AVON 90|EJM (WorldVision Song Contest 90)

by **Waisnor** » Mon May 03, 2021 11:36 pm

25

WAISNOR

Vitaly Chudetsky - Nu a poka/Tune: Fulminacci - Canguro

Vitaly Chudetsky began his career quite a long time ago compared to the rest of the Waisnorian representatives in Worldvision - his first album was released in 2010. Over the next decade he was pretty prominent in Waisnorian music scene. He also participated in national selection for Eurovision in 2013 and 2017, but didn't make it both times.

Let's go to the performance: it began with Valery, who was standing in the center of the stage at the very top of the stairs. As soon as the song began, he slowly began to descend along it. A video appeared in the background in which the operator walks through the crowd of people, sometimes bumping into them.

Моя судьба всегда была ко мне не очень-то хорошей, я не скрою
My destiny has always been not very good to me, I will not hide this

Один удар мне за другим и жизнь, как несмешная шутка, и ноль покою
One blow to me after another and life is like an unfunny joke, and zero peace

By this time, Chudetsky had gone down about half of the stairs. At that moment, he shoved his hands into the pockets of his jeans, which were a little frayed, like the rest of his clothes. Valery's gaze was directed downward, he looked at his legs and the stairs, a small smile could be seen on his face.

Но я всё же верю, что когда-нибудь смогу освободиться из этого мрака
But I still believe that someday I will be able to free myself from this darkness

Даже если надо будет мне пешком пройти через пол-света, пойду, как собака
Even if I have to walk halfway through the world, I will walk like a dog

After the first verse was over, Valery finished his walk up the stairs and stepped onto the stage, after which a phrase "Ну а пока...(In the meantime...)" was repeated a couple of times and he began to do different poses after each line of the chorus. He improvised, and therefore each pose was different from the other. The light instantly changed, and now only Valery was illuminated.

Но пока все не очень
But so far everything is not very good

Я хожу среди обочин
I walk among the curbs

Моя тоска огромна
My longing is immense

И тверда, словно колонна
And solid like a column

В моей душе есть дырки
There are holes in my soul

Будто грустный клоун в цирке
Like a sad circus clown

Не было счастья прежде
There was no happiness before

Но есть кусок надежды
But there is a piece of hope

After that, he suddenly fell onto the stage right on his back, after which the camera showed just the background for a while. Then the camera at the top of the stage turned on and Chudetsky began to sing from there. In the background, the operator continued to walk, still occasionaly bumping into different persons.

В моей жизни стало появляться больше поводов к улыбке, не так уж плохо
More reasons to smile began to appear in my life, not so bad

Однако этого не хватит, чтобы перевесить мою скуку, тут не до хохмы
However, this is not enough to outweigh my boredom, there is no time for jokes

Valery gradually got to his feet and began to walk slowly across the stage, while the light was following him all the time he was walking. Somewhere in the middle of this verse, he turned around and walked back, only this time he was closer to the audience.

Но однако, мне нельзя оставить умереть все свои надежды, иначе я стухну
But nevertheless, I cannot leave all my hopes to die, otherwise I will fade.

И поэтому пытаюсь я найти в своей жизни весь смысл, найти свою бухту
And so I try to find the whole meaning in my life, to find my bay

By the way, after the first line of this verse, the light went out for a few moments and shone again. As for what happened after the verse, there were no special changes from what had happened before: Valery again began to do different poses, but they were still dissimilar.

Но пока все не очень
But so far everything is not very good

Я хожу среди обочин
I walk among the curbs

Моя тоска огромна
My longing is immense

И тверда, словно колонна
And solid like a column

В моей душе есть дырки
There are holes in my soul

Будто грустный клоун в цирке
Like a sad circus clown

Не было счастья прежде
There was no happiness before

Но есть кусок надежды
But there is a piece of hope

And suddenly, after the verse was over, Chudetsky became much more energetic: he began to dance in a rather strange style, sometimes jumping up and down. And against the background, the operator at the same moment began to run, but he stopped bumping into people, dodging collisions and, as it were, adding confusion to the background.

Мне бы её найти
I would find it

И с собой увести
And take away with myself

И тогда буду жить я свободно
And then I will live free

Но пока эта радость мимолётн
But while this joy is fleeting

This verse was repeated one more time, and after that Chudetsky got a little bit of a kick. When the song ended, Valery bowed to the audience and said: "Thank you, I hope you enjoyed it!"

by **Kalosia** » Mon May 03, 2021 11:36 pm

26
Kalosia
Anǧelu — Katrinë Malto
performed in Kalosian to the tune of Fingers Crossed — Agnes (3:23)

Following the elapse of the 3-edition lease that saw the right to represent Kalosia at the WorldVision Song Contest be held by MediTV, RTVK has decided not to renew the contract and will once again be the Kalosian participating broadcaster at the contest. They have internally selected Katrinë Malto to represent them at the 90th WorldVision Song Contest in Avon, Elejamie.

Katrinë Malto

As the former lead vocalist of the band Neo-Grotesk, Katrinë previously represented Kalosia at the 32nd WorldVision Song Contest in Gronbis, Lyonsland. That edition, Kalosia came 16th in a field of 44 entries. 7 years later, Katrinë, now 41, has taken a break to focus on other projects, including her solo career. And now, she is returning to the WorldVision stage as a solo act.

Neo-Grotesk are known for their 80s-inspired aesthetic, which was present in their music style as well. Following a resurgence of the 80s sound in music industry trends, Katrinë feels like the right choice to represent Kalosia on the international stage. The song that she will perform in Avon is titled "Anǧelu" (Angel), and is a clean and polished pop song that comes with a retro feel to it. This time, Katrinë will be singing entirely in Kalosian. After a rather turbulent 80s, RTVK hopes that this song can restore Kalosia's glorious place on the top 10 of the scoreboard.

On the night of the show, after the Kalosian postcard, the stage was dark. Once the song began, a beam of white rose in the background LED screen (like this). Katrinë begins to do these high pitched vocalizations. As she takes a few steps forward, the lights shine on her, revealing that she is wearing a simple, short, metallic dress. Soon, her time to sing comes.

Val prenderë-mi lasu
Insemë, ja e tu
Dal-mi un bašu
Sej miu anǧelu

As this happens, by the way, she is on the main stage, having just walked onto the set from the back. The camera had earlier begun with a wide shot and was now slowly zooming in on her. The orchestra is being conducted by Ǧovan Marsiľi, one of the song's composers. It is mostly the strings that the orchestra contributes, harmonizing well with the backing track.

Ja planǧeru
Komë unë Madona
Pregu alë ťelu
Per tiu amurë divinu

Without hesitation, Katrinë begins the verse. Other than the conductor, Katrinë is joined by 3 backing singers, although they are tucked away at the left side of the back of the stage. Katrinë is full of energy, moving along as she sings, but the ever-moving, ever-changing camera angles are what make this performance dynamic.

Summer wine
Au sentitu oñë goťa
Tia dulťežë mi inkanta
Miu amurë

Slowly, the pillar in the background diffuses. The stage lights were previously dim, but now light began to illuminate the arena. The background LED screens lighten up into a shade of dark grey while the pillar blurs into a lighter grey colour, although not blending entirely.

What a time
Ma la lunë kiáma ti
E lo briľa, tia awreólë
Mentrë alži

Now the camera angles close up on Katrinë as she looks into the distance, singing the next part below full of awe and wonder.

Oh oh oh…
Ovëz vaj staserë?
Ovëz?

At this point, a male dancer walks onstage. He is wearing trousers but is bare-chested, although this is not as noticeable as the white angel wings he is wearing on his back (kinda looking like this). He makes his entrance from the right side of the main stage, although he quickly makes a turn and walks onto the side catwalk.

Val prenderë-mi lasu
Insemë, ja e tu
Dal-mi un bašu
Sej miu anǧelu

You can also see Katrinë look longingly at him as she continues to sing. On the LED screen, images of weeping Madonna statues (referring to the Virgin Mary, not the American singer) appear, as referenced in the lyrics.

Ja planǧeru
Komë unë Madona
Pregu alë ťelu
Per tiu amurë divinu

The dancer reaches two-thirds of the way and comes to a stop. He poses a little (so as to not be static and just stand there). As she sings the next part, Katrinë slowly makes her way onto the main catwalk. Not down the catwalk yet, as the stage is pretty big.

Tell me, boy
Kë kosë pošuz darë-ti
U kaño dëla tentažio
Kë davi?

And now she begins making her way down the catwalk. The dancer slowly makes his way onto the main catwalk as well.

Intrë noj
Ja vidu lë raǧu dëla luž
Alë ťelu, sëparatu
Dale nuve

Now comes a nice shot where the dancer is in the foreground while Katrinë is in the background. Katrinë seems to extend her hand towards him, even though she is quite a distance away.

Oh oh oh…
Ovëz sej andatu?
(Ovëz sej andatu?)
Ovëz?

Now the backing dancer quickly walks away, making his way down the left catwalk, while Katrinë continues to make her way down the main catwalk, although not to pursue him.

Val prenderë-mi lasu
Insemë, ja e tu
Dal-mi un bašu
Sej miu anǧelu

Ja planǧeru
Komë unë Madona
Pregu alë ťelu
Per tiu amurë divinu

Now as she does these high-pitched vocalizations, we can see the backing dancer doing some abstract moves, going through the stage. If we didn't know he was a dancer we would've thought he was distressed. In this next part, the backing singers mainly fill in for Katrinë, although their voices are put through a robotic filter. Katrinë's mic is not subject to the same treatment, so we can tell which parts are hers and which ones aren't.

(Val prenderë-mi lasu)
(Insemë, ja e tu)
(Dal-mi un bašu)
(Sej miu anǧelu)

Ja planǧeru
Komë unë Madona…
(Pregu alë ťelu)
(Per tiu amurë divinu) Woaaah!

The dancer continues to circle the stage in choreography, while Katrinë fills in with vocalizations and ad libs. Again, the camera angles are ever moving and ensure that viewers don't receive the performance as static. At this point the imagery of the statues have disappeared, leaving only the blurry pillar.

(Val prenderë-mi lasu)
(Insemë, ja e tu)
Dal-mi un bašu…
(Sej miu anǧelu)

E sto ja planǧendu
Komë unë Madona…
(Pregu alë ťelu)
(Per tiu amurë divinu)

The backing dancer now makes his way down the catwalk to join Katrinë. At that point, the light pillar in the LED screen begins to strengthen once again, and the lights begin to dim a little.

Val prenderë-mi lasu…
(Insemë, ja e tu)
Dal-mi un bašu…
(Sej miu anǧelu)

Just as he's almost there, he falls, the stage lights go dark, and the white pillar in the LED screen shrinks into nothingness. At the same time, a spotlight shines on Katrinë.

(Ja planǧeru)
Komë unë Madona…
(Pregu alë ťelu) Mmm, ah…
(Per tiu amurë divinu)

The song comes to an end. The audience cheers. Katrinë takes a bow. The dancer gets up and joins her, and they wrap their arms around each other's backs. Katrinë says, "THANK YOU AVON! GRAŽIA!" before leaving the stage as it is prepared for the next act.

by **Pemecutan** » Mon May 03, 2021 11:55 pm

BALADEWA ft. AYU LAKSMI - NADA CINTA
Title Translation: Love Song
Language: Bahasa (Indonesian)
Music & Lyrics: Baladewa
Tune: Wagakki Band - Queen of The Night

Previously at 89th WorldVision Song Contest, Pemecutan was being represented by Poleng Band. Their song "Sujatine' gained 100 combine points and finished at 21st place. Although they were falling out again from the top 20 but it is their third delegation who gained 100 points in the competition.

It was a great competition. A huge participants and we are glad to finished 21st.
says Kadek Juni, Poleng Band

This result making another Pemecutan entry that falling out of top 20 in WorldVision. The 89th result was also a fall of 8 places from the previous event where Mitha Kemala finished 12th. Nonetheless, the 89th result is the third highest points ever received by Pemecutan and also the third highest placement (tie with Komang Suarbawa and Rani Purwani achievement in 85th edition). By vote division, the 89th entry is the third highest points in Jury Votes. While they are in three-way tie for Televotes.

And for the 90th edition which being held in Avon, Elejamie, the domestic televote reveal the song winner which will represent Pemecutan in the competition. And the winner is "Nada Cinta", a collaborated song by Baladewa and Ayu Laksmi. The result also mark the first selection of ethnic fusion song who will represent Pemecutan in the WorldVision. Pemecutan entry in WorldVision have been very diverse. From slow tune pop ballad into an upbeat song by Poleng. And now we got an ethnic fusion song for the entry.

Baladewa or Wayan Baladewa is the mastermind of Baladewa Band. Born in Ubung 48 years ago, Baladewa have listened to gamelan, Pemecutan traditional music, since birth. At the age of 8, he taught himself to play guitar. As he is growing up, he is more attracted to rock music. At some points, he then become bored of rock music and decided to learn jazz. He studied abroad and gained a Diploma of Music. He is well known abroad for his exceptional talent of guitar playing and jazz music. He is the only known Pemecutan guitarist who is able to develop and use the Touch Tapping style. After receiving his diploma in 1997, he come back to Pemecutan. He then established Balawan Band to continue his passion in jazz music and introduce the music further. The band first album was released in 1999 which gained a mild response. The band become to doing tour around Pemecutan to promote their album and their music. Their second album in 2001 was getting more reviews. Their latest album was released in late 2020 and it has gained a platinum certificate from PRIA (Pemecutan Recording Industry Association).

Ayu Laksmi born at the mountainous town of Sumerta in the State of Jimbarwana with her birth name, Nyi Ayu Laksmiyani. Born from a noble and art loving family, Ayu Laksmi have been taught of music from early age. The 53 years old singer and actress begin her career in 1983 after she won at Jimbarwana Radio and Television Star together with her 2 sisters under the name, Ayu Sisters. The trio went into national stage and finished third while winning Best Group Performance. Ayu Laksmi become more active in singing rather than her two sisters. She choose rock as her specialty. In 1988, she release her first album to a mild success. After the release of her second album in 1991, she was shockingly disappear from Pemecutan music industry. She was focusing herself to her study and eventually graduated from Tegeh Kori University in Law Faculty. In 1995, she joined a local Jimbarwanan music group named, Tropical Transit. With this group, she was singing from place to place. She even singing in a cruise after the band was being contract by Campuhan Cruise, a well known cruise liner. With this band, she broaden her musical taste and began to sing in different genre. This is when she begin to interested in ethnic and fusion music. Until finally in 2009, she resign from Tropical Transit and announce her break from Pemecutan music industry. In this period of time, she begin her new career in acting. Her first film was released in 2008, a year before her resignation from Tropical Transit. She come back to music industry in 2015 with the release of her new album, Swara Semesta. From this album she reintroduce her image as a pop ethnic singer. The album was gained a positive review from the critics although it was failed commercially. She continue to involved in a number of movie productions while performing off-air occasionally.

Baladewa approach Ayu Laksmi for a collaboration in the band new album. As Ayu Laksmi has a rock root before switching to ethnic song, it is viewed as a good character for the new album. Their collaboration produce 2 songs which includes in the new album, Aura Insani, which was release in late March this year. One of the song is Nada Cinta. The song which is composed and written by Baladewa, tell a story about someone who is captivated by the love that they got and become longing for it after it's gone. The song is very well accepted after it's released. And it become a new sensation in the country after it is being selected for Pemecutanian entry at 90th WorldVision Song Contest. The sale of the song increase rapidly.

The lights on stage are darken as the preparation of the performance. Baladewa, the band, wear a fusion of modern clothes (shirt and pants) with traditional ones (kamen/kemben and udeng). While Ayu Laksmi is wearing a body-fit red dress with shawl attached to her arms. As the intro is playing the stage becomes lighten up little by little. The audience can see the band members are positioned in each stage's pots. The drummer, kendang player (traditional drum), kecapi (lute) player, keyboardist and rebab (string) player are positioned at the main stage. The seruling player (traditional flute) at the left stage island. The guitarist at the right stage island. Baladewa himself and Ayu Laksmi are standing at the center in the main stage together with the drummers.

The intro has a strong lute and seruling sound. Ayu begin to sing with soothing voice which reflect the serene of the music. It is softly flowing until the end of the bridge part. The camera gives a close up view of Ayu Laksmi before it zoom out to give a wider view.

Suaramu yang mengalun syahdu
Membawa untaian nada cinta
Alunan nya mendayu merayu
Membuat hatiku pun terpanah

Dan ku kini terpaku pada
Untaian nada kasih dan cinta
Tak pernah terbayang kan
Nada ini akan berakhir
Your voice is flowing serene
Carrying strands of love tones
The strains are very seductive
Make my heart burst

And I am now fixated on
The strands of love
Never would imagined
This tone will end

The drum enters as the chorus is being sing. It's added the vibrant to the song. The camera is changing the view several times. From the main stage to the island stage making a close up view of all the band members. Ayu is also singing more powerful than the previous part. Her hands are holding a fan which she played according to the flowing of the song. The note suddenly drop at the end of the chorus.

Naluri ku membawa ke dalam pusaran rindu
Yang tak pernah kan berujung
Ku menantikan hadirmu kembali
Ah….ke dalam hidup ku
Angan ku melayang ke alam yang teramat jauh
Yang tak pernah kan tersentuh
Ku mengharapkan engkau kan kembali
Menyambung nada ini
My instincts lead me to a vortex of longing
That will never ends
I look forward to welcoming you back
Ah…. Into my life
My thoughts drifted to a far away realm
Which will never be touched
I hope you will come back
To connect this tone

As another intro is being played, Ayu Laksmi and Baladewa walks to the center island. The seruling is taking the lead of the music making it as the centerpiece. The camera shows their movement until a close up of Ayu Laksmi is being viewed when she sing the second verse.

Sayup sayup suara mengalun
Mengingatkan pada nada cinta
Mengharapkan kembali bayangmu
Menyapa ku dengan senyum mesra

Dan ku kini diam membisu
Terbuai angan yang tiada pasti
Akankah nada ini kan kembali
Untuk berlagu
The sound was faint
Reminiscent of the tone of love
Expecting your shadow back
Greet me with an affectionate smile

And I am now silent
Lulled with uncertain dreams
Will this tone come back
To play around

Ayu once again playing the fan in her hands when she sing the chorus. Her hands are very supple as if she is dancing it with her hands.

Naluri ku membawa ke dalam pusaran rindu
Yang tak pernah kan berujung
Ku menantikan hadirmu kembali
Ah….ke dalam hidup ku
Angan ku melayang ke alam yang teramat jauh
Yang tak pernah kan tersentuh
Ku mengharapkan engkau kan kembali
Menyambung nada ini
My instincts lead me to a vortex of longing
That will never ends
I look forward to welcoming you back
Ah…. Into my life
My thoughts drifted to a far away realm
Which will never be touched
I hope you will come back
To connect this tone

Another intro is being perform. This time with more vibe. A grand fusion between modern instruments and the traditional ones. The combination is very thick. The guitarist and seruling player are walking towards the center island where Ayu and Baladewa are standing. The music suddenly drop with Ayu sing part of the chorus as the coda. The music being up again. And Ayu is performing the last chorus with a powerful voice. She gives much effort to the last part as the tone is higher than the previous one. The last tone suddenly drop with a short tune to end the song.

Naluri ku membawa ke dalam pusaran rindu
Yang tak pernah kan berujung
Ku menantikan hadirmu kembali
Ah….ke dalam hidup ku

Naluri ku membawa ke dalam pusaran rindu
Yang tak pernah kan berujung
Ku menantikan hadirmu kembali
Ah….ke dalam hidup ku
Angan ku melayang ke alam yang teramat jauh
Yang tak pernah kan tersentuh
Ku mengharapkan engkau kan kembali
Menyambung nada ini
My instincts lead me to a vortex of longing
That will never ends
I look forward to welcoming you back
Ah…. Into my life

My instincts lead me to a vortex of longing
That will never ends
I look forward to welcoming you back
Ah…. Into my life
My thoughts drifted to a far away realm
Which will never be touched
I hope you will come back
To connect this tone

A round of applause can be heard throughout the venue as the performance ends. All 4 of them that standing at the center island are holding hands in hand before they are bowing to the audience. The other members at the main stage behind them are also doing the same thing. The 4 at the center stage then rushed to the main stage. All of them are bowing again before they are going to the backstage.

by **Antahbrantahstan** » Tue May 04, 2021 12:04 am

28. Antahbrantahstan

sixaxis - TBA
Tune: Day6 - Congratulations

by **Britonisea** » Tue May 04, 2021 3:21 am

#29 BRITONISEA
Aaliyah Banques - "Promise Me"
Tune : Dotter - "Little Tot"
Music: Xavier Neon, Jamie Byns Lyrics: Aaliyah Banques, Kelsey Banques

"Promise me you want back down!": Aaliyah Banques will represent Britonisea at the upcoming WorldVision Song Contest in Elejamie...

VM2021 Semi-Final Three | VM2021 Grand Final

After a disappointing break from the top ten last edition, Britonisea is hoping to reverse it's fortunes with Vha Mehlodhivestoile 2021 winner, Aaliyah Banques...

The 89th WorldVision Song Contest was a very interesting one for the Britonish delegation. It was the first time that Todlichebujoku hosted the competition for a while and the country was hoping that the success that we had when Todlichebujoku last hosted would once again come back to us. Representing us was Shaughna Lucero with the song, "nobody wants her" which gained a pretty good reception from fans of the WorldVision Song Contest. There was pressure from the international community and the Britons themselves after the country came off the back of a 1st at the 87th WorldVision Song Contest and then 2nd at the 88th WorldVision Song Contest. However, fortunes in Todlichebujoku were similar to that of the 51st World Hit Festival - also hosted in Todlichebujoku, with the country receiving their worst result in quite some time. While 11th may seem like a modest score for some, Britonisea hadn't placed outside of the top 10 since the 53rd WorldVision Song Contest - with the country sending around 20 songs since then. The lowest result wasn't too dramatic, especially when comparing it to over 30 other songs - the country still did well. Though for some, especially for those from countries who have been around for a long period of time like Todlichebujoku, hadn't seen Britonisea that low. The response from Britonisea was quite muted, with the country focusing on the current Vha Mehlodhivestoile happenings over on BVC which was providing to be an unpredictable year.

Winner of Vha Mehlodhivestoile 2021: Aaliyah Banques won 180 televote points to clinch the victory with a total of 360 points - only two points ahead of second place...

Looking back at Vha Mehlodhivestoile 2021 - there were technically four Semi-Finals which made it much harder for Aaliyah to win in the end. With some strong competition coming from the internationals such as Darlington and from national acts through TR3SANGULIS and Josh Morris. Aaliyah Banques managed to win her Semi-Final with 99 points - not quite the runaway victory as her sister last year. In fact, none of the winners of these Semi-Finals were runaway victors which made the Grand Final a lot more interesting. Despite the added points for having a televote, Aaliyah Banques won the contest with only 2 points to spare, finishing on top with 360 points compared to TR3SANGULIS' 358 points. History was made as the first-ever relative of a winner went on to also win. Aaliyah celebrated on the stage but for her, the win wasn't so much of a surprise. Before Semi-Final One, on the 20th March Aaliyah Banques was 2/1 to win and has been a long, long favourite to win the competition from the get-go.

Live from the Red Carpet: Aaliyah greets fans ahead of her performance at the Grand Final...

As Aaliyah Banques arrived in Elejamie, she was excited to finally get this show on the road. This wasn't her first ever chance in the limelight, she had performed at the very long World Hit Festival 32 which took place in Euskirribakondara, where she performed her song, "Poisonous", coming 11th and scoring Nightom's best ever result to date - here's hoping that she could break the record for Britonisea as well. She will be performing 29th in the Grand Final of the contest...

As Aaliyah Banques stepped on the vast stage in Elejamie, she took in the air and the crowd who were busy watching the postcard. The postcard had something to do with tennis or something, but Aaliyah wasn't too focused on that. Being moved onto the stage were some apparatuses (similar to bars in which you'd find in a playground, but these were sophisticated and they had LED lights all around them) of which the four dancers took their position. In the middle was a gap where Aaliyah would soon appear. She took her position at the back of the stage, as the people around her scurried before the postcard came to an end. Aaliyah looked down at her microphone and prayed in her head - she thought about this moment nine editions ago when she was taking a back seat and watching her sister, Kelsey Banques, take to the stage (for the second time) to perform her winning Vha Mehlodhivestoile song. Who would have known that she would follow in her younger sister's footstep and go to the WorldVision Song Contest. As previously mentioned, she wasn't new to this sort of thing but she felt nervous - it had been ages since she last stepped on a stage such as this one. Aaliyah wished for nothing but success on the stage - even though she had the weight of the country on her shoulder, she knew that a good result would make the nation proud and she was about to give the performance of her life. A little bit of sibling rivalry came into place here, with Aaliyah wanting to come in the top 2 like what her sister did back at the 66th and 81st edition of the contest. She took a large deep breath as the audience came in with a cheer at the end of the postcard.

The audience in Elejamie wasn't too phased about Britonisea. The country had hardly received any points from the host nation and so the applause may not have been as loud as the Britonish delegation is usually used to - though they were somewhat welcome hosts to the competition. The Britonish didn't care, they had a point to prove at the contest - especially after their recent result which saw Britonisea come off the railings for a bit. As the audience died down and the curtain-raiser lights flashed across the arena, there was a moment of silence before the performance from Aaliyah Banques begun. As the song won Vha Mehlodhivestoile, BITC didn't feel as though it needed much of a change from that performance and so there were bits that were tidied up but all in all, the performance was kept the same - a winner's performance. Aaliyah wore a black see-through jumpsuit which looked very good on her and looked a lot more risque compared to Britonisea's previous outfits.

As the music started, the apparatuses lit up which had the dancers on them in multiple different positions. Amongst the darkness, the shoes of the dancers were slightly lit up, reflecting the small amount of light in the arena. The camera slowly moved in as the beautiful figure of Aaliyah Banques lit up in between the apparatuses - appearing from the mist and haze. Lazers appeared around her in green, shining towards the audience. She sang the first sentence in a statue, facing off to the side.

Promise me, when I’m long gone,
You’ll let no one - tell you you’re not good enough.

I know you're young, so full of life,
Learning from the mistakes you make as you go.
No guidance, you do as you please,
Here's some advice I wish I had long ago.
Let nobody tear you down, wear your crown gracefully,
You are a queen, the best there's ever been, oh!

After the first section where she was singing off to the side, she was captured turning around before moving off to the first of the four apparatuses with one of the dancers hanging off the side of it. Aaliyah walked to it before looking at the dancer with curious eyes. She sang towards the dancer looking at her, with the smoke still billowing from beneath her. As she sang the "mistakes you make as you go", the dancers came off the apparatus before moving with Aaliyah to the next apparatus, where she was with the second dancer. It looked as though she was aiming whatever she was singing to the dancer. As she made her way to the end of the row, it was time for the final line. Aaliyah sang the lyric, "You are a queen", with the four dancers around her making a crown with their hands, with the camera slightly zooming in Aaliyah from a lower angle to make her look bigger and more powerful. The golden lights shone brightly throughout the arena.

Promise me, when I’m long gone,
You’ll let no one - tell you you’re not good enough.
Promise me, you’ll always fight - for what is right,
Let no one stand in your way.
(Promise, promise, promise)
Promise me you won’t back down.
(Promise, promise, promise)
Promise me, you’ll stand your ground!

As we moved from the chorus back into the chorus, the lighting dialed down a bit, back to lowkey lighting which was the dark coloured yellow in the background - with the camera peering in closer for Aaliyah. Even though the song was quite uplifting, the words behind the song are rather serious - and so the team of BITC wanted to take a slightly more serious-looking staging. One of the male dancers stood on either side of Aaliyah, with silhouettes of men appearing on the screens behind her with Aaliyah suddenly looking much smaller on the stage.

The men, they'll tease and lead you on,
But girl, they only have one thing on their minds.
Say, "honey, no", yeah, stand up to them
They're wolves in sheep's clothing, they're just little boys.
Let nobody tear you down, go on, wear that crown now,
You are a queen, the best there's ever been, oh!

[b]Promise me, when I’m long gone,
You’ll let no one - tell you you’re not good enough.
Promise me, you’ll always fight - for what is right,
Let no one stand in your way.
(Promise, promise, promise)
Promise me you won’t back down.
(Promise, promise, promise)
Promise me, you’ll stand your ground!
Promise me, you’ll always fight,
(Promise, promise, promise)
Everything will be alright.

As Aaliyah sang the verse, there was a camera that focused on her in a midshot as she spoke directly into the camera, with female dancers appearing from behind her, touching her on the shoulder. The male dancers then moved around so that they were in an arrow formation ahead of the next chorus...

Aaliyah Banques lights up the room: A large ball was in the air, which deflected golden light onto everyone...

As the large ball came down from the rigs in the arena, golden light was shown deflecting all around the whole arena. Aaliyah seemed to be right into the groove of the music as she did a more watered-down version of what the dancers were doing behind her. The lights behind her were twinkling at different speeds, which made the scenery seem a lot more dramatic and dynamic.

Promise me, when I’m long gone,
You’ll let no one - tell you you’re not good enough.
Promise me, you’ll always fight - for what is right,
Let no one stand in your way.

Oh-oh-oh-oh!
(Promise, promise, promise)
Promise me you won’t back down.
Promise me, when I’m long gone,
You’ll let no one - tell you you’re not good enough.
Promise me, you’ll always fight - for what is right,
Let no one stand in your way.

At the end of the performance, Aaliyah took a power pose as the lights quickly switched off, leaving a deep golden light behind her with the stage fans blowing heavily in her direction. Aaliyah was breathing heavily as she slowly moved the microphone away from her mouth. She smiled as the audience came in with another cheer for her, "Thank you Elejamie! Thank you all so much!" The dancers around her all bowed before the five of them walked off together ready for the next performance on the stage.

by **Placely Placington** » Tue May 04, 2021 4:00 am

30 - Placely Placington

Wynan Schitt - Chad is a Huge Jerk >:( (aka the disappointing sequel to my WV85 entry)

Tune: Kirito - Smells Like Teen Spirit (Nirvana cover)

Placely Placington weren’t exactly in the best place right now. For a start, their sevens team were an absolute disaster. They had only won a single game at the Rugby Sevens World Cup, a 26-10 win over Queenisa on the afternoon of the first day. They also managed a 21-21 draw against Copper Cuprum, which was better than it sounded because their opposition was ranked much higher and it had the added side effect of giving a journalist an existential crisis because of how the Test Subjects went about their matches. Regardless, they lost their four other games which meant they came sixth, meaning they’d have to compete for the Bowl. And they then went on to lose their Bowl quarter-final against Alice Bay, 31-5, meaning they probably won’t get any prize money to go towards fixing their economy. And then their giant paper plane drove over a pebble and then magically exploded, though the good news was that the Clonomat was back home by then so they would be resurrected there.

Most crushingly of all, it seemed like their allies were abandoning them. South Alezia had reunited with their neighbour in the north and are now sending entries more in line with their tastes. Crustyland seems to be trying to appeal to the more mainstream nations with their past couple of entries, which made Dave McDaverson a bit concerned about their future at the contest. And while Vartugia was still around, it’s just a question of how long they’ll keep being around for. The pool of nations like them seemed to be going down and there were a couple of fears that they were being actively purged from the competition. Dave pretty much ignored those fears because quite frankly they were probably ludicrous. He decided that the best course of action would be to keep participating at the contest and hope that they’re able to get more money that way. And who better to send then Wynan Schitt, who seemed to be well-liked by the community even if he didn’t place anywhere special so lightning might strike twice.

(also this will be a bit lower effort than my usual Placely Placington entries because a) I couldn't find much wrong with this song and b) I've had a huge workload over the past while and I'd rather be working on my main. This should get some enjoyment somewhere I guess.)

After the postcard, we get a stage with Wynan right on the front plinth with his backing band behind him on the rear stage. There were also people getting up and out of their seats, either because they needed to go somewhere and the Placely Placington entry was the best opportunity to go or because they didn't want to have to deal with the Placely Placington entry full stop. Especially after the last time they had performed. On the upside, at least this entry probably won't cocoon the audiences again. We hope. At least he somehow remained alive during his 14-day mandatory quarantine period. And he was able to bring Drummer Clone along with him from Jim the Grindcore Guy Bloke’s band. And he was able to find some local musicians to play with him as well.

"Hello Avon." He said as he was greeted with cheers. "This is my song." He carried on with some more cheers being played, only for the cameras to cut to the crowd barely reacting. Off-screen, it was the keyboardist pressing one of his keys on his keyboard, since he had it set to a crowd cheer setting. "Yeah, this is my song. It is called "Chad is a Huge Jerk"." Afterwards, we get a lead into what is actually quite a kick-ass rock song. Almost kind of metal in fact, even though it really wasn’t. Sure the drum feels a bit weak but we can all live with that. Eventually when the hard intro died down and the whole song mellowed out. And then you realise that this is a Placely Placington entry so of course there’s a reason why a song as awesome-sounding as this ended up being its tune.

He's a poo-poo head, he smells of poo
I do hate Chad, I really do
He stole my girl, he stole Stacey
A flood of tears down my facey

And indeed a flood of tears started to flood down his facey. While he wasn’t necessarily bawling his eyes out, not yet anyway, it seems like the floodgates will start opening any moment now. Just hope he’s kept away from anything electrical.

I hate, I hate, I hate you Chad
I hate, I hate, I hate you Chad
I hate, I hate, I hate you Chad
I hate you Chad

OK, now he starts bawling. As the floodgates start to open, most of the other backing instrumentalists wonder what the hell his deal is. A couple of them stopped playing their instruments and just stared at each other wondering what the hell they were supposed to do. One or two of them carried on playing but looked a bit concerned. Drummer Clone just wrapped one of his arms around one of his drums and started to punch it.

And I hope he never gets work
'Cause I hate Chad, he's a huge jerk!
Not as a maid or a store clerk
'Cause I hate Chad, he's a huge jerk!
I don't like him! I don't like him! I don't like him! I don't like him!
NO!

No.

No.

After that thing that happened, we then get the same thing that happened around the start of the first verse, except that there was a small bit where Wynan sniffled out "Hey! Avon!" before eventually getting into the song. Meanwhile, the backing band carried on doing their job but it's clear that they wanted out, except for Drummer Clone who carried on hitting the drums with his stick hands. Wynan paid no attention to them as he carried on his diatribe against this "Chad" fellow despite the whole thing more than likely never existing and it's all made up in his head.

This whole thing is overplayed
But Chad is such a huge mistake
He thinks he's cool, he's really not
He has no charm, he's like a spot

Is this song still going on?

I hate, I hate, I hate you Chad
I hate, I hate, I hate you Chad
I hate, I hate, I hate you Chad
I hate you Chad

Same thing as I said about the chorus. Except this time one of the guitarists just stops, looks around for a second and just wonders what he's doing with his life. The bassist came up to him and the two of them had a chat. They both agreed to just bear it for a couple more verses before they could just bail. At least they were holding up better than the people from Malta Comino Gozo, if only because national pride was on the line. And something something National Day on the 10th of May.

And I hope he never gets work
'Cause I hate Chad, he's a huge jerk!
Not as a maid or a store clerk
'Cause I hate Chad, he's a huge jerk!
I don't like him! I don't like him! I don't like him! I don't like him!
NO!

No.

No.

Oh hey, this part actually sounds awesome. Maybe that whole National Day aside helped restore their faith or something. There were still some rumblings and even the keyboardist was starting to want out but they've seemed to put it to the back of their minds or something. At least it had the side effect of getting Wynan to stop crying for a bit. Plus it got him moving himself all around the stage, not just the fronty bits.

I don’t like Chad, he don’t like me
He is just like a tub of pee
And he just says the same old stuff
I’m like “Whatever, you’re not tough”.

I liked this song better when Weird Al was making fun of it.

I hate, I hate, I hate you Chad
I hate, I hate, I hate you Chad
I hate, I hate, I hate you Chad
I hate you Chad

At this point, they just bailed. The guitarist, bassist and keyboardist just put their instruments down and couldn't bear to be around this guy anymore. Especially since he seemed to be literally crying his eyes out again. And what the hell is that weird-handed drummer doing to his kit? They couldn't bear to be around this low-effort shitpost and thus they decided to head off backstage. The music continued, however, as Wynan carried on his blubbery singing.

And I hope he never gets work
'Cause I hate Chad, he's a huge jerk!
Not as a maid or a store clerk
'Cause I hate Chad, he's a huge jerk!
I don't like him! I don't like him! I don't like him! I don't like him!
I just hate him! I just hate him! I just hate him! I just hate him! I just hate him!
I just hate him! I just hate him! I just hate him! I just hate hiiiiiiiiiiiiiiim!

Cue a guitar solo that was supposed to be kick-ass but instead caused him to yank the strings in one fell swoop and just get them all tangled again. Sure he could feel it, much like he felt his eyeballs come out but he somehow wasn't able to notice it. He was still somehow able to play it while Drummer Clone just threw his kit around the whole place. ETV must remember to bill Dave McDaverson for this whole thing. Eventually, after Drummer Clone finished trashing his kit and stepping on a pyrotechnic that mercifully cut his whole antic short, Wynan tripped on an eye and fell into one of the holes in the stage. After a guitar lick he said "I'm OK!" He probably really wasn't. No one cheered, though, but he had no way of getting up and out. Hopefully a stagehand would help him out while they set everything up for the next act from Vartugia. Oh boy.

by **Vartugia** » Tue May 04, 2021 11:42 am

31. Vartugia

Blaintant Propaganda- "Vartugia Greatest Nation”

Galasy ZMesta- Ya nauchu tebya (I'll Teach You)

In a surprise, Vartugia held a national final wherein the end this band won and will fly the flag for "The Free, Indipenent And Strong, Everlasting Coletive Union conisitng of 6 uniken and diffrent regions that collectily are somehow named Vartugia".

The winner is the band Blaintant Propaganda with their song "Vartugia Greatest Nation". According to the band, "there seems to be false news when it comes to Vartugia. Vartugia arent a batshit nation with so horrible human rights abuses that it makes some other nations like paradise, but it is a Shangri-La where there is always sunshine and the ruling party cares for you". And as such, they will fly to the place of a shitty football team to play a song about Vartugia.

The time is set for this moment. The rehearsals have been a nightmare as the vocals for the main singer, Name Less, have "shit vocals, shit staging, and shit everything". Loud booing can be heard as this entry is among the most disliked entries this time. One video on a popular video hosting site had a like-to dislike ratio of 1000 dislikes to one like. So it's safe to say that Vartugia will not win the glass trophy.

The band begins to pretend to play any instrument. Name Less is the only one that has a microphone and he is the main vocals for this entry.

Vartuiga, bestest nation in the earth
Has the highest crime rate
And we shoot everyone that doesn't obey
Won Worldvision 91 times
And we will win again
101 percent votes for the ruling party
Since all of the other parties cheats
We jail every illegal protester
They will never come home again
One-party rule is the best
Democracy is dumb as fuck
We will tell a truth for you

Out of the blue 3 police officers from Vartugia brings someone on the stage and push said person into a corner. They grasp the guns that they carry and begin to shot the criminal. Blood spatter everywhere and for Name Less, its "a normal Monday night". The criminal gets shot dead and everyone on the vartugian band cheers.

We are the greatest nation in the multiverse
We will destroy you by nuking you
We have a lot of vartugia-stans
And that is just the begining
We never lost in football like Avon did
We has 3560 dankzillion in GDP
We have the best party that rules a country
So everyone please move to Vartugia

The police officers now drag the bloody course off the stage and we now begin to hear wailing vocals from Name Less. It took this long for his vocals to be bad.

Motorways that kills everyone
Trillion-dollar airport used once per year
Trains run on steam but we have no coal
Schools are banned
And no health care in this place
Overdosing on crack is our pastime here
Our jails are overcrowded
And that is how safe we are

Name Less's vocals gets better and now everyone begins to sing along the last refrain of the song. Hold out, the torture are almost over.

We are the greatest nation in the multiverse
We will destroy you by nuking you
We have a lot of vartugia-stans
And that is just the beginning
We never lost in football like Avon did
We has 3560 dankzillion in GDP
We have the best party that rules a country
So everyone please move to Vartugia

The music cuts suddenly and everyone in the band then shouts one

Vote!

No one applauded for this entry. 3 minutes are over and we hopefully never need to hear this again.

Hopefully...

by **Spiritual Republic of Caryton** » Tue May 04, 2021 12:40 pm

32. Spiritual Republic of Caryton
The Shirleyton Trio - "Neighborly Love"
The Shirleyton Trio is a family band specializing in 60s-era christian retro pop. The group is comprised of the family of Dorothy Shirleyton, although the Leading Reverend herself is too old to perform. The vocalists are Bernice, Betty, and Eleanor Shirleyton with Todd and Heidi Shirleyton on muted brass, and their spouses on strings. Adam Shirleyton plays the synthesizer and his wife on percussion. Their music is a tribute and a time capsule, for in other countries, it is a homage to when music was vintage and christlike, but paradoxically this is the only genre of pop in the SRC, not considering contemporary gospel. The SRC is an anomaly, a 80s-90s tech country with 50s-60s moral values surrounded by the modern nuances of 2021.

The vocalists, from left to right: Bernice, Betty, Eleanor

The dresses the performers will wear

It had been a long time since the Shirleyton Trio had seen the stage. Their entry wasn't the most well-received but the demands of the domestic Carytonic were absolute- with the family band narrowly winning the national contest and advancing to perform for WorldVision. In the parade of nations, the band would walk in their matching uniforms (the male instrumentalists would wear white shirts with matching floral bowties) before the Carytonic flag and the universal Christian flag, their smiles genuine and expressions humble in contrast to the hooting and hollering which preceded them.

-

tune is here

The stage would open with a flourish of shimmering amber lights, revealing the Shirleyton Trio to the audience, being met with a respectable applause. The instrumentalists would suddenly pick up and begin, the three girls standing side by side in a line with the family instrumentalists behind them playing from their foldable chairs. Scarlet spotlights would shine down on the performers as they began, tracing figure eights around their formation.

It could be rainy, it could be bright!
It could be in the darkness of night!
But I’m still with you, through all my sin!
My life’s a battle that we still can win!

Neighborly love! Like you set forth above!
Smile all you can and help your fellow man-
Like neighborly love! It’s neighborly love!

The trio's harmonies would match the intention of the instrumentalists as they smiled onwards. The ladies would have the headset microphones, allowing their arms to stretch out as a simple choreographed moved, letting them sway like a wave as the stanzas shifted from one to two, giving a playful atmosphere to their performance. They kept this going on until the second verse began. The amber lights would shift to a dramatic gray, a rainstorm being shown through the video screens.

I could be running, I could just fall!
I could be sobbing and just lose it all!
I know you’re with me, through all my trials!
I’ll get up again and run a dozen miles!

Neighborly love! Like you set forth above!
Smile all you can and help your fellow man-
Like neighborly love! It’s neighborly love!

The trio would mimic the words they sang, running in place then crouching down. They looked at each other in despair. Behind them on the screens, a portrait of Jesus Christ would appear before the cross which stood empty. The despairing gray would be cast out by the same playful amber lights and swiveling scarlet spotlights. The group would smile brightly and stand up, lifting Bernice to a standing position who was in a mock state of weakness, allowing the transition into the chorus. They'd keep it up until the key changed.

You are the savior, I am the child!
Your sacrifice made all things in this great earth mild!
And you gave Cary and made it all bright!
I’m joyfully striding towards thy heav’nly light!

The portrait of their savior would disappear, but with the brighter key change the colors would shift to a spring green- reflecting youth and virtue as sparkling green lights descended and the picture on the LED screens brightened to a view of the springtime sun shimmering through the new leaves of a ficus tree. As the trumpeters took more of a prominence, a single yellow spotlight shone on them, intentionally obscuring the vocalists as they began a step-touch dance.

Neighborly love! Like you set forth above!
Smile all you can and help your fellow man-
Like neighborly love!
Smile all you can and help your fellow man-
Like neighborly love!
It’s neighborly love!
Neigh...bour...ly love!

The spotlight would continue to shine on the trumpets, but the vocalists became prominent again as they used the few seconds of being obscured to pull out Carytonic and Christian flags, waving the small symbols left and right to enthusiasm as the audience hastily clapped to the beat, letting them to hold out their last ending note, the last two blasts of the trumpet initiating a fade to white, bright lights blinding the audience, letting the trio and their instrumentalists leave.

by **Llalta** » Tue May 04, 2021 2:20 pm

33 ⚝ LLALTA
"Constellations" - Lacey
Music ⚝ Lee Shin-hyun
Lyrics ⚝ Lee Shin-hyun
~⚝~
"Celebrity" - IU

The cover art of the single "Constellations", by Lacey (Lee Shin-hyun). The single is also Llalta's entry in the 90th WorldVision Song Contest in Avon, Elejamie.

~⚝~ BACKGROUND ~⚝~

The last edition that Llalta participated in was WorldVision 87, held in Peeto, Polkopia. There, established Llaltese singer-songwriter Himiko Arden returned to contest after placing 24th in WorldVision 86 with the powerful ballad, "To Live". However, with a new rush of creativity, she returned with the grand, oriental ballad "Forevermore". Though extremely popular in native Llalta, the song, much like "To Live" failed to gain traction pre-show, many considering it yet another low placement for the tiny island nation. The odds were even more brutal, many saying the song had no chance to reach even top 20. However with powerful, poetic lyrics and a grand soundscape filled with instruments and timbres from Himiko's home of Japan, coupled with a dazzling performance that somehow managed to capture the hearts of the world, the song ended the night placing 2nd with 217 points, much to the ecstasy of the Llaltese. Though Llalta's closest neighbours Britonisea won the contest with the amazing pop ballad "Let Me Down Gently", Himiko Arden and the team at the LBN were incredibly proud, gaining the countries second best position as well as the second podium position. Not only that, but it showed the world that the tiny island nation was still a force to be reckoned with. The song, "Forevermore" topped the Llaltese charts and has remained at the top since it was released in January, However, the LBN's fragile and small budget meant that Llalta was be on a hiatus for an indefinite amount of time, much the dismay of the Llaltese islanders. Yet, no amount of time could withhold the many discussions for future participations. Though the LBN had largely gone silent after the initial statement of a WorldVision withdrawal, many speculated that the LBN were planning something big.

After a two edition hiatus from the prestigious WorldVision Song Contest, Llalta is back, the LBN (Llaltese Broadcasting Network) confirming their participation on the 15th of April, as well as confirming Llalta's very own national final: Llaltavision. The second edition of the country's only national final sparked excitement from Llaltese and devoted international fans alike. The first edition had four artists from all over the world battle to represent Llalta at the 67th WorldVision, with Pingu and his song "Nööt Nööt Nööt" going to Darkmania. However, the plucky penguin ended up getting Llalta's worst placing in Llaltese history at the time, placing 23rd. Despite this, Pingu enjoyed many, many, many a success with his song which ended up becoming viral on the internet and giving Pingu a helping hand into his successful music career. The second edition of Llaltavision however was hoping to replicate Pingu's success; hopefully placing better than 23rd at the WorldVision Song Contest. A few hours after the announcement of Llaltavision, the format was released, differing greatly from the first. Primarily, rather than separate artists competing for a spot at WorldVision, it was announced that it was one group performing a number of songs. This group ended up being the multinational girl group Constellations, comprised of four girls each with a Llaltese heritage, who were to debut the music career upon the WorldVision stage. Secondarily, the amount of songs doubled from a selection of 4 songs to a selection of 8. Furthermore, the songs competing in the second edition were noted to be of far higher quality than the inoffensive pop songs of the first Llaltavision. All this news lead to an excited batch of fans who couldn't wait to see Llalta in it's newest era.

Llaltavision aired on the 1st of May, the tirelessly performing 8 songs throughout the show, with the votes coming immediately after. The selection garnered much positive attention, many citing the high quality of both production and songs, the debuting girl group Constellations also being praised for their stamina and excellent performances. After the intense voting, the summery dance song "Sunspots" claimed victory, winning both the international jury and the Llaltese televotes with a staggering 128 points. Furthermore, "Sunspots" topped the charts upon release on streaming sites and their live performance trending in Llalta. Not to mention that the rest of the songs also charted in the top 10 as well as trending on YoutTube. Much unlike the very first Llaltavision, it was considered a success in the eyes of most.

Unfortunately, only a few weeks after the reveal of the entry, Constellations revealed on their twitter that they were to withdraw from the 90th WorldVision Song Contest entirely, due to personal issues within one of the members lives that meant they did not feel motivated to perform. After the initial rush of disappointment, some began wondering whether Llalta was to pull out once again, continuing the streak of non-participations, or whether another act would be internally selected in order to replace Constellations. However, for a few weeks there was nothing but silence from the LBN, which made many fans begin to worry. Behind closed doors, the LBN were panicking also. Much of their funding had gone into the rather expensive national final, as well as having to bring the funding to produce another entry, as well as create a music video and promotions. Even harder, the small broadcasting network had to find yet another artist to represent them. The usual representatives were unavailable, Himiko Arden too busy preparing for the release of her album, Yva also, and Esther Winterbourne training for a tour around Britonisea after the release of her most recent album. Some singers told the LBN that they weren't able to write a song quick enough. The LBN were stumped for options. The chance of a Llaltese participation were looking bleaker and bleaker by the day. And then, like an angel with a blessing, a letter came in through the door of the LBN headquarters, from the music teacher of the Academy of St. Christopher detailing them of a ray of hope. The music teacher, Amerosa Marie-Calworthington, a close affiliate of the LBN WorldVision team, told them of the teaching assistant, Lee Shin-hyun, who writes and performs many songs for the younger children in music class in order to inspire them to achieve greatness. After receiving the letter, the LBN with little hope left asked if she was able to write a song for WorldVision, and possibly even perform it if she were confident enough.

Initially declining the proposal, stating that she didn't want to be a performer, the 22-year-old music teaching assistant only agreed after her class pushed her to do it, telling her that as she had inspired them to pursue their dreams, they would inspire her to achieve hers. Inspired by the encouragement and praise from her students, she firmly agreed. A few days later and with little time to spare, she presented her song "Constellations" which was excitedly snapped up by the LBN. Soon after, the music video was shot and released, with much praise from the Llaltese islanders. It was all a huge rush to beat the clock, as very soon, Lacey would be on the stage performing. Almost too soon. Many times, Lacey had been seen to be extremely anxious, WorldVision being her debut performance, extremely tough given the large audience. She had faced many anxiety issues before, especially as an immigrant in Aloquirbe, yet, no feeling quite as bad as this. Naturally, Lacey was a shy, quiet and sensitive person who had never pursued a career of fame or money; the spotlight was rather overwhelming, especially so sudden. However, with the encouragement of her students, she overcame the challenges and is ready to inspire the world as her students inspired her.

~⚝~ THE ARTIST ~⚝~

LEE SHIN-HYUN (LACEY)
Age 22 (born 12th August, 1998)
Originally born in the tiny village of Odaecheon, South Korea, Lee Shin-hyun (more ubiquitously known as Lacey, after one of her students mispronounced her korean name as "Lacey" and she rather liked the name, so it stuck) is a teaching assistant for music class at St. Christopher's Academy, Llalta. At 2-years-old, she moved to Aloquirbe with only her mother, her parents divorced leaving Lacey as an only child with a single parent. There, she learnt English fluently, though never learning Korean as an attempt to assimilate. Her love for music was also sparked there, enamoured by local musicians. However, she ended up majoring in teaching and education, eventually completing her degree in 2018. Afterwards, she and her mother then moved to Llalta, drawn in by the idyllic landscapes and the peace. Lacey then got a job as a teaching assistant whilst her mother helped out at the Llaltese Red Cross. In her job, she often wrote songs for the children to learn, or allowed the students to express their feelings sincerely through music. She also directed many of the nativity plays held each year, as well as helping out at music festivals and providing free vocal training to students of St. Christopher's Academy. She has also helped Llalta out at the Junior World Hit Festival, even staging and the winning song "Always" by Nancy Grace, whom of which is vocal trained by Lacey. Despite this, she herself has never pursued fame or even a solo career, being completely happy being able to teach and inspire in the classroom, her students often thinking that she has the potential to inspire the world as she inspires and comforts them. Thus, WorldVision would be her first major performance and her debut into the music industry, which is a big feat for such a small town soul, who has never performed outside of the classroom. Even so, she does not wish fame out of the experience, rather to spread hope throughout the world. Since the release of her debut single and WorldVision entry "Constellations" she has been gaining traction in Llalta and some parts of the world, many admiring her softy voice that is laced with feeling. Furthermore, her music style has been coined as soft pop, much like the music of her home country, South Korea. Her single has already peaked at #1 on the Llaltese charts, a successful debut for the music industry rookie.

~⚝~ THE SONG ~⚝~

"CONSTELLATIONS"
"Constellations" is a pop song written, produced and sung by Lee Shin-hyun (Lacey) and was released on the 6th of May, 2021, and serves as the Llaltese entry in the 90th edition of WorldVision, held in Avon, Elejamie. It is also Lacey's debut single, and tells the story of Lacey, describing how much she wants to remind someone/humanity that they are loved and will always be loved. As told by Lacey herself:
This, is quite a personal song for me. It's about togetherness and... well... in the modern world it's easy to feel alone, useless, unwanted, unloved... and this song is my personal message to those whose light of hope has been dimmed. I hope Constellations can at least inspire, and... um, comfort at least one person... yeah. We are all constellations, always connected, always alight. You are always loved, always and forever.

The song was written in early 2021, around January in lockdown, written amongst many other small ideas Lacey had produced to perform for her class in order to spark hope amongst her socially distanced and morally worn out class. With poetic lyrics detailing the singer's devotion to the world, the song lay on a sheet of paper in the back of her drawers, only seeing the light of day when Lacey was bored and hopeless as a little melody to allow her to smile again. However, the song fully resurfaced as Lacey decided to whip up a tune for WorldVision, changing some of the lyrics as well as the melody from the original to create a more bouncy, uplifting tune. After that, she created the instrumentation inspired by the soft sounds of the electric keyboards that the youngest of her classes tinkle with, creating something that everyone can dance too. Some critics have praised the song's more fresh and upbeat sound compared to other Llaltese entries, as well as being an impressive debut single from the young artist. The song instantly topped the Llaltese charts upon its surprise release, overthrowing Himiko Arden's "Forevermore" from it's 15 week reign at #1.

~⚝~ THE PERFORMANCE ~⚝~

The crowd cheer as the Llaltese entry is to begin, the arena plunging into darkness. Silence descends on the large crowd, from large cheers to hushed whispers, to nothing. Onstage, a nervous Lacey waits patiently for her cue to begin. The time had finally come; her very first performance in public, to a large audience. She was rather nervous. Perhaps she would forget the words, hit a wrong note, or forget her choreography, just a few of the scenarios that flooded her mind. Doubt began to pierce the normally tranquil state of her mind. In the dark and the quiet, she began to almost feel as if she were in a large void. As if, there was nobody else there. She took a deep breath. At once, everything began to clear, at least mostly. She thought of her students, who had always had faith in her, even when she hadn't. She thought of her mother, who had sacrificed everything to get Lacey where she was today. It seemed forever until the music began, but Lacey didn't mind. In fact, she couldn't wait to hear the cue for the first note, excited to show the world what was so precious to her: music. She closed her eyes, taking yet another deep breath. For the first time in a while, she felt ready.

The music begins, and the stage illuminates in a soft pink, the LEDs showing a pink sky with cotton candy clouds. The sky is a soft pink at the bottom, a gradient to a navy blue at the top with a few specks of starlight, like a beautiful dreamscape or a painting. The camera starts with a close up of Lacey, who is originally looking at the floor, hands in front of her pelvis, her legs slightly apart. Onstage, Lacey wears an off the shoulder dress, with two straps going up and around her neck. The dress is cream, the sleeves slightly darker, billowing at the edges. The skirt is cut at the thighs, and she wears silver stilettos. Her hair is wavy as it drapes over her shoulders, glimmering in the lights. Her makeup is natural, with a dark violet lipstick. She brings the mic to her lips, moving her arms up in an arc motion. She then rest her right arm, which held the mic, upon her left arm which was crossed. She then swayed her head from side to side to the rhythm, subtly and graceful like the waltzing of leaves in the wind. The camera zoomed outwards slowly. She sang softly, her breath carrying the melody around the arena like a summer breeze. She smiled a little, her face slightly nervous but enveloped in an air of innocence and an ever-growing confidence. Her eyes twinkled in the spotlight, her pupil glancing into the lens of the camera. Though Lacey was nervous, she just sang, her cheeks blushing from the heat of the stage. It was all very surreal to her. The crowd, the flags dancing, the music thumping, like a dream. She'd never imagined she'd be on such a big stage, and she still couldn't believe it. As she sang "reminds you you're still breathing", she twirls at 180 degrees, her left arm dancing gracefully above her head like a dove. She turns her head around, her body facing the back of the stage, looking into the camera, moving her left hand to her chest. Her hand and chest then went up and down softly, replicating the movement of the lungs. Finally, she elegantly moved her hand back to her sides, rolling her body slightly as she did so.

On the second verse, the camera once again took a close-up of Lacey, who was now facing the front. Using her free arm, she daintily opened her palms, extending her arm forward as she did so, and the camera began to zoom out at a response, Lacey stepping forwards, nodding as she does. She then prodded her index finger into her cheek, tilting her head as she gave a sweet smile as pure as honey. The camera took a wider shot of Lacey, using a lower angle, her figure sometimes being obscured by the waving of flags from all over the multiverse. The LEDs remained the same, the spotlights alternating between illuminating and fading away to the bouncy beat of the song. As the camera began moving and exploring the angles of the stage more, it became apparent that the back of the stage had a smaller LED screen placed in the back centre, covering up the lower triforce lights. The stage also remained painted in a pretty pink hue, with navy tints at the top. On the final line of the first verse, she reaches forward, grasping the air before pulling back and making a heart on her chest with her free hand, tilting her body left. She winks as she looks wistfully into the camera, giving a cheeky smile as she did so.

Step away, from the edge
The breeze entices you to stay
Reminds you you're still breathing

Step away, into the day
You're scarred smile is sun-kissed
But it takes time to heal

As the bridge begins the LED screens shift scenes, the pink sunset sky moving down and away as the LEDs are filled with the canvas of night, twinkling stars covering the whole of the stage. A few dark fluffy clouds still roam the stage, like that of a dream. The lights dim slightly too, changing from pink to blues and golds to match the LED, however still pulsing softly to the beat. The camera takes yet another up front shot, zooming outwards as Lacey steps forward, hand on her heart, tapping her chest to the soft click of the beat. As she sings "into a brand new start", reassurance tinting her voice with strength, she clicks her right hand before drawing an arc above her with her index finger, her eyes following the arc as it goes above her head like a rainbow. A sparkle in her eye, her hand flourishes from beneath her chin and her cheek, framing her face with her thin fingers, nodding her head. She then pulls her fist back to her heart, one leg crossing behind the other, and on the third line she raises her right arm upwards like the wing of a crane, lifting her back leg forwards once again, as if ready to fly. Her finger guides her eyes also, her eyes shimmering as they hit the ray of a spotlight. A smile hits her face, as despite her nerves, she is hitting every note and every beat. Though the dancing is simple, it is graceful and effective, matching the somewhat mellow mood of the song. The LED screens then show a waned moon upon the centre, so large it encompasses Lacey in a luminescent white glow and creating an almost silhouette of her figure. She sings the final line softly and quietly, returning her hand so that both hands are now holding the mic as she stands centre stage, facing the camera head on. She blushes a little as the song builds up to the chorus.

As a drums enters the soundscape of the bridge, the moon upon the LED screen emanates and an explosion of golden and white sparkles twinkling away into nothingness, the lights flashing softly to match the sparkles, before resuming their soft pulsing, though slightly more vigorous to match the march style rhythm of the drums. The camera takes a wide pan of the stage as Lacey raises her arm up to the top. Behind her, four dancers slide out, two sliding left, two sliding right so that they form a V-shape formation, with Lacey in the centre, all raising their arms as they do. The dancers all wear similar outfits to Lacey, flowy and graceful, with an almost modern day princess aesthetic in pastel hues. Though they each wear off the shoulder dresses, the sleeves are puffy, made from a tulle like fabric. They also have similar dress styles, thigh length but emphasised with tulle and with slightly more volume. Hair done up with small glittery diamond hair pieces that have a star design, they too have natural makeup. After, they all flick their hands in unison. Lacey and the dancers then circle the centre of their chest, palms opening and closing like the bud of a flower. They then bend over slightly to their right, not bending their knees however, and as Lacey sings, "always connected", they all slowly move both their arms to the direction of the person to their right, hands splayed out, covering parts of the other dancer, apart from Lacey who only uses one arm. They pull back quickly, moving their right leg slightly behind their left as their hands move to their sides, their arms splayed outwards, fingers outstretched. The camera quickly zooms into Lacey as she sings the final line, the song building up to the first chorus, and she smiles innocently. Finally, she stands legs slightly apart, and the stage goes slightly dimmer, the lights having stopped pulsing. She then draws a large 5-pointed star with her finger, hitting each point to each beat. As the chorus begins, her arm is raised directly up having finished the star, and she powerfully pulls it down into a fist upon her chest, her left leg lifting slightly, smiling brightly as she prepares to sing the chorus. The lights pulse brighter and brighter, matching the chords of the guitar as it builds up to the chorus.

Step into my heart
Into a brand new start
I will love you endlessly
As endless as the moonlit sky

And when stars paint twilight
We will shine unto the night
Always connected
We are constellations

When the chorus begins, the stage flashes with gold, the LED screen showing an explosion of starlight, before showing stars moving rapidly past, creating a pretty scene as they glitter and glimmer like sparkles. Some of the stars have golden lines connecting them, the image of space filled with predominantly navy, splashed with hues of pinks, purples and blues alike. The spotlights flash gold and white also, slightly harsher and more rapid than before. On the first beat, Lacey and the dancers step ball change to the front, placing one foot in front of the other as they veer to their left. They all bend down on the front foot, their arms are bent so that their hands meet in front of their chest, as if their were an invisible tie in which they were holding up. Tilting their arms in the same direction that their front foot points. Lacey then slides back to the centre, lifting her right arm around and up. The dancers do the same, however, slide into a circle formation around Lacey, as seen by when the camera takes a birds eye view. The dancers then strike the air in unison, right arm then left arm. Furthermore, they also twirl as they do so, moving to the position on their right. They then drop to the floor, going on one knee as they face Lacey who continues to sing in the middle, give a humble smile as she glimpses into the camera. The dancers then frame Lacey with their hands, flick their arms forward and around Lacey before retracting them slowly. Now on their knees, they twirl to the position on their right once more, however, Lacey also twirls. The camera zooms into the sprawl of spinning dancers, before taking a panoramic shot of the whole stage. Twirled into their next positions, Lacey is front and centre, in a M position with two dancers by her side, and two dancers in the gaps behind. They have their hands placed behind their heads, arms relaxed to create a < shape on either side of their head. Their bodies are tilted to their left, almost stepping backwards as they do some dance steps to the side, bobbing their arms rhythmically whilst they performed the complicated steps. As Lacey sings, "nowhere but the skies", their hands fall back to their hips in an arc, left legs kicking slightly. After, they would return to their original positions by skipping almost, twirling with their arms outstretched like the wings of a plane. Then, at the end of the line, windmilled their arms over in canon, from right to left, then placing their arms slightly outwards, hands parallel like penguins, and then performed a step ball change. Then circled back their left foot with a pointed toe, ballerina like, then raised their left arm up and pointed at the sky.

The camera then zoomed into Lacey, who was continuing to perform at her best, her face flushed with excitement. The reality of it all still hadn't struck her yet, each step and lyrics like air, as if she were in a dream. As the camera returned to a wider shot, the dancers were now in front of and beside Lacey, their arms stretched outwards, meeting the dancer opposite like a gate. At once, the first pair raised their connected palms over Lacey, who ducked slightly, and back behind her, pushing each other away as they twirled in front of the second pair, who waved their arms gracefully in front of her. Lacey bounded forward, the first pair of dancers arms lifting and swirling around Lacey as she moved past them. The two then raised their arms to let Lacey through, lifting their arms up and backwards, spinning and ending up back to back. They then leant forwards and flicked their wrists creating a pretty silhouette, thin fingers curled like the intricate design of a flower. Lacey pushed the second pair of hands, which spread outwards like a door, and she stepped on the other side. The second pair of dancers span around, meeting each other once again and grasping each other's hands. Twirling under one another like a waltz, the dancers then swapped partners. The new sets of partners then twirled around Lacey once again, only this time in pairs. The two dancers that ended up in front windmilled their arms and went on one knee, allowing Lacey to be seen once again. They all turn to the side, facing the front and raising one arm to the front in yet another arc direction. One of the dancers then grasped Lacey's outstretched arm and span her around, the rest of the dancers doing similar thing, knotting and unfolding each other using both arms. The camera took a birds eye view, the LED floor depicting golden lines connecting the dancers through their well choreographed dance, like constellations. After that, the dancers slid to surround Lacey, two on one knee facing inwards and the other behind and beside. The camera zooms into Lacey, who puts her hand on her heart as she smiles into the camera, nodding her head slightly as if to show respect or appreciation. As she sings, "we are constellations", Lacey once again draws a large five point star with her index, but also the dancers around her make the outline of a star with their arms.

As the dance break begins, the camera bounces to a wider pan of the stage. The lights grow dimmer, however the pulses of gold light that still remain are much brighter, matching the bouncy rhythm of the instrumental. The LED screen first shows a flash of golden stars, the lights matching before also depicting the same stars passing by, though more vigorously. As the dancers twirl away from Lacey who steps forwards, the camera angles are far more dynamic shifting from shot to shot rather rapidly. Her and her dancers dance in unison, first folding their arms elegantly as they lift their legs to the beat. Though the dance moves are fun and easy, they are rather energetic, Lacey lifting her arms and flicking them from her face side to side as she bounces from left to right. The lights also simultaneously flash every once in away, bathing the stage in a soft gold hue, like the flash of paparazzi. She pulls the mic to her lips singing, "constellations", nodding her head proudly. Moreover, they move back into a V-formation, and perform a windmill in canon, each ending with hands on one knee and rolling their bodies. After that, they would link arms and form a line. However, they would constantly turn, switching arms like some kind of traditional jig or river dance. After doing a little shimmy, the dancers slide to behind Lacey, who draws a star as she cheekily sings the final line of the first chorus.

Even if vast galaxies collide
Even if there's nowhere but the skies
I'll always love you no matter the timeline
Even after this life
We are constellations

Constellations
We are constellations

As the second verse begins, the stars stop passing by a stay in place, twinkling as before. The lights go back to pulsing in rose golds, yellows and whites once again, softly illuminating Lacey and the dances. Speaking of which, the camera zooms into Lacey, who reigns in the energy and smiles of the chorus before, as she steps forward. She then twirls to the right, falling into the knee of one of the dancers, knelt down on one knee. The camera pans a little, and the rest of the dancers are revealed all connected, slowly ascending in height from Lacey and the knelt dancer. Clutching each others hands, the look almost like one being. As Lacey softly sings, "hear the soft beat of my heart", the dancers reach up towards Lacey's heart, grabbing the air before returning to their sides. She stands up, the camera circling her as she spreads her message across the cosmos, an infectious smile and rosy red cheeks captured by the spinning camera. Behind, the audience can be seen, a tidal wave of flags of countries all over the multiverse bobbing up and down, side to side. The dancers roll and stand up, spinning to their next positions, two back and beside, the other two dancers in front of Lacey and beside her. As she sings, "please step away", Lacey steps back, pushing her arm forwards as if to push the viewer away. A slightly distraught look on her face, she steps forward, stepping from side to side, almost skipping, one hand behind her back. Then, when Lacey sings, "happy days, sad days", she turns to the dancers on her left, who twirl with Lacey, ending beside her with their hands under their chins, giving a sweet smile. After pirouetting, she then turns to the dancers on her right who elegantly step ball change both sides before posing on Lacey's right side, looking off into the distance. The camera focusses back on Lacey who reaches forward, grasping the air daintily, in unison with the dances who reach outwards instead. On the final line, Lacey steps forward and smiles, merely singing the final note without any dance moves. She gives an almost humorous smile, hiding the giggles of shock that the audience were so supportive. She never would have imagined that a crowd could be so loud, even if it wasn't that loud in comparison to other entries.

Step away, into my arms
Hear the soft beat of my heart
A purpose to be alive

Please step away, from the pain
Treasure happy days, sad days
Someday you will remember and smile

The second bridge begins, however the LED screen stays the same as the last verse, stars twinkling on an inky sky. The lights however harshen light intensity wise. The camera slowly zooms out as Lacey and her dancers step forward, each step having a leg outwards, once again in a V-formation. They also click to the subtle beat. As Lacey sings, she begins to holds her arm out to the camera, welcoming the audience to the safe haven of her heart. With a vulnerable smile , a warm flicker in her eyes like the crackling of a hearth, she pulls her hand to her chest and leans forwards as she rolled her body slightly. The camera took yet another panoramic shot of the stage, the dancers beside her showing off their in sync routine, their grace matching their outfits and the song as they elegantly draped their arms over one another in a line, before twirling backwards. As she sings, "into a brand new start", she sweeps her hand over her head in an arc shape, the dancers falling into dynamic positions, some on one knee, others bending slightly, and watch her hand slowly wave over her head. She then steps forwards once again, bending her knees a little as she raises her hand in front of her, then to the sky, he chestnut eyes following it as if it were a shooting star. Then, her dancers lift her up, creating a human throne as she sits down on the arms, hand still high in the air, her eyes drifting back to the gaze of the camera. Once again, a waned moon envelopes her in a soft white light as it appears on the LED screen. The camera takes a closer shot of Lacey, who, in the arms of the dancers, looks almost as if she is flying, the moon her wings. She lowers her hand as the camera does so, grinning as she points to the lens of the camera.

And, like before, as the marching style drums kick in, the moon emanates golden sparkles, the spotlights flashing a soft gold also. Lacey hops down from her human throne, bathed in a soft gold hue. As the high pitch pulsing sound plays in the background, the LED screen shows a subtle ripple, as if it were the reflection of twilight upon a lake, teardrops causing ebbs and flows. Smaller lights around the edge of the stage also ripple, flashing before returning to a pale glow, creating an almost mystical, fairy like atmosphere, much like their princess-like outfits. The dancers and her continue the choreography, the same as the first bridge. Once again, they slide out wides into a V-formation, flicking their hands once. Though it is the same choreography, the movements seem much stronger, Lacey seeming to be more confident as she circles her heart, fingers flickering like petals in the breeze. Her notes are far stronger too, becoming clear that she is now more settled into her new environment. As per before, they bend over slightly, legs straight as they move the hands over each other's bodies, before pulling them back in. She confidently bounds to the front of the stage, the dancers behind her. As the instrumentation stops for a moment, she sings, "we are constellations", drawing a five pointed star, her smile bigger than ever. She ends it by pulling her fist to her heart, the camera quickly zooming in as her final note leaves her lips. She gives a cute wink, throwing out a heart with both her hands as she excitedly got ready for the chorus. She wished this performance would last forever, the adrenaline of singing and dancing; it was an experience she'd never even could have imagined would be bestowed upon her. As the guitar chords played, louder and louder to build up to the chorus, the spotlights at the back build and build, flashing a brighter and brighter gold, building up to the flash of lights at the beginning of the chorus.

Step into my heart
Into a brand new start
I will love you endlessly
As endless as the sunlit sky

And when stars paint twilight
We will shine unto the night
Always connected
We are constellations

The lights flash gold and white, spotlights billowing outwards as the LED screen once again depicts golden stars passing by. Yellow lines also connect some of the stars, wavering as if they were drawn by a child. Just like before, Lacey and the dancers do the same choreography as before, though with Lacey's new found confidence. As the lights pulse to the bouncing beat, a few billowing outwards for greater effect, the camera takes panoramic shots of the stage, making sure to capture Lacey and the dancer's uniform movements. As they step ball change for the first line, there is closer view of her, zooming out however as raise their arms, forming a circle around Lacey. There is also a birds eye view to boot, capturing the stage floor, which has many stars flying by underneath their feet. As they dance, the camera bounces from angle to angle, Lacey's eyes darting to catch each lens as they come, trying as hard as she can to connect with the audience. As she steps through the human gates of her dances, there's a strut in her step unlike before, her stilettos normally confining, looking as if they were made of clouds. At the beginning of the third line of the chorus, yet another burst of starlight appears on both the back LED and the floor, the lights flashing also, like a small supernova. With their many windmill dance moves, their puffy, flowing sleeves and skirts become especially beautiful, ebbing and flowing like the layers of a nebula, shimmering in the golden light as they pass the many beams of lights. Lacey then goes on to sing the final line, drawing yet another five pointed star. Behind are the dancers making a star with their arms and bodies. As she sings, "we are constellations", the lights halt, the LED sky behind stopping also, leaving thousands of stars frozen and sparkling. A few harsh golden spotlights light up Lacey as she smiles, dimples in her face casting small shadows across her perfect skin. The camera zooms in, capturing only her face, exhaling a little as she prepares for the penultimate section of the song.

Even if vast galaxies collide
Even if there's nowhere but the skies
I'll always love you no matter the timeline
Even after this life
We are constellations

The lights go down, the arena near pitch black. However, a few spotlights at the back flickered a very, very faint gold. The LEDs showed a few flickering gold sparkles, like faint fireflies. However, the lighting effects were simple not to detract from the raw emotion that Lacey conveyed. At the very front of the stage, the camera takes a close-up shot of Lacey, kneeling. Surrounding by a sea of lights from the audience, arms waving and flailing wildly trying to get the attention of the newly fledged WorldVision performer. However, she ignores them, looking directly into the camera, a sombre umber on her face. Above and around her, the four dancers surround her, two kneeling so that they are just slightly higher than her, the other two behind and standing slightly taller. Each of their arms are raised slightly, creating a dynamic position. As the stage turns dark, lights underneath the tulle of the dancers outfits begin to glow gold, shining through the sheer of their tulle outfits. Illuminated in a soft gold glow, Lacey sings emotionally into the camera, showing a vulnerable side to a performance of much choreography. It is a rather pretty scene, like that of a film, as she is surrounded by firefly like lights, glittering as she were bathed in starlight. The camera takes lower shots, one wide panoramic view, putting Lacey centre of the frame as she sings her wishes to the world. A soft smile on her face, tainted by desperation of wanting to show her love. She looks almost like that of a deity as a white spotlight glows upon her, Lacey's light skin glowing in the light, as if she were a star in the void of the galaxy. The dancers around her move their arms around, causing their lights to flare in the lens of the camera, glittering and shimmering. As she sings, "we are eternally connected through painted lines", she raises her hand upwards slightly, as if caressing the light that allowed her to shine. Her voice, light as a feather, is tinged with sadness, the kind that is bittersweet and nostalgic. Her normally effortless notes are intertwined with desperation, a calling to those who have no one. Her eyes, normally aglow with light, are shadowed by a tint of fear and pain. Though, most of all, there is hope, lurking and lingering in her heart, dispersed in her soft, breathy voice. The camera takes a pan of the stage, and Lacey looks right past it, looking beyond the stars and the heavens, lost in thought, lost in melodies.

As the bridge continues, the true beauty of the short scene shines through. When the line, "so hold tight" is sung, the dancers slowly lower their hands, embracing Lacey as she shuts her eyes wistfully, lost in the dream that was performing. Her right lightly wraps around herself, providing reassurance as the song slowed down. It was as if the song was meant as a warm hug for those who were touch starved, lonely and alone. She once again opened her eyes however, the honey brown irises reflecting the flickering lights of the dances, like her eyes were the night sky itself, a thousand stories, timelines and ages of stars. As Lacey sings, "even if the twilight seems so bright", bring her arm back to her chest, clutching the fabric around where her heart is. Grabbing it tightly, she ever so slightly adds more and more power in her vocals. The dancers around then lower their light infused arms, before dragging them round to frame Lacey in lights, who in turn places a hand on her lap. She glances up at the dancers, giving a reassuring smile before, returning her lips to the microphone, each note as clean as the last. The camera took a wide pan of the stage, at a lower angle so that the audience could be seen, flags every so often obscuring Lacey with their silhouettes, like fish flouncing over the waves of the crowd. Lacey's eyes glanced from person to person, their smiles infecting her with her very rough smile, letting a little laugh out as she saw the audience's faces lighting up. Many of the audience had light up bracelets, which glowed like a million stars, waving from side to side. A large shot of the arena showed the true scale of the thousands upon thousands of lights in the audience. As the bridge draws to a close, the camera turns it's attention to Lacey, who's eyes alight with determination, begins to straighten her back and prepare to stand up, singing the final lines as if they were her last. Standing up, she sings the final line. The lights in the dancer's clothing turned off, and the LEDs black, only a single golden spotlight illuminates Lacey as she glares straight into the camera, thrusting her arm forward as she gives a beaming smile, cheeks blushed as cherry blossoms. It was almost over, and yet it felt like it had barely begun for Lacey, the adrenaline carrying her to the finish.

Even if the starlight ceases to shine
We are eternally connected through painted lines, so hold tight
Even if the twilight seems so bright
You're loved, you're forever,
Please remember I want you to stay

As the final chorus begins, Lacey sings the first line with the most energy she's given as of yet, striking the air with her free arm. The dancers, still in their position like before, flick their arms outwards from Lacey, each hand striking to the rhythm of the instrumentation. Meanwhile, the spotlights flash gold and white to the same rhythm, the few lights in the somewhat dark stage, matching the little background music in the beginning section of the chorus. On the LED screen, stars twinkle and glimmer, painting the whole stage in flecks of gold. Lights with gobos in front of them project specks of gold lights upon the audience and the arena, filling the audience with stars. At first however, as the chorus progresses, golden lines of the same colour seem to painted between all the various stars, as constellations of stories, heroes and mythical creatures lost in time are painted on the LEDs in stars. Some may even notice various well known constellations come to form, such as Orion the hunter and the Big Dipper begin to be painted on by lines of light. The camera takes a further back shot of the stage, Lacey and the dancers almost like little stars themselves on the big stage, all centred at the front of the stage. However, in this shot, the whole starscape can be seen, all the various lines connecting each star.

As Lacey sings, "collide", the camera zooms into her, all the way from the back of the arena. She takes a quick glimpse into the camera, giving another smile as she then turns to face the multitude of faces in the audience. After she sings the line however, the stage flashes in gold, to which Lacey jumps, throwing one arm in the air. The spotlights all flash white, though not enough that is blinding or obscures Lacey. Not only this, but on the LED screen, the constellations all flash, an explosion of golden stars radiating from each one, the central most constellation causing the largest glow, enveloping Lacey in golden light, the golden flash behind her like the golden wings of an awakening phoenix. As they flash, the constellations form golden borders of starlight, taking shape as the animal their constellation represents. Eventually the LED screen is filled with heroes of lost and mythical beasts of gone, roaming and leaping from star to star. Just as the choruses before, the stars pass by, like a ship moving through space. However, this time numerous golden figures of semi-translucent animals pass by also, a Pegasus flying by, wings of an angel covering the LED screen in golden dust. Some of them fly off the screen using the magical power of technology, using AR so that these large constellation creatures are able to fly past Lacey into the 'real world'. Despite this, there is still much choreography. As Lacey sings the second line, her and the dancers step forwards, extending their arms outwards at shoulder height in a fancy manner, rolling their wrists. As they step back, they all pull their hands their shoulders. Succeeding that, twirled into a line, Lacey placed at the right end of the line, their right arms outstretched upwards before windmilling, thus resulting with their hands on their knees. Succeeding that, they twirled once again, the dancers once again creating a circular formation around Lacey. They then slid inwards to Lacey, arcing the arms to their heads, who pulled them in by sweeping her torso from left to right, grasping the air with her free hand. Posterior to sliding behind Lacey, two of the dancers peak out from behind, the other two remaining behind her. The two behind lift Lacey up as she scans the sky with her index finger, the other two dancers following her finger, bent over, hands over the top of their eyes, as if she were pointing at a shooting star. The camera pans the opposite direction however, adding an extra element of dynamisms. On the LED screen, Monoceros the unicorn leaps out from the beyond, galloping away into stardust.

As Lacey sings, "I'll always love you no matter the timeline", the dancers then drop her down to her feet. The two dancers that were not lifting her up take each of Lacey's hands, with one of the lifters holding her mic for her, and they spin twirl her around, the two dancers switching position and twirling with her. The two dancers behind, now replace the two dancers in front, doing some hand holding choreography that seems almost as if Lacey should be suspended in a knot of hands and arms, and yet she returns to the centre of the group untangled. With two dancers beside Lacey, and two behind in the gaps, the turn their bodies to the left, heads facing the audience at the front. As they turn, they stomp their feet down lightly, nodding their heads once after. Their downstage arms arc over the heads and in front, pointing into the camera which zooms into the group. Lacey winks subtly, smiling as she continues to deliver the lyrics flawlessly, few to no hitches, spare a few deeper breaths, despite the complicated and energetic choreography. However, the effort definitely showed on her face, getting pinker and pinker, like roses on a fresh summers morn. The LED screen shows Leo the lion, painted in stars as the large, majestic lion ran vigorously yet so delicately across the LED screen of night. On the next line, Lacey turned back to the front, one arm crossed whilst the other arm leant its elbow (of the arm holding the microphone) upon the other hand and swept her arm over her head, grazing her hair before leaning across her body and ending the short hand choreography with a soft flick. The camera takes yet another sweeping pan of the stage, Hydra now flying across the canvas of the night as it flew on the floor screen, underneath where Lacey was dancing. The camera then returns to a front facing view, where the four dancers appear behind Lacey, who winks at the camera before leaping backwards. A camera above shows that she leapt backwards into the arms of her dancers, lying casually in the bed woven from their arms. She looks into the camera and as she sings the final line of the chorus, "we are constellations", she draws a large five pointed star above where she is lying, the lights having stopped pulsing, only a harsh couple of golden lights illuminating Lacey.

The final dance break begins, and thus the final section of the song starts, and the stars begin passing by again as well as the constellations. However, their lights flicker constantly matching the dance break. The spotlights also follow suit, flickering on and off in a less bright gold, rippling. Despite this, every time the music seems to flourish, there is a slight flash from the lights, a small glittery explosion appearing on the LEDs behind and below Lacey and the dancers. Lacey jumps back off the bed of arms, and the dancers instantly dissipate into a V-formation behind Lacey. As they at first swinging the arms from the knees and backwards in an arching motion, they then twirl into new positions, where they almost waltz with each other, grasping each other and performing a few ballroom style steps before twirling and moving onto the next dancer. The camera, taking many various dynamic shots of the stage, then takes a birds eye view, where on the LED screen below, lines connect each of them together, as if they were stars in an everchanging constellation. After, they grape vine to one side, hands dancing at the sides elegantly and uniformly. They then squat very high up, and make a circle with their pelvis, going down and around as they squat. Their hands meanwhile hover above the thighs, swishing side to side to the beat. They then twirl and the dancers slide kick onto the floor, leaving Lacey standing up alone to sing the first, "constellation". The camera zooms into her as her eyes glitter, and she tilts her head slightly, pointing at the lens of the camera before pulling it back to heart and down her body to the jolting rhythm of the song.

After that, the dancers kip up, standing beside Lacey once again as they shimmy, throwing the hands in the air at one of the off-beats. The camera takes a tilted zoom in of the five princess-like dancers, who then skip in a box step, hands flourishing in pretty movements. Their hands then swirl under their chins, framing their perfect smiles as they begin to do more vigorous movements, such as body rolling, hands on their knees. As the song draws to a close, the dancers twirl inwards towards Lacey, who blows a kiss to the audience as well as the camera zooming in. A final wide shot of the arena shows the crowds; a Llaltese section near the back standing from their seats as they fly the Llaltese flag, performing the choreography from the dance video that was highly requested by the Llaltese islanders. After, the focus goes back on the dancers, who place a crown of their hands on their heads before pulling them down to draw a circle-of-eight in front of them before flicking their hands around, using the momentum to twirl inwards towards Lacey once again, who's white teeth gleam in the light as the camera takes a shot of all five performers.

Even if vast galaxies collide
Even if there's nowhere but the skies
I'll always love you no matter the timeline
Even after this life
We are constellations

Constellations
We are constellations

The camera takes a close up shot of Lacey as she sings the final line, smiling earnestly into the camera, eyes glimmering in the soft wash of gold. She draws the star with her hands, pulling her hand to her chest once finished, before raising it to the sky once again. However, from her enclosed fist, a handful of glitter is thrown into the air, shimmering in the light. Around her, the dancers once again create a star shape with their arms, smiling proudly into the camera. Lacey sings her final note, the LEDs and spotlights all cutting to black, apart from a volley of harsh golden spotlights glaring upon Lacey, stood in the middle of a human star, arm raised in the air and surrounded by a what seemed like a never-ending rainfall of glitter. The crowd cheered loudly as reality began to hit her, her face flushing a bold pink as she began to giggle and smile uncontrollably. She began hugging her troupe of dancers, jumping up and down excitedly like a child. After hugging the mass of dancers, she turned to the front, beetroot red as she tried to thank the audience, cut off by her own laughter and excitement. Finally, she pulled the mic to her lips and said, "Th-thank you so much!" before returning to the group hug. She couldn't stop laughing. In all of her music teaching career, never had she reached such highs as she had tonight. The thrill of performing, inspiring the world, was like a breath of fresh air. At once, a thousand doors had opened up for her, a thousand new futures she had never though possible. A whole new world ahead of her, and yet, she just wanted to stay in the moment. Breathless but smiling only from the smiles of the audience around her. She wished this moment would last a lifetime.

~⚝~

by **Greater Korean Juche Republic** » Wed May 05, 2021 8:35 am

#34 - GREATER KOREAN JUCHE REPUBLIC
Blood of Martyrdom - Ri Pyong Chon, Kang Song-Il and the Pyongyang Choir
Peace on Our Bayonets

-

The cold winter encroaches steadily.
Her immovable frost host a million ri of despair.
Nothing can tear us away from the homeland,
Not even the winter's nothingness.

The enemy stands unforgiveable!
The enemy stands as the malefactor of evil!
The blood of martyrdom, only the blood of martyrdom,
Will dispose of them and bring the summer sun!

Through the rotten battlefield, our youth march on.
The blazing brambles entangle, yet they still advance.
Nothing can tear us away from the homeland,
Not even the inferno of thorns.

The enemy stands unforgiveable! (Ah...)
The enemy stands as the malefactor of evil! (Ah...)
The blood of martyrdom, only the blood of martyrdom,
Will dispose of them and bring the summer sun!

[INSTRUMENTAL]

(Ah, nothing save our blood of martyrdom!)

The scoundrels of Britonisea, defectors of Axuva!
Liars of Caryton, idols of Malta!
Nothing can tear us away from the homeland,
Not even the torrent of sweltering steel!

The enemy stands unforgiveable!
The enemy stands as the malefactor of evil!
The blood of martyrdom, only the blood of martyrdom,
Will dispose of them and bring the summer sun!

Will dispose of them and bring the summer sun!

Ah...!

by **Adab** » Wed May 05, 2021 9:41 am

OOC: My commentary here does not necessarily reflect my real-life opinion of the songs, the nations, or the people behind them.

WorldVision Commentary Presented by the ABC
A special program of the Adab Broadcasting Corporation

Left to right: Aleksandr de Pfeffel-Krigenstein Dolgorukov, Abigail Halevi, and Derrick Bobbama

Our Commentators:

Aleksandr de Pfeffel-Krigenstein Dolgorukov: A descendant of Russo-German nobility who moved to Adab years ago, Aleksandr made his name in the film and music industry, with his talent agency Aleksandr Superstar Agency becoming one of the biggest in the country. He is constantly on the lookout for young, promising actors and musicians who he believes deserves to be famous. Aleksandr has graciously agreed to join us on the commentary box as a temporary replacement for Filippos Eliades, who is currently on a spiritual journey to Tibet but hopes to return in time for WorldVision 91.
Abigail Halevi: One of Adab's most promising young actresses, Eilat's very own, Abigail is also guitarist in the ska punk band The Penguins and hosts her own podcast, Sitting Down with Abigail Halevi, which is carried on all major streaming platforms.
Derrick Bobbama: An outspoken lawyer, community organizer, and voting reform activist, dubbed a "firebrand" by his critics, in his spare time Derrick loves listening to music and following the latest musical trends and is a self-proclaimed "WorldVision fan". Derrick currently owns his own social media platform, called Parley.

Featuring Guest Commentary from:

Filippos Eliades: From his monastery in Tibet, where he is currently working towards achieving a higher state of being, Filippos will offer commentary on a select few of the performances via telephone if the connection permits.

by **Syrche** » Wed May 05, 2021 9:30 pm

#35. - SYRCHE
tune: Dani Ride, Rebecca Black - Ven Dimelo

Varøka Salona is well regarded as a legendary music producer in Syrche. She has written hundreds of top charting pop songs for the likes of Sheante, Marlinda Hargraves, 1MILLA, and many, many more. Varøka was last seen in Worldvision 66, when Sheante's "Against the Flame" narrowly beat out her entry, "For All Time."

Originally from Darlene, in the South of Syrche, she now resides in East Seridan, a bedroom community of the Capital, Sekth. Varøka signed with ONE Recordings in 2010, and has released 3 albums through the label; "Come Find Me," "Anytime, Anywhere," and her most recent, 2020's "Forget. Reality."

Peer Nostalgia were originally formed as a collaboration between Producer Ash Merdokk and Singer / Model / Influencer Jonas Eikkhorn in 2018. The two released an album for Kersner Music, titled "The Future of the End" to moderate fanfare, and later competed in the Sunlight Song Contest ahead of Worldvision 83, with the song "Livewire," which failed to gain traction against MLE Cleary's "In My Life."

The group parted ways in 2020 for unknown reasons, though Eikkhorn continues to use the name Peer Nostalgia as a stage name.

Peer Nostalgia appears on the stage, an unmistakable silhouette. Even on the dimly lit stage, his Pink hair and glittery sunglasses demand attention. He is dressed in a white button down shirt and simple black pants and his fingernails are subtly painted black. As the music begins, he remains at the far side of the stage, pacing.

Before you go
There's one thing on my mind
I just need to know

Varøka Salona walks out from behind, wearing a hounds-tooth patterned fitted shirt with elongated shoulders and blue and black pinstriped spandex pants to compliment her blue hair and lipstick. Crossing to the right side of the stage as she sings, before looking over at Peer Nostalgia with a knowing smile.

I see the way that You look at Me
When we're both alone...

As the pre-chorus begins, Peer Nostalgia walks along the left catwalk, Varøka walks the right catwalk in unison, before meeting at the center. The lighting gradually lifts more and more as they approach the end of the catwalks.

Lets take the path that leads us to discovery
Build a fire that burns into our memory
Emotionally pouring on like gasoline
Engulfed, Inflaming, everlasting

Varøka turns back. Peer Nostalgia gestures to her as he begins the chorus.
The lighting switches abruptly from yellow overheads to various shades of pink and purple overhead cam lights, rotating in different directions. The wireframe lighting at the back of the stage also lights up in pink and purple.

As Peer Nostalgia sings "I Love You" he turns away to face the audience on the other side, and Varøka turns back toward him, now gesturing, longing, with both hands outstretched.

Before you walk out that door,
Clear the air
Let me know,
Before you go...
Place yourself in my arms,
What's the harm?
I love you,
I just need to know
Before you go....oh oh oh

The Purple lights disappear, and the pink sharpens into a dark red.
Varøka marches over to the center of the catwalk, standing beside Peer Nostalgia, who faces away. Her vocals are somewhat restrained, though her performance is aggressive, as she approaches her allusive love.

What's the point of treading lightly just to hide what's really real?
And how could I get burned alive by what i know we both can feel?

The lighting begins to soften to a lighter pink, then transitions to orange.
Peer Nostalgia abruptly turns toward Varøka. The Pair lock eyes. She Melts. He shimmies over to her, and the pair begin grinding their bodies together to the music as he sings.

You're love is the object of my desire
Everybody knows that it's all about timing
We belong together like Mariah
Carry you to safety, any mountain we can climb it

Varøka does a full 180, staring directly into Peers eyes, walking him back along the center catwalk.
The lighting dims to half strength.

Stare into these eyes, forever
Never ending, Love Always
Continuously, Religously
Intimate et et et

The pair now stand together at the center of the main stage. The lighting continues to wane

Magnetically, we're building on the energy
Emotionally charged like electricity

It's almost pitch black. The two split up again, each traversing either side of the catwalks, as the lights quickly transition back to full Pink and Purple, rotating.

Before you walk out that door,
Clear the air
Let me know, before you go...
Before you Go...
Place yourself in my arms,
What's the harm?
I love you, i just need to know
Before you go....oh oh oh
Before you go
Before you go

They meet at the end of the catwalk again. She stares into his eyes, caressing his tie in anticipation. The lighting begins to dim again, becoming very faint by the end of the next verse.

A soft pink spotlight shines down on them.

I lay my heart on the line
Let you decide
How You feel
I just need to know...

As fireworks shoot out from the main stage, lighting the entire arena, He reaches out to her, taking her hand and lifting both into the air, triumphantly.

Now we can walk out that door
hand in hand
you and i are fully exposed, because we know
that our love is true love
heart and soul
two worlds apart, but together whole
oh oh
oh oh
oh oh oh

Fireworks shoot from the stage once more, as the two take a bow, blowing kisses and waving to the excited audience before he takes her hand they exit the stage.

by **Northern Beepee** » Tue May 11, 2021 7:43 pm

.....................................
36?. NORTHERN BEEPEE
"Follow"
Performed by
Magnolia

Tune: "Door de Wind - "Miss Montreal"

MAGNOLIA

Northern Beepee is back for its third entry on WorldVision having previously participated in WV84 and WV87.

This cycle the internal selectors at KooriTV have chosen Magnolia to represent them.

Magnolia is 34 years old and has never sung professionally before tonight's performance. Indeed, this will be her first live performance. The niece of an executive of KooriTV, and its widely speculated that its for this sole reason she was chosen to represent Northern Beepee.

Despite this, Magnolia is committed to succeed, and certainly has some pedigree. Magnolia comes from a family of creative people. Her grandfather was an artist and her mother a pianist.

Participation in Worldvision 90 is a dream come true for Magnolia. The stage is waiting for her and she hopes it will be a springboard to a singing career.

The song itself is a song of love and need tinged with sadness, and Magnolia hopes to convey the emotions of the song in her presentation to you tonight.

FOLLOW

Magnolia stands center stage awaiting the ident to finish.

Magnolia wears a simple olive green dress with a flowering golden wattle pinned just above her left breast, in a simple and understated homage to her home country.

The orchestra shuffles quietly in their seats, flicking their sheet music over preparing for the song to begin.

The Elejamie orchestra conductor, Chris Basset, settles the Avon Philharmonia Orchestra raising his baton to gain the attention of the musicians.

A silence falls over the audience as the ident ends.

The stage is dimly lit.

The camera is set to the hand of the orchestra pianist... who begins.

As she does a circle of lights frames up around Magnolia, placing her in what could be described as a prison made of bars of light (think kind of similar to Sanna Neilsen, "Undo", Sweden, ESC2014).

The camera cuts to a sweeping panoramic of Magnolia, who nervously tucks her dark curly locks behind her ear and quietly begins...

After everything
That you put me through
I shouldn't
Just follow you
But I have to
You're like air to me
Yeah
You're like air to me

She holds the microphone to her mouth with both hands, trying to simultaneously steady the shake she feels running through her whole body and to give her the strength get through the emotions that will be laid bare in her performance.

The orchestra string section, begins to layer in behind her performance as she continues, growing in vocal strength after the nervousness of the opening stanza.

You are all I've ever wanted
All I've ever needed
Like a moth to a flame
You know I will follow
You're the flame that I follow

As the chorus begins, Magnolia fumbles with her in-ear monitor, and she tries to push it back in, before letting it fall on her shoulder.

Over hills
Over mountains
I will follow you there
After all
Life has no meaning without you
My love
I will follow you

As she sings the next stanza, the director chooses a variety of shots of the orchestra and long distance views over the stage. The shots make Magnolia seem small and fragile against the massive backdrop of the set and stage.

All the questions
You made me ask
All the answers
That never did come back
You hurt me
Oh yes, you hurt me

As she sings the next stanza, Magnolia closes her eyes and opens her throat with a powerful growl of pain and hurt. There's a rawness of emotion that floods out.

And I never believed
That there's a loser and winner
That one is a God
The other's a sinner
And I'm not the sinner

As the chorus carries on, the circle of lights splay and fall away from Magnolia and a spotlight floods directly down on her from above.

Magnolia removes one hand from the microphone and holds her hand slightly beside her face, her body fighting the emotions of the song and pushing out through her unrestricted hand.

The orchestra wind and brass sections, joining the heavy drum beat which started in the previous stanza, now layer into the music to bring greater depth to the tune.

Over hills
Over mountains
I will follow you there
After all
Life has no meaning without you
My love, I will follow you

Before she begins to sing the bridge, Magnolia breathes out deeply, releasing pent up energy as she sways backwards and forwards reaching out to her lyrical lover.

Over hills and mountains
Over seas and oceans
Over trees and valleys
You know I will follow

With the final chorus, Chris Basset lowers his baton looking for the orchestra to move to play piano.

Magnolia's voice begins to quiver as she reaches the end of the final chorus. She grips the microphone with both hands again.

Over hills
Over mountains
I will follow you there
After all
Life has no meaning without you
My love,

With her eyes looking off into the distance, Magnolia's voice barely manages to squeak out the final line.

I will follow you

The director cuts back to the hands of the piano player to see the final notes of the music being played, before the lights fade and dim to darkness.

Magnolia stands for a moment, taking in the site in front of her, breathing quietly to herself.

Before waving to the audience as she walked of stage.

by **Beepee** » Tue May 11, 2021 7:44 pm

37? BEEPEE
"Won't You Fall In Love"
Performed by
Mary Zaho

Tune: Trax - Du er fuld af løgn

BEEPEE AT WORLDVISION

WorldVision 90 represents the 12th Worldvision entry from the affable yet aloof nation.

Beepee's schlagerific song choices have veered consistently from the sublime to the ridiculous, with varying levels of success - including a shock victory at WorldVision 85 in Valletta.

This cycle has a very special place in the hearts and minds of average Beepeeps, as its being held in Elejamie. Beepeeans still recall with great affection WorldVision Teams, where Amina Pickle and Andrea Garcia joined forces but failed to set the juries alight. However, since then Elejamie has held a special place in the heart of Beepeeans.

MARY ZAHO

YES SHE IS!

Mary is a thirty-something television presenter and singer.

Born in Silver Wattle Bay, Mary moved to Norfolk Pinewoods in 2010 to study journalism at PU. During her studies she entered several amateur song contests.

In 2018, she married Songwriter Mike Zaho, and progressed her career as a reporter and singing.

She represents Beepee in the 90th Worldvision Contest with the song "Won't You Fall In Love" co-written with her husband.

AVON CALLING

Upon being selected to be this years participant, Mary Zaho'ed her way over to Elejamie lickety-split. Quarantining for seven days, the minimum time required - thanks to Beepee's covid free state - Mary found herself a little bored in her luxury suite. She flicked on ETV ONE just to hear noise in her room. She looked longingly out the window at the city sprawled below. Luckily, however, the quarantine gave Mary time to practice her vocals and dance moves. He hopped and bounced her way around her room... much to the annoyance of her neighbours.

After the period of isolation was over, Mary decided to take in the sights and sounds of Avon. Mary had reviewed the welcome package and determined her first stop would be the Pancakeria, particularly given the in-hotel food options.

Mary ordered a world famous sweet pankarito and a pink milkshake with a pancake straw. The food was very hearty and thoroughly enjoyable. Unfortunately, however Mary left her pancake straw in her milkshake a bit too long and and it went limp and soggy. Mary sucked and sucked as hard as she could through the pancake straw, but no milkshake rose up the straw. Mary hadn't sucked that hard in a while, and at one point she thought her head might explode.

After some tasty food, Mary made her way to Boardway to do some high end shopping. First stop was Blair’s Department Store. Mary had brought her credit card and was ready to spend, spend, spend on some Elejamine fancy goods.

WORLDVISION 90

Beepeean Televisual Commentary

Hugh Jakeman, commentator, imbecile, alcoholic, is once again providing sensationalism and patriotic fervour with his commentary for those televisual viewers in Beepee and across the multiverse online. Unfortunately for the televisual audience, High opened the chablis at Song 7.... and now he's making almost no sense.

"That was the the Northern Beepish entry "Follow"... we don't like to talk smack about them... so we'll just move on.

Next up it's us. We're late on tonight, the latest we've ever been, and let's just hope the juries haven't fallen asleep. If they have, this one should waken them back up. It's a bouncy little number, just like Mary.

The songs a simple love song, in the best Beepeean tradition, and Mary sells it like she means it.

Here she comes now, a pert lovely in blancmange pink... let's all cheer her on in word and gesture... Mary Zaho - "Won't You... Fall.. in Love".

WON'T YOU FALL IN LOVE

The ident finishes and the stage is set in darkness.

Mary stands center stage. Mary is wearing beautiful pink blancmange coloured satin outfit, her signature colour. With her coiffed hair do, held together with copious amounts of ultra-clutch hairspray.

The music begins and Mary starts bouncing through her knees in time to the beat. The dance will remind the younger televisual viewers of a drunk aunt getting a bit to excited at a family celebration.

The lights slowly come up, and the audience gets a good look at the beaming Mary. She's clearly happy to be here and she can't hide her excitement.

For once in your life
Listen to the words I say
And then you just might
feel my kiss

As she sings Mary is keen to make a connection through the camera, with slightly exaggerated facial expressions and pointing. (Everyone loves a good point!)

For example as she sings the next stanza, she points her finger to admonish the viewer and looks sternly down the camera as she sing "stop what you do", before relaxing and winking as she sings "crazy just for you".

Stop what you do
Look and me and you will see
Someone who loves you
and is crazy just for you

The poor Elejamie cameraman has to get creative with keeping Mary center screen as she bouncing gets a little more peppy as the chorus arrives.

As she sings the opening line, she points down the camera letting everyone know exactly how she feels. It's preppy and naive, but also charming and spontaneous.

I'll give you my love
If you only asked me darling
I've more than enough
Yes it's true
Won't you fall in love
Tell me those three words
and I will tell you that I love you everyday

As she continues to happily bounce through the song, pointing with every 'me' or 'my and 'you', the Elejamie director cuts through different camera angles. Thanks to her quarantine rehearsal time, Mary hits every cut and maintained perfect eyecontact with each cut.

All of my life
Don't you know that I have waited
Just for someone
Just like you

Mary peacocks around the stage, still bouncing through the knees, and giving it all the energy she can muster.

All I can say
Is take a chance and say you love me
You'll never know
Just how good my love can be

I'll give you my love
If you only asked me darling
I've more than enough
Yes it's true
Won't you fall in love
Tell me those three words
and I will tell you that I love you everyday

As she sings the following stanza, Mary throws her arms around herself. Before throwing her arms open as she sings "how good my love feels", in a moment of pure unadulterated joy.

If you never hold me
Feel me in your arms
You will never understand
Just how good my love is

As the following bridge occurs, seemingly out of knowhere the (hidden in plain view) backing singers echo the "Won't you fall in..."... its both a surprise and a delight.

Won't you fall in...
Won't you fall in...
Won't you fall in love
Tell me those three words
You know I'm sent from up above
Just for you

As the key change kicks in there's an extra bounce in her step, as Mary she begins kicking her knees up higher, before doing an Israeli sidestep - Beepeean acts favourite dance move!

I'll give you my love
If you only asked me darling
I've more than enough
Yes it's true
Won't you fall in love
Tell me those three words
and I will tell you that I love you everyday

I'll say that I love you everyday

As the last line is sung, Mary sashays down to the front of the stage

I'll say that I love you everyday

After singing the final line, Mary shanties back to center stage. As the music finishes, Mary thrusts her fist in the air. It's a joyous ending to an upbeat performance.

by **Elejamie** » Wed May 12, 2021 5:01 am

ETV1 presents WorldVision 90 - English language commentary by Cerin Erali and Flynn Taggart

CE: Welcome to WorldVision 90! Bienvenido a WorldVision 90! Yalcom WorldVision 90! Live from Avon for once!
FT: That's a surprise.
CE: It sure is. I'm Cerin Erali.
FT: And I'm Flynn Taggart.
CE: And we're yet another commentary reservation post.
FT: Why does Ele keep doing this to himself? He knows he has his main entry, his puppet's entry, a whole load of graphics and now this to do.
CE: Nothing wrong with a challenge!
FT: Or working yourself towards an early grave, especially with a laptop keyboard that doesn't work.
CE: Maybe. Be sure to check back in a bit!

by **Syrche** » Fri May 14, 2021 6:30 am

RGK: Hello World! I'm Regina Georges Kahnwahld
RJ: And I'm Ryan Jade, AKA The Diamond Diva
RGK: and tonight we are here in AVON, ELAJAMIE!
RJ: Celebrating WORLDVISION 90!!

INTRO SONG AND PARADE OF NATIONS

RGK: Very Tasteful
RJ: Yes, our host is certainly doing a great job of starting things off for us here!

NEKONI

RGK: A strong opening performance by Nekoni!
RJ: Yes, a very good live performance, and bench has been set!

FARABY

RGK: I don't know what i was expecting from Faraby, but it seems like usually they're a bit edgier than this...
RJ: It's all in the execution girl, pun intended....

ADAB

RGK: Wow!
RJ: I feel dissoriented, but like.... not in a bad way?
RGK: This is everything i could expect from Adab, a solid composition, simple but hard hitting and effective.
RJ: and a light show to die for!
RGK: and it's real sad ya know... they didn't let any of the Adabian fans come out with her.... poor girl
RJ: Why the heck not?
RGK: 'Rona, of course....
RJ: Ain't no 'Rona gone scare me, girl... i do what i want...

NORRP

RJ: I like that she knows what she wants, like... at the end of the day, don't we all deserve to be happy?
RGK: I think you're oversimplifying it Ryan...

AXUVA

RGK: MEH
RJ: O. M. G. HOW dare you insult Axuva
RGK: What? it was a boring song
RJ: Were your eyes closed? the choreography was *SNAP/SNAP* to die for, and not to mention, D-IAMOND got a new fan ova' here...

SCOTATROVA

RJ: oooh this girl is on fire, You burnin the stage down Honnney!
RGK: Don't be a Diva, Ryan
RJ: Top Model Diva, but my name not Eva, you Jelly?

ELJIDA

RGK: Definitely ...uhm....
RJ: This is a statement about Eljida Culture!
RGK: Yeah...uh...yeah
RJ: Take time with your words, Honey, 'Preciate it!

MCG

RJ: Was you paying attention this time, boo-thang?
RGK: Well, yeah.... i can honestly say that this will be handsomely rewarded tonight....
RJ: Yeah, but is it gonna top their recent win in '89?
RGK: WHO Knows? Worldvision is a fickle, fleeting thing...but they're definitely getting points from us tonight!

TOBU

RJ: Wow, that was moody!
RGK: i really enjoyed it
RJ: Same, great vibes, wish that song had been longer!

NEW DOURIA

RJ: Oh had i but known, i'd have packed my Kilt!
RGK: I felt this song, the music more so than the lyrics, but God, what a fresh breath of air that was!

CARRELLIE WITHDRAWS

:/

ELAJAMIE

RJ: And this is our host, a good performance i think
RGK: I can tell they've put a lot of time into this, and so far their hosting has been good, so i really can't knock them
RJ: but a winner, i do not foresee... is that rude for me to say?
RGK: Yeah, ya faggle, shut up...
RJ: Umm, you did not just call me a Faggle....

POLKOPIA WITHDRAWS

:/

CRUSTYLAND

RGK: Ryan, have you ever been to Crustyland?
RJ: Sad to say that i have, and trust me girl, it's not a good look.
Fortunately, the Country, Crustyland did not leave the same bad taste in my mouth, and has blown ME away with this performance!
RGK: Yes, Elisa Paola, next big thing out of Crustyland and her voice is simply amazing
RJ: and the paired down performance, it's nothing over the top, but it works well with this.

ALEZIAN UNION

RGK: Wow! so this is what a United Alezia looks like? I really thought the south would have brought them down, but this was incredible!
RJ: Yes, very succinct group, i wouldn't be surprised to see them dominating the globe in short time! Please come tour in Syrche!!!!

MISTER X

RGK: POWERFUL Vocals, on point lyrics...
RJ: Girl, that wind machine had her looking like a goddess up there
RGK: Major impact, this one...
RJ: I got my eye on you, Mr. X

Natanya

RGK: Nothing groundbreaking here, the 80's revival aestethic having been par for the course the last some-odd years
RJ: I think this feels much more authentic than what you hear on the radio
RGK: Yeah... i can see that...

Saviera

RJ: YAAAAAAAASSSSSS, You SLAYED it girl!
RGK: I think the Orchestra certainly put in some work here.....
RJ: DAS. VæRE. GODT!!!!!!!!!!

Antenovaria

RJ: Not a winner in my book
RGK: yeah, sorry...

Belgaam DQ'S

Achaen Republic

RGK: So, yeah... if you're watching from home, this is what Pornography looks like...basically...
RJ: Yeah, but like the kind that rich people watch....
I'm just confused why Achaen women get so offended....
RGK: A Ho by any name other would be just as such...

RGK: and it's time for us to take a break and go get some hot coffee....
RJ: Hold Tight Audience, we'll BRB...

--------Interum---------

Rhim Flavezztowland DQ'S

Talvezout DQ'S

Nahlcomo DQ'S

Waisnor

RJ: Not Bad!
RGK: Not Great either...
RJ: You're such a pessimist, why couldn't you just leave it?

Kalosia

RGK: I actually kinda liked this
RJ: As You Should
RGK: and nice to see that Varøka's not the only 30s Vet up there...

Pemecutan

RJ: Gorgeous, supple maiden, nothing compares to you!
RGK: Are you going straight for her, Ryan?
RJ: As If...I would totally have tea with her though...

Antabrantahstan DQ'S

BRitonisea

RGK: Well, the gloves are certainly off tonight!
RJ: That's right, Britonisea with definitely one of the strongest entries tonight.

Placely Placington

RJ: Pain for Pleasure, it was equal parts awesome and cringe.
RGK: Reminds me of my ex.... he was an asshole...

Vartugia

RJ: Stop pushing your lifestyle on me, like.... if you wants to have just one party that kills you for defiance, that's your choice honey boo boo, but i can't get behind that...
RGK: Yeah...basically what i expected from Vartugia... it's called Denial

Caryton

RGK: well then... i feel like i just got out of Church...
RJ: I assume this is what my Grandmas life was probably like...

Llalta

RGK: Try-hards....
RJ: Just when i thought we had our top placements.... here comes Llalta to run up the numbers
RGK: This is one of the most seriously contentious contests that i've seen
RJ: We should be heaping on praise though, this was an excellent performance and will no doubt be top of the rankings.
RGK: yeah... how many more times can we say that before they can us for being hacks?

GKJR

RGK: I feel like we just found Vartugia's spiritual brother or something
RJ: Yeah, but why so surrious?

N. Beepee

RGK: A very intimate song from NBP and-
*Looks over* OMG Ryan, are you crying?
RJ: NO... *SOBS*

Beepee

RJ: Thank You Beepee, for lightening the mood a bit.
RGK: I expect this song to do well with our Dåtsche viewers, in the Southern portion of Syrche

Not Auphelia

RGK: seems like folk/ traditional music is on the rise here
RJ: Watch out New Douria, You gots competition here...

Auphelia

RJ: I.. i have no words to describe this...
RGK: I do... TRAINWRECK

Teesdexxia

RJ: I like his voice...
RGK: I liked this performance a lot, it surprised me, but the whole triangle thing feels like it's been done to death
RJ: You are not a positive person, are you?

Hafamarimet

RJ: Seems it's not gone all to plan...
RGK: Not a banger in my book...

Volstranistania

RGK: This song was tolerable, but Volstra needs to pump some money into staging in the next go of it!
and this was our final act for the night
RJ:: Wait, no Ethane?
RGK: 'Parently not, bud.

Interval Act

RJ: At this time we'd like to thank our wonderful Host, Elajamie.
RGK: Yes, it been a real rouser here in Avon, but now it's time to pop some bottles
RJ: Hells Yes girl, lets get thaaaaa drank on....
RGK: We're in the process of submitting our Jury Votes for the contest...
RJ: But ya'all at home need to do your part too...
RGK: Dial in to (88) 261 999 5434 and submit your vote for WORLDVISION SONG CONTEST 90!
RJ : And Remember, it's never too late to MAKE YOUR DREAMS COME TRUE!

by **Not Auphelia** » Mon May 17, 2021 8:57 am

38

Bittersweet Sorrow

The Hoyden Triplets — Judy, Rita, and Annette Hollis — were born in Queensport in 1974 and carry between them a list of credits that includes some of the most interesting folk, jazz and experimental music to come along in the past 30 years, helping define the musical life of their home city. Though they often work apart, as a trio they go by the stage name of The Hoyden Triplets.

But like their late father, the bassist Charles Hollis, who helped introduce jazz and folk music into the mainstream Not Auphelian home beginning in the 1950s, the sisters also belong to the countryside, and to the winsome family harmony singing of the nation's folk and country music. On The Homestead Companion, the 2020 follow-up to their acclaimed 2015 self-titled debut, the Hoyden Triplets mine the heritage of their nation to profound effect, blending their ethereal sound and straightforward lyricism to classic songs from their nation's rich cultural canon.

These uncovered gems are lost dispatches from a forgotten Not Auphelia —the mountains and prairies and rocky shores that conjured up the folk art and culture endlessly mythologized in song. But the concept behind the Triplets’ The Homestead Companion transcends nostalgia. Overall the backing—from the Band-style stomp of “Oh Brother!” to the noir-tinged atmosphere of “Seafarer's Peril”—upholds the sisters’ harmonies impeccably. Their vocal chemistry is at once tradition-minded and modern; throughout, they demonstrate a dynamic, elastic quality. In the end their sound is as otherworldly as ever—evocative of both the old, weird Not Auphelia and a specific brand of vocal charm unique to their beloved homeland.

Growing up in Queensport in the 1970s and ’80s, the girls were raised primarily by their mother, an analyst for the Interior Ministry, but were often visited by their touring father, making a living by touring across Not Auphelia, neighbouring Canada, and the United States. The sisters got a chance to absorb their country-folk heritage during frequent childhood visits to their grandparents’ rural home nestled on the sweeping cliffs above the dark Atlantic waters on Not Auphelia's eastern shore. The girls loved their experiences, with all of the quintessentially country and lovingly old-fashioned beauty in a simple folk song shown to them here; a cultural birth right they’d never really known was revealed, nurtured at country fairs and local theatre reviews. Their childhood was steeped in these songs and stories, traditional folk and the modern styles of the day ensuring their resulting musical efforts tasted strongly of these influences. The sisters began playing instruments at an early age, eventually settling on violin for Judy, bass for Rita, and guitar for Annette.

All three went on to have rich and diverse careers in music, the arts, and politics. Judy has become a frequent collaborator of many bands and solo acts, having participated in 17 world or national tours in the past decade for acts including Tailor Fast, Red Night, W2, and Bone Ivory. She has also released several albums on her own, Night Sky Screams and Cherry Grove.

Rita spent a good deal of the ’90s in her own band, Yellowed Pages, intimate harmonies accented hooky, punk-infused power pop propelling her band to be the top selling pop act on the Not Auphelian charts in 1997, 1999, and 2003. Rita later took an interest in drawing and painting and animation, eventually earning an MFA in film and video from Xibou Univeristy in Charlottetown in 2007, going on to work on many influential children's animated television series' in the 2010s including The Gummies, Wanda's World!, and Mimi's Playhouse Funtime Variety Hour.

Annette graduated from Queen Mary University in 1996 and initially joined her sister Judy's band, leaving in 1998 to continue her education, becoming increasingly politically involved in the Not Auphelian Socialist Party (now called the Progressive Party). She eventually received a doctoral degree in public policy and became a prominent political activist and eventually Progressive party campaigner, advocating for preservation of historic landmarks and increased arts funding. Her work during the 00's is largely credited with saving Not Auphelia's oldest theatre, The Westbrook. She also helped revitalise a new rise in protest music during the late 00's, helping pioneer a new life for the musical style that had died in the 80's under the last long lasting Conservative administration. In 2012 she successfully ran to become a Queensport City Councillor, resigning during her fourth term to become an MP in 2019 after her party gained a seat in the national Parliament, where she has remained since.

Early in 2014, the Triplets gathered to mourn the loss of their father to cancer, attending his funeral in the rural country home they had visited as children. It was here that they uncovered an old family songbook which served as the inspiration for their joint first album under a new name, The Hoyden Triplets, released later that same year. The Triplets’ gorgeous harmonies and nostalgic musical translated to rave reviews in outlets like the Queensport Chronicle and the Charlottetown Times.

The Homestead Companion continues the work of that album, taking inpiration not only from their own family's history but Not Auphelia as a whole, highlighting the music of the oft-forgotten towns and villages nestled comfortably in their way of life, a slower, gentler way out from the towering power of the cities. This album shares the same sense of time-honored tradition and simple lyrics that are the hallmark of Not Auphelian folk music with the world. That lived-in, long-running heritage includes not only the history of Not Auphelian country and folk, sure, but also the connection between the sisters.

This song, Bittersweet Sorrow, is the fourth song from their second album, they take the story from an old Not Auphelian ballad about betrayal and hearbreak, taking the original music and bringing it into the 21st century while still keeping one foot firmly in its folkloric roots.

The Triplets stepped out onto the dark stage with their backing musicians behind, leaving the rest of the men and women on the stage behind them as they made their way to the circular platforms on the external catwalks arching out from the stage. Their dresses shimmered dimly in the twilight of the arena, each dressed in a different dark green style with natural elements and motifs. Judy and Rita stopped at the two platforms midway between the stage and the furthest platform, picking up their respective instruments as Annette took her place at the last platform, surrounded by the shifting audience, the din of murmured conversation dying down as the women took their places.

The crowd burst into polite applause when the lights came up on the sisters, still not shining at full power but bright enough to clearly make out the women. The lines and panels on the stage glowed softly with various shades of green, shifting tones casting a mottled halo around the group. They smiled serenely out at the crowd as Judy, Rita, and the band began to play the opening notes, followed by Annette singing the opening notes.

Annette sways gently to the music, focusing on keeping her voice clear and high, a bell ringing out into the quiet audience. As she goes into the first verse after the introductory chorus the lights on the stage behind her flare up in time to her words and the beat.

A subdued laser show shines out, projecting images of flying leaves and birds around the arena, travelling over the darkened scenery as if on a gentle breeze to the delighted gasps of many and the disgruntled grumbling of others who happen to be looking in the wrong direction to be blinded by the green lights as they pass over.

Her performance is subdued and simple, but Annette feels confident enough. A simple song deserves a simple performance to allow it to breathe. She needn't be overwhelmed by the thoughts of how much other competitors had done, flailing around the stage with fire and gyrating dancing.

But what if it isn't enough? What if she embarrasses herself and her entire family? Annette knows she is the least artistic sister, it's always been that way. Her home nation didn't have many major acts and Kitty Claws had already been sent to the World Hit Festival. What if the Hoyden Triplets had just been sent because there had been no one else for the selection committee to choose from? Dear god, she was letting nerves get to her in the middle of the performance.

This was not the time to let this happen. Get it together! She was a rock all throughout their time in Elejamie and now here she was in some sort of panic spiral. What a time for this to happen. No, it was just stress. Even not filled to capacity, this was the largest crowd she had ever performed for and it was getting to her. This was larger than every venue in her entire country. Thousands of people with their eyes on her. No, millions. There were millions watching at home.

This is hell. She is in hell.

Can everyone tell what a fraud she is? She has no business singing up here. She gave up that life long ago to pursue a different career and yet here she was, a legacy of her father and people to be fulfilled, propelled forward on the talented backs of her sisters. When is this song going to end?

Thank god for her practice with this song. It had been an old standard they had heard many times as children, making a few edits here and there to make it their own but still keeping the bones of it intact. It was a beautiful song, it could rest on its own. She couldn't butcher this. Just focus on the birds. She just has to focus on the birds.

Her voice remains steady though her eyes are clouded with misery and sorrow. Perhaps it improves the song, perhaps not. Either way she goes on, she must. There is no other option but to continue, inferior or not. She is the lead in this song and she is going to finish it off.

She has to move, though. She has to move or she'll explode, she can feel it. Annette takes her microphone off of the stand and begins to gently twirl around with it as the end of the song comes near, repetition of the same familiar voices lending her well-earned confidence, no matter her feelings. She can make it to the end. Just keep moving, don't think about the problems.

Her sisters join in the singing, their softer voices echoing hers as the same lilting refrain comes back again, a hook to hold onto as she struggles to stop spiralling.

This is it. She can feel it, she is going to make it. She can't let go of her stress yet, not yet. She can't collapse. Just a few more seconds, a few more notes. She can do it. The green projected images of the leaves and birds come to swirl around and over her and she remembers the staging instructions from rehearsal and begins to spin in several full circles, her shirts flaring out as the lights play over them and the stage around her, a camera from above presumably capturing it all.

She breaks off the last note with a sigh, safely turning off the microphone and dropping down to the stage, nearly weeping with relief as the audience bursts into a perfunctory applause. She is still shaking as her sisters help her up and they leave the stage and yet she is possessed by a sense of being so incredibly fulfilled, finally breaking into stress-induced tears after they are backstage. Parliamentary proceedings had nothing on Worldvision, she knew that to be sure.

by **Auphelia** » Mon May 17, 2021 8:58 am

39

T H E A U P H E L I A N P E R F O R M A N C E

The Rebirth of the Goddess

Performed by The Divine Chorus of the Palace of Hard Earth

For thousands of years the myths and legends of Auphelia have warmed its people like the blazing sun, a light of truth shining from their wondrous land. No legendary figure looms as large as The Goddess, the great deity of their land, an indescribable syncretic amalgam of thousands of gods that slowly became one figure throughout the centuries, defined by hundreds - if not thousands - of distinct forms revered throughout her lands. The last Auphelian performance was a mournful, raging song against her death as a mortal woman and the anguish it caused the Mothers, the first immortal women of Auphelia, sending Auphelia deep into its first and darkest winter season. In this time, as with the blooming of spring, our glorious chorus shall regale the international community with the continuation of that story, about the Goddess returning from the realm of Death, having taken its mantle for herself and asserting her own divinity before the world for the first time.
We bid to you to enjoy this performance and -

Her Serenity, the Doyenne Winnifred asks again, but her fears are not assuaged by the repetition of the facts from her sister Doyenne.
Their delegation, meant to arrive today, has become irretrievably delayed just three hours off the coast by a storm on their way to the competition here in this godforsaken hellhole these people call a country. Her instructions from the Ministry are clear: the performance must be perfect. The situation in the Imperial Court is dire and the Mother Empress is barely hanging on to power as it is, seemingly having gone mad and disrespecting centuries of tradition. An international embarrassment like this . . . centuries of uninterrupted governance could end, and she would be to blame. Curse her caution, wanting to send the delegation by sea to precisely avoid the sorts of dangers they were now in!

Oh dear, oh dear, and without competitors, what were they to do? There was less than an hour before their time slot and the first performances had already begun. She had held on to hope that the ship would arrive on time and it would cost her. What would the Mother Empress do to her? She was ruined, failing her divinely appointed monarch and her nation. Unless she could find a replacement act in approximately . . . twenty-seven minutes. Looking at a clock was a mistake.

She sprang into action, cold determination tamping down on her rising panic. She dispatched her sister Doyennes quickly, trying to find anyone who could do music and wasn't already a performer in the competition. She and the girls were hopelessly terrible at music or else they might have gone on, but they needed someone, something to put on stage. She was ruined, but now was the time for mitigating the damage.

She bribed, threatened, and seduced her way through the production offices, a whirling vortex of stressed out silks and jewels moving at light speed to find a solution to her predicament. By the time she was done she had moved the Auphelian slot to the end of the contest, buying time for her Doyennes to find someone to sing on that damnable stage.

Dozens of Doyennes descend upon the arena like locusts on a field, searching for any sign of talent. Towering figures in silks and jewels, they prowl the arena floor; they sweep down maintenance hallways; they invade private boxes, demanding eyes seemingly peering into the very souls of those who they come across. Song after song they search. They need someone, anyone to perform. Time is winnowing down to nothing and no proper candidate is revealing itself.

The Doyennes convene amongst themselves in the hallway next to the first balcony entrance. Nothing has been found. Perhaps it was asking a bit much to find an adequate performer in such short time . . . but no, their Empress would demand answers. They had to find someone. Not Auphelia was announced as the next act, that rude little backwater . . . and also the performance slot right before their new one.

Sweet heavens, they were running out of time. She had no other choice.

Doyenne Winnifred burst through the side doors of the balcony and grabbed the first person she saw out of their chair, half dragging them after her and into the hallway.
The woman was shocked as the crowd of women dragged her along, giving her instructions in raised tones, overlapping each other in their panic as Winnifred led the way. They had to get this woman down to the stage area quickly. When they finally got the woman to the floor a team of producers immediately took over, getting a photograph of the woman to put up on the screens and slapping some sort of makeup on her face for the cameras. The Not Auphelian song was coming on and not two minutes after the poor woman was abruptly spirited away from her comfortable seat in the audience she was being shoved onto stage, shouted dance and lyric instructions from the Doyennes following her out on stage.

T H E A U P H E L I A N P E R F O R M A N C E

A Song, Maybe?

We'll see.

Performed by Linda Harrison

Linda stumbled onto the stage, the loud clamour of the women behind her fading away as she stared into the blinding lights on set. Everything was just blank white on stage, no pre-set light routine like the previous acts had.

Wait.

She was performing?

Well, she was on stage with thousands of people staring at her. She blinked a bit. Would it be more embarrassing to run off stage now or to try and sing? The instructions that had been shouted at her by those strange women began to register in her mind. She had to sing and dance, something about blossoms and the rising sun and crossing her feet over as . . . no, she couldn't remember it all. She got the sense that if she left the stage now, those women would have very unkind words for her.
Quite possibly knives as well. They scared her more than the audience, if she was being honest.

Wait, why was she just standing here? Oh no, everyone's staring.

Get it together.

Okay.

She walked to where she could see a lone microphone stand and took hold of it for comfort.

"Um, okay . . . " she said into it, the sound of her own voice nearly deafening over the sound of the arena sound system. "Hello there, I guess. Erm . . . this is me singing, I guess. For . . . um . . . "

She glanced behind her at the screen showing - ugh, that was a terrible picture - her own face with the name of the nation she was representing below her.

"Okay, I guess I'm singing for Auphelia. Cool. Cool. Okay. So . . . uh, I guess I'll start. Just . . . I guess it's me singing. And I'll sing. Now."

How eloquent.

Er . . . twinkle twinkle little star,
How I wonder what you are,
So far in the sky above,
One for the milkman,
One for the boy,
One for the pretty girl who lives down the lane,
Um . . .

Those weren't the right words. Did she actually know any songs? Oh no, the audience was laughing. Or was that good? She just kept stumbling on, trying to keep the right tune.

Three blind mice,
Three blind mice,
Where do they go,
Where do they go,
Something about clocks I think,
Maybe?

Oh, this was bad. She was definitely going to die of embarrassment. Think, Linda, think! What do you know . . . oh.

Oh no.

You haven't sung like that since university. What if you don't have the range anymore?

God help her, here she goes. Her command of German wasn't what it once was, but she didn't think anyone - she hoped no one - would notice. After the first few notes the provided orchestra in their pit realised where she was going and picked up playing, obviously pitying whatever train wreck was going on on the stage.

This is all gibberish,
I am saying nonsense words,
I hope maybe you won't notice?
I just have to keep this pretzel
Just keep it on beat
This is harder than I remember,

AAAAA AAA A A A A A A A A A
AAAAA AAA A A A A A A A A A

If any of you speak German, I'm really sorry,
I don't even know what just circus
Happened, some random ladies just
Vengeance toilet
Attacked me and tossed me up here

AAAAA AAA A A A A A A A A A
AAAAA AAA A A A A A A A A A

If anyone wants to follow me on Instabook
My name is @flitlick69_23
Oh no, this is the really hard part coming up
Wish me luck

Aaaaaaaauauauauauauauauauauauuauuuuauauauauuauauauauauauauauauaaaaaauaauauuauauauaauauuauauauuuuuuuuu
A A A A A A A A
A A A A A A A A
Auauauauauauuauauauauauuuuuuuuu
AUUAUUAUA!

AAAAA AAA A A A A A A A A A
AUAUAUAUAUAUA AUA AUUA AUA UA
AUAUAUUAAUAUAUAUA AUAUAUAUAUA AUAUAUA AUAUAUAUAUAU!

WORDS!

WORDS!

WOOOOOOOOOOOORRRRRDS!

It's finally the end!

I'm done!

She gasped for breath after whatever that had just been and walked off stage to confused clapping and scattered laughter and booing. That had been humiliating, but it was over. She dodged past the strange women and ran, ran, ran as fast as she could.

. . .

Maybe it wasn't too late in life for Winnifred to try and change careers.

by **Teesdexxia** » Mon May 17, 2021 9:42 am

40. Teesdexxia
Ent3r Key - That Word
Tune: Shift K3y - Touch

Ent3r Key

Ent3r Key, real name Jamie Dunnock is a 23-year-old Teesdexxian DJ, singer and songwriter from the town of Billingham. A relatively unknown name back home, his first single “That Word” was announced as the Teesdexxian act for Worldvision 90 rather quietly with many people back home not expecting any return to WorldVision from the nation. Due to this it was no real surprise that TBA went with an up-and-coming artist instead of an established name. That being said, Ent3r key has been proven quite popular with the Teesdexxian public, with his first live performance of the song at a park festival having electric response from the crowd.

When asked about creating the song enter key has said that he is always wanted to go into music yet has never had much of an opportunity until recently. He often used to use applications on his laptop as a teenager to create beats and shorter songs, but would never really venture into proper music production, instead music always stayed just a passion and a hobby. This all changed however when he was travelling through Billingham town centre and noticed a flyer stuck up onto one of the walls advertising for submissions for potential acts to represent the country at an unspecified international competition. Not believing he'd go far Ent3r Key decided to enter anyway.

Artists were asked to bring a one-minute demo of whatever their music would be like to the officers of the Teesdexxian Broadcasting Association to be judged by multiple of the executives of the music branch, and Ent3r Key took one of the short beats he had created as a teenager. Much to his surprise, he ended up being chosen as the candidate for the Teesdexxian entry and was asked to extend the demo into a full song. Eventually this demo became the song “That Word”.

On the topic of the lyrics, Ent3r Key said he wrote them about the situation where “you just love somebody so much, but you don't know what will actually become of the two of you. So, you want to just love them, but you have to keep some restraint.” On the live performance he said it would be “fun” and “vibrant” and would feature a lot of neon.

Before the contest, the delegation arrived in Avon ready to prepare, but as this had been the first time Ent3r Key had been outside the country in quite a long time, he decided he would enjoy his time in Elejame and go exploring the city of Avon. This ended up getting him in a bit of trouble with the organisers as he ended up showing up late to a sound check, but come the week of the rehearsals he stopped with his exploration and started taking the competition seriously, as while he was mainly doing this for fun, he did genuinely want to make his country proud as well, and obviously not make a tit of himself onstage in front of the world too.

The stage begins as it usually does for Teesdexxian stagings, in darkness. As the first beats of the tune begins, as do the light effects on the backing LEDs. With each note, the different triangles briefly flash different dark neon colours. As the lyrics begin in the song, Enter, fittingly, enters the stage. The camera focuses on a side shot of his face and with his mic up to his lips, he sings the lyrics of the first verse out to the audience as if no camera was focused on him. The triangles behind him continue to flash different dark neon colours and as the song transitions into the pre-chorus, the camera switches onto a view of the stage, zoom far enough out to show the full stage but not so far out that a large portion of the audience is visible. Due to this change shot the spotlights shining down across from the top of stage download audience and our viewable and said spotlights flash with the new beat that is introduced in the pre-chorus.

Baby all I want is you and me,
And all I can wonder is what we’re gonna be,
In a way I just cannot wait anymore,
But you’re the kind of girl worth waiting for.

Babe, if you tell me,
That you really feel what I feel too,
Then I’ll be here ready just for you,
And then we can start something new,
Do it when you want babe.

Into the chorus, a light along the back end of the stage behind where Enter is standing flashes brightly all these different neon colours similar to the triangles from earlier. Two dancers are now also stood with Enter and the trio dancers to the chorus of the song with their harsh modern dance moves gone in time to the beat of the chorus. During this section, the camera switches rapidly from different views. From a panning shot of the stage as a whole to straight on views of enter and his dancers to side and close up views of enter or his dancers throughout the chorus, switching each time there is a different beat.

I just wanna hear that word,
No, it’s nothing absurd,
Don’t get my intentions blurred,
Just wanna be with you.

I just wanna hear that word,
No, it’s nothing absurd,
Don’t get my intentions blurred,
Just wanna be with you.

Into the second verse the flashing triangles return, however the spotlights also stay in place and flash in time with the triangles. Enters dancers leave his side and go down to the front part of the stage continuing to dance interpretively to the song he slowly follows them down but mainly just walking and singing instead of dancing the camera is centred in between enter dancers and switches between the views of each of them. By the time of the pre-chorus, Enter has made down to where his dancers are and they slowly dance to the tune of the pre-chorus. With the two dancers stood behind him and mimicking his movements but both going slightly further each time so that they are also visible on the camera facing Enter.

I don’t care if the wait is long,
I mean why do you think I wrote this song,
You are just somebody that I truly adore,
Your mere presence makes my heart soar.

Babe, if you tell me,
That you really feel what I feel too,
Then I’ll be here ready just for you,
And then we can start something new,
Do it when you want babe.

Once again during the chorus, Enter and the boys dance along to the song while the camera rapidly switches from different angle to angle. However, this time the lights are slightly dimmed around the arena to reveal that the boys are actually wearing luminescent paint on their faces and hands. The paint on their hands is genuinely a luminescent paint that stays the one colour as the boys move around, however the paint on their face is actually just a bright green and is green screened on the live TV view of the show to slowly change colour throughout the different shiny neon colours that have been the motif throughout the performance. Gradually through the different repeats of the chorus, the light along the bottom of the LEDs flashes brighter until it is as bright as it was in the first verse before.

I just wanna hear that word,
No, it’s nothing absurd,
Don’t get my intentions blurred,
Just wanna be with you.

I just wanna hear that word,
No, it’s nothing absurd,
Don’t get my intentions blurred,
Just wanna be with you.

I just wanna hear that word,
No, it’s nothing absurd,
Don’t get my intentions blurred,
Just wanna be with you.

I just wanna hear that word,
No, it’s nothing absurd,
Don’t get my intentions blurred,
Just wanna be with you.

For the bridge of the song the camera changes to a slow panning view of the stage from fairly far out into the audience. During this section the spotlights that descend onto the crowd flash in time with the beats, gradually getting faster and more aggressive until all are flashing quickly.

When I can feel you’re heart rate,
Against my chest, yes, I know that I’m in love,
I can’t help but wonder our fate,
Cause whatever it is, baby, you’re worth the wait!

During the first repeat of the chorus stage goes completely white and the camera focuses solely on Enter. Into the second repeat, the long light at the bottom of the LEDs flashes bright neon colours and then the spotlights come on and start the flash in the third chorus, just like they did in the bridge gradually building until the beginning of forth repeat. At the beginning of the fourth repeat as the climbing beat reaches its climax, spark pyrotechnics shoot up from the edges of the stage and then the lights then return to the dark neon LEDs from earlier choruses, as do the staging, camera angles and Shift and his dancers performance and this stays this way until the end of the song.

I just wanna hear that word,
No, it’s nothing absurd,
Don’t get my intentions blurred,
Just wanna be with you.

I just wanna hear that word,
No, it’s nothing absurd,
Don’t get my intentions blurred,
Just wanna be with you.

I just wanna hear that word,
No, it’s nothing absurd,
Don’t get my intentions blurred,
Just wanna be with you.

I just wanna hear that word,
No, it’s nothing absurd,
Don’t get my intentions blurred,
Just wanna be with you.

I just wanna hear that word,
No, it’s nothing absurd,
Don’t get my intentions blurred,
Just wanna be with you.

I just wanna hear that word,
No, it’s nothing absurd,
Don’t get my intentions blurred,
Just wanna be with you.

Once the last notes of the song finally fade out, Enter and his neon-coloured backing dancers are stood at the front-centre of the stage. The dancers bow as Enter waves into the audience, towards the camera and shouts “Thank you Avon, thank you for having us!”. He then runs off stage with his backing dancers trailing behind him, passing the next performer in the wings, too exhilarated by the end of his performance to notice. He had had the time of his life tonight.

by **Hafamarimyht** » Mon May 17, 2021 11:24 am

41| Hafamarimët
Gilded Youth - Čavnëdïl (Perspective)
Tune: football game by Silver Sphere
Music & Lyrics: Gedama Vaštan

Consistently inconsistent, TVH has come up with yet another way to select their entry for WorldVision. This time around (after skipping the last edition because they "didn't really feel like it"), execs at TVH decided to choose a song that had already proved itself to be massively popular in Hafamarimët rather than taking a risk on a new song. They settled on a song called Čavnëdïl, which had spent three months in the top 40, including a week at #1.

Gedama Vaštan, otherwise known as Gilded Youth, composed and produced Čavnëdïl the same way she does for all of her songs - in her apartment in Zavanjë. She hasn't released an album yet, but all six singles she has released since her debut in 2018 have spent time in the top 10.

As she sings the first words, the lights brightly fill the whole stadium and then fade to almost a spotlight effect, but triangular to fit with the design of the stage. When the beat kicks in, triangles in pink and orange start to flash behind her in different places.

i c-cried when you broke my heart
shaped sunglasses i had bought when i was a tourist
i took it as a sign i think
that you were being careless and that you f-felt regret

The triangles wash from orange to pink to yellow and back, as do the lines, although they change in a different order to maintain a difference between the two. The triangle flashes are a vibrant dark blue that kick in when the bass drum comes back.

mevajutöi dnäs pa drehöijev
mevajutöi dnäs pa, probably
heksïnadi mega vamöijev
heksïnadi meva, probably
cos if life is nothing like you'd like
or if all your dreams are manifesting
and if you look at one thing different
the whole thing might be something else

The large triangles fade between pink, orange, and yellow with each hit of the synth, creating a colorful strobe effect. When the synth goes up an octave, the blue flashes come back, but only in the smallest triangle sections of the screens at the top and bottom. She acts like a rock star for this next verse, making gestures, walking around and pointing to members of the audience, sticking her tongue out.

i-i-i heard a huge crowd ch-chanting my name
i-i was on the stage and living my dreams with a mic in my hand
then i kind of woke up and the dj was mad
he said leave the stage, there are no awards
it's karaoke

The triangles wash from orange to pink to yellow and back, as do the lines, although they change in a different order to maintain a difference between the two. The triangle flashes are a vibrant dark blue that kick in when the bass drum comes back.

mevajutöi dnäs pa drehöijev
mevajutöi dnäs pa, probably
heksïnadi mega vamöijev
heksïnadi meva, probably
cos if life is nothing like you'd like
or if all your dreams are manifesting
and if you look at one thing different
the whole thing might be something else

The large triangles fade between pink, orange, and yellow with each hit of the synth, creating a colorful strobe effect. When the synth goes up an octave, the blue flashes come back, but only in the smallest triangle sections of the screens at the top and bottom. When the drums loudly come back partway through this verse, sparks fly from the edge of the stage as she sings from the very front.

so, if you don't know, life can be changed depending on what you see
if you look for good, then that's what you're gonna find
but wait, if you look too close, there's a layer beneath
and it might undo all your happiness
be careful with truth, perspective, and hope

The triangles wash from orange to pink to yellow and back, as do the lines, although they change in a different order to maintain a difference between the two. The triangle flashes are a vibrant dark blue that kick in when the bass drum comes back.

mevajutöi dnäs pa drehöijev
mevajutöi dnäs pa, probably
heksïnadi mega vamöijev
heksïnadi meva, probably
cos if life is nothing like you'd like
or if all your dreams are manifesting
and if you look at one thing different
the whole thing might be something else

The large triangles fade between pink, orange, and yellow with each hit of the synth, creating a colorful strobe effect. When the synth goes up an octave, the blue flashes come back, but only in the smallest triangle sections of the screens at the top and bottom. As the song ends, the triangles settle into yellow and the lines light up in the blue as she smiles into the camera, then looks to the audience and shouts "THANK YOU!"

by **Volstranistania** » Mon May 17, 2021 11:47 am

42 - Volstranistania

Tune: Years & Years, “Starstruck” https://youtu.be/YGfaYTIYh40
Artist: Charles O’Hara
Song: “Explain (Stockholm Syndrome/David & Goliath)

We're Volstranistania, or Volstra for short. We like music and equality.

We have a clenched fist on the back wall throughout the performance and the lights are red and black throughout. (OOC: yeah i have no idea what im doing with this staging stuff)

I don’t know but it’s something that I can’t explain

I am your David, you’re Goliath, and I don’t know how I can keep up with you
I’m telling you everything even though you don’t clearly say the same about you

So are you my girlfriend, or are you my master of my destiny?
Don’t have to like me, I know what it’s like when you can’t see
David, Goliath, you are my mind, and I don’t know
What you are...

I don’t know but it’s something that I can’t explain
It’s all the same... to me
I don’t know but it’s something that I can’t explain
It’s all the same...

Coz when you took me in I didn’t like what you wanted me to do
But then I realised what I wanted was right here, all inside of you

So are you my girlfriend, or are you my master of my destiny?
Don’t have to like me, I know what it’s like when you can’t see
David, Goliath, you are my mind, and I don’t know
What you are...

I don’t know but it’s something that I can’t explain
It’s all the same... to me
I don’t know but it’s something that I can’t explain
It’s all the same (David, Goliath)

You thought you kidnapped me but now I think you set me free
You thought you kidnapped me but now I think you set me free

I don’t know but it’s something that I can’t explain
It’s all the same to me

Stockholm, it’s my Stockholm Syndrome
Stockholm, it’s my Stockholm Syndrome

I don’t know but
I-I don’t know but
I don’t know but
I-No, no, no

I don’t know but it’s something that I can’t explain
It’s all the same... to me
I don’t know but it’s something that I can’t explain
It’s all the same (oh, it’s all the same)

You thought you kidnapped me but now I think you set me free
You thought you kidnapped me but now I think you set me free

I don’t know but it’s something that I can’t explain
It’s all the same

Stockholm, it’s my Stockholm Syndrome

by **Elejamie** » Mon May 17, 2021 12:04 pm

INTERVAL ACT: Monochrome Haze - WorldVision 90 Interval Act

Tune: The Orb - Blue Room (album version)

WIP but, regardless, I will not longer be accepting any new entries after this. ~~There's still about six hours to finish what you've started if you've already posted so...~~ It's over!

(P.S. Deleted the scoreboard post if only to ease my workload; I'll post it at half-time, jury full-time and televoting full-time with the relevant scores.)

by **Norrp** » Tue May 18, 2021 4:44 am

Norrp Votes

12 Elejamie
10 MCG
8 Nekoni
7 Waisnor
6 Caryton
5 Adab
4 Mister X
3 Crustyland
2 Beepee
1 Britonisea

Danke

by **Llalta** » Tue May 18, 2021 8:02 am

LLALTESE VOTES

"Bello WorldVision, yikai! Ka am minion. Yob dit da pona aka riaani yee be a minion wat me? Ka enfur ba tis non a multi rod gadpaw aner, sif nos forbid, a cult, yikai XD Pelo nut nos minions yee jeelei ta da yee solo Gru. Ba tis ta solo jo da salvation mi ecurex heathens. Tooma cos da abaqi dom daddy Gru yee nag awaits ta sinners pak trespass ohosae nos."

12 - Pemecutan
10 - Axuva
8 - Alezian Union
7 - Todlichebujoku
6 - Northern Beepee
5 - New Douria
4 - Not Auphelia
3 - Natanya
2 - Saviera
1 - Britonisea

Cycle	Song - Artist	Pos.
79	Send Me Someone to Love - Ida Slapter	22
80	Live in Peace - Krystal D'Canter	18
81	Fight for My Love - Betty Wont	22
82	All in Your Mind - Birthe Right	9
Teams	Memories - Amina Pickle (w/ Elejamie)	10 (last)
83	Hold Me - Betty Wont	25
84	From the Sky - Selma Soul	3
85	My Heart Bears - Claude Bols	1
86	Where You Are - Birthe Right	13
87	Marry Me - The Goolies	23
88	The Spell - Teddy Behr	7
89	Only Love - Jolie Beaujaube	8

AVON 90|EJM (WorldVision Song Contest 90)

29 | Britonisea | Aaliyah Banques - Promise Me

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