WorldVision Song Contest 100 | Semifinals | Monterra KLS

by **Placely Placington** » Mon Jun 27, 2022 3:52 pm

24 - Placely Placington

Placely Placington - WorldVision 100!

Tune: Komar and Melamid and Dave Soldier - The Most Unwanted Song

Long story short: Dave McDaverson, fresh from yet another failed bid, decides to send a 22-minute epic he had composed himself to the contest to celebrate its 100th edition. It was also Placely's 20th contest but that's not as important. No crazy-ass background RP or anything like that, this post is long enough without it.

Maroon - Television Director
Gold - Dave the Living DJ Booth
Blue - Dave McDaverson
Green - The Dave McDaverson Choir

After the postcard, everyone got ready for the song to begin. It was just a standard Placely entry, which was why no one was cheering for it and there only seemed to be a small spattering of applause, but either way they decided to go above and beyond. Anyway, on stage, there was Television Director, a random Test Subject from their WV87 entry standing behind him, Dave the Hobo sitting on a cardboard box while he used another cardboard box as a keyboard stand and Dave the Living DJ Booth who was just standing there with a couple of lights on.

Television Director said “It’s the one-hundredth contest.” to begin the song before we cut to behind the stage. There we saw pretty much everyone from Placely Placington with a wide array of instruments thrown all over with gay abandon, compared to how a normal orchestra would be where everyone had their own place depending on what they played. Which would make the likes of Chris Basset or Lewis Montclair wince. Worst of all, Chief President Man Dave McDaverson was conducting, except instead of a baton or his hands he was conducting with his gun. He wouldn’t even do the correct motions, he just flailed it around in a whole load of random and occasionally inappropriate directions. Anyway, Chief Economist strummed his fingers across the harp except he did it in such a way he ended up tearing off the strings by mistake. We then cut to Dave the Hobo pressing his fingers against the keyboard before he keyed in a different number combination before he pressed a different button. He then went back to playing it, except instead of it being an accordion sound it was a harmonica sound while a drum track made to represent hooves played. Why? I have no idea. Anyway, after a minute of that, Dave the Living DJ Booth played some MIDI drums and some samples while the orchestra started to play their instruments.

Oh yeah, oh yeah
Oh yeah, oh yeah
Oh yeah, oh yeah

And now it was time for the song proper to start. Television Director, who had been made to do this because Dave McDaverson thought he was the second best rapper in Placely Placington, started to move one of his arms and the appropriate hand in your stereotypical rapper fashion while his other hand just kept a tight grip on the microphone. Meanwhile the Test Subject behind him kept kicking him between the legs to activate his soprano button. Occasionally there were cuts to the orchestra but they weren’t always necessary because the backing screen was also showing the orchestra (at least from Dave McDaverson’s podium’s point of view). At one point there seemed to be a small group of bagpipes played by a few other WV87 Test Subjects.

Yo, us Placely peeps performing for all you folks live
Here at the city that’s hosting ninety five plus five
Hey ho! Dub Vee One Hundge!
Let’s rap to you about the WorldVision
And how it’s the best, yes
Oh yeah it’s great
Even if we’re coming in dead last place, a waste
We go “Hey ho!
We love WorldVision!”
Carrelie, StrayaRoos
Even Elejamie
They go “Hey ho!
Let’s go Placely!”
Hey, my haters
You can’t waste me!

After another brief harp solo, which was played while Chief Economist tried to plug the strings back in (much like he did in the last verse), it was time for a brief operatic bit with Dave the Hobo doing what he did at the beginning of the song again. Either way the Test Subject kicked Television Director in the soprano button while this was going on. When he was done, there was a crescendo of everyone blaring their instruments, Dave the Living DJ Booth’s sampled screaming in what appeared to be existential horror and Dave McDaverson waving his gun around, either because he was acting like an actual DJ or he was trying to paint a really hard to reach spot.

Soprano time
It’s a-time for the bridge now
World-vizh one hun-hundred
Soprano time
(End my misery)
Dave the Living DJ Booth
Will shout out some nations!

The camera then moved over to Dave the Living DJ Booth. After a close-up of him, it then did a couple of sweeping shots of him while a small group of horn players led by Melty played their instruments and Drummer Clone provided some backup drums with his stick-like hands. That’s pretty much this bit so let’s move on.

Help, WorldVision! End my pain please!
MCG, MCG
They won five times, three in a row
MCG, what a dream
Please can someone turn me off now?

This was then a flute interlude lead by Potassium Man with some bagpipes providing backup. However, he started to sweat during this bit and, as a result, caught fire with a gorgeous lilac flame. The sprinkler above him noticed this and immediately sprayed water all over him, which made the problem worse. By the time the solo ended he had turned into a pile of ash and died. Other than that, the same bit as the last verse happened.

Polky-land, Polky-land
They won ten times, that’s a record
Polky-land, they’re not bland
Please can someone turn me off now?

Now it was time for Melty to do a horn solo. His melting self just played the horn while he was joined by three banjos. Wynan Schitt played his while he tried and failed to hold back tears, Guitar Clone swayed his head in the other direction to prevent it from flying off his shoulders like the last time it happened and the overly muscular Test Subject played his with a facial expression like he was trying to snort his own nostrils. Oh and Dave the Hobo tried to play along but the batteries in his keyboard were dying so he’d have to fish some out of one of his boxes.

Either way, when that was over, it was time for Dave the Living DJ Booth to play his samples and drum beat again. They were supposed to say “Dave” again and again but he turned them into a cry for help. Dave McDaverson didn’t really care, he had just used his secret stash before the contest anyway.

Help! Help! Help! Help! Help!
Help! Help! Help! Help! Help!
Help! Help! Help! Help! Help!

And it was time for Television Director to rap again. And it was time for the Test Subject to repeatedly kick his soprano button again. Nothing else to note here really except someone’s phone seemed to go off towards the end of the verse. That and Dave the Hobo disappeared into the box he was sitting on and returned with a few AA batteries for his keyboard.

Here on the stage - It’s Placely Place-ton
To rap about the show called WorldVision
It’s a song contest that’s tonnes of fun
It’s fun for everyone and not just some
Placely Placington!
We’re rapping on stage
We’re showing off our skills, waiting for applause
Celebrating a so special song contest
Yes, that’s right, it’s WorldVision
One hundred, hundred!
It’s time for WorldVision one hundred!

During the instrumental break at the end of the last verse Dave the Hobo replaced the batteries with the fresh ones he fished out and then keyed in an organ sound. He played that while Television Director oversang and tried to show off his vocal talent at a time when it wasn’t really necessary. Much like that one Lithuanian entry everyone seems to like but I thought was pants, except he keeps somewhat in tune here.

WorldVision bridge time
It is an opera bit
Placely! Place-ton!
This bit is not right
Cien! Honderd!

Anyway, that segue aside, it’s time for Dave the Living DJ Booth to shout out some more nations starting with Talvezout. Nothing else to say really.

Talvezout, Talvezout
Sometimes strange stuff, sometimes mainstream
Talvezout, we love you
Can someone please turn me off now?

Wait, we’re not doing a bit of musical randomness, we’re going into some more shout outs? And a quickfire round too while Television Director keeps showing off? OK then.

(It’s one hundred…)
It’s time to clap and cheer
Because Tobu is performing
(One hundred)
Everyone move your feet
Ertzei Kishim is performing
(Dub vee ess cee!)
We’re gonna rock all night
Because Aenglide is performing
Please can someone turn me off now?
(I can’t believe it’s one hundred!)

And then straight on to another shout-out. Strangely enough to Britonisea despite Dave McDaverson slagging them and their entry off going into WV98. Maybe he still wanted to show he was sorry for E Oe getting nul points.

Britty-sea, Britty-sea
They’ve got VM, it always wins
Britty-sea, you’re supreme
Can someone please turn me off now?

A quick banjo solo while Dave McDaverson appeared to hambone with a gun in his hand. Surprisingly it didn’t go off. Oh and Melty provided some horn accompaniment. Wait, does anyone in this band know what a solo is? Oh well, have another rap verse.

We’re Placely! We’re the rappin’ gods!
Reppin’ all those who defy the odds, yeah
Crusty, ‘Boodle and SBI
And Vartugia can still mystify
Massive shout out to the IQQ
And to T-A-S ‘cause Placely loves you
Here at Placely, we love our mates
Why wouldn’t we? They make all the greats!

Now that his harp was fixed, Chief Economist can provide some more harp music while Television Director added some more filler and you, the reader, wonder why I bothered to literally write down the next bit the way I did whereas last time I just went with the standard lyrics you can find on any old lyrics site.

Yeah, yeah, yeah, WorldVision
Hundred! Hundred! Hundreeeeeeeeed!
Yeah, it’s the WorldVisioooon one, one hundreeeeeeeed!
Dub Vee Ess Cee
Hundreeeeeeeeeed! Hundred! Hun-hundreeeed! Hundreeeeeeeed!
Hundreeeeeed!

Wait, why’s Dave the Living DJ Booth now sounding like a cheap YMO rip-off? Oh well, have him pleading for the cessation of his existence before he goes into praising another entrant. Granted it’s one that didn’t really sign up for this edition and the thing they praised ended a while back for questionable reasons but still, while it happened it was still worthy of praise.

Please can someone help me? I’m in extreme pain!
Mister X, Mister X
Their long streak started at two-nine
Mister X, you’re the best
Can someone please turn me off now?

After this, we got a nice, relaxing accordion solo from Sports Bloke. Seriously, it actually sounds vaguely competent and calming. Unfortunately, a fly flew into the stage and started to make its way over to Drummer Clone. He tried swatting it away to no avail and eventually it landed on his drums. At that point he went into a hard solo just to try and squish it to no avail. It did, however, startle Melty who disappeared into his horn. The solo carried on before the same thing happened again, except with a bagpipe in the background. It happened one last time before Drummer Clone gave up (at which point the fly flew away anyway), Melty died because he got trapped in his mouthpiece and Sports Bloke eventually ended the solo.

OK, another lightning round of praise now.

(It’s WorldVision!)
Achaean Republic
Go and give them a ton of points!
(One hundred!)
Izmedu is playing
Go and give them a ton of points!
(Special contest!)
It’s time for Beepee now
Go and give them a ton of points!
Please can someone turn me off now?

Wow, we’re doing another one? Dave the living DJ Booth must be running out of steam now. After all he’s speeding up his music, presumably to get it over and done with. That and he tried to force an extra syllable when it wasn’t really necessary.

Nekoni, Nekoni
Sends some good rock and some dance stuff
Nekoni, good luck to thee
Please can someone turn me off now?

OK, last one now. For realsies.

Axuva, Axuva
Sends good tunes that we can’t describe
Axuva, you’re super
Please can someone turn me off now?

See, I told you. Anyway, back to Television Director being kicked in the button while he raps. Although towards the end Dave the Living DJ Booth gets downgraded into a hype machine so there’s that.

Alezia, Waisnor and Llalta
Sending some tunes that y’all really should oughta
Listen to because they’re great, really good
Scotatrova too, you really should
Adab, E-A, Kalosia
Rimmed baking sheet, we were missin’ ya
And Caryton too and all the rest
Can’t fit you in but you are all the best
Placely Placington!
(Help! Help!)
We’re singing songs!
(Help! Help!)
At WorldVision! (End my pain!)

After yet another harp solo and some bagpipe warm-ups, Dave the Hobo went back to playing his keyboard. He then played a slower version of the horse drums from earlier while the bagpipes blared, some horns played and Television Director did another soprano bit. Oh, and Dave the Living DJ Booth had another existential crisis.

Soprano time
It’s soprano time once again
Vote for Placely Place-ton
It’s time for the bridge
(Why do I exist?)
As we go to the next bit
I don’t know what it is
Yeah…

After that, what seemed to be a rejected MIDI for a Legend of Zelda rip-off (with some light orchestral backing) started to play. It doesn’t sound half-bad, actually. And then Dave McDaverson picked up the loudhailer next to him and started to speak into it. While the viewers at home had to watch the camera mainly focusing on him, the background screen was still concentrated on the orchestra with Dave McDaverson himself appearing in a small circle in the top left corner.

People!
This is the Placely Placingtonian entry for the one hundredth WorldVision
We hope that you have liked our song
It’s long so you can like it longer
We don’t know how long it lasts
Not too long now, just wait

However, after he finished that bit, Dave McDaverson had noticed that the megaphone had made his voice sound weird. However, rather than try and fix it like Dave the Hobo did with his keyboard, he decided to complain about it. Why? Because I had no ideas for this bit.

Why is my megaphone broken?
Why is my voice weird?
It makes my voice higher
And very weird
This is not my real voice!

This would continue…

Television Director!
What’s a Karen?
Someone tell me what a Karen is
Because I’m told that this makes me sound like one
I’m legitly [sic] confused
Can I please be told what the hell a Karen is right now or else no song?
Wait, someone told me they’re those people
Who like to complain to owners

And continue, although Television Director started to warm his vocals up because soon it would be time for the big ending. Indeed, before that started, the music cut out on Dave’s last line just to get everyone ready for it.

Can someone please fix this for me?
I don’t want to sound like someone with
A shit haircut and a massive ego!
Please fix! This! For! Me!

When the music came back on, everyone began to sing. Television Director, the Test Subject kicking him, Dave the Hobo, Dave the Living DJ Booth, the orchestra, everyone. Dave McDaverson wasn’t, he was busy trying to fix his megaphone. Which included smacking it.

Good luck to all
Those who compete
This is our song
Straight from Placely
And we all hope
You all have fun
Here at the contest
WorldVision!

The same as the last verse, except this time Dave McDaverson added some commentary of his own in between smacks of his megaphone. It clearly didn’t work. Either way, towards the end, Wynan Schitt cried out his eyes again as he played the banjo and everyone else tried to out-sing each other.

(Can you fix this?)
Good luck to all
(Can YOU fix this?)
Those who compete
(Someone fix this?)
This is our song
(This ain’t my voice!)
Straight from Placely
(I’ll give you stuff!)
And we all hope
(If you fix this!)
You all have fun
(I ain’t no Karen!)
Here at the contest
(Never mind)
WorldVisioooooooooooooooon!

There was one last “PARP” from a bagpipe somewhere. And that’s it, the song’s over. Dave McDaverson gently put his gun down on the podium but it still went off. Despite the fact that it didn’t have a clip inserted, a round chambered or even a firing pin installed. It burst through the backing screen (but fortunately didn’t break it) and everyone in its path easily managed to dodge it. Either way, while everyone on the front of the stage was bowing to the complete lack of applause, a giant piano fell out of the sky and squished the orchestra. The eagles must’ve been very upset.

Oh well, at least everything got fixed in time for the next entry. Meanwhile Placely's next one won’t be as long as this, don’t you fret.

by **Zeganas** » Mon Jun 27, 2022 5:56 pm

25 withdrawn

by **Beepee** » Mon Jun 27, 2022 5:59 pm

Lied Nr. 26

"Upside Down"
Performed by
Norma Deen

Tune: Helene Fischer - "Achterbahn"

OVERVIEW

Ever present since their first entry at WorldVision 79, the delightfully enthusiastic nation of Beepee is back once again.

From a faltering start, the little nation that could has enjoyed some success at WorldVision. From the previous twenty-one entrants, Beepee has podiumed four times in Worldvision history. On the podium at 84, 92 and most recently in 98, who can forget Claude Bols nail-biting victory in Worldvision 85 with "My Heart Beats", edging out WV100 host Kalosia on the public vote.

The Beepeean Occasional News Corporation also had the hobour of hosting the recent 97th Edition of Worldvision in Norfolk Pinewoods.

Keen to impress at the centenary edition of WorldVision, BONC is delighted to present Norma Deen with her song "Upside Down".

SONGWRITER BACKGROUND

Georgia Tasda and Tess Koh

The song is written by Beepeean songwriting powerhouse duo of Georgia Tasda and Tess Koh, who also wrote Norma Deen's previous World Hit Festival entries, "Impatient" and "Breakout". In addition, Georgia Tasda also penned "'Til Now", Hugo First's entry for World Hit Festival 55.

Georgia and Tess met at the Conservatorium of Music in Beepee. The pair had an instant connection and a lifelong friendship has started to develop.

Indeed, it was at the first day of the first term that they met. As the other students milled around in groups, wallflower Tess stood awkwardly clutching her ring binder to her chest. She scanned the room looking for the opportunity to join and speak with another student, but her shyness held her back.

Entering the room, Georgia effortlessly flitted from group to group, smiling and joking. Instantly warm and personable, with such ease.

Tess watched her from the sidelines.

As the class began, the students prepared for the first class they filtered into the auditorium, walking through the double doors together Georgia introduced herself and insisted Tess sit with her. It was the beginning of their friendship, which only grew through their course.

The flat-shared together in the city throughout their time at the Conservatorium.

Upon leaving the Conservatorium, Tess with her degree in songwriting and Georgia with her degree in contemporary performance, determined to work collaboratively and the pair briefly toured small bars and clubs, performing upbeat Beepeean Schlager.

With their act stalling and failing to attract a record deal, the pair were instead spotted as songwriters where they found more success.

SINGER BACKGROUND

Norma Deen was born in Stonebridge in the forgotten lands of North Prarie. Her parents worked as school teachers, teaching science and mathematics. Following the collapse of North Prarie, Norma officially changed her nationality to Beepeean. She lives in Hercules in the Cootamundra Islands.

Norma struggled, as many immigrants do, to settle in and adapt to her new live. But her parents were good, kind people and they allowed Norma to progress at her own pace.

After several months, Norma Deen settled into her new life in Hercules. Once settled, she found making friends easy and quickly gained popularity and a large circle of friends.

She began singing as par to a choir, before striking out on her own. She was quickly signed to a small schlager label in Hercules. Her eponymous debut album in 2015 performed well but failed to break into the schlager charts. Both her following albums failed to reach the same level of sales. As a result she was dropped in 2018. Despite this a small but enthusiatic following of schlager fans meant Norma was able to contiune touring and working on her craft.

When an early song was chosen for an advert for a popular soft drink in late 2020 she was thrust back into the limelight and was chosen to represent the little nation that could at World Hit Festival 61.

Her performance of the song "Impatient" at WHF61 was widely lauded by Beepeean critics and the song topped the Beepeean Topplist Charts for 3 weeks.

As a result of her excellent showing, Norma gained a legion of new fans and was signed to BONY records.

Performing again at World Hit Festival 63 with the song "Breakout", the first single from her album of the same name. Norma Deen shocked everyone with a second place finish, until that point the best ever finish for the little nation that could.

Norma Deen's "Breakout" headed to the top of the Topplist music charts staying there for a month and making its way into the IBA charts. International recognition is rare for Beepean artist so to make their way into the IBA charts is highly unusual.

PRIOR TO THE CONTEST

When the BONC internal selection process chose Norma Deen's "Upside Down" from over 200 potential entries, local Beepeean fans went into a frenzy.

The song instantly topped the Beepeean Topplist Charts, and made it as high as number 5 on the i-MCG charts.

*copyright Malta Comino Gozo

The song also topped out at number 53 on the IBA charts.

This represented the first time a Beepeean song had reached the IBA charts prior to a contest release.

Norma Deen performed at the Junterapten Worldvision Pre-Party receiving generally positive reviews.

*copyright Britonisea

BONC has gone to no expense in an attempt to woo the international juries and the general public.

In commemoration of the centenary edition, BONC is releasing the track on limited edition vinyl and compact disc.

Available wherever great music is sold.

And also making a music video published on whotube, teased as a sneak peek.

A special one of documentary about Beepee in the WorldVision Song Contest. Commissioned for the 100th edition of WorldVision, with behind the scenes footage, interviews with performers and live music was shown on Beepeean Television garnering record audiences.

A Decade of Memories trailer.
*n.b. sound removed for copyright*

The blitz on the world stage by Norma Deen with the financial backing of BONC is something not seen bully Beepeean music fans since WorldVision 81 when Betty Wont did a World Tour to promote her song "Fight For My Love"

The Besen Bookmarkers Association who initially placed Beepee thirteenth out of the initial entrants seemed pleased with the effort and by the time the final odds came out Norma found herself being touted as a potential top ten entrant.

*copyright Besen

Such high odds for a Beepeean song are a rarity and, whilst many Beepeeps may have a flutter on a Beepeeam win, most Beepeeans are still just happy to take part in this glorious contest.

PERFORMANCE

Dave McDaverson and his entourage make their way off stage. The auditorium hall in the Arenë Mediteranika is packed with over 20,000 ardent WorldVision fans, cheering at the spectacle which has just been.

From the ceiling of the auditorium, drops red slik curtains, dangling down onto the main stage. Stagehands rush on to the stages and Kalosian Security usher Norma Deen through the fans to the satellite stage. A stage hand fumbles with the back of Norma's red dress, but she is a consummate professional. The stage lights briefly flash, indicating that the music is about to begin and the stagehand rises off stage.

On the main stage, a sole muscular but lean male dancer stands holding the base of the red silk curtains.

She exhales and prepares herself for the forthcoming performance.

*copyright Kalosia

The postcard ends and viewers see the face of Norma taking up the whole screen illunated by a spotlight with her eyes closed.

As the music begins she opens her eyes and smiles as she sings the opening line.

You got my heart spinning upside down...

The Kalosian director slowly begins to pull out from the close up on Norma's face. As the camera pans out, televisual viewers will notice her on the satellite stage, the main stage behind her.

Norma is dressed in a long red dress, with lace effect and a plunging neckline, her dark shoulder length hair tussled with a fashionable wave.

She grips her microphone tightly, but no sign of tension is shown on her face.

Out of sight, on the main stage, the backing dancer begins to climb the silk curtain, wrapping the red fabric around him.

I wait alone in silence, alone in darkness
Waiting for you to call me by my name
And when you find me, and we kiss
Things will never be the same again

As she continues, the lighting on the main stage slowly begins brighten in hues of scarlet and crimson. Norma herself is still lit by a single white spotlight, highlighting her sinkissed skin. Her simple white gold necklace shimmers under the spotlight, glinting and sparkling in the light.

As she sings the lines "And my senses are awoken, now, there's no going back for me" she gently puts her feet hand on her arm and looks coyly down to the side, the move highlights the sensitivity and awakening in the lyrics.

My eyes are opened,
I can see all the colours that your rainbow brings finally
And my senses are awoken,
Now, there's no going back for me

As the chorus begins, the camera has panned out sufficiently so that Norma is shown clealry standing on the satellite srage. The main stage is now well lit inred light.

Norma turns to face the main stage.

There's a slight gasp from the assembled audience as Norma begins to levitate slowly rising off the stage. (The stagehand who had been fumbling with her dress before hand, had beenatrahcing her to wires, which will winch her above the audience).

As the chorus continues, Norma begins to seemingly float above a sea of flags, heading towards the main stage. The Kalosian Director curs between various shots from the front, side and rear to show Norma moving over the audience.

Beneath her fans from every nation wave and cheer and she reaches her free arm towards the main stage. As the beat of the song begins to pound louder, she smiles widely as she sings "I see your smile, I know that you're the one", she reaches her hands towards the acrobatic backing dancer in the silk curtains.

And after night, comes the day
As the world spins, I go the other way
Straight in to your arms, where I belong
There are no regrets for where I've come from
And after the dark, comes out the sun
I see your smile, I know that you're the one
When every breath I take, shakes me to the core
With you by me, I've never needed more
Never needed more

As the outro for the chorus is beginning, Norma reaches the stage, she extends on leg as if to step down on to the stage and then walks forward onto the stage.

The Kalosian Director cuts the view to the topless male backing dancer who begins to tumble and pose acrobaticly in the fabric. The cut away from Norma allows a stage hand who had been waiting just off stage on the shadows, to rush on and unclip her harness from the back of the dress and unencumbered her for the rest of the song.

You turned my life around
You flipped me upside down
I'm spinning round and round
My heart is upside down

As the following stanza begins, the backing dancer reaches the ground and walks towards Norma, who has turned to face the audience. The dancer pulls a drape of the curtain behind him.

As the stanza comes to an end, the dancer stands closely behind Norma holding her and the drape against her. As he nestles onto her neck, she tilts her head back to show the romanticism in the lyrics.

I've lived a life in shadows, in the sidelines
Watching others step in to the light
But when it's you and me, it's my time to shine
Like the sunrise coming up after the night

With the following stanza, the pair entangle themselves in a romantic embrace. Norma walking away, and the dancer pulling her closer wrapping her in the silk drape. She leans into the drape, him taking strain on the curtain so he appears to be almost defying gravity with the angle of the lean.

And with the morning
comes the promise of a start of a brand new shiny day
And then without warning
The ground begins to slowly fall away

As the stanza, coniltinues, he pulls at the curtain and she lift upright in to his arms. He wraps his arm around her waist and tightens the curtain in his grasp. Her feet are of the ground, as she is wrapped around him and he takes two running steps and launches the pair into the air as the chorus begins.

And after night, comes the day
As the world spins, I go the other way
Straight in to your arms, where I belong
There are no regrets for where I've come from
And after the dark, comes out the sun
I see your smile, I know that you're the one
When every breath I take, shakes me to the core
With you by me, I've never needed more
Never needed more

As the chorus is being performed, the pair swing together, wrapped up in the red fabric, holding on to one and other. When gravity takes over the powerful backing dancer lands, takes a couple of bounds, and launches the pair once more. The pair spin around in the fabric twisting together.

Norma continues, the physicality of the performance is breakfasting, but she has trained for many months to undertake this performance. Although she's breathing heavily, her voice maintains.

As the chorus comes to an end, the pair land once more on stage. For the first time in amost 30 seconds and for a moment she thinks she might miss her step. But her confidence in the acrobat is well founded and she lands safely.

She turns to the audience and sings the chorus outro as the backing dancer climbs the curtain once again.

You turned my life around
You flipped me upside down
I'm spinning round and round
My heart is upside down

As the musical break begins, the beat gets stronger, Norma's free hand sweeps up from her side raising with the volume and intensity of the music. There's a relaxation and ease in her face which puts the viewer at ease as she smiles through this stage of her performance.

(Woah-oh)
You got my heart spinning upside down
(Woah-oh)
It's spinning round and round
Don't you know my heart is upside down

As the following is being performed, the Kalosian Director cuts to a view from the rafters of the auditorium looking down on the stage.

The acrobatic backing dancer has prepared his curtain and, in line with the music he spins and tumbles, freewheeling down in one fluid movement until almost reaching the stage where he stops and uprights himself.

When you give me your love (Woah-oh)
Just give me your love (Woah-oh)

The backing dancer makes his way back over to Norma, who is staging centre stage facing the audience. Again the dancer pulls the curtain with himand wraps him arms around Norma's waste. The red of the silk complementing the red of Norma's dress.

When every breath I take, shakes me to the core
With you by me, I've never needed more
Never needed more (Woah-oh)

The stage lighting fades to dark from the red hues previously as the final line is sung. Norma wrapped in the arms of the backing dancer. Her heart beating fast at the exertion of the performance. She barely has enough breath to force the last words out...

You got my heart spinning upside down...

As the final note echoes around the auditorium the the stage has faded into darkness. From the darkness, Norma's breathless voice come through the microphone thank you Monterra, thank you world.

The stagehands rush onstage to tie the curtain up, as it is winched back to the rafters, and Norma and her backing dancer make her way off the stage.

As she leaves she passes the Antahbrantahstani artist, Christina Louis. She gives Christina a nod and says "good luck", as she makes her way to the green room.

by **Antahbrantahstan** » Mon Jun 27, 2022 6:08 pm

27. ANTAHBRANTAHSTAN | إانتهبرنتهستن

Christina Louis - Nuisance
Tune: Edurne - Painkiller
m & l: Iqbal Hakim, Herry Sulaiman

Christina is a singer who recently won MGP Anta, being a rock-leaning singer, she never thought that she would win the MGP Anta competition (although in the past, Antahbrantahstan has sent rock songs before.) "Growing up listening to my father's rock record has made me so so excited to be singing a rock song like this. Sure it is pop-leaning, but anything will do." Christina chuckles. "I have to confess that my first exposure to anything rock-related was when my father blasted a Metallica record while my mother is away visiting her relatives. Momma was absolutely unhappy whenever he does that, but of course, he'll always find a way to influence me and make me channel my inner rockstar." She laughed. "Though during my teenage years, i was at this i-hate-rock-music-and-if-you-dare-play-it-you-die phase... My dad was scared and my momma thought i was going crazy. Puberty definitely turned me into a whole other person." She reminiscenes, taking some deep breath in-between.

"In university, my dad died, and i have to live with my momma... Sure enough, everything was very hard, and it was at this moment that i decided to take on offers to be wedding singers, club singers, and so on. The income is not very good, but it was OK enough to sustain both of us." Christina says with a slight stutter, "Flash forward to several years later, i discovered WorldVision Song Contest, my dad during his lifetime always despises them as something very kitschy and bland.. a big mass of pop trash" Christina smiles, "Until one day, i discovered that we sent something that resonates to the audience... sixaxis and that Mute song... It changed my way of thinking in how WorldVision appreciates rock songs, and i thought of giving WorldVision a try... but hey, what kind of producer will let a nobody like me sing their song?"

Christina remarked, "I actually applied to MGP Anta without a song, and from what i heard, the demo singer for this song dropped out due to creative differences. The broadcaster [RR] maybe thought that this song was too lit to be shelved, so, after waiting, they contacted me... and i was in a state of shock." She laughed. "Flash forward to today... This still feels surreal, but of course, i am more than happy to represent this splendid nation." Christina is now ready to represent Antahbrantahstan in the WorldVision Song Contest, especially since this edition is having a semifinal. "I love challenges." Christina says, "But i believe that it is necessary to challenge yourself before stepping towards a higher goal. Hopefully, i can bring the best ever result for Antahbrantahstan and make this nation proud." She concludes.

The stage is pitch black, save for several bursts of light popping from the screen (a la Chanel’s original Slo Mo performance), several seconds later, the stage now lights up. With the center of the stage having deep red laser beams shot towards the audience, forming a sunburst. In the middle of the sunburst stands Christina, smoky-eyed, wearing an unzipped, jet-black leather jacket, with accompanying leather strapless bra alongside matching leather pants and knee-high boots, surrounded by the red sunburst laser effects. Her entry making a spectacle for audiences throughout the world. Holding a microphone in her hand, and accompanied by live band. Her rough, accented voice resonates throughout the arena, lamenting about how much her partner is a difficult person to deal with.

Said you can do anything
Ain't nothing but one trick pony
You said you're an angel
You brought me closer to hell
Hey, hey, my imagination's are all ruined, ruined
I guess there's still time to run far, far
But that's okay, i wanna run before i regurgitate

Immediately after the chorus kicks, some stage flares lights up, with the laser effects gone, the LED screen now showing images of card suits rotating. Christina's jacket is gone, now letting her strapless bra and toned abs take the spotlight, much to the delight of sapphics and lesbians around the multiverse. Christina's hoarse, yet powerful voice takes the centerstage of the performance. However, during the "Hey!" parts, although not mentioned in the lyrics, the camera would shoot the backing singers at her side, before switching back to Christina, who would sometime walk around the stage.

Screw things up, that's your specialty
You're a nuisance, a nuisance baby
Does your brain got something faulty?
You're a nuisance, a nuisance baby
So hey, the greatest gift that i will always be grateful
Is for us to be apart
You're complicating things
You're a nuisance, a nuisance baby

Now kneeling on the centerstage, the LED screen shuts off, now the laser forming a red-tinted conical effect around her. She seems to be very nonchalant about singing her love life to the audience, but she does not mind about manners whatsoever, for her stage is an outlet where she can express all kinds of thoughts she wanted, even the most unhinged ones. Though before she finishes singing the verses, she immediately stood up.

Yeah, this ain't gonna work out
I look forward to falling apart
I've spent all my patience
You're nothing more but a pestilence
Hey, hey, expectations are all ruined, ruined
I guess there's still time to run far, far
But that's okay, i wanna run from what i cannot tame

Utilizing the same stage effects as the first chorus. Christina feels all the energy that the audience has given to her, and would sometimes walk around the stage catwalks trying to interact with her audience, although the stage design made it impossible for her to do so. She is still very happy, however, and is immensely grateful about performing in WorldVision Song Contest. Singing with the same passionate rockstar voice that the television spectators have heard since the beginning.

Screw things up, that's your specialty
You're a nuisance, a nuisance baby
Does your brain got something faulty?
You're a nuisance, a nuisance baby
So hey, the greatest gift that i will always be grateful
Is for us to be apart
You're complicating things
You're a nuisance, a nuisance baby

The bridge kicks in, accompanied by several bursts of pyrotechnics, Christina continues to sing about how it's messed up that her partner is such a nuisance that nothing of their qualities can be redeemed. Christina then belts out the high note in the bridge.

There's nothing more that i can save
Let's throw it out, it's so messed up
Or maybe this is a dream, can't be true, true, true

The final chorus enters, with the stage now engulfed in a variety of red colors, the LED screen being turned off and the stage being covered in a crossbow-shaped array of laser lights, accompanied by pyrotechnics. Christina sang her heart out in the final chorus, accompanied by her backing singers. She continues to sing with outmost intensity, to the point you can hear that at parts, her voice has become a bit hoarse, though it got masked by the sheer vocal control she got. Occasionally, the camera would show the stage in its full glory, the song reviving the audience's passion in the semifinal this song is ini (or for tasteless people, ruining the WorldVision experience). And soon after, the song ends.

Screw things up, that's your specialty
You're a nuisance, a nuisance baby
Does your brain got something faulty?
You're a nuisance, a nuisance baby
So hey, the greatest gift that i will always be grateful
Is for us to be apart
You're complicating things
You're a nuisance, a nuisance baby

Christina laughs, very happy her performance is done as intended. She shouts, "Thank you Kalosia!!!" and storms off offstage, happily.

by **Pemecutan** » Mon Jun 27, 2022 6:19 pm

28/#PCU
Ayu Laksmi-"Menanti Datangmu"
Title Translation: Waiting For You
Language: Pemecutan Malay

Music: Baladewa, Acwin Dwijendra
Lyric: Baladewa, Ayu Laksmi
Tune: Ahn Yeeun - Night Flower

The 99 WorldVision Song Contest result was far from good. Although the officials feel okay with it, but the fans seems to be disappointed. Maybe the world didn't ready with our music. One fan commented. While the official stated that the result was rather expected. The song choice was intended to introduce Pop Karawitan genre to the world. We still can try some other time. Maybe with more upbeat song, says the officials. The song 'Sangsaya' was finished at the exact 20th place although it manage to reached 100+ points. It is Pemecutan second full Hanacaraka song in WorldVision Song Contest, the first was the song 'Sujatine' by Poleng, a slow rock song which was the country's representative at 89th edition. Despite the result, the officials still eager to entered for the 100th edition.

For the 100th edition, GBC as the official broadcaster of WorldVision decided to go ethnic again. We did the similar approached in the 90th edition. And I hope we can gain another success this time, say the official. They choose Ayu Laksmi to represent the country after an intense internal selection.

Ayu Laksmi is a well-known Pemecutan singers and actress. She gained popularity during her teen after she went solo as her 2 older sisters decided to focus on other things. Her break from music industry was regrettable by many. And her comeback never produce any album or singles as she only performed off-air. She only did collaboration song once in a while before she took another break to pursue her acting career. She then produce her new album in 2015 which was failed commercially. She gained popularity after her success duet with Baladewa. The song not just placed third at the 90th WorldVision Song Contest but also received 4 awards at the 37th Chakra Awards including Best Group/Band or Duo Performance and Song of the Year.

Ayu Laksmi

And now, she is selected again, but she will be going solo. To produce the song however, Ayu Laksmi still believe in Baladewa, her partners during the Nada Cinta song. This time, both of them create the lyrics. Although Ayu Laksmi confirmed that she only give the idea for the lyrics while all the words are from Baladewa. But she is also credited because she's the one who have the idea. The song is about someone who is in a long distance relationship and longing to meet their partners. But with the passing time, they start to doubt if they will ever meet.

Honestly, I come up with the lyric idea because I miss my parents at the time. They were very supportive and never doubt of any of their daughters decision. They were now already rest in peace. But in the process of words selection and rhyming, the interpretation might change and I'm okay with that. As long as the main idea is still there. Longing to meet your dear one.

Ayu Laksmi

For the music, the officials ask Baladewa to collaborated with Acwin Dwijendra, Pemecutan renowned composer. Dwijendra is also in a project for the country's World Hit Festival entry, the orchestra theme edition. Dwijendra feels honored as he is picked to involved in both song festivals. Thank God the contest doesn't happen at the same time, he jokingly say. Baladewa mention that the music arrangement is more poppy than ethnic. In the end, as the song is release, it meet with positive reviews and feedback. The song reached top 10 of Chakra Music Chart in the week of its released.

After the performance was announced, the stage dimmed its lights. The big screen reveal the postcard of Pemecutan which have a red vibes on it. A light clap are heard from the audience. Probably from Pemecutanian fans who have the opportunity to watch the event live.

As the postcard viewing end, a light shoot from the lower stage through the island stage. There Ayu Laksmi is standing wearing a long sleeves black lace mermaid dress. A clear voice of piano also accompanying as the lights swirling through Ayu's body. The camera give a full front view before it change to view from her feet and slowly rise above until her close up face is shows. She then begin to sing the first verse of the song. The light behind her is still swirling while the big screen give a video of a falling leaves.

The music become vibrant as she sing the second verse. The lights give its colors with the changing atmosphere of the music. The camera also change the view and capture her left side before moving to the right side. While Ayu Laksmi standing still, singing the song with her whole heart. Once in a while she will hold up the standing microphone.

Awan gelap kini perlahan menghilang
Dan mentari menyusupkan cahaya nya
Apa ini jadi sebuah pertanda
Akan jalan hubungan kita berdua

Seketika senja pun kian menjelang
Mewarnai dengan semburat jingganya
Namun kita masih tetap ditempat yang sama
Terpisah jarak dan waktu
Tanpa pasti kan bertemu
The dark clouds are now slowly disappearing
And the sun shines its light
Is this a sign?
That the relationship between the two of us will work

In an instant the twilight is approaching
Coloring with a tinge of orange
But we're still in the same place
Separated by distance and time
Without certainty (when we) will meet

Entering the pre-chorus, the lights under her give a colorful lights. The camera capture her close up view before slowly zooming out until her full frontal view is seen. While the big screen slowly change the video its present from falling leaves of the autumn into a breeze of snow of the winter. The winter vibes on the video become more apparent as Ayu Laksmi sing the chorus. The camera give a 360 degress viewing as she belt out her voice to sing the chorus before stay at her close up following the end of the chorus.

Aura senja membawa lamunan
Hingga merasuk ke hati terdalam
Berharap pertemuan kita kan jadi nyata…

Kapan jarak yang ada akan sirna tuk selamanya
Dan waktu pun kan berpihak pada kita berdua
Ataukah semua ini hanya jadi sebuah mimpi
Ku akan menanti datangmu kekasih
The twilight aura brings daydream
Until it penetrates into the deepest heart
Hoping our meeting will be real...

When the distance that exists will disappear forever
And time will be on our side
Or is all this just a dream
I'll be waiting for you (my) sweetheart

A small interlude give Ayu Laksmi a chance to take off the microphone from it stand. The camera capture her eye movement as she sing the pre-chorus from her side view. While the video on the big screen slowly change as now the snow began to melts. The camera capture her from every possible angle as she sing the chorus. She looks strongly grip the microphone as she melt with the song. Sometimes the camera capture her shaking hands as she controls her emotion that running through as she continue to sing.

Irama malam mengalun membius
Membawaku jauh ke alam mimpi
Dimana pertemuan kita menjadi nyata...

Kapan jarak yang ada akan sirna tuk selamanya
Dan waktu pun kan berpihak pada kita berdua
Ataukah semua ini hanya jadi sebuah mimpi
Ku akan menanti datangmu kekasih
The rhythm of the night floats anesthetizing
Take me far to dreamland
Where our meeting becomes real...

When the distance that exists will disappear forever
And time is on our side
Or is all this just a dream
I'll be waiting for you (my) sweetheart

Singing another chorus, Ayu Laksmi take a higher note. The lights become more colorful as its dancing around her. The video behind start to show the coming of spring with many blooming flowers. Ayu belt her voice as she reached several high notes which she flawlessly achieved. The change from chest voice to head voice and falsetto is also clearly made. The camera rarely shown her from a far as they want to show her expression. Nearing the end of the chorus, the camera stayed to show her front close up. The music suddenly slowing with only the piano is heard. The video slowly become darker and darker. And the vibrant colors from the lights become monochrome as she sing the last part of the song where everything suddenly off and only a swirling light from her back that shine through her body.

Walau jarak membentang memisahkan cinta kita
Dan waktu pun berhenti tuk mendetakkan jarumnya
Dan akhirnya semua ini hanya sebuah mimpi
Ku tetap menanti datangmu kekasih
Even though the distance stretches apart our love
And time stops ticking the needle
And in the end it's all just a dream
I'm still waiting for you (my) sweetheart

A round of applause, screams and whistles can be heard from the audience. Ayu Laksmi really give her best performance and hopefully the audience like it. The big screen once again show the postcard while Ayu give a light bow to the audience. "Thank you, Monterra! Suksma!" she shouts.

by **Achaean Republic** » Mon Jun 27, 2022 7:56 pm

29| Achaean Republic
La Vieja Noche-"Orgulloso Estoy"
Tune: LA CASA AZUL - Podría Ser Peor
Music & Lyrics: Carlos Oquendo Rosario, María Vázquez Calderón

Anamaría capitvated the Multiverse with strings while singing Tierno. Lara Amanda warned profilers about rain while wearing the iconic ballerina heels en pointe and advocating for queer communism and better hook-ups in Está Lloviendo. P.P. Galore, Achaea’s most popular musical drag queen, was Sabrosa in Talvezout and wanted his lovers to watch out for his Sonar. And then came Andrea Gutiérrez, who surprised everyone in the Multiverse and inside Achaea with a heartfelt ballad in ¿Para Qué Vale?, clinching the Achaean Republic’s very first victory in the contest. Until the contest’s centennial, the Achaean nation experimented with diverse tastes figuring what sticks—reggaeton, heavy metal, salsa, dance, EDM—interpreted their songs in Spanish and took a risk for themselves in others (especially—gasp!—English), and gave the Multiverse plenty to think about, laugh about, fool around, but have fun above all. They hosted in Corola after a snafu, and years later they won the right to host in Rosario, always looking forward to the next edition to host WorldVision: La National or at any weird offshoots depending on whatever the Achaean delegation wanted to try out. (Just what the hell they were thinking that led them to send Sul-Sul to Nekoni that year!?)

Just in time for WorldVision’s centennial, the Festival de la Bahía, the country’s largest musical competition, was brought forward a few months to select the Achaean representative for the contest. Twenty performers, half who have previously competed in WorldVision and the World Hit Festival, and half newcomers to the musical scene, converged in the city of Puerto Ámbar for four days to represent the nation. They were eager, willing, and ready to show off their best songs in various genres that displayed the nation’s best musical talent.

The last time the Acheans went to Kalosia for WorldVision, a young Rosariana named Marlene Brown Vizcarra, better known as AmbiDextra—the Queen of Achaean Carnival—went with her troupe and sang her heart out with Al Amanecer, a summer tune that became the hit of next year’s (pre-COVID) Carnival in Rosario and Candelaria and Penonomé. How things have changed! First, she was the darling of the competitive Achaean music scene for giving the nation its first top-ten placing in the contest; then, she’s fighting for her life while facing breast cancer, still performing wigless, shameless, fearless on stage. But why did they need to bring her up? Carlos and María admired her fighting spirit ever since they saw her in their Mocoa apartment while channel surfing on a hot Saturday night, flipping channels and then discovering the colorful, eclectic, and irreverent stage, boldly declaring her shamelessness and her confidence into her music. They also were enthralled by Anna Viktoreena’s stage presence that brought Polkopia to victory—and how they repeated the feat at home in Rosario. The colors, the sounds, the Multiverse cheering and jeering and everything in between. It brought them the confidence that their music could be heard and screamed at, cried at, and maybe even have babies made with it. Okay, maybe the last part wasn’t that necessary, but please understand that they are Achaean, after all.

The duo came to Monterra with lots of dreams. They wanted to taste the world-class wine and the best pasta south of Italy. They wanted to gaze at the moonlight as in one of those paintings they saw when they went to the art galleries. They needed to put their bare feet into the sand, feel the seashells and gaze upon the foamy waters of the Mediterranean Sea. Carlos and María never had a honeymoon per se, but they were ready to enjoy their “working vacation” and take advantage of the opportunity to see a new country, experience new sights, and rekindle their passion for each other. Maybe that’s what they meant when the song said Orgulloso Estoy.

The stage was ready for the Achaean entry. There weren’t a lot of kinks to work out—unlike previous performances, they only needed to repurpose a DJ’ing table for María and a small microphone for Carlos. You would think that the tables would be turned, so to speak, but nope: María enjoyed remixing songs and having fun rolling some fancy disco beats (she did moonlight at a underground gay bar while she was studying in Santa Ana) while Carlos created the songs and looked for inspiration in the smallest things. Orgulloso Estoy (How Proud I Am) became an accidental gay anthem since it was first released in the BahíaFest lineup, being remixed, rehashed, memefied and danced by TikTokers—which, in this day and age’s inflationary period, it was more than enough currency to launch them from obscurity to infamy to victory.

The stage was to explode in color and happiness, rainbow hearts and a fleeting moment of joy. Yes, that’s what they were looking for—joy. There wasn’t a lot to be happy about nowadays, with the war raging on, famine, the taking away of hard-earned rights and a general anomie whizzling about in the air. But if something was fun about WorldVision, something was enjoyable, an opportunity to escape and just enjoy life. There was so much they could to improve their circumstances—but they needed to have some fun from time to time.

Carlos was wearing a man bun with a semi-scruffy beard that made him look like a gringo and not so much like an Achaean with a blue-green flannel shirt with a plain white T-shirt and jeans with an embroidered flannel pattern on the bottom. He was perched in the satellite stage surrounded by the flag-waving, cheering crowd. María was behind him in an ornate table covered by LED lights and screensthat synchronized with the massive LED screen that was behind them on the larger stage. The delegation risked making the performance look quaint and contained. But they also wanted to have some coziness and comfort to the crowd, being surrounded by their fans—or those that were about to become theirs.

Once the performance started, the stage exploded with bursts of color. Reds and greens and blues and whites and yellows and oranges floated on the arena and regaled the audience with trends and sighs and fluffs of color. Carlos was dancing and hopping around the stage, making silent airplane sounds and getting the crowd hyped up. Maria was remixing in the back, pushing buttons, and sliding into the music with her DJ skills. The idea was to engage the audience and allow them to express their own happiness. Or at least try.

Hoy por hoy
Hoy yo puedo despertar tal vez la realidad
Ya no tengo que esconder quien soy
¡Tan linda es mi realidad!

Orgullo estoy (orgullo estoy)
Porque escogí ser libre
Como el viento soy (orgulloso estoy)
Era mágico, la sombra
Un tanto alentador

Que el mundo sepa
Sepa hacer lo que yo quiera
Sepa que nada me detenga

Carlos’ awkward dancing was enough to be charming and endearing for the TikTokers back home, and he hoped it could make him much more relatable for the audience in Kalosia and in the rest of the Mutliverse. Enough about pointless sexuality or deconstructions of sexuality or motions of sexuality that make Achaeans look like deliciously disgusting perverts! At least wait a few editions before throwing the slut-pop!

Quiero más
Yo desecho la desdicha de mi realidad
Muchas sombras asimilan, hoy quiero gozar
Hoy yo quiero entregarme
Así puedes conquistarme
Así puedes todo reiniciar

Me enseñarás
Un pedazo de madera, una intensidad
Es un fuego, una redoma, sabia natural
Quiero saber que yo existo
Soy libre, fuerte y quiero amar

No hay ocasión

On María’s DJ table, the LED screens below her showed a kaleidoscope of color and joy. The words on-screen and in the main stage behind her reflected the word PROUD in various languages: Orgulloso. Orgulhoso. Ge’eh. Kuru. Apuskachalaq. Bangga. Kburi. Grutsk. There were many languages shown, as many as people around the Multiverse, floating around the stage and into the audience’s heads with holographic images that reflected across the viewer’s screens. The Achaean delegation used holograms before—remember Viviana González’s performance in Oreo City?—, but the idea was to cause an interesting impression in line with the trippy music video recorded weeks before the trip to Kalosia.

Was there something to be proud, though? This performance already reeks of desperate and shameless attempts from the Achaean delegation to grab some pink money. Plus, it seems that people around the world are viciously determined to beat the rest of the world into their submission! What’s the point in feeling proud about the life we live in, or the country we belong to, or the community that is slowly eroding? The optimism in the piece is quaint and quite adorkable, but it feels like living doesn’t matter. Hearts are being broken. People are being aimlessly shot and beaten, tortured, and killed. Does it really matter to smile when everything else is beating down upon you?

Maybe all that it takes is to relax and dance a bit more.

Orgullo estoy (orgullo estoy)
Porque escogí ser libre
Como el viento soy (orgulloso estoy)
Era mágico, la sombra
Un tanto alentador

Que el mundo sepa
Sepa hacer lo que yo quiera
Sepa que nada me detenga

Then came the time to repeat the second part of the chorus. Carlos kept dancing and jumping and trying to entice the crowd. Was he forcing too much joy to the audience? Was it being enough? Was he being facetious? There was so much to analyze, so much to consider, so little to think about in a small amount of time. They meant to exude so much energy and happiness, but there were only two people on stage with a huge cloud of witnesses trying to get them to fail. The cameras around them hovered over the crowd and slid back and forth between the smaller stage and the difference between the performers and the audience, almost looking as if they were to be engulfed by their own crowd of marauders. It was an inversion of values, a craze-worthy dance, an attempt to appeal to the Multiverse’s collective sense of joy.

Quiero más
Yo desecho la desdicha de mi realidad
Muchas sombras asimilan, hoy quiero gozar
Hoy yo quiero entregarme
Así puedes conquistarme
Así puedes todo reiniciar

Me enseñarás
Un pedazo de madera, una intensidad
Es un fuego, una redoma, sabia natural
Quiero saber que yo existo
Soy libre, fuerte y quiero amar

No hay ocasión

The next part of the bridge sounded garbled and Autotuned. Carlos suddenly pulled a megaphone that was placed on María’s DJ desk. It sort of startled her in a blink-and-you’ll-miss-it glance (even though they rehearsed this several times in both Bahía Fest, the studio performance, and in the arena). The cameras captured the moment where the color in the LED stages were slightly muted on the performance. Carlos quickly pocketed his handheld microphone and grabbed the megaphone with both hands. Then, the outside cameras retreated to see how there was only one light on stage, a floodlight flashing in slow motion as he arched his back.

Quiero más
Yo desecho la desdicha de mi realidad
Muchas sombras asimilan, hoy quiero gozar

Orgullo estoy, orgulloso estoy
Orgullo estoy, orgulloso estoy

Que el mundo sepa
Sepa hacer lo que yo quiera
Sepa que nada me detenga

Once more, more awkward dancing. More DJing by María. More colors and holograms and awkward violin interludes that arrange a sort of connection to the viewing public. More balloons and streamers and cut pieces of paper that float around and stick to people’s hair like glitter and try to attest into the value of the music that tries to burn inside the audience’s heads. Was there something to be proud of? Maybe there is—they just needed to find out and show it! Pride need not be a parade, nor a bad concept built out of human arrogance. Maybe pride can start in the smallest moments of life, in the smallest opportunities that pass by day by day. Maybe the crowd can feel it.

Quiero más
Yo desecho la desdicha de mi realidad
Muchas sombras asimilan, hoy quiero gozar
Hoy yo quiero entregarme
Así puedes conquistarme
Así puedes todo reiniciar

Me enseñarás
Un pedazo de madera, una intensidad
Es un fuego, una redoma, sabia natural
Quiero saber que yo existo
Soy libre, fuerte y quiero amar

No hay ocasión

"¡Gracias! Thank you! We love you so much! We're so proud of you!" Carlos said as he quickly darted over to the DJ table and planted a long, hard, sloppy, wet kiss on María's mouth and she grabbed his body in a warm, comforting embrace. For a moment, they forgot that it was the hundredth edition and the Multiverse was watching them play tongue hockey--nope, they had to celebrate this moment the old-fashioned, Achaean way, showing love as explicitly and beautifully as possible.

And yes, they waved to the crowd.

by **Kalosia** » Mon Jun 27, 2022 8:45 pm

performed in Kalosian to the tune of Ciao Ciao — La Rappresentante di Lista

In Kalosian HoD Gabriél Ferer's contract with RTVK, it was already stipulated that while he would have freedom in determining entries and selection methods for any other edition, the Kalosian entry to WorldVision 100 was to be decided through Festival dëla Kanžu Kalosianë 2022. It was perhaps a bit unfortunate for him, because the hype surrounding Xylo & Soltano's participation in WorldVision 99 in Carrelie caught the attention of rappers and hip hop artists across Kalosia. Soon, big names in the scene attempted to contact Gabriél or otherwise express interest in participating in the contest. Although, perhaps over time this hype will wane and we will be left with acts that are genuinely interested in making contributions that are actually worthy of the international stage.

Meanwhile, Festival dëla Kanžu Kalosianë (FKK) went without a hitch, at least production-wise. Regarding the results, however, it had been quite dramatic. Major disagreements between the jurors and televoters meant that a handful of fan faves were shot down in the semis, and there were large margins for the jury-televote split of some entries in the final. Still, these entries have so far went on to achieve considerable success even outside of the contest. In the final, major fan faves Klaravalë, Augusto Martes, and $tefa were able to do extremely well in the televote however the juries were less favourable. Most hurt was Mariella Kasanu & Žankarlu Fra, whose cheerful ditty Eškonfinatamentë only received a whopping 2 votes from the jury, while almost winning the televote.

In the end, the song that both sides were able to agree on happened to also be the jury winner. It had become a talking point because the song, MeowMeow by Eva Renati, was unlike the typical kind of music that would be associated with the contest. It was a festival known for folk chansons and conventional pop tracks, but this was a bit edgier, a bit more indie, a bit more quirky, and definitely a risk taken. In the end it paid off, and we are here today.

Let's talk about Eva Renati real quick. She previously represented Kalosia at the 64th WorldVision Song Contest in Varea, Nekoni with the song That's Just How Life Goes. It was an upbeat, expressive pop song that ended up doing well. Building from her experience and trying her luck again, she won the ticket to represent Kalosia on home turf.

The song, MeowMeow, is attention-grabbing. In it, Eva asks us to look at life from the lens of a cat, who does not have the stresses of human life. A cat moves whenever it wants to. A cat has a kind of poise that even many humans don't. Cats are loved all around the world and, argues Eva, we can learn a lot from them to make our lives a little better.

For the 100th WorldVision Song Contest, a semifinal format was being trialled, and the bidding team for the city of Monterra was willing to accept having to implement the format if it was selected. Monterra narrowly won the bidding process and immediately, work was underway to host the first ever semifinals in WorldVision history. As the host country, Kalosia qualified to the grand final automatically, and was randomly drawn to perform 19th, between the Alezian Union and Quebec & Shingoryeo. However, it did vote in the second semifinal.

For the big night, Eva was wearing, predictably, a catsuit. With leopard print. She was to be joined by 4 female dancers, all wearing black catsuits. The orchestra was also used, so the host conductor was utilised. Once the postcard came to an end, the host audience was roaring for excitement. It was perhaps 3 years ago, when FKK 2019 winners Corpus Calosum took to the stage in the nearby Monterra ConcertHall, that a Kalosian WorldVision entry received this much of an ovation.

As the song began, the camera began with a wide shot of the stage that slowly zoomed in. A single spotlight shone on Eva, but from behind, rendering her as a posing silhouette. As this went on, she started vocalizing ("du-du-dus"). The camera briefly switches to a different angle that circles the stage before then cutting to a close up of Eva, who turns around and begins to properly sing, with a curious intonation.

Komu stajëz, mia karë?
Kosë fajëz staserë?
Sentiz solë e tristë
U kestu ventu fridu?
Bevi un depresso, në sej prinšipesë
Ma-ma-ma-ma au unë solužio

Eva is alone on stage, and at this point she is full of confidence, providing the kind of stage presence this song behooves. The audience is loving it. In this next part, an illustration of a Turkish Angora (cat breed) occupies the background screen. He is drawn wearing a crown, posing majestically. As Eva sings, she eagerly shows the audience the animal, implied to be her pet, as she looks into a steadicam right in front of her giving us an intimate, personal shot. It quickly switches away to another angle to give time for the camera operators to vacate the stage.

Vidël-la a miu Angora
Vive komë un kasanova
Sta tenendu mil sekreti
E ja li daro a ti

As the background screens fill with a plain yellow gradient, the spidercam comes from a mid-wide shot looking downward on her, quickly zooming in as she sings the next part. At the same time, the four dancers come on stage.

Kapel la filosofia dëli gati
E ti impreri per moverë…

A quick fade-to-white and we are given mid-shots that give us a decent view of the action going on stage. Unlike the Festival dëla Kanžu performance, the staging here was much more modern. She had performed in that final with a backing band and a chic look, while here the visuals were sultry yet cheerful.

As she sings the next part, she does a special choreographed routine in the style of those trendy social media dances, while the screen behind her becomes filled with illustrations of cats, maintaining a cheerful, yellow-dominated colour scheme.

Koli piédi, kola testë, kolë koru
Miáu miáu!
Per soñarë, soriderë, ešisterë
Miáu miáu!
Kola mama, kolë papa, kon amurë
Miáu miáu!
Oñë pašu, fortëmentë, kon orguľo
Miáu (miáu miáu miáu miáu miáu miáu miáu…)

Now, the girls make a line behind Eva. The screen shuts off and we are left with golden lighting, and while Eva sings the first two lines of the next part, Eva makes certain moves/gestures that the backing dancers follow, creating a wave. In the following two lines, the girls shout the line "Segel mi" together as they come out and make themselves seen, and after that they disperse across the stage.

Kestu es solo nia inižio
Perki lë tempu es una ilušio
Segel mi, oñë festë es unë novë aventurë
Per ešplorarë kon kuriósita

Now each of the four backing dancers each do unique moves, all of them mimicking the movement of cats. This includes crawling-like movements, laying down, sneaking on Eva, etc. In the last line of the next part, they all get on their feet and enter their formation for the chorus.

La vitë d’un gatu, uv oñë momentu
Es mëraviľosu, feliž, maj noǧosu
Es žentil e kalmë, ma siñifikantë
Un gatu si fida di siu intuíto

And then, they repeat the same moves they did during the last chorus. The background screen does the same thing it did too.You could hear the crowd sing along, both the Kalosian lines as well as the "meow meow" — the latter being more accessible to foreign fans in the audience as well.

Koli piédi, kola testë, kolë koru
Miáu miáu!
Per soñarë, soriderë, ešisterë
Miáu miáu!
Kola mama, kolë papa, kon amurë
Miáu miáu!
Oñë pašu, fortëmentë, kon orguľo

Now the backing dancers disappear for a second. Again, the screens turn off and the lights dim and we get close ups of Eva, who is interacting quite playfully with the camera as she sings this next part.

Benveniti, bonëserë, per favor e miáu miáu
Benveniti, bonëserë, voj salotu: miáu miáu
Benveniti, bonëserë, per favor e miáu miáu
Miáu miáu, miáu miáu, oh oh…

Now the background screen turns on again with a blue gradient, and illustrations of all kinds of cats (some of them wearing attributes associated with different cultures around the world). As this happens, the four backing dancers come on stage carrying signs coming out in support of cats, as if attending some sort of pro-feline march.

Si, li gati governanu lë mondu interu
Venonu per okuparë oñë penšeru
Sonu li animali moltu spešali
Amati uv tuti li paési mondiáli

Now all four dancers freeze in their spots and the gradient gradually turns from blue to the same yellow used in the chorus. In the third line of the next part, the dancers put down their signs and head straight over on both sides of Eva.

Kon amurë, kon amurë, kon amurë
Miáu miáu!
Koli gati, koli gati, koli gati
Miáu miáu!

Now the atmosphere erupts in excitement as the staging returns to how it was in the past choruses, but this time with a pyro curtain. The audience is hyped more than ever, and it is more than enough for Eva to simply ride of these emotions.

Koli piédi, kola testë, kolë koru
Miáu miáu!
Per soñarë, soriderë, ešisterë
Miáu miáu!
Kola mama, kolë papa, kon amurë
Miáu miáu!
Oñë pašu, fortëmentë, kon orguľo
Miáu!

And with that, the Kalosian entry was finished. As the host country, Eva received one of the loudest ovations in the hall tonight. Of course she was overwhelmed at such a warm reception. "GRAŽIAAAAAAA!!!!!", she exclaimed, "THANK YOU KALOSIA!" she spent a couple of moments onstage, thanking the audience, before finally leaving with her girlies to allow the crew to set up for the next entry from Olympic co-hosts Quebec & Shingoryeo.

by **Te Ika-a-Maui me Te Waipounamu** » Mon Jun 27, 2022 8:46 pm

Languages: English, Māori
Translation: "The land of the people"

Music: NGĀ TOĀKANA
Lyrics: Kingi Te Rapa, Tane Ririhi
Participating Broadcaster: PouWhaTV

Tune: Alien Weaponry - Urutaa

Introduction

Te Ika-a-Māui me Te Waipounamu is an island country made up of two main islands, of which both the country is named after. The majority of people in Te Ika-a-Māui me Te Waipounamu are of Māori descent, the native cultural group of the country. Te Ika-a-Māui me Te Waipounamu is debuting in the 100th Worldvision Song Contest, and is participating to showcase the wonderful Māori culture through waiata, which means “song” in Māori. The Māori people are incredibly excited to be debuting in the contest, as it allows their country to show the world everything about the history and the culture of their people.

The official broadcaster of Te Ika-a-Māui me Te Waipounamu, PouakaWhakaataTV (PouWhaTV), as well as a select group of people making up the national delegation, have selected the band NGĀ TOĀKANA to represent the country in the nation’s debut.

NGĀ TOĀKANA

NGĀ TOĀKANA, stylised in all capitals, is a heavy rock and metal band from Tāmaki Makaurau that was formed in 2009. Their name is a combination of Toa, meaning “warrior/fighter”, and Tuākana, meaning “Eldest brothers”, full name meaning “The warriors who are the eldest brothers”. The band is made up of three members; lead vocalist and guitarist Kingi Te Rapa, guitarist and back vocalist Tamati Hine, and drummer Joshua Kahika.

The trio have established success around Te Ika-a-Māui me Te Waipounamu, with a few albums hitting the charts in the country’s music lists. Typically, their songs always have lyrics that follow a common topic; historical or cultural issues that have occured within Te Ika-a-Māui me Te Waipounamu, and how this has affected the Māori culture, and in turn how these events affected the band personally. The band’s most popular song is a great example of this, Oraiti or “escaping with difficulty” in Māori, which was about years of colonial rule and the internal conflicts this created, where people had to flee their homes and survive on their own with nothing.

Tāngata Whenua

Tāngata Whenua is the debut entry for Te Ika-a-Māui me Te Waipounamu, and the song is the hopeful selection for the Māori people that are watching Worldvision and hoping for a satisfactory end result. The song is from the fourth studio album from NGĀ TOĀKANA with the same name as the entry, Tāngata Whenua.

Performance

On the night of Worldvision, NGĀ TOĀKANA were prepared to perform to all of the people in the audience in the Arenë Mediteranik of Monterra, Kalosia, and to the entire world, to show the world about Māori heavy metal music, the Māori culture, a large message, not only about something in the past that has had negative consequences to their country and people, but something bigger tonight, what it meant to the band themselves.

The entry from the hosts, Kalosia, had just been drawn down to a pitch black vastness across the arena. It would stay like this for a minute or so, while the postcard for Te Ika-a-Māui me Te Waipounamu was displayed. While this was happening, lots of background activity happened under the lack of light. The stage workers from Kalosia had helped hand the two microphones and the two guitars to Kingi and Tamati, but the drum kit had to be moved in on a platform with wheels, as it was much heavier. They would be placed to the centre of the stage, with the one microphone stand with a electric guitar at the front for Kingi Te Rapa, both of those again to the side where Tamati Hine would be standing, and at the back, the drum set, which was laid onto stage from the platform.

As the stage was made ready for the band, NGĀ TOĀKANA took their places with their instruments and waited for a few seconds, where the postcard for their entry was concluding, and suddenly, the stage made an uproar as their song was announced as the next entry. The lights in the arena became a small dim, and it slightly revealed the band members’ wear for their performance. The dim light had revealed all of the members of the band wearing black jeans and shirts for a real small band feel. They also were wearing traditional Māori cloaks that had patterns and feathers around their body, for their authentic feel to represent their Māori background.

On stage, it also appeared that the stage was full of prop fog that clouded the stage floor underneath where each of the band members were. Throughout the performance, the LED screen behind them shows a mix of storms that show storms with bright lightning, which when they strike light up the arena with many strobing lights for a split second. It also sometimes shows Māori warriors in fierce, active battle. Together, these both combine to encapsulate the message and the strength that their song and performance carries.

The music began playing. For the first few seconds, the song begins as an unassuming piano melody, and to reflect this, the lights are still low, and the band members only are taking their spaces. Shortly, Joshua Kahika, the drummer, starts to take on the drums and begins the performance, and introduces the guitars. When the electric guitars get played by both Kingi Te Rapa and Tamati Hine, incredibly bright lights begin to light up in strobes across the arena in a grand opening for the song. Then, Kingi Te Rapa grabs the microphone, and lets out the first verse of the song.

The ones who owned the territory
Were stolen from by another nation
They made our people a minority
And forced us to diminish alone

Next comes the chorus of the song, which is chanted in Māori. Both the lead vocalist Kingi Te Rapa and also Tamati Hine, the backing vocalist, sings the chorus alongside him. When they shout each part of the line with the exclamation marks, they stomp their right foot onto the ground, and into the fog on the stage.

Tāngata! Whenua!
The people! Of the land!

Te hira! O whakapapa!
The importance! Of ancestry!

Tāngata! Whenua!
The people! Of the land!

Tāngata!
People!

After the chorus, the song is led into another instrumental, and the guitar that is being played during this part can be heard making pretty nice electric sounds. Tamati Hine, the electric guitarist, begins to spin his head around while playing the electric guitar, and makes his way up to the front of the stage to do it. With his long hair, it fits perfectly for the hard rock/metal characteristic of this song. This gets a reaction from the crowd and there is audible cheering while this happens. Not long after, the second chorus happens. During this second chorus, Lead vocalist Kingi Te Rapa’s vocals can be heard. At the part where the lyrics are “our everlasting roots!”, this is shouted by everyone in the band, and also some people in the audience that have heard the song before Worldvision.

Where we came from holds true significance
We should always remember our everlasting roots!
The environment of our upbringing
Is sacred and should never be disturbed

The chorus is sung, rather more like melodic shouting for the second time and very similarly happens to what happened during the first chorus. Both the lead singer Kingi Te Rapa and guitarist Tamati Hine stomp their right foot on the ground at the same time when each of the exclamation points happen. Kingi looks around the crowd with a serious eye during this part.

Tāngata! Whenua!
The people! Of the land!

Te hira! O whakapapa!
The importance! Of ancestry!

Tāngata! Whenua!
The people! Of the land!

Tāngata!
People!

After the second chorus, the song leaps back into an instrumental. This instrumental is similar to the one that happened before. During this instrumental, the cameras point toward the crowd for a little bit, a crowd full of different colourful flags being flown around, a crowd of many Worldvision fans. It then cuts back to the group, where Tamati is seen waving his long hair while fully playing his electric guitar hard. Joshua Kahika is still at the back playing the drums and Kingi, the lead vocalist of the band, starts to walk around the stage, out of where he normally stands and begins to go to the left side, and also then, the right side where he looks eagerly at the audience. When this verse begins, he is standing on the right side of the stage, where the cameras then become pointed at. When the line “Their actions always returns to them, before they started invading!” is sung, it is sung very similarly to how the second line of the second verse was sung, with Kingi singing it but also Tamati joining him in singing it.

Before they came, I wish they’d known
Their actions always return to them, before they started invading!
Bones will be broken but hearts are strong
Our people will always fight for long

Then, the last chorus is sung. Since it is the last chorus of the song, the faint voices of the audience members who know the lyrics of the song can be heard, and the last “Tāngata!” is shouted loudly by all three of the band members, including drummer Joshua Kahika, where it’s his only time to sing. It is sung magnificently and powerfully to make the ending of the song a good ending. For this part, the lights of the arena are at their maximum for the grand ending.

Tāngata! Whenua!
The people! Of the land!

Te hira! O whakapapa!
The importance! Of ancestry!

Tāngata! Whenua!
The people! Of the land!

Tāngata!
People!

They strike a serious pose in which all of the band members look into the distance, which is the audience of the Arenë Mediteranik, with them standing in bright lights, in the stage smoke and behind a warrior fighting in battle, which was shown on the screen behind them. Shortly later, Kingi says “Tēnā koutou!”, which means “Thank you (all)” in Māori. Then, he says “Long live Te Ao Māori!” (Long live the Māori world!) The audience is heard cheering after they had enjoyed the performance, and the cameras cut to the vast sea of colour of flags and people, before the lights turn off in preparation of the next entry from Aenglide.

by **Aenglide** » Mon Jun 27, 2022 9:09 pm

Languages: English

Music: Jetlelvolka
Lyrics: Lila Knusvelde

Tune: Timoteij - Vild

Introduction

It went down slightly in Densmouth, Carrelie, the city which had hosted the 99th Worldvision Song Contest, the Worldvision before the grand centennial contest. Tönbaduos singer-songwriter Marja Bjárnidoter was sent as Aenglide’s representative, and sent her song “Þe élsk fðú?”, Aenglide’s first song in purely modern Aenglic. After an enjoyable night, Marja went on to get a respectable twelfth place, which was a good score but was the worst placement for Aenglide since Valletta, Malta Comino Gozo. However, the Aenglish public were greatly accepting of this score as they had just been coming out of a 2nd place with The Mercantiles in Beepee and of course, a literal win with Jannix & Eva Kújlora on home soil in Keterig, Aenglide. So, it did not matter where Aenglide ended up, not much to the Aenglish public anyway, as long as it wasn’t a horrific placing, and near the top. At the end of the night, Aenglide had scored a decent 157 points, which saw Aenglide and Marja Bjárnisdoter taking away a 12th place. It was not as desired, but alright none-the-less. Marja ended up being quite happy and cheerful about how her classic style disco-pop song had turned out though, and she was proud of her achievements in Worldvision. She was incredibly happy to have performed and represented her country of Aenglide.

Jetlelvolka

The girls from Jetlelvolka walking down a Kéterig street. From left to right, Anna Önaholm, Lila Knusvelde, Karla Olavssen

Jetlelvolka, which translates roughly as “Girly folk music” in Aenglic, is a ethno-inspired hyperpop supergroup from various villages and towns across the eastern Aenglish province of Adǽni-Irjaðvus. The group consists of three girls from musical backgrounds. From left to right in the above image, is shown: Anna Ônaholm, who is a self-proclaimed master of playing the flute (and any wind instrument for that matter); Lila Knusvelde, the lead singer of the group, who is also the band’s songwriter; and Karla Olavssen, background and second singer of the group. The band’s general genre and musical style is everyday girl group pop, infused with ethnic Aenglish (and sometimes Hööra) musical elements which are incorporated into their songs. Generally, they produce music in Aenglic, but for their Worldvision song, they decided to sing in English. The national broadcaster ÆTV thought that it was a good idea to send Jetlelvolka, as their music mashes local Aenglish culture with radio-produced pop music, a great blend of something unique to Aenglide while something accessible to the rest of the world.

Love In The Wind

The cover for Jetlelvolka’s 2022 single “Love In The Wind”

Love In The Wind, seen on the StrayaRoos Music Charts, taking third spot.

The I-MCG Top Ten Chart of Malta Comino Gozo, with Love In The Wind taking tenth spot.

The 2022 single “Love In The Wind” from Jetlelvolka as mentioned is one of the band’s rare English songs, and will be Aenglide’s ninth ever entry in the Worldvision Song Contest. While the song itself is rated nicely by the Aenglish public, the song has notably made itself on the StrayaRoos’ music charts, topping at third place on their charts. Also, the song has been publicised in Malta Comino Gozo as Jetlelvolka were invited to perform in the island country prior to Worldvision for their national Foundation Day alongside many other acts performing in the 100th Worldvision Song Contest. The song had also made an appearance on the Malta Comino Gozoan charts - placing tenth on their local charts along with various songs from Worldvision and World Hit Festival. The song is about a deep admiration and a connection with a lover, surrounded by beautiful nature, as told by the writer of the song, lead singer Lila Knusvelde. It’s a great reflection on the great natural beauty that Aenglide has been gifted with, from the magnificent mountains, to the picturesque northern lights, Aenglide is proud of its nature and are keen to preserve it for many generations.

Foundation Day in Malta Comino Gozo

Promotional poster for Malta Comino Gozo’s Foundation Day, which features Aenglide

Before Worldvision, a handful of musical pre-parties and performances prior to the main contest were made to celebrate the 100th Worldvision Song Contest, including Britonisea’s Junteräpten, and Malta Comino Gozo’s Foundation Day, the latter that Aenglide’s act Jetlelvolka were invited to perform at. Thanks to the newly opened direct air connection and the firmly established WMCA observer state connection between Aenglide and Malta Comino Gozo, travelling to the islands was made incredibly easy for the band. Upon arrival in Malta Comino Gozo, the band were able to make brief visits to some of the top Malta Comino Gozoan tourist sites before the performance on Foundation Day.

On the day in which Malta Comino Gozo was celebrating their foundation, Jetlelvolka was ready to perform amongst other performers in Santa Lucija who were also performing in Worldvision, along with Worldvision greats from Malta Comino Gozo such as most recent Malta Comino Gozoan winners Monsieur Disbelief, and 5ive, who had performed at the 98th Worldvision Song Contest in our very own Keterig. As Jetlelvolka was ready to perform in Santa Lucija, the location of their performance, it was known that the king of Malta Comino Gozo, William Rossi, was to be watching and listening along to the acts, so there was no time for Jetlelvolka to disappoint, and instead they wanted to perform as well as they could. In the end, it was a great performance and many locals, including some random Aenglish people within the crowd, cheered the band on, and it made for a wonderful Foundation Day for the island kingdom. Jetlelvolka had a great time in Malta Comino Gozo but it was unfortunately a short stay as they had to make their way back to Aenglide to prepare for Worldvision itself. Aenglish Worldvision fans had really hoped that this performance would give a boost to the popularity of their song.

Performance

Jetlelvolka had found themselves in the city of the 100th Worldvision Song Contest, Monterra, Kalosia. The city of Monterra is a big name in Worldvision history, as the city alone has hosted Worldvision a remarkable four times before, making the grand milestone of the Centennial Worldvision Song Contest the city’s fifth hosting. Due to the sheer number of entries participating in the centennial contest, it was decided by host broadcaster RTVK to split up the contest into two semi-finals and one grand final, with a few automatic qualifiers waiting for us in the grand final. The semi-finals system is a first in the history of the Worldvision Song Contest. Because of this, this contest would be massive for the Arenë Mediteranika, the host venue of Worldvision, as well as Worldvision fans from all across the metaverse. The night of the second semi final was going to be a big night for the band, going from a local Aenglish pop group to performing at the grand milestone for one of the metaverse’s largest events. It took a lot of courage from Jetlelvolka’s members to accept the fact that they were performing at an event this large - but they were willing to do everything they did, especially to be able to qualify to the final, and ever since Aenglide’s entry into the contest, Worldvision is something that the lead singer Lila Knusvelde has always dreamed of doing, so finally, this is her chance.

On the semi-finals night of Worldvision, Jetlelvolka and Aenglide were set to perform relatively early, in the 4th spot of the second semi-final, which was locked in between the schlager-loving nation of Beepee and a classic rock performance from Adab. Jetlelvolka had done many rehearsals and had practised their performance many times, but were nervous for the actual thing. Through their anxiousness and heavy thoughts about qualification into the grand final, they all started to remember that this is what they worked hard to perfect, and that the ending is going to be worth it, as long as they perform as best as they possibly can.

The Beepeean artist Norma Deen was let off of the stage, as the lights were turned off. The Aenglish postcard is shown to all of the arena, and while this is happening under the darkness in the arena, Jetlelvolka are called onto stage. Getting onto the stage was very easy for the band as Jetlelvolka only really had to take on their signature wooden flute, which the flute player of the group Anna Önaholm was easily carrying in her hand. Hard work had happened behind the scenes as for Jetlelvolka’s performance, the stage floor was covered in fog and mist, to give the effect that they were in the clouds. Jetlelvolka also wanted wind machines for their performance, so the Kalosian stage technicians quickly resourced two of them and placed them both in front of the stage, directed at where the members of Jetlelvolka would be standing. After all, the song isn’t called “Love In The Wind” for nothing, and they needed something to make some wind.

The members of Jetlelvolka take their positions on a stage shrouded on floor mist, in a pitch black arena. Lead singer Lila Knusvelde takes the front, and both flute player Anna Önaholm and background singer Karla Olavssen stand on either side of Lila. Once the postcard for Aenglide had concluded, the entry was introduced and this caused the stage lights to light up the arena and the members of Jetlelvolka to be revealed, with the audience heard to be cheering loudly. They were all wearing white dresses and this fashion choice would be crucial to the staging later. The music begins to play and the opening shot shows the camera pointed at Anna, playing their trustworthy flute (however this is just part of the show, the real flute sounds are pre-recorded in the backing audio). In this part, the lights are dim and only focused on her. This carries on for a few seconds until the drop hits and all of the lights rise up bright across the arena, and the camera shows all of the members of Jetlelvolka standing on the fog-covered stage. Shortly after, lead singer Lila Knusvelde begins to sing the first verse. During the first verse, the LED screen behind the band reveals various timelapses of Auroras of green, purple and pink hues light up the Aenglish night sky over snow-capped mountains. This captures the natural and wild feel of the song.

The cold breeze fills the open air, and it flows through me
Oh oh, the beauty of nature, when the trees start swaying
You’re standing over there, overlooking the hill
Gloriously elegant
I’ll stand ever so still

The chorus begins, and the audience can be heard in the background cheering. For the chorus, the quiet wind machines at the front of the stage start blowing onto the stage, and this helps the effect of the wind, which is what the song is all about. It blows around the stage fog, and it also blows and waves around the white dresses and the long, blonde hair that each of the members of Jetlelvolka have. The cameras show all of the band in one frame, and in the chorus they begin to walk forwards together, and smile at the audience.

The calming wind, it caresses my hair and lightly lays by me
Never like a storm, always gentle enough that it moves my dress
The calming wind, and you always tell me how nice I am next to you
This is truly love in the wind

The stage glows in many lovely aurora-like hues of various light greens, purples and pinks and matches the LED screen, where it is showing auroral lights. This fits very nicely with a mention of the northern lights within the lyrics of the next verse. There are even lights that start to project gradients of these colours on the white dresses. After the chorus, it goes back to a nice instrumental of the flute, and Anna is seen playing the flute but still shows a shot of the whole group and the LED screen behind them. The wind machines then lay low in the next verse.

The sun says goodbye and the stars are lit, at the end of the day
Oh oh, and the northern lights shine bright, you could watch them with me
The colours glow amazingly on a night so still
Gloriously elegant
I’ll stand ever so still

The chorus is sung for the second time. After hearing some uproaring cheers from a few audience members in the first part of the song, all three of the members of Jetlelvolka can be seen smiling, and so far they feel satisfied and happy in their performance. Much like the first chorus, the wind machines begin to come on again to blow onto the stage, moving the fog and waving the girls’ dresses and their hair. The camera captures them coming together in one frame of the stage, and they start to come together to look distantly in the crowd. The beaming lights light up the arena for the chorus.

The calming wind, it caresses my hair and lightly lays by me
Never like a storm, always gentle enough that it moves my dress
The calming wind, and you always tell me how nice I am next to you
This is truly love in the wind

Shortly after the previous chorus, a second one is sung and lyrics-wise, is exactly the same as before, just without “the calming wind”, shortened to fit with the tune. The camera then shows the girls walking away from each other, before briefly showing the audience, which is full of many flags, many colours and many people. When the audience is shown in the camera, a loud uproar is heard from them.

It caresses my hair and lightly lays by me
Never like a storm, always gentle enough that it moves my dress
The calming wind, and you always tell me how nice I am next to you
This is truly love in the wind

The song comes to a bridge part, where the lights across all of the arena are dimmed very lowly. The arena and the stage are dark at this point, but not too dark as they are still visible, with the back LED wall showing a black screen. Also, the wind machines are turned off here. This is because the bridge is where the song is sung calmly. This is except for the three girls of Jetlelvolka, who are each individually being beamed on by slightly lighter lights which are pointing at them, which are shown all in a close up, especially lead singer Lila Knusvelde. They are all shown with their heads looking at the distance while they stand on the fog which crowds the stage.

With you by my side, I know I will
Gloriously elegant
I’ll stand ever so still

The song has come to the final chorus. The lights in the arena all brighten up to make for a great ending. The LED wall shows bright northern lights, with auroral hues being projected on the stage and on the girls’ white dresses. The wind machines have turned back on to, like all of the times before, blow the stage fog around for a wind effect and moving the fog and waving the girls’ dresses and their hair. They are all shown looking at the distance before a few seconds later when all three of them look into the camera. Lead singer Lila Knusvelde even blows a kiss and winks while looking into the camera. This action gets a bit of audience reaction, which is audible.

The calming wind, it caresses my hair and lightly lays by me
Never like a storm, always gentle enough that it moves my dress
The calming wind, and you always tell me how nice I am next to you
This is truly love in the wind

To end the song off on a powerful note, Lila Knusvelde and background singer Karla Olavssen sing this part with all of the strength left in their voices. Also, the lights are made very bright as they beam all across the audience and onto the stage. When the last line is sung, the audience screams cheerfully for the band, who all are seen smiling wide in joy.

It caresses my hair and lightly lays by me
This is truly love in the wind
Yeah, this is truly love in the wind

Anna Önaholm, the flute player, plays her flute at the end of the song to conclude the song, and the music ends. The lights are brought down and dimmed. There is a great screaming cheer from the audience, and the camera shows a wide shot of the stage, which quickly becomes a shot of all the band, and then a close up of the lead singer Lila Knusvelde, who says to the audience and the people watching at home, “Thank you Kalosia!”. They all hug eachother in stage in so much shock and happiness as the performance that they had all been preparing for with many rehearsals and practices came to an end. Before the performance, lots of flowing emotions had run through the group, and them knowing that they did not need to worry about any of that was a major relief for them.

Jetlelvolka scurried off the stage as the lights became dark for the entry from Adab. When they united back together in their delegation area, they all came in for one big hug in celebration of their achievement, as they had just performed on the stage which lots of people worldwide had their eyes on. Anna even had tears weeping out of her eyes. As they sat down to watch the rest of the performances of the night however, they all had another thing come in their minds, the results that they would achieve. Well, only time can tell from here.

Qualification

This was the night of the second semi-final of the 100th Worldvision Song Contest in Monterra, Kalosia. All of the entries had been performed and it is currently around the time where the interval act is being performed. All of the international delegations in the green room in the Arenë Mediteranika were getting ready to face the big reveal of the entire night - which entries were and weren’t going to the grand final. It was a general look of nervousness as some countries would be fortunate enough to receive their ticket to the grand final, while some entries would have to say goodbye as they would be left in the semi-finals, failing to qualify.

The semi-final two interval act performer Hatsune Miku had just left the stage, and had introduced the most nail-biting part of the night - the grand reveal. All of the delegations from each participating country had scared looks on their faces, as this could determine how well the country did in the contest. The Aenglish delegation, as well as Jetlelvolka were keeping eachother tight in comfort as they were all nervous for the reveal, like everyone else was. After all, the opportunity of qualifying to the grand final was only available for eleven competing nations. In total, the semi-final had twenty-three competing entries, so statistically, just less than a 50/50 chance of qualifying. However, many fans around the metaverse had agreed that out of the two semi-finals, semi-final two was the stronger semi-final, in terms of the quality of the entries. The presenters began reading out the country names.

“Erie-Arcadia”.

“Beepee”.

Two countries had been called out. There was some heavy applause and cheering for the first two countries, but Aenglide had not been named yet. Despite only two countries having qualified so far, the girls in Jetlelvolka became increasingly more nervous and nervous the reveals went on.

“Ethane”.

“Spiritual Republic of Caryton”.
Four countries were now called out. The Aenglish delegation became increasingly more nervous, but kept their eyes peeled on the screen of the qualifying nations. Jetlelvolka were starting to become anxious.

“Togonistan”.

“Aenglide”.

There it was. Aenglide’s name being the sixth country to be called out. It lifted all of the girls from Jetlelvolka as well as the Aenglish delegation up off of their seats in the green room. They cheered incredibly loudly, and there were some reactions from the audience too when Aenglide qualified. They all got into one big group hug, as their worries instantaneously vanished, and it was only happy and exciting feelings from them.

Tweet from ÆTV, celebrating Jetlelvolka’s qualification.

Front page headline on mediaby.ae, an Aenglish media website, congratulating Jetlelvolka.

Everyone in Aenglide that night was ecstatic as soon as it was known that Jetlelvolka would be advancing forward to the final. Later, the running orders for the grand final were announced, and it was revealed that Aenglide would be performing towards the end in the 26th spot, between two friendly WMCA member nations, Malta Comino Gozo and Carrelie. Many Aenglish Worldvision fans were satisfied with the later performance placement for Jetlelvolka.

Aenglish journalists were on the scene after Worldvision, trying to find Jetlelvolka for a quickfire interview. When being asked if they were to do anything different for the grand final, whether that be staging, or very slight changes in the lyrics, Lila Knusvelde, the lead singer of Jetlelvolka had this to say.

”No, we do not plan on doing anything different for the final. It will be just like how we did tonight.”

Jetlelvolka have confirmed that the performance for the grand final will be similar to the performance in the second semi-final.

by **Waisnor** » Mon Jun 27, 2022 9:16 pm

33

WAISNOR

Virgin Marina - Uvidet' svet/Tune: Belén Aguilera - VÉRTIGO

If you were around 89th WorldVision Song Contest, you could remember Virgin Marina who represented Waisnor with the song "Poteryala ya sebya". This was a time before Waisnor could expected top 10 result on regular basis, so her 16th place was considered as pretty good result. So, Marina decided to try out this again and once again signed up for national selection and promptly won it, becoming the first artist from Waisnor to return to the WorldVision.

So, let's get down to the performance - Marina was dressed in an all-black outfit, and her face was covered with a veil so that her face was also not visible. The veil was also put on like this. so that it seems to blend in with the rest of the outfit. The stage was full of artificial smoke, which reached Marina up to her thighs.

Будущее вижу смутно
I see the future dimly

Разглядеть хоть что-то трудно
It's hard to see anything

Я не знаю, что мне делать
I do not know what to do

Marina began to move her hands, first to the left, then to the right, and finally directed her hands to the center. Meanwhile, something like a black hole appeared in the background, which sucked everything in the background into itself. Gradually, it grew and grew until it swallowed up the entire screen space.

Мне нужно выбрать дорогу
I need to choose a path

Я могу лишь молить Бога
I can only pray to God

Чтобы я не пожалела
So that I don't regret

The singer began to gradually sink into the smoke, and at the end of this action she was already on her knees. In the darkness of the background, one could already make out the vague silhouettes of people who were walking from side to side. After the first two lines were sung, Marina tore the veil from her face, and the lights on the stage began to turn on and off very quickly.

Я словно плыву в тумане
I feel like I'm floating in a fog

Я словно тону в дурмане
It's like I'm drowning in dope

Страх мной овладевает, в мою душу залезает
Fear seizes me, creeps into my soul

Больше нету сил
I don't have strength anymore

Я уже готова сдасться, волнениям своим поддасться
I'm ready to give up, to succumb to my worries

Страх почти что победил
Fear almost won

Я хочу увидеть свет
I want to see the light

After the first chorus, the smoke dissipated somewhat, but it still covered some of Marina's body while she was on her knees. Gray clouds began to appear in the background, which were much easier to see than those people who walked across the screen earlier.

Я больше не вижу смысла
I don't see the point anymore

В той мгле, что меня обгрызла
In the darkness that gnawed me

Но она не хочет уйти
But she doesn't want to leave

Now Marina turned her gaze upwards and turned on the camera, which was at the top of the stage. She also rotated around her own axis, and thus created the feeling that Marina seemed to be in the middle of a whirlpool, only it was more of an imaginary whirlpool of passions inside the singer.

В будущем вижу лишь тени
In the future I see only shadows

Они будто неизменны
They seem to be unchanged

Жажду их ощутить
I want to feel them

Before singing the verse again, the shadows of people appeared in the background again. however, now they have become much more distinct than last time. Marina turned her back to the audience and extended her hands to these people in the background. When the first two lines of the verse were sung. Marina began to dance a rather aggressive dance.

Я словно плыву в тумане
I feel like I'm floating in a fog

Я словно тону в дурмане
It's like I'm drowning in dope

Страх мной овладевает, в мою душу залезает
Fear seizes me, creeps into my soul

Больше нету сил
I don't have strength anymore

Я уже готова сдасться, волнениям своим поддасться
I'm ready to give up, to succumb to my worries

Страх почти что победил
Fear almost won

Я хочу увидеть свет
I want to see the light

Before the last chorus, Marina sat on the stage and all the lights on the stage turned off. apart from directly illuminating the singer. She seemed motionless and still sat with her back to the audience. However, when it was time to sing the verse for the last time, it turned out that she tore off the lower part of her dress and sang the verse again in this form.

Страх мной овладевает, в мою душу залезает
Fear seizes me, creeps into my soul

Больше нету сил
I don't have strength anymore

Я уже готова сдасться, волнениям своим поддасться
I'm ready to give up, to succumb to my worries

Страх почти что победил
Fear almost won

Я хочу увидеть свет
I want to see the light

The song was over and Marina waved to everyone and said "Thank you again! Good luck to you! I love you!"

Special for Kish:

by **Adab** » Mon Jun 27, 2022 10:02 pm

34. ADAB
Kinan al-Salaman – ”Coda”
Tune: U2 – Mysterious Ways
Language: English

Kinan al-Salaman

Background
Budgetary constraints meant that the ABC, under Director-General Benji Akiya, was forced to take the extraordinary decision to skip WorldVision 98 and 99, along with the World Hit Festival, as the organization conducted a full-fledged audit and canceled or downsized several projects (Faraby, Adab’s associated state, also halted its participation in WorldVision and WHF, similarly citing financial reasons). It was never in doubt, however, that the ABC would participate in the landmark 100th edition of WorldVision. After all, a 100th edition only comes once. Skipping two editions allowed Benji and the ABC to come back to WorldVision with a fresh mind and fresh perspective, setting the stage for a “new Adabian era” in the contest.

Nevertheless, before heading into this new era, there would be a celebration of Adab’s history in the contest, a transition from the past to the future. There was ever only one choice for Adab’s representative for this landmark edition. He was Adab’s greatest musical hero and the first Adabian contestant on WorldVision. He had virtually retired from performing after surviving a battle with cancer a decade ago, although he continued recording music and releasing albums from time to time. But now he was back on the WorldVision stage – for one last hurrah.

The Performance
As the opening guitar riff rang out across the Arenë Mediteranika, a radiant blue light gradually spread out from about the center of the stage to its margins, as white spotlights emerged into view all around the place, bringing the venue out of darkness and with it revealing Kinan al-Salaman, marching to the center of the stage amid an explosion of cheers and applause from the audience, many of whom enthusiastically waving mini Adabian flags and marveling at the sight of their hero, after a long time, once again gracing the WorldVision stage. Al-Salaman was dressed in an all-black robe, dark shades covering his eyes, his graying hair slightly undone. He strode confidently towards the audience, as the LED screen behind him zoomed in on his face. A few steps behind al-Salaman, eight belly dancers came into view, lining up as they entered the stage, then splitting into rows of four and flanking al-Salaman near the front of the stage, dancing their way forward the entire time.

You’ve all heard of me, I used to walk on this stage
Made my living here, ‘til it’s second nature
I’ve been away a while now, just living out there
Then the man came to me, said “Time for one last ride, boy”

He’s coming, can’t you see him there
He’s here to entertain you one last time

Al-Salaman sashayed and shook his hips, mimicking the belly dancers’ movements as a spotlight moved over him, emphasizing his position at the center of the performance. Through the shades, his eyes were fixed squarely on the adoring audience, as two belly dancers – one from each side – approached him. Al-Salaman threw his arms around those two dancers, as the other dancers formed a semicircle around and behind him, making sure they were not blocking the audience’s view of al-Salaman. As al-Salaman’s voice picked up for the chorus, he suddenly released his hold on the two belly dancers, who then grabbed and raised him so that al-Salaman were now on their shoulders, hanging his legs down and almost around their necks as he used one hand to point at himself – as if to say “I’m back” – and raised the other fist.

Well I’m here, yes I’m here, hey it’s fine
Prepare for me to rock this place
Well I’m here, yes I’m here, yes I’m back
The truth is, I never left at all, oh

The LED screen changed to show scenes of daily life in Adabian cities, including – but not limited to – people going about their business in traditional markets, cars and motorcycles kicking up dust as they filled the roads, people walking up and down the sidewalk, and there were also scenes of local belly dancers performing at weddings and by the side of the road. Al-Salaman, still held aloft by the two dancers, was now being paraded around the stage, allowing him to take in the full breadth and length of the crowd, as his voice grew more sultry and breathy. When he reached the line “On your feet now”, the dancers dropped him and al-Salaman was once again back on his feet. The dancers moved to form a single line behind al-Salaman, who rushed back to the center front of the stage. The cameras took a front view of al-Salaman, zooming in on his figure.

Ladies and gentlemen, we’ve got one more show scheduled
I may not be back so I’ll try my best here
A good time is promised, a night you’ll remember
If you want to see me play, well you’ve got your chance now
On your feet now

He’s coming, can’t you see him there
He’s here to entertain you one last time

The cameras were fully zoomed in on al-Salaman as he took off his shades, calmly putting them in his pocket as an explosion of pyrotechnics produced a bright, burning red-yellow light, flames bursting into being and rising all along the stage with a boom. Al-Salaman began shaking his hips even more wildly than before, the dancers following his moves, the cameras rapidly zooming in and out to bring home to the television/online audience the frantic, feverish sense of it all. Red and yellow columns dominated the horizon, as if the world had gone up on fire. The Adabians in the crowd produced their loudest cheers of the night, waving their flags with increasing speed.

Well I’m here, yes I’m here, hey it’s fine
Prepare for me to rock this place
Well I’m here, yes I’m here, yes I’m back
The truth is, I never left at all, oh
Well I’m here, yes I’m here, yes I’m back
Yes I’m back, I never left, oh

While the instruments played on in the background, the pyros began to die down a bit, the fire giving way somewhat to calmer, yet still imposing, columns of smoke. Al-Salaman went to the very front of the stage and sat down, bringing himself as close to the audience as possible. Behind him the belly dancers stood still. The LED screen began to show a montage of al-Salaman’s life and career, starting from pictures of him as a child and continuing to his current age. Along the way there were pictures and video clips of him at home, in the studio, and performing at previous WorldVision editions as well as in concerts back in Adab.

Someday I’ll be gone, but before that
I’d just like to say while I’m here
That I have survived
Despite what my critics said
And I’ll survive more

Al-Salaman rose to his feet for the chorus, again raising his fist at the audience as the fire burst to the ceiling all around the stage in one last push. The LED screen shifted back to a view of the stage, now focusing on al-Salaman as he walked backwards, retreating to the center of the stage and allowing the dancers to converge and form a circle around him, dancing as the man in the middle stood with a strong, defiant look, going through the chorus one last time. While the relatively faint backing track continued declaring “Well I’m here, yes I’m here, yes I’m back”, al-Salaman produced a series of vocalizations, including several “oohs”, “move it”, and “rock it, rock it, we’re gonna rock it”. Then, as the song drew to its close, the dancers broke away, rapidly dissolving the circle, and once again lined up behind al-Salaman as he, looking straight at the audience, pointed at himself with one finger and raised his fist for the last time as he uttered the final line: “Yes I’m back, I never left, oh.”

Backing track in italics

Well I’m here, yes I’m here, hey it’s fine
Prepare for me to rock this place
Well I’m here, yes I’m here, yes I’m back
The truth is, I never left at all, oh

Well I’m here, yes I’m here, yes I’m back
Well I’m here, yes I’m here, yes I’m back
Rock it, rock it, we’re gonna rock it
Prepare for me to rock this place
Rock it, rock it, we’re gonna rock it

Yes I’m back, I never left, oh

As the music ceased to be and the audience rose to their feet to give him a standing ovation, al-Salaman led the dancers in bowing to them, then stood there in silence for a while, taking in the adulation of the WorldVision crowd for most likely the final time in his career. He had been Adab’s first WorldVision contestant. Now he was here one last time, closing the book on his WorldVision association for good while celebrating his and Adab’s history in the contest, and helping to usher in a new era for the country in this contest. How that new era would look like, only Benji Akiya and the ABC knew, but it would not be impossible for al-Salaman to remain in the background, perhaps mentoring and helping to choose future contestants, although he himself did not foresee a very active role for himself. But he would not returning to the WorldVision stage himself; he had done his part.

As al-Salaman and his dancers made their way off the stage, a younger, and all too familiar, voice could be heard echoing across the arena, continuing on for a while until the lights faded to black:

When you stopped seeing the truth
The whole world went out
Love evaporates
Like a candle on sunlight

by **Darkmania** » Mon Jun 27, 2022 11:05 pm

35 Darkmania

Petite Herim- "Monster"

Lolita Zero - Not your mother

Petite Herim (“Petite Her-(h)im”) is, according to herself, the queen of Darkmania. She has a large fan following and her diehard fans are called “Petities” (“Pe-titties”). She has said that she has been to every single country and has thrown glitter to make every “shithole” into a luxury neighborhood with billionaires living in 5 stories-high mansions with 423 luxury sports cars for every person. She is, as told by herself, the most fabulous female person who ever lived, and whatever she sings will become a “crystal certified hits”. And yet she can’t walk in high heels for long as she will fall and break 68 different bones.

If we take off all of the makeup, take away the wig and undress the queen, we will find Äleksander Güpla. Äleksander Gülpa is already known as a stand-up comedian and an actor on his own who made Petite Herm as an alter ego female version of himself. His dragsona has attracted a lot of interest from the darkmanian LGBTQ+ community and he has acknowledged that. It shall be noted that Äleksander is married to a female university teacher and that he does his dragsona for comedy reasons, but has decided to do some character-bending for Worldvision.

Petite Herim is placed and has a 3 metre long tall blue dress that covers her from her chest to the stage floor which makes her look like a tent. The beginning of this entry starts with she spreading some confetti on the stage that she is holding and is at the moment all alone, looking fierce. Her face is covered with makeup to make her look like some kind of monster that can scare people.

Redd kjære for en monster? (Scared honey for a monster?)
Her er din mareritt (Here are your nightmare)
Kjære deg (Dear you)
Tenker vanlige tanker (Thinking normal thougths)
Jeg tenker nye idéer (I am thinking new ideas)
Mens du (While you)
Redd for jeg? (Scared of me?)
Du vill ha meg vekk? (You want me gone?)
Redd kjære for en monster? (Scared honey for a monster?)
Her er din mareritt (Here are your nightmare)
Kjære deg (Dear you)
Tenker vanlige tanker (Thinking normal thougths)
Jeg tenker nye idéer (I am thinking new ideas)
Mens du (While you)
Redd for jeg? (Scared of me?)
Du vill ha meg vekk? (You want me gone?)

Out of the dress comes all four dancers, dressed in red suits with only their faces being not covered. They all begin to grab Petite's dress and rip it apart, making her slowly sink. She sinks and at the last line she is on the floor without her blue dress, now being just a ripped lime-colored (-ish) dress that doesn't look quite as impressive as her starter dress.

En kjærlighet som bare oss to kan elske (A love that only us can love)
En meg og en deg (One me and one you)
Forbudt forelskelse (Forbidden love)
To bundet sammen i en ekstase (Two tied together in a ecstasy)
En dårlig ... nei nei stopp med en gang (A bad ... no no stop right now)
Hvorfor er du redd? (Why are you scared?)
Hvorfor er du redd? (Why are you scared?)

Petite has now reached the stage floor as our four dancers surround her with a Steadicam slowly flies around with her being in the center on the ring. She looks not scared, while the dancers looks a bit angry. We now hear the back vocalist, being backstage and hidden.

Frigjør ditt skrekk i degselv (Free your horror in yourself)
Frigjør ditt skrekk i degselv (Free your horror in yourself)

All of the dancers begin to slowly approach her ready to slay the beast, she begins to laugh.

Hahahahahahahahahaha

Petite's 2nd dress now is ripped of and is into shreds. All of the dancers begin to do some action that makes them look like they are slaying some kind of monster. She looks weaker for every second of this action and in the end looks like she's tortured. Petite gets slowly bent by one of the dancers' knees and sings her last refrain with her vocals being clear and not affected by her being bent.

Redd kjære for en monster? (Scared honey for a monster?)
Her er din mareritt (Here are your nightmare)
Kjære deg (Dear you)
Tenker vanlige tanker (Thinking normal thoughts)
Jeg tenker nye idéer (I am thinking new ideas)
Mens du (While you)
Redd for jeg? (Scared of me?)
Du vill ha meg vekk? (You want me gone?)

Petite closes her eyes and falls to the floor like she has been killed. All of the backup dancers run away, making her all alone again. The entry is finished and the audience begins to clap while she is laying there on the floor. She opens her eyes to show everyone that she is ok and thanks everyone.

Petite Herim: Thank you so much.

We cut to the postcard to the next nation which is...

by **Filshia** » Tue Jun 28, 2022 12:01 am

36. Filshia
Sandra - Don't Know 'bout That

Sandra is alone on stage, wearing an outfit similar to Iveta Mukuchyan's in Armenia's 2016 Eurovision entry, but without the cape, in black and not see-through.

Sandra is laying down on the ground on her side, with only a white circle on the LED screen surrounding her. The camera is pointed right above her. Another two circles appear next to her on the first and third "oh" of every line. During the lines "I don't know / Where to go", she starts laying on her back and gets up. This reveals that everytime and "oh" is sung, an "oh" has been added to the LED wall. After this, the spotlights turn on and quickly move erratically across the stage, while Sandra moves around a bit in place to the beat of the music. The camera is now in front of her.

Paralysed by all these questions, oh-oh-oh
Need to make tons of confessions, oh-oh-oh
Fallin’ into a depression, oh-oh-oh
I don’t know
where to go
Need a bit of relaxation, oh-oh-oh
Not a lot of expectations, no-o-o
Can’t even get a vacation, no-o-o
Just for once

The spotlights stand still, and the LED screens start being filled with question marks. Sandra is standing still. At the end of the prechorus, the question marks on the floor's LED screen end up making up a bigger question mark.

Can’t I ever have a little peace of mind?
All these questions keeping me up every night
They’re always asking me why I look so sad
I’ll always answer: “I just don’t know ‘bout that”

The spotlights start moving erratically again. Sandra is stood in a stereotypical fighting pose, moving her upper body forward at the beginning of every line that's a question. An aerial shot of the stage is shown.

Should I fly high?
Should I say bye?
Who am I?
Should I just die?
I don’t know ‘bout that
Is it all a lie?
Should I even try?
When I die,
will they cry?
I just don’t know ‘bout that

The spotlights turn off. Sandra turns her upper body slightly in every line, before quickly turning it in the same direction almost robotically for the "oh-oh-oh"s. The direction she turns in alternates per line. The "oh"s appear again on the LED wall. The camera is once again in front of her.

I’m just sick of always cryin’, oh-oh-oh
Constantly feel like I’m dyin’, oh-oh-oh
Outside world is terrifyin’, so-o-o
Lock me out

The camera starts moving around her. As she turns with the camera, she slowly starts getting on her knees.

How do I know that everything I know is true
And it’s not all just one giant lie?
I can’t help it that I constantly feel blue
You couldn’t too, so why should I try?

A single spotlight shines on Sandra, now facing the same direction as at the start again. She slowly gets up from her knees.

Can’t I ever have a little peace of mind?
All these questions keeping me up every night
They’re always asking me why I look so sad
I’ll always answer: “I just don’t know ‘bout that”

The spotlights turn on and start moving erratically again. Sandra starts moving towards the front of the stage, while she slightly moves her body to reflect the lyrics. The camera follows her, first from behind, then moving to be in front of her.

Should I fly high?
Should I say bye?
Who am I?
Should I just die?
I don’t know ‘bout that
Is it all a lie?
Should I even try?
When I die,
will they cry?
I just don’t know ‘bout that

She stops moving forward. The camera starts to zoom out.

How do I know that everything I know is true
And it’s not all just one giant lie?
I can’t help it that I constantly feel blue
You couldn’t too, so why should I try?

Her movements become even more expressive. An aerial shot is shown.

Should I fly high?
Should I say bye?
Who am I?
Should I just die?
I don’t know ‘bout that
Is it all a lie?
Should I even try?
When I die,
will they cry?
I just don’t know ‘bout that

The camera moves to be in front of her.

Should I fly high?
Should I say bye?
Who am I?
Should I just die?
I don’t know ‘bout that
Is it all a lie?
Should I even try?
When I die,
will they cry?
I just don’t know ‘bout that

A single spotlight shines on Sandra, who is looking down. She shouts "THANK YOU! GRAŽIE!" to the crowd.

by **Plangainer** » Tue Jun 28, 2022 3:06 am

Withdrawn

by **Cakranegara** » Tue Jun 28, 2022 4:06 am

#38 - CKR
CAKRANEGARA

Gunawan Adi - Katanya

Language: Pemecutan Malay
Title Translation: She Said
Music: Setiawan Al Tarikh
Lyrics: Gunawan Adi

Tune: Dory Harsa - Biasa Wae

B A C K G R O U N D

Cakranegara found a bumpy ride during the 99th edition. After their decent success in their debut and the heavy critics they got domestically after that, they seen their performance at the 99th WorldVision less appealing. Although with the fresh music and mid-tempo beat, it can't attract more points. The country was seated at 24th with the same points as Alezian Union and newcomer, Aditya Confederacy, with 97 points.

It taking us back to reality. That's what I can say. We can't always have a good points. As a matter of fact, the competition was quite competitive. Maybe it because they were all preparing for the centennial edition.

COK spokesperson

Although with a little disappointment, COK finally announced the country's participation for the WVSC centennial edition. It's an edition that can't be miss, said their spokesperson. While contemplation to select a good song to compete become a major obstacle as religious groups leader continue to pressed the broadcaster. They really doesn't want the country to show it dark side to the world. Nevertheless, it is a politic year for the country as they are preparing for the general election after their referendum was conclude. The referendum was ended Pemecutan involvement in Cakranegara politics and their military protection to the islands country. The opposition ask for a fresh election as they thought that the current government are fill with pro-Pemecutan politicians. They want to start fresh.

This reason is also why COK feel intimidated. The politic season makes everything turn into an issue, including Cakranegaran representative at WorldVision. It has to meet the standard of the religious groups as Cakranegara is somewhat a conservative and religious country. For that reason, COK finally choose a male artist, Gunawan Adi to be the country's representative.

A R T I S T S

The 30 years old, Gunawan Adi was known as a band member and backing vocal of a well-known Cakranegaran dangdut singer, Nia Karmila. They become closer together until they got married last year. Rumour has it that their intimacy that make Gunawan divorced his first wife. During his partnership with Nia Karmila, they both produce several duet singles which heaten the rumour. However, both Gunawan and Karmila denied the rumour. Gunawan also stated that his marriage was already broken before he become more closer with Karmila.

His music career start from an early age. He joined Mayapada Group at the age of 20 as a 'Kendang' (traditional percussion-like instrument) player. It is an instrumental music group who usually contract by artist to be their band player when they are performing. This is also when he met his first wife, Thalita Ahmad. They were then married when he was just 22 years old. Together, they have 2 children. Their marriage drifted after Mayapada Group is contracted with Nia Karmila's manager to be her band player during her national tour. This is where Gunawan was rumoured to start a relationship with Karmila. Their duet single then came right after which made the rumour even bigger. This makes his wife, Thalita feel jealous. As Gunawan and Karmila drew closer, Thalita filed a divorce. And just about a year after the divorced, Gunawan marry Karmila. And now they are expecting their first child.

Gunawan first album was release in December last year to a mixed reviews. It sale was also plummeted. He was criticize for his album genre choice. He is already known as dangdut koplo singer because of his several duets before. But he released a pop album, that's a big no for the listeners. In the past month, he release a single entitled, Katanya where he is back to his root. The song catch the attention of the critics and listeners. It get a good reviews and catch the attention of COK as the song is selected to represent the country at the 100th WorldVision Song Contest.

S O N G

The process to create the lyrics of the song is quite fast. Gunawan recall his teenage time when he once met a girl who always talks the good things in her. But as they both get to know each other, Gunawan realized that what she said about herself was nothing but a lie. He used that experience to create the lyrics. However selecting the language for the lyrics was hard. At first he thought to use Sakanese, his native language and also Cakranegara official language. The reason is to make the song more welcomed by the domestic listeners. But using other language especially Pemecutan Malay will make the song saleable outside Cakranegara. The producers of his album then suggested him to use Pemecutan Malay for the song and use the song as his first single. And Gunawan agree with that.

The music arrangement process was also full of mixing here and there. At first Gunawan try to go full mid-tempo pop music with a little reggae touch. But Setiawan remind him about his flopped first album. He suggest Gunawan to use a fusion music for the song. Gunawan was in doubt at first but Setiawan assured him. After he hear the music, he immediately like it. The first record test was a success as the producer love the song. It was then release as a single to his upcoming album.

P E R F O R M A N C E

In this edition, COK as the broadcaster and organizer for Cakranegara delegation is giving their full attention. As the song using much of the country's traditional ensemble, COK use a known group in the country and flew them to Monterra as part of the country's delegation. The decision made this edition as their biggest delegation so far.

The stage goes dark as the postcard of Cakranegara complete with their entry information is shown at the big screen. A whistle can be heard possibly from Cakranegaran fans who watch it live. There are not much of them however as the ticket price is quite expensive for average Cakranegaran. A vibrant light colors suddenly change the dark atmosphere. The traditional ensemble, gamelan can be seen at both sides of the main stage. They are fusing with the orchestra to create a lovely music. While Gunawan finally appear from the back of the screen. He is wearing a casual outfit of black t-shirt and black fabric pants accompanied by black based outer with brown batik motif. The motif is known as parang motif which resemble a knife-like weapon. The camera seems busy to capture both the traditional ensemble and Gunawan himself. While Gunawan is still walking to the center of the stage. The music give a cue for him to start singing. Another claps and scream can be heard from the audience as he start to sing the first verse. The camera give a full face view as he sings. Gunawan is so enjoyed with the music that he lightly moves his body following the beat of music. The kendang is responsible for that beat.

Catching up with the bridge, Gunawan still able to control his voice. Although he looks somewhat struggling with the snap rap. He looks like almost slip his tongue. But in the end, it is not noticeable. The camera change from full face to zoom out then turn from below view.

Katamu engkau orang yang bisa hidup sederhana, katanya
Katamu engkau orang yang bisa hidup mandiri, katanya

Tetapi nyatanya
Jauh berbeda
Sikapmu manja petantang petenteng
Buatku ilfeel*
Lebih baik aku mundur teratur
Daripada dengar omongan mu yang selalu ngelantur
You said you were a person who could live a simple life, she said
You said you were a person who could live independently, she said

But in fact
Far different
Your attitude is spoiled, arrogant and cocky
Make me (lost my feeling to you)
I better back off regularly
Instead of hearing what you always say

Note: *ilfeel = is a slang phrase from the word ilang feeling which means losing ones feeling

He continue the song with the second verse. He walks right and left and interact with audience. Not forget to give a little hip shake which makes the audiences scream. Gunawan really love to give a little tease to the audience with his hip moves.

Katamu engkau orangnya tak suka pilih-pilih, katanya
Katamu engkau tak bedakan kaya atau miskin, katanya

Angguk-angguk saja mendengarnya
Angguk-angguk saja mendengarnya
You said you were not picky, she said
You say you don't discriminate rich or poor, she said

Just nod to hear it
Just nod to hear it

He get back to the center of the stage as he sing the chorus. He move slowly to the front while shaking his hip slowly. The camera greatly capture his seductive move. Continue to sing the chorus, he is standing at the front center stage while moving his shoulder back at forth. The kendang sound really hypnotized him.

Biasa saja oh biasa saja
Kita semua pasti punya cela
Biasa saja oh biasa saja
Daripada hanya omong besar
Just be normal oh Just be normal
We all have flaws
Just be normal oh just be normal
Rather than just big talk

He repeat the verses and bridge while the camera capture his full front. He interact greatly with the audience. He even touch or shake several audiences hand who is waving at him. The traditional beat really makes the audience somehow moving along with the beat.

Katamu engkau orang yang bisa hidup sederhana, katanya
Katamu engkau orang yang bisa hidup mandiri, katanya

Tetapi nyatanya
Jauh berbeda
Sikapmu manja petantang petenteng
Buatku ilfeel*
Lebih baik aku mundur teratur
Daripada dengar omongan mu yang selalu ngelantur
You said you were a person who could live a simple life, she said
You said you were a person who could live independently, she said

But in fact
Far different
Your attitude is spoiled, arrogant and cocky
Make me (lost my feeling to you)
I better back off regularly
Instead of hearing what you always say

Note: *ilfeel = is a slang phrase from the word ilang feeling which means losing ones feeling

Continue to the second verse, Gunawan begin to walk sideways while maintain his vocal. Although he has prove that he is okay, but his relatives always coming. While the camera give an interchange view between Gunawan and the gamelan. He continue to walk back and forth to reached bigger audiences. Until the music suddenly begin faster. It is a cue for chorus.

Katamu engkau orangnya tak suka pilih-pilih, katanya
Katamu engkau tak bedakan kaya atau miskin, katanya

Angguk-angguk saja mendengarnya
Angguk-angguk saja mendengarnya
You said you were not picky, she said
You say you don't discriminate rich or poor, she said

Just nod to hear it
Just nod to hear it

Following the chorus, the music gradually become faster. Gunawan stay on his spot as he sing the chorus. The camera take the opportunity to view a full frontal of him.

Biasa saja oh biasa saja
Kita semua pasti punya cela
Biasa saja oh biasa saja
Daripada hanya omong besar
Just be normal oh Just be normal
We all have flaws
Just be normal oh just be normal
Rather than just big talk

The music take control as the song enter their intermission. On the first it is just the gamelan but then it slowly become the battle between trumpet and guitar. Gunawan also walk back to the center stage. He then continuing his seductive move.

Intermission

The music suddenly slowing as Gunawan repeat the chorus. But then he belted out his voice for another repeat. The music's getting vibrant again. He end his performance with a few comment about the song's character.

Biasa saja oh biasa saja
Kita semua pasti punya cela
Biasa saja oh biasa saja
Daripada hanya omong besar

Biasa saja oh biasa saja
Kita semua pasti punya cela
Biasa saja oh biasa saja
Daripada hanya omong besar
Just be normal oh Just be normal
We all have flaws
Just be normal oh just be normal
Rather than just big talk

Just be normal oh Just be normal
We all have flaws
Just be normal oh just be normal
Rather than just big talk

Biar rasa, ya kan?
Let her be deterred, right?

The audience give a round of applause as the music end. It seems like everyone enjoyed the music. "Tampi Asih, Hercules! Thank you

by **Rhim Flavezztowland** » Tue Jun 28, 2022 5:31 pm

#39 - Rhim Flavezztowland

by **The Hlhata States** » Wed Jun 29, 2022 9:32 am

28 ★ THE HLHATA STATES
"ERA" by Juniar
Music ★ Ashimoto Tomo, Miyawaki Uboku, Bashou Matsuo
Lyrics ★ Ashimoto Tomo, Miyawaki Uboku, Ume Kotone

Tune ★ "Panorama" by Iz*One

The cover for Hlhata Statesianese group Juniar's 1st mini album, 'My New Era'. The title track, 'ERA', is The Hlhata States' song at WorldVision 100.
The group consists of members Hana (18), Sakura (20), Mio (19), Umiko (19), Nana (17), Hitomi (17), Honoka (18), Aisha (21), Yako (16), Sui-Sui (17), Xiaoling (19) and Momo (18).
★

Since their debut in WorldVision 67, The Hlhata States has competed a total of 5 times, their last participation in WorldVision 81. And not once has the nation reached beyond 20th, their best result being 21st. The nation has also placed last once, as well as 2nd last a further 2 times, due to the 'comical' nature of the entries sent, as well as the low quality due to the laughably low budget of their broadcaster, BICTH. However, almost 20 editions later, The Hlhata States returns with a new broadcaster behind them, the HSBC (Hlhata States Broadcasting Corporation), the country's state run broadcasting network. The HSBC has been praised for their high quality productions, as well as their successful push of the Hlhata Statesianese music industry in recent years, almost doubling profits since their introduction of music shows and radio, as well as financing their own label, whose artist's reign supreme over the charts with sales escalating over the 100 thousands. As a result, many brought the possibility of a WorldVision participation into question, one that was answered as the 100th edition rolled around. Early into the WorldVision season, the HSBC released their statement on Twitter, excitedly announcing the return of the nation for the Centennial edition, to prove that the nation was better than ever before, to dispel the reputation garnered by multiple failed attempts at the WorldVision Song Contest. And, on the 29th of June, the artist was finally revealed to the public, the rookie H-Pop group, Juniar, the news spreading like wildfire on social media, WorldVision all the rage in a nation not known for their WorldVision effort.

Juniar is a Hlhata Statesianese group consisting of 12 members, who debuted in Spring 2022, with the single "FULL BLOOM (咲き誇る)". Produced by famed music producer Ashimoto Tomo, the grew traction, debuting at #1 on the charts, selling over 100,000 physical copies of the CD. Since debut, the group has only grown more, already appearing as brand ambassadors for Coca Cola's Hlhata States' branch, alongside other smaller advertisement fixtures. "My New Era" was teased released as the group's first official comeback, their 1st mini album to consist of 6 tracks, including the title track "ERA", which also serves to represent The Hlhata States at the 100th WorldVision Song Contest. The group is known for their upbeat songs that combine house music with the cute bubblegum pop sounds that the Hlhata States' music industry is renowned for, "ERA" being no different. At 3:42 minutes long, the song sings of one stepping into their new era, very much representing The Hlhata States' new direction for the prestigious song contest. The mini album has sold over 300,000 physical copies as of the first semi final of WorldVision, the song also breaking the record for the most first week streams on various streaming services in The Hlhata States.

As the song begins, the stage is dark, Juniar placed centre stage as they create a tight formation, though obscured by shadows. Only the white outline from a spotlight reveals their positions. Various pieces of sped up footage are then projected on them and the LED screen, such as a colourful flower blooming or a firework exploding (each video matching the sounds and rhythms of the intro), as they perform the first part of their dance routine, creating a flower with their arms and bodies before moving outwards whilst they swirl their hands around.

As the group's leader Sakura sings the first line, the central figure in the flower formation, they are all lit up by a white spotlight, the camera zooming into Sakura as she winks into the lens. They are all styled similarly to this, with an elegant yet glitzy motif, their dresses and accessories shimmering in the multitude of lights. They each use a microphone attached to the sides of their face, allowing them to dance freely.

It’s my new era, era

The beat comes in, the girls spreading out into a new formation, 5 in the front and 7 in the back row, each in between the gaps of the front row members. They begin to dance the routine, the LED screen behind showing various clips of kaleidoscope like patterns, of refracted light shimmering. The lights pulse, and as the music stops as the introduction ends, the LED screen displays a rippled water surface, various colours spilling out in rings of light. Various spotlights shine upon Juniar, one spotlight per member, lighting their backs so that only their silhouette can be seen.

Hana, who is the farthest left on the front row, steps outwards, singing the opening lines of the verse, the LED screen behind them showcasing a rbight sun which peeks over the side of a dreamy cloudscape. She twirls before turning to her right, where a steadicam quickly moves to Aisha who is on the farthest right, however originally placed on the back row. She steps forward, a bright spotlight upon her and sings the third line, swinging her head before the camera takes a wide shot of the stage, where Juniar perform various twirls in a canon sequence, crossing sides and threading between one another.

目覚めります、光線が
私を柔らかに照らします
夢みたい、頭がクラクラします
But this is real

Mezamerimasu, kōsen ga
Watashi o yawaraka ni terashimasu
Yume mitai, atama ga kurakura shimasu
But this is real

I wake up, the rays of light
Softly illuminates me
Like a dream, my head is fluttering
But this is real

As the music speeds up, the lights billow outwards, flaring in the camera lens, and Hitomi takes centre stage, Juniar in a triangular formation as they walk forward to the beat, doing a vogue like dance movement with their hands. 2 other members beside her frame her face with their arms before moving behind her, forming wings. The camera does a 180, revealing Yako, who has turned away from the audience, a sea of lights behind her as she dances a solo segment, singing her lines as if it were as easy as breathing. The camera then turns to Honoka who walks across the stage from left to right, the girls behind her twirling to their knees as she passes them. She ends by motioning towards her smile, winking into the camera before the it spins, transitioning into the next shot.

雲を踏みますみたいな
千色が空満ちります、beautiful
色が絶対に見ないと思った
空が見たことのないsmile

Kumo o fumimasu mitaina
Chiiro ga sora michirimasu, beautiful
Iro ga zettai ni minai to omotta
Sora ga mita koto no nai smile

Like stepping on a cloud
A thousand colours fill the sky, beautiful
Colours I thought I'd never see
My smile the sky has never seen

The bridge begins with an impactful horn sound, the lights flashing with each deep 'boom'. From their knees, the girls all raise their arms up gracefully, pushing one leg to the side to balance them before they leap up to create a new formation, this time spreading into 3 rows. Mio, who sings most of the bridge however, sits centre stage, whilst the girls on her sides tilt towards their side, she faces directly forward, performing a slightly altered routine to allow her to sing more easily. The stage darkens, explosions of iridescent sparkles glittering on the LED screen like stars. As Xiaoling sings "become the real you", she points towards the camera, behind, an burst of light washing over the stage, the lights pulsing to emphasize the effect. Sakura then moves to centre stage to whisper "時代" before singing the final line of the pre-chorus. The camera pulls into a close-up of her, tilting her head slightly as she performs the signature dance move, featuring her hand circling her face elegantly before grasping forwards.

踏み出す
明日へ
夜明けに手を伸ばす、あなたはalmost there有る
生まれ変わります
Become the real you
今夜空を照らす
時代
It's my new era, era

Fumidasu
Ashita e
Yoake ni tewonobasu, anata wa almost there aru
Umarekawarimasu
Become the real you
Ima yozora o terasu
Jidai
It' s my new era, era

Take a step
To tomorrow
Reach for the dawn, you are almost there
Be reborn
Become the real you
Illuminate the sky tonight
Era
It's my new era, era

The lights burst into an explosion of pearl colours, mainly white though complimentary hints of pink and blue show up frequently. The LED screen behind features clouds of iridescence and sequences of cut jewels refracting light, sometimes using a kaleidoscope-like filter to match the energy of the song, the graphics multiplying and creating beautiful patterns in correspondence to the rhythm. Juniar perform a highly synchronised dance routine, elegantly making use of their arms and legs as they twirl and stretch their arms outwards and upwards, sometimes using their size to create a more intricate choreography. After a quick pan of the stage, the camera zooms in Hitomi, who sings the last line, again doing the signature dance move before they all move to their new positions.

我が新era今日から始まります
Nothing can stop me now、流れ星すらしない
絶対にbrighter輝きます前より
振り返りません
It's my new era, era

Waga shin era kyō kara hajimarimasu
Nothing can stop me now, nagareboshi sura shinai
Zettai ni brighter kagayakimasu mae yori
Furikaerimasen
It' s my new era, era

My new era starts today
Nothing can stop me now, not even shooting stars
I will shiner brighter than ever before
I won’t look back
It's my new era, era

With a brief dance break style section after, Juniar hop into their next position before performing the next piece of choreography, swinging their arms. The lights briefly flash black and white before billowing outwards, the LED screen showing the blooming flower motif from before. Sui-Sui takes centre stage as she sings the lines of the 2nd half of the chorus, her voice softer than the rest. She performs a slightly different routine from the rest, twirling her hands around her face elegantly before walking to the side as Aisha starts her line, "キラキラ era" pounding her heart lightly with her fist, her body moving to the beat.

Welcome to my new era
キラキラ era
私はスーパーノバ
Face my fears 仕替える
美しい人化けりますinside
’Cus it's my new, new, new, era, era

Welcome to my new era
Kirakira era
Watashi wa sūpānoba
Face my fears shikaeru
Utsukushī hito-ka kerimasu inside
’ Cus it' s my new, new, new, era, era

Welcome to my new era
My sparkling era
I am a Supernova
Face my fears to start anew
Metamorphose into someone beautiful inside
‘Cus it's my new, new, new, new, era, era

The camera swirls around, transitioning to a steadicam which is faced towards side of the stage, where the floor rises up to create an upright shard. There, the group's 2 rappers, Umiko and Nana begin to sing the rap section of the song. At first, Nana stands with her arms crossed, leant on Umiko who is leant forwards, on one knee. The lights grow darker to match the less upbeat sound of the rap, the LED stage and screen showing a darker kaleidoscope, though refractions of light still shimmer. Umiko raps first, switching places with Nana, as she raps to the camera, the section seemingly far less choreographed than the rest of the performance. After her 4 lines, Nana switches with her as the lights flash to the sparkling sound. She looks into the camera sweetly, performing a small little choreographed duet with Umiko before walking to her left, where the camera follows to transition into the 2nd part of the verse.

I know sometimes間違います
しかし、won't hurt myself
立ち上がりますとgrow up
新明日へ
二度同じ間違いをすることはありません、become the best I am

I know sometimes machigaimasu
Shikashi, won't hurt myself
Tachiagarimasu to grow up
Shin ashita e ni-do onaji machigai o suru koto wa arimasen, become the best I am

I know sometimes I make mistakes
But I won't hurt myself
I will get up and grow up
To the new tomorrow
I’ll never make the same mistake twice, become the best I am

After Nana walks off the left of the camera shot, 5 members centred by Momo begin to walk forwards to the beat, doing a routine with their arms as they do. The camera zooms into her, Momo arching her hands above her head before they slowly fall down, her eyes glittering in the multitude of lights. The LED screen behind gives the illusion of a dark white hallway, white lights flashing through windows as if passing by.

On the third line, the 5 girls in the front row part ways, moving to the side of the stage to allow the few girls behind to perform their routine. Each strike a different pose to the beat, the LED screen behind showing silhouettes of each of their poses before they all roll their heads, their hair gracefully swooping. They make one final pose before walking forwards lead by Hana to the front of the stage, rejoined by the 5 girls alongside Nana and Umiko who integrate into their formation to make a new one.

色が私の目を満ちります
Tonight願います、星と共に飛びます
これまで以上に優れています
光りますamongst the starlight

Iro ga watashi no me o michirimasu
Tonight negaimasu, boshi to tomoni tobimasu
Kore made ijō ni sugurete imasu
Hikarimasu amongst the starlight

Colours fill my eyes
Tonight I wish, I could fly with the stars
I am better than ever before
I shine amongst the starlight

As Sakura sings the pre-chorus in front, the girls on the side of the group kneel down, creating a pyramid style shape as they grow taller to emphasize Sakura. They wave their arms out as one to the beat, as if they were the feathers of a wing. The camera zooms out and upwards with each wave before panning across rapidly, capturing the sheer size of the group. Juniar disperse into a single file line, lead by Hana who stands in front of them all. She sings the line, "生まれ変わります" point at the camera which zooms in. As the music begins to build up, they slide into a diagonal line, facing right. Xiaoling, who stood back to back with Hana, twirls so that Xiaoling faces the front and Hana is back to back with her, as she sings "become the real you". She walks to the right and the group windmill onto one knee in a canon sequence behind her. The camera pans across throughout that sequence before ending up on Xialing who whispers "時代" into the camera. The steadicam turns around where Nana sings the last line, her back to the audience.

踏み出す
明日へ
夜明けに手を伸ばす、あなたはalmost there有る
生まれ変わります
Become the real you
今夜空を照らす
時代
It's my new era, era

Fumidasu
Ashita e
Yoake ni tewonobasu, anata wa almost there aru
Umarekawarimasu
Become the real you
Ima yozora o terasu
Jidai
It' s my new era, era

Take a step
To tomorrow
Reach for the dawn, you are almost there
Be reborn
Become the real you
Illuminate the sky tonight
Era
It's my new era, era

As Nana turns back around to face the audience in order to partake in the chorus choreography, a crane camera pulls away to reveal a wider shot of the stage, the LED screen returning to the kaleidoscopic graphics, the lights bursting in a rainbow of colours to the infectious beat. Juniar dance the choreography (below) in perfect sync, smiling as they do, flicking their hands as they hit every note.

On the 2nd line, Yako takes centre stage, sliding in from her back row position to walk to the front, the members sequentially joining her as they create a diamond formation. She caresses her face lightly with the back of her hand before dropping to her knee, each member slowly getting higher the further back they are as to show everyone in the formation. A crane camera moves over the heads of the front members, reaching Sui-Sui who is stood at the farthest back. She performs the signature move as she sings the line, "it's my new era, era."

我が新era今日から始まります
Nothing can stop me now、流れ星すらしない
絶対にbrighter輝きます前より
振り返りません
It's my new era, era

Waga shin era kyō kara hajimarimasu
Nothing can stop me now, nagareboshi sura shinai
Zettai ni brighter kagayakimasu mae yori
Furikaerimasen
It' s my new era, era

My new era starts today
Nothing can stop me now, not even shooting stars
I will shiner brighter than ever before
I won’t look back
It's my new era, era

The group breaks out into a 3 lines consisting of 4 at the front, 5 in the middle row and 3 at the back, each stood evenly apart so that members at the back can be seen through the gaps. They dance the same choreography as before, swinging their arms as Mio and Hitomi sing the post chorus section one after the other. The section closes with Hana singing the final line, pushing the camera so that it swings, transitioning into the next section.

welcome to my new era
グラグラ era
私はスーパーノバ
Face my fears 仕替える
美しい人化けりますinside
’Cus it's my new, new, new, era, era

Welcome to my new era
Guragura era
Watashi wa sūpānoba
Face my fears shikaeru
Utsukushī hito-ka kerimasu inside
’Cus it' s my new, new, new, era, era

Welcome to my new era
My shining era
I am a Supernova
Face my fears to start anew
Metamorphose into someone beautiful inside
‘Cus it's my new, new, new, era, era

The camera focusses on the left section of the stage, where Umiko stands in front of the left shard. On the LED screen is a sky full of stars, an aurora dancing gracefully upon the navy blue of night. She sings to the steadicam, framed by Yako and Sui-Sui who stand beside her, their arms around Umiko to highlight her. They sing the back-up vocals, the responses to Umiko's line. Then, Sakura walks in front as she sings the 2nd line, swerving her leg around her, her toe constant on the floor. Another camera focusses in on Hana as the music speeds up, the LED screen being interrupted by a sunrise which turns the sky to a bright orange. She walks forward boldly as members begin to walk into centre stage from both sides, the lights pulsing more and more rapidly as the final chorus approaches. The lights begin to strobe just as the music stops, and the camera zooms in on Juniar's visual and leader Sakura, who sings the final line, charismatically smiling into the camera, a gleam in her eye.

Are you ready for my new era?
少し怖いです
でも、have myselfさえ
大丈夫ですyeah
走りましょうinto my new era
Are you ready for the start?

Are you ready for my new era?
Sukoshi kowaidesu
Demo, have myself sae
Daijōbudesu yeah
Hashirimashou into my new era
Are you ready for the start?

Are you ready for my new era?
I'm a little scared
But as long as I have myself
I’ll be alright, yeah
Let's run into my new era
Are you ready for the start?

For the final chorus the lights go all out, a prismatic flourish of light from every angle. Juniar too, put their everything into the final 30 seconds, Hana belting a high note from the side of the group, who all perform their choreography. The LED screen displays a chaotic show of kaleidoscopic patterns of jewels and refractions of light amongst sped up footage of the blossom of flowers and like, matching the party atmosphere conveyed by the song. Whilst the camera mainly focusses on shots of the singer as well as wider shots of the group and stage, one shot pans from the audience to the stage, a flourish a sparks that ring around the stage, giving a sense of carnival. Mio sings the last line, the whole group performing the siganture move with 2 flicks of their wrists.

我が新era今日から始まります
Nothing can stop me now、流れ星すらしない
絶対にbrighter輝きます前より
振り返りません
It's my new era, era

Waga shin era kyō kara hajimarimasu
Nothing can stop me now, nagareboshi sura shinai
Zettai ni brighter kagayakimasu mae yori
Furikaerimasen
It' s my new era, era

My new era starts today
Nothing can stop me now, not even shooting stars
I will shiner brighter than ever before
I won’t look back
It's my new era, era

Mio twirls into the final moves of the song, the last section highlighted by the last push from Juniar, dancing each high energy move with all their might. A rain of sparks fall down from the back of the stage, a few pinwheels lighting into action with swirls of sparks. The music is far different from previous post-chorus sections, with a multitude of musical drops, each one paired with a powerful kick or jump from Juniar.

As the music draws to a close, the girls step forward to prepare for their ending position.

私の目を見て
Tell me what do you see? 総世界in front of me
千ー色其処ら
来て、reach for my hand
走りましょうto my new, era, ra, ra, ra

Watashi no me o mite
Tell me what do you see? Sō sekai in front of me
Sen iro sonotokoro-ra
Kite, reach for my hand
Hashirimashou to my new era, ra, ra, ra

Look into my eyes
Tell me what do you see? The whole world in front of me
A thousand colours everywhere
Come on, reach for my hand
Let's run to my new era, ra, ra, ra

Sakura sings the final "ra", Juniar each stepping with each ra into their final formation. The girls end up with a few at the front on one knee, whilst others stand behind, their hands branched out like the petals of a flower. The music ends, and the crowd cheers for the rising stars, who stand up before moving to a line. They bow, each saying various versions of thank you, some opting to say them in Japanese and English. They wave as they leave, smiling to the sea of lights.

by **Vartugia** » Wed Jun 29, 2022 11:53 am

41.Vartugia

teilo namelinomalinen - "The Pain of Representing Vartugia"

Arja Saijonmaa - Högt Över Havet

teilo namelinomalinen is a vartugian singer who won Vartugia Decides 3 and thus she earned the right to represent Vartugia at the centennial Worldvision, beating popular group Malta Stan Club.

She walks toward the stage and begins to sing. Her vocals are crap and the staging is just her standing there not moving a metre.

Oh my God. Singing crap. At the centennial Worlvision.
We will not win
Who is the mother of God wrote this?
This set of lyrics is just a piece of shit
This song was been used once before
Like a billion times
So why bother with us anyway
No one will read this easter egg in this line

The audience is stunned by how poor the vocal is. Teilo's voice begins to crack and thus making this not pleasant to listen to.

I am crying because we will not be winning
There will be a huge gap between the winner and us
Our number on screen is working for once
I am crying because we will not be winning
We are a bottom and everyone is a top
It's a shame because I am crying inside
The power of music will not save this shit

People begin to cover their ears as Teilo's voice cracks more and at this point the entry cant be saved.

Kalosia, Britonsea and everybody ever
Sends heartfelt ballads or gay pop songs
We are stuck with not-so-funny joke entries
And even it isn't even funny for everyone
Oh my God. Make this stop.
Save your ears and mute this
Because this is just bad
Now watch us getting rekt by everyone

We hear even more bad vocals.

I am crying because we will not be winning
There will be a huge gap between the winner and us
Our number on screen is working for once
I am crying because we will not be winning
We are a bottom and everyone is a top
It's a shame because I am full of
The pain of having to represent a joke nation to Worldvision
For fuck sake

The song is finished.

by **Antenovaria** » Wed Jun 29, 2022 4:20 pm

#42 Antenovaria
Lea - "Move"
Music: MC Daivi Lyrics: Lena

Tune: Chloe - Have Mercy Live At The 2021 VMAS

She sings as she is in the sky, and is surrounded by many dancers in robes as the choir sang along side her. and she she continues to sing as she is lowered slowly. As she gets closer to the ground, the dancers snatch their robes off, and then Lea sings enticingly as she starts the performance and the dancers back up, making a formation on the stage behind Lea, and smoke starts to engulf the stage as the stage is lit in pink lights and visuals all around, and Lea stares at the camera and takes her cape off, as her outfit shines in the light.

[Chorus]
Don’t you like the way I move (Work, work it, work it)
Don’t you like the way I move (Work, work it, work it)
Dont you like the way I move (Work, work it, work it)
Am I messin’ up your groove (Work, work it, work it)
The way you just looking at me (Work, work it, work it)
Boy are you likin’ what you see (Work, work it, work it)
Do I show up in your dreams (Work, work it, work it)
I know exactly what that means
(Lord, have mercy, work)

As she starts the first verse, she starts to walk forward slowly, with the dancers and they snap to the beat, as everyone captured the essence of sexiness and expresses it passionatley with their bodies and moved to the beat at the moment.

[Verse 1]
Oh, I see you notice my dance, boy are you in a trance
You should just believe, don’t come for it
So put the record on MR, DJ. oh…
Don’t I make you, make you feel so fine

As she went to the pre-chorus, they started to dance to the tempo of the lyrics, moving their bodies, bouncing and spinning to the beat, popping and locking and expressing the lyrics and as she reached the end of the pre-chorus, going back into the chorus, the dancers all made a formation and Lea sat on one of the dancers backs.

[Pre-Chorus]
Now I see you looking at me
With your eyes boy so enticing
If you wanna see me move
You can look
At me but boy
You know theres no grabbin’
But I see your eyes are trackin
So baby I’ll make it fair
Oh…
Ela está dançando assim, keep it going

As she sat on the dancers back for the first half, they geared up for the 2nd part of the chorus, and they all got up, and they started to dance, and the camera tracked them as they popped their bodies all in the same direction, and the lasers on the stage would flash in the back and the visuals would change to a black and white.

[Chorus]
Don’t you like the way I move (I do)
Dont you like to see my moves (I do)
Don’t you see the way I move
Am I messin’ up your groove
The way you just looking at me
Boy are you lkin’ what you see
Do I show up in your dreams
I know exactly what that means
Don’t you like the way I move (I do)
Dont you like to see my moves (I do)
Don’t you see the way I move
Am I messin’ up your groove
The way you just looking at me
Boy are you lkin’ what you see
Do I show up in your dreams
I know exactly what that means

She stands with the dancers, as she sang the second verse and she gets low while singing and producing ominous vocals, and she points around, and as the instruments come back in, she stomps

[Verse 2]
Oh
Make your statements man
It's on purpose, I'm doin' it big
Body language boy no complaining
I'll educate ya how to do this shit

Temporary, that's never rare-y
But baby cant nobody touch this
Dont I make you, make you feel so fine

As the dance break comes in, the dancers step up, and Lea stands in the middle and they started to dance all in unison, and they all dance with all their strength and might, expressing the full potential and delivery that they could and as they danced, the lights would flash blakc and white on the stage and the visual would stay black and white and as it slows down, she goes to the ground, as she popped her body, then stood back up and faced the LED wall, and the camera circled her and then as the music came back in, she stared at the camera and the visuals would turn into fire and she would start the chorus.

[Chorus]
Don’t you like the way I move (I move)
Dont you like to see my moves (I move)
Don’t you see the way I move
Am I messin’ up your groove
The way you just looking at me
Boy are you lkin’ what you see
Do I show up in your dreams
I know exactly what that means
Don’t you like the way I move (I move)
Dont you like to see my moves (I move)
Don’t you see the way I move
Am I messin’ up your groove
The way you just looking at me
Boy are you lkin’ what you see
Do I show up in your dreams
I know exactly what that means

As she sang the middle of the chorus, she would swing her hair around, moving her body as the dancers stood still and she would fall to the ground as she sang the final last words, getting on her back, then facing the audience as she ended the song singing the final note.

by **Titaniumland** » Sun Jul 03, 2022 2:47 am

To the tune of Hatchie: "Quicksand"

After sixteen-edition of absence, Titaniumland is back to WorldVision Song Contest. After the prior broadcaster, Titaniumland National Television (TNT) showed no interest in reviving the nation's participation, cable network Peak took over. The contest will now be broadcast live through Peak Network as well as Peak+, the network's mirrored streaming service. Obtained from the press release, Tremaine Weir, the head of delegation, stated: "Fresh start for the Peak. Fresh start for the Titans. We promise to bring you the world's greatest entertainment back in Titans just before our eyes."

Elle Janiak started out her music career in college after joining the Music Club during her cultural anthropology studies in Rowland University. Her love for music started when she was five, gracing her kindergarten graduation stage. Since then, her interest in music increasingly sharpens, from joining primary school choir to college music club. Her debut release was an extended play titled Songs About Us, which also served as her college final project, compiling field notes about her research in depression among youth. The EP was met with critical acclaims, made it into several publications' year-end lists, some applauded the integration between academic subject and pop culture. Five years later, Elle recorded and released her sophomore album, Father of the Bride, which tells the better and worse in a marriage from a single woman's perspective.

"Sight of You" was written by Elle Janiak with singer-songwriters Phoebe Maccia and Lucia Barnes, produced by Elle herself. The trio also formed a supergroup named Burn the Tribune. The song tells the aftermath of being in a toxic relationship that even after the separation, the protagonist still feels the partner's presence and it changes the protagonist's view of love.

Elle is currently embarking on Father of the Bride Tour, visiting Hafamarimyht, Scotatrova, Elejamie, Kalosia, Polkopia, Besen, Ertzei Kishim, Izmedu, Illdonya, Todlichebujoku, Beepee and Malta Comino Gozo.

During her WorldVision performance, Elle is joined by Phoebe Maccia on bass, Lucia Barnes on synthesizers and Julie Rixton on drums. There is a small plinth at the center of stage as well as computers and wires surrounding the band. The performance is showered by light green and dark red highlights.

After the Titan's postcard ends, the camera briefly pans around the Arenë Mediteranika in Monterra, Kalosia. The lights switch shining on her to the beat of the intro. Elle is standing on a small plinth with a standing mic in front of her. The camera captures her on a shoulder level, making it a medium closeup shot with 16:9 ratio. She starts singing while her right hand grabs on her microphone, tapping a few times showing her wearing a ring on her ring finger. As she is singing the third line, she flaunts her ring. Then, she takes off the ring and throw it to the audience. This serves as a nod to the wedding theme she is bringing on her album, Father of the Bride. While she is singing the last line of the first verse, she rolls her eyes as well as her head.

Love can be such wicked endeavor
Never thought that I would be here
The one that swore to be forever
Messing my head up constantly

Elle is stepping down the plinth stairs while the camera pans to Lucia performing synths. The crowd is clapping their hands together to the beat, Elle looks amazed while singing the first pre-chorus. Elle walks around the stage, approaching Phoebe on bass. Then, the camera captures a close-up of Phoebe's fingers playing the bass. The camera pans around the arena.

I failed to score the winning goal
Turning myself into leftover
Breaking me 'til I lost every piece of me
Oh no

The 16:9 ratio turns into full screen. The camera captures Elle from below standing on a plinth in a dolly movement as the LED screen shows a video of sidewalk in downtown Rowland filled with light green and red highlights, so it seems like she is walking on it. There is no longer the standing mic there. As she is singing the title and "Of you" part, the camera switches from her right side ("Of") then left side ("You") then she blinks to the camera. During the second "Of you", the camera captures Lucia ("Of") and Julie ("You") on their instruments.

Without you knowing, I left my own heart through the back door
Erasing great memories and even I can't restore
Even when I close my eyes, I still get a sight of you
Of you
I can finally leave after your constant slide tackles
But your shadow's always following me wherever I go
Every place where I hide out, I still get a sight of you
Of you

After singing the chorus, she is still on the plinth and suddenly singing to the camera who is capturing her from below. The lights are dim meanwhile the light green and red highlights shine on her. Eventually, she lies on the plinth facing above while the spotlights shines on her.

You drowned us down into the sea
You left me there without any idea
Somehow you put the blame on me
Messing my head up constantly

The camera moves in a truck movement on Phoebe during the first line, Lucia the second line and slowly zooms Julie out the third line. The camera captures Elle on a medium full shot during the fourth line while slow walking on the plinth. The LED screen shows a video of flashing lights and movements (OOC: just like in the OOC music video).

Now I've realized and I'm not going back
Not going back
Now I've realized and I'm not going back
Not going back

The camera captures Elle from below standing on a plinth in a dolly movement as the LED screen shows a video of sidewalk in downtown Rowland filled with light green and red highlights, so it seems like she is walking on it. As she is singing the title and "Of you" part, the camera switches from her right side ("Of") then left side ("You") then she blinks to the camera. During the second "Of you", the camera captures Phoebe ("Of") and Lucia ("You") on their instruments.

Without you knowing, I left my own heart through the back door
Erasing great memories and I can't even restore
Even when I close my eyes, I still get a sight of you
Of you
I can finally leave after your constant slide tackles
But your shadow's always following me wherever I go
Every place where I hide out, I still get a sight of you
Of you

During the instrumental break, the camera captures Lucia on her synthesizers and she is later joined by Elle who dances around her. Elle leaves the frame, while Phoebe enters the scene. Then, the camera follows Phoebe who walks to Lucia. They are having the time of their lives! As the bridge starts, Elle is singing while sitting leaning to the edge of the plinth while facing towards the left side of the stage. The camera briefly shows wide angle of the stage from above before continuing capturing Elle who now is facing the camera while singing the pre-chorus. She is slowly standing up on the stage.

I can't say I'm not affected cause
There's slight change now in the way I see love
I can't say I'm not affected cause
There's slight change now in the way I see myself

Now I've realized and I'm not going back
Not going back
Now I've realized and I'm not going back
Not going back

As the chorus builds up, pyro starts coming out the stage. Smoke fills the stage while Elle is singing the last chorus. The lights go crazy while Elle is walking around the stage approaching her bandmates. The final shot of the performance is the lights are dim while the camera captures Elle and her band's silhouettes.

Without you knowing, I left my own heart through the back door
Erasing great memories and I can't even restore
Even when I close my eyes, I still get a sight of you
Of you
I can finally leave after your constant slide tackles
But your shadow's always following me wherever I go
Every place where I hide out, I still get a sight of you
Of you

After the performance, the lights are back. Elle and her band all stand up on the plinth, with Elle shouting "Look, Ma! We made it! Thank you world! Thank you Kalosia"!

by **Indo States** » Sun Jul 03, 2022 7:05 am

44. Fatimanian Federation
Elena Marie Cuseta - An Forbidden War (Zakázaná vojna)
Terence O'Neill & Cormac O'Moore - Plastic Bullets

Because of the Ongoing Situation between Fatimania and the Philippines, especially with the Fatimanian Invasion of the Philippines, Celebrities, including Singers are getting Creative by making Songs as to Protest the Ongoing Fatimanian Invasion of the Philippines and sometimes for the Resignation of the President of the Fatiman Federation, Jeannie Daza, and the Vice President of the Fatiman Federation, Camille Mariacapastol Crimieliyev, for the Provocation of the Fatimanian Invasion of the Philippines, in which, both Daza and Crimieliyev has justified the War based on the Ongoing Political Situation in the Philippines. One of them who made the Anti-War Songs, was Elena Marie Cuseta, in which, she wrote the Song as a Warning to the Fatimanian Government on the Consequences of not just the Fatimanian Invasion of the Philippines, but also the Use of Chemical Weapons, in which, the Alternate Story of this Song was a Warning to the Fatimanian Government to end the War and to Withdraw from the Philippines.

On the Stage, She arrived on a White Short-sleeved Dress and with a Guitar, and made an speech, in which, she said "On this Performance, it would be a Different Performance, in which, along with this Background on my Back where it is a City that was Destroyed by the War, and i would only play the Guitar on this Performance, and the Reason, that this News might saddened you, in which, the Fatimanian Government, under the Presidency of Jeannie Daza, has Declared war on the Philippines on July 1st, 1 Day after the New President of the Philippines, Bongbong Marcos become the President of the Philippines on the Inauguration, in which, Bongbong's Family History has been Riddled with Political Scandals under his Father, Ferdinand Marcos, and Rampant Historical Revisionism on the Marcos Family has Prompted the Fatimanian Government to declare a War on the Philippines after his Victory on May 9th 2022 Philippine National Elections, alongside with the Ongoing Human Rights Issues in the Philippines, and the So-Called Historical Claims to the Philippine Islands by the Fatimanians, in which, we are all Filipinos who came to Fatimania and became Fatimanians, however, it is thru Slavery during the Imperial Period and not thru Migration whatever from the Imperial Period or the Modern Period. This song will include a Alternate Story, in which, this would be a Warning to the Fatimanian Government on the Consequences of War Crimes and the use of Chemical Weapons, and to peacefully Withdrawn from the Philippines."

The Song began with Elena Marie Cuseta playing her Guitar until she began singing.

V časna, když sa Marcos vřáťil k moči na Filipínach,
In the Time when Marcos Came back to Power in the Philippines,

Demonštratna a aktivista sa opäť žromaždili,
Protesters and Activists Gathered Once Again,

Zatiaľ čo policajti připravujú gumajne náboječla a služný plyn,
While the Policemen Prepares Rubber Bullets and their Tear Gas,

Správy sa žoršili, když Fatimansky povedalje, že vyhlášili vojnu,
The News went Worse, when Fatimanians said they Declared a War,

Filipíncka došička strach z vojny a toto bola zakázaná vojna.
Filipinos ran out of Fear of the War, and this was a Forbidden War.

Fatimánske milícija zaútočili na dedicka na severna,
The Fatimanian Militias attacked an Village up North,

Počasť náľetu zabili stovka nevinných Filipíncka,
Killed Hundreds of Innocent Filipinos during the Raid,

Milícia znášilnila niekoľčka filipínskych dievčačka, keď sa vojna žoršila,
The Militia Raped a Few Filipina Women as the War Worsens,

Inváziona sa stále žoršovala, přetože přati nej bojovalo viača krajína,
The Invasion kept Getting Worse, as More Countries Fought against It,

A ako sa časně žoršuje, je to zakázaná vojna.
And as Time goes Worse, it is a Forbidden War.

Fatimáni odpálili bomba horčičným plynomčka,
The Fatimanians Launched a Bomb with Mustard Gas,

Filipínci v severnom meste Lahóg třipa,
Filipinos in the Northern City of Laoag Suffers,

A Filipínci vžali svoje zbrane protié svojim útočníkom a obnovili iž slobodu,
And Filipinos took up their Arms against their Invaders and Restore their Freedom,

Mieřové protesty přáve začali a viac Fatimanska je přati invázii,
The Peace Protests just began, and More Fatimanians are Against the Invasion,

A my sa nevzdáme, aby sme ukončili tienka protesty, keďže ide o zakázanú vojnu.
And we will not Surrender to end this Protests, since it is a Forbidden War.

Raz v mojich nočných morách Fatimanskí vojačna dobyjú Manilu,
Once on my Nightmares, Fatimanian Soldiers Captures Manila,

Vojaci jasali, keďíže filipínske vlajky klesli a nahřadili iž fatimánskou vlajkou,
Soldiers Cheered when the Philippine Flags gone down and Replaced with the Fatimanian Flag,

Zobudil som sa s obřavjecka o svojich přiateľov a rodinných príbuzných na Filipínski.
I Woke up with my Fears upon my Worries for my Friends and Family Relatives in the Philippines.

Inváziona sa stále žoršovala, čím viac Fatimanska přati nej bojovalo,
The Invasion kept Getting Worse, as More and More Fatimanains against it,

A když sa iž úzkosť žoršuje, idě o zakázanú vojnu.
And as their Anxiety Worsens, it is a Forbidden War.

když iž boj za slobodu pokřačuje, čím viač Fatimančanov hoňa podporuje,
As their Fight for Freedom Continues, as More Fatimanians Support it,

A když Filipínci bojovali za svoju slobodu, toto je zakázaná vojna, toto je zakázaná vojna, toto je zakázaná vojna.
And as Filipinos Fought for their Freedom, this is a Forbidden War, this is a Forbidden War, this is a Forbidden War.

The Performance ended with Elena Marie Cuseta saying "This is my Message to the Fatimanian Government, Surrender Peacefully with your Withdrawal from the Philippines or Suffer the Consequences!", and thanked the Audiences.

by **Erie-Arcadia of Wombats** » Tue Jul 05, 2022 10:22 am

45. ERIE-ARCADIA
monorails- arboretum ft. Rose Hammond
To The Tune of Little Trouble, by Better Oblivion Community Center

LEFT TO RIGHT: Austin Ellicott/Campbell Richard/Rose Hammond

*arboretum, monorails and many of their other songs stylized in lowercase*

MONORAILS

INTRODUCTION
Austin Ellicott and Campbell Richard make up popular indie band arboretum. Both hail from Beckby, in northern Erie-Arcadia, a college town of around 200,000 people. Their band, arboretum, was founded when they were 19 and 18 respectively, 5 years ago. In that time frame, they have written and produced 13 Bigsign top 20 hits, 10 of which were on the album scared, their most recent release,and 3 Bigsign Top Songs, including monorails, scared, and Dreamscape. monorails held the number one spot for 7 weeks before being overtaken by Milo Merriam's Stargaze. arboretum drew their inspirations from other indie bands of the time, including Fox in a Box, Pebble Beach, and The Fire Brigade, all niche bands that held quite a cult following. As The Fire Brigade was also from Beckby, Ellicott and Richard often saw shows or even saw members of the band around town.

Austin Ellicott grew up in a artist's dream household, filled to the brim with plants and huge bay windows and creaky floorboards, in a Victorian style rowhouse with his mom, dad, sister Lila, and dog Maple Pancakes. His parents both graduated out of Beckby University, one of the most prominent colleges in the country. His mother was a botany major, becoming head gardener on the grounds of the Norman Campus of Beckby U. His father was an architect, and designed a few famous and not-so-famous buildings for the University and other projects. He went to a Montessori-style school in the western edge of Beckby, and met a few lifelong friends before moving to a Performing Arts school where he primarily studied songwriting, voice training and guitar. He ended up at the Beckby University Kandell School of Music, continuing his studies in songwriting and guitar, finishing his four years top of his class. His first band was formed with classmate Evan Friska, called Death of A Mannequin. It went nowhere, and Ellicott focused mainly on solo projects to develop his skills before finding another partner in a band. In a few years, he met Richard and they began producing music together under arboretum. Campbell Richard mainly focused on the drums, with occasional background vocals, while Austin Ellicott did vocals and guitar.

Rose Hammond is a 26 year-old popular singer-songwriter indie pop artist from Eastern Erie-Arcadia, who rose to fame through songs such as "Afterthought", a slow ballad with heavy, deep melodies and lyrics that really stuck with many people, and "Skeleton", a soothing, quiet melody about a past in a small town where poverty and drug and alcohol addiction ran rampant. Hammond is known to be a vocal left-wing activist, often doing fundraisers for political movements, protests and charities important to her and her causes. For her first ever live performance of "Skeleton", she wore a pajama skeleton onesie, and that tradition has stuck on ever since. In every single performance she does, she wears some variation on a skeleton suit, like her seen in this one. Hammond has had a hand in a total of 7 albums, 4 of them collaborations with friends in the music industry, and 3 on her own. This was Hammond's first collaboration with arboretum, however, but there are rumors of an album coming out featuring both of them working in tandem.

THE PERFORMANCE

At arboretum's first WorldVision, in WV98, they did not perform as well as hoped, singing their hit song "scared". Placing a measly 26th out of 31 contestants, with just 46 points, arboretum hopes to make up for their slightly embarrassing WorldVision debut with a better finish here in the centenary WorldVision. Last WorldVision, Erie-Arcadia's own Milo Merriam scored better, netting 88 points and the 26th spot out of 38 with his song "Allergen". As WorldVision 100 is the centenary edition of this famous music contest, Erie-Arcadian producers and fans sought out a special, noteworthy performance from Erie-Arcadia to try and compete with well established, more renowned countries that perform in WorldVision year after year. As a result, broadcasting companies, production companies, and fans poured hundreds of thousands of dollars to try to make a magical performance for all who witness it. Now, arboretum has a truly jaw dropping performance to be shown off, with high-tech special effects, producing, wardrobe, and excellent lighting.

The stage opens on the official logo of WV100, quickly followed by the Erie-Arcadian postcard shimmering and pulsating across the stage's main screen, pillars, and stage, to polite, medium applause. The yellow-green background with blue dots in swirls last for around 20 seconds, when Rose Hammond and arboretum walk onto the stage. Unsurprisingly, Rose Hammond is beautiful wearing a gorgeously bedazzled skeleton suit, with golden-yellow bones instead of white, and a long, flowing trail behind the dress. Her hair is down and long, in it's usual golden-white color. The skeleton suit/dress has hidden LED lights that come into play during the performance. The arboretum members are dressed in bright dandelion-yellow tuxedos similar to Erie-Arcadia's flag's main color. The undershirt is a nice, cobalt grey-blue that fits in well with the yellow. Ellicott's dashing messy hair is slightly longer than usual, in a handsome wavy way not unlike Campbell Richard's. Richard's vibrant blue eyes are made pop by the yellow suit, and the two look quite nice together. As they begin to sing, the screen and venue fade into black, with giant smoke machines pumping thick curls of mist into the crowd and onto the stage.

This color means Hammond is singing
This color means Ellicott is singing
This color means they are both singing

It's like a dream come true
Every day I wake up and I’m still next to you
Its hard to believe this, I'm still not sure
But you're everything, you're every little thing to me

To begin the song, Hammond walks out to the front point of the stage, still shrouded by darkness and mist, with her amplified footsteps sounding throughout the venue. Still in darkness, the screen rotates behind to reveal the lighting fixtures on the opposite side. As she begins to sing, the lights flick on in a golden color beautifully illuminating every speck of smoke and providing dramatic lighting for beautiful photos of the singer. A ceiling light flickers onto Rose and she begins to belt out the opening lyrics, slowly pacing around the edge of the stage with a microphone in her left hand. As Ellicott begins to sing, a second spotlight shines onto him, for the first time revealing the lemon yellow tux he is donning.

I remember that when we met
I didn't think I had a chance with you
But then you let me close
And now I'm in your arms
then you let me close
And now I'm in your arms

Ellicott walks over from his microphone and guitar stand to face Hammond. They then each take one step forward and lace an arm around each others sides, in a romantic, heartfelt way. As drums sound off, a third spotlight turns on to illuminate Campbell Richard at work playing. The soft golden light from the giant light fixtures where the screen was brighten slightly, as do the stage lights, fully illuminating the stage and surrounding areas. Spotlights wave around the stadium, in hues of gold, silver, and teal. The smoke machines are still hard at work, and the golden lights prettily bathe dust and smoke molecules, adding to the romantic feel of the verse, and creating a feeling of being in a meadow of sorts, with pollen and little things blowing around in the wind. As they unwind their arms, Ellicott and Hammond walk to opposite sides of the stage, while still facing each other, and then turn to face the audience at the edge of the stage.

You get me through the day
You get me through the night
Nothing can come between us now
I feel so alive inside

As the lively chorus is sung, the stadium lights are briefly turned up high, making it almost feel like the sun is shining on the audience and stage, and then quickly made as dark as night to coincide with the lyrics sung. The soft golden back lights still stay on, just very low. Hammond and Ellicott's spotlights disappear momentarily, and when they reappear, they have switched spots on opposite sides of the stage. They begin walking around, eventually meeting in the part front and center of the stage. The overhead and back lights flick off, and the only lights in the stadium on are people's phones and Rose Hammond's gorgeous dress LED lights, radiating in multiple hues of gold, silver and teal.

We’re together in your backyard
Sitting on the old creaky swings
With our clammy hands
touching for the first time

Hammond's dress lights turn off, as do the smoke machines. The overhead lights turn on, and the back lights switch back to a screen, showing an animated swing going back and forth over the course of the verse. The spotlights over the three performers switch to an emerald green color. Hammond returns to her microphone stand while Ellicott sings his solo. The spotlight above Hammond's head switches off, bringing all of the focus solely on Ellicott, and his bright yellow tuxedo seems to be almost reflective with how bright it becomes under the brightening spotlight. He sings his lines with plenty of passion, in a dramatic performance many critics say was one of his best. As his solo moment winds to a close, the screen switches back around to the lights, and the smoke machines begin pumping again in preparation for the next segment.

Who would’ve thought I had a chance
At this cinematic romance

And all your friends say
You’ve never liked anyone like you like me

The overhead and back lights switch onto a golden, sunny color that makes both singers look radiant. Hammond's spotlight returns from it's hiatus during Ellicott's solo performance. She is standing to the viewers' right side, and Ellicott is on the left, singing together in harmony as they reminisce about how lucky they are and how unexpected the relationship they sing about was. Waving spotlights of silver slowly meander throughout the cheering crowd who are clearly loving the performance. The backing lights begin a chasing pattern, with lights quickly being lit up then powered off in a pretty pattern. Rose Hammond quickly walks backwards towards Ellicott, who turns around to hug her from behind as they sing from the same microphone, which Hammond is holding. The combined sound of their voices from the same microphone sounds gorgeous, even more so than when they sing from different mics.

You know I was really falling for you
You're all that I'm thinking about
And of course I wanna let you know
That we should see this through
Because when I look into your eyes
I see my happy ending

In another upbeat chorus line, the chasing lights get quicker and the smoke machines turn off, clearing up the stage to see the two singers more clearly. The overhead lights turn off, and the chasing lights switch to emerald green to match the spotlights on the singers. The overhead lights brighten the stage and crowd in pieces of yellow, emerald green, white, and silver. The smoke machines turn on once again, and then the overhead lights flick off, once again creating the dramatic and beautiful effect that makes each dust speck and smoke particle visible. Hammond and Ellicott separate from their embrace, and walk off to their respective microphones to prepare briefly for the final two verses.

I’ve got a one-track mind
You’re the best that I can find
with your eyes so bright that I might go blind
Oh, now you're on a monorail
Riding the one track straight to my heart

As the twos singers begin the hook verse, the back lights turn back to screens once more, and play high-quality footage relating to the lyrics being sung at the time. A winding, twisting single monorail track is shown in the central area of the screen, with a yellow background and other lyrics filling in around it, such as someone peering around with binoculars and someone with exceptionally bright eyes, almost glimmering. All of that disappears, and in a first-person perspective, as if you were riding the monorails there is shown to be one, single, straight track on a navy background, zooming over a horizon to a pulsating, shimmering pop-art heart. During this, the two singers are slowly walking towards the front point of the stage. All of the lights flick off, and they are quickly strapped into a harness and transported to the smaller, more intimate mini-stage in the crowd to perform the final lines, while the smoke machines are pumping and the screen switches back around to lights to set up a dramatic finale.

When you put your arms around me
You let me know there's nothing in this world I can't do
And I want to love somebody like you

The final verse begins, with the singers on the small mini-stage in the crowd. The lights are all off, save for the back lights, which are a beautiful golden color and effect similar to the beginning of the performance. Slowly, one by one, some overhead lights turn on, waving gold colors through the crowd. A white spotlight illuminates the two singers on the island. As Hammond sings her line, Ellicott wraps his arm around her body, then releases to sing his line. They both sing with great power and elegance, pleasing the crowd. As they sing their final, joint line, they join hands and use their hidden microphone pieces to sing without holding the mics. They release hands after around 10 seconds to thunderous applause from the fans in Monterra, who clearly enjoyed the performance. In unison, the pair shout "Thank you Kalosia and to you wonderful audience here in the beautiful city of Kalosia! And most of all, thank you to all of you at home in Erie-Arcadia! We owe you all the world, and hope you enjoyed the performance! WE LOVE YOU ALL!". Hammond, Ellicott and Richard walk all bow from their respective positions, as the applause continues, just as loud as before.

by **Zwangzug** » Tue Jul 05, 2022 7:41 pm

46. Zwangzug

Song: "Band from Zwischen"
(Melody: "Banned from Argo," by Leslie Fish)
Band: Ghoti Scales

Ghoti Scales is a fairly mainstream rock band. They consist of Sol Breyer (vocals/bass), Mikhail Erv-Scarp (guitar), John McClair (keyboard), and Gavin Schultz (drums). They are somewhat more popular than this self-deprecating ballad would indicate, but given that Zwangzug has not been part of WorldVision for many years, perhaps the local voters were into something humorous or setting up low expectations. (Zwischen is the capital of Zwangzug.)

When we took off from Zwischen on express train number six
And hauled our instruments to our first gig out in Canbix
We thought we might get homesick in an unfamiliar bed
But we decided that we'd make it on the road instead.

We're the band from Zwischen, yes indeed!
Band from Zwischen, and the music's all we need.
We wrote some jolly bangers there, with just three chords or four,
But Zwischen doesn't want us anymore.

We practiced at the station cause we ain't got no garage.
The tourists enjoyed us, on the way to their next lodge.
The locals weren't enamored, they got tired of our groove
And that's how we decided it was time to make our move!

We're the band from Zwischen, yes we are!
Band from Zwischen, but we need to travel far.
We thought they'd rather listen to our songs than to the Bears
But Zwischen's only critics said: "who cares?"

We visited some embassies and played on foreign soil
The diplomats reported us for causing them turmoil
They threatened us with write-ups from the World Assembly chief
And Parliament said it was our own fault we caused them grief!

We're the band from Zwischen, don't you know?
Band from Zwischen, with a long way left to go.
We left the capital because they don't have any taste
But talent like ours shouldn't go to waste!

Now some guitarists swear by amps and use electric strings
They love the reverb echoes when the vocalist lead sings
But when they see us coming, all the roadies kill our mike
So that's why we decided that acoustic's what we like!

We're the band from Zwischen, never doubt!
Band from Zwischen, until Zwischen kicked us out.
We taped some awesome albums there, with just four tracks or five,
But Zwischen doesn't want us back alive.

The sound of all our songs gives Zwischen politicians shame
They tell us that we're giving the capital a bad name.
But for all their book-learning, some things they don't understand:
Of things to be ashamed of, you can do worse than a band!

We're the band from Zwischen, yes it's true!
Band from Zwischen, but we're playing here for you!
They booed us off the stages in the capital of Zwangzug
But we're here to give you a great big hug!

by **Electrum Diplomatic Offices** » Wed Jul 06, 2022 3:37 am

47. ELECTRUM DIPLOMATIC OFFICES

Song: The Truth
Artist: Gertrude Pullman
Tune: Viva La Vida by Coldplay

Introduction

Gertrude Pullman is commenting on her chances at winning at this edition's WorldVision Song Contest. In the past she has done everything she could to win but this edition she realises that it doesn't matter. She will always be recognised as a 'puppet' and not worthy of votes, even though she tries very hard to get the very best entries out. It's such a shame too knowing that she won't qualify given that this tune is an absolute banger and she's showed absolute contrition in the lyrics and looking at how the contest has changed over the years. She'll probably go back to her normal ways if this song doesn't qualify.

The Performer

Gertrude Pullman as you know her. She has run the Church of Gertrude Pullman in the past, advertised bananas and chemical services and sang with Lord Almighty Gregory all in previous editions of the contest. She always provides top notch effort to entries which are considered 'jokes' but she takes them very seriously indeed.

The Performance

Gertrude Pullman goes on stage wearing her guard's outfit with a nun's habit. She pulls it off immediately after just the first line, showing her grey flowing hair.

[Verse 1]
0:13
I used to beg for points
None would care when I hurt my joints
But when I decided to go away
I learned a new way to sway

An army of "Karen" guards come in and lift Gertrude Pullman in the air as she continues to lament about how WorldVision has changed from the "good old days." Gertrude screams as she lands down with a thud as the guards run away.

[Verse 2]
0:41
I'm now quite horrified
WorldVision's way more refined
Joke songs barely plan concerts
"I don't need much effort, cause my head hurts"
The missing commentators
Now, the lowest denominator
Where did all the time go I wondered
Contests so quickly now one hundred

Behind Gertrude are all the highlights projected on the wall behind her: This includes her standing next to Lord Almighty Gregory as he orders an execution of a slave in WorldVision 45, her guards tasering the audience, to her singing "Juicy Ass" with Lactatia's Comptoniqua La'Trill. Lowlights are included such as her shilling with her song ChemDae Industrial Organisation Advertisement and the time she was in a banana suit and her exoskeleton malfunctioned.

[Chorus]
1:10
Come on WorldVision points are coming
This tune's so good that the world is humming
Give your prayers, some tithes and votes
The Church of Pullman will inspire hope
You know I can't handle the truth
And you know, there was never
Never a single vote
From all the countries of the world

In this next verse, Gertrude is looking a little more pensive. She is contrite and is on the floor begging at the front row of the mosh pit. She is begging for forgiveness and the crowd are all jumping up and kissing her, and it is totally not staged at all.

[Verse 3]
1:50
I remember my advertisements
But it led to disappointments
Bottom of the ladder nul points in sum
People couldn't believe what I'd become
Now new nations have debuted
Giving me my first ever review
I just know the points will be a sting
Aw, who would ever agree to sing?

All of a sudden, Gertrude is floating from her prostrate position -- it turns out she was on a harness the entire time. It is almost biblical -- white wings have sprouted from behind her and at the back of the stage a large throne adorned with the medals from her Olympic performances towers over the stage. She flies to the throne while singing the next verse.

[Chorus]
2:20
Come on WorldVision points are coming
This tune's so good that the world is humming
Give your prayers, some tithes and votes
The Church of Pullman will inspire hope
You know I can't handle the truth
Should I turn around and blame the youth
Never a single vote
From all the countries of the world

The throne is immediately seen as a fake as it sags when Gertrude Pullman finally completes her flight and sits on it. That doesn't matter. One of her guards comes in and tazes the chair leg, setting the entire throne on fire. Pullman flies into the air again, escaping the flames while singing the bridge, which is why it's just a bunch of oh's. She lands in the middle of the stage just in time for the chorus.

[Bridge]
3:00
Oh-oh-oh, oh-oh, oh
Oh-oh-oh, oh-oh, oh
Oh-oh-oh, oh-oh, oh
Oh-oh-oh, oh-oh, oh

[Chorus]
3:15
(Oh-oh-oh, oh-oh, oh)
Come on WorldVision points are coming
(Oh-oh-oh, oh-oh, oh)
This tune's so good that the world is humming
(Oh-oh-oh, oh-oh, oh)
Give your prayers, some tithes and votes
(Oh-oh-oh, oh-oh, oh)
The Church of Pullman will inspire hope
(Oh-oh-oh, oh-oh, oh)
You know I can't handle the truth
(Oh-oh-oh, oh-oh, oh)
Should I turn around and blame the youth
Never a single vote
From all the countries of the world

For this final part, the fire alarms are activated, putting out the throne that was on fire and making look as if Gertrude Pullman was humming to herself in the rain.

3:45
Mmm, mmm, mmm, mmm
Mmm, mmm, mmm, mmm
Mmm, mmm

by **Electrum** » Wed Jul 06, 2022 3:58 am

Potential Electrumite commentary?

WorldVision Song Contest 100 | Semifinals | Monterra KLS

29|Achaean Republic: La Vieja Noche, "Orgulloso Estoy"

37. Plangainer

43 Titaniumland | Elle Janiak: "Sight of You"

Who is online