the end of you.

Karolina dropped onto her back in an instant and clutched her body when she sang the verses. The golden glitter rain resumed and fell on the stage floor all around her. During some of the lines, she dragged her hand over the glitter, grabbed some, and rubbed them over her lower neck.

Let the fake bitches talk about.
Their painted faces never stop moving.
But we'll let my body do the talking.
You can call me that bitch.

Oh boy you hear that sound?
It's too late for you to back out now.
I'll feel the vibrations course through me
When you scream and shout.

The lights dimmed except for a sole golden spotlight on Karolina. The camera filmed her from amove and gradually zoomed in and Karolina looked up at the camera and sang. She kept her eyes open and didn't blin for the entirety of the bridge.

I can be your girl, your girl.
A drop of sweet liqueur, liqueur.
I'll be the poison in your world
(Take a sip and you will find, I'm the girl that you may like)
(So come on and)

The lasers appeared one after another in rapid succession and flooded the stage with the same lights as before. Karolina looked up at them with a terrified expression and used her one natural limb to kick the floor and push herself a few feet across the stage. She then rolled over, stood up, dropped to her knees, performed a roundhouse kick with her prosthetic, and did a series of interpretive movements similar to the ones she had just performed.

Come on, come on, boy, boy, can you handle me now?
Bet you never knew.
Come on, come on, boy, boy, you'll never forget me
I'll be the end of you.

Come on, come on, boy, boy, can you handle me now?
Bet you never knew.
Come on, come on, boy, boy, you'll never forget me
I'll be the end of you.

Smoke erupted from the back of the stage and the camera showed a slow-motion shot of Karolina getting up off the floor, some strands of hair were stuck to her face but she didn't bother brushing them away. By the end of the breakdown, she had stood up and begun walking forward, still avoiding the lasers. The stage turned dark, save for the lasers, at the very end of the breakdown.

Hear the echoes in the night.
I've got your attention now.
And I can see it in your eyes.
Yeah yeah, yeah yeah, you're mine.

For a bit, the audience saw nothing except for the lasers and Karolina's silhouette heavily breathing. A white cloud was visible where her mouth was and appeared again with each exhale she took. Once the song began again, Karolina performed several roundhouse kicks, jumping in the air with some of them, and the lasers reflected off her leg and shot straight toward the front of the stage. She performed this for most of the final chorus, but by the end, the lasers had all disappeared and the LED floor showed a black path (which Karolina walked on), with several red lined along the perimeter pointing toward the front of the stage. The last show of the performance was Karolina walking forward, toward the camera, before stopping right before it, maintaining the same grim expression she had in place for all of her performance. The cloud of vapor was still visible as she breathed until the music ended and the lights faded back to normal.

Come on, come on, boy, boy, can you handle me now?
Bet you never knew.
Come on, come on, boy, boy, you'll never forget me
I'll be the end of you.

Come on, come on, boy, boy, can you handle me now?
Bet you never knew.
Come on, come on, boy, boy, you'll never forget me
I'll be the end of you.

Finally Karolina allowed herself to smile. "Thank you Valletta! Thank you multiverse!" She waved before exiting the stage.

by **Ruritane** » Tue Dec 03, 2019 6:41 pm

11. Ruritane
"Proud to be Jew" - IzJoe Cantor
Tune: "Under the Sea" from The Little Mermaid

Explanation: Ruritane has a big Jewish population, as thus the powers that be decided to show off their heritage. And your mom.

IzJoe Cantor walks onto the stage. He is very white, old, and wrinkly, with a very big beard. He wears a tallit, a kippa, a big jockstrap, and nothing else. He does the dab.

A schlemiel and a baka
Having a great big shake
I am singing with all the accents
On the wrong syllables
I'm proving that Jews are happy
Not getting wasted for
I'm doing what I do best at
And screwing with Caryton

IzJoe Cantor continues singing in this reggae voice, all while background dancers from the region of Southern Africa break-dance all around him.

I'm proud to be
I am a Jew
I'm very Jewish
My skin is not bluish
I'm Ruritane-y!
Well, Jews, we have so much fun
We play all day in the mild sun
Oh, what we blew,
And who ever knew?
I am a Jew

IzJoe does a jazz box step. I don't know what I'm talking about either.

I insult other religions
While doubting my one true faith
Christians have faith in lies
They seem to have three gods
Jews only have one big god
But Muslims have that too
But if I say their faith's better
I get attacked by angry Jews

While IzJoe sings, performers dressed as Jewish stereotypes (banker, mom, etc.) come out and mime an argument with the backup dancers.

I'm proud to be
I am a Jew
Ruritane beat them
The worst that it came to
In the suck war
Jerks used to kill and wreck us all
But now we Jews are having a ball
I am not smelly
I feel like jelly
I am a Jew

The Jewish stereotype performers walk off the stage. IzJoe does the Electric Slide and then he drops the microphone. IzJoe picks it up, but now no one can hear him sing except the front row of the audience.

Proud to be Jew
I got the groove
I think I can prove
It's easy to be
Jews, and we can dance
All those goyim, they merely prance
They have all weakness
But I have sleekness
'Cause I am Jew

IzJoe realizes that his microphone doesn't work and he turns on his wireless microphone attached to his head. IzJoe holds hands with all of the background dancers and form a circle. They all dance the hora.

The yeet synagogues
We can use dead memes
The safe havens
It's all that it seems
And I am a Jew
Jews have gone everywhere, man
Rise up for freedom
Rise up for freedom
Rise up for freedom
The whole Jewish thing
Jews sings the blues
This voice is all wrong
What I think you should know

They separate from the circle. IzJoe slaps his face like a maniac.

Yeah, Proud to be Jew
Proud to be me
I am not Celtic
I am much Jewish
The intricacy
Intricacy!
The goyim have a lot of bunk
We Jews can have a lot of funk
I don't eat bacon
We are not fakin'
All of us Jews
And the bar mitzvahs
And the bat mitzvahs
Proud to be Jews
Jews in the palm trees
And in the cities
I have a beardo
I am a weirdo
Religious freedom
Fandoms have squeedom
Proud to be Jews!

IzJoe bows. A plant in the audience throws a ripe tomato at him, which is a symbol of good luck in Ruritane. IzJoe says, "merci and toda" and walks off the stage.

by **The Hlhata States** » Tue Dec 03, 2019 6:56 pm

THE HLHATA STATES | 12
"Beautiful Lies"
Prudencija

Music - Kelly Prvanuskanova
Lyrics - Jurgen Svalhaard

Tune - "Stop Eating, That's Why You're Fat" - Kelly Hyland

After many editions of non-participation, Hlhata States saw the quality of the contest and decided to step in. That's when they brought in failed Izmeduan star Prudencija to sing. So here we are.

The postcard ends and the arena turns to black. The crowd cheer, excited to hear what the famously amazing Hlhata States has brought to this contest. Then, the lights turn on, a single red spotlight on Prudencija who is standing centre stage, donned in a stunning blood red gown and fiery makeup. The stage is dark and atmospheric, the perfect set up for such a powerful and dramatic ballad. Prudencija begins to open her lips and sing, when suddenly a middle aged, most likely christian mother stumbles onstage. She punches Prudencija leaving the audience gasping in the awkward silence, and shouts:

8) You ain't funny Hlhata States leave the contest you Vartugia wannabes

The cameras turn black as the lesbian looking woman begins beating up Prudencija. hee heee

by **Scotatrova** » Tue Dec 03, 2019 11:17 pm

13. Scotatrova
Mariana Elvira
Miss Me
Tune: Pablo Alborán, Ava Max - Tabú

I used to think you were right for me
But now I know that I’m better off
That bittersweet truth is something we have to deal with and let it be

And you, used to think that I
Would not be better off
But boy, how wrong you were
We’re both alone now
Time for you to pack the hell up and just go

It’s clear that I don’t feel the same way about you now
But to move on, that is what we must allow

I can see how happy she makes you
And I don’t know if I mind
It’s what I’ll have to get used to
Maybe she can help you unwind

I know you were just trying your best
In a way, you were the one to save me
Now you try to forget the rest
Just know this, you’re going to miss me

I would do everything for you
And you would love the fact I did
At the time I didn’t know it
But we were young

Do you think we could go back?
Back to the way we were
And we can face this thing together
But maybe that’s just me, you remember how I was with my wishful thinking

I don’t know if I can go without you
Even if we weren’t good for each other

I know you were just trying your best
In a way, you were the one to save me
Now you try to forget the rest
Just know this, you’re going to miss me

There are still things that I want to know (want to know)
Like if we’ll ever be free
You act like you don’t, although
It’s fine to say that you miss me

I know you were just trying your best
In a way, you were the one to save me
Now you try to forget the rest
Just know this, you’re going to miss me

There are still things that I want to know
Like if we’ll ever be free
You act like you don’t, although
It’s fine to say that you miss me

by **Ertzei Kishim** » Wed Dec 04, 2019 12:59 am

. : 14 - Ertzei Kishim - أراضي الكيش - ארצי כישים : .
Nir Meiri - Tiferet
نير مايّري - تفئرت | ניר מאירי - תפארת
Language: English
To the Tune Of - Donny Montell - Man Patinka

Tiferet is the capital of Ertzei Kishim. Home to around 500,000 people, it is the second largest city in the country after Rakaphy, and is the economic, political and social hub of the small country. The population is mixed, comprised of around 45% Jews, 30% Arabs and 15% Circassians, with the rest of the population originating from across the world. One of Tiferet's main attractions is its exciting lifestyle that many of its inhabitants engage in. While disregarded by some as a hub of hedonism and excess, Tiferet draws many from around the world for its nightlife and club scene. It is here where much of Ertzei Kishim's dance music culture originates, which has been often displayed internationally and produced 4 WorldVision winners.

Nir Meiri is a Kishi singer hailing from Rakaphy in Ertzei Kishim. From a Jewish family, he currently studies Contemporary Music in the University of Tiferet, located in the capital. He says of the song 'Tiferet': "I wrote this song to talk about my experiences of living in Tiferet. I think we have this great expectation of partying and having fun, which is true. But sometimes it's this that can make you feel alone in a city like this, and so I wanted to write about this sort of idea of being alone in a city like Tiferet where you can be surrounded by hundreds of people in a club but still feel alone when you're coming down from a high". Meiri was internally selected by HARESHET after his academic supervisor suggested he send his song off, which formulated a part of his course. After being accepted, the team of producers, famous for producing the Kishi entries to WorldVision 74, 75 and 77 reworked the song slightly and turned it into a dark club classic, typical of the Kishi music scene. "I'm actually super excited with the final product, the rework added a great depth and different take on the song, I'm excited". The song was written entirely in English, the first time a Kishi entry had been sent in English since WorldVision 49 - the reasoning behind it? Well there wasn't one "I just wanted to send my song in English, I don't know". After an improvement in results, HARESHET is expecting top 10, hoping for top 5 - it is in fact these sorts of terms which rest on young artists such as Nir Meiri receiving a recording contract after their participation. On a personal level, the stakes are high, so this performance will be important.

The stage begins dark as the audience cheers from the previous performance die down, however as the song throttles into the music straight away, there is not much time for darkness. The diamonds across the stage and on the floor begin to flash in bright neon blue in time with the music. Neon blue lasers criss cross the stage, in the middle of them stands Nir as he begins to sing the first verse. He is wearing a leather jacket with graffiti on it with black pants and bright trainers. The moment is now, he takes a deep breath and starts singing the lyrics he'd practiced thousands of times by now.

I guess it's true
There ain't a loneliness like in Tiferet
Friday night
I ain't gonna find love in Tiferet, in Tiferet
People getting high as a kite flying winds away
Wishing on stars who's light they'll never see
Because the city lights won't let you sleep in Tiferet, in Tiferet

As the song progresses to the verse, four dancers (two either side of Nir) burst out of the sides of the stage. They are fully dressed in black, with hoods, balaclavas and leather jackets. They begin to break dance either side of Nir as he sings. An LED projection onto his chest shows a beating heart in pink and red, it pulses to the beat of the music. Nir stays still and looks straight ahead as he sings with dynamic camera angles of the dancers and the LED effects create the feeling of movement on stage.

Drunk off nothing but our bodies til the sunrise
Inject another hit or two into my pulsing bloodline
Would it be easier if we just sat ourselves down
And watch the world just pass us by
Rather than chase these temporary highs

At this point an amount of mist makes its way onto the bottom of the stage, but at the moment barely visible. Nir follows a preset stage pattern where he moves closer to the audience, and the LED heart follows him, perfectly rehearsed and hitting his marks. The dancers line up behind him and begin to move in sync, dancing to the beat.

And if I step out, my eyes hurt
My hands will shiver
So I'll just get back in formation
There's a comfort in the flock
But when does it go too far
What are you supposed to say
When it goes too far?

As the song slows momentarily, the stage is now filled with mist a lot more, which covers Nir up to his knees. The dancers lie on the floor so they are completely obscured from the mist. The LED effects now go from the screen, as shooting arrows and then land as lights on Nir's body (the trajectory of the arrows is followed on the backing LED's and then lands on Nir as a projection). To this he reacts, feigning being shot by these arrows which bleed out neon blue lights down his outfit.

But I ain't one to be defeated
I am only broken temporarily
And it's a little late for explanations
There's nothing that I can do
In Tiferet...

As the song speeds up again, the dancers jump up and appear behind him. They perform a dance behind him so that you can only see their arms and legs as they all move in time to the music. It involves a lot of hand work, splaying the arms to give the impression Nir has many more arms than he really does. At this point the fog on the stage begins to clear.

People getting high as a kite flying winds away
Wishing on stars who's light they'll never see
Because the city lights won't let you sleep in Tiferet, in Tiferet

Nir does a kick motion and the dancers bounce back and then march forward down the sides of the stage, mirroring each other's dance moves as they go along the runways. He makes a grasping hand motion as he looks down the camera and sings. The pulsing neon lights on the stage return as he sings directly to the camera, making eyes to the audience at home.

My sanity slipping through my fingers like sand
A saccharine darkness deep inside
Makes it hard to find my way
Internalising is superficial when things aren't okay
And if I step out, my eyes hurt
My hands will shiver

As the song slows again, the dancers at the side of the stage change their dance to a more conceptual style of dancing, relying on posing in a variety of articulated shapes. The light show changes from pumping lights to the beat to a more pulsing wave through the stage, still in time with the beat, but acting more in the rhythm and visuals like a sea shore.

But I ain't one to be defeated
I am only broken temporarily
And it's a little late for explanations
There's nothing that I can do
In Tiferet

With the song once again speeding up, the stage bursts into more colours, mainly neon blues, pinks and greens. The dancers march down to the main stage again, and begin to run from end to end with Nir in the middle. Every time they run past him he spins a 360, giving the impression that with every run past he is wounded by them.

People getting high as a kite flying winds away
Wishing on stars who's light they'll never see
Because the city lights won't let you sleep in Tiferet, in Tiferet, so listen to me when I say

In Tiferet, Tiferet, In Tiferet
In Tiferet, Tiferet, In Tiferet
In Tiferet, Tiferet, In Tiferet
So listen, I ain't gonna find love here

With the final part of the song taking on a different tone, the stage goes dark again. Nir stands in the middle of the stage as LED lightning bolts strike him, to which he reacts as if he has been hit. The LED floor below him begins to spread more and more into white after each bolt - this eventually turns the whole stage white. As the music calms for the final part of the song, the white begins to recede from the sides of the stage, moving towards a spot around Nir. As his vocal part ends, he drops his hands to his sides and bows his head, until the white part forms a small circle around him. As the last metallic note rings out of the song, the white circle disappears and the stage returns to complete darkness like it started.

And deep down I know
There's something better
I'll find somewhere, I'll find someone
I'm sorry for the way I let go
Of everything I expected when I came along
But I know what I deserve
To find a person in whose arms I belong
I'll find a place where I belong, a place where I, a place where I belong
So goodbye Tiferet, so goodbye to you...

The lights come up on the performance and ecstatic Nir smiles "Thank you Malta Kogo (Hebrew abbreviation)! Thank you world, YEAHHH!". He jogs off stage as the next country's postcard begins to play and preparations for the act begun.

by **Nekoni** » Wed Dec 04, 2019 2:02 am

Entry No.15: NEKONI
Alcohol
NK Kyoudai feat. Alexandre Russe
Based on: Energia by Russkaja

Honestly, nobody in Nekoni knows how this collaboration happened. NK Kyoudai are a locally-respected ska-punk band, and one would have thought their fans would have baulked at the idea of them joining a contest that the underground ska scene thinks is all sizzle and no steak. Alexandre Russe is a comedian once famous in the late 2000s for hosting a godawful Saturday night variety show that still managed to pull in viewers for a solid six years despite both critical mauling and his off-screen marital problems. NK Kyoudai are known for their antics on-stage, but...this? It sounded a bit too end-of-the-pier, a bit too much of an obvious attempt at Alexandre's big TV comeback that didn't involve him humiliating himself eating weird shit on late-night TV.

But...the idea was too good to pass up. Russe was known for being outspoken on his social media platforms, well known for having a good, heavy drink before he used them. One could say he was best at speaking his mind on there, free from the restrictions of pre-watershed television comedy, where the most extreme thing he might do is occasionally throw a bucket of gunge or a pie at someone. One could also say that his incoherent rants started off as slanderous word salad and eventually transcended language itself. Either way, NKK's plan was simple: get him on stage, ply the poor bastard with alcohol, then stand back and watch the fireworks.

The stage is set almost as a reverse as one would expect. The band play at the front, and Alexandre sings at the back. However, there is a reason for this. The band takes up too much space for that stage, so they line up on each catwalk; drums and guitar on the left, the bass and brass on the right. The entire back stage, instead, is taken up by a long bar with a bartender, in tuxedo, mixing drinks. The band members are wearing branded punk band T-shirts and monochrome trademark 'battle kilts' (read: skirts, they're not fooling anyone). Russe is wearing a patterened dress shirt and generic black suit jacket.

The song starts with Russe starting off screen, and walking on stage, wielding a glass with a generic label on it, displaying "Kyoudai Brand Alcohol: For Cleaning Purposes Only". He slides the glass along the bar, and in the course of the first four bars, the glass has been charged with vodka, slid back, and Alexandre is one drink down already.

Come on, fill 'er up
Barman, take my vodka glass and fill it right up
It's been twenty goddamn hours since I had my last cup
Everything's been awful since I sobered up
Come on, everybody, let's get fucked up!

The alcohol continues to be slid down by the bartender, in an almost dance-routine of mixology. There's bottle spinning as he unsheathes a tequila and a nameless orange mixer is poured in as well. The constant trickery is matched by the drinking of Russe, who after singing each line, takes a regrettably large gulp of the drink every time the band sings backup 'ooh yeah's.

The wife doesn't love me (ooh yeah)
The kids drive me barmy (ooh yeah)
Job ain't worth the money (ooh yeah)
I don't care what the hell's in here, just fill it up more

As the bridge section comes, the two band members on brass come up to the main stage area, continuing to play as they do. Russe is now working through the next drink, a whiskey on the rocks. Three drinks down already. Good thing they're not real alcohol.

I'm not hiding from my problems, son
It's Friday night - the one time I can have fun
Before I leave
I need my sweet

During the the chorus, the stage lights flash bright white on each note sung. Each syllable is punctuated by the brass players punching their fists in the air, then playing the 'response' part, and so on and so forth.

Alcohol, yeah!
Alcohol, yeah!
Alcohol, yeah!
Alcohol, yeah!

The second chorus has the brass players put down their trombones and such, and get out empty beer bottles from behind the bar, hitting the metal of the bar stools as a kind of auxilliary percussion. The bartender is busy making a thick, creamy pint of stout. Just before the beat comes back in, the two brass players do a clever switcheroo behind the bar, dropping the glass bottles and grabbing similar looking sugar glass ones instead. On 'GO!', they smash the glasses into their own foreheads, and resume playing like nothing had happened.

Slide a mojito down the bar into my hand
I'll set sail with Captain Morgan, though I'll never leave dry land
My friends are getting in the shots, and they coming two-by-two
And if it's good enough for them, then it's good enough for you, GO!

The second call and response verse goes the same as the first, except now the brass players are with Alexandre, and the trooper's gunning down an entire pint of McMurphy's Creamflow. Surprisingly, the man can mix his drinks.

Stronger liquor after liquor (ooh yeah)
The drink getting slicker (ooh yeah)
The room spinning quicker (ooh yeah)
I'll take the best you got, and I'll still come back for more

Now, the band told Alexandre that the drinks they were using on stage were deliberately non-alcoholic, so he could keep up his appearence of being funny whilst knocking them back without any fear of actually being drunk on live TV. Of course, this was a lie. That may explain why he's swaying like a palm-tree in a hurricane right now, his words noticeably starting to slur, the corners of his mouth beginning to dribble like an eye with a French onion jammed into its tear ducts. The brass players attempt to continue playing without noticing, but you can see their eyes titling towards him.

I'm listening to your lecture no more
If not this, then what is tonight for?
Just grab a beer
Give three cheers to

The chorus is the same as before, except this time the brass guys have jumped up onto the bar itself. The bartender is unflummoxed, and has moved onto the shots of sambuca. Alexandre walks (well, staggers), to behind the bar, as three shots slide down to him. The brass players both crouch, grab theirs, and all three down their shot just before the last call of 'alcohol'. Russe puts a bit too much into the final yeah, and he clearly places his hands over his mouth to stifle an acrid burp.

Alcohol, yeah!
Alcohol, yeah!
Alcohol, yeah!
Alcohol, yeah!

The actual arseholes noticed this. In true shadenfreude, they grab him and pull him up to the bar with him, and get him to basically can-can with them, whilst the trumpeters play their instruments effectively one handed, the other wrapped round Russe in a Greek-dancing sort of line. They know exactly what they're trying to do with this, and it's borderline cruelty. Alexandre at this point is too in the ether to care, and is pulling out his best Zorba the Greek impersonation, chanting "hup!" into the microphone with the rest of the band in an attempt to get the audience to sing along. It doesn't really work.

The bartender, somehow oblivious to the decaying state of the poor guy, is still making him drinks, and he's saved the best one for last. He reaches into the special fridge labelled "Do Not Touch", and retrieves what appears to be a bottle of absinthe, if it was bottled in the rolling hills of Chernobyl. There is no reason or rhyme why the liquid is that luminous and green, but, sod it, he's drank everything else. Alexandre jumps off (technically he falls off, the landing doesn't really stick), the table, and still continues, blissfully unaware.

And if I'm finished, just carry me home
Don't tell the wife, don't tell her where I have gone
Until tomorrow, then
I'll come round again

The bartender adds a whole bunch more other white spirits, including one which might actually be white spirit. The audience can swear that they can see visible fumes emanating from the glass. The barkeep knows this, and so attempts to counteract the cocktail of death with a single maraschino cherry. It is mainly for aesthetic purposes, as what's in the glass could restart a dying planet.

Alexandre still downs the entire damn thing in one. Jesus Christ.

Alcohol, yeah!
Alcohol, yeah!
Alcohol, yeah!
Alcohol, yeah!

On the final 'yeah', he attempts to jump forward, arms outstretched, in an attempt to do a 'jazz hands'-esque ending. However, the near-lethal combination of delicious poison that he has just imbibed causes him to fall flat on his face, and all of a sudden, he realises what he has done over the past three minutes, as he feels crippling pain shoot up his core. He utters a line that probably should have come a lot earlier were he any other man:

Christ, my liver hurts

The band, curiously, silently fistbump the crowd, and walk off, completely ignoring the rotund, convulsing man still on stage. He is in quite severe pain, and when he manages to eventually stand up, his momentum works against him, staggering him forward, careening himself offstage to the gasps of the crowd. He lands, arse-first, on the floor, the jolt causing him to vomit the entire last three minutes down himself. The ambulance staff, preturbed at the thought of his alco-sick ruining their gloves, decide to get him off stage by pulling his legs until he lies prone on the floor, then repeatedly kicking his stomach to roll him out of the sight of a frankly disturbed audience.

Welcome back, Nekoni. Don't ever stoop this low again.

by **Malta Comino Gozo** » Wed Dec 04, 2019 3:04 am

16
Nation Name: Malta Comino Gozo
Official Broadcaster: MCG 1
Tune : Loyal
Song Title: Never
Artist(s) Name(s): Paloma Fennech

Paloma Fennech was born on the outskirts of Valletta in 1981 in the seaside town of Murrsa, although her parents were both from Midina. Due to the new law of divorce being made legal in 1984 her parents divorced three years later. She was raised by her mother. As a child, she was encouraged to dance by her mother and took weekly ballet classes in Midina,and then after that singing lessons. She is now the chair of the largest mental health charity in Malta Comino Gozo. Her parents both suffered severely from depression, prompting her to challenge the countries once outdated mental health laws leading to reform in 2001. She was awarded an MCGBOH, Malta Comino Gozo Badge of honour by the King of MCG for all her hard work and determination. She eventually broke into the mainstream music thanks to her theatrical image and retro-soul sound. She's now one of MCG's most unique and flamboyant live acts.

Paloma Fennech

"The song is called ‘Never’, It's something that is very close to my heart. The song’s message is that we should be open about discussing mental illness and in offering help (rather than judgement) to those suffering from it. In the song the man is self harming and his girlfriend is trying and wants him to stop cus better days are ahead. She expresses that the pain he is feeling is reflecting onto her because she cant stand seeing him that way. She is staying strong hence why he'll 'Never' know what she been going through. We need to change the way we talk about mental illness and encourage those who need help to speak up. There is help. You never know what pain people are dealing with. Some hide it better."

Just before the song starts the camera cuts to a wide angled shot of the stage. The stage is shrouded in a mist and pouring rain and thunder can be heard, the LED screens flash a hazy yellow every now and again to represent the lightning. The stage is in shadow and all you can make out is the silhouette of Paloma stood centre stage,behind a standing microphone, a pianist sat behind a black grand piano,and 6 gospel choir backing singers, all female, behind 6 standing microphones on a elevated part of the stage towards the back. They are all on the right of Paloma. They are dressed half white/black dresses and high heels with female bowties.

Paloma is wearing a elegant white dress, designed by a local fashion designer. There are subtle black hearts sewed into the fabric that are only visible from a close up on camera. Her blood orange hair is tied up in a bun with a dark grey ribbon. She has a slight shade of red lipstick on and white painted finger nails. The rain and storm effects die out before the song starts. We then cut to a angled shot of the pianist, a dim spotlight lights up him playing the piano as he plays the notes to start off. The camera then cuts to his smooth moisturised fingers as he carries on playing the start of the song. We then transition to a head shot of Paloma looking down at the ground and slowly raising her head as a light, lights up just her leaving the rest of the stage in a eerie black. For now it looks like her and the pianist are alone on stage before a dim glow lights up just the bottom of the backing singers microphones stands.

The Camera fades to black before another head shot of Paloma this time face on looking directly into the camera lense with piercing eyes. Her expression is cold and sorrowful, but her eyes remain dry and strong, no tears

I watched you pained on the inside when
you never knew of my existence
Lost everything
Your family, friends a home but
I felt your pain

The camera pans to the piano players hands before fading back to a body shot of Paloma from a 45 degree angle, she is looking at the camera still this time with an outstretched hand beckoning towards the camera which she puts back down at her side after the second line of the verse

Saw you try so hard in every instance
I saw the tears, those tears you cried

The camera cuts to a half body shot. Her face this time filling with strength and empowerment yet still remaining serious, as the next few lines suggest a sense of hope.

Knew I couldn’t let your fears remain.
But I was by your side no matter what

She places a hand on a heart before the camera pulls backwards and upwards slightly, she keeps eye contact on it for a few seconds before signing forwards towards the audience. 4 White Spotlights whoosh up dramatically from the edge of the side as the beat of the chorus kicks in before disappearing. Lights on the edge of the stage flash cold/ white/blue amongst the midst the beat of the song almost like a heartbeat. The LED Screen at the back remains dark but speckled very faintly with small white lights which look stars. The stars are almost swallowed up by the darkness but remain visible to the eye without drawing any attention away from the audience. The camera is now a full body shot showing most of the stage and the pianist the angle stays throughout the first part of the chorus. Shadows of the audience in the forefront some swaying some standing still can be seen in the foreground. The backing singers are illuminated in a cold glow as the raise their arms simultaneously and sing in the background.

You’ll never,
Know, how I wanted just too comfort you
You’ll never know how I hurt inside the way you do
It was so hard to watch you suffer in that way
I felt so hopeless So I’m begging you please let me stay

The camera then snaps to the right of Paloma and she stretches out her right hand looking fiercely at the camera but quickly snapping to the left as this time she stretches her left hand towards the camera

Let me stay, by your side,

Wide angled shot of the stage before a side on head shot with her hands gently on her cheeks

Baby please, painful tears you just cant hide
You’ll never,
Know how I wanted too just comfort you
You’ll never know how I hurt inside the way you do

She looks deeply into the front facing camera before gently tilting her head and gaze down to the right so shes looking at the floor. The camera blurs to the pianist this time a camera swings slowly round the front of the piano as we can see the pianist placing, he makes no eye contact with the camera. The mist on the stage starts to roll away. In the background we can see Paloma still looking at the ground. The camera slowly fades to Paloma. She grabs the microphone with both hands you can tell the emotion is changing. She looks half angered but upset. In the background the LED fades into a black and white almost like a music video of a man sitting on a stall in the middle of the wooden floor in an empty living room. The walls are cracking with wallpaper peeling off and missing, a broken chandelier hangs from the ceiling. The LED zooms to a close up of his face which is staring down at the floor, you can still see his face, hes been crying for hours, his face looks exhausted and a tear is rolling down his left cheek. the camera follows the tear before it drops off. The LED screen fades back to darkness

I don't remember the last time I saw your smile
Before the darkest days swept over you

The LED screen flashes to the man and Paloma running in a field in slow motion, its black and white apart from his shirt which is red and Paloma's red sunhat. They are holding hands, the LED abruptly cuts to a black and white blood puddle on the wooden floor, the puddle is small a blood drop drops into the puddle and the mans shadow can be seen.

You used to be so full of life and charming
Now you're just sat there harming

Anger and sadness can be seen on her face, she keeps composed though

You’ll never, Know how I wanted to just comfort you
Baby please, just stop

She grabs the microphone out of its stand, shes on the edge of anger and despair. She shakes her fist with her eyes filling up slightly with emotion. She slowly moves around the centre part of the stage without wondering too far from the mic stand

Cus soon better days will soon come this way
So in the meantime I'll mark the way.

4 dark red spotlights whoosh up dramatically from the edge of the side as the beat of the chorus kicks in before disappearing. Lights on the edge of the stage flash some white some red amongst to the beat of the song almost like a heartbeat.

The backing singers are illuminated in a cold glow as the raise their arms simultaneously and sing in the background.

You’ll never,
Know how I wanted too just comfort you
You’ll never know how I hurt inside the way you do
It was so hard to watch you suffer in that way
I felt so helpless So I’m begging you please let me stay

The camera pans along the backing singers as they sing and cuts to a above camera showing the entire arena before smoothly switching and centralising back onto Paloma. She gestures emotionally through the next verse towards the camera her hands beckoning outwards before she places a hand on her heart with her right hand

Let me stay, by your side,
Baby please, painful tears you just cant hide
You’ll never,
Know, how I wanted too just comfort you
You’ll never know how I hurt inside the way you do

Paloma collapses to here knees in front of the mic stand and stares into the camera thats next to her face, a helpless expression on her face staring into the eyes of the audiences at home. One lonely spotlight shines down on her as the rest of the stage is plunged into black. The backing singers can still be heard but not seen. CGI cracks appear on the LED floor as her fist slams the floor in anger.

Let me stay with you
Baby please, those tears you just cant hide
Let me stay here please
By your side baby cus

The camera pans up and outwards as a smooth transition of lights starts to fill the stage with sheer white the backing singers coming back into view. The camera zooms back onto Paloma's heartbroken face. A tear roles down Paloma's left cheek. She's now singing with both hands on the mic

You’ll never,
Know how I wanted too just comfort you
You’ll never know how I hurt inside the way you do

She then looks directly upwards whilst still on her knees singing to the camera hanging from the ceiling it starts near and pulls out gradually over the next two lines.

It was so hard to watch you suffer in that way
I felt so helpless So I’m begging you please let me stay

The Camera cuts to one from the centre of the arena displaying the entire stage, Paloma is back on her feet and marches to the edge of the stage. A curtain of rain pours down at the back of the stage. The stage remains bathed in a soft white.

All your pain
Is my pain too
I'm here so
Don't suffer by yourself

She marches along the edge of the stage with a expression of agony and makes her way back to the centre of the stage. The Camera follows her a long as she has her back to the audience. She then turns around to face the close up as she finishes the song. The tear is still on her cheek. As the lights fade back down until the only light is a spotlight just on her, the rain curtain can just been seen behind her.

You’ll never,
Know, how tough it was to watch you suffer in that way
I felt so helpless, so I’m begging you please let me stay.

The arena lights come back on

The audience erupts into large cheers for the hosts and cheers. Paloma covers her face with her hands and wells up, barely being able to speak, either from the emotion of her song, or the reaction from the audience and singing on home turf or both. She simply bows and says " Thank you so much, speak up don't suffer!" She blows a kiss and walks off the stage.

by **Voxija** » Wed Dec 04, 2019 5:09 am

17. Voxija
"I'm Who I Am" by Mikele Etxeberrija
Tune: "I'm Coming Out by Diana Ross

Mikele (mih-kel-ey) Etxeberrija (eh-cheh-berry-a) was born Mikel Etxeverri in Sirranao, a bustling Voxijan city filled with tourists and expats and foreign businesspeople coming and going. Mikele grew up in a hotel that her parents owned, and so she grew up exposed to all of these foreign cultures. Mikele was assigned male at birth.

Mikele Etxeberrija realized she was trans as a kid. Since Voxija is a more permissive country than most, her parents accepted this. However, since this was in the nineties and early 2000s, there were still no hospitals in Sirranao that offered HRT or gender reassignment surgery to minors.

When Mikele Etxeberrija turned 18, she went through the procedure. She has described her first days post-op as "what felt like the best days of my life". Mikele changed her name from Mikel Etxeverri to Mikele Etxeberrija. Mikele was the feminine form of the male name Mikel, which Mikele was already going by to her friends. Etxeberrija is both posher and more Voxijan than the lower-class Voxijan Basque form of the name, Etxeverri.

Mikele Etxeberrija discovered her singing voice at the age of thirteen while singing in the shower. It had a very long range from soprano to very low if Mikele wanted to. Mikele's singing teacher, a trans man himself, encouraged her passions and got her her first gig at a restaurant called Little Rakija. Mikele got her first taste in activism when she discovered that Little Rakija had refused a gay couple. After her first gig, she refused to sing there ever again.

Mikele moved to Vañeta, the Voxijan city of music, after her conscription period. Females had been conscripted since the eighties, and conscription had always been universal. Mikele considered being tailored for the female version of the Voxijan uniform for conscripts a great victory. Vañeta is still a rather centrist city compared to the social left fiscal right Sirranao, and we all know that the political center moves left over time.

Vañeta was challenging for Mikele Etxeberrija. A lot of venues wouldn't host her because the owners objected to "traps". Thankfully, most people cared more about music talent than anything. Mikele Etxeberrija became a popular musician.

When Voxa el-Rashid got 22nd place in Voxija's WorldVision debut, Voxa's popularity decreased. There was a popularity vacuum, and Mikele Etxeberrija filled it. Mikele soared to the top of the charts with her song "Don't Please Me". With her place in Voxijan music history secure, Mikele decided to go abroad.

Sadly, Mikele gained a penchant for getting kicked out of countries because of activism. Banned in China for saying "Free Tibet", banned in Russia for performing a gay pride anthem (although Mikele describes herself as asexual), banned in Egypt for singing a song about how Ramses II was an evil slaver. Yet Mikele still remained popular in Voxija and neighboring countries, especially Malaysia for some reason.

And here we come to WorldVision. Most of the Voxijan population voted unanimously for this song. It was what Voxijans were looking for. Peppy, upbeat, a throwback to an era Americans seemed to dislike, the works. Mikele totally knew she was winning, although she did have stiff competition. But that part's over, and now, it's time to slay at WorldVision.

With all her thoughts for this song in mind, Mikele Etxeberrija walked onto the stage in Valetta. It wasn't Vañeta, thought Mikele. She giggled. All eyes came on Mikele. Mikele acted like she wasn't nervous, and she snapped her fingers. A mixed gender group of backup dancers dressed in neon clothes came out and stood behind Mikele, who was wearing black shorts and a black tank top. Mikele starts singing as she walks towards the audience.

I'm who I am
(Still am)
It's who I am

Mikele waves her hands in front of her face, holding the microphone by two fingers. The backup dancers imitate Mikele's movements. They also stomp their feet to the beat in a dynamic "I have the power" way.

I'm who I am
Although most do see
I want them all to see
I'm who I am
I will show the world
Flourish and prosper

Mikele sings on her own, while the backup dancers do an intricate Cirque du Soleil style routine. They form shapes of a giant version of Mikele Etxeberrija's face singing, moving the lips to lip-sync the song.

I'm proud to be what I am
It's not a change
I was born like this
But they can't see this
But soon the world will know
That I can do this
Oh, I'll spread awareness
They will come around
I make a sound

The backup dancers descend toward the ground, creating a surrealistic effect that looks like the giant face is melting.

I didn't match my body
Now my body matches me
They say I'm wrong
But it's who I am

For this verse, both Mikele and the backup artists sing. While the backup dancers break-dance and gyrate their bodies, a large lattice rises out of the ground in the back. It is sort of a large metal fence. At the last line, the backup dancers climb onto the fence and begin climbing and doing acrobatics on it.

I'm glad to be me
This is who I am
I was born like this
I'm who I am
I will show the world
Flourish and prosper
I, I am me
I have the freedom
To express myself
I'm who I am
I will show the world
That I am a girl

Mikele snaps her fingers. The backup dancers form mandala-like patterns and shapes that work with their neon-colored clothing. At the last few lines, they jump down into trampolines, do a flip in the air, and land safely on the ground.

I didn't used to be a boy
It was just my body
It wasn't really me
I am who I be
But still some people trying
To disparage me
I will make them see
Oh, I know I am
I'm positive
I'm still shining here
I will remain happy
'Cause I'm not crazy

The song ends on a high note as Mikele moves away from her place close to the audience, but still holding the microphone, because Mikele never lip-synchs. The backup dancers dance and sing along with her.

I am still here
I won't go away
Just to please the hate
I am still here
I will show the world
Flourish and prosper

At the last line, the backup dancers run off the stage. Mikele does a weird motion that is a hybrid curtsey and bow. "Thank you, thank you very much!"

by **Elejamie** » Wed Dec 04, 2019 5:13 am

18- Elejamie

Imogene - Worlds Apart

Tune: Skylar Spence/Saint Pepsi - Fiona Coyne

Left to right: Nico Abbiati (bass, guitar, lead vocals), Danny Abbiati (synths, keyboards, backing vocals), Ari Berman (guitar, backing vocals), Peter Keenan (drums)

Domenico Abbiati, or Nico for short, was born in Cross Plaza, SHNR, on the 4th of May, 1991, just over a year after his older brother Danny (or Daniele Jordan Abbiati, born 17th January 1990). The son of a restaurateur originally from Parma and his wife who co-owned it, he had a long-standing interest in music ever since he was young. From constantly making music to his youth by banging on stuff to constantly listening to the radio, it seemed like he was destined for a career in music. Eventually, when he turned 13, his parents decided to get him a bass guitar, primarily because it was on offer and because they figured it’d be the best way to sort him out. Although he was part of a couple of bands in high school and university, nothing really panned out for him fame-wise and he put his dreams on hold to get his degree. In 2012, shortly after he graduated from university following his degree in music, he joined the hard rock band Mothra following a couple of auditions, where he would not only record one album (2013, which was both the album name and the year it was released) and go on tour but would also meet drummer Peter Keenan (born February 28th, 1989), who had joined the band a couple of years earlier, initially as a tour drummer before eventually being a proper member in his own right.

In September 2015, three years after he had joined the band, Nico amicably left Mothra due to a lack of interest in the band’s direction. Taking Peter with him, they decided to form a new band. After a couple of performances with varying names (including Frozen Wastescapes and Seventeen and Rising, both of which would be the names of their first two EPs), they decided on the name Imogene. When asked about the origins of the band’s name, Peter said “We liked the name Imagine but I also wanted to do a tribute to my daughter Imogen, who was born around the time the band was formed. So we stuck an E at the end, pronounced the end result as ‘Im-o-jeen’ and called it a day.”

After the release of their first two EPs in late November that year, the band hired their first new member in Danny Abbiati. While Danny didn’t show much of a musical side growing up compared to his younger brother, he did however get a bit more into it once he got into high school even going as far as deciding to join the music club in order to learn how to play keyboards, as he figured it was an easier instrument to learn. While he still decided to get a degree in mathematics just so he had something to fall back on, he still carried on with his mild interest of music, which eventually lead to him joining his younger brother’s band. His arrival saw the band move to a more electronic and danceable direction, which showed when the band decided to rework their two debut EPs, as well as produce a few new tracks for their debut album, which was A Self-Titled Affair.

Shortly after the release of A Self-Titled Affair in January 2016, the band went out on a brief mini-tour. To cover up their lack of a live guitar, having to resort to either samples or using keyboards to create a similar sound in the studio, the band decided to hire an actual guitarist. After a few concerts with guest guitarists from other bands (including Nico and Peter’s former Mothra bandmate Liam Murphy and Acorazado guitarist Frank Bernardo), they eventually went with former guitarist of The Lads and the Lasses Ari Berman, who finished off the tour with them. However, not only did they enjoy his company but his style completely meshed with what they were going for which resulted in him becoming a permanent member once the tour was over and done with. Following a short break for real-life stuff as well as recording demos, they got to work on their second album.

Their second album, Six Hours, was released in April 2017 to rave reviews. Some critics even heralded it as the beginning of the second generation of the Cross Plaza Scene - an alternative rock movement well-known for its electronic, dancey bent and slight emphasis on the bass, popularised by bands such as Beret, Hardware Store and the aforementioned The Lads and the Lasses - so called because the vast majority of bands hail from Cross Plaza. With songs such as Calmly, Not That Bad, and Yesterday reaching #1 in the indie charts, with the last song even reaching the general top 20 in the music charts (peaking at #17), they were still popular enough to have their songs used here and there (with their music videos being a bit of a bonus) but still obscure enough to have hipster cred. A tour then followed which saw them leave the country for the first time as a group.

Following the widely successful tour, the band decided to release another EP, simply called Snuff (not named after what you’re thinking of but rather the type of smokeless tobacco, with the CD itself designed to look like an old tin of the stuff). Consisting solely of songs that didn’t make the cut onto the album, it still proved to be somewhat successful despite the name. Though no tour came afterwards, they still did a couple of performances to promote the album. However, right afterwards, things went quiet from them. A new single was released in early 2019, which turned out to be the first from them in a while, but fans were still left wondering what was going on.

Fortunately, in August 2019, they announced that they had begun work on a follow-up album. Though they didn’t reveal much in the way of songs (other than their WV entry, see below) or even a title, they did announce that it’ll be released in early 2020. Although it isn’t much, it seems to have somewhat satiated fans, who are hoping the result will be as good as Six Hours. Well, there’s only one way to find out now, isn’t there?

In the last competition, held in Majorium over in Mister X, Elejamie were represented by Eterna, who had performed the song Goodbye. A stripped-down indietronica ballad, it also doubled as a return to the competition after the country withdrew from WV76, as well as one of the favourites to win the competition. Indeed, it very nearly did, getting votes from every nation during the first half and grabbing a 20-point lead by half-time. However, once the second half started, the stream of votes started to get smaller, even receiving no points from a number of countries. When it was time for Ethane, the last country, to give their votes, they gave only one point to Elejamie, which would’ve been enough to give them the win had Todlichebujoku not been given 12 points and, thus, the victory with 111 points. As a result, Eterna had to settle for the country’s second consecutive runners-up spot with 102 points, whereas the Achaean Republic came third with 99.

Fortunately the loss was a lot less controversial, given that there were no voting mistakes, no points being taken away because of said mistakes, none of the mishaps from the last time the country finished second, no nothing. The second place finish in WV77 was a completely legitimate loss. Although the fact that it was a last-minute defeat still stung, the general consensus was that, much like WV75 once everyone had calmed down, the better song had won. And the band weren’t broken up about it either, announcing in their last interview before their planned year long break that the winning song Mürskütsá was a worthy winner of the competition that should’ve lead much earlier in the voting, as well as a brief conversation on how it was the only song to appear in all three band members’ top threes.

ETV also announced that they’ll be competing in the 78th edition, held in Valletta. After a brief search, they announced that the dance-rock group Imogene will be representing Elejamie with the song Worlds Apart. While the band were a somewhat surprising choice to some, given that their last release was over a year and a half ago and some had thought the band had quietly disbanded, their entry received positive reviews and is generally believed to be a song that’ll carry on the nation’s surprising run of form. Probably not win the competition, however, though that hasn’t been ruled out among the more optimistic fans of both the band and WorldVision. While the band hasn’t commented on what the song is about, instead keeping the official meaning a secret but letting fans create their own interpretations instead, they did however comment on what it was like to be announced as representatives.

“We were honestly quite surprised to be asked to represent Elejamie at the contest” said Nico Abbiati, lead singer, bassist and occasional guitarist for the band. “While we aren’t that big on the contest, the songs are alright for the background but we don’t like the competitive element, we just couldn’t turn down the opportunity to take part. The downside was trying to come up with a song so we went with one we already did. In fact, the most recent song we had recorded and finished. We sent a copy of it to ETV, they seemed on board with it and that was that. Hopefully we can carry on this run of good form, maybe even come away with the win!” Which was then followed up with a “Fat chance!” in the background from his brother and bandmate Danny.

The band are well-known for their creative music videos and, indeed, the one for this song was no exception. The video starts off with a man watching some TV in his bedroom, with the walls and shelves covered in posters and figurines of Honey, a sort-of mascot for the band that totally isn’t a rip-off of Yang Xiao Long, hold thy tongue that appears on the single cover but in the video is presented as an anime character. However, while he falls asleep in front of the TV, she emerges out of a poster and, still in her anime form, wakes him up and takes him out for a night on the town. There, they visit an all-night café, go bowling, sit on the rooftops and talk and all the other stuff couples do when they’re somehow able to go on a date in the wee hours of the morning. Towards the end of the video, Honey disappears back into the poster but leaves her flower from her lapel on a pillow next to the man as a memento, which he finds the next morning and thus leaves the ending ambiguous as to whether or not it was actually a dream. As always, the band members have cameos throughout the video, with Nico and Danny being a couple of passers-by confused by the couple, Peter being a barista at an all-night coffee shop that serves the couple (a reference to an earlier job he had before he made it big) and Ari being the man’s brother.

And so, with the band arriving in Malta Comino Gozo and getting ready to perform, several questions remain. Will they lead to Elejamie’s third consecutive top ten placing? Will they finally lead their country to their first victory? Or will they fall and lead the country back to mediocrity? You know what the last sentence will be. And could probably hazard a guess to which answer it'll be.

Once the postcard was over and done with, we then cut to an overhead shot of the stage. Which was actually lit up for once, which is strange for an Elejamian entry but there you go. There was a slight bit of dimmage but not enough to completely blanket the stage in it. The band members were stood in their positions, waiting for their cue to start the music as well as wait for the crowd’s cheering to die down a bit. Once it did, the song began.

When the song started, we cut to a closeup of a radio on a small fold-up black table. A couple of seconds later, right around the time a sampled voice from a telenovela said “No dejes de soñar conmigo...”, a hand (which turned out to be Nico’s) reached out from offscreen and turned the volume all the way down. Purely symbolic, as it wasn’t really plugged in or even turned on in the first place, but there we go. Another voice, from the same telenovela, would then chime in with “"No creo que se suponga que eso suceda".” Right after that, the music kicked in and we cut to the band playing their instruments, with even more dialogue coming in sometime later.

“¿Pero estás realmente enamorado de mí?”
“Si, yo- yo soy. Verdad.”

Once the samples were done for now, Danny stepped up to the keyboards and began to play them. As he did so, we then cut to an above shot of the band playing before a quick pan to show all of the band members. From left to right there was Danny on keyboards, wearing a black T-shirt with a red long-sleeved shirt underneath, blue jeans and plain black shoes; his brother Nico wearing a blue Hawaiian shirt adorned with palm trees and flamingos, blue jeans and black and white trainers; Peter was wearing a dark grey and black long-sleeved shirt, a pair of black trousers and trainers that were the same colour scheme as Nico’s but a different design, as well as a black pork pie hat; and Ari was wearing a light grey and white sweater, a pair of blue jeans and all-black shoes. Danny just had the single dark grey keyboard with ordinary coloured keys; Nico was playing a mostly-black bass guitar, with the only bits of colour being the dark brown fingerboard, silver strings, silver and black knobs and cream coloured frets; Peter was behind a black drum kit with off-white coloured skins, as well as the band’s name written in Helvetica right under the drum manufacturer’s name; and Ari was using a brown, red and gold guitar that also had a white pickguard, a cream-coloured fingerboard, silver tuners, black frets and a light-brown headstock.

As for the stage itself? The triangles dotted around the stage varied in colour but every three or four triangles was a different colour of the rainbow and they all changed which triangle was which colour every few seconds. Fortunately, other than wide shots, the viewers at home barely noticed it so it wouldn’t be distracting and the people in the audience paid more attention to the band itself rather than the stage around them. The big triangle above the stage and the two smaller triangles at the corners of the catwalks were white, not a bright white but still enough to act as a light source. The four triangle bits on the side of the middle triangle, which still seem to form walky-bits of the stage, were a very mild whitish-yellow, enough to count as turned on but not bright enough to hurt your eyes should you look down. And the screen behind the band and in the middle triangle was just a normal screen, showing an assortment of random colours with symbols moving throughout the performance, although the colours and symbols still changed so there was still a bit of flow and it wasn’t too sudden. Not to mention the spotlights above the band alternated between off and a white light, with every odd-numbered light being turned on and every even-numbered one turned off.

With all of those unnecessary bits out of the way, Nico kept playing his bass as he stepped up to the microphone. Looking away so he could breathe, he then turned to face the audience and began to sing the song itself.

She's in my mind all the time
And she makes me feel good inside
But deep down I'm afraid
That I wouldn't know what to say

When it came time for the pre-chorus bit, a few of the triangles dotted around the stage turned off but they carried on their cycling of the colours of the rainbow. During the first line, the camera cut to Ari not only playing the guitar but also singing the line as well to back up Nico. The camera throughout the rest of the bit centred around Nico, with the audience themselves getting into the shot once or twice due to the camera moving around.

She’s drawn, to me
But they’ll say it won’t work out
But I don’t care
I guess that’s what it’s all about

During the break between the bridge and the chorus, the stage dimmed a bit. The triangles dotted around the stage turned mostly dark, although from time to time a few of them changed to a white colour, though which ones were white and which ones were “turned off” changed every few seconds, fortunately being slow enough to avoid setting off anyone who has an aversion to flashing lights. The lights themselves dimmed a little bit, though it was still bright enough to see what was going on and the displays behind and underneath the band were simply just light grey screens.

As for what the band themselves were doing? Peter, Ari and Danny kept playing their instruments as usual. Nico, on the other hand, stopped playing his instrument and moved to the left side of the stage, where he stood in front of an old, white computer from the 90s. As in, CRT monitor, old computer tower (specifically one designed to be placed horizontally rather than vertically), keyboard and mouse. Despite Nico tapping away at random keys on it, with the odd cut back to the band playing their instruments as normal as well as a camera angle change every now and then, he wasn’t really doing anything on it as not only was the screen turned off but it was also not plugged in. Indeed, the only thing that was actually plugged in was the mouse and, even then, that wasn’t really getting much love. A few seconds before the chorus was due to begin, Nico hit the enter key and made his way back to the mic so he can get ready to sing, with the lights, triangles and screens going back to the way they were.

I love her but she can’t see me
My hands are up against the screen
But she can’t see
And I want to get the words out
I don’t even know where to start
We’re worlds apart

Afterwards came your standard cutting to different angles and close-ups of Nico singing, with a shot of Danny singing the bit in brackets. At some point during the bridge, the camera went to a shot of the stage, if only to show Honey leaning in from the side and giving a wave to the audience. Seems like there was a reason for Nico’s computer keyboard tapping after all, at least symbolically.

And people keep on saying
That our love, it won’t happen (you’re worlds apart)
And it’s not the real thing
But I don't care 'bout what they say
I'll have my day

When it was time for the bridge to end and the next verse to start, Nico raised the neck of his bass while he kept playing it. He also turned his head as he did so, if only to avoid breathing into the mic, before he began the next verse with the bass back down the way it was, the camera cutting to a close-up of his face (which has an almost pleading expression on it) which slowly zooms out as he carries on the verse.

She's in my mind all the time
And she makes me feel good inside
And she makes me forget myself
She makes me feel like someone else

As the second pre-chorus bit began, we cut to a view of the side. Although Danny wasn’t in the shot, Nico was in the front playing his bass while he was singing, Peter was mostly out of shot but you could still see him drumming along in the background and Ari was busy strumming away, moving his guitar from side to side as he played in his funky way. Halfway throughout the bit, the camera then cut to Nico playing his bass before it tilted up to him singing the rest of the verse.

But I want to feel
Like it could all work out someday
I guess they're right
It wouldn't work out anyway

The lights dimmed a bit, though there was still enough light to see the performers on the stage. Although Ari and, if you looked closely enough when the cameras were on him, Danny carried on playing their instruments, Nico and Peter weren’t. Instead, they had their hands up in the air and they were clapping along to the beat. Indeed, a fair amount of the audience decided to join in, although apart from a brief shot of the crowd as the camera panned in front of the band it was hard for the people back home to tell.

“¿Por qué me trajiste aquí?”
“Porque quería decirte algo - Te amo.”
“¿Me amas?”
“Uh-huh, pense que sabías.”

Towards the end of the sampled bit, Peter began to drum like a maniac, going slowly at first before essentially smashing his sticks against a couple of the drums as if he was trying to get something off of them. In reality, it was a mistake made during the recording of the song but they liked it enough to leave it in, especially since it fitted in a way. After hitting the cymbals just in time, everyone else went right back to playing their instruments, with Nico also going on to sing the chorus.

I love her but she can’t see me
My hands are up against the screen
But she can’t see
And I want to get the words out
I don’t even know where to start
We’re worlds apart

When it came to the second bridge, it was pretty much more of the same as the first. Though the camera was mostly centred on Nico, even doing a little pan of him while he was singing the third line, it did cut to Danny again when he sang the bit in brackets. That being said, at one point, there was a wide shot of the band playing and even a small view of the audience.

And people keep on saying
That our love, it won’t happen (you’re worlds apart)
It's all going on in my head
But I don't care 'bout what they say
I'll have my day

And then came the outro. Normally, the studio version of the song would just fade out along with the rest of the track and, ever since they started to perform the song live, they’d usually segue into another track and try and finish it there. However, this was just the one song they were performing live, so naturally they had to come up with a way for it to end normally. But let’s not worry about that now, let’s get onto the outro verse.

(You’re worlds apart) Don't tell me
(You’re worlds apart)
(You’re worlds apart) Don't tell me
(You’re worlds apart)
Come on! (You’re worlds apart) Don't tell me
(You’re worlds apart)
(You’re worlds apart) Don't tell me
(You're worlds apart)

As a result of them actually being unable to finish the song with a fade or segue into another song as part of a medley, they instead carried on playing their instruments but with a slight twist. For the last few seconds, which would've been 3:55 in the song linked above and in the playlist, Ari decided to go full-on funk guitar to close off the song with the rest of the band deciding to jam along with him. Shame about the abrupt end but luckily they jokingly consider it karma for sending a song with no proper definitive end.

Once the song had come to a complete finish, the audience broke out in applause. Nico and Ari put down their instruments while Peter and Danny stepped out from behind theirs. Once they’re all standing in a line, they all bowed in unison to show their appreciation to the audience. Nico then said into the microphone “Thank you, Valletta! Grazzi, gracias. Have a great evening!” Once that was out of the way they carried their instruments (or, in Peter's case, his sticks and a couple of bits of his drum kit) off stage so the next act could get ready.

by **Voxija** » Wed Dec 04, 2019 2:34 pm

Commentary Part 1.

Voxija is here to snark at the songs. Your commentators are Vela Sitxvan and Koldo Harrijo.

Koldo: Hello, hello, hello!
Vela: Kaixo.
Koldo: Kay, so, this is WorldVision! You have no idea how excited I am to be doing this commentary!
Vela: I know how excited I am not.
Koldo: I know this will be good, Vela.
Vela: How?
Koldo: Our song is good, and when our song is good, the other songs will be good.
Vela: I hope so.

Part two is a separate post.

by **The Micronation of Oceanland** » Wed Dec 04, 2019 5:28 pm

#19 -- Micronation of Oceanland

Jimmy Ruff

About the Artists: Jimmy Ruff is a 17 year old artist from the Micronation of Oceanland and Lauren Morel's (flashback to WV75) best friend. Jimmy Ruff is also a high school student and member of the prestigious show choir "Bluewater" from the tiny islet grouping. He admits that it is what gave him his passion for vocal music and dance. With a range from medium baritone to medium tenor, it makes sense why he always duets with the equally expansive Lauren.

Before the Performance: Jimmy only took two friends with him on the trip from his comfortable Caribbean microhome to Malta Comino Gozo. The two boys were twin brothers of the sheltered Brooks family but their combined passion made perfect backing voices. The flight was comfortable and well funded by the Oceanlandic Government and the group's parents. Shortly before the performance, their seafoam-colored choir jackets made an iconic appearance as they toured the city, sampling some of the best cafes and jogging about the most beautiful parks the nation had to offer. By the time they were supposed to perform, they were ready.

Like You

Jimmy stood front and center on the stage as a pre-recorded backing track played. The area was illuminated in a cascade of Caribbean colors as the LED screens switched from one solid color to the next in a scattered mosaic as the colored spotlights. For a second, the performer trembled with nervousness, but upon looking back at the two boys behind him giving him a thumbs up, he gathered his courage and began.

Backing:
"Oh oh oh oh oh . . ."

Jimmy:
"I laugh as my youth passes-
'thought I'd be on my own team.
Dance, sing, and fail my classes-
an egotistical coffee with cream!

Backing:
"Oh oh oh oh oh . . ."

Jimmy smiled, finally breaking his shell and getting into the mood. Already, he could tell a few people were into it. He smiled broadly, stamping his foot quietly to keep the pace while bobbing his head lightly to show his devotion to the lyrics he wrote.

Jimmy:
"Never thought I would go down-
face trials that don't pass.
You showed me a whole new world where the evil things don't wear a crown!
I feel that bliss. (I feel like that bliss-)

Never thought I'd feel like this!"

As the chorus fast approached, the blues turned to whites as the LED screen showed an erethreal shot of Jimmy and Lauren dancing together in a carefree, loose fashion. Some bluewater kids join in and eventually the adults did, starting a flashmob. Fog began shooting lightly into the crowd, forcing a nostalgic, whimsical feel to the stage.

Jimmy:
"Like when I jump, jump, jump! (Jump, jump, jump!)
And party until the whole day is done and over!
And I can glide! (Glide, glide, glide!)
Soarin' through clouds without one little care!

Like my heartbeat skips with too much caffeine!
Like that surreal place straight out of a dream!
'Takes all my strength to admit it's so true- (All my strength!)
Like you!"

The colors returned to the blue as the party flashmob scene was over but the fog prevailed. The two boys swapped places with one another as Jimmy took a few steps back, momentarily soaking in the presence of his friends and the tens of thousands of people that were watching him in person.

Backing:
"Oh oh oh oh oh . . ."

Jimmy:
"Like you!"

Backing:
"Oh oh oh oh oh . . ."

Jimmy:
"I feel like I'm young and reborn-
despite my huge mistakes!
I feel like riding my bike forever in one direction true!
And it'll lead to you! (It will lead to you!)

Never thought I'd feel like this!"

As the chorus approached, Jimmy bounced up and down, pumping his fist in the air, eventually getting the same reaction out of the crowd. As the colors strobed white again, he continued the pattern, freestyle dancing as he sang, the show choir training giving him the ability to do so. It was more careless and intentionally imperfect than the flashmob video. The LED screens turned off for simplicity's sake.

Jimmy:
"Like when I jump, jump, jump! (Jump, jump, jump!)
And party until the whole day is done and over!
And I can glide! (Glide, glide, glide!)
Soarin' through clouds without one little care!

Like my heartbeat skips with too much caffeine!
Like that surreal place straight out of a dream!
'Takes all my strength to admit it's so true- (All my strength!)
Like you!"

Backing:
"Oh oh oh oh oh . . ."

As the climax and tension of the song arrived, the three boys approached the crowd and Jimmy extended his arms out to a slew of fangirls (and fanboys). His face radiated with a charisma even people his own age fawned over. For a moment, he pulled a hand-sized journal out of his jacket pocket and momentarily flashed it, as a statement supporting his own lyrics. After a few seconds, he put it back as the song returned to normal.

Jimmy:
"Some people will try to break us down! (Some people try to break us!)
But no foe is that unbeatable!"

Backing:
"Oh oh oh oh oh . . .
Oh oh oh oh oh . . ."

As the song returned to normal, people kept partying in their seats, and the soloist and his backers began throwing glowsticks into the crowd, with drones from above discreetly dropping them in the hard to reach regions beyond even the former football players' throwing arms. The ambiance reduced to an ocean blue and the fog stopped, replaced with light sparkling pyrotechnics as the three of them momentarily fooled around.

Jimmy:
"Like when I jump, jump, jump!
And party until the whole day is done and over!
And I can glide!
Soarin' through clouds without one little care, yeah!

Like my heartbeat skips with too much caffeine!
Like that surreal place straight out of a dream! (It's a dream!)
'Takes all my strength to admit it's so true- (All my strength!)
Like you!"

Backing:
"Oh oh oh oh oh . . ."

Jimmy:
"Like you, yeah yeah yeah!
(Oh oh oh oh oh . . .)
And think, I think, I think I like you... It's all like you!
(Oh oh oh oh oh . . .)
It's that I feel it's all, it's all, it's all like you!

As the performance ended, the trio bowed slightly and waved as they walked off stage. Blue fireworks shot into safe areas where they burst and the stage went dark save for the thousands of glowsticks distributed.

by **HUElavia** » Wed Dec 04, 2019 5:30 pm

20. The Democracy of HUElavia

by **Achaean Republic** » Wed Dec 04, 2019 6:10 pm

21 | Achaean Republic
Katya Carreira - “Kamasutra”
Tune: Blaya-Yoga
Music & Lyrics:Andrés Gómes, Michelle Crispín

Catarina Carreira-Gómez was born in the Kishraeli city of Tiferet, the only daughter of a Portuguese Jew that emigrated to Ertzei Kishrim and an Achaean au pair that overstayed on a visa when she fell in love with a hunky Arab that suddenly dumped her for her best friend. It was in these dualities––the stoic, yet staid and prickly Kishraeli side, and the vivacious and oftentimes exuberant Achaean side––where she developed her musical talents, listening to bachata and merengue in the mornings as her mother cleaned houses (a paid habit of hers after she married, as even though her husband said she didn’t need to work anymore) and fado in the afternoons as her father arrived from home and had his daily glass of imported Porto wine.

Unlike most Kishraeli kids––or maybe even because of that––, Catarina grew up speaking Hebrew, English, Portuguese, and Spanish. But even the romantic (no pun intended) nature of things eluded her, barring the endless summers she spent at her grandparents’ home in the Achaean mountains. It was even harder for Catarina’s mom to provide her with the proper tools to appreciate her Achaean heritage. Even in such an international city like Tiferet, with a climate similar to the one in Achaea, it was hard to find tropical food staples like pork, yams, malanga and sweet potatoes. It was a battle to collect some grass for the Three Kings and put them on shoeboxes in the desert. Few opportunities existed for Catarina to show the other side of her heritage, that fiery, intense presence.

Her parents divorced when she was 13 years old, and she spent two years in the Achaean Republic, outside of her grandparents’ home near Candelaria. Whereas she once enjoyed the tropical highlands and the strange fruits, she hated it as a tween. The people were too forward and boring. It was too wet and sticky all the time, and she hated living between window bars for no reason. She became so homesick of Ertzei Kishrim that, in an emergency injuction, her mother had to give up custody and send her back to her father in Tiferet, where she lives until today. She never returned to the Achaean Republic since then, even as she became a successful Kishraeli singer, re-branding herself as Katya Carreira.

Until AS1 invited her to perform in Worldvision: La Final. After their very unexpected third-place finish, and despite the controversy with singer-songwriter and provocateur Manamma, the news channel was looking for new talent to send to represent Achaea in the next contest. With two other up-and-coming female musicians, Katya was invited to send two songs and compete for the public vote. It was a very arduous and somewhat kinky choice, but “Kamasutra" won Achaea’s sexy hearts and led her to represent a country she barely knew about in two languages she barely used in her daily life.

On the other hand, “Kamasutra" will be the lead single off her new album, “Mãe/Mami," coming out in March 2020, a collection of songs in both Portuguese and Spanish that focus on sounds from her mixed heritage.

_________________________________________________________________________________________________________________________________________

[When the postcard is finished and the cameras return the arena and its screaming, flag-waving fans, the stage is pitch black until a single stage light shines on Katya Carreira. As the song begins, Katya is wearing a nude-colored bodysuit that covers her neck and arms, but also enhances her breasts. Her bodysuit partially covers the Lord’s prayer tattoo on her hip. She is wearing black stripper heels on her feet. Her long, black hair is braided with cornrows up to her back, decorated with seashells and dried snail shells she found while bathing in the Valleta beaches. Behind her, three white screens behind her project colors and shadowy images, the first colors being the typical red-blue-green of the Achaean flag. Her gaze is poised, confident, and sexual. She is not just seducing you to play with her; she wants you to look at her have fun.

Ka-ma-su-tra, Ka-ma-su-tra,
Ka-ma-su-tra, ka-ma-su-tra,

ey, ey, ey,
ey, ey, ey,

filho da puta, só vem
Son of a bitch, just come

She cat-walks her way into the stage, caressing her bodysuit with her right hand and doing come-here motions with her index finger to the camera with her left. She touches her knees while she bends them. A camera circles around her body while the colored screens turn all to white with dark silhouettes of women dancing on a pole. Katya is still standing, her gaze fixed on the camera, slowly touching her knees and bending towards the floor with style and grace.

Esta noite es só pra nós dois
This night is just for the two of us

pra tratar duzentas posições
To try out two hundred positions

quero lubrificante y muita água
I want lube and lots of water

só pra ver como eu vou te molhar
just to see how I’ll make you wet

The silhouettes behind her change to project different Kamasutra positions that involve different skill levels including flexibility, patience and self-control. Despite singing a song about losing all sexual self-control, Katya’s performance remains very contained whilst being sexually charged. While on the floor, the camera circles around her as she puts herself on all fours and starts whipping her braided hair to the beat of the music and, as she finishes the stanza, she lays herself on the LED floor that slowly drips into water-blue ripples.

Voçê é bandido, nāo é só meter
You’re a bastard, it's not just sticking it in

quero mais um jogo pra fazer tremer
I want another game to make you tremble

É pra toda a noite jogar com prazer
I want to play with pleasure all night

The top camera zooms out while Katya is writhing on the floor. Suddenly, a shirtless black man lays beside her and attempts to cuddle her. She immediately takes his strong hands off her hips while she turns her body besides him at the same time, looking at his face and smelling his presence. He smells like sweat and Aqua di Dio by Giorgio Armani. For web-savvy Achaeans, his name is Andrés Martínez, popular Instagram model and choreographer to the stars who may or may not have an OnlyFans account (this rumor has been vehemently denied by Martínez’s management). He designed the choreography for the Achaean Republic’s entry in WHF49 and this one, and may or may not be dating Katya on his swanky Corola apartment after practice (once again, this was not touched upon by his management).

But Katya wrestles control back from Andrés, even when he tries to push her body beside him. She lets out a faint gasp that could not be registered on the microphone but is clearly visible to eagle-eyed viewers. Alongside her, more Kamaustra positions circle down the floor, and both Katya and Andrés attempt to imitate them in a 2-D fashion. This scene only appears as a rapid-fire sequence, and both performers clearly demonstrate their dexterity and proficiency with their fluid floor movements, as if they practiced these before in a private place.

Gozas, sim, eu sei, cuando voçê me ve
Make you cum, I know, when you see me

sentindo prazer até o amanhecer
Feeling pleasure until the morning

mordes minha boca, tua rola na cara
You bite my mouth, your dick in my face

teus frutos são foda
Your fruits are awesome

lambendo meus peitos, o cheiro de pele
Licking my breast, the smell of your skin

suor noite toda
Sweating all night long

The chorus begins, and the cameras switch to a wide pan of the stage with powerful flames spouting periodically as Katya quickly gets up the floor, aided and prodded by Andrés’ chiseled body. While she sings, the duo beings interpreting Kamasutra moves swiftly and suddenly without Kayta losing her concentration or her voice. He grabs by his arms and immediately wraps her legs in his waist, nibbling on her left ear and sniffing her neck. In another pose, Andrés grabs Katya’s calfs and squeezes them at the same time he bends her body so she is turned face-up,her body arched and pointed towards the birds’ eye camera view. (Sharp-eyed viewers may have noticed that Katya may have let out a moan or two while performing on the birds-eye camera.)

Ka-ma-su-tra, Ka-ma-su-tra, eh
Ka-ma-su-tra, ka-ma-su-tra, eh

kamasutra é da hora
Kamasutra’s so cool now

putaria e minha honra
Harlotry is my honor

Ka-ma-su-tra, Ka-ma-su-tra, eh

Ka-ma-su-tra, ka-ma-su-tra, eh

kamasutra é da hora

Kamasutra’s so cool now

putaria e minha honra

Harlotry is my honor

[/box]

¿Cé acredita?
Do you believe it?

Voçê gozou até tomar uma aspirina
You came until you took an aspirin

The song switches rapidly from Portuguese to Spanish, a transition she needed months and months to prepare before even she was invited to compete in [i[Worldvision: La FInal[/i]. Her knowledge of both languages was almost forgotten despite having picked up a few words here and there from her Portuguese father and Achaean mother; in fact, she obviously had more trouble with the former than with the latter. And even when she lived in Achaea, her Spanish always had a British twang with a few Hebrew words here and there for things she couldn’t explain (is there a Hebrew word for papaya?). Which is why the Worldvision delegation was concerned over whether or not she would be able to deliver the performance (AS1 requires that all entries have at least 50% of its lyrics in Spanish), but in less than three months she acquired an impressive degree of fluency in both closely related, yet very distinct languages. This was important not just to ingratiate herself with the Achaean public but also to lend credence that the Achaeans are a competitive force in Worldvision. Which is why Kayta didn’t struggle when she transitioned between languages while singing and playing up an erotic performance.

No soy exclusiva de tí, no soy
I’m not exclusive from you, I’m not

provoco hasta que pases mal
I provoke you until you’re feeling bad

tentado tu cuerpo porque yo voy
Tempting your body because I’m going

a hacerte gritar al final
to make you scream at the end

Another camera angle shows Katya twerking to the beat of the music, at the same time showing off her Lord’s Prayer tattoo. Andrés is in the back groping her body, watching her move to the beat, sometimes standing behind her and grabbing her by the waist while attempting to do other moves on her. They are both graceful and muscular standing up, defining their latent eroticism in their movements. At the same time, another camera glances at the dancing, waving, shouting, and yelling Achaean contingent in a crowd that are waving both Achaean and LGBTQ+ flags and singing the lyrics to their heart’s content. The cameras back on stage, Andrés carries Katya on his arms and then releases her, mimicking another Kamaustra position. She never forgets to sing while performing these acrobatic moves.

Muerdo tu barriga, me trepo encima
I bit your belly, I climb up on top of you

me doblo hasta sentir tan firme to pan
I bend myself until I feel your dick so firm

Rompo tu camisa y la tiro al suelo
I break your t-shirt and I throw it to the floor

El abanico hay que prender
We have to turn on the fan

Andrés grabs a chair as a prop and sits on it while Katya plants her heels on the middle of the gap between the chair very closely placed to Andrés’ groin. Eagle-eyed viewers would notice that blink-and-you’ll-miss-it moment where Andrés briefly winces when Katya puts her groin. She grabs Andrés’ chin by her hand and softly caresses it, singing seductively as more Kamasutra silhouettes randomly pop up on the three projected screens, all changing to yellow-colored silhouettes. Eventually, Katya sits and jumps on Andrés’ lap, having him stretch his body in another Kamasutra position where her body is outsretched––yet her face is always looking at the camera––and Andrés grabs her arms.

Te vienes, lo sé, cuando tú me ves
Make you cum, I know, when you see me

sintiendo placer hasta el amanecer
Feeling pleasure until the morning

tu muerdes mi boca, tu pico en mi cara
You bite my mouth, your dick in my face

tus frutos son joda
Your fruits are awesome

tú lames mis pechos, el olor de la piel
Licking my breast, the smell of your skin

sudor noche toda
Sweating all night long

Once again, the chorus in Spanish begins and the cameras switch to a wide pan of the stage with powerful flames spouting vertically from the edges of the stage. Both Katya and Andrés show their dexterity and Katya does not lose her powerful, grave voice, all the while looking fresh and sexy. Andrés grabs by his arms and immediately wraps her legs in his waist, nibbling on her left ear and sniffing her neck. In another pose, Andrés grabs Katya’s calfs and squeezes them at the same time he bends her body so she is turned face-up,her body arched and pointed towards the birds’ eye camera view.

Ka-ma-su-tra, Ka-ma-su-tra, eh
Ka-ma-su-tra, ka-ma-su-tra, eh

kamasutra es la hora
Kamasutra’s so cool now

la putería es mi honra
Harlotry is my honor

Ka-ma-su-tra, Ka-ma-su-tra, eh
Ka-ma-su-tra, ka-ma-su-tra, eh

kamasutra es la hora
Kamasutra’s so cool now

la putería es mi honra
Harlotry is my honor

The camera is turned sideways as Andrés pushes Katya by the hair to her knees and places her head eerily close to his crotch, as if she would please him right then and there. She does this without losing the view to the camera, one knee bent on the floor and another one showing her pumps while gracefully moving her hands.

Boquetão, aclamação
A blowjob, acclamation

quero te fazer gozar sem mãos
I want to make you cum without my hands

kamasutra é da hora
Kamasutra’s so cool now

kamasutra é da hora
Kamasutra’s so cool now

Andrés props her up again and attempts to stretch her body with the same gracefulness as a ballerina like before while carrying her waist with the strength of his bulging hands.

Estira-me hasta el fin
Stretch me until the end

si tu quieres hacerme venir
If you want to make me cum now

kamasutra es la hora
Kamasutra’s so cool now

kamasutra es la hora
Kamasutra’s so cool now

Ka-ma-su-tra, Ka-ma-su-tra, eh
Ka-ma-su-tra, ka-ma-su-tra, eh

kamasutra é da hora
Kamasutra’s so cool now

putaria e minha honra
Harlotry is my honor

Ka-ma-su-tra, Ka-ma-su-tra, eh
Ka-ma-su-tra, ka-ma-su-tra, eh

kamasutra es la hora
Kamasutra’s so cool now

la putería es mi honra
If you want to make me come

Ven a jugar conmigo
Come play with me

The arena bursts in cheers and some boos from detractors, more so with the whooping and hollering from the Achaean fans who traveled to Valleta. Both Katya and Andrés wave to the crowd and say, “¡Gracias! Thank you! Toda!” in Spanish, English, and Hebrew, respectively (after all, she was half-Kishraeli, despite representing her mother’s homeland). And for the first time in forever, Catarina felt accomplished––she could finally say “Thank You” in Spanish right.

by **Natanya** » Wed Dec 04, 2019 6:54 pm

22. Natanya
Chŏnsul - Shards
Tune: Kangin - Heartbroken

Chŏnsul

(As the music intro begins to play, the camera start position far from the stage, deep within the audience, which have already become a sea of lights. The camera pans over the stage and towards the left side, where Chonsul is stood in darkness, a flurry of small stars fall around him on the LEDs and as his vocal lines begin, a light shines upon him and he begins to walk forward towards the centre of the stage. The camera stays fixed on his head and upper torso, and his eyes stay fixed on the camera giving an intimate feel to the opening chorus)

Fleeting feelings and distant heartache,
Broken reminders of the thing we once were,
And as the shards slowly cut through my skin,
All I can think about is just you.
Do you somehow still think the same?
Or am I alone in my desperate longing?
I am trapped by bittersweet nostalgia?
Or can I somehow move on?

(Now in the centre stage, surrounded by the crowd, Chonsul sits on a stool and as the music changes the lights change shade to a warmer mellow orange and reveal a small band sat on the centre of the stage, slightly to the left. As he goes into the verse, the camera takes a wide shot, and slowly pans from left to right as he sings the first half of the verse. From behind of the stage different roof spotlights fade in and out slowly, all pointing to the far side of the stage from the camera, and all coming in and fading out independent from one another.)

Why couldn't we,
Make it through the fog and see,
All that we had
and just say I love you.
Why did 3 words become too much?
Why can't you call my name with vigour,
Just like before when you held me?
How did everything become so utterly broken?
And as I call out for you.

(Into the second half of the verse, the camera changes to an upwards pan of Chonsul, starting for the stage floor and moving upwards to show him looking and reaching an arm out in the direction of the one sole consistent spotlight that is positioned on him, and as he starts to go out of frame, the camera fades into a shot from the other side of the stage behind him, weaving through the band and reaching his back, and then turning and zooming to a close side view on which he turns to face. For the high note at the end of the verse the camera comes from 3 angles for the 3 sections of the note, each zooming in fairly quickly from a distant zoom to a half body zoom. The first of the 3 is a roof shot, coming from about where the spotlight originates from, with Chonsul looking right at it, the second an off centre side shot, with Chonsul this time looking to the floor, and the third being directly in front of him, with him this time closing his and positioning his head slightly upwards, channelling the emotion in the note.)

I call out for,
A love I thought was true,
But I know,
I won't get an answer,
Our hearts are too far apart.
We were strong back in the day,
A perfect match is what they'd say,
Now we're sour,
Can't stay stable for a mere hour,
It's time for us to part ways.

(The lights on the far side of the stage, all in a neat stripe pattern, not crossing over each other, flash quickly with the drums after the high note. Stabilizing afterwards, and then going back to slowly fading in and out. Half way through the verse Chonsul gets up and begins to walk down the opposite side of the stage on which he entered, but this time only goes halfway down. The band is hidden by darkness again. For the outro notes, most of the lights fade as Chonsul turns around so he's facing away from the back end of the stage, and the twinkling stars that were in the songs opening appear again, running up the wall of the arena behind him, all viewed from a distant upwards facing angle, in which the camera is on the stage floor, directly facing Chonsul.)

Fleeting feelings and distant heartache,
Broken reminders of the thing we once were,
And as the shards slowly cut through my skin,
All I can think about is just you.
Do you somehow still think the same?
Or am I alone in my desperate longing?
I am trapped by bittersweet nostalgia?
Or can I somehow move on?

(As the music ends and the normal lights brighten the arena once more, Chonsul thanks everyone for their hospitality and waves as he walks back off stage.)

by **Nahlcomo** » Wed Dec 04, 2019 8:11 pm

Tune is" That Sounds Good To Me".

Paisley Raegan, TV cook and winner of "Whitest Woman in Nahlcomo" was somehow selected to represent the tiny South Pacific nation. Armed with a full functioning kitchen, Raegan took the stage to make Nahlcomo proud. And get higher than second-to-last.

Have you ever wondered what to make
When you got an important event
Oh what do you bake
Everyone will soon be present
Well here’s the perfect opportunity

First you have to gather all the ingredients
Flour, yeast, sugar, water, butter
Salt, nutmeg, milk, lemon, cream cheese
Vanilla, confectioner’s sugar, and dye
And now to start anew

Combine warm water and yeast
Mix milk, spices, eggs, salt, butter
Zest, and nutmeg to the beast
Knead it for five mins at least
Cover the dough to let it rise
And that sounds sweet to me

Mix the cream cheese, sugar flour and vanilla
Beat it well until your heart swells
Roll the dough out into a rectangle
Spread the cream cheese mixture out
And wrap the dough round, into the oven now

And now we wait for 45
Don’t drop that knife, ow
Just do some cleaning
Until your kitchen is ringing
I don't know about you
But that sweet good to me

Whoa... (Oh whoa whoa yeah...)

Take the cake out, wow
Make the icing now
Lather the cake all sweet
I think it’s kinda neat
And now your cake is done
And it smells good to me

I don't know about you
But it smells good to me

That tastes good to me

At the end of the song, thousands of mini cakes would shoot out of a giant oven on stage. Innocent concert attendees would be pelted with tiny cakey goodness.

WorldVision Song Contest 78| IC |Valletta, Malta Comino Gozo

WorldVision Song Contest 78| IC |Valletta, Malta Comino Gozo

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