Worldvision Song Contest 99 | Densmouth, Carrelie

by **Ertzei Kishim** » Tue May 17, 2022 8:45 am

. : 21 - Ertzei Kishim - أراضي الكيش - ארצי כישים : .
Melike Hatal ft. Matt Weisner - Burning Out
Language: English
Lyrics & Composition: Saseh Konmourzah, Roman Butchasky, Oren Sagiv
To the Tune Of - Mabel, 24KGoldn - Overthinking

In the previous edition of the world's favourite music competition, we were treated to a visit to the frosty Keterig in Aenglide. In an event which has not happened for some time, the host country, for many deservingly so, took home the crown, with an enormous 260 points. The winner of the Ertzei Kishim jury vote, Polkopia, ended the night in fifth place, just three points and two places above Ertzei Kishim. Considering the trouble and mishaps involved in choosing the entry, Melis Bileh's "Judah" was very well received, and, despite finishing in the lower end of the top ten, HARESHET were satisfied with the showing. In fact, due to the domestic, and relative international success, of the song, Bileh had been touted as a potential representative for the 100th edition, which Ertzei Kishim had preliminarily confirmed its participation in. Anyway, the circus had moved onto its next city in Densmouth, Carrelie. The previous time Carrelie had hosted HARESHET had announced a hiatus following a successful stint in the 80's, and thus, whatever was to happen at the contest, for the Kishraeli delegation at least, this was to be a new exciting experience.

As had come to characterise the Kishraeli internal selections of the 90's, there was chaos of confirming, unconfirming, and reconfirming artists again and again. Initially, the newly-formed supergroup Eylul, which included former participant Saseh Konmourzah, was the first choice. But once the focus group had expressed lukewarm opinions of the proposed demo, the plans were scrapped. In a desperate attempt to find an alternative, HARESHET turned to Rakaphy City Council who, for the fifth year running, had planned to announce their song for Rakaphy Pride. The tradition was new, but gays across the Middle East waited for the day the new anthem was released, and the homosexuality could begin. Batsheva Dayan, the nominated singer, had also agreed to perform at WorldVision, but there was one problem. The release date for the song had to coincide with Rakaphy Pride, which was taking place AFTER WorldVision. Frustratingly, this meant that the gay-friendly banger "berserk" was not ready for the contest. Finally, as any good state broadcaster would do, HARESHET went into the archives, found a ready-made pop song, and asked the Ertzei Kishim Record Association (EKRA), to find them an appropriate artist.

Melike Hatal, the first chosen artist, was in fact something of a coup. Already established with a string of top-10 hits across the Middle East, EKRA put her forward as the face of the record. Interestingly, the song was to be a duet between a male and a female, and thus a second artist was sought. The last duet in Ertzei Kishim WorldVision history was in WorldVision 79 between Camila Benjaminez & Naobi, ultimately finishing in ninth position - HARESHET were hoping for a similar result, particularly given the haphazard nature of the release. Matt Weisner was chosen as the supporting man. At only 23 years old, he had only recently been signed by EKRA and was virtually unknown domestically, save for a core of diehard fans who had followed his journey since before he was signed. He of course jumped at the opportunity to be catapulted into the spotlight as WorldVision could do - similar to how Melis Bileh had launched her career. While not his typical style of music, indeed it was slightly more pop-focused, he was eager to perform, and happily accepted the pre-written song.

Unusually for a Kishraeli WorldVision entry, its release did not stir public opinion much. Barely cracking the top 20 at number 19, it was the lowest charting single of any Kishraeli entry since WorldVision 31. The answer as to why was probably coming from EKRA and HARESHET themselves who, because of the hasty release and preparation, did not have time for a typical promotional tour which many WorldVision acts would perform, both domestically and abroad. While Kishraeli WorldVision fans were keen to emphasise that the results in the contest were the most important thing, other industry experts explained it differently. While WorldVision was an exciting cultural event for all involved, the Kishraeli government as well as HARESHET viewed Kishraeli music as an important key export. When songs did not make a profit from their production, this was problematic for the broadcaster and EKRA, both of whom invest large amounts of money every year in such projects. The last time that Kishraeli WorldVision songs didn't turn a profit, in the 88th and 89th editions, HARESHET had withdrawn, despite the favourable positions in the scoreboard. It was however, too early to tell if this was to be a problem. Indeed, the majority of revenue came after the contest, when the songs were more globally recognised.

Speaking of the song, the artists shared their interpretations of what it meant to them. In an interview with a national magazine, Melike claimed "While I didn't write the song myself, I think we can all relate to the meaning of the words. When you are stuck in a relationship that is going wrong and, despite how hard you try to get things right, it's just not working. It's about coming to terms with that inevitable point I think". Matt added "I think for me the emphasis is on the other person not trying anymore, when someone's heart is not in the relationship, it simply can't work no matter how hard the other person tries. It is always about two people, and we are singing from the perspective of the person who IS trying to keep it alive. And this relates to all kinds of relationships, not just romantic but also friendships, work relationships, anything. That's what we love about the song, it's translatable message".

The Kishraeli delegation had never been to Carrelie before. It was not necessarily a Kishraeli's top tourist choice, but nevertheless the team were excited to get started on the project in real life, and of course explore the host city. Densmouth fulfilled the role of a handsome European city very well - the streets and canals were lined with trendy cafes and tourist traps, while boutiques and restaurants stood in the imposing white buildings of the centre. The team were staying in the central district of V'Harves, also were the stadium was located. Indeed, the delegation were bussed every day from the hotel to the stadium for preparations, before being released from media duties and rehearsals in the evenings. There was of course plenty to explore, and reporters from across the world were eagerly showing the beauty of Densmouth to their domestic audiences. Rehearsals had gone surprisingly smoothly for all involved, the stage show was not insanely complicated, but did involve some choreography, but this was mainly for the backing dancers rather than Melike and Matt. While there were a few issues with lighting and camera angles in the beginning, these were quickly ironed out as the professional team of volunteers and production experts helped the HARESHET delegation to achieve their vision.

Ertzei Kishim was drawn to perform between hot prospects Plangainer and... Crustyland... an eclectic run of songs was sure to be heard during this period of the night. A host intervention was decided before the Kishraeli entry, not that the HARESHET delegation was sure why, as their stage show probably didn't demand it, but it did mean that the focus would be drawn to their performance, and they refreshed the running order on what looked to be an extremely long night of WorldVision music. The stage was dark following the postcard for Ertzei Kishim, and the loud cheers from the crowd began to die down in anticipation for the performance. The first swirly echoing beats of the song began and across the stage followed dark orange and purple colours, still obscuring what exactly was on stage. Most of the props appeared as silhouettes on the background. A spotlight highlighted Matt, as he put the microphone to his mouth and began singing, a somewhat pained look on his face. Nevertheless, he maintained eye contact, first with the camera which slowly zoomed in on him and then with the audience as I side shot was chosen. As was evidenced by his slightly distorted voice, a vocal effect had been placed on his microphone.

Can’t hold it anymore, your heart ain't in this game
But if it didn’t hurt, would it still feel the same
Try to keep a hold, of the little love that you gave
And maybe give it back in a bigger, better way

With Melike's verse beginning, the colours softened, and the LED under the stage showed what appeared to be a road, with a desert terrain either side. The largest, and only prop on the stage was the upturned front of a vehicle, as in, everything to the front of the front two seats inclusive. The wheels were still turning and the lights still flashing, implying it had been flipped in a car crash. Melike was sat cross legged on top of the up turned car. Girl, it was camp. Her hair was placed in a up-do, and she was wearing a bright, light blue pleather jacket with dark leather leggings and a white top. She stayed, perched on top of the car for the entirety of her verse.

You’re the cold wind in the streets
The empty space beneath my bedsheets
And when you’re close, I feel you holding back
Watching our colours fade to black
There’s no lights on this dark street
Takes one chance with the strangers we meet
Don’t make this our final fate

With the help of two male dancers, dressed in leather jackets and pants with white shirts, she hops down from the vehicle and moves to the centre of the stage to sing the chorus. Matt is nowhere to be seen. On the opposite side of the stage, three backing singers, with similar up-dos but dressed in more plain clothes. Melike placed her microphone on a pre-set stand, as the men in leather did some choreography, characterised by large arm movements which swooped in time with music, behind her. The backing vocalists on the other side, all female, provide a lower tone in the chorus, and the vocals, which had been rehearsed for hundreds of hours at this point, mixed beautifully. Melike was animated, both with her face and her body language. She was deliberately moving in a way to make the audience feel invited into her story, that she was the open book trying to fix her relationship.

But baby I need you
To help me keep this flame alive
My melody dies
Without you
I’d give it all for us to survive
Tell it to my heart
Give me something, something, please give me something
Because it means nothing, nothing, oh it means nothing
You, bring the light into my life
But it’s burning out

With the end of the chorus, Matt swirls back on stage, swooping around Melike to the other side of her, as the camera follows his movements closely. They then stand back to back, with Matt singing his part of the song, as Melike simply emotes for the camera, closing her eyes and feeling the music and the beat. At the end of the line "But every new day terrifies me" they both turn to face each other, Melike stepping forward as Matt steps back and vice versa. In the background, now only as silhouettes, the two male dancers are shadowing their moves. The large disc at the back of the stage at this time had begun to shoot out orange and purple rays, which were bouncing off the stage.

I said it once and I’ll say it a million more times
I connected the dots, and read between the lines
The end of the world doesn’t scare me when I’m with you
But every new day terrifies me
‘Coz I see dark skies, running clouds coming up ahead
The colours look amazing on this canvas but then again
Is it telling me that our story is coming to its end?
Give me something

The next chorus began and, interestingly, included some lyrical changes so that the song remained fresh and dynamic. Again Matt travelled off to the side, not totally off the stage though. It appeared he was heading towards the upturned car. Melike took the centre stage as the male dancers reemerged from the back, and the backing singers all moved themselves, and their microphone stands to behind Melike, forming a semi circle. The backing dancers performed a similar routine with exaggerated movements, with Melike mimicking them in a more understated way, for example, her movements were not so dramatic so she could maintain steady breathing throughout her performance.

But baby I need you
To help me keep this flame alive
You are my heart’s fire
That won’t drown
And it’s so far down from this high
But I’m crashing now
Give me something, something, please give me something
Because it means nothing, nothing, oh it means nothing
You, bring the light into my life
But it’s burning out

This was the final run up to the end of the song. Matt, now standing on top of the upturned vehicle lifted his hand in the air as he sung, almost shouted, the last verse, the same words which opened the song. The LED background once again began to shimmer with purples and oranges during this part of the song. A small shot of the crowd was included before Matt jumped off the top of the car at the end of his performance, at which point a shot at the front of the stage was shown, and shot of fireworks erupted from the bottom of the stage, causing a cheer to erupt from the crowd.

Can’t hold it anymore, your heart ain't in this game
But if it didn’t hurt, would it still feel the same
Try to keep a hold, of the little love that you gave
And maybe give it back in a bigger, better way

Matt now joins Melike for the final chorus, signing along somewhat quietly and adding deeper tones to the performance. This was important due to the number of ad-libs Melike decided to add to create a natural crescendo to the performance. Simultaneously, golden sparks dropped down from the ceiling, and another cheer erupted from the crowd. The shimmering oranges and purples also continued. Once again the chorus' lyrics changed, now with the inevitability that the relationship is over. As the end of the song draws near, the sparks end, the colours stop glowing, and Matt and Melike are left standing back to back in the middle of the stage under a white spotlight, just as they both sing "But we burnt out" - we told you this performance was camp baby.

But baby I need you
To help me keep this flame alive
My melody dies
Without you
I’d give it all for us to survive
Tell it to my heart
Give me something, something, please give me something
Because it means nothing, nothing, oh it means nothing
You, brought the light into my life
But we burnt out

With the end of the song, the crowd erupted into cheers. That was actually quite a hot performance, even if the staging was a little on the nose, but sometimes that is exactly what was needed to convey a message across the world and across multiple cultures and languages. Matt and Melike both shouted a huge "thank you!" in unison - they were not about to attempt to use the local language, fearful of its grotesque orthography. They and their team headed off the stage, as Crustyland was up next.

by **Crustyland** » Tue May 17, 2022 12:37 pm

22.Crustyland

Artist- Solitude of Rain
Song We're just strangers in the night

Song

In what was not Crustyland's finest hour in the last couple of contests change was afoot again. Scientists from MCG and Crustyland had teamed up and found that the potent stench produced by the breeding semi-aquatic sea mammals had polluted the air in Crustyland so much it had caused people to become "weirder" than normal! Thankfully the weather had changed and strong winds had blown the stench away and the Seal and Walrus breeding season were over. Wanting to showcase their cultural roots again to the wider community.

"Solitude of rain" is a mixed duo made of Gaute Ormåsen and Marie Klåpbakken. The duo are famous through Crustyland often performing at local festivals. Their song "We're just strangers in the night" is a pop-folk song with strong beats that make it quite danceable and joyful. Showcasing their culture this song was deemed one of the strongest songs the country had sent in recent years.

Gaute Ormåsen
Marie Klåpbakken
Both

Light applause breaks out in the arena as the Crustyland postcard ends. The audience wondered what hell would be unleashed on them this time. Surprisingly the beat kicks in a violin fade in. This actually sounded good! The camera pans towards the stage slowly as a white spotlight with blue fades into Gaute Ormåsen centre stage he dramatically looks up and sings to the onstage camera. He is wearing the same outfit as the picture, a white shirt, black leather jeans and a vintage hat.

You don’t know who I am
Don’t even try to pretend
Because this is the end,
The end of us

The stage brightens up. The camera stays on him as he sings, he has a defeated look on his face.

I tried to make it work
But you were always at work
Or at least that’s what you told me

The stage suddenly fills with white light as he is joined by 4 professionals two men 2 women Crustyland folk dancers they are dressed in red and white (think Norweigen Native Dress.) They jig behind him to applause

Please believe me, you begged
But it wasn’t just that
There were a million little issues
And I shouldn’t have to take it

Gaute outstretched his right hand beckoningly towards the camera as he sings I will miss you, will you miss me?

I know better for myself
Oh baby I’m leaving
I will miss you, will you miss me?
We're just strangers in the night

We have a glimpse of a woman also dressed in a national dress playing away on the violin just centre-right. The background LED fades into a lovely light blue liquid effect. A distorted effect is attached to his vocals for the last line.

I can’t stay, you don’t need to wait
We're just strangers in the night

Gaute joins the dancers as they perform in circles the camera follows. We have another glimpse of the violin player playing passionately.

We're just strangers in the night
Cause I thought you were the one
Now we're just strangers in the night

Gaute and the dancers dance their folk choreography before one of them gently spins him away into the dark part of the stage. Cheers race out as Marie walks elegantly onto the stage in a black and white polka dot dress. The onstage camera follows Marie as she walks to the centre. The dancers are unlit and move backwards out of sight.

We didn’t really bond
This isn’t what I want
But we have to be strong
Pack it up, please just leave

Marie looks to her left and points to offstage where Gaute is standing but we can't see him as she sings, "This isn’t who you are" . Her face was sombre.

This isn’t who you are
All you did was a change
Get out of my way
If you don’t leave I will

Gaute walks back onto the stage the camera pans outwards showing the whole stage in white as he walks towards Marie they meet in the centre. The pair sings towards each other leaning their heads close to one another their palms touching as they walk in a circle. You could feel the tension.

But it wasn’t just that
There were a million little issues
And I shouldn’t have to take it
I know better for myself

The stage is tinged a dark blue now and they part ways, Marie to her right and Gaute to his left, leaving their palms hands outstretched as they were. The stage darkness for the lights around the arena twinkle like a night sky.

Oh baby I’m leaving
I will miss you, will you miss me?
I have to go now
I can’t stay, you don’t need to wait
We're just strangers in the night

The violin kicks back in and we have shot of the focussed but happy violinist. The camera then fades into the two singers engaging in some duet choreography centre stage. They then sing to one another passionately. Holding hands they stand side to side now.

But we just ran out of luck
Now we're just strangers in the night

Their hands split and they walk in a circle around one another with outstretched palms the camera follows each of them one by one switching between them briefly as they sing. Their vocals are distorted again at the end of the chorus. The dancers reappear behind the singers as the camera pulls backwards out across the crowds.

And when you see me someday
Don’t bother standing in my way
Cause we’re now done
The race was run, it’s over, we’re done now
Cause I thought you were the one
Now we're just strangers in the night

With passion and emotion, they sing the next line to one another the onstage camera showing a body shot.

Now we're just strangers in the night

Everyone on stage links arms and energetically dances what can only be described as an Irish jig/cancan style fast-paced energetic dance with lots of twirls and rapid kicks of their feet. Everyone on stage is now beaming.

Cause I thought you were the one
Now we're just strangers in the night
Strangers in the night
Cause I thought you were the one
Now we're just strangers in the night

Large applause and cheers break out in the arena and everyone on stage bows before the singers raise their national flag with pride! "Thank you Carrelie!" they shout with excitement jumping around and hugging each other. Wow, that had actually been a success! Crustyland was back on form it seemed, well until their budget ran low again!

by **Robloxian Robloxia** » Tue May 17, 2022 4:12 pm

~~23. Robloxian Robloxia~~ DSQ

by **Britonisea** » Tue May 17, 2022 4:14 pm

#24 BRITONISEA
Petre Lemetre - "Disillusioned"
Tune : Marco Mengoni - "Duemila volte"
Music: Guy Autriche, Tom Allen, Susan Baker, T:Rodden // Lyrics: Petre Lemetre, T:Rodden

Winner of Vha Mehlodhivestoile 2022: Petre Lemetre has finally won Vha Mehlodhivestoile with "Disillusioned" and is set to represent Britonisea in Carrelie...

Petre Lemetre is the seventh winner of Vha Mehlodhivestoile after beating World Hit Festival winner, Josh Morris, by two points in the VM2022 Grand Final. The Briton completed in Vha Mehlodhivestoile on 5 occasions before winning on his sixth attempt with "Disillusioned". Petre is hoping for Britonisea's first win in over 10 editions...

Sam Vanlian - Bystander (WV98) | Semi-Final three of VM2022 | Grand Final of Vha Mehlodhivestoile 2022

Sam Vanlian, Britonisea 88

After what was quite a disappointing start to the decade, Britonisea has finally gotten its mojo back with three top 6 finishes in consecutive editions of the contest, something Britonisea has not seen since the 72nd-74th WorldVision Song Contest over twenty editions ago. It wasn’t all plain sailing for Britonisea last edition, however. There was a chance that the country would fade into the background and possibly fall out of the top 10 after the jury votes came through last edition. The 98th WorldVision Song Contest was a highly competitive edition in the end. While Aenglide topped the scoreboard with 137 points in the jury section of the show - they had only won by a mere three points to Beepee in second place. There was a sizeable jump of 29 points until we see the next cluster of nations, which Britonisea was in. Polkopia was third with 105 points and while Britonisea only had eight points less than Polkopia, it was down in eighth place. BITC knew that the voting was going to be exciting but was not sure whether the televote would favour the Britonish or not. Too many times before has Britonisea been hurt by the televote, with the previous edition (in which Tom Bastion and Amelia Stone represented us) did the televote reward Britonisea. There were some major nations that placed on top of Britonisea as well, ones that usually do pretty well in the televote so all the Britonish delegation could do was wait. For Sam Vanlian, the Britonish representative last edition, it was an agonising wait. He knew that he had sung his heart out on the stage and he was very confident about his chances of doing well at the competition. Britonisea hadn’t received 200 points since the 90th WorldVision Song Contest and wondered it was at all possible but it would mean the public giving Britonisea 103 points - which would be quite a whopping total. Sam had his face in his palm as we slowly went up the scoreboard one by one. Kalosia, who was in ninth with the jury vote, scored 70 points in the televote - 26 points lower, but they still managed to take first place for the time being meaning that they would score no lower than the total they received in the first half of the voting. The Britons still thought that the score was pretty low and almost forgot that because we were not going in jury order, Britonisea could still score…like zero points. While that was unlikely, there was still a possibility. As Kere, the host introduced Britonisea to the audience with a cute little pun using the title of Sam’s song, “bystander”, it was revealed that Britonisea won a total of 98 points in the televote which put Britonisea strongly in the lead with 195 points in total, extending the lead of a point in front of Kalosia to 29 points. Britonisea went straight to the top of the table, but this was short-lived when Malta Comino Gozo received points from the televote giving them yet another 200 points+. It was clear that Britonisea was not going to win this, but they wondered how far down the table they would now fall? Bearing in mind they finished 8th in the jury vote, they knew that they wouldn’t finish any lower than that. Antahbrantahstan scored big, but not big enough to overtake Britonisea and neither did Ertzei Kishim. All the other nations that were announced finished higher than Britonisea in the end with Britonisea slipping out of the top five by only two points but that didn’t matter - Sam was very happy with the overall result and so was Britonisea. Britonisea’s fourth-place finish in the televote helped bring Britonisea’s overall placement from 8th to 6th - a score which is still higher than Britonisea’s average placement at the WorldVision Song Contest which is 7th - 8th, which was probably dragged down by Britonisea’s early results in the WorldVision 30s. Nevertheless, Sam was one of the nation’s better-performing male participants - drawing with Justs Prazeres at the 49th WorldVision Song Contest in Electrum.

Britonisea's 6th place finish was seen as a very good thing considering Vha Mehlodhivestoile was happening in the background. While the contest happened during Vha Mehlodhivestoile’s quiet week ahead of the Grand Final which took place in the country’s capital city, Doportedas, a lot of money, time and resources goes into that from both BITC and BVC. While the show is produced by BVC Studios and also broadcast on that channel, BITC is in charge of the WorldVision participation and also they get to help pick those to participate in the national contest. BITC officials also are behind some of the staging designs and do broadcast the show on their streaming platforms, usually with the spokespeople for the WorldVision Song Contest as they use it for a little practice ahead of the main show (the actual show itself does not have any spokespeople so useful for people who wanted to learn more/audio description). Regardless, a lot of BITC’s attention had turned to the biggest show in Britonisea and some fans usually say that this means that the broadcaster neglects the entry right before the VM one. Alyxhia Willis, Matt Evans and Xavier Benchek were the hosts of this year’s Vha Mehlodhivestoile and oversaw all of the shows. The shows were taking place in: the 81st WorldVision Song Contest venue, Newbury Park Arena in Boschke - which saw TOULOUSE and Charlotte’s Party qualify directly to the Grand Final there, Eaux City with Todlichebujoki e.s.t.i qualifying directly alongside national darling ELLA who won the overall semi-final. The final semi-final was arguably the most exciting as we saw national star, Tobias Noah goes head-to-head with TR3SANGULIS, WorldVision 82 third-place Kristiana Totem and Petre Lemetre (who SPOILER: ends up winning the whole thing!). Petre Lemetre qualified directly to the final with 118 points which with the third-highest semi-final score ever, scoring higher than Alyxhia Willis herself (who in the semi-final scored 117 points). It was thought that Tobias was going to win the Semi-Final and potentially win the whole thing and the Britonish televote agreed with this proposal as they ranked him highest with 57 Britonish points going to Tobias Noah. To put that into perspective, the entry that ranked 8th in the semi-final only managed to score 54 points with both the Britonish and International votes being put together. Petre Lemetre came second in the Britonish votes with 56 points in total and also placed second in the international votes too with 62 points - which was the second-highest international score in the semi-finals overall. Petre’s win marked the first time that a male won their respective semi-final on more than one occasion, and the third person overall (Rochelle Fox and Zoe Wilkinson both won their second semi-final ever in 2021). In other words, Petre had a lot going for him going into yet another grand final.

Results after the Jury votes: Rocco Verlice won the Jury, but Petre wasn’t far behind…

At the Grand Final, a total of 13 nations voted - the smallest pool of voting nations at the VM Grand Final in 4 years but it was much higher than the numbers that other national finals were receiving. 18.37 million viewers on average tuned in to watch the final which made the show the fifth most-watched semi-final, but higher than the viewing figures last edition. A total audience of 71% was watching at the time as a reduced final of 10 acts went ahead at 8pm local time. Starting off the evening was Charlotte’s Party, who had won the first Semi-final followed by Josh Morris - the winner of the 59th World Hit Festival and the reason Aronyk hosted the 60th World Hit Festival. Some other major faces performed as well during the evening, such as KAYLEY who performed in third place and Rocco Verlice who won the International vote in the first Semi-Final. It wasn’t clear how the show was going to pan out as some believed there wasn’t a clear winner like there was when the Banques sisters won the two proceeding years. What they did definitely know was that a Banques was not going to win with Aaron finishing last in his Semi-Final. After all of the acts performed and the WorldVision 97 act took to the stage, it was time for the international voting to commence. The international juries is a great addition to Vha Mehlodhivestoile as it gives an indication of how the juries might vote at the WorldVision Song Contest or the World Hit Festival. It is important sometimes, however, to take the international juries’ final votes with a pinch of salt. Josh Morris’ song did not place very well with the international juries but still won the World Hit Festival. The juries are meant to guide the Britonish vote and, in the harshest of words, halt the chances of certain songs making representing Britonisea. StrayaRoos, Beepee, Elejamie, the current champions Aenglide, the previous edition champions Polkopia, Alezian Union, Antahbrantahstan, Kalosia, Todlichebujoku, Malta Comino Gozo, Scotatrova, the hosts Carrelie and Achaean Republic all voted to decide that Rocco Verlice should win Vha Mehlodhivestoile 2022, giving him a total of 91 points. It wasn’t the 150+ points we’ve seen in the past and by no means was Rocco’s placement a resounding win. He was only three points behind Charlotte’s Party with Josh Morris, TOULOUSE and Petre Lemetre rounding out the top five. Petre was only 8 points behind Charlotte’s Party and knowing what the Britonish votes are like, anything could happen.

After a while, it was time for the Britonish results to be announced. The Britonish Jury were the first to vote - this time around they had a say. They decided that Josh Morris should win the contest, and gave him 12 points - enough to put him in the first position but eventual winner Petre Lemetre only received 5 points in the end. Rocco Verlice won over the televote in the East as we moved over to the televote, giving people the thought that perhaps Rocco was indeed the winner of Vha Mehlodhivestoile. His lead of six points was easily squashable but it was bigger than the lead he had at the start of the voting. Mini Surrey North and Central Britonisea gave their 12 points to e.s.t.i in an unexpected turn - giving Rocco Verlice 115 points - which was more than 20 points ahead of Petre Lemetre. Rocco Verlice, unfortunately, came last in the televote with the City voters, but Josh Morris excelled, taking the lead. Josh Morris knew that when it came to Britonisea, he had the support he needed. Josh came joint second (with Aaliyah Banques) in the non-app voters for Britonisea last year and came third with the app voters and it looked as though Josh was going to do very well with the Britonish voters here too. Aloquirbe, who were quite good at voting for the song that would end up doing pretty well in the contest, shot their 12 points to Petre Lemetre who jumped up one position in the scoreboard while Josh Morris extended his lead on Rocco Verlice. The points were flooding in for Petre Lemetre, however, as the man received 10 points from the snobby Northern voters and 12 points from those that live in Telm. Suddenly, within the blink of an eye, Petre was second on the scoreboard - only two points away from catching Josh Morris. The capital, ie Doportedas, were the final ones to read their scores and in true VM fashion, the scores were very tight. Josh Morris scored eight points giving him 145 points in total but Petre Lemetre did not receive any points as of yet - he was due to get either 10 or 12. The rules state that while the Britonish results would take precedence on the rest of the table, the international juries would decide whether a song wins or not meaning that if 10 points went to Petre Lemetre, he would come second and Josh Morris would win the competition. It was a close call. KAYLEY appeared on the three-way split-screen even though she had no chance of winning but she could have robbed Petre of the luxury to end six years of heartache.

“PETRE LEMETRE GETS 12 POINTS FROM DOPORTEDAS WHICH MEANS PETRE, YOU ARE THE SEVENTH WINNER OF VHA MEHLODHIVESTOILE!” shouted the hosts, as Petre jumped up in a fit of glee. Josh Morris smiled and congratulated Petre. Josh hadn’t done badly at all - 3rd in 2021, 2nd in 2022 - the only way is up for him if he decides to come back next year. Josh also would represent Britonisea at the centennial edition of WorldVision wherever that is being held. Petre won Vha Mehlodhivestoile with 147 points, but his job wasn’t done there. After celebrating the win with a reprise and a boozy party afterwards, he knew that it was time to get to work.

The winner of the seventh Vha Mehlodhivestoile: After six attempts, he’s only gone and done it!

Petre Lemetre is a 25-year-old singer from Telm City (Telm did support their man and gave him 12 points in Vha Mehlodhivestoile!). There’s no doubt that Petre Lemetre is one of the biggest stars in Britonisea and probably the most high profile name that the nation has sent who is currently in the music industry for a very long time. Petre is known as a singer who usually works with DJs but also had his own ballads that he releases throughout the year. Petre has picked up numerous Britonish Official Top 10s, and all of his songs that he’s released in the last couple of years have spent at least one week in the Britonish Top 100. Petre appears on television quite a lot too, whether he’s taking on the role of a presenter or he’s singing his latest single - the man loves the spotlight. Petre was probably the most experienced singer of live events in the Grand Final, with the man also touring across the ABEN only last year. Petre Lemetre is probably at the height of his career, but it took him six attempts in seven editions of Vha Mehloodhivestoile for him to finally be crowned the king of the country. Why is that? The first Vha Mehlodhivestoile which happened in 2016 (when he was nineteen years old) saw him send the entry, “No-Mance” which at the time was perfect for his age. Petre performed second in the third Semi-Final, which took place in Loueske. The song was slightly jokey where he sang about his lack of a relationship. Petre placed seventh of out eight songs and was shown the door. That semi was legendary, though, with Mini Surrey North and Rigas fighting it out there - with Mini Surrey North being victorious and eventually winning the show and WorldVision overall. Petre, now twenty, took a more serious route for the 2017 edition of Vha Mehlodhivestoile with his song, “I’m Breaking Free” which placed fourth in the Semi-Final 3 which took place in Quickenden. Petre was given a better running order this time, 6th but he was relegated to the Battle Stage. A total of 1.5 million votes were cast for the Battle Stage, with 53% of voters voting for Izmedu’s Etela Tomac with her song, “I Was Dancing With Stars” - which came second overall. This was the second time that Petre was against some of the greats of the competition and wanted to show Britonisea what he was made of. At 21 years old, he participated in the lighted tweaked version of Vha Mehlodhivestoile and placed first in his Semi-Final in front of Kelsey Banques who we all know is the 81st WorldVision Song Contest winner. Petre placed third with the International voters in that Semi-Final but completely won over the Britonish who gave him 65 points. Despite winning his Semi-Final, he placed last in the Grand Final with the Britonish voters seeming to have lost faith in him.

"My only mission now is to put in all the work that I need to make a success of this participation. I’ve tried six times to get here, I won’t take this for granted"

- Petre Lemetre speaking to BITC News a day before the Grand Final

Petre seemed to be quite shocked and annoyed at the result which caused him to have a break from Vha Mehlodhivestoile for a year to focus on other projects. He seemed to be quite pessimistic about his chances at Vha Mehlodhivestoile and his chances at ever representing Britonisea at the WorldVision Song Contest and so tried other avenues to represent the country, such as going directly to the broadcaster to be picked for internal selection. The broadcaster at the time said that they had no plans to allow Petre to perform at the contest using an internal selection, especially as he was a huge part of the national final tradition. Petre returned to Vha Mehlodhivestoile 2022 with a new song, “Higher” and was drawn into the third Semi-Final once again which took place in Quickenden. It was like deja-vu as Petre was relegated to the Battle Stage again in Quickenden. Petre performed a week later in the Battle Stage with the Achaean jurors voting for his sounding resoundingly over Leo Marshall-Hunte’s “You’ve Got Me”. You could see that this had meant a lot to Petre, who would then go on to place eighth in a Grand Final of 12 songs. Progress for the man. Petre returned to Vha Mehlodhivestoile 2021 as a 24-year-old now and surprise-surprise, he was given Semi-Final three to perform in. Petre Lemetre opened the show, but came 6th overall and thus did not make it through to the next round. As mentioned above, Petre then took part in the 2022 Vha Mehlodhivestoile, in Semi-Final 3. It marked the fifth time that the man had participated in Semi-Final 3 but it seemed that this was his time to shine. While Petre placed fifth with the International Juries, he won the Britonish vote and took the victory.

From Overseer to VM winner: Guy Autriche, the former World Hit Festival Overseer, co-wrote “Disillusioned” with T:Rodden, Susan Baker and Tom Allen.

Petre’s song had some heavyweights behind it. Guy Autriche is a familiar name as he was the World Hit Festival Overseer between WHF51 and 60 including the 53rd World Hit Festival Semi-Finals which was held in Bovingdon. Before he was the Overseer, Guy Autriche was a music producer, and as soon as he was finished with the World Hit Festival he returned to that role. Guy worked on a number of the most famous songs, including Meghan Jorgensen’s “Waiting For You” which won the 50th World Hit Festival with a record-breaking total in both the semi-final and Grand Final. Guy Autriche was also behind Gigi Vadeboncoeur’s “Let Yourself Free” which also won the World Hit Festival - the 48th edition. While Guy has had less experience at the WorldVision Song Contest, he wrote the winning song of the 63rd WorldVision Song Contest, Frida Grover - Pyro almost singlehandedly with the song being the first-ever song in Britonish to win contest. When Guy is behind the entry, you know everything will be thrown into it. Guy wasn’t working alone, however, with T:Rodden also having a hand in the song too. T:Rodden is probably the man that has submitted the most number of Vha Mehlodhivestoile entries. T:Rodden was on the same writing team as Guy was for the 50th World Hit Festival and can add that to the list of accolades. T:Rodden wrote Dean Boyst’s World Hit Festival song, “I’m Hurting Too” which gave Britonisea its second victory at the festival. T:Rodden has come second at the WorldVision Song Contest twice, at the 57th and 66th editions and so is more than hungry to replicate the success of Guy Autriche and win in both contests. Working alongside these top dogs were Susan Baker and Tom Allen both of whom are up and coming writers and most definitely will be doing a lot better in their careers now that they have won Vha Mehlodhviestoile alongside Guy and T:Rodden. The team worked with Petre Lemetre who gave it his own little flair in the end. He was more than proud of this song and now that he is able to take it to the big stage in Carrelie, he knew he had to give it his everything to win the crowd over.

Britonisea is performing 24th in the Grand Final, hilariously before Placely Placington as they mentioned Vha Mehlodhivestoile in their entry.

It was time for the 24th act of the night - from Britonisea. It would be the first time that the Carrelian crowd reacted to the Britonish on the stage with Britonisea withdrawing the last time that Carrelie hosted. This time around, Britonisea sent a highly prepared and ready Petre who quickly got himself onto the stage during the postcard. As he went onto the stage, he looked out to the crowd - most of whom were looking at the postcard that was being played. He could hear some cheers in the audience, welcoming him on but he wasn't too focused on that at the moment. Petre felt as though it was his moment. He had tried so many times to get to the WorldVision Song Contest and it was finally his time to show himself to the world. He had worked very hard on the staging as well, as you would see and while elements of the performance are the same as Vha Mehlodhivestoile, he's spent some extra time making it perfect for the bigger stage in Carrelie. Certainly, for Britonisea, they had high hopes for Petre Lemetre - he's one of Britonisea's biggest stars and he definitely knew how to perform. Britonisea had won the jury vote very recently, but the televote, unfortunately, wasn't as responsive to previous Britonish songs which meant that we haven't seen a Britonish win for quite some time. Petre did feel as though because he was the winner of Vha Mehlodhivestoile, he had a duty to do, well, better than the likes of Mehkl Maddox Ajax. He was worried about whether the odds were against him, though. Perhaps the fact that he's male meant that Britonisea wouldn't get the result it wanted, after all out of Britonisea's 7 wins, only one of them was male - but they were a Vha Mehlodhivestoile winner. Petre had followed the contest for a long time and knew what it took to do well at the contest and the team at BITC was very much happy with the amount of work he has put into the production. BITC knew that this performance wasn't going to be an easy one - it was quite intricate, especially with the message of the song that they wanted to portray.

Petre Lemetre was standing in the middle of three rather large polycarbs that were white in colour. Polycarb refers to the huge plastic sheets that are semi-opaque but you can shine lights behind them which gives off a very vibrant and rich lighting effect. Each polycarb had a light that shone directly behind it, which could create some pretty powerful colours on the back of them. The three polycarbs made a square formation, with there being a space where the fourth polycarb would be (if we had one). The space was looking out towards the audience so they could see Petre when he started to perform. Petre wasn't wearing anything too drastic - in fact, he was just wearing black - a black vest alongside some trousers which didn't look too formal, but most definitely weren't inappropriate or casual wear. They were good enough so that they looked professional and slick, but loose enough so he could move up and down the stage. In the middle of the stage was a red chair which was placed on the LED floor which, by the way, shone a white light box from it. As far as the audience was concerned, Petre was basically trapped in a white box, from underneath him and all around him. As the postcard finished playing, there was a modest cheer from the Carrelian audience in the arena before the lights went dark in preparation for the Britonish performance. Britonish performances with large set pieces and props aren't uncommon with performances at the World Hit Festival and WorldVision showing Britonisea's desire to show the best of Britonish set design. Petre was excited for this moment, he took a huge deep breath as the audience quietened down and he could hear the first piano notes in his earpiece. A tiny bit of low laying fog accompanied the stage pieces to make it look even more eerie than the set already looked. This was the sort of performance that the Britons knew they could do well and so they had sat down and thought about every single shot - wondering whether it needed an effect to put a certain point across. As the music started. Petre was sitting slumped on the chair, looking upwards. There was a camera shot which was zoomed straight into the box - you almost didn't know that you were on the stage - you thought you were in some sort of uncomfortable, clinical room with this man who wasn't giving you any eye contact. As the song slowly progresses, Petre slowly lifted the microphone to his mouth, with awkward camera shots capturing this including a close up of his hand has it moves closer to his face a birds eye shot of him looking up was then used as he started to sing. The camera slowly ped downwards, this closer to Petre as he was singing upwards. He almost had no expression on his face - he was vacant. He was isolated. Inside he was nervous, he knew that hundreds of millions of people was watching his performance right now, eight million of which were Britonish fans. The cameras were live and his performance was now centre stage.

You had this plan right from the start, premeditated.
Like a moth to light, you saw me then made a beeline.
I should've seen the warning signs, all the red flags but
I craved attention, the warmth of another.

Wasn't thinking with my head, this is where it got me -
Trapped between four bright white walls,
I'm left now craving for more, for you.
I miss your voice, I miss you.
Your words, they ease my mind.

As the camera slowly moved downwards towards Petre, the lighting in the arena was very basic but quite effective. It was okay that the lighting was basic, though, it would all change when we went into the second half of the performance. When singing the word, “red”, one side of the polycarbs quickly flashed a deep red before reverting back to the white that is was before. At this point, Petre looked forwards - out towards the audience, some of whom cheering him on as this was the first time that Petre acknowledged that there were people in front of him. A camera captured his head movement, as it went from looking up to now outwards, with the cameras doing very tight shots so that the illusion of him being in a room wasn’t lost. The camera angles weren’t conventional either, with some shots showing Petre very close up - and sometimes a bit too close for comfort while other camera shots had a dutch tilt - slightly turned on its axis. Similarly to the lighting before, nothing had changed - with Petre still stuck in what seemed like a white box, which heavily contrasted with his outfit. His red chair was a focal point of the performance so far, as well, as he rocked back and forth in it - and with some of the aforementioned shots, focusing on different parts of the chair such as the neck or feet. The Briton was feeling comfortable about his performance so far. He had performed it so many times at Vha Mehlodhivestoile, but he knew that it felt different here. He didn’t feel the same response from the audience as he felt in Britonisea with reminded him that this was not just a national show - he was very much only a participant in a competition where others abroad won’t know him - unless they watched the Britonish national final - which many WorldVision fans do.

When singing the word, “red”, one side of the polycarbs quickly flashed a deep red...

We then moved on to the second half of the first verse. The music was slowly building as a drone-y sound was introduced to the backing track adding more power and excitement for what is going to happen next on the stage. Petre, for the first time during this performance, looked directly at the camera as he sang the lyric, “this is where it got me” before the cameras started glitching -flickering between that shot, a shot showing the box from up high and a few other shots that we had seen earlier during the performance. Whilst the camera cuts were glitching, Petre’s gaze remained fixed on the camera he was singing in.There was a shot from further away in the arena, but only a split second - and you could see that there was a huge white box in the middle of the abyss in which Petre Lemetre was in - with only a singular spotlight providing him company. After singing how much your words ease his mind, Petre looked outwards towards the audience, with all of the lights - slowly fading out with the light underneath him from the LED floor now shining. There was a shot that was close up to Petre before he moved on to, what you could call, the pre-chorus of the song.

Will you write to me sometime?
Will you write to me sometime?

Petre knew that the first chorus of the song was coming up and personally he loved singing the choruses before it was cathartic for him, he could release all of the emotion that he had stirred beneath the surface. He knew, however, that he had to successfully build up to the chorus, with these pre-choruses in the song providing him with a great opportunity to do that. Light from the LED kinetic sun shone behind the large polycarb which stood behind the seated man but as he went to sing this part of the song, a singular strong yellow light was reflected on the back of it, with it trailing its way from right to left behind him. With Petre asking the question for the first time, the music slightly reduced in texture - and a close up shot of his face being used here, contrasting with the next shot of the whole stage. Petre had a lost expression on his face when he asked the question for the first time, but this expression slowly turned into annoyance when he asked the second time. All shots that were used during this section were moving slightly - even only just - to keep the dynamism during the performance.

It was time to move on to the first chorus of the song and with the strong beat of the drum welcoming the chorus, there was a shot from the furthest section of the arena, moving from left to right, with the sides of the box falling down. The lights in the arena reacted to this movement, as they slowly dispersed from the stage floor outwards to the audience in gold and white. The kinetic sun behind him was white, before slowly fading out to black - with this happening over and over again during the first chorus. Petre, with this being quite a major section of the song, stood up from his seated position - throwing the red chair to one side of the stage floor. While the stage personnel quickly rushed on to get rid of the chair, there was a camera from the side of the arena which captured his movements and expressions of Petre when looking out towards the audience. He was slightly looking upwards towards - but not directly at - a light which was facing him. When singing the first part of the chorus, you could see that he took a huge breath in and was using a lot more power than he was using during the first part of the song. You could see that the man was somewhat angry, with the light that was pointing at him slowly turning from a standard white light to pink before going to red throughout the length of the chorus.

Anger filters deep through my veins,
Inside a storm is brewing.
How could I have allowed myself
To become so disillusioned?

I can see you staring right at me,
Thriving on my confusion.
But I'm enchanted by your smile,
Even if it feels wrong,
I'd trust everything you say.

There was a shot from straight-on as he sang the main words of the song, “How could I have allowed myself to become so disillusioned”, with Petre directly speaking into the cameras as he said this line. We went straight into another shot of Petre, now from the other side of the stage, with the man slightly jolting his body to the direction of the camera, bending his next slightly to the side while singing directly into the camera for the first line of the second half of the chorus. Petre quickly flicks his hair downwards towards the ground by leaning forwards before standing up once again - trailing his hand through his hair to fix it from going all over his face when singing about his confusion. Petre takes a step towards the camera as he sings about the smile, with Petre slightly smiling though it looks like he’s smiling through the pain that he was feeling. As with the start of the chorus, the LED kinetic sun was still flashing on and off, quickly flashing on before fading away over a certain amount of time over and over again, but this all stopped as Petre finally got to the final line of the chorus and as he did, he found himself to be alone on the stage once again with the only source of light being from the LED screens beneath him. The camera slowly moved outwards from this shot with some members of the audience cheering as he solemnly finishes the first third of the performance. He lowered the microphone to his waist as he stopped speaking with the light beneath him slowly fading out as well.

With the polycarbs now being placed around him, he found himself in a wall-less box (which was shown on the LED screen underneath him as it was highlighted in white only). As the lights came back on, you could see that Petre was joined on the stage by four figures around him standing on each side of the square that the man was on. He did a slow 360 (anticlockwise) around when singing the first line of the chorus with a steadicam following him in the opposite direction from the way that he turned to make it seem as though he was turning much faster than he was. When he faced the front once again, he started to run forwards towards the audience members, before the two dancers that had appeared stopping him from running outside of the boundary that he was in. One of the dancers handed him a suitcase when singing “serenity”, with Petre spinning himself back to the middle of the stage - the dancers mimicking this movement but spinning themselves back to the corners they were first in. The stage, during this point, was still quite dark - with the fog providing a bit of mystery too. A dark green/teal colour could be seen in certain crevasses on the stage which changed in intensity along with the beat of the chorus. Even though there was a lot of movement that was necessary for this performance, Petre was a pro at moving about on the stage and still sounding flawless - after all, this was his sixth Vha Mehlodhivestoile entry and so he was very much used to the theatrical side of shows such as the WorldVision Song Contest.

Let's run away together, just take a bag and leave
We'll find our final destination: serenity
Just you and I, just us two, we don't need nobody.
Don't back out on all the things that you promised me.

Is this in my head - am I the one going crazy?
I keep ringing, no answer
Wherever I go, I can't get out
I miss your voice, I miss you.
Your words, they ease my mind.

He laid the suitcase on the floor as he sang the word “promised me” very calmly but this was soon juxtaposed by the line, “Is this in my head - am I the one going cray” because he started to hold his head, manically flinging himself up and down with the dancers who were standing around him in this white box on the floor also doing very similar movements. Each dancer was doing different dances and it seemed as though they were all doing very repetitive movements too. It was another steadicam moment for the Britonish performance with the camera swooping into the stage where Petre was, circling him as he held his head in the palm of his free hand while he moved on to the next line of the verse. He make a call sign with his hand, holding it up to his ear and pretending to speak into it as he sang his song. The lights, obviously, reacted to this moment of the song, with the lights flickering crazily - adding to the level of confusion and visual dysphoria. He then turned around when he moved onto the next part of the song with the steadicam following him as he walked to the upstage end of the white box that he was trapped in. The other two dancers stopped him from moving past as he sang the word “out”. The flashing lights carried on flashing at this point as he slowly dropped to his knees, using the support of the two dancers that fell along with Petre. Petre turned his body around so he was facing downstage (the audience), captured by a camera other than the steadicam which had disappeared off the stage by now.

After singing how your words ease his mind, the flickering that became so constant during the performance quickly switched off with a spotlight focusing on Petre as he sat alone on the stage making everyone feel sorry for him. Petre’s hair was a mess by this point of the song, but it fits the style of the overall performance and only added to Petre’s portrayal of the confusion and anger that he was feeling. We then moved onto the pre-chorus of the song once again, but this time it was slightly different. Petre slightly crawled forward with a camera catching his face as he repeated the line a couple of times. What was going through Petre’s mind right now? He knew that he had reached the halfway point of the performance, and he believed that he had performed very well so far and so he wanted to keep it up. Knowing that his performance so far was going very well, spurred him on to get through the performance.

Why haven't you been in touch?
Why haven't you been in touch?

There was a shot which started off pretty close to the stage but made its way over the audience and greenroom diagonally as we moved into the second chorus of the song which was a huge build up in itself to the explosive third and final chorus that was soon coming. Petre slowly got up from his crawling position during the slight break between the pre-chorus and the chorus. There were fans which started to clear away the low laying fog that was present on the stage but it also made the stage seem a lot more cluttered than it seemed beforehand. Petre swayed alongside the beat of the song - singing into each of the cameras that was on him, a bit more like an average Britonish performance here. During the first half of the chorus, the screen behind him was still white, but had patterns and effects in front of it which added depth behind him instead of just a white screen. For this bit of the song, Petre was giving it a little bit more passion when singing his song and not holding back as much as he was during the first sing-through of the chorus. He was starting to focus more on his vocals here, providing the audience with ad-libs and trills, adding more texture to the song which was already building in texture anyway thanks to the instrumentation.

The lighting that was used during the second chorus was not too dissimilar from the first chorus, with strobe effects being used along with the beat of the song so that everything seemed streamlined and worked perfectly with one another. As for the dancers that were on either corner of the stage, they were dancing in a similar way they were dancing during the hectic section during the second verse of the song. They all stood in position. The shots made it seem as though Petre was trapped in a vacuum with everything happening outside of it hectic but everything inside the box remaining still and calm. Petre rarely moved from his standing position during the second verse, allowing the cameras and the dancers to provide that movement that song needed.

Anger filters deep through my veins,
Inside a storm is brewing.
How could I have allowed myself
To become so disillusioned?

I can see you staring right at me,
Thriving on my confusion.
But I'm enchanted by your smile,
Even if it feels wrong,
I'd trust everything you say.

Petre’s favourite bit of the performance was coming closer and closer and the excitement of this allowed him to tease the audience with the true power of his voice with vocal trills, which he made look so effortless. When starting to sing the second half of the chorus, from the line “I can see you…”, the light wall which wasn’t used during the first 2/3rds of the performance started to move downwards from the lighting rig very quickly (similar to this section of Italy 2022). This was a sight to be seen, with a shot from further back showing this moment as he continued singing through the performance. Petre could almost feel the lights hitting his back as the rig came down. Through singing the lyric, “I’m enchanted by your smile”, there was another close up of Petre Lemetre sadistically smiling at the camera while the lighting rig, in the background, came into the shot, flickering and whatnot which, in time, filled the screen with bright lights. There was then a shot using the spider camera in the middle of the arena, moving outwards over the audience at quite a quick pace.

The light wall started to move downwards from the lighting rig...

During the little interlude between the chorus and the bridge, all of the dancers and Petre started walking around in circles before the lights around them started to turn into an ocean deep blue. As they each walked around in circles, they made their way closer and closer to one another. The white LED box underneath Petre was now flickering a multitude of colours on the blue to white spectrum which was only helped by the powerful lighting rig behind the dancers. There was another long shot of the stage as a whole moving from the left to right before we went into the rather intense bridge section. As the dancers made their way closer to Petre, you could see that all of them had something shiny in their hands which were attached to a rope or wire that you could only just see if you were looking closely enough.

You had me sold on a dream spawned by lies,
Too good to be true, and I risked all just for you.
On the very first night my fate was sealed
by your Judas kiss, I wish I could hit undo.

During the bridge section, as the lights were furiously reacting to the song - the dancers started rushing to Petre. With the choice of camera shots and the number of cuts during this section, the audience at home, they were unsure of what they were doing to Petre during the performance but for those that were in the arena, they could see that whilst swaying around to the song, they started to tie each section of the rope around Petre on different parts of his body. The red chair also made a reappearance on the stage once again too. The dancers would sway from the left with Petre also swaying - very exaggeratedly - along with them.

As he sang the words “I wish I could hit undo”, all of the dancers ran away from Petre quickly. The camera shot that was used during this was a shot from very close up with it dramatically moving outwards to the furthest point away in the stage that it could. The lights that were flickering immediately stopped during the small rest in the instrumentation between the bridge and the chorus of the song - it was almost as though everyone was frozen in time which seemed surreal based on how frantic and chaotic the performance had been throughout. As we moved back into final performance of the song, a lot was happening on the stage. The LED panel that came down during the end of the second chorus slowly moved upwards once again with a mixture of shots being shown to show this. On the LED screens behind the kinetic sun, you could see thunderbolts from the uppermost corners, hitting the semi-circle of which the kinetic sun is in front. The colours that filled the stage was golden and red - a contrast to the blue, green and white that was prominent during the earlier stages of the performance. The fans that had cleared up the fog were still on, and you could see that they were turned up as Petre’s hair was going crazy in the wind.

Meanwhile, each of the dancers held their bit of wire that was tied onto Petre and one by one, each of them started to pull on Petre. Though it seemed as though they were doing this in slow motion. Petre was slightly overexaggerating the movements of being pulled from side to side. With the dancers sprawled across the front of the stage, there were a lot of far away shots to show exactly what happens on the stage from a multitude of angles.

Anger filters deep through my veins,
Inside a storm is brewing.
How could I have allowed myself
To become so disillusioned?

I can see you staring right at me,
Thriving on my confusion.
But I'm enchanted by your smile,
Even if it feels wrong,
I'd trust everything you say.

As he sings the line, “But I’m enchanted by your smile”, he breaks free from the ropes that were holding him with the dancers all running off the stage at this point. The golden hues became stronger here as he smiled once again at the camera, holding his free hand up in the air in what was a very strong and powerful stance. A shot swooping from the water display feature captured him as it moved upwards. As he finishes off the final lines to his performance, he tiredly takes steps backwards before he sits once again on the red chair that he sat on at the start of the performance. The lights in the arena were calm and still during the final line of the performance and the outro section. A singular spotlight came back on him, with the LED floor showing a concrete floor. The polycarbs were pulled back upwards as well, recreating the look of the stage at the start of the performance. The polycarb behind him was not hauled up, however, with the LED screen showing the back of a cell. A camera slowly beckoned closer as he looked deeply into it coming closer to him, sitting slanted on the chair with his hair all over the place. He looked vacant for the first bar of the outro. It then cut to a steadicam that was on the stage again. The steadicam, which Petre didn’t look into, semi-circled around Petre, before looking towards the audience at what Petre was looking at. The dancers had reappeared on the stage, holding a large mirror. The steadicam was positioned slightly off to the side so that it wasn’t captured in the reflection but the audience could see Petre looking at himself in the mirror and during the last beat of the song, he averted his gaze to look down the camera lens through the mirror, suggesting that all of what he was singing about was in his head.

The shot then quickly cut to black before the crowd came in with a cheer. A long shot of the stage was shown as Petre thanked his audience, “Thank you, everyone! Wow, thank you so much for this experience!”. Petre had done everything that he could now. The man had the huge task of representing Britonisea during a Vha Mehlodhivestoile year but believed that he had done enough to make Britonisea proud with his experimental and creative performance. As he walked away from the stage, he took a huge deep breath to calm his heart which was beating very rapidly. He didn’t know how he felt: elation, perhaps? Fear of the result… relieved? All of them at once. At least now he can sit back and relax during the marathon that is the 99th WorldVision Song Contest.

by **Placely Placington** » Tue May 17, 2022 4:17 pm

25 - Placely Placington

Dave McDaverson and the Dave McDaverson Singers (feat. Dave the Hobo) - We Got Last Place

Tune: Hulk Hogan - Hulkster in Heaven

Dave McDaverson wasn't in the best place right now. After all, he was still reeling from the results of the last WorldVision Song Contest. He thought it was a good idea to send the E Oe song that was rejected from the Britonish national final Vha Mehlodhivestoile purely to spite them, especially since he felt that their song was just a boring ballad whereas since the Placely song Uouauai was the harshest, heaviest black metal ever made, something that was completely new and fresh to the contest, it would interest people enough to vote for it. It was also completely different to their last song, Euouae, courtesy of Jim the Grindcore Guy Bloke showing up at the studio and his presence affecting everyone. Dave was hoping to laugh as everyone would give Placely 12 points and the max score from the televote whereas poor Britonisea would get minus points and everyone over at BITC would be crying themselves to sleep for years for rejecting such an amazing song.

Uouauai ended up getting last place. Worse, it got no points at all from any of the juries or the televoters.

The Britonish song, Bystander, was a hair off the top five when it came in 6th place with 195 points, but it was easy to see why it placed as well as it did. It had a great singer, it had a great staging and, regardless of how you personally felt about the music, it was a broad enough taste for the general populace to think it was at the very least fairly decent. Uouauai, on the other hand, was destined for last place no matter how much you try and spin it. Even the Vartugian entry, which was a corrupted tape that turned into five and a half minutes of harsh noise, got more points than Placely. Somehow. There were rumours that StrayaRoos Barrier Islands was going to give Placely their 12 points had they competed but, for one reason or another, they had to be disqualified. Not even the biggest rock in his secret stash could cheer Dave up. And it didn't help that there was a message on social media about them; as Placely Placington doesn't have a single telephone, let alone an internet connection (which is why Dave's excursion into NFTs never went anywhere), he didn't know about it until Television Director had to print it off abroad and then carry it back home.

Dave McDaverson read it. While he was on board with whatever this Daz Fred person had planned, to the point where he was willing to mobilise 2,500,000 Test Subjects for whatever reason no matter how necessary it was, there was one part that stuck in his craw. He took another puff of his pipe and looked up at Television Director. "Are we funny?"

"There was that Jester Award we had received from Fauntenheddo in the 84th WorldVision Song Contest."

"But are we funny?"

"I don't think we are, sir."

"But they think we're funny when we send serious art." Dave said as he put his pipe in the tray. It was done anyway and he had learnt his lesson from the time he burnt his office down by throwing his pipe away. "In fact, I have an idea for what we can send for the next contest. Maybe we can show our softer and sadder side. Maybe that'll make them cry and send us votes."

"If you think it'll work, sir." Television Director said, being genuine because his boss would press the button if he wasn't.

"And if it doesn't, then not only will it be their loss but we'll have to pull out the biggest stop we've ever pulled. We'll have to bring everyone in. I think it'll work."

"Y-yes sir. Who do you have in mind."

"I was thinking myself. After all, it was my idea so I feel like I should apologise to them in person. It's the only way, after all." Dave responded. There was more of a conversation after this but I want to get to the entry already rather than keep putting this off.

After the postcard came to an end and all the usual pre-entry stuff happened, we then cut to an empty stage. There was a white grand piano with the lid up. Of course, during rehearsals, the lid fell and cut Dave McDaverson into two pieces so they had to have a stagehand do it for the next time. On the upside, at least Dave doesn't have his gun around.

Oh yeah, Dave the Hobo's here because he's the only other musically-inclined member of Dave's cabinet. In fact, when the song started, all the other lights were off other than a stagelight pointing at him and one shining down on Dave McDaverson. All the screens were off too. The camera slowly zoomed in on Dave the Hobo, who was sitting in a box that was way too small for him. He also had two midi keyboards, one that he was playing with his feet (that were covered in bread bags from 1998) and another where he was playing with his hands. It was also producing the worst midi trumpet sound ever possible. Midway through the verse the camera then cuts over to Dave McDaverson and his backing band, who all have lights shining down on them and were raising their left arms whenever they sang the back-up "oohs" during the verses. But after that, the camera was just centred around Dave McDaverson on his piano.

I saw it on the TV and I felt so dismayed
When I saw that my Placely song had finished down in dead last place
We tried to send a song, we didn't know it's bad
And seeing it come dead last without a point made me so very sad

The chorus now. Just Dave McDaverson playing his piano while he sang. Sometimes the backing singers were there. Probably because they were actual human people that he somehow managed to acquire and not Test Subjects in ill-fitting outfits. At some point during the chours there was a faint picture-in-picture shot of Dave the Hobo playing the trumpet midi with an expression on his face that implied he was having a war hellride on the inside but, other than that, it was mostly just Dave McDaverson.

We got last place (we got last place)
It was a disgrace (it's a big disgrace)
We'll send something better next time (better, better, better!)
It won't be a waste (a waste, a waste)
We got last place at the WorldVision Song Contest
(It was a bad song, we're sorry for it)
We hope this time we won't be the wrongest
We got last place (we got last place)
It was such a disgrace
(It was a big disgrace)

Dave McDaverson immediately segued into the next verse and it was mostly the same as the last verse. The only difference was that there was no shot of Dave the Hobo in this whole segment at all and it was all centred around the Chief President Man at his piano. But other than that it was pretty much the same as the last one. Nothing else to say, really.

Oh the VM blokes were right, they didn't want that song
They were so right to reject it, to send it we were wrong
The scoreboard showed no ponts, a truly so bad fate
We didn't know it was bad, how it made people hate

And back to the chorus. Once again, it was pretty much the same as the last time they did the chorus. Just shots of Dave McDaverson singing with the occasional shot of his backing band or Dave the Hobo playing his instrument. The backing singers did put a bit of emphasis on their movement towards the end but that's about it for a real difference. Nothing really to note here and I don't want to put too much effort into a shitpost so instead I'm going to state some random facts. For example, did you know that contrary to popular belief a vomitorium is actually just a type of exit and not a place for Romans to throw up?

We got last place (we got last place)
It was a disgrace (it's a big disgrace)
We'll send something better next time (better, better, better)
It won't be a waste (a waste, a waste)
We got last place at the WorldVision Song Contest
(It was a bad song, we're sorry for it)
We hope this time we won't be the wrongest
We got last place (We! Got! Last! Place!)
It was such a disgrace

This time, the camera was centred around the backing singers while Dave was mostly off-screen playing the piano. They once again put a bit of emphasis on their actions towards the end, presumably to liven up a self-pitying slog and add some real emotional depth. Anyway, did you know that Liechtenstein's national anthem has the same melody as the UK's one? And yes, there has been confusion whenever they play England in the football/soccer. As well as one moment when Scottish fans booed the Liechtensteiner anthem.

(We got last place)
(We got last place)
(Sorry)
(We're sorry)

After that, it was more shots of Dave McDaverson playing his piano and his backing singers providing the back-up vocals. Sometimes they'd lift an arm in sync with each other to add a bit of emphasis. There was a shot of Dave the Hobo playing the terrible midi trumpet and still having a bemused look on his face. But other than that it was standard chorus fare. Also, did you know that the longest song on the British singles charts was The Orb's 1992 ambient house classic Blue Room? It clocked in at under forty minutes long (39:57 to be exact), although fortunately shorter versions were later made available, including one on their U.F.Orb album that went on for over 17 and a half minutes.

We got last place (we got...)
It was a disgrace (a big one)
We'll send something better next time (better, better)
It won't be a waste (a waste)
We got last place (last place) at the WorldVision Song Contest
We hope this time we won't be the wrongest
(This time we, we'll send a good song)
We got last place (last place) at the WorldVision Song Contest
We hope this time (this time) we won't be the wrongest (this time)

This bit's just a small section so no unnecessary facts to pad out the length. It was just the backing singers slowly lowering their arms and looking down at the ground. The lights also started to turn off around them. It also turned off around both Daves.

(We got last place)
(Last place)

That's it, the song's over. The lights turned back on but no one really applauded. There was a cough or two as well as a small spattering of pity claps. Regardless, Dave McDaverson stood up and took a bow. Fortunately, there were no eagles ready to drop pianos on him or anything like that. This is a sad song, after all. He then said "Vote for Placely Placington and vote for me, Chief President Man Dave McDaverson." Other than the usual suspects, I doubt anyone would. Oh well, at least the following entry from Illdonya will be a bit better.

by **Illdonya** » Tue May 17, 2022 4:38 pm

26. Illdonya #ILD

Stockwaves ft. Marielin - Born To Win

MarelleSounds ft. Helen Ze
"The Power's Strong"

After a Illdonya scored its best place, 19th, in Keterig, Aenglide, Illdonya wanted to continue making great results. Illdonya could not achieve many artists to enter their national final, Illdonyafest. Instead, Illdonya internally selected their artist and used Illdonyafest to decide which song should be selected to be entered. After many arguments and decision making, Illdonya's broadcaster ÍGBA decided that MarelleSounds should represent Illdonya for the 99th edition of WorldVision. This was decided because MarelleSound's newest album, NeoPop Symphony reached number 1 in Illdonyan album charts. Originally Illdonya was considering sending Salamá again because her song Unhappiness was at number 1 in Illdonyan song charts. However the public decided not to resend Salamá.

MarelleSounds is a group that was founded 25 years ago and consists of 3 members. Zara is the singer of the band and she also plays the electric piano. Xander is the guitarist and Mel is the Drummer. The three members of the band have been friends since childhood; all three attended elementary school together. The band was formed in Zesta, Illdonya while the members were in high school. Over time the band has made hits such as Banana Boys ft. Draca and Electric Symphony. They have release many albums that have reach the top of Illdonya's album charts. Some albums that have topped charts include Heterotroph and Electric Orchestra. Because of the groups popularity, Illdonya internally selected MarelleSounds to represent Illdonya in WorldVision 99. Despite internally selecting the artist, Illdonya still held a national final to decide what song the band should enter with. Using Illdonya's national final, Illdonyafest, the popular vote narrowly selected the song "The Power's Strong".

Helen Ze is a singer in Illdonya. She is not well known in Illdonya but she is hoping that WorldVision will boost her career. Helen Ze was born in Yelele, Illdonya and attended a music school where she learned how to sing. She has never composed any songs except she help compose this one. For the people that know her, she is mainly known for her covers on famous songs. MarelleSounds first met her singing at a restaurant in Zesta, Illdonya. Zara, the singer and pianist of the group, noticed that she had an amazing talent and recruited her to help with the creation of the song "The Power's Strong". When Helen found out that she had been recruited by MarelleSounds, she almost fainted. She will be singing the song while Zara plays the piano.

The song "The Power's Strong" was originally called "The Power is Strong" but was shortened to fit the lyrics of the song. The original name was used in the Illdonyan national final, Illdonyafest. According to MarelleSounds and Helen Ze, this song is about encouragement and empowerment. This was one of the three song written only for Illdonyafest and Worldvision and wasn't release until Illdonyafest started. This song won over two other songs that MarelleSounds made in Illdonyafest winning by a margin of 1 point from the second place and 2 points from the third place song.

The performance starts of with a spotlight on Helen Ze. Then the light widens and shows the MarelleSounds band. Helen Ze starts to sing the first few lines of the song. Helen Ze is wearing a scarlet dress and seems to be wearing glass slippers. She puts her mouth closer to the mic while she sings.

I feel stronger everyday
It gets stronger and it won’t stop
Everyday you and I feel it too
It makes me feel strong, you too and as well

As Helen sings the second verse, red lightning appears on the floor below and seems to get brighter each time it "strikes". On the LED wall there is also red lightning. The rest of the band plays along but it seems that Helen is the center of the attention.

It’s ok to forget about it
I know what it’s like
I think about you
You can do it just be stronger
It grows everyday

As the chorus starts the lightning of the floor is quite bright and it makes these strikes that seem to go outwards from where the band members and Helen are standing. On the LED wall the lightning is still striking. The lights on the Sun turn red and blink to the music. The lights also seem to make a "light wave" to the beat and many of the audience scream.

‘Cause we all know that the power’s strong
It’s always strong
Powering through
The power’s strong
You know that you can do it now

For the next part of the chorus the Sun spins while the lights blink and wave to the beat. Helen starts pumping her hand in the air and so does the band members.

Ooh ooh ooh ooh, it, it it is strong
Ooh ooh ooh ooh, you know that the power’s strong

When Helen sings this next verse the lightning stops and the Sun returns to its original position. Helen and the band members stop pumping their arms in the air.

It starts to get out of your control
You can use it now, it's for you
It will help you guide you on your way
You can do it yay, this is all for you

Like before, the lightning starts again, each time getting brighter.

It’s ok to forget about it
I know what it’s like
I think about you
You can do it just be stronger
It grows everyday

Then again when the chorus strikes the same thing happens again.

‘Cause we all know that the power’s strong
It’s always strong
Powering through
The power’s strong
You know that you can do it now

Like before, the band members and Helen pump their arms. The Sun and LED screen and floor do the same as before.

Ooh ooh, ooh ooh, it, it it is strong
Ooh ooh, ooh ooh, you know that the power’s strong

The arm pumping continues and the Sun continues spinning. Lightning still strikes on the LED screens.

Ooh, ooh,
ooh, ooh
‘Cause we all know that the power’s strong
The power’s strong
You know that you can do it now

For the next part everything settles back down again. The Sun stops spinning, the lights are mostly off and Helen is putting her mouth close to the mic.

‘Cause we all know that the power’s strong
It’s always strong
Powering through
The power’s strong
You know that you can do it now

For this last part the Sun and LED screens do what they were doing during the chorus. Helen and the band members pump their arms just like before.

Ooh ooh, it, it it is strong
Ooh ooh, you know that the power’s strong

At the end of the performance, Helen screams "THANK YOU WORLD" and the band and Helen walk off the stage.

by **Achaean Republic** » Tue May 17, 2022 4:59 pm

27| Achaean Republic
Dushi-Tamarica & Quajo
Tune: Titica x Preto Show -Xucalho

He left from Brazil a new woman.

Before traveling, his name was Josué Gutiérrez, a man who felt an allergy to men’s baggy pants and sagging shorts and boxers, always feeling attracted to makeup and long hair and dresses and frilly skirts like the ones his big sister and mother and aunts used to wear. Josué grew up surrounded with strong, powerful women—and she felt herself like one. Music also called Josué dearly, growing enamored with reggae en español and dancehall, but was turned off with the egregiously violent, explicit, and homophobic remarks that could put his—I mean, her—life in danger. She wanted to show that she could be [i]that girl, the one in the media, the inspiring one, the ratchet one, the fulfilling one. It took a while to come out to the Achaean nation as non-binary, getting them accustomed to seeing a man in quick drag, dressed in short enaguas and flowery blusas with pink sneakers and blue laces. Her goal is to be as disheveled and powerless at the same time—and at the same time, be the most powerful woman in the room.

Slowly, her identity began to shift and she grew more and more comfortable with her womanhood. At the same time, she grew more and more enamored with kuduro, the fast-paced Angolan dance style that turned into a worldwide dance craze in the early tens. For a moment, fashionable young Achaeans dropped reggaeton and urban rhythms and threw themselves to the kuduro phenomenon. And Josué—I mean, Josephine—wanted in on the fun. She joined forces with DJ Quajo, the nom de plume of Francisco Álvarez, a fellow rosariano like her, slowly joining forces with the city’s urban music scene and mixing Caribbean rhythms like dembow, dancehall and—after a quick trip to Miami—kuduro. If Don Omar could do it, why can’t he?

After a middling performance in the last WorldVision edition in Aenglide (the Achaean delegation was growing accustomed to Top 10 performances since their victory in unified Alezia), the delegation approached the duo (no, they were not dating) and invited them to create a song for the Achaean Republic. They decided to band together and create Dushi (“Sweet”), an old-fashioned kuduro dance track meant to make you jump up and twirl your feet. Unlike typical Achaean entries, this one is written in Papiamento, a Spanish-and-Portuguese-based creole language spoken in the Dutch Caribbean (Aruba, Bonaire, and Curaçao). Not using Spanish is an intentional choice—it allows for a different perspective, a catchy rhythm, and aims to include everyone into the fold.

The stage in Carrelie was beautiful. The glowing sun (hopefully it was working!), the LED’s, the waterfall below them, the gardens, the ambience, the audience—it all made sense. The Achaean delegation worked overtime to prepare the performance on the stage, more so with the black sun behind them shining its face with thousands of twinkling lights to the audience. Might as well take advantage of the sun—it was first covered in black, which suddenly twinkled into yellow and white colors. The stage behind them showed the busy skyline of Corola City, a familiar view for those corolanos that knew the city like the palm of their hand, the intrepid visitors, the audience in the arena (who may or may not be familiar with the idiosyncrasies of the Caribbean’s second-largest city), and the people at home. It was time for some nostalgia, a bit of dancing, and a lot of dushi.

Tamarica showed on stage wearing denim short-shorts with ruffled edges and a red-and-blue baseball jersey with green buttons, emblazoned with REP. ACAYANA and a number 25—the number drawn for their performance—in the front, highlighting her augmented breasts in the center. She also had green Chuck Taylor Converse booties and had curly brown hair with a small lapeled Fire Nation hair pin (she was a fan of Avatar: The Last Airbender). On the other hand, Quajo had a dark gray baseball hat turned backwards with the same baseball jersey as Tamarica’s, only two sizes bulkier and larger than what he would wear. He also had the white gold and silver cubanas blinged on his neck (he forgot to bring the golden cubanas for the trip to Carrelie!). Quajo also wore Air Jordan 1 shoes that were sold out when he first saw them—but lucked out when a friend of a friend of a drug dealer’s friend managed to bag them and send him over to Achaea at an affordable price. The duo managed to mook comfortable, fly, and worked together along the grueling weeks of schedules, interviews, performances, and sleepless nights. It was time to roll.

When they first arrived on stage, there were four dancers—two men and two women—stationed beside each side of the central stage, wearing black hoodies and white sneakers with black laces, staring menacingly and mischievously at the camera. Once the music began and the hard beats of the kuduro went to strike on the massive speakers, the singers and the dancers began on formation. They suddenly moved their legs to the viewer’s left and right with their arms hunched to the front. The stepping was made in unison, and nobody missed a beat. Behind them, the black sun exploded with colors bursting at the seams, always highlighting the yellow-and-white hues. To the camera, they shook their heads, stepping their legs to the left [please see 0:10-0:45 here], bending over and shaking their rums when the “dushi” part came out. There was a reason the singers wore wireless microphones—and Tamarica curled her hair! She should’ve left it straight, though!

Dushi kier lesa pedaçu
dushi kier duna abraçu
Dushi kier lesa pedaçu, ta nifiká un abraçu, kier duna un pedaçu
Dushi kier lesa pedaçu
dushi kier duna abraçu
Dushi kier lesa pedaçu, ta nifiká un abraçu, kier duna un pedaçu
Abraçu, abraçu, abraçu
pedaçu, pedaçu, pedaçu
Abraçu, abraçu, abraçu
pedaçu, pedaçu, pedaçu

Kuduro is fast-paced, energetic, diverse, and even somewhat scary to watch for the newcomers to the genre. In an Achaea with reggaeton and dancehall and dembow as popular urban rhythms, kuduro struggled to gain a foothold barring the fad that took over the nation in the new tens. Not that it mattered for the tens of thousands of revelers at Carnivals and school proms and holidaymakers everywhere. Tamarica remembered when she began exploring her identity, how kuduro made her feel at home with her changing body. When she sang, she finally grew comfortable with shaking her head and moving her hips, slightly writhing and contorting her body the way kuduro dancers would do back in Angola—yes, she and Quajo took a quick trip to Angola to get acquainted with the physical demands of the dance!

Bo kier duna
un poko di nada otro
ban pa akela un poko mas
ban di kopia dushi do-do-do kore bai representá
numa asina, lagami so
Bula pa baila nada otro sino
nan no sa ku ta bin ku forsa
bai atras ku tur ku tur, mi sa!
Bo No kier mira pa' miquear
salu pa mira, salu di enfrente
mihó ku ta baila mi
no laga tuma envidia

Again for the chorus, the camera showed how the team suddenly moved their legs to the viewer’s left and right with their arms hunched to the front. Once more, they kept stepping in signs, and nobody missed a beat. No missteps, no stumbles, no confusions. Behind them, the black sun exploded once more with colors bursting at the seams, always highlighting the yellow-and-white hues. To the camera, they shook their heads, stepping their legs to the left [please see 0:10-0:45 here], bending and shaking and trying to look sexy for the camera. There were glimpses of the audience trying to copy the viral moves, in particular the Achaeans dancing and singing and waving their flags (and a flew trans and pride and fueguero flags) around. The dance moves were worthy of a viral TikTok trend, which it came of age during the contest and had everybody in the country (and those revelers getting ready for the delayed Carnival celebrations)

Dushi kier lesa pedaçu
dushi kier duna abraçu
Dushi kier lesa pedaçu, ta nifiká un abraçu, kier duna un pedaçu
Dushi kier lesa pedaçu
dushi kier duna abraçu
Dushi kier lesa pedaçu, ta nifiká un abraçu, kier duna un pedaçu
Abraçu, abraçu, abraçu
pedaçu, pedaçu, pedaçu
Abraçu, abraçu, abraçu
pedaçu, pedaçu, pedaçu

It was Quajo’s turn to rap. Unlike Tamarica who had a small headset microphone, he carried a wireless microphone while singing and dancing and moving around. He was not a dancer, he admitted that at the beginning of the collaboration. But he had a talent for spitting out fierce bars. It was a challenge to write bars that conformed to the idiosyncrasies of Papiamento, a language neither Tamarica or Quajo had any knowledge about—they’ve only been to Aruba or Curaçao a few times, and Quajo almost got arrested due to some…unsavory things that happened there. Papiamento felt like an abortive Spanish or Portuguese that was glossed and passed over as a language. But the bounciness and tropical feel was irresistible to describe. He followed the cameras on the right side of the stage while walking other to the B-stage below the sun and the waterfall (Tamarica was doing the same on the left), rapping and glaring at the cameras. The dancers beside him were engaging in their best kuduro dances, freestyling with what they learned from hip-hop and dancehall and even classical Achaean dances like danza and salsa. It was hard to control the chaotic energy of the stage.

Let's go!
Sa ku tin lenga den bembas
arcos mi ta studia bon hasí
dushi sa ku ta dushi, problema
buska bek na ke un lima
No!
Dushi pa sinta e pida, hey!
Bo ta kere ku ta laga e algu kaba?
Ora ta papia di pasa, mi ta
Luho i Richi buska dos
pa demostrá un mandato di e skol

Ooh-la, la-la!
Ooh-la, la-la!

Again for the chorus, the camera showed how the team suddenly moved their legs to the viewer’s left and right with their arms hunched to the front. Once more, they kept stepping in signs, and nobody missed a beat. No missteps, no stumbles, no confusions. Behind them, the black sun exploded once more with colors bursting at the seams, always highlighting the yellow-and-white hues. To the camera, they shook their heads, stepping their legs to the left [please see 0:10-0:45 here], bending and shaking and trying to look sexy for the camera. There were glimpses of the audience trying to copy the viral moves, in particular the Achaeans dancing and singing and waving their flags (and a flew trans and pride and fueguero flags) around.

Dushi kier lesa pedaçu
dushi kier duna abraçu
Dushi kier lesa pedaçu, ta nifiká un abraçu, kier duna un pedaçu
Dushi kier lesa pedaçu
dushi kier duna abraçu
Dushi kier lesa pedaçu, ta nifiká un abraçu, kier duna un pedaçu
Abraçu, abraçu, abraçu
pedaçu, pedaçu, pedaçu
Abraçu, abraçu, abraçu
pedaçu, pedaçu, pedaçu

The camera provided a wide pan of Tamarica, Quajo, and the dancers surrounded by a sea of flag-waving fans, some of them trying (in vain!) to follow the dance’s steps they must’ve learned from TikTok or some other social media site. They stopped strategically as the faint whizz of the fountain could be heard from the back. In another camera site, Tamarica could be seen shaking and dancing, gyrating flirtatiously (not that it was unexpected from an Achaean) and having fun. Fun! That was the thing that was missing from performances! Just plain, simple, unadulterated fun! Colors on the screen, cool (not clunky) dance moves, hard kuduro beats (this sure would be a hit at Pride next month—monkeypox be damned!) and the simplicity of joy.

Ki a kanta!
Kier sa si ta un santu
no real un dushi piraña
ningun hende ta alle, i un hende no ta kala
O, sí! Pretu ta duru
Un tiki di humor ido ta un por fín
un pida di dushi ta fosil
mi kier tuma sinembargo no rush, sí
kier team, o véndanme rosa!

Danki, anto
ta unabes pa baila, ai pap!
Na verder
Culea más
Culea más
¡Descaté!

Engañoso e kurpa henter
bill mi pasa manera un solo
e batí lo move, o
mi ta bin di tiburón
Dushi ta nifiká ku ta kanta un chikitu, sinembargo no sa
Ha ha ha
¡Allí voy! ¡Ha!

The fireworks behind Tamarica, Quajo, and the team signified the performance went to an end. The audience was applauding fervorously. The Achaeans were waving their myriad flags and cheering for the performance, as if they felt the sumptuous need to inject life to the arena in Carrelie. Both Tamarica and Quajo bowed and curtsied to the audience while holding hands and waving to the audience. They felt a sense of exhilaration that they may finally get this in the bag! "¡Gracias!" said Tamarica. "Thank you so much!" said Quajo in what little English he could muster at the moment. They wouldn't even risk thanking the audience in any one of the heavily-accented Carrelian accents for fear of TikTok-like ridicule. But their dushi had fun.

by **Cakranegara** » Tue May 17, 2022 8:05 pm

#28 - CKR
CAKRANEGARA

Siti Amira - Siapakah Dirinya?

Language: Sakanese, Pemecutan Malay
Title Translation: Who is He?
Music: Hamid Arsyadi
Lyrics: Firman Alamsyah, Siti Amira

Tune: Iman Troye - Nang

B A C K G R O U N D

Cakranegara made a great result on their debut two editions ago by scoring a combine of 102 points. Just enough for them to sit in the top 20. And COK as the organizer was eager to entered to the next edition. But the protest from conservative and religious community in the country had halt their participation in the 98th edition.

The country's debut song, Hanya Karna Uang was deemed inappropriate by the conservative and religious groups. This protest was aimed to the act of sensual dance which was performed by Nita Aziz during their performance.

It is not the way we show the world about our country is. As the representation of Cakranegara abroad, the dance is a mockery to the country's religious people. The dance is very inappropriate and can't be accepted to depicted our religious country.

Local preacher

The constant protests have left the organizer to postpone their comeback in the 98th edition. They have to select a more appropriate song which appeal to the religious group in the country. The organizer then invite a notable religious leader to get their input about this.

It is a better solution rather than we are choosing song which later is bash by them.

Harun Al Sahid
Cakranegara Head of Delegate

The organizer is also looks for a fresh talent that can be promoted internationally. After a long selection process, one song is selected. It is sing by a young newcomer, Siti Amira.

A R T I S T S

Born in the port city of Lembar 19 years ago, Siti Amira has been introduced to music from a very young age. But being a shy and timid child, she often got a stage fright every time she entered a singing competition. This situation have make her decline to entered a singing contest again. During middle school, she begin to explore the internet and find her place in WhoTube. She can express herself there without afraid of getting a stage fright.

From the age of 16, she started to upload her video of covering other notable and renowned songs including several Pemecutanian hit songs such as Hempaskan and Nada Cinta. Her videos become more and more popular with many views. The comment section is also filled with positive feedbacks. Her popularity arise after she was invited to become a guest in one of Cakranegara known talk shows where the theme of the episode is covering online artists. She was challenge to performed live at the moment eventhough she already mention that she often get a stage fright. Luckily, her performance was flawless. And the host even encourage her to never be afraid as she got the talent.

In her 18th birthday, she take her fans challenge to produce an original song. This challenge came out after some of the comments bashing her for being a cover artist. Her first original single, Pulang get a mixed review from the fans and music critics. Although they like the originality of the song but they were criticizing the composition which they feel unfit with the lyrics. She then try to produce and release other singles during her free time from college. Fortunately, her next 2 singles were more acceptable to the fans.

Her selection as Cakranegara representative to 99th WorldVision Song Contest is meet with a huge support. The fans eagerly wait for the song while the critics applaud the organizer to select a young talent to be promote internationally.

S O N G

For the 99th WorldVision Song Contest, the organizer wants to use an original song to be performed by Siti Amira. Amira, who is also write her own songs, is agree with this. The organizer also contact Firman Alamsyah to help Amira to create the song. She comes up with the concept of the song, love at first sight, which is something common for young people like she is. Alamsyah try to insert some Sakanese lyrics to the song to make it more Cakranegaran. Sakanese is the Cakranegaran native language who is spoken by Saka people, the native ethnic of Cakranegara. Amira love the lyrics with the change between Sakanese and Pemecutan Malay words feel so smooth.

For the composition, the organizer contact Hamid Arsyadi, a renowned composer in the country. Arsyadi feel honored to be able to compose the song. He takes Amira's young age as the inspiration for the music composition of the song. So it is not completely pop but with some dance touch and some traditional vibe. The record testing was a success with the organizer immediately approve after the first try. The song is given the title, Siapakah Dirinya.

The song was then release digitally to see the feedback and popularity of the song. Fortunately, it gives a positive feedback both from the fans and the critics. The songs also gain more sale that it is predicted before. Although Amira is still afraid of one thing, her fright to perform in a bigger stage.

P E R F O R M A N C E

A light applause can be heard from the audience as the postcard of Cakranegara is shown on the big screen. The stage is left dark while Amira is getting ready to performed. One by one of the light start to enlight as the intro of the song is heard. The lights are only shine to the center of the upper stage where Amira and her dancers are in position. Amira looks stunning with her modern hijab outfit. Her dancers wearing a similar outfit with a different color. She sing the first verse as if she is talking with the 2 female dancers that are with her. And the dancers are also reacted to the lyrics that is sing by Amira. Like when Amira sing Mero gagah éndah rupawan, the dancers look happy and flustered. She soften her voice when she start to sing the bridge part as the dancers also begin to prepare for action.

Choreography video reference

Dateng cepat ke taoq né dengan semangat tinggi
Tetibanya dateng seorang menarik ate
Mero gagah éndah rupawan
Senyumnya pun menggoda
Piaq ate aduh aduh berdebar jadinya
Piaq ate aduh aduh berdebar jadinya
Come quickly to this place in high spirits
Suddenly an interesting person appears
He is handsome and dashing too
Her smile is tempting
Make my heart ouch pounding so hard
Make my heart ouch pounding so hard

Tatapannya menembus ke sukma
Piaq nang tarlena aha aha
Ku tak kuasa
Menahannya
His gaze penetrates into the soul
Makes me lulled aha aha
I have no power
To hold it

As Amira start to sing the chorus, the lights on the lower stage are enlight and there are another dancers are already there. The 4 male dancers and together with Amira and the female dancers are all dance in sync with the music. Amira continue to sing the chorus while following the dance sequence although not as energetic as the dancers. The big screen behind is showing a flowery showers just like Amira's heart who is flowery after she meet a handsome man according to her song's lyric. The dance sequence stop after the chorus is ended. Amira stand and reached out here hand when he sing the Tetapi siapakah dirinya? part.

Oh...Nang rasakan debaran trasna
Menjalar cepat bagaikan nang tersambar kilat
Ndéq berdaya nang dibuatnya
Ate nang pun uah tejeret
Ate nang pun uah tejeret

Tetapi siapakah dirinya?
Oh...I feel the vibration of love
Traveling fast like I was struck by lightning
I can't help it
My heart has been entangled
My heart has been entangled

But who is he?

Amira then continue to the second verse. She once again interact with the female dancers. The lower stage lights are off again. The female dancers looks shocked when Amira sing Tapi sosok nya tetibanya saja menghilang then they pat her back as if they give her comfort. Amira continue to sing the bridge part.

Nang sobaq mendekati jari porot perhatian
Tapi sosok nya tetibanya saja menghilang
Nang bingung jari nyarinya
Hingga nang nya kedesor
Nang terkejut aduh aduh nang dalem pugerna
Nang terkejut aduh aduh dalem pugerna
I try to approach to attract (his) attention
But his figure suddenly disappeared
I'm confused to find him
Until I fall
I was surprised ouch ouch I was in his arms
I was surprised ouch in his arms

Suarena yang lembut menggoda
Piaq nang melayang aha aha
Ku tak kuasa
Menahannya
His soft voice is seductive
Make me fly aha aha
I have no power
To hold it

The lower stage is enlight again as Amira sing the chorus. The male dancers are in action again as they dance through the music. Until the end of the chorus, Amira stand again while reaching out her hand as she sing Tetapi siapakah dirinya?.

Oh...Nang rasakan debaran trasna
Menjalar cepat bagaikan nang tersambar kilat
Ndéq berdaya nang dibuatnya
Ate nang pun uah tejeret
Ate nang pun uah tejeret

Tetapi siapakah dirinya?
Oh...I feel the vibration of love
Traveling fast like I was struck by lightning
I can't help it
My heart has been entangled
My heart has been entangled

But who is he?

The music turn mellow and Amira too. The song is entering the coda. The female dancers try to comfort the mellow Amira. While the male dancers run to the upper stage as the lower stage are left dark. They are positioned themselves for the last part.

Nang sadar ini tidak biasa
Trasna pada pandangan pertama
Tapi nang uah tejeret
I realize this is not normal
Love at first sight
But I've been entangled

The dance is start again as Amira sing the chorus for the last time. And as before, Amira also follow the dance steps as she sing. She is trying to be as energetic as she can without ruining her voice.

Oh...Nang rasakan debaran trasna
Menjalar cepat bagaikan nang tersambar kilat
Ndéq berdaya nang dibuatnya
Ate nang pun uah tejeret
Ate nang pun uah tejeret

Ate nang pun uah tejeret
Oh...I feel the vibration of love
Traveling fast like I was struck by lightning
I can't help it
My heart has been entangled
My heart has been entangled

My heart have been entangled

They begin to do free dance as the song enter a repeated chorus. While Amira is standing at the center repeatedly reaching out her hands. The dancers are getting closer and closer. The male then drop themselves. Kneel down. While the female dancers stop their movement midways as if they are hugging Amira. Amira reach out her hand for one last time to sing Tetapi siapakah dirinya? part before the song is ended.

Tetapi siapakah dirinya?
(Mero gagah éndah rupawan)
Tetapi siapakah dirinya?
(Tatapan dan suaranya menggoda)
Tetapi siapakah dirinya?

Tetapi siapakah dirinya?
Tetapi siapakah dirinya?
(Mero gagah dan éndah rupawan)
Tetapi siapakah dirinya?
(Tatapan dan suaranya menggoda)
Tetapi siapakah dirinya?

Tetapi siapakah dirinya?
But who is he?
(He is so handsome and dashing too)
But who is he?
(His gazing and voice is seductive)
But who is he?

But who is he?
But who is he?
(He is so handsome and dashing too)
But who is he?
(His gazing and voice is seductive)
But who is he?

But who is he?

A light applause can be heard from the audience. Amira smile widely with the descent feedback. She wave her hands while shouts, Thank you, Densmouth!!! Tampi asih!!!.

by **Zamboodle** » Wed May 18, 2022 1:49 am

Zamboodle withdraws bcuz the sound source got privated...

by **Malta Comino Gozo** » Wed May 18, 2022 3:23 am

Nation Name: Malta Comino Gozo
Official Broadcaster: MCG 1
Tune: Doja Cat - Boss Bitch Extended Version
Song Title: Laughing Stock
Artist(s) Name(s): K-Lyn
Lyrics & Music: K-Lyn

In the run-up to WV98 in Aenglide Malta Comino Gozo was a favourite to win only to end up finishing a very respectable fourth place and an agonising 2 points behind Toblichebujoku in third pimping them to their first-ever bronze placing. Still, 5ive had done extremely well and no bad feelings were taken back from the contest only a stronger love for the whole competition ( was this a hint at a third go.)

As WV99 neared the folks at MCG1 threw a curveball an extreme curveball. An artist and song, something the country had never sent before. Step forward Kelina Lyn or K-Lyn as she was known. Born in Lafayette Park in 2000 she attended the Valletta School of Young Musicians, where she was able to take part in a musical tour of the WMCA nations. In 2011 she moved to Estogium with her parents where they lived for 2 years before returning to MCG.

Her first act as an artist in the rap scene came in 2018 when with the Quadraro Basement, she recorded her first album, SOS, an EP with 5 tracks. About two years later she released the single "Alpha Female" which had over 10,000 downloads during the first few months.K-Lynn later found her feet working on hip hop radio programs at the MCGBC

In March 2019 she released her first official solo album "Hekk serji, produced by La Voix Music, which achieved remarkable success, reaching the top spot on the MCG rankings of iTunes. On 13 May K-Lynn was the opening act of the only Malta Comino Gozo stop of the Elejamian Worldvision 77 entrants, Eterna tour. K-Lyn was also nominated in the category of Best New Artist at the MCGTV Awards in 2019, winning the prize. In September 2019 she released a new single "Killer", with Nathan Aperitivo. In 2020, her single "Badass", peaked at number one on the MCG music charts.

K-Lyn becomes the first ever rapper to represent her country at Worldvision. She is also famed for her absurdly humorous personality and online presence. Despite the gregarious personality she shows through her songs, K-Lynn is a very quiet young woman and often enjoys spending time alone outdoors bird watching and or hiking.

In the usual pre-contest interview with MCG1 K-lyn was asked the meaning behind her song "Laughing Stock" "The song concerns individuals who masque who they truly are and who harm other people once their cover is made known. I sing about the famous expression "A wolf in sheep's clothing" but with a twist in reference to someone who hides malicious intent under the guise of kindliness.This song and particularly the chorus goes out to… anyone out there who has ever lied to us, stabbed us in the back, and completely betrayed us. This song is totally for you, and I’m singing it directly to you. So please listen closely."

"Laughing Stock" is a fiery clap back at the singer's haters. K- Lyn brings something entirely new to the thumping instrumental. Her verses are as sharp as the weapons she brandishes in the music video for the song, and at one point crescendo into threatening yelps.

MCG had done very well the last time the contest was hosted in Carrelie back in WV 91 as they won the contest. MCg was hoping again to repeat their success again.

K-Lynns Travel Blog

We left Malta Comino Gozo at 4am. Our flight to Densmouth departed around half 6, and less than four hours later we landed. We didn’t even have a plan for what we were going to do for the day after dropping our luggage off at the hotel

Me and the rest of the delegation bought something at the airport called the Densmouth É-Cärde, which I would highly recommend if you are planning on visiting the city. It gets you free rail and bus transport, as well as discounts on a lot of the main attractions including the guided bus tours. This meant that we were able to hop on the train straight from the airport and arrive in the city centre about twenty minutes later with absolutely zero hassle whatsoever. This card costs 5 Valire for a group of two to five people, so it would be even cheaper for you if there are more people involved!

The first thing we did when we got to the city centre was we investigated the hop-on hop-off bus tours. There seemed to be quite a few to choose from, all leaving from the same place right outside the main train station and all around the same price. So, we just picked one, paid our money (3.50 Valire each if I remember correctly, with our card discount), and hopped on. These buses are fab if you don’t really know what there is to see around the city and don’t want to traipse around aimlessly, and you also have a guide pointing out everything along the way and explaining some of the history. You can get off at any of the stops if something catches your eye and then just hop back on the next one whenever you are ready!

Sadly the weather was pretty wet that day but this didn’t really bother us. It would have been nice to see it in the sunshine though! We jumped off at Éguäre Ré Willame, the central square which houses the Densmouth City Hall, a beautiful building which is an icon of Densmouth’s incredible history. Even on a dull day, the architecture here is nothing short of impressive. The neo-Renaissance building is open to the public and there are guided tours, I believe, but we just had a quick look around inside at the exhibition showing paintings and stories from the Carrelie Civil war. It was brilliant! We also walked along Ve Spér (don’t ask to me pronounce any of these names) which is in the shopping district of central Densmouth and is actually one of the top ten most visited streets in Carrelie. There were a lot of shops that were Carrelian brands, but there were also a lot of shops that I recognised so we didn’t go in most of them. Here we picked up a couple of lovely souvenirs and posed for pictures with lots of lovely fans!

We jumped back on the bus after wandering around for a while and saw some more of the city, including the warehouse district (Ve Maúrés), the port of Densmouth, and the Red Light district (Çités de Sän). Wow, there are a lot of strip clubs.

After a lot of to-ing and fro-ing (I have no idea how many times we circled the city but it was a LOT), we came across an Achaean bar and restaurant called Sausalito. Yes I know, we should have been having proper Carrelian food, but this find turned out to be one of our best choices of the day. We weren’t really hungry, so we just decided on sharing a plate of spicy beef nachos, which turned out to be MASSIVE and ordered some cocktails. Naturally, we managed to turn up when it was happy “hour” (which lasted longer than an hour) when cocktails were so cheap. JUMBO cocktails, literally bigger than my head, were something like 2 Valire each. AMAZING. So, of course, we had three. The waiter also gave us free shots because he liked our accents (yeah right)!

Densmouth feels like such a safe city to be in, even at night, the people are lovely, the transport is fantastic – clean, perfectly on time, cheap. The city itself is stunning! I would definitely like to come back and spend a little bit more time here. I’d also like to go to some of the museums, go for a walk along the lake on a nicer day, that kind of thing.

This was definitely the biggest crowd K-Lyn had ever performed in front of. Rehearsals had been a success and the jury show the night before had gone down splendidly. Still, this didn't stop pre-show nerves from creeping in. Feeling nervous or anxious was an invitation to check in with yourself, to have that moment of tuning into your inner emotions and finding the best way forwards. The Cakranegara entry was coming to an end and K-Lyn stood backstage waiting, it was the longest wait of her life. She was tapping her feet rapidly her fingers unable to keep still as she breathed deeply to calm herself. The breathing worked as the MCG entrants took to the stage. The Carreliens had constructed an impressive stage. Designed by Loúis Valeur, the stage was quite the spectacle. It made heavy use of water and nature, as well as featuring LED panels on the floors and walls. Even after seeing the stage dozens of times it still filled K-Lyn with joy and awe.

She would be dressed in what most people would call a lazy Sunday outfitbut this outfit suited the song. Her jeans that show off her delicate ankles gave way to black and yellow trainers that clung loosely to her feet. Above that, she wore a loose brown t-shirt and on top a ruffled up off yellow jacket. Her locks of dark chestnut-brown hair flowed down her shoulders and curtained her oval face. Her vivacious, virility-brown eyes shone out and her pouty lips. were succulent, sultry and velvet soft. She had a sculpted figure which was twine-thin. Her waist was tapered and she had a burnished complexion. A pair of arched eyebrows looked down on sweeping eyelashes. Her delicate ears framed a button nose. A set of dazzling, angel-white teeth gleamed as she blew gently on her carmine-red fingernails.

The percussion kicks in, to roars from the excitable crowd, and the camera steady at the back of the arena. The camera pushes forward to K-Lyn centre stage facing away from the audience her dark chestnut-brown hair flowing down her shoulders, surrounded by a deep blood red spotlight. Her microphone is handsfree and she begins to sing. She tosses her head animatedly left to right for each line, giving it some attitude before pivoting around on the spot to face the onstage camera.

Hmmm Listen up
Listen up
Listen up

She pulls down her hood sensually with two hands and the rap starts as the lights of the arena pulsate a deep yellow to the beat piercing through the darkness. The bass of the song is deep and immediately makes the audience cheer. Her arm motions are executed in time with the beat with her fingers extended. As the music kicks up a notch as she sings "Listen up, who do I believe in now..." she raises her left hand to her ear and begins to march forward and to her right a few steps to the beat. The huge LED background kicks into a red psychedelic effect before. She then begins to bend sensually into a crouching position where she ushers to the camera situated in the pit below to the stage right and does a "Come here " finger. A few audience members can be seen in the shot who are all jumping to the beat.

When K-Lyn flowed in dance it was as if it were the only way her body truly knew how to speak. Verbally she was guarded, physically she would shrink and fade into the background no matter where she was. On stage her personality, her sensuality burst through into the most vibrant picture of a beautiful soul. The audience watched her, eyes fixed as she moved to the music filling the arena. She felt in her element now.

Yeah I was told people won't believe in me
They're sent by governments who are deceiving me
Pay attention, this evenin' and you'll see
Tune into this wave its not just a frequency
Listen up, who do I believe in now...
I know this is my season
Down more times than up up up
Kinda sunk my feelings, bad dealing we need some healin

The lights strobe white briefly in the build up to the next verse. The camera floats around her dramatically her like this as the lights begin to flash red around her. She raises her right pinky finger to her glossy lips and sips her imaginary tea. K-Lynn moved her body slowly and deliberately for additional sex appeal.

Stay bleeding soon gon be grievin'
I need to sip the English tea this evening
Chillin' in the evening seeing is believin'
Or its unappealing lifes... unfair

She bends down spreading her legs and rubs her hands sensually up her legs and smiles. The lights turned a deep orange and K-Lyn rolled her neck around her shoulders while keeping her eyes shut.

Never ever ever ever even stevens
End of the game always to completion
Lose all to save a little
At your peril, it's all justified

She began dancing. Arms flailing majestically in the sky above her, she whirled around and whooped her happiness into the sweat-stained air. Foot forward. Back. She couldn’t remember the last time she felt so in her zone — why had she ever stopped? A hand grabbed hers and she was swung backwards, dipped low, before she raised by several hands, soaring into the air above the stage, the flashing colours momentarily blinding her, she touched ground again and carried on the choreography this time surrounded by her 4 female dancers. Each dancer is dressed in a black skin-tight gym top and black and or grey tracksuit bottoms. Their mouths and noses are covered by a black cotton masks to hide their emotions. They raise their right arms triumphantly towards the camera which is capturing the whole stage with their left hand swaying sensually on their left hip.

With a quick click of their fingers above their heads, they break out into the next part of the choreographed routine that was perfect in sync and full of girly sass. While grooving to the beat, they turned their bodies away from the audience. Their hands gently caress their sides as they spin, the hair swaying gently. The dance oozed sex appeal. Then they turn heads to the side and looked back over their shoulders to make eye contact with the camera again.

The joke, the oppressed, the joke, the sheep and the laughing stock
The fool, the oppressed, the joke, the sheep and the laughing stock
The joke, the oppressed, the joke, the sheep and the laughing stock
The joke, the oppressed, the joke, the sheep and the laughing stock

K-Lyn shoos away each pair of dancers on either side of her until once again she is left alone on stage, her chest inhales and exhales heavily.

The joke, the oppressed, the joke, the sheep and the laughing stock
The fool, the oppressed, the joke, the sheep and the laughing stock

The stage is plunged once again into a deep red but K-lyn is lit in a white spotlight.The camera centres back onto K-Lyn as she stands centre stage with her hands loosely placed on her hips and remains animated gesturing as she sings. The camera then swings around the bottom edge of the stage showing the waterfall lit by a turquoise light as she sings "I hear body language". K-Lyn then walks suggestively towards the camera that's now behind her like a prowling tiger stalking its prey, her head tilted and her eyes focused.

And dismiss your demons as death becomes a jest
You are the laughin' stock of the absinthe minded
Confessions stuck in your mouth
A long gone fever reappears
I hear body language, eat my shit sandwich
People wanna be a real boss but they can't manage
I know a girl who wanna be a good soul
But she too damaged to be raised proudly

She turns to the audience, a rapturous expression on her face as the red and brown lights intensify around her. She gracefully drops down from the main stage into the shallow art of water encasing this spectacular stage and began to crawl towards the camera which is now low down to the floor. The crowd cheers madly. This was definitely one of the raunchiest entries MCG had sent so far! Her hair just touched the top of the water. She is lit in a neon pink light which sparkled in the running water. Her expression was one of deep contemplation and anger. As she crawled along further she began to flirt with the camera. Her vocals were fantastic unaffected despite crawling along.

Listen up now! But he acts like a savage!
We need safe passage!
Raised in chaos, victim of the damage!
More fairytales not off the rails!
Lavish, but we were told we were average!
But I won't take that where I go!
I'm a drop the emotional baggage
And pick up the worthy package!

She gracefully gets up onto her knees before rising to her feet. She flings her arms wide as she sings "Raised in chaos," She is then accompanied by two dancers behind her as the lights fade into a watery blue. She keeps eye contact with the camera as it pulls up and out and flicks her fingers. She steps gracefully out of the water and onto the stage right catwalk. As we can see her clothes are waterproof but completing the aesthetic was her now purposefully ‘rain soaked’ hair, which she still managed to work and flip throughout the rest of the song. As the powerful bass builds for the chorus the stage returned to its red state with white flashing strobe lights strobing to the beat. The other two women dancers appear again out of nowhere and all five of them engage in some fierce sexual choreography. In that moment of dance, the vibrations of the music became a part of the energy, raising her up several levels all at once.

Listen up now! But he acts like a savage!
We need safe passage!
Raised in chaos, victim of the damage!
More fairytales not off the rails!

The arena lights erupted into a dark red as K-Lyn unleashed her vocals for the chorus, causing a slight echo as the instrumentation and beat became louder. The stage erupted into a moving whirlpool of colour, a mix of reds and oranges that seemed to line up and flow upwards into the LEDS screens at the back of the kinetic sun. Orange and red beams of light also strobed out of the kinetic sun. The camera maintained a mid-close view of her as she sang the chorus' last half. She faces the onstage camera and places her hands on her hips and rocks from side to side. Her eyebrows raised questioningly. She rolled her eyes before maintaining a more stern look. The camera cuts to a whole stage view backing out as the lights continue to strobe. The psychedelic effect returns to the LED screen.

The joke, the oppressed, the joke, the lost and the laughing stock
The fool, the oppressed, the wolf amongst the sheep and the laughing stock
The joke, the oppressed, the joke, the lost and the laughing stock
The joke, the oppressed, the wolf amongst the sheep and the laughing stock
The joke, the oppressed, the joke, the lost and the laughing stock
The fool, the oppressed, the wolf amongst the sheep and the laughing stock

The more instrumental part kicks in before the build-up to the chorus and the stage is tinged a light blue. We can now hear some backing vocals amongst K-Lyns. She begins to do some more sensuous choreography with her dancers behind her. The crowd roars with excitement. She maintains eye contact with the camera which pans in front of her, she flirts with it and bites her lip and winks at the lense

The joke, the oppressed, the joke, the lost, the fool
The wolf amongst the sheep and the laughing stock

The view fades in and out of black and switches the camera adding to the effect. Each time the camera changes K-Lyn makes eye contact with it. Her dancers are now closer to her and she runs her finger down one of their cheeks.

The joke, the oppressed, the joke, the lost, the fool
The wolf amongst the sheep and the laughing stock

The lights explode out again into a fiery red and white. For the last chorus, K-Lyn found herself facing the left side of the stage looking into the audience as she sang the lyrics with a power that matched the production, with her movements liberating and hyper without compromising the vocal. She flipped her hair to either side and smoke erupted from the perimeters of the stage. She then began to move about the stage and down the catwalk sticking out her hand and interacting with the crowd waving their flags as she strutted along. Wind machines had been turned on during this part, and K-Lyn made sure to walk in front of them for maximum optimization. The camera panned to the back of the hall as a silhouette pattern of a wolf that was made of chaotic black and grey patterns appeared on the back LED screen and appeared to track her every movement as she walked back to the stage centre, with the camera making closer movements as the chorus wound closer to its end.

The joke, the oppressed, the joke, the lost and the laughing stock
The fool, the oppressed, the wolf amongst the sheep and the laughing stock
The joke, the oppressed, the joke, the lost and the laughing stock
The joke, the oppressed, the wolf amongst the sheep and the laughing stock

The percussion and beat fade out and she raises her arms triumphantly above her head, her dancers once again behind her spread out into a triangle. All of them once again perform some choreographyas the beat fades in the hall.

The crowd roars in ecstasy as K-Lyn shows off her sweet sensitive side her head buried in her hands her dancers rushing over to hug her. A huge smile beams across her face as she thanks the excited audience " Grazzi Densmouth, Grazzi!" She shouts to a sea of waving banners and flags. She had done all she could she had done herself and her nation proud.

by **Polkopia** » Wed May 18, 2022 6:02 am

-
❈❈❈ ..SKYUE - Uspankova.. ❈❈❈

Prior to their entry in the Landa vy Polkopiya, SKYUE had failed to make a huge impact on the Polkopian populace, with most of their songs barely breaching 50,000 views across all streaming platforms. For those who were familiar with this group, most admitted the divisive nature in which SKUYA sang, as the folk elements comprising many of their songs were an acquired taste, to put it mildly. When it was announced that the group would partake in the Landa vy Polkopiya, this was immediately overshadowed by some of the more familiar names in the Polkopian music scene, like Stas Lisa and Iloniya, whose songs immediately pulled a stronger backing from the public than SKYUE's. As the dates of the Semi Finals drew nearer, more and more people started to pay attention to some of the other songs in the competition, namely that strange-sounding tune opening the second semi final. On the eve of the Second Semi Final, the song had a firm grip over avid fans of the Landa vy Polkopiya, and the song was heard over the radio almost nonstop. It was absolutely no surprise that Uspankova was among the qualifiers to the Grand Final, and by this point, it seemed fairly likely that this song would win the competition.

SKYUE was to open the Grand Final with their song, and what a performance it was. Many viewers were immediately captivated by lead singer, Vadislava Karyepkha's distinct voice, and the combination of modern beats with traditional Polkopian sounds, making this song unforgettable in this lineup of five finalists - something every participant's goal is when competing in such a competition, whether it be for negative or positive reasons. In the end, it was the battle between SKYUE and Stas Lisa, a Landa vy Polkopiya veteran, and listeners had the difficult task of choosing between these standouts. Midway through the televotes, it became clear, however, that it was SKYUE who would be walking away with the victory, and the rest of the televotes only furthered the group's lead over their competitors. Upon winning the prestigious competition, SKYUE immediately vowed to keep their song in Polkopian and do everything in their power to push for keeping certain aspects of the stage performance, which took inspiration from pagan and folk culture, into Worldvision. During initial talks with the PNB on signing their contract, the signing of which would effectively give the broadcaster full rights to stage the group's performance, members of the band refused to do so. This nearly resulted in the broadcaster taking away this opportunity from the group, however future talks led to a more fruitful outcome, that is, which allowed the group to have some say in how their performance would be staged.

Despite this initial blip in the group's Worldvision journey, the SKYUE was all set to head to Carrelie, holding the weight of the entire county on their shoulders. Of course, it wasn't so dramatic as this, but Polkopia did have a certain kind of reputation at Worldvision, and nobody wanted to be the ones to do so poorly in the competition. Winning was an obvious goal for this group, but it was more so because of wanting to share the beauty of Polkopian folk culture more than anything. For several years, Polkopia's Worldvision entries have characterized by mostly electronic and lo-fi beats, all of which can be produced by a DJ at home. All music forms are valid and an important representation of a nation's culture, of course, however the members of SKYUE have all come here to show a different, more traditional and untouched side of the Polkopian music industry which is rarely heard outside Polkopian borders. Pure folk music may not have the way to go, but SKYUE's unique way of blending old with the new in terms of musical sounds is sure to leave an imprint on viewers' minds in one way or another. Obviously, the group preferred the public to recognize the beauty of Polkopian folk music, however having the platform to showcase this musical genre to the multiverse was the next best thing.

At the start of the performance, Vadislava Karyepkha, the lead singer of SKYUE, stood on a round pedestal placed in the center of the stage. This pedestal only had a diameter of a couple meters, as to not take up a large part of the stage. Surrounding her were large, fake birch trees, which only stood a meter or so higher than Vadislava. These trees' leaves were a bright red, and the surrounding lighting from around the stage was a deeper red. This meant that the paper white color of the bark was a stark contrast from the deeper colors around Vadislava and the rest of the stage, making the front of the stage pop out even more. Vadislava wore an outfit comprising of bright white and gold feathers along her shoulders, all the way down to her forearms, and fabric in the same color palette starting from her sternum all the way down to the length of the floor. Surrounding the fabric were silver and gold rhinestones placed around the entire length of the silhouette, and the same feathers that were on her shoulders also lined the bottom of the garmet, sweeping the floor around her. Once the music began, lights around the entire stage quickly illuminated, and then only slightly dimmed. Vadislava's expression was stern, and she looked forward, seemingly unaware of the cheering crowd in front of her. When she sang, she raised the microphone to her mouth, and slightly bounced up and down.

Čanti mne uspankovu

Sing me a lullaby

Uspankovu, uspankovu

A lullaby, a lullaby

Meni loži v pol'yane

Lay me down in the meadow

V pol'yane, v pol'yane

In the meadow, in the meadow

Ubiri moyu volosu

Brush my hair back

Volosu, volosu

Hair, hair

I ultimo tseli meni

And kiss me one last time

Tseli, tseli meni

Kiss, kiss me

During this short instrumental break, the camera panned around the makeshift "forest" onstage, where one of the band members, Vasili Čenkev, was seen playing an instrument resembling that of a piccolo in the trees. He moved his body side-to-side in-sync with the beat, but, like Vadislava, he paid no attention to neither the camera, nor the audience in front of him. His eyes were trained on the ground as he played. Vadislava, meanwhile, gently closed her eyes, looked toward the ceiling, and waved her arms side-to-side as if she was floating. On the other side of the "forest", the last band member of SKYUE, Stefan Popočev, stood behind a makeshift DJ booth, rocking his entire body forward and backwards, also in-sync with the beat.

Iz moyevo tsela

From my body

Moyevo, moyevo

My, my

Galter'ya posvaet'sya

Wintergreen will blossom

Galter'ya, galter'ya

The wintergreen, wintergreen

Kudga končet'sya borabu

When the fighting stops

Borabu, borabu

The fighting, the fighting

Čanti yeše molitvu

Sing another prayer

Molitvu, molitvu

A prayer, a prayer

After the last verse, the camera swiftly moved to an overhead view and spun about itself, getting an entire view of the stage. This happened for only a few seconds before returning back to a frontal view of the stage, where the arches behind the screens now began to show a bright golden color, and the arches began to separate from themselves ever so slightly. The LED screens on either side of these arches showed a grass meadow, but the grass was colored a bright red color, similar to that of the birch trees near Vadislava. As Vadislava sang the next verse, however, images of wintergreen flowers began to dot the LED screen, effectively washing away the blood-red color of the field.

Uspankovu, uspankovu

A lullaby, a lullaby

Uspankovu, uspankovu

A lullaby, a lullaby

V galter'ye etu lesu

In this forest of wintergreen

Požit'sya moyu dušu

My spirit lives on

I zaždaet yeše pesnu

And aches for another song

Čanti yeše uspankovu

Sing another lullaby

V galter'ye etu lesu

In this forest of wintergreen

Požit'sya moyu dušu

My spirit lives on

I zaždaet yeše pesnu

And aches for another song

Čanti yeše uspankovu

Sing another lullaby

Hundreds of years ago, pagan cultures in Polkopia often regarded Čul as the god who protects the forests and is seen as one of the three "core" deities according to followers. On stage, Vadislava held up her free hand, looked toward the sky, and sang this first verse, while strobe lights started to flash a bit erratically around the stage. The camera altered between close-up views of Vadislava, the other band members, and the stage, however the strobe lights made it difficult to decipher exactly what was being seen at any given moment. All that could be seen for sure was the red colors of the birches on-stage.

Čul, Čul, Čul, Čul¹

Čul, Čul, Čul, Čul

Straži moy les, straži moy les

Guard my forest, guard my forest

Straži moy les, straži moy les

Guard my forest, guard my forest

Galter'ye, galter'ye

Of wintergreen, of wintergreen

Čul, Čul, Čul, Čul¹

Čul, Čul, Čul, Čul

Straži moy les, straži moy les

Guard my forest, guard my forest

Straži moy les, straži moy les

Guard my forest, guard my forest

Galter'ye, galter'ye

Of wintergreen, of wintergreen

The strobe lights stopped, and in that instant, all the leaves on the birch trees flew off, and wind machines around the stage activated on full-blast, blowing the leaves violently around the stage, while members of SKYUE continued to play their instruments and dance, seemingly unaware of what was happening around them. The background LED screen now showed a green meadow, dotted with white flowers, symbolizing the wintergreen flower mentioned throughout the song.

Čul, Čul, Čul, Čul¹

Čul, Čul, Čul, Čul

Straži moy les, straži moy les

Guard my forest, guard my forest

Straži moy les, straži moy les

Guard my forest, guard my forest

Galter'ye, galter'ye

Of wintergreen, of wintergreen

As soon as the music ended, the wind machines immediately stopped, and the lighting dimmed so that Vadislava's silhouette was the only thing visible on-stage, apart from the birch trunks that stood around her. After a few minutes the lights returned to normal, and the performance had ended. "Thank you!" Vadislava shouted into the microphone before departing the stage with the rest of the members of SKYUE.

by **Rhim Flavezztowland** » Wed May 18, 2022 6:57 am

32. Rhim Flavezztowland

by **Carrelie** » Wed May 18, 2022 7:39 am

HOST INTERVENTION 3

by **Vartugia** » Wed May 18, 2022 12:07 pm

33.Vartugia

Children of Teh Ruling Party Of Vartugia Chior For A Glourois Future And A Polictcaly Correct Socitly - "The song to celebrate "Teh Ruling Party Of Vartugia For A Glourois Future And A Polictcaly Correct Socitly"

"Romanian Communist Song" - Noi vă iubim // A playlist-friendly rip of the tune ~~stupid ytkids blocking my tune~~

The 47 year old anniversary of the foundation of "Children of Teh Ruling Party Of Vartugia Chior For A Glourois Future And A Polictcaly Correct Socitly" as well as several factors led to Vartugia biding for the Worldvision for the 697th time, ending in their 697th failure. Despite the flop, they will send their best (and only) children's choir.

Children of Teh Ruling Party Of Vartugia Chior For A Glourois Future And A Polictcaly Correct Socitly" have already been at Worldvision before, in WSC71 but they are now back with another ~~propaganda~~song, this time about Teh Ruling Party Of Vartugia For A Glourois Future And A Polictcaly Correct Socitly, the best party with 498 out of 499 seats as of now.

Everyone has their official Choir's dresscode. We focus on one male singer but the voice singing is female and his lips doesn't match what he is singing. It's like someone is lipsyncing the song.

The background is just images of nukes launches and bombing of countries.

Stripping rights we not have left
And ensure we all love you
Forever and forever
Your leadership is breathtaking
Everyone not following you sucks
They all need to disappear
We love you, Glorious Party

One of the singers suddenly runs away and disappears before we hear some screaming. A still bloody head is then thrown back on the stage and it's the head of the runaway singer. All of the singers get scared and sing out of tune for a few seconds before singing back to tune.

You nuked our enemies
And made them into a pile of gravel
With no souls left
We love you, Glorious Party
You are the best
With you, we fear no one
We love you, Glorious Party

We now see even more children but they all carry the sacred party flag that is also their logo. The head is removed.

Stripping rights we not have left
And ensure we all love you
Forever and forever
Your leadership is breathtaking
Everyone not following you sucks
They all need to disappear
We love you, Glorious Party

The stage are now full of children either singing or carrying the party flag in front of them. One of the flag-carrying children falls from the stage and is never seen again.

You nuked our enemies
And made them into a pile of gravel
With no souls left
We love you, Glorious Party
You are the best
With you, we fear no one
We love you, Glorious Party

As the children leave the stage, the machine that plays the tune starts to malfunction and begins to replay the song as if there were a performance. But the stage is empty and the audience then begins to wonder what is going on.

by **Alezian Union** » Thu May 19, 2022 5:08 am

34. Alezian Union
Solidarity - "Anomie"

Music : Daniel Navidayan, Harris Leisnavid, Aiden Damanaviyan, Isma'il Darizani-Arifinayan
Lyrics : Daniel Navidayan, Harris Leisnavid, Aiden Damanaviyan, Isma'il Darizani-Arifinayan

Tune : Michael Learns To Rock - 25 Minutes

B A C K G R O U N D

Oh, boy. The Alezians were not happy with the last one.

Before reunification, North and South Alezia competed separately with massively different results. North Alezia tends to get mid to top results, almost winning once in 83, while South Alezia was the best in not being the best.

After reunification, the Alezian Union started to go on a great trajectory, earning top 10 on every occasion. At the time, it seemed like Alezia was an invincible force, even finally getting the long-awaited dream of hosting the competition in Zafizamarrah. And then, Aziz-Lutfi Garanov with the Time-Killers won the competition in Nekoni. It was truly the best time to be an Alezian Worldvision fan.

However, suddenly, Irlene Lilvouw earned the nation's first non-top-10 result. This would be normal since Alezia would get back up again such as those times when North Alezia used to earn 11th and 15th place. However, something strange happened. Alezia started falling behind, until the nation cemented two consecutive worst results for the country, earning 18th place on both occasions. The latest Alezian entry was also the first time the country finished with a score of under 100 points.

The last few poor results caused a major polemic in the Alezian public, especially in Arico.net. Never before has the Alezian public gone this angry at any Alezian institution, maybe AleziRadio but that was 20 years ago. The Alezian public called for the Alezian Broadcasting Authority to do something with Alezia's records at Worldvision, while also saying that withdrawing from the contest is "not an option".

Reacting to the backlash, the Alezian Broadcasting Authority promised more quality control on the songs that would be sent to the competition, added with another quality control through the removal of the cycle rule starting from the 101st edition and beginning using a new method called "Operation: Worldvision".

A R T I S T - I N F O

Solidarity in a pre-Worldvision meeting in Trishi, MN
From left to right : Daniel Navidayan, Harris Leisnavid, Aiden Damanaviyan, Isma'il Darizani-Arifinayan

Solidarity is an Alezian soft rock band consisting of four people who all graduated from the University of Trishi in 2017 majoring in Sociology. The band's musical "language" is influenced by the soft rock bands that reached their peak in late-1990s Alezia with a resurface in the early to late 2010s, especially in Mosin-Nagan. The band's name came from a theory in Sociology by Emile Durkheim suggesting that groups in Sociology can be divided into two: Mechanic and Organic. The band chose the name to represent "something well-known, yet so different", which means songs of their style in the band's language. They could've named themselves Mechanic or Organic Solidarity, but they wanted to have their songs enjoyed by everyone in the community from A to Z.

The band consists of Daniel Navidayan (Lead Vocal), Harris Leisnavid (Lead Guitar), Aiden Damanaviyan (Percussion), and Isma'il Darizani-Arifinayan (Piano and Backing Vocal). In their careers, they have worked with many Alezian rock bands such as EDITION, Call Me Marthabella, SoSo, and the one that brought them to ABA's attention, their previous collaboration with the TIME-KILLERS, the band that won the Worldvision Song Contest for the nation back in Nekoni. All four members of Solidarity had previously had their musical careers, with the famous being Daniel who is actually famous after his viral TV ad gig for Petrolezia after he appeared in the "Petrolezia, Petroleum Plus Alezia" ad, singing the company's jingle.

The band came into existence when Daniel suggested that they should join forces and create a band with lyrics that might confuse people at first, but would eventually be enjoyed. The band's topic on Sociology came from the fact that humans can't live without other people, where they interact and create stories that would go well in a song.

Other than the aforementioned Time-Killers collaboration, Solidarity was selected by ABA Trishi after the band has created national success in their own country with their only album "Blooming Words". Initially, ABA Trishi was going to select the Mosin-Naganese girl group Monochromatic to represent Alezia. But they refused due to budgetary issues. Then, ABA Trishi picked a band named FOR ELIZA to go to Densmouth, but they refused due to the fear of bad publicity. Eventually, ABA Trishi settled on Solidarity.

S O N G - I N F O

Anomie is a state in which expectations are unclear and the social system that keeps people functioning has broken down.

Emile Durkheim

"Anomie" is about a feeling of regret inside someone seeing his beloved one fall into disarray and crime when she could've had a perfect, happy, and loving life. He contemplates how her community has failed her with massive expectations and minimal mental health help and then blamed her when she fell into the wrong crowd, which resulted in her committing acts of crime out of desperation and the constant need for approval and something to follow.

The song reminds the importance of caring for each other, thinking before lashing out at people, and understanding each other, to prevent anyone from feeling that negative desperate need for validation from anyone that they could find, even bad people. It also tells its listeners to make good decisions and to remember that time cannot go backward, only forwards, because if they made bad decisions, it won't only hurt themselves, but other people that cared about them.

T H E - A L E Z I A N - P U B L I C (RP)

D E N S M O U T H

The Alezian delegation arrived a few weeks before the live competition, so they got to explore the city of Densmouth. Since 1988, the Alezian Union (through North Alezia before reunification) and Carrelie have enjoyed a very excellent cultural exchange between the two, and just like there is a lot of Carreliean culture in Zafizamarrah, there is a noticeable exchange of Alezian culture in Densmouth, that we can't explain them one by one!

But what we know is that the band enjoyed the food and the hospitality of the Carreliean people, especially considering that the people of Densmouth like Alezians thanks to the WMCA organization who have helped to increase contact between the two countries added with Malta Comino Gozo and Waisnor, and if you're willing to go into the details, add Aenglide, Moorland, and the Achaean Republic.

P E R F O R M A N C E

(The camera shows its stage-ready scene first, with fans all around the world applauding for the Alezian entry. The lights dim for the stage to prepare for the entry. The audience calmed down in order to let the music start. The scene started with a black and white scene of Isma'il playing the first bars of the piano which is met with audible applause, and the scene then blurs, transitioning to a view of the stage showing Daniel singing with the other three members of Solidarity in the back. )

We were best friends,
Wishing that happiness won't end
You were the one,
The one I really think is my first love

(The camera closes up to Daniel walking to the front of the stage as the lights started to light up a little bit, still with the black-and-white intact. While this happens, the specially-designed sun on the back started to light up, while the LCD screen behind shows a scene of polaroid pictures falling down.)

Rows of trees witnesses,
The sun setting in front
We both made that promise,
To fall in love is what we both want

(The sun then changes again, this time showing a black and white analog clock running clockwise, and in the second sentence, the camera shows a closeup of Daniel before moving back to show the entire band from the back, and then back to Daniel in the last sentence showing him pointing the finger at the camera.)

The years have since gone, clocks ran through their course,
Never would I thought you'd have all including me to lose
The ones that loved you kick you out of life with force,
Your anger pushes you to a wrong force

(The lights then light up with the camera zooming out as the black-and-white filter was quickly changed into color. While this is happening, the sun in the back started to rotate and the polaroid photos inside the screen started going on fire.)

Girl, what would've happened?
If your life has not ended
Now it's all just one anomie

(The camera then shows the performance from the top of the venue's ceiling with the floor showing a flood of polaroid pictures. While this is happening, the camera rotates around to show the band in a slow 360 degrees rotation, until the last sentence prompts the camera to stop rotating and show the floor light up with the word "ANOMIE" written on them.)

Love would still give you chances,
You'd retake the losses
Now it's all just one anomie

(The flood of photos inside the screen stopped, then the "sun" stops rotating as it returns to its normal position, with the scene being shown back into black and white once again. The camera shows the scene from the right side of the stage, showing a close-up of Daniel's face from there.)

Against all odds,
And I'm telling you the truth, (mmm...)
Whatever it was,
We could restart and make things anew

(The scene was interrupted by a guitar strung by Harris, then showing the stage from far away zooming in slowly, showing the sun this time colored like a sunflower with its petals spreading outside of the sun and rotating clockwise just like the clock previously. In the second sentence, the camera shows a closeup of Daniel before moving back to show the entire band from the back, and then back to Daniel in the last sentence showing him pointing the finger at the camera.)

But they've won you over, Don't want me as a lover
Who would've thought that my game was over
You looked so happy, 'Round those faces that you've hurt,
But I know your heart inside is saying this:

(The lights then light up with the camera zooming out as the black-and-white filter was quickly changed into color. While this is happening, the sun in the back started to rotate and the polaroid photos inside the screen started reappearing and going on fire again.)

Girl, what would've happened?
If your life has not ended
Now it's all just one anomie

(The camera then shows the performance from the Steadicam running from the left to right showcasing the song being played, until the last sentence prompts the camera to stop rotating, returning the view to the front and showing the screen up with the word "ANOMIE" written on them.)

Love would still give you chances,
You'd retake the losses
Now it's all just one anomie

(The camera then shows Daniel holding up a polaroid picture of the "girl" looking all fine and happy in that photo, with the Steadicam walking around Daniel and the wind machine. In the third sentence, Daniel holds the photo near his heart, before he threw the picture into the sky and is blown away by the wind generated from the wind machine, away and away, transitioning into the closeup of the other members of the band acting as backing singers for the last sentence, before the camera for some reason, looked upwards!)

Inside my head,
I know that it is not really you that was wrong,
Inside my head,
I know you, really want to change...

(I know you want...)

(Suddenly, the scene returns to show the stage in its' entirety with visible massive amounts of polaroid pictures started actually falling down from the ceiling like confetti which was met with great applause from the audience, none was on fire tho, for safety reasons.)

Girl, what would've happened?
If your life has not ended
Now it's all just one anomie

(As the scene was showing this spectacle, the camera slowly zooms in to show the band playing their best, with the camera showing the scene of Alezian fans swinging their hands slowly to the beat of the music before returning to the scene.)

Love would still give you chances,
You'd retake the losses
Now it's all just one anomie

(The camera then shows Daniel singing with him holding on to the standing microphone, with the scene changing from time to time to show the members of Solidarity playing their instruments.)

Girl, what would've happened? (Never the end)
If your life has not ended (But it's now)
Now it's all just one anomie (just one big)

(The camera then shows the stage from afar showing the pictures still falling from the sky and the lights running upwards and downwards again until it zooms inwards again but more slowly as the sun actually slows down until it stops in its upright position and the lights dim again as Daniel earned the last spotlight as all overhead lights shine above him as he sang the last sentence.)

Love would still give you chances, (it'd still give you chances)
You'd retake the losses
Now it's all just one anomie

Now it's just anomie!

(The scene transitioned to show Isma'il ending the song with the last few bars on his piano, as the photos stop falling down and the screen on the back shows a few simple words met with massive applause from the audience.)

(The audience seemed to like the Alezian entry! Daniel shouted to the audience, "THANK YOU! THANK YOU VERY MUCH!" as he calls the other members of his band to come in front as well and wave to the world audience. The group bowed and left the stage with their band sets and with the crew cleaning up the recyclable polaroid photo-filled stage, helped by some additional crew sent by the Alezian delegation so the stage could be ready for the next entry..)

by **Syrche** » Thu May 19, 2022 5:11 am

35. Syrche
Artist : Reine
Song: Empire
Tune: Regard Ft. Kwabs - Signals

Reine hails from Peinwood City, Syrche. He is 28 years old and has a strong following online. He has participated twice in the Sunlight Song Contest, and this time, he won. Reine is one of Syrche's most promising up and coming artists.

Bob Lezar was glad to have a promising act that hopefully wouldn't let him down this time.

The Performance

The stage is dark, save the soft glow of candles that adorn it; A soft blue hue lighting the background. Reine stands at the corner of the stage, a silhouette to the audience, partially lit by the flames. The music begins. Reine walks slowly out to the stage, gesturing toward the audience as he sings.

I Promise to take you there,Take my hand...
the Truth is much Darker than you could Understand
come with me now, if you dare...
Well, do you dare?
Can We Tear Down These Walls To Build An Empire?

Reine begins to swagger across the stage, making sweeping gestures with his arms.
In the second stanza, he makes sword motions.

To Forge an Empire
assert home rule
Together, Aiming Higher

A Force to Acquire
Subjects at my Sword
Arrows Aiming Higher

Endeavor More;
Should I Hope to Afford
Grace be to Yours
My Faithful Consort

The background panels display images of black roses and low-lit candles, creating a somewhat sensual but also foreboding atmosphere. The pictures is intermittently disrupted by a black motion sweep, which pulses into the image on the beat, distorting and skewing it.

Could You Follow Beside Me, In the Dark?
Align in the Shadows of my Once Hollow Heart?
I Wonder, Would you still Be There?
Well, do you Dare?
Can We Tear Down These Walls To Build An Empire?

A group of 8 dancers wearing glowstick bracelets head to toe, run out along the front of the stage, tossing out into the audience a huge assortment of blue and yellow glow sticks, which the audience begin to twirl and whirl and break open.

The Ambient lighting pulsates in blue and yellow.

The dances then assemble across the span of the stage, dancing extremely casually behind Reine.

I Promise to take you there,Take my hand...
the truth is much darker than you could understand
come with me now, if you dare...
Well, do you dare?
Can We Tear Down These Walls To Build An Empire?

Reine falls to his knees.
The dancers run to him, extending hands.
Showing great consternation, he rises with the line "I Believe i Can"

to Lift up these stones
i feel like Hercules, Hercules
In this Moment, I believe i can

But We've Far To Go...

The prior dance formation returns and the lights continue to pulsate as Reine swagger dances along the periphery of the stage. On the last line he stands just inside the stage, near the stage left. He stares directly into the audience, and the monitor zooms for a close up on his face as he sings the final line, looking a bit more serious than he may have intended.

i promise to take you there, through the dark
the truth is much harder than my hollow heart
I wonder would you be there
Well, do you dare?
Can We Tear Down These Walls and Build An Empire?

Reine bowed to the audience as the song ended, and quickly moved out of the stage area.

by **Todlichebujoku** » Thu May 19, 2022 7:52 pm

36. _Tödlichebujoku_

Hán Huuta Mulle (She Calls To Me)

Tune: Blackbriar - "Arms of the Ocean"

Orat ya Langat, or Thorns and Wire, are a multidisciplinary performance group with singers, instrumentalists, and performers, though it is the lead singer Lüütkartta Koskinen who is the best well known, and it is the dance crew who are usually seen on stage. The group was formed a few years ago in Sééreai with a small nucleus meeting in a rented space in a warehouse, but soon blossomed into a larger project that involved artists all over the nation. They had not yet attained major commercial success, though they did score a number of appearances on the lower halves of the top charts, when they applied to enter the third edition of Sinun Valintasi: Starfall. Their entry found sudden and unexpected acclaim when it was first performed in the Eclipse semifinal, and soon became the first Eclipse qualifier to place in the top two of the Collision grand final.

Though it was already surprising to be a favorite to win the national final, Orat ya Langat had not expected to find themselves on the podium, nor were they ready for the news that the entire top 3 were off to represent Tödlichebujoku in the international song contests - specifically for them, to WorldVision, something that was normally only accorded to the top-placing act. Of course, at some point, sometimes the 2nd placing act would eventually end up on the WorldVision stage, but certainly not with the immediate effect that this announcement entailed.

Outfits? Check. Choreography? Singing? They'd practiced countless times, it was all second nature to them now. Cameras and lights? Ready. But still, all that preparation and all that knowledge still kept Lüütkartta up at night, especially this night just prior. It took all the charms and spells at her disposal to stay in the moment, awake, and aware as her heart pounded before the performance. Well, she was as ready as she could ever be.

The act begins with a deep blue glow, a silhouette visible in center stage, stepping toward the audience as she begins to sing. Soft light slowly illuminates Lüütkartta, in a white dress accented by a black pattern, like dark intertwining branches against a background of snow, echoed by a matte sanded wooden circlet that is carved to resemble both antlers and branches, with runes etched in its surface. To each side of her are tall dark branches set in snowdrifts, and behind her, the others solemnly proceed, clad in white robe-like dresses

Kerro mull', yos rukoilet
Yos osaat puhua lauseet
Tássá mustassa ya külmássá üössá

Káánnát páási muun
Tássá on hánen laulunsa
Kaikuu esiin kuin hohtavat palaasit

She raises her head up, soft white light wavering upon her like sun through shifting clouds, as the other girls surround her, kneeling down, and reach out to her. She motions back to them, tentatively, before looking behind her where a light flashes

Hán huutaa mulle klusumissa
Hán etsii südámiám tulessa
Yálleen hán huutaa metsástá
"Vapauta mut yáákülmüdestá..."

The stage is once more awash in blue, but now a throbbing red appears with the beat. Lüütkartta casts her gaze warily around, over the heads of the others around her, who clutch deep green boughs of fir and brilliant scarlet berries of bittersweet, wielding them as if warding off evil. The berries seem to glow with the beats of red, especially against the fir boughs, and the group slowly creeps forward, eyes nervous and watchful of danger

Hánen huurteinen vankilansa
Lámmittáá ya hitaasti sulaa
Hán ürittáá paeta, ya lopulta nauttia

Ei, hán ei ole pölyá
Et halua kuolla, ethán?
Sillá hán nousee taas hengittámáán

With the chorus, wind begins to blow, with particles of snow as cold white light radiates onto the stage. Those on stage form a V pattern with Lüütkartta at the apex, clutching at themselves as if trying to keep warm against the polar blast. Red light throbs far behind them as they trudge forward in determination, reaching a hand out in front to shield from the wind and snow. Lüütkartta glances behind her, the camera close in and following her movement, before cutting away

Hán huutaa mulle klusumissa
Hán etsii südámiám tulessa
Yálleen hán huutaa metsástá
"Vapauta mut yáákülmüdestá..."

Hán hiipii luoksem klusumissa
Hán etsii südámiám tulessa
Yálleen hán huutaa metsástá
"Vapauta mut tástá vihasta..."

Great flashes of red bathe the stage in blood red, fog pouring in along the ground. Those on stage fall together into a pile, only Lüütkartta standing though even she seems to just barely be holding her composure, putting on a brave façade to face the unseen danger, the camera view close in amidst the flashes of red, creating an intimate look into a crumbling psyche

Houkutteleva,
Hánen vetoomuksensa
Tiedán mitá hán etsii
Kuinka hánen áánensá pilkkaa
Mielessám-ám-ám
Mielessám
Vuosia

For a few moments, while singing "mielessám", the stage is bathed in watery pale white light punctuated by stronger flashes of harsh brightness, before transitioning to a very brightly lit scene that cuts into darkness. In the moments of darkness, the branches of the scenery can be seen to bear points of light along their branches, thanks to the magic of fiber optic illumination, along with a white glow beneath the carpet of fog on the stage floor. As the final chorus is sung, wind blows onto the stage and combines with copious amounts of fog emanating from along the stage edge. Jets of blue flame erupt rhythmically around the scene as all on stage begin moving as if fleeing, clutching at their robes and boughs, aided by how the twiggy, snowy scenery rotates such that it seems they are rapidly running through the undergrowth

Hán kilyuu mulle klusumissa
Kurkottaa südámiám tulessa
Ya nüt, hán itkee metsástá
Sielussam
Kun menem
Muuttuneet

The lights and effects fade to a dark silence. The scenery has retreated to the rear of the stage, where the sun begins to rise, and all on stage are scattered at the front, having fallen to the floor, and turn to watch the growing sunrise

"Thank you, kiitos Densmouth, and everyone out there!" exclaims Lüütkartta as she bows with the rest of Orat ya Langat, before exiting the stage.

by **Iles Dla-Manche** » Thu May 19, 2022 11:47 pm

37. Îles D'La Manche
(Kingdom of the Channel Islands)

Participating broadcaster: RTV Jersey Guernsey Alderney
Tune: Molly Burch - First Flower

Anne Pènoucq - Vent d'Ochéan

The Kingdom of the Îles d’la Manche (Channel Islands) are debuting in their first Worldvision song contest. As the debut, they are sending well known Jersey islander Anne Pènoucq, who has written and sung many songs with only her voice and her acoustic guitar. "Vent d'Ochéan" is a song about taking in the beauty of scenery.

On the stage, she is sitting on a wooden stool with her guitar wearing a sunhat, to give the song the beautiful island feel it has

La mé de verre
The glassy seas

I’ reflète à jé pé, I' très bieau
It reflects on my skin, it’s very beautiful

Le brise il genti, à man fache
The breeze is calm, upon my face

J’vaie lé couochi du solé
We see the sunset

La vue, la vue
The view, the view

Oui, la Vent d'Ochéan
Yeah, the ocean wind

Oui, la Vent d'Ochéan
Yeah, the ocean wind

Oui la, Vent d'Ochéan
Yeah the, ocean wind

Oui la, Vent d'Ochéan
Yeah the, ocean wind

Les tchoeuryeux craûler ichîn-à-ilo
The cherry trees sway here to there

Lé sablion est coumme l’or
The sand is like gold

Et les louêmeux est coumme, coumme f'nêt'res
And the waves are like, like windows

J’vaie lé couochi du solé
We see the sunset

La-la-la-la-ooo

Oui, la Vent d'Ochéan
Yeah, the ocean wind

Oui, la Vent d'Ochéan
Yeah, the ocean wind

Oui la, Vent d'Ochéan
Yeah the, ocean wind

Oui la, Vent d'Ochéan
Yeah the, ocean wind

by **Norrp** » Tue May 24, 2022 4:09 am

38. Norrp
Strawberry Fever
Excite Me
Song https://www.youtube.com/watch?v=D1L7c8lSt6c

Strawberry Fever is a female duo from Norrp. Originally a trio, the group was founded in Flaso, Norrp, and was signed to a six-album deal with Deaf Jam Recordings in 2013. They are best known for their 2014 single "Must Be Love", which featured guest vocals from Smuji and peaked at number 3 on the Norrp Singles Chart. This was followed by a second single, "Too Hot", and an album, For Your Attention, which was certified gold in Norrp. Their new song Excite Me has a Latino vibe and honking R’n’B horn and brass sound.

You excite me,
At the front door,
You excite me on the floor,
You excite me!
Yeah alright baby oh Yeah alright baby
You excite me through the night.

Come inside my little room
The curtains in here are drawn,
There is just enough room,
Come to me now,
Let me feel,
If your love for me is real.

Come to me little chair,
Look around here
There is no one there,
Come to me now yeah
Let me see
If your love can set me free.
You excite me
You excite me,

Come to my little bed
We've talked too long,
Enough's been said,
Take your clothes off baby
Yes right now
Let my body show you how
You excite me
You excite me

But I knew you when we knew love
Burned hot within our hearts
Now they say they've had enough
And we both must part
As long as love lives in my dreams
I'll hold my love for you
Life and love will be my team
I'll not be untrue to you to you
Come along and excite me

But I knew you when we knew love
Burned hot within our hearts
Now they say they've had enough
And we both must part
As long as love lives in my dreams
I'll hold my love for you
Life and love will be my team
I'll not be untrue to you
To you
Come and excite me

Come inside my little room
The curtains in here are drawn,
There is just enough room,
Come to me now,
Let me feel,
If your love for me is real.
You excite me
You excite me!
Yeah... Oohhh Ohh... Whoo... Haaa... Ahhhhh!

Come to me little chair,
Look around here
There is no one there,
Come to me now yeah
Let me see if your love can set me free.
You excite me
You excite me!

Come to my little bed
We've talked too long,
Enough's been said,
Take your clothes off baby
Yes right now
Let my body show you how
You excite me
You excite me!
Yeah baby!
Yeah always... always...
Ha! Oh.... Hey! Hey!
You excite me!
YEH!

by **Yvesia** » Tue May 24, 2022 5:20 am

#39 Yvesia
Mali Manoban - "Sucker"
Music: Narai Chamroon, Solada Chansiri, Burin Lam Lyrics: Mali Manoban

Tune: Kylie Minogue - Supernova

Mali was guided to the stage by WorldVision staff, and before taking the stage, she checked herself in a nearby mirror to ensure that her silver sequin bodysuit dress and wet n' wavy hair looked perfect. She took a step onto the stage and was given a microphone before she walked over to the silver and metallic set, which resembled a retro CD player. Mali took her place and waited for the lights to go out. The arena lights soon after dimmed to darkness, leading the crowd to scream in excitement as the Yvesian flag colors lit up the arena. The entry information appeared on screen as Mali prepared her nerves for the ride she was about to experience.

The song started with the camera focused on the screen as a visual of a sound wave visualizer played in sync with Mali's vocoded voice.

Spreading all over me like the tides, highest of the seas
Wanting for this moment to never end, like an eternal dream

As the camera overhead tilted down to reveal Mali laying on a circular disc, she brought the mic to her mouth to sing the first verse. The disc was designed to seem like a big vinyl record with her name adorned across it in a vibrant shade of hot pink.

You’re in my mind, when I’m asleep
As in my dreams, you’ll visit me
The way you love me, it’s heavenly (Ah)
I can’t let go of ya, I’m in too deep (Oh)

She winked towards the camera as she finished singing those lines, before the camera quickly shifted angles panning across the stage as the circular disc tilted up right, allowing Mali to stand on her own. She then slipped her hand out from under the handle that she was holding onto. Mali continued to stare straight ahead of her before slowly tilting her had back as she sang the first three lines...

Feel my love, feel my love all unravel
Feel my love, feel my love, it’ll dazzle
Feel my love, feel my love, I just wanna be in your heart
(Three, two, one)

Mali turned to the crowd and stepped off the tiny semicircle platform onto a lift platform as she finished the first half of the line "Feel my love, feel my love, I just want to be in your heart." The lift started to descend as the vocoded voice began to count down in the background. The stage lights, which were an electrifying blue, rotated upwards at the same rate of the song's buildup.

Baby, you put me at ease
Feeling your skin spreading all over me (Baby, all over me)
It’s intoxicating
I never imagined love could feel so good, so good, oh
Spreading all over me like the tides, highest of the seas
Wanting for this moment to never end, like an eternal dream
Baby, you put me at ease
Feeling your skin spreading all over me
I’m a sucker for your love)

The whole arena would be lit up with a mixture of vivid greens and shining blues as the beat subtly dropped. Mali danced sensuously on the lift with play hand choreography as the camera was now a close up shot of her on the lift. As the lift reached its destination, the camera would zoom out showing the six female dancers accompanying Mali on stage, who danced in sync with her. As the chorus came to an end, the camera zoomed in on Mali, who twirled and winked at the camera.

I believe that you’re the one, the one for me
You’ve got me feeling, feelings that I’ve never felt
It’s a feeling that beats the drum
Our loves so perfect, others can’t compare (Oh)

The lights were now stripped back to a simple white, shining around the arena as if there was a disco ball in the venue, while Mali stepped off the lift platform to start her second verse. The camera was now back at a more zoomed in shot of Mali from her torso up as she did minimal choreographed moves, slowly making her way closer to the front of the stage.

Feel my love, feel my love all unravel
Feel my love, feel my love, it’ll dazzle
Feel my love, feel my love, I just wanna be in your heart
(Three, two, one)

Mali spun around and began motioning her hands as if she were motioning the dancers back into view as the "Oh!" ad-lib left her mouth. She took a couple steps forward while singing the pre-chorus to fall in line with her dancers, while occasionally looking back at the camera anytime the ending of a line was near. Once in position she twirled back around, facing the camera and audience before elegantly opening her left arm to the sky as she sang the final line of that section.

Baby, you put me at ease
Feeling your skin spreading all over me (Baby, all over me)
It’s intoxicating
I never imagined love could feel so good, so good, oh
Spreading all over me like the tides, highest of the seas
Wanting for this moment to never end, like an eternal dream
Baby, you put me at ease
Feeling your skin spreading all over me
I’m a sucker for your love

The camera switched views, panning across the stage as Mali fell into synchronized choreography with her dancers while the lights went back to shining bright colors around the venue.
The lights would cut as Mali sang the last word of the chorus, leaving only Mali’s spotlight on as strobe LED’s and white gobo lights sparkled behind and above her, giving the illusion of twinkling stars. As the camera switched to an aerial view, her female dancers would pose facing different directions, while the three male dancers would pick her up, slowly rotating her as she went into her head voice register to sing the ad-libs before being put back down.

Baby, you
Highest of the seas
An eternal dream
Oh, no
Spreading all over me like the tides, highest of the seas
Wanting for this moment to never end, like an eternal dream
Spreading all over me like the tides, highest of the seas
Wanting for this moment to never end, like an eternal dream

Mali fell into synchornized choreography with her dancers as the lights went back to shining bright colors around the venue, while the camera switched views panning across the stage before switching back to a wide shot of Mali and her dancers. Nearing the end of the chorus, three male dancers made their way onto stage embedding their way into the final notes of choreography.

Baby, you put me at ease
Feeling your skin spreading all over me (Baby, all over me)
It’s intoxicating
I never imagined love could feel so good, so good, oh
Spreading all over me like the tides, highest of the seas
Wanting for this moment to never end, like an eternal dream
Baby, you put me at ease
Feeling your skin spreading all over me
I’m a sucker for your love

As the vocoded voice counted down, the camera switched back to a stage view, zooming into Mali as she counted down with her fingers. As the countdown ended the camera was quickly zoomed out as pyro shot into the air at the front of the stage while the stage lights came on turning different colors of the rainbow, which was followed by Mali instantly bringing the mic back to her mouth to sing the final chorus as she put her all into the final dance segment. Mali and the dancers eased their way back closer to the front of the retro themed CD player set as the dancing segment ended and the song came to a close. Once in position, the dancers circled around Mali with their backs facing the audience while getting into their respective kneeling positions. Mali posed singing the final line of the song looking directly into the camera, before all the overhead lights shined on her sequin bodysuit. "Thank you Yvesia!" Mali exclaimed into the microphone, shimmying in her sparkly bodysuit as the audience applauded. “I love you!” she screamed before running off the stage with her dancers.

by **These American States** » Sat May 28, 2022 4:05 am

40.

These

American

States

Bobby Prince arrived at the venue in Densmouth, Carrelie. And was promptly told that The American States Delegation had already arrived.

Prince was furious.

"What you mean they already here? Somebody gone get a smack up in here..."

Monica Lapinsky was waiting in the wings, and quickly as she could, pounced on him.

"Mister Prince? We've been expecting you. Right This way..."

Don JJ Trummmp and his entourage had just arrived via their Vartugian accomplice, and had immediately moved to block him from entering. This plan was fool proof.

Bobby Prince looked around nervously.

"Somebody best 'splain to me what the HAIL is gone on here."
"There was a mix up, but it's all been taken care of." said Monica, stepping through the door.
"Oh a mix up i see.... sure. What we doin here anyway, it's dark in here."
"This is your dressing room, Mr. Prince."
The room lit up as the lights buzzed on.
Toilet paper.
The whole room was filled with Toilet Paper.
"Enjoy Your Accommodations, Mister Prince..." said Monica, slamming the door shut.

"Nice Job Monica..." Said Don, Coolly. "That doors so rigged, they'll never find him....

Now Monica, this is important...I'm giving you express instructions as our only Jury Member that you MUST give our 12 Points to Vartugia, i know you think they're icky, but they're really great people and we owe it to them for getting us this far....and uh....10 for Crustyland, and uh my new friend, Fred, from....come to think of it, i forget where Fred's from....IckyVickyStan....or was it IQQANON...Anyway, he should get some points and MSX..."

Monica stared dreamily at Don, rapt by his Authority.
Trummmp had so much Presence.
All about attitude.
Trummmp layed down the law, told like it was,
and of course, there was the matter of his ... Sexy Voice...

"Wah wah wah wah wah"

Trummmp was a Visionary.
He had a dream and made it happen.
And he was about to make WorldVision Great Again....Again....
...And He brought ME with Him!!!

"Monica... are you paying attention?"

Monica hadn't heard a word he said.

Jehovah's Priests ft. DJ Trummmp - DON'T BE A LOSER
TUNE: Blue Oyster Cult - Don't Fear The Reaper

Steve Mortensen, Guitar

Jason Moellson, Vocals

DJ Trummmp, Synths, Vocals

Charles Browning, Bass

James Browning, Drums

These American States were announced and Trummmp and Jehovah's Priests took the stage. While the band was setting up, Trummmp took the time to speak directly to the audience....

I wrote some of this, actually, on the way up here...
I HAD TO... i really had to. Things have changed A TREMENDOUS LOT since '71,
and i wanted this song, this.....THIS ANTHEM! to ACCURATELY and i do believe you will see what i mean....in time... Portray the current reality of WorldVision as we close in on WV100.....

Tonight, not only will i be playing the Keyboard, but also sharing lead vocals with my good friend Jason Moelsson. It's great, this technology. It blends our voices together, and believe me, it sounds WAYYY better than it did without me...

These American States are going OUT WITH A BANGER!

God Bless You,
You're All Very Special!

Trummmp Old-Man Jogged to his keyboards. Smiling dramatically at the camera the whole way. Once at his station, the rest of the group were ready. As Steve Mortensen played the first notes of the song, the crowd roared, growing in intensity as the vocals abruptly began; a strange melding of a Classic Rock God, well past his prime underpinned by an Autotuned Autocrat with lofty ambition.

All my Friends Have Come
To This Stadium

Fortunes Don't Favor Losers
You Either Win or You Die of Shame
We Can Become Greater

Come on Baby, (Don't Be a Loser )
Maybe Take a Stand, (Don't Be a Hoser)
We Aspire to Climb,( Not Be a Loser)
Tell Me If You Can...

la la la la
la la la la

All In Due Time I'm Sure
Blessings WIll Secure....

Polkopia and Mister X,
have been competing for eternity...(Don't forget Kalosia)
and many other nations i hoped to see (Izmedu, Nekoni)
15000 men and women- here today (redefine happiness )
another chance to prove we've got what it takes
We Can Become Greater

Come on Baby, (Don't Be a Loser )
Maybe Take a Stand, (Don't Be a Hoser)
We Aspire to Climb,( Not Be a Loser)
Tell Me If You Can...

la la la la
la la la la

The lights reduced to total darkness, and a spotlight shone on Steve Mortensen in the center of the stage. Mist began to shroud his figure, as a platform lifted him up from the stage and he started playing the creepiest guitar solo that ever shook your soul! A light shot out of Steve Mortensen's entranced eyes, glinting on the mists as he focused intently on his fret-work. The light emanating from his eyes only grew brighter as Charles Browning's Bass began to interweave his Guitar work.

As the Guitar Solo ended, Steve Mortensen stood inpower stance.
The platform descended.
The Lights Came back up to normal
A row of pyrotechnics go off along the front and backdrop of the stage as the other instruments joined back in. The Crowd was excited, and this fueled the band. Trummmp played the next part especially vigorously, leaning harder into the vocals.

Closing time draws near
to all that we hold dear

Would You believe last night i had this....
Epic Dream that Vartugia had Won...
Crustyland was second, though we fought hard....
Beepee couldn't read the fault in the stars...
M-C-G was dead last; they'd fallen far...

BABY, Don't be Lame....
Come on Baby,
Let Me Just Be Clear:
This Is Fandom!

Almost starting to cry,
Looking Backward from 99...

WE CAN BE LIKE THEY ARE
We Can Make A Stand
We Can BECOME Greater

Come on BABY
DON'T BE A LOSER

The song was supposed to end at this point with the mural of "Don't Be A Loser" displayed on the back- panels. However, in the inertia of the moment, Steve Mortensen continued to play, bolstered by the crowds raucus response, he began playing an even more epic guitar solo. The band Continued right along playing with him, getting even more into it. Jason Moellson, James Browning and Charlie Browning all exchanged knowing looks as Steve Mortensen continued to shred on the guitar.

Finally the epic anthem was over.

The Crowd ROARED.

DJ Trummmp pulled the mic from the stand and rose.

"You Might not remember anything else about World..... Vision-99, but you're gonna remember this. I Promise.

I Love You All Very Much

GOODNIGGGGHHHHTTT!!!!"""

by **Filshia** » Sun May 29, 2022 4:54 am

41. Filshia
#thecolouroffls
ELI - Ni šriduna (No Regrets)
Tune: Mr Levvis - Let's Talk About
Bold lyrics indicate both Eli and off-stage backing singers sing, italics indicate only off-stage backing singers sing.

The rings are turned to the side with the lights (the one it was stuck on in Eurovision). As the music starts, the lights on the rings start to flash white in an alternating pattern, which lights are on changing constantly to the beat. Eli is standing in the middle of the stage, wearing a white jacket and shirt, white pants and white shoes. Behind him is a white staircase leading to a small, circular platform. A single spotlight is shining on him. The camera is in front of him, showing his entire body.

The middle of the night, I’m in your bed
Together, not thinking
Of what will come ahead (Aha)
I know we’ve been together for one week
(Ča lifju tvi, ča lifju tvi)
But I have to admit, we’ve just got a click (Uh)

The lights on the rings go dark.

Antufami, lifju tvi
Tu ni ča fudu išvidun ti?

As the music cuts back in, the lights on the rings all turn on, this time in pink and yellow, in the alternating pattern from before again, the colour of each light changing on the beat. The spotlights move across the stage in the same colours. The LED screen on the floor displays a swirl of pink and yellow. Eli runs around the stage, interacting with the audience before returning to his original spot. The camera cuts between the entire stage and Eli interacting with the audience.

Ni kač’ šriduna
Šanumi tim iš lifju tvi
Nika šriduna (Nika šriduna)
Tvi lifjanti (Yeah)
Ni kač’ šriduna (Ni kač’ šriduna)
Šanumi tim iš lifju tvi
Nika šriduna (Ni šriduna)
Tvi lifjanti (Uh)

The lighting reverts back to how it was for the first verse. Eli starts walking up the stairs, the camera following him, until he reaches the platform.

What would’ve been of me, had I not met you?
(Titjudu ti sini ti? Iš ni divu sini ti)
Anything you say, I’ll agree with
And you?

A black mannequin, wearing a visor covering where the eyes would be, is stood on the circular platform, on the opposite side of where Eli is stood. Eli is looking into the "eyes" of the mannequin. The circular platform slowly turns 180°.

Fitajum diš’tur svidja
Lifu isit’ hau, da
Ali, iš ni pitu išun ti
Isbiš fragman n’ ist’ hitum
Vitrum ist’ avipilum
Al’ ni divu sini ti

Eli lets himself fall off the platform, falling into a foam pit, just as the camera changes to show the ball pit. The lights change again to how they were last chorus on the "na". He walks to the front of the stage.

Ni kač’ šriduna
Šanumi tim iš lifju tvi
Nika šriduna (Nika šriduna)
Tvi lifjanti (Yeah)
Ni kač’ šriduna (Ni kač’ šriduna)
Šanumi tim iš lifju tvi
Nika šriduna (Ni šriduna)
Tvi lifjanti (Uh)

All lights on stage turn off, except for a spotlight on Eli.

Ni šriduna
Šanumi tim iš lifju tvi
Ni šriduna
N-n-nika

A woman, wearing the same visor as the mannequin, as well as a black suit and shoes, runs on stage. They both run to the front of the stage. Upon reaching the front, they hold hands and lift the hand they're holding the other's with into the air.

I have no regrets
I just know I'm in love with you
I'll never regret (I'll never regret)
Me loving you

As the audience claps their hands, Eli shouts "THANK YOU! GRASI!".

by **Kalosia** » Sun May 29, 2022 8:49 am

performed in Kalosian to the tune of Dalga — Batuflex

Leading up to the recent WorldVision in Aenglide, Gabriél Ferer had been quite nervous. The youthful showbiz executive had just been appointed to lead Kalosia's delegation to the WorldVision Song Contest, and for his first edition on the job, he had to prove himself. Thus, he played safe and made use of his connections to recruit rising star Maria Karmen, who was already experienced in these types of shows. With her song 'Ninanajna', she came 9th—a pretty respectable finish and Kalosia's best placing in a little while.

Now that he has won the trust of the Kalosian public, it was time to take risks. This was indeed speculated among RTVK insiders at first—that Gabriél's past experience with hip hop and rap acts, who are underrepresented at the contest and especially among Kalosia's WV entries, would either be a breath of fresh air or make things turn for the worst—depending on who you ask. Either way, critical and supportive staff alike all agreed that, at the turn of the "WorldVision century", things were changing for Kalosia.

And when you think of it really, Kalosia's extensive history at the contest and reputation as the country who has sent the most entries means that such indication carries a lot of weight. Only two entries come to mind when pondering upon Kalosian rap at WorldVision—'Monterra' by DeNebro ft Kalikat (WV23) and the disqualified entry 'New Girl' by Letizia ft Karim (WV45). And even those two were more pop songs with rap parts in them.

But maybe that its in a genre doesn't matter as much. At the end of the day, the overall package is what matters most, and this entry is sure to be one that authentically reflects on the chosen act. So anyway, let's talk about them.

XYLO (left) and Soltano (right)

Representing Kalosia at WorldVision 99 is Basilo Montesku. He goes by the stage name XYLO (from the last two syllables of his given name). The 22-year old is a relative newcomer to the Kalosian trap scene, but has been able to quickly build rapport through his collabs with other rappers. As a result of the following he gained, his solo releases have met some success. Most recently, his song 'Rally' became a niche hit, with the music video gaining 8 million views at the time of writing.

For WorldVision, Basilo is collabing with Sliman Ben-Gamal, who goes by the stage name Soltano. He is 26 and is a more experienced artist relative to Basilo. While the former was born and raised in Kafalon, Sliman hails from the streets of Monterra. The two met early in Basilo's career, and it was Sliman who introduced Basilo to Gabriél. The success of 'Rally' came during the weeks leading to WorldVision 98, so when Gabriél shortlisted potential artists to bring to the international stage, Basilo was the first name to come to mind. It so happened that Basilo and Sliman were in the middle of one of their studio sessions when they received the phone call. A studio session that led to their eventual WorldVision entry—although it wasn't written for the contest originally.

The song, Skale (Ladders), is very fast paced. It is jam-packed with lyrics too, that it doesn't feel overly short despite clocking in at 2 minutes and 5 seconds. Lyrically, this song is a reflection of XYLO's life journey, but can be interpreted to represent the musician community at large. The artists present themselves as freethinkers, choosing the independence and freedom to live the lives they envision. In doing so, they draw a stark contrast against those who have derided them; these people are portrayed as accepting the lifestyle imposed upon them instead of seizing control. Towards the end, XYLO goes as far as to taunt them, asking them to ponder whether their 9-to-5 is really better than the smell of sweet success.

Upon release, the song was an instant hit among fans. It was also popular among regular listeners of the genre, and earned praise from fellow hip hop artists. Outside the bubble, however, reviews were mixed. In fact, it was very divisive. Many loved the track, deeming the beats fresh, but others saw it as nothing more than meaningless noise. Its odds are rather mixed, and there seems to be consensus that the song will either come top 10 or bottom 10—no in-between.

Let's call them by their stage names now. For the big night, XYLO and Soltano were suited up in a sleek, adventurous look. The black outfits they wore had streaks of white and red, and were made of leather. During their postcard, the rings of the kinetic sun each rotated 15° in alternating directions. The side with the spotlights was facing front. They were to stay like this for the entire performance.

COLOUR CODE
XYLO • Soltano • Together

The stage was dark. As the song began, the camera started off with a wide shot and the spotlights, both on the kinetic sun and surrounding the stage, gradually came on. Given the building tension, the audience cheered. Suddenly, a cry could be heard:

(Vamu!)

Everything faded to black before switching to a different angle, this time from a steadicam onstage, pointed at the hole in the middle of the kinetic sun. As he started singing, out walked Soltano to the cheers of the crowd.

Ramponu skale, hustling semprë
Segindu l’soñu d’un altru garsu
Ridonu kadë ešelu difrentë
Përo videranu ov’va lë kaminu

Soltano pretty much followed the camera as it led him to the left side of the stage. The stage illumination was mostly grey and white, and the spotlights were doing a lot of strobing, to the beat of the song.

Ramponu skale, hustling semprë
Segindu l’soñu d’un altru garsu
Ridonu kadë ešelu difrentë
Përo videranu ov’va lë kaminu

Enter stage right, XYLO. Offstage cameras were close enough to zoom in on him and provide the desired angled as he made his way to the front.

E rëkordiz tu keli žorni kadë eramu anki ǧuvani?
Es sempliž, la vitë d’un raga
Munetë es nintë per un raga
Vivevamu ula serenita

A few times, the camera angles would alternate between XYLO and Soltano. As the former rapped, the latter would be grooving along, contributing to the final lines of the verses to allow XYLO to breathe.

Ma or l’inosenžë n’a siñifika
Nintë, kestu es nia riálta
Done bašamu, loru bastanu
Per unë mentë kontentë

Sometimes the camera would also show wide shots, and the standing audience can be seen jumping along to the beat, as if at a rave.

E kadë ja gardu intornu a mi
Avamu diventatu homi novi
Flexing one, two, three awti novi
Unë horlož d’oru, grandi palaži

Now we get another steadicam close-up shot of XYLO as he raps this next verse walking while staring into the camera, as if to convince viewers at home to open their eyes. In the third line, Soltano can be seen in the background and XYLO gestures accordingly as he raps. He also emphasizes his words in the last line of the next part, and Soltano rapidly walks toward the camera as he takes over. Also during the ram-pam-pam, three pyro shots in quick succession are released.

Përo kalë sonuz verita e kalë sonuz fake?
Kalë sonuz amiki toji e kalë esëz un snake?
Il es Soltano, yeah, e XYLO san
And together we’ll make the world go ram-pam-pam

As we go back to the chorus, Soltano continues to go off. We get to see a few middle shots too, revealing that there are ladder graphics on stage—white ones on a dark grey background. The lights are also strobing like crazy now.

Ramponu skale, hustling semprë
Segindu l’soñu d’un altru garsu
Ridonu kadë ešelu difrentë
Përo videranu ov’va lë kaminu

A steadicam follows Soltano around, circling him even, before leading the stage. Unnoticed by most people, the catwalks which are also drawbridges are pulled up so the LED screens beneath them can be utilized later.

Ramponu skale, hustling semprë
Segindu l’soñu d’un altru garsu
Ridonu kadë ešelu difrentë
Përo videranu ov’va lë kaminu

Mid and close up shots from offstage cameras now as the lights calm down a little. In fact, the stage dims a little as the two walk around.

Në prëókupi perki au ešeľuto
Un futuro ove ja apartenu
Li haters mi anu subestimanu
Ma ala finë au vinšuto

A camera in front of the stage zooms out dramatically to a wide shot, and the words repeated in the below part appear in bold white text on the drawbridge LED screens as they are being uttered, quickly fading away as the words of the next line are uttered.

Perki ja seľu, seľu, seľu
Kadë tu soñi, soñi, soñi
El tempu kore, kore, kore
E poj ja provu, provu, provu

The camera alternates between close up shots of our boys, although it does show the drawbridge LED when Kalosian midfielder Gabriél 'Gabi' Sardu is mentioned, as his face is shown briefly. The football player, who has become a wealthy celebrity as a result of his fame, has also publicly supported XYLO and Soltano's WorldVision journey. In the last line, the camera switches to a wide shot where you can see the drawbridge LEDs. They say, in English, "My World, My Vision" (with 'World' and 'Vision' in a bigger size than the possessive pronouns).

E ja prometu a ti kë un žornu
Ja sušederu komë Gabi Sardu
Musikë es vitë, vitë es pašio
Konstru lë mondu u mia višio

The text stays there for the first line of the next part before it fades away and the drawbridge is lowered again. XYLO continues to rap with a very smug grin on his face.

Konstru lë mondu u mia višio
Venël, venël, ti daru unë ležio
Mošu ti le kose kë ja au fatu
E tiu lavor, esëz veru meľu?

By now, the duo have started crossing paths—Soltano, who was on the left, is now walking towards the right catwalk. XYLO, on the right, walks leftwards. The camera focuses on Soltano as he raps.

Ramponu skale, hustling semprë
Segindu l’soñu d’un altru garsu
Ridonu kadë ešelu difrentë
Përo videranu ov’va lë kaminu

As both of them are rapping together now, the camera shows a bit of XYLO as well. The drawbridge is lowered, and they sing the last line of the song just in time for them to use the catwalks.

Ramponu skale, hustling semprë
Segindu l’soñu d’un altru garsu
Ridonu kadë ešelu difrentë
Përo videranu ov’va lë kaminu

The crowd cheers as they run down the catwalk onto the satellite stage. After a few moments, XYLO address the crowd during this lengthy outro: "What's up WorldVision! Are you ready to change your life? In three, two, one..."

The duo strike a pose right as the song ends—arms crossed, back-to-back at the center of the satellite stage. A final, long pyro shot also comes out.

The audience cheers. After a few seconds, the two get excited, celebrating their successful performance. XYLO shouts, "THANK YOU DENSMOUTH!" and then do a bro handshake followed by a bro hug, before waving again at the audience. Not long after, the postcard from Estogium begins.

Returning backstage, they stopped by their dressing room to change into something lighter before heading to the green room. Those suits were not the most comfortable to wear; they were drenched in sweat and had to wipe themselves with a towel before putting on a shirt and sweats made of breathable fabric.

by **Estogium** » Sun May 29, 2022 1:00 pm

#43 ESTOGIUM
Isla Larson - "Leap of Faith"
Tune : Becky Hill, Galantis - "Run"
Language: English
Duration: 3:10
Music: James Embankment, George Willis-Rhyne, Ricky Burne
Lyrics: Tess Emerson, Indila Foster-Peace

Isla Larson to represent Estogium: Estogium will return to the WorldVision Song Contest with "Leap of Faith"

Estogium last competed at the 91st WorldVision Song Contest in Carrelie, placing 19th overall. As Carrelie hosts again, Estogium returns with Isla Larson, working with a Britonish team in a change of tactics for Team Estogium...

Estogium is one of the nations that has participated in the contest for the longest without a win and the Estogians are unsure as to why that is. There are some nations where it makes sense why they receive poor results, but Estogium usually sends pop music which is supposed to have mass appeal. Estogium has, of course, come close to winning having placed both 2nd and 3rd since its debut at the 33rd WorldVision Song Contest. Apart from those two results, Estogium has reached the top ten on thirteen occasions - though none of these occasions have been since the introduction of the televote, an addition to the contest which has not seem to benefit ABEN nations in the slightest. Estogium decided to withdraw from the 92nd WorldVision Song Contest and said that they were unsure as to whether the country would return to the WorldVision Song Contest. There was a desire from the broadcaster, RVC, that the country would like to compete at the 100th WorldVision Song Contest due to it being a big event but as Estogium's hiatus at the contest started to get longer and longer after the 92nd WorldVision Song Contest, it started to look unlikely that the country would return. Estogium's withdrawal can also be seen at the World Hit Festival too, where the country no longer competes. However, the 99th WorldVision Song Contest marks eight editions since we last saw the country participate and they signed up and organised an act to send them off. Unlike in previous editions where the Estogian act is introduced to the world via The Big Reveal: Estogium, RVC weren't as vocal as they have been known to be, quietly revealing that the nation would be back with Isla Larson with her song, "Leap of Faith". Isla Larson is 24 year old and from the capital city, Darlington. Isla was picked by the RVC officials to represent the country midway through the previous contest with RVC working with a team from neighbouring nation, Britonisea for this track. In fact, the songwriters behind Isla's song were behind Britonisea's winning entry at the 87th WorldVision Song Contest in Polkopia, Charlotte Davies - Let Me Down Gently which was the nation's only win since the introduction of the televote. RVC were hoping that working with a Britonish team meant that they could capture some of their expertise for their own entry and make their way back into the top 10 - something Estogians haven't seen since WorldVision 79 - twenty editions ago - when the country placed 5th.

"Leap of Faith" is a summer track intended to be played on Estogian radios right through the season. The team wanted to go for a song that the Estogians themselves would like to listen to and perhaps this was it. Charlotte Davies' song was a hit within her country even though it wasn't during the summer and so this should be an easier task for the nation of 36 million people. Isla Larson said that she was "very honoured" to be the artist that would welcome Estogium back at the WorldVision Song Contest and hopes to make the country proud and happy with the return. The 99th WorldVision Song Contest is expected to be one of the largest contests in quite some time, it will be harder for the country to stick out and win as many points as possible. While it does mean there might be more spots on offer to be on the left handside, RVC are hoping for nothing less than the top 15 which might be a huge ask for a country that hasn't participated for eight editions. Though, it's not as if Estogium are incapable of scoring well in the contest at all. Upon arrival in Densmouth, Isla managed to attend some of the WorldVision-themed events that were happening around the city alongside her rehearsals. She said that she wasn't to capture the vibe of the contest before she went on the stage to unlock the emotions she feels performing in front of a crowd.

Estogium is one of the final nations performing on the night of the Grand Final, with the nation performing 43rd in the final.

The audience by now was probably quite tired and eager to move onto the next part of the show - the voting. Certainly for Isla and the Estogian team it was a shock to the system to have to wait so long to perform their song. Estogium never used to perform right the end of the show, especially one that had more than 30 participants. However, it was time for the Estogians to shine on the stage now. Isla Larson was joined on the stage with a couple of dancers, wearing bright colours - they were dressed like this. Isla herself was wearing something quite similar but there was a slight different to her outfit to make her stand out a bit more than the rest of the dancers. There was also one male dancer on the stage who was wearing a white sleeveless shirt with chinos that fit the vibrancy of the colours that the girls were wearing. On the stage was a large object which Isla was standing on top of - it was about 6 feet from the floor of the stage. The dancers stood on the floor in front of her. As the audience came in with a huge cheer, the dancers and Isla looked at one another and wished each other good luck. They all then got into character, ready for the performance to start with a bang. As the music slowly came in, the colours on the stage filled up with oranges, yellows and pinks being the main theme. Everything was out of focus to begin with until Isla started to sing:

I once lived a life all alone, no I had no hope
Felt sorry for myself, my self-confidence was zero
I needed a bit of fun, then you came
Brightened up my life, opened doors
Felt happy for the first time in months,
That’s all thanks to you, so grab my hand

There was a camera shot that slowly moved towards Isla as she started singing. The contraption that she was standing on had two bars/railing on either side of the front, with the middle part of it open - I wonder why? She was leaning herself over the bar as she started singing. You couldn't see the dancers at the moment with the shots that were being used, but they were doing some movements for the thousands of people that were currently in the arena. Isla had a happy, smiley expression on her face - you could see that she was clearly very happy to represent her country on this scale and that she really loved her song. As she moved on to the lyric, "opened doors", she got up from her position before walking in the middle of the contraption in front of the section that didn't have any railings before slowly walking towards the edge - an aerial shot capturing her walking right to the end of the stage. The dancers beneath her were bopping along to themselves happily.

We are taking a leap of faith, I
Am scared but there’s no one I’d rather do this with.
Never thought that I’d be in love, no
You taught me that I was wrong,
Why have we waited so long?

Butterflies everytime I look deep into your eyes,
A feeling that I’ve never felt!
We are taking a leap of faith,
Ready to take the plunge?
Oh, no more running away (away from love)

(Ready, ready)
We're taking a leap of faith
(Ready, ready)
We're taking a leap of faith

As we hit the chorus of the song, there was a wide shot of the whole arena, with most of the light concentrated on the stage itself with a couple of spotlights on Isla to make her pop even more than the rest of them on the stage. The dancers were looking up at Isla as she sang the first half of the chorus, with the camera slowly zooming into Isla as she sang this bit to the best of her ability. As she sang the word, "Butterflies", the dancers finally came to life, by getting everyone to clap along with the song. As we moved to the end of the chorus and the dancy bit of the song, Isla leeped off the side of the contraption only to be caught by the three dancers who were waiting for her at the bottom. It was quite a dramatic dive into the air but they had practised this so many times that it looked natural.

Oh, show me how much I mean to you
Show me your love.
Oh-I’m the type who needs the reassurance
Give it to me.
I needed a bit of fun, then you came
Brightened up my life, opened doors
Felt happy for the first time in months,
That’s all thanks to you, so grab my hand

As we moved back into the verse of the song, Isla was doing some synchronised movements with her dancers who were behind her. The staging was quite dark at this point of the performance, with purples and blues flashing gently behind her. A camera captured all of the dancers and her in the frame as they all looked into the camera. Isla was looking directly at the camera as she sang this bit of the song. When reaching the pre-chorus, this was a familiar bit of the song with the colours returning to the stage once again. Industrial bubble machines were turned on with the whole stage filling up with confetti and bubbles, making the vibe very much a beach party.

We are taking a leap of faith, I
Am scared but there’s no one I’d rather do this with.
Never thought that I’d be in love, no
You taught me that I was wrong,
Why have we waited so long?

Butterflies every time I look deep into your eyes,
A feeling that I’ve never felt!
We are taking a leap of faith,
Ready to take the plunge?
Oh, no more running away (away from love)

(Ready, ready)
We’re taking a leap of faith
(A leap of faith)
(Ready, ready)
We’re taking a leap of faith

As all of them sang the bridge section of the song (which was also the final section of the song), they all laid down on the floor with the LED floor showing a picture of them laying down on the beach with the sea sweeping in so often. In the shot, you could still see some of the bubbles still present on the stage. Isla was pointing upwards towards the camera as she was singing, interacting with it as it came closer.

Come take a dive
Into the unknown
Come with me, oh!
We’re taking a leap of faith
(away from love)
(Ready, ready)
We’re taking a leap of faith
No more running.

At the end of the song, the dancers and Isla gave each other a group hug while Isla screamed, "THANK YOU WORLDVISION!" into the microphone. The stage management then quickly scurried them off the stage for the next performance.

by **Kasanovakoratica** » Mon May 30, 2022 11:08 am

44.KASANOVA-KORATICA

ABECEDARIA - Ḁ

Tune: Natalia Gordienko sings "Sugar" but just a part of it and it lasts a little longer

You thought you knew what you were in for. You wanted to know more about them. So sure. You could probably hear them speak the words to you. You look to them, deep within their soul. You try to learn who they are, from where they came. But your sanity slowly dissolves into a cerebral slime as you gaze into the infinite depths of their childhood. Some may call it an eldritch abomination. But for them, it was all they ever knew. Life in Kasanova-Koratica, is such that mere mortal minds could never truly comprehend the vastness and complexity of those beings existing on a plane far removed from your own. To find maturity in such a place is incomprehensible. You persist, attempting to uncover the details of how Abecedaria came to be, how they manifested into the public consciousness. How they are relevant, how they came to the WorldVision stage. But the details elude you. They are miniscule, infinitesimal. Your own mind fails to find clarity in the chaos of Kasanova-Koratican life, the amorphous structure of its society. You swim through the torrents of information and sensory input, every wash and prick combining into one tidal wave of oversaturation, all seeming to be an endless flow of junk data that forces your little thoughts to redirect and find some other avenue to pursue. But they are fast, small, and well-camouflaged. You thought you were an apex predator, but this prey is far too well attuned to your habits and abilities. No Kasanova-Koratican can be tracked down, traced, or fully understood by an outsider like you. Vertigo slams full force into your liquefying brain as you reach one last time, out toward the very thought of Abecedaria and their past. But no. You will never learn. You will never find out. You will never see the light of day again upon your filthy little mortal coil, that dimensional hovel you call home.

I step on the stage, all things done look easy but really not. Just looks easy.. My sexy pretty eyeholes look forward, look, light! You all see me. You all see someone in me. A friend. I got a friend in me. CBA. Some buddy spoke to me about another before me. Well. They do not exist any more. I made sure of that.

So I turn around. I make the noisy in my food hole. The one on top. Not bottom one. I done did that in, um, practice. Fun! But now you watch me, and I watch you. I make muscle move on head. You think I be "happy". You feel it. Deep in belly. But no one know. Heehee.

Radiation up above. Little stars like I want to see on my last goodbye. But that is later. Many things look at me. I look into their many, many holes. Gaping pits of darkness. I get lost inside them. And then, it is the moment. I hear the waves. I must make my own. The little bones they put in me, together, they make a crescent like Kalosia. Grinning Kalosia. That is what they want. And so I go.

You think it's crusty but I think that it's the newest Å, Å…..

Baby in front row.

ḀḀḀḀḀ

No baby no more.

Only me.

Worldvision Song Contest 99 | Densmouth, Carrelie

24 | Britonisea | Petre Lemetre - Disillusioned

43 | Estogium | Isla Larson - Leap of Faith

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