WorldVision Song Contest 100 | Semifinals | Monterra KLS

by **Electrum** » Wed Jul 06, 2022 3:59 am

48. ELECTRUM

Song: Supernova
Artist: break the system
Tune: PNAU - Chameleon

Introduction

After god knows how many editions away, Network ENN returns to the WorldVision fold for a one-off special. After an exhaustive process which involved a trivia contest, several rounds of a particular gameshow with spinning chairs and buzzers, and an internal selection process, the dance-pop band 'break the system', headed by singer Carla Price came out as the winners. The song is a typical selection for Network ENN, going back to its electronic dance music roots in the style of its back to back successful entries in WorldVision 49 and WorldVision 50.

While hardcore fans have been watching WorldVision in large numbers over the interlude years, Network ENN has historically decided to not enter WorldVision due to cost constraints. However, a special exception was made for the one hundredth edition with a lot of interest from the Electrumite public on who will win this historic anniversary. Electrumites still remember the second place entry they made in Kasin for WorldVision 50 with Michel Li and are hoping to go one better in the centennial. Veteran commentators Sonya Portelli and Max Hardwell are returning to host the contest for Electrum and are expected to come with news that the WorldVision winner will be invited to play at the Opening Ceremony of the upcoming Olympic Games.

The Performer

Fans of obscure trivia will know that Carla Price has represented Electrum in a contest once before, but not in the WorldVision Song Contest, instead it was at the Bovingdon hosting of World Hit Festival 57. She had a rather middling performance by Electrumite standards. In the intervening years she picked up sibling band members Alistair and Jake Whitwell who are well known members of the Electrumite dance scene who specialise in electronic music. The three form the core of the band 'break the system' which they chose for no other reason than the name sounding cool. The song that they bring to WorldVision is designed to hypnotise and be a dance floor favourite. More deeply, the song is about comparing viewing an exploding supernova to breaking up with an aggressive boyfriend. There are no surprises that Price is referring to her failed relationship with star NSTT player Carmichael Brown, who is known for his tantrums and his rage.

The Performance

Carla Price starts on stage by herself. She has on her traditional tribal markings which have been painted over in glow-in-the-dark paint. Her dress is made of reflective strips of black cellophane which reflects the wall behind her very well. She is also wearing large, glowing bangles and an outrageous headdress made of irregular diamond shapes. The LED wall behind Price shows a slow motion capture of a real life supernova explosion. The camera starts close up on Price as she outstretches her arms to the beat of the music. In fact, her arm stretching follows the same direction as the explosion.

0:00
All night, yeah, go, sweeping up the night sky (Sky, sky)
Supernova glows up and takes me high (Let's go, supernova)
Why don't you tell me where to fly (Sky, sky)
Supernova glows up and takes me high (Let's go, supernova)

The picture of the supernova starts to pulsate as the song goes into its rhythmic beat. It slowly turns into a video of a semi-realistic video of a human heart with chains tightening around it. The camera zooms out and quickly cuts to two different shots of Price, one from the left and one from the right. These are then flipped so that on screen it looks like she is dancing towards herself. When the song talks about eyes, the camera goes to a very close up shot of her eyes as she sings the song. It zooms out immediately as she chides at the camera, as if telling it that they were no prize.

0:32
Set my soul in flames, endure the pain
Keep my heart in chains? You explode, I gain
Set my soul in flames, endure the pain
Keep my heart in chains? You explode, I gain

0:49
Can't see the twinkle floating in the skies
Say you can't see the twinkle floating in the skies
Virgo rising and you ain't no prize
Rising and you ain't no prize
Rising and you ain't no prize
Ain't no prize, prize, prize

All of a sudden the black cellophane sparkles as the LED screen turns from a beating heart back into a supernova. Instead, the video is fast forwarded and a flash of white light comes from the middle, eventually enveloping the entire screen. The whole stage and audience is lit up from just the sheer amount of bright light being projected. The glow in the dark markings have disappeared to reveal just white and blue paint across Price, who is actually wearing a black latex jumpsuit inside her cellophane dress. In the midst of the second verse, five other women come on to dance to the same beat as Price, as they go around in a large circle around the stage. Each of them dress identically with geometric crowns, formerly glowing markings and cellophane and latex dresses.

1:04
They say nothing's bright like a supernova
Rockin, rockin, rockin, blindin eyes
They say nothing's bright like a supernova
Rockin, rockin, rockin it's over
Go

1:37
All night, yeah, go, sweeping up the night sky (Sky, sky)
Supernova glows up and takes me high (Let's go, supernova)
Why don't you tell me where to fly (Sky, sky)
Supernova glows up and takes me high (Let's go, supernova)

The screen still being bright white from behind, a camera is focused on each of the five dancers and Price. They slowly move towards the middle of the stage. At the same time the camera zooms out and the previous dance movements from the previous verse was superimposed on. Thanks to the white light, the lights are all consistent and it seems like there are three groups of six people when in reality there was only one.

2:08
Go
Ah, ah-oh
Go
Ah, ah-oh

2:24
Can't see the twinkle floating in your eyes
Say you can't see the twinkle floating in your eyes
Virgo rising and you ain't no prize
Rising and you ain't no prize
Rising and you ain't no prize
Ain't no prize, prize, prize

The lights around the stage and on the wall are dimmed down dramatically from the pure white light from before. The colours on each of the dancer's markings has returned and once again another camera trick is played. A blur effect has been added so that the colour markings linger more than they should on camera. Carly Price is as resolute as error in the middle. Close ups of her crown and her face feature prominently as the song ends.

2:43
Set my soul in flames, endure the pain
Keep my heart in chains? You explode, I gain
Set my soul in flames, endure the pain
Keep my heart in chains?

2:56
Go
Ah, ah-oh
Go
Ah, ah-oh

by **Spiritual Republic of Caryton** » Sat Jul 09, 2022 5:15 pm

49. Spiritual Republic of Caryton
Latanya Anderson - Shimmer Stars
tune

Latanya Anderson is Caryton's veteran WorldVision artist. Having debuted the country, it only makes sense that she represents the Spiritual Republic for the competition's centennial. Her contemporary gospel style is much enjoyed by the world outside of Caryton.

Shimmer Stars is Anderson's latest worship song, and is about living joyfully.

*-*-* Performance: *-*-*

If only we had a little bit more graciousness and gratitude...
The world could be set alight in charity!
I'd tell the lonely soul whose set in their own attitude-
That there's a lot to gain from hospitality.

A dark stage opens up with a single spotlight shining down over Latanya Anderson in this modest sleeved dress, the yellow crystals and sequins glittering elegantly in the darkness around her. The intimate darkness gives her empathetic gaze a weight to it. It's just her and the audience- the camera panning slowly from left to right, ensuring her whole body is kept in the frame so every little glitter of her dress twinkles in the eye of the audience. Latanya's voice is kept quiet and subdued, luring her fans in with the promise of her boisterous, soulful alto later on in the song. Her arms are crossed and shoulders relaxed, strutting towards the camera and letting her arms go at the end of the verse.

Mm, If you've had enough of what this ole' rock offers-
Remember the sublime glory of twilight. Ooohh!
And magical stardust will be what our God proffers:
And righteousness can reclaim the night.

Latanya smiles giddily as she spins childishly a couple of times, leading into the next verse. In the background, modest blue and white sparkles and subtle pyrotechnics immerse the audience in darkness, making them feel like they're in the cosmos. Latanya, her yellow dress- is the focal point as the spotlight turns a shade of intense yellow, making her shine like a sun and glittering light towards the audience like a disco ball. She reaches into her pocket, and tosses yellow glitter towards the audience, elegantly sprinkling it about as she mentions stardust. She prances and spins once, the stage temporarily lighting to its full blue and white and yellow glory, reclaiming the night- before fading back to total darkness. The instrumental pause, then...

I think we'd all dream of floating above the skies:
And then together, we'd all wanna shimmer stars until it's all alright!
Ooh, what a single smile can do:
Ooh, let's all glitter in the night!

Let's praise...

[instrumental]

Latanya winks towards the audience, skipping down the stage with her arms in an airplane-like motion. She floats in the expertly-crafted darkness. She pauses for the next sentence, the twinkling stars in the background returning with fervor and brightness, sparkling with Latanya's dress in unity. She charismatically smiles, then twirls soulfully to show off the twinkle. The camera zooms out to a panorama view capture the action. She extends her arms in a hug-like motion towards the audience, then cues the instrumental.

As the instrumental kicks in, she kick-ball-changes towards the audience. The LED screens turn on, revealing a glimmering blue and purple cosmic nebula lighting Latanya in a twilight aura, and illuminating the audience as the pyrotechnics and LED stars glitter rhythmically like christmas lights on a house. Latanya feels the spirit of her song, worshipfully swaying her body into continuing to sing with that magnetic smile on her sparkly-makeup-dusted face:

Unnnnnnnhhh! Oh lawwwd!

A little gratitude goes a long way to brighten minds that need it:
A lovin' glimmer in a heart smothered- smothered oh pain!

That's the reason that we all need to smile, and to love and pray-
That's how we can soar and shimmer stars until everything's right!
Oh, lawwwwwd!

Latanya feels her vocalizations, singing through the bridge. She marches to the right, cameras dutifully following her, immersing the nebula-illumed audience in a sensation that they too are flying with her through space. She sways her body left to right in a step-touch almost as graceful as her voice.

I think we'd all dream of floating above the skies...:
And then together, we'd all wanna shimmer stars until it's all alright!
Ooh, what a single smile can doooo, yeah!

(Let's conquer the night!)

Oh, I wanna conquer the night and light up the galaxy baby!
A little hope in their hearts goes a long way! (Until it's all right!)

The spotlight turns into a majestic violet, the LED star mosaic booming to full intensity, illumining the stage as beautiful images of outer space cascade across the screen. As Latanya enters the chorus, she drops to her knees in a return to her trademark dance move. She lifts one hand to the sky, swaying her body emotionally as the other beats on her heart with an open palm in a unique rendition of the submission to the worship. As shimmering stars is mentioned, the LED stars flashing grows rapid, intense, and on pace with the tempo of the music. She gives a wide smile, standing up gracefully into the twirl.

She claps and hops about, shaking her head, feeling the music with a smile on her face and movement in every action she does.

What a single smile... can do!

Latanya spins once more, ending in a joyful yet assertive pose with her hands on her hips and feet together. On 'smile', the stage grows dim, and then immediately bright on the final note. As the applause roars in, she gratefully waves with both hands, breathing heavily. The journey to this point was hard, but she made it. Her home was represented, and she could only hope the fans liked it as much as she did. Holding back tears, she left the stage as the Carytonic fans stood and clapped in synchrony, chanting her off with devotion.

by **Caribou Island** » Sun Jul 10, 2022 10:25 am

50. Moorland
Saint - "Masterpieces of Me"

Language(s): English
Tune: Lorde - Writer in the Dark
Lyrics: Caroline Hana Wexler
Music: Caroline Hana Wexler

It had been three years since Saint's last album, three years since she had taken to the stage at the Junior World Hit Festival. It had been a massive tidal shift in her life, wrecking the harbour she had found for herself and sending her adrift into the ocean, drowning in a sea of flashing bulbs and outstretched hands grasping desperately to drag her into the watery depths. She was moody and mercurial and new, and the industry ate it up. A song that went diamond, piles of platinum and gold ratings piling up around her, and yet for all this wealth she still felt like the same person. Reality felt like some terrifying leviathan from the depths, some elder god from ages past that had tormented souls like hers since the dawn of humanity. The spark of creation had finally burst into flame within her heart, and now extinguishing it was the goal of the entire world. Still, the songs came out of her, guttering gouts of flame shining hot and bright in the cold and dark she would never succumb to. Creation was all she had, and she would cling close to curling flames that wreathed themselves around her heart and mind until the day she died.

She begins at a piano on an island in a sea of people, her black dress flowing across the bench. Her hair is dark and studded with diamonds and sapphires. Her makeup is shades of white and grey with a blue-ish undertone, a nearly black shade of blue drawn matte on her lips. Most of the back stage is dark, full of smoke with faint notes of dark blue from lights giving a shape and form to the writhing tendrils of fog. On her island there is also smoke flooding out from the open top of her piano and from hidden holes in the stage, sending a cascade of smoke into the surrounding audience. Her only lighting is a soft spotlight shining down from directly above her as her fingers begin to move across the keys and her signature voice pens its next performance.

Colours run, and I’m bled dry
A misplaced brushstroke, your final try
I guess there’s no more getting around it’s
Over now, lay your brushes down
Corners, bunched up inside but you stretched me out, oh
Living in the gilded frame you gave

And I hear them say, “she used to be a masterpiece”
And I hear them say, “she used to be a masterpiece”
Then you got your oils out and smeared them over me
And I hear them say, “she used to be a masterpiece”

At the next verse lights rise up a bit as her voice goes high, with some soft colours leaking into the portrait of blue and black in the fog on the back stage before receding at the end of the verse. Pinks and yellows flash in and out, the slow bloom of rose red swelling and then fading. On her island, the spotlight above her subtly shifts hues, mimicking the back stage to a lesser degree. Her head tips back and she stares up into the lights as she sings, an aerial shot of the stage catching the dramatic lighting and pose. From the ceiling, empty picture frames on wires begin to descend, some absolutely massive and others only a few feet long, slowly spinning in the dark. Clever lights catch the light on some of them, sparkling above in the dark. They sit at different levels throughout the upper space of the arena, with the lowest perhaps twelve feet above the arena floor and the highest still near the rafters. In a dozen of these frames are people, actual people, posing and holding themselves inside the more human sized frames, gently dancing to the music.

I felt the first new coat, I felt so vibrant, full of hope
I revelled in the soft brush of your lips
I didn’t recognise the starving look in your drawn eyes
The hunger to claim something you had made

The lights go back down to an intimate situation as she goes back to singing into the mic. The camera makes a sweep of the stage around her piano, showing the viewers at home that either she is incredibly sad or an incredibly good actress. Her eyes are wet and drawn in the sorrow of an old Hollywood actress, an almost bitter note cutting through the melancholia. Above her, the dancers go still, as still as a grave, as quiet as a secret.

Feel your touches on my skin
Scumble out all my worst sins
Cover over all the things you hate
You finger painted, blew my mind
I felt the changes, didn't fight
You hanged me here, broken art on display

Wish I heard them say “she’s not the only one to blame”
Wish I heard them say “she’s not the only one to blame”
Corners, gilded frame, chromatic shame signed with your name
Wish I heard them say “she’s not the only one to blame”

At the next verse, what looks like diamonds begin showing over the small stage, a shimmering snow over this portrait of soft sadness. The dancers in their frames begin to dance again, gentle movements and stunning acrobatic feats as her tone shifts and changes. Saint stands from the piano and takes the microphone with her, stepping off the side of the stage into clear air and stepping onto one of the frames nearest the stage, grabbing the side of the frame with one hand and placing one foot on the bottom, holding on and keeping the mic at her mouth as the frame begins to move. The cameras keep themselves on her as she stares directly into them, the frame rising above the crowd in an arc towards the main stage. She flies above the crowd, shining and beautiful. The shimmering fall of shining snow follows as she moves, dusting over her black dress and hair and lashes, the jewels in her hair and around her throat winking in the soft lights. She descends to the stage in her frame as she finishes singing and steps off the frame, which stays behind to frame her silhouette against the stage. She turns to face the audience, violins taking over. Her dress now is covered in the sparkling snow, an endless constellation where only black once was, the lights of the stage lending it hues of blue and purple as they softly shift and ebb over her greyscale makeup, giving her portrait colour as it is wreathed in haunting smoke. The frames with the dancers, now still in poses within their respective frames, descend to hand in formation above the stage as well, portraits of the other people her unnamed painter has marred. She is dancing with herself as the dark fades, until only a backlit outline remains, the still shining constellations giving her form.

In brushstrokes where your love should be, the ones that painted me
A liar and a thief who stole your art
Before the pain goes dry, I’ll add a bittersweet half smile
Remembering the way I used to be

I am a masterpiece, you couldn’t hope to ruin me
I'll paint until there’s not a trace of you
I’ve got my colours out, I’ll paint until my heart gives out
I’ll be whoever I want me to be

The lights finally fade to nothing and she is hidden. The darkness takes a breath.

Exhale.

All that's left are her quiet tears falling, lost among a thunderous sea of applause.

by **South Batoko** » Sun Jul 10, 2022 10:55 am

51. South Batoko
Raya - Өрти любаван
Transliteration: Örti lyubavan
Translation: Fires of Love

Raya, three backing singersare stood on the main stage. Raya and her backing singers are wearing silver dresses. The LED's show gold petals falling down, with spotlights on all four.

All four are standing in place, slightly moving their upper body in a figure eight. On the last line of the verse, they stop and lift their arms slowly. The camera is positioned in front of the stage, occasionally changing which angle they are viewed from.

На терез түрда, өланим турал ти
Na terez türda, ölanim tural ti

И тү нанвөреда кетумєс бас мөя
I tü nanvöreda ketumyes bas möya

Годи да, я табам решения
Hodi da, ya tabam reśeniya

Сө єст та я қелди бүдєм бир твөя
Sö yest ta ya qeldi büdyem bir tvöya

All return to the figure eight movement, with Raya making some movements with her arms to reflect the lyrics (pointing at herself on the first and third line, first pointing at the camera and then to her heart on the second and fourth line). The camera is again positioned in front of the stage, after which we get an aerial shot of the stage.

Я кан түжим любав дене да (Өрти любаван жанумеж)
Ya kan tüjim lyubav dene da (Örti lyubavan janumej)

И тү бүдєс шан жүрек мөя да (Өрти любаван жанумеж)
I tü büdyes śan jürek möya da (Örti lyubavan janumej)

Я кан түжим любав дене да (Өрти любаван жанумеж)
Ya kan tüjim lyubav dene da (Örti lyubavan janumej)

И тү бүдєс шан жүрек мөя да (Өрти любаван жанумеж)
I tü büdyes śan jürek möya da (Örti lyubavan janumej)

(А)
(A)

Raya becomes more expressive, moving her arms more to reflect the lyrics. The camera is positioned in front of the stage again, doing the same things as in the last verse.

Телик кеѕесдан бүжат перфект
Telik keżesdan büjat perfekt

И өланим турал сө телик ше да
I ölanim tural sö telik śe da

Телики да, я екбилам сө
Teliki da, ya ekbilam sö

Тү єс ве ко қажим өмир мөя да
Tü yes ve ko qajim ömir möya da

Raya does the same thing as in the previous chorus. The camera now moves around the four performers.

Я кан түжим любав дене да (Өрти любаван жанумеж)
Ya kan tüjim lyubav dene da (Örti lyubavan janumej)

И тү бүдєс шан жүрек мөя да (Өрти любаван жанумеж)
I tü büdyes śan jürek möya da (Örti lyubavan janumej)

Я кан түжим любав дене да (Өрти любаван жанумеж)
Ya kan tüjim lyubav dene da (Örti lyubavan janumej)

И тү бүдєс шан жүрек мөя да (Өрти любаван жанумеж)
I tü büdyes śan jürek möya da (Örti lyubavan janumej)

(А, оў)
(A, ow)

All LED's and spotlights, expect the one on Raya go off. Raya falls down to the ground, with the camera facing directly above her, then moving to be just before her.

Биқ қел любис ми тоже
Biq qel lyubis mi toje

Тү жалгастөрис ми түнде
Tü jalhastöris mi tünde

Өтинем ґоворе: «Любим ти»
Ötinem govore: "Lyubim ti"

Оў
Ow

Өтинем ґоворе: «Любим ти»
Ötinem govore: "Lyubim ti"

Raya gets up from the ground, the camera following her. She looks up into the sky as she sings the relatively long note at the end of the bridge, the camera spiraling upwards pointed at her.

Любим ти…
Lyubim ti...

Любим ти!
Lyubim ti!

The camera moves back down. Raya starts running around the stage, the camera following her. The LED's and spotlights turn back on, Raya's spotlight following her.

Я кан түжим любав дене да (Өрти любаван жанумеж)
Ya kan tüjim lyubav dene da (Örti lyubavan janumej)

И тү бүдєс шан жүрек мөя да (Өрти любаван жанумеж)
I tü büdyes śan jürek möya da (Örti lyubavan janumej)

Я кан түжим любав дене да (Өрти любаван жанумеж)
Ya kan tüjim lyubav dene da (Örti lyubavan janumej)

И тү бүдєс шан жүрек мөя да (Өрти любаван жанумеж)
I tü büdyes śan jürek möya da (Örti lyubavan janumej)

(Любим)

Я кан түжим любав дене да (Өрти любаван жанумеж)
Ya kan tüjim lyubav dene da (Örti lyubavan janumej)

И тү бүдєс шан жүрек мөя да (Өрти любаван)
I tü büdyes śan jürek möya da (Örti lyubavan)

(Өрти любаван жанумеж)
(Örti lyubavan janumej)

И тү бүдєс шан жүрек мөя да (Өрти любаван)
I tü büdyes śan jürek möya da (Örti lyubavan)

Я кан түжим любав дене да (Өрти любаван жанумеж)
a kan tüjim lyubav dene da (Örti lyubavan janumej)

И тү бүдєс шан жүрек мөя да (Өрти любаван)
I tü büdyes śan jürek möya da (Örti lyubavan)

(Өрти любаван жанумеж)
(Örti lyubavan janumej)

Raya stops as the song ends, having reached her start position again (Note: The linked tune is the studio version, which uses a fade-out instead). The pyrotechnics go off once, with her holding one of her arms up in a fist. She shouts "THANK YOU!" at the crowd, before going to hug her backing singers.

by **Estogium** » Sun Jul 10, 2022 12:55 pm

#52 ESTOGIUM
AMIRAH - "DEJA VU - WITHDRAWN"
Tune : Ronela Hajati - "Caramel"
Language: English
Duration: 3:02
Music: Viktor Nelson, Fiona Bruce
Lyrics: AMIRAH

AMIRAH: Estogium participates once again in the WorldVIsion Song Contest with the hope to win with AMIRAH's "DEJA VU"...

AMIRAH WILL REPRESENT ESTOGIUM AT WV101. ENJOY HER SONG IN THE MEANTIME

We’re back to square one,
Reigniting the passion,
Our Irresistible connection.
You are my weakness,
Everytime you leave, I miss you.
Absence makes the heart grow fonder
Here we go again, it’s deja vu
(No, I cannot, cannot let you go)

Deja vu, oh yeah ohhh
Deja vu, oh yeah

The toxicity doesn’t worry me, I like a bitta heat,
Don’t keep it friendly, no space for PG.
Boy, I know what you wanna do with me,
From the way you hold me,
From the way you look at me, it’s feral

La-di-di-di-dum, la-di-di,di-dum, dum,
Tell me what you want, I know you want some.
Don’t hold back now, no baby,
Grab me by the waist, baby,
It’s no time to be shy.

La-di-di-di-dum, la-di-di,di-dum, dum
You and I again, I know what you’re like
Unleash the devil, baby
The side to you only I (know!)

We’re back to square one,
Reigniting the passion,
Our Irresistible connection.
You are my weakness,
Everytime you leave, I miss you.
Absence makes the heart grow fonder
Here we go again, it’s deja vu
(No, I cannot, cannot let you go)

[Dance break]

My girls warned me, stay away
Even though I try, you’re an addiction
Like opium, I am hooked
With every taste, I want more
When I’m with you, I am sane
On my mind all day.

La-di-di-di-dum, la-di-di,di-dum, dum
24/7, ready when you are.
A bad boy without limits,
Oh It’s music to my ears.

We’re back to square one,
Reigniting the passion,
Our Irresistible connection.
You are my weakness,
Everytime you leave, I miss you.
Absence makes the heart grow fonder
Here we go again, it’s deja vu (yeah)

It’s deja-vu, yeah ohh-ohh!
Deja-vu oh yeah!

by **Izmedu** » Sun Jul 10, 2022 11:12 pm

53. IZMEDU #IZM
Monika Gracin - The Promise
Tune: Christina Aguilera - Reflection (2020)

Part 1: In The Beginning

The irony about this entry is that even though she mostly sings in the first person, Monika Gracin knew that this song wasn’t speaking entirely about her.

The story behind the song isn’t necessarily about Monika herself. Indeed, she considered herself having struck relatively good fortune in comparison to many others in the Izmeduan music industry. Vodiznad-born to a musically inclined family, Monika’s fate seemed to have lied with some form of a career in the Izmeduan music industry especially as her predilection for soaring and melismatic vocals was discovered early on. Though her style of singing would be considered creative anathema in some parts of the Izmeduan scene, her vocal ability was consistently praised for her virtuosity and strength. This early identification was enough for Monika to try for the prospect of breaking into the industry via reality TV, particularly the show Istraziti Zvizdu, a long-running talent show dedicated to unearthing Izmeduan talent.

Given the amount of people that wanted in on the prospect of being a singer, Monika was one of many that participated in the show. Though she was flagged as a standout participant and as an early favorite to win her particular season, her story ended rather early in the midst of a sensational appearance in the bottom of the voting during an early week in the live rounds of the show. It was in that moment was where the seeds for Monika’s entry to the centennial edition began to be sowed, though the seeds were hardly because of Monika herself. Though she was roundly eliminated because of her limited appeal to the voting public, the story truly began when she met the person who was also at risk of elimination in that same week.

That person’s name was Roland Dimsic.

From what Monika could recount before she was voted off the show, Roland was cast as the nervous wreck of the show. However, the character that the show created out of the singer was far from an act. Even when the cameras weren’t rolling, Monika could easily recount cases of Roland’s acute anxiety to his habit of being withdrawn from the other contestants especially due to what appeared to be an ease of being socially overwhelmed rather quickly. When that barrier was put down and when Monika was able to have some sort of a conversation, beyond Roland’s silence and fear was a singer filled with an admirable and quiet conviction. Even moreso, there was a voice within Roland that begged to be let out every night, and Monika almost envied just how effortlessly powerful he was without so much as even years of grueling vocal training.

If Monika struggled to sell a song, Roland had the opposite problem. The latter had an overbearing earnestness, connecting so much to the lyrics that were so sentimental and mawkish and going so overboard to the point where it was crossing the line twice. Regardless of how corny or even insincere the message was, Monika was perpetually astounded at how her fellow contestant seemed to find a way to sell even the most overplayed of songs. Unsurprisingly, that uncanny ability followed by the unfortunate mixture of reality TV casting and reality itself confluence into something that didn’t surprise her. She was one of hundreds of thousands that witnessed Roland’s coronation into that year’s winner of Istraziti Zvizdu. Yet, in hindsight, it was only but an extended prelude into the tragedy that would herald the life of a singer she barely knew.

The story of Roland Dimsic followed an unfortunate pattern of many who won shows like Istraziti Zvizdu. Monika was only but a performer who placed 11th out of 12th in a field where her technically perfect vocals weren’t enough to garner voter attention. Such a low placing allowed her to leave the show intact, so to speak. She was able to quickly go back to her pre-show life with a marginally increased fanbase and more industry connections, which gave Monika some of the leverage she needed to position herself for WorldVision in the present day. In contrast, Roland was catapulted into a national spotlight he was not ready for, no less a life in the music industry that almost everybody in the know would dread. Not only was the attention intense, but the emphasis on long working days was also enough to doom Roland from the outset.

She had heard the stories. 14 to 16 hour working days, a PR and pop star boot camp. Just the descriptions were enough to paper over some of the grisly details, but it ultimately did not do Roland any favors. Her recollections over the rumor mill were murky at best, but she knew that it was enough to send the winner spiraling into a fairytale turned into a nightmare. What was supposed to be an album campaign from the winner ended up being shelved after countless rumors of Roland’s fracturing mental state. There was only one single released. The signs for the bombshell news were there, but it still shocked Monika to her core when she read the headlines after a slow year and a half after their season.

The very winner of that show was found dead, having taken his own life.

So much ink had been spilled about the news, but it was a painful reminder to Monika just how psychologically damaging the music industry was. That realization was a too obvious one to her, but having known the singer in their brief time together, she felt compelled to at least take a stand and investigate what had happened and what went wrong. Ultimately, the details of everything she had read and heard, from the whispers of the music industry grapevines to contracts accidentally leaked on the internet, made her question the mechanisms of which even her own limited fame was attained. Yet, what broke her heart was that nothing she could do would enact the kind of systemic change that the music industry needed.

All she could do that had even modicum of meaning was to make a commitment to keep his memory alive.

Part 2: A Long Road

It was in the wake of Roland’s death was where she could begin to understand what it meant to sell a song emotionally.

Because he had been such a quiet and withdrawn man, the details of his personal life were never truly excavated. The Izmeduan tabloids never really had an interest in juicing out the details of his life. It was within the unexpected nature of just how quickly he had gone was that reminder for Monika to understand what singing would mean at a guttural level. Not simply as a way to perfect her craft and show off to the world what she was capable of doing, but as an emotional expression that could articulate what regular conversation could not. Under that ethos, she would take on projects and singing demos as a session singer, making a modest but respectable living while being within the sphere of the Izmeduan music industry. She especially began to unconsciously select songs that expressed themes of self-expression and self-empowerment, especially as a way to stake one’s identity and a need to belong.

Funny enough, those were the same themes that her entry to Kalosia would be extolling. Her journey to stumbling upon “The Promise” was not filled with some of the same foibles, trials, and tribulations that often hit past Izmeduan entrants to the WorldVision and World Hit Festival stage. Much like Franjo Kozina, Monika wasn’t one to really write her own material nor was she particularly fond of buying into the singer-songwriter model. She was perfectly happy to sing whatever was granted to her, and it was through working on the regular as a session singer and being the voice behind a significant amount of demos was how “The Promise” entered her radar. The song had entered her life as one composed for an animated musical, being the first climactic emotional moment for the character and was meant to be the movie’s anchoring single.

“The Promise” was meant to have multiple versions. One sung by the character and another meant to be the pop release for radio airplay and general consumption. It was the latter that she was requested to sing. Though she expected to simply record the demo and be done with it, she unexpectedly found a particular resonance with the song, as if the song was speaking not just to herself, but also speaking to and for the singer she once knew. While she was recording the pop version, styled as a slower power ballad, memories of Roland’s silence and his ramblings of sincerely wanting to fulfill his dreams as a singer would fill her mind. This had completely turned Monika’s efficient process of inhabiting a character on its head, and she was forced to work through what she had largely been trying to avoid for the past couple of years. Her emotions would often get the better of her take after take.

The resulting product was a song that she was hesitant to let go of, to the point where she was hugely tempted to claim the song for herself and take a chance in being its true vocalist. Due to her non-existent artist profile, contracts ensured that a much higher profile name would take the fold and that her demo would simply be used as a template. However, Monika would let far more of her affectations in the demo than she normally would for any other, making the song ‘hers’ far beyond than what was necessary. Ultimately, good fortune would eventually befall her at the expense of the movie that it was being written for. Considering Izmeduan cinema’s sometimes limited marketing appeal coupled with the tendency for Izmeduan showbusiness to be awfully cruel, the animated movie that was attached to the song would ultimately fold just as the production was going to swing to the eleventh hour.

Lost in the shuffle was the existence of a song that was never going to be released. One of the movie’s composers had forwarded the song to “The Promise,” her commitment to the song having made it practically nigh impossible to find a suitable vocalist that would match what Monika was able to do. With the song practically in legal limbo and its parent movie no longer existing, Monika was happy to at least keep in the song in reserve, especially as no other willing vocalist had wanted to even lay claim to it. Though the song remained in lingo for a considerable amount of time, Monika couldn’t escape the desire to not just re-record the song and make it truly hers… there was also a desire to reimagine and revamp the song to something more triumphant and more in honor of Roland.

With the song now divorced from its narrative, Monika would get to work with other producers she knew of at the time to start a project that was intended to simply be for fun that began to snowball into the prospect of Monika actually making a debut on the national and eventually, international stage. Monika’s idea to make the song far more climactic and dramatic began to catch the sails of interested music industry heads and producers that saw opportunity in what Monika began to record. Ultimately, this confluence into Monika being scouted by RTI as a potential WorldVision entry, with “The Promise” being slated to perform in the 85th WorldVision Song Contest before internal politics cannibalized RTI’s operations.

The potential that those in RTI saw in the song was what kept the song alive, and that commitment to seeing the message and the song through was also what secured Monika’s commitment. The chance to perform in the 100th WorldVision Song Contest was seen as a last ditch effort to ensure that the song had a limelight while it was still relatively ripe in the consciousness of those within Izmedu. For Monika, she simply wanted to get the song out there before the opportunity was lost again. She wanted to do so in Roland’s memory, hoping that her message of promising to one’s self that their voice would be heard would resonate beyond simply herself and who the song reminded her of.

This was not an entry that she needed to sing. Nor was this a song that she needed to have for her career to continue. The exposure brought on by WorldVision was rather secondary to her.

However, what mattered to her was the message. She hoped that those in Roland’s positions, carrying dreams that risked being crushed by silences and cruel industries, would be able to take some measure of relief.

Their voices will be heard, that much Monika wanted to make sure of.

Part 3: May My Voice Be Heard

It was a surreal feeling to be performing in front of an audience again, especially an international one.

A battery of rehearsals was enough for Monika to get back into the swinging of live performance, but there was a different cadence in doing so for the sake of a song contest instead of a talent contest. Monika knew going in that not many in the audience would be invested in some sort of pre-made journey that Istraziti Zvizdu loved to construct for its participants. For that, she was glad. It was a freeing thought that allowed her to feel more comfortable as she went from strength to strength in rehearsals, allowing her to be a bit more lost in the music than being reminded of the persistent pressure to do well for the country. Indeed, thoughts of RTI’s messes and foibles faded from memory the stage hands got the entry ready. There wasn’t much to prepare except for Monika to get into position and for the graphics, scant as they were, to be queued. She would be ushered into the very center of the stage, right at the confluence of the two paths.

Monika inhaled a deep breath as seconds quickly ticked by to the beginning of the Izmeduan entry. It was heralded as the postcard zoomed by as she was recounting the lines one last time, singing the ad libs in her head and hoping that her vocals tonight would be up to task. From this moment onward, much would be left to chance and her ability to be able to sell the song. Before she knew it, stage lights would billow down to the Kalosian stage, flashing a brilliant white before settling into a pitch black darkness. She awaited the cue to begin, the anxious nerves and excitement of beginning awashing over her as she heard the soft instrumental that commenced the song. The melody was one that exuded vulnerability and for the viewers at home, this introduction was framed by a faint light that only just barely illuminated the singer. Monika’s head would be angled downwards as the camera floated closer to her, her body language exuding both the solemnity and emotional vulnerability that the song was expressing in those first few seconds. Before long, the instrumentation would quickly fade to allow Monika’s vocals to take center stage. Her eyes opened as the faint light began to intensify, catching the camera mid-way through and stopping it on its tracks.

“Hide away,”
That’s what I believed
And held so dearly
For so much of my life
Who I was
Never mattered to myself

Though her gaze held an intensity to it, each line was delivered with her trademark affectation. There was a strength that was palpable in each word, especially as she would hold a hand out in the first half of this verse. There was a light tremble to her hand and body, shaking her head at some points in reflection of the lyrics. Though she was playing to the cameras, there was a moment at the fourth line where they would begin to make a circle about her, making an early emphasis of how dark the stage still was. Only a spotlight shone on her as she quickly vocalized this first verse, her vocals intensifying especially at the fifth and sixth lines. The rotation was fairly quickly, the cameras catching the passion beginning to burn in her eyes as it seemed like the song would tease a picking up the pace. Bits of her vocal technique began to be deployed as she tried to exude a passion and determination in her eyes and body language, playing to the cameras in the lead up to the chorus.

“Stay quiet,”
I always whispered
Even if I yearned
To belong just as I am

That determination would soon give way to reflect the pain in the words she sang. The camera view would cut to one from the right side, with Monika now appearing to sing directly to the audience. Her face would clench in sorrow, eyes closed for just a brief moment as it looked like she was about to recede. She would be deliberately looking away from the cameras as she sang these lines, only allowing herself to face the audience and the world as she began to express a desire to reach out. Though there was passion in her delivery, there was now an earnest vulnerability in her expression once more. She would clutch a gentle hand to her chest for the fourth line, before letting that hand gracefully move to an expression that covered her face as the chorus ended. Monika would step forward just once in preparation for the chorus, the cameras beginning to fade to a wider view of the stage, especially emphasizing her lone presence against the darkness.

Oh, I want to be free
To feel seen, hear my plea
I will let my wings soar high
May my voice be heard

For Monika, what was on her mind were the memories of her early days of seeing so many chase for stardom in the Izmeduan music industry.

Her vocals danced around the periphery of showing a gentle sensitivity intermixed with the power she had been known for those that sought demo singers. Each line was delivered with that same passion from earlier, which the audience at home would most certainly catch especially in those much closer shots. Her movements was far more forceful, her shows of emotion far more pronounced as she moved through sorrow with a burgeoning hope of allowing her own expression and soul to be laid bare. This gradual increase of confidence that Monika was attempting to exude through just her singing alone was framed with the gradual illumination of the stage around her. Lights began to abound, allowing the audience both at home and in the venue to see the paths behind her beginning to be illuminated with gentle white lights, the camera shots occasionally being wide to emphasize the wide and grand scale of the stage. However, the focus was kept mostly on Monika’s delivery of the chorus, the scale of her vocals being kept intimate while at the same time showing the promise of something larger and grander. There were some lines where Monika looked close to letting out the full extent of her vocals. Yet, at the final line, she would hold back, cupping a fist at a higher note before letting her hand gently clasp at the microphone she was holding.

This promise
I’ve left unfulfilled
Was a vow of hope
To never lose myself
Now I swear
From my heart and soul
That I will not hide
This is the oath of my song

It was in here that Monika truly began to lose herself in the story of the song. Though the orchestra played a role in shepherding the truncated first chorus of the song, they were now playing a far greater role in the song as they began to further develop what was intended to be a mood of triumph and gaining self-confidence. Brief camera glances and shots to the orchestra pit, currently being conducted by Izmeduan composer Adam Katavic, underscored the growing intensity of the song. As this was done so, the stage would begin to be awash with more light, the darkness from the first verse and chorus being slowly replaced with the gradual appearance of the light fixtures that comprised the LED screens behind Monika. Timed to this was Monika’s greater determination in delivering the lines, in which she tried to push past the temptation to look downwards. Each move was one she made with both grace and power, Monika’s eyes gazing upwards to the cameras and the lights as she imbued each hand gesture with confidence to support her vocals and to tell the story of a woman beginning to believe in her voice. The entire time, Monika was careful to strike a balance between strength and vulnerability, navigating each word with both as much gusto and emotional sensitivity as appropriate. This second verse would go by in a relatively quick fashion, with Monika ending the last line with closed eyes and a hand held to her chest once more. A fist would be placed over where her heart would be as she began to take a step back, letting that same hand down as she vocalized a melismatic transition to the chorus. The cameras themselves would also quickly fade to a much wider view of the stage, adding a cinematic flair to the proceedings as the venue began to be awash in more light.

Oh, I want to be free
To feel seen, hear my plea
I will let my wings soar high
May my voice be heard
I won’t falter and fray
From my word, from my way
I will let my wings soar high
May my voice be heard

Now, Monika could truly let go.

As the chorus began, Monika would extend her free arm outwards to support the increased vocal power and herald a quick sea change to the mood of the song. What had been a silent vulnerability had now turned into a loud pronouncement of the transformation she hoped to undertake. Her vocals roared through the arena as she finally began to let loose the powerful, melisma-fueled vocals she was renowned for around the Izmeduan music circuit. Timed to this, the cameras would emphasize a mixture of close and wide shots, with the venue wrapped in a frenzy of lights and the pillars beginning to be used to their fullest extent. Each move that Monika made was now done with a far more forceful gait, and such a force only intensified the emotion both in her voice and expression. She would syncopate a balance of her powerful belt by ending some of the lines with a softer tone, though she never once relented. Some of the glory note moments, especially during the refrain of one of the song’s lines, would see the camera float just above her to note her powerful delivery. She nimbly navigated each line, exuding emotion but never once going over the verge of truly losing it on the stage. The second half of the chorus would see her try and balance this power with a bit more gentleness, but the song refused to let up as the end of the chorus did not allow even for a break. The orchestra behind her would begin to a light spotlight, beginning to set up the song for a more climactic chorus later.

There’s a dream I cannot leave
Behind
This hope I cannot ignore
And now I sing

The bridge to the last minute of the song saw Monika step forward, the cameras focused on as she continued to focus her gaze upwards. Though the intensity of her vocals relented just a touch, she did not return to the softer vulnerability of the first verse and chorus. The orchestra continued the song’s build towards the climactic final minute. Though the song’s pace continued to hasten, Monika went through each word with as much precision and deliberation was allowed with how fast this bridge would go. Her eyes remained closed through most of it as she would look downwards at the third line, the cameras teed up for the moment that would manifest at the final line. As soon as she began the final line, her eyes would open and lock the camera in place. Monika would arch her body just slightly back as she would end the bridge with both force and flair, her voice soaring to new heights as she ended the bridge and began the chorus by using her own vocals as the transition point. She would flourish her vocal technique, a clear effort expended on her part as her fists would clench and her body would tremble, but this was not at all the further extent she would go.

I will no longer hide
From myself and from my heart
Now I stand to face the world
This is my wish
I won’t falter and fray
From my word, from my way
I will let my wings soar high
May my voice
Be heard

There was no more holding back.

Monika launched herself into this chorus with an abandon and fire that was not seen in the previous stanzas of the song. No longer did Monika hold any inhibition as each line was filled with the kind of vocal affectations she was saving for when she truly needed to let out what each line meant to her. Her mind was cast back to the many hopeful auditionees and singers like Roland who let out their all in an attempt to have their voices be heard and for their dreams to come true. She used those experiences from years ago to especially fuel vocal acrobatics and ad libs that permeated through each line, her voice overpowering the stage and the orchestra, who would now only be framing her powerful vocals. She utilized every technique she knew from years of singing, with the memories from long ago imbibing those vocal flairs with the determination to be the voice of the very singers who have long faded from memory. Each movement she made, especially in the third, fourth, and fifth lines, was one of defiance and fearlessness. The cameras were interspersed with a mixture wide and close shots of Monika and the stage, the venue truly awash with lights that illuminated every corner of darkness. However, the attention was all purely on Monika filling the stage on her lonesome and with her voice. There was nary a graphic to carry on the story she was telling, and the cameras began to switch to more intimate and closer shots especially as Monika would continue to carry the second verse. She had lost herself so much to the song that it was to the point where there were moments during this chorus where it seemed as if she was on the verge of losing it, especially in the second half. No longer would she be playing to the cameras, her eyes sometimes closed, sometimes opened, and yet when the cameras caught her, her expression always seemed on the verge of losing control. Yet, Monika only toed that line through each tremble of her hand and each note she was navigating through. She would recollect herself at the second to last line, the cameras lining up for the shot that would constitute the song’s true glory note. Monika would get herself into the position as she began to sing ‘may my voice,’ and then arched her back as she belted out ‘be heard’ with the most powerful note she could muster. The orchestras and the lights receded as she held that note, her voice reverberating through the venue as she continued to hold it, her voice only being accompanied by the song’s percussion. As the beats would fall, that was when the venue’s lights would also flash alongside them. However, as Monika held the song’s climactic moment for as long as she humanly could, the cameras would remain close to her as the arena darkened to a nigh pitch-black darkness. The seconds would pass by, almost slowly, and soon, Monika ended the note with a clenched fist, letting it play straight through without any flourish or melismatic delivery. That fist would become a hand that she raised, her expression bearing relief as the lights upon her would darken, the crowd cheer filling the silence that would’ve normally followed. Thus, the chorus ended, leaving the arena in total darkness.

I will let my wings soar high
May my voice be heard

A soft light would illuminate Monika, the audience at the venue and at home now bearing witness to her clasping the microphone with both words. She would then softly sing the last two lines, a fragility and gentleness to her vocals accompanied by a lone piano that played the very melody of the song. She would look into the camera as she closed out the song, a look of vulnerability in her eyes and expression. She concluded the song with one last vocal flourish, taking a deep breath as the lights dimmed and the entry finally concluded.

It was not long until the arena was aglow with light once more, with Monika staggering back. She would shout a quick ‘thanks’ to the Kalosian crowd, being quickly ushered backstage as preparations for the next entry began. However, what was on her mind was the very person that she could not forget, even though she had only known of Roland even long before this entry was conceived.

She hoped that in some small way, that someone would find hope in the words she sang.

by **Hafamarimyht** » Mon Jul 11, 2022 1:45 am

54 | Hafamarimët
Take - Nïlara
Tune: Roísín Murphy - Narcissus
Music & Lyrics: Nïlara Behanetka

Nïlara Behanetka is a pop singer and songwriter who performs simply as Nïlara. Born in 1989 in a small town outside of Baspink, she has built her career from the ground up starting with her first release, Pnädralïjëk, which she made available for free on multiple online platforms in 2005. Since then she has gained fans and given performances in over 20 countries as well as having the single Haunt feature during the end credits of the horror-comedy blockbuster Spooky Film 2.

Tonight in Monterra she debuts the first single from her upcoming album Unstoppable, the runaway winner of WorldVision Judadïl 100, Take.

As the music starts, a semi-circle of mirrors can be seen onstage, illuminated by stark yet soft white light and a single solid green laser beam, reflecting from each mirror so that it criss-crosses the area between the mirrors in a five sided star pattern. The laser light is broken as the ground opens up and a large disco ball slowly rises out of the stage, scattering the white light (which has grown a bit brighter) in the classic disco ball fashion. The disco ball sits on top of a pedestal, which begins to open as the first words are sung and the remaining mirrors are moved back and off the stage. In a closeup, Nïlara is revealed to be inside of the disco ball, wearing a sleeveless jumpsuit that is the same color as the laser light, her thick, dark brown curly hair cut into a voluminous bob that frames her face. She has thick dark eye makeup with laser-green rhinestones glued to the inner and outer corner of each eye, and her red lips are lined with small white rhinestones. Her look is very drag inspired, over the top and vibrant. She walks forward to the front edge of the stage slowly, each step a pose.

Take, take, take
Take, take, take
Take, take, take
Take, take, take

What you do, what you do, what you do, what you do, what you do, what you do to me
What you do, what you do, what you do, what you do, what you do, what you do to me
What you do, what you do, what you do, what you do, what you do, what you do to me
What you do, what you do, what you do, what you do, what you do, what you do to me

Take, take, take
Take, take, take
Take, take, take
Take, take, take
Take, take, take
Take, take, take
Take, take, take

The disco ball has closed back up and now is lifted from the pedestal, which sinks back into the stage, and is raised up to near ceiling level, filling the arena with large disco ball reflections. The screen behind her shows hazy flashes, also as if a larger disco ball were shining on it. She starts dancing as the beat kicks in, stepping in time with the rhythm so the loose, flared fabric of the jumpsuit sways. Camera shots are alternating closeups and full body shots as she dance-walks her way around the stage, pausing to give moments to the camera and the people in the crowd.

It's giving giving, I give it all
When you want it, you always want it
Boy you owe me, now I'm collecting
Boy you'll be sorry, cos all you've done is

Take and take, can't get enough
Darkness in you consumes it all
And nothing will fill you, the hunger's grown
And I cannot fill you, you're on your own

It's giving living, save my life
And let me escape you cos you drain me dry
As bone and leather in the summer sun
Cos something's missing from inside of you
And what you're missing ain't missing you
If you're not lonely

Nïlara throws her head forward with exasperation as the violins come back and the lights now wash a yellowish shade, causing her jumpsuit to stand out even brighter. She dances back to the center of the stage and stares up at the disco ball, dancing in place, snapping her attention to a close-up shot of her face as she starts the next part.

Take, take, take
Take, take, take
Take, take, take

The light returns to white and she begins her pose-dance-walk out the path to the furthest front portion of the stage again. The disco ball lowers slightly, changing the pattern slightly. The screen at the back now shines a sort of UV light on the other side of the disco ball, causing an almost anti-sparkle layer of reflections to turn through the arena, complimenting the regular reflections.

Take, take, take
Take, take, take
Take, take, take
Take, take, take…

She repeats as she again dances to make her jumpsuit swish, sharing moments with the camera and audience members. As the beat fades and the music slows, the disco ball stops spinning and smoke begins to billow from the floor below it, obscuring the back of the stage.

Zjadved
Öidu imusa lusalïča
Čïbneca öidïl take
Därenčo tneg hutipidalïva

A figure can be seen emerging from the smoke, heading towards Nïlara. The body is cloaked in what appears to be judge's robes. The performer's identity is obscured by an unnervingly emotionless mask of a man's face. The figure creeps up behind Nïlara as the camera stays pointed on her at a slightly upward angle and off to one side, showing her full body and the figure approaching as she stands still, singing to the crowd, seemingly unaware of this presence.

You won't die alone
If you've got this hungry something inside
It is killing you, eating away at you

Inside me, another darkness also alive
It is killing me, god it's so painful
I said goddamn

The figure has arrived behind Nïlara, wrapping and re-wrapping its arms around her as she reaches behind her and places and replaces her arms around it, occasionally resting her head against it, fighting in a graceful dance.

And when the darkness
Starts to reach out and take its own form
Take, take, take, take heed
Your time is up

As the echo fades, she leans to one side, putting her right hand on the side of the mask. She closes her eyes and stands in this shadowy embrace for a moment, resigned to her fate, and as the music picks pack up the disco ball begins to spin and rise again, although the speed of the rotation continues to increase the higher the disco ball goes until it is out of sight. Meanwhile, Nïlara has begun walking away and pulls the mask off as she goes, revealing a cascade of bright red hair. The mask is attached to the robe, which pulls away quickly to reveal Dolly Patrón, winner of Drag Race Hafamarimët, who snaps her head back as the robe is pulled away. She wears a white rhinestoned leotard and shiny black stiletto boots. Her makeup is a color-switched and more exaggerated version of Nïlara's, with red eye makeup and rhinestones on her eyes, and bright green lips, though the rhinestones around them are still while like Nïlara's. She struts and spins around the stage, arms lifting in time with some of the violin notes, matched by a cannon of sparks from the left, then the right, then behind. She performs energetically and enthusiastically, at one point pulling the sash tied around her waist to reveal a mid-thigh length skirt made of LED lights that begin to change color. She simultaneously rips off the red wig to reveal a white blunt bob. She caps off her performance with a death drop yaas mama slaaaaay, and as she does so, the vocals come back in as Nïlara is revealed to be hanging by one arm from the bottom of the disco ball as it comes back down. The disco ball is spinning, but she isn't. Instead, as she sings and hangs, she pulls at her own waistband to reveal that the jumpsuit is a matching crop top and mid-thigh length skirt. As the extra fabric flutters to the side of the stage, LED light strips around her wrists, neck, and ankle bands of her stilettos light up in changing colors, much like Dolly's did. She is lowered to the stage level after the second repeat, and spends the next two pose-dance-walking down the left path back to the front section.

What you do, what you do, what you do, what you do, what you do, what you do to me

Take, take, take

What you do, what you do, what you do, what you do, what you do, what you do to me

Take, take, take

What you do, what you do, what you do, what you do, what you do, what you do to me

Take, take, take

What you do, what you do, what you do, what you do, what you do, what you do to me

Take, take, take

She arrives as the violins hit after the fourth repeat, where the song abruptly ends (ooc: it doesn't fade out like it does in the linked video). She smiles super brightly and shouts "Gražia Monterë!" before motioning for Dolly Patrón to come up and take a bow as well, which she gladly does.

by **Togonistan** » Mon Jul 11, 2022 5:23 am

55. Togonistan
Titan Fang - ''Vampires Are Alive''
Lyrics: Kari Taupo
Music: Ofo Perelini
Tune: Powerwolf - ''Demons Are a Girl's Best Friend''

From the city of Drassen comes Titan Fang, a power metal group founded by vocalist Kari Taupo. Founded merely a year ago, the group has quickly risen in Togonistani music charts and has established a strong foothold in the local music industry. Following a 26 edition long hiatus, Togonistani broadcaster TNTV announced that the island nation will be making a return to celebrate and be part of the historic 100th WorldVision Song Contest. Along with the announcement, it was also revealed that Titan Fang will be granted the honour to represent Togonistan following an internal selection. ''It is amazing how over the years, the show has grown into what it has become today. We want to be part of this festive, where WorldVision celebrates it's 100-edition anniversary. In the past, Togonistan has always been known from bringing something that stands out to the contest, and we believe that Titan Fang is the right choice to carry on that legacy,'' Mila Taufamoana, TNTV's Program Director commented on the decision.

Performance:

The stage is decorated is dark red and black coloured scheme, with black being the dominant colour of the two. LED screen at the back of the stage shows an old British-style bell tower which is full of cracks, with a pack of crows flying around it as the initial bell sound kicks in at the start of the performance. At the back end of the stage, some scaffolding is placed on both the left and right side, leaving a gap in the middle. Two band members can be seen on either of the scaffoldings, bringing them a few meters higher from the stage, with the drummer stationed on a lower solid platform in the middle of them. A cloud of smoke is filling the middle part of the stage, almost completely covering some sort of a black box. In front of that cloud stands Titan Fang's lead singer Kari Taupo. He, as well as the rest of the band, are dressed in long black & red robes with a long cloak at the back. In addition, Kari also has red contact lenses to immerse his vampire look even further.

Band members start playing their instruments and, as the music kicks in, the stage becomes alive. Fire machines situated at all edges of the stage start bursting out flames with set intervals. As the broadcast viewers are being shown different angles of various band members furiously nodding their heads and playing their instruments, the camera eventually focuses on Kari, who is sitting on the edge of the black box. Soon, the flames stop as he gets himself up and walks a few steps around the stage as he sings while holding the microphone.

Deep in the night
When sun is gone and darkness falls
You seek your path in candlelight
Followed by shadows on the walls

When you lay in bed and dream
They head out to be wild and free
You lay and wait for them to arrive
They come to feast with your wine
There is nowhere to run tonight
As vampires head out to come and dine

By now, Kari has made his way to the edge of the stage, where a microphone stand is situated. He attaches his mic to it and puts his arms wide open as flame machines start working again. Moving his knee to the rhythm of the music, Kari sings the chorus.

Oh oh oh oh-oh-oh
Vampires are alive and they bring the end
Oh oh oh oh-oh-oh
Vampires are awake tonight

Oh oh oh oh-oh-oh
Vampires are alive and crave for a feast
Oh oh oh oh-oh-oh
Vampires are awake tonight

Kari removes the mic from the stand and starts walking around the stage again, doing some hand gestures towards the ceiling as well as bending towards the crowd with a creepy-ish look on his face. Meanwhile, LED screens have started showing red flowing graphics on a black background, which the audience is likely to assume to be an artistic representation of flowing blood.

Burning desire
Desire for your flesh and skin
As they invite their next of kin
You host the night, drinks are on you

You become a part of their rites
There is no more need to fight
Your blood is running in their veins

Kari starts making his way back towards the black box in the middle of the stage, which is still being covered by smoke.

You head out to be wild and free
With a whole new world to see
And let your instincts take over your mind

Kari steps on top of the box and bends his knees, looking at the audience as he sings the chorus once again. The fire show returns once again and, with that, wind machine also starts working, making Kari's cloak wave around. As the camera zooms in to take a close-up shot of Kari, for a brief moment it can be seen that the box he's standing on is actually a black burial coffin with golden handlebars.

Oh oh oh oh-oh-oh
Vampires are alive and they bring the end
Oh oh oh oh-oh-oh
Vampires are awake tonight

Oh oh oh oh-oh-oh
Vampires are alive and crave for a feast
Oh oh oh oh-oh-oh
Vampires are awake tonight

During the instrumental break, Kari puts his hands above his head and looks up at the ceiling. Halfway through it, he steps down and takes a knee while facing towards the coffin with his hand reached out. The coffin starts shaking as it's being lifted up to stand on one of it's narrow sides. Lights go out for a moment, with only a single spotlight on Kari singing towards the coffin.

And when we come to haunt you in the night
You may resist and seek for silver knives
But soon you'll find yourself craving for the forbidden fruit

The stage lights up again and with it, Kari jumps up and starts walking towards the edge of the stage while singing. Halfway through the outro, the coffin opens and a woman steps out, wearing pale face paint and red lenses. She is dressed in a red and black outfit with a similar theme to what the band members are wearing. While Kari is bending towards the audience as he sings, the woman starts slowly and elegantly walking towards him.

Oh oh oh oh-oh-oh
Vampires are alive, come and join our cause
Oh oh oh oh-oh-oh
Vampires are alive tonight
Oh oh oh oh-oh-oh
Vampires are alive and crave for a feast
Oh oh oh oh-oh-oh
Vampires are alive again

By the end of the outro, the woman has made her way to Kari and as the latter sings his final lines, she slids her arm around his neck and does a quick head movement as if she were to bite into his neck. As Kari sings his final word, he looks at her and the two end up looking at each other, with the woman smiling and revealing her vampire fangs. They stay like this for a few seconds as the camera takes a close-up shot of the two.

The crowd starts cheering as Kari puts his mic to his mouth again and shouts out: ''Thank you Monterra! You have been amazing!''

by **Yvesia** » Mon Jul 11, 2022 5:56 am

#56 Yvesia
INFIИITE - "Perfect Lover"
Music: Sarit Parnthong, Baroma Chumphorn Lyrics: Mayura Wattanasin

Tune: ENHYPEN - Tamed-Dashed

Formed in 2020 through a survival competition show The Reveal, the group consists of Areva, Tora, Pentor, Daou, Videl, Kaarlo, and Rayce who are all between the ages of 16 to 20 ,respectively. They officially debuted in November of 2021 with their mini-album titled, “Touch”, the album consisted of 5 tracks including the lead single, “Touch.” The album went on to perform relatively well on both iTunes & Spotify Yvesia Charts and garnered moderate reviews from critics.

The fans erupted in enthusiasm when the colors of the Yvesian flag flashed across the arena just after the arena lights quickly faded to darkness. As INFIИITE finalized their positions on the stage, the entry information flashed on the screen.

The arena was silent as the intro of the song started, while the camera was at an overhead angle revealing the group as they stood in a circular formation with Daou standing in the middle. The stage’s floor led screen would be showing the groups logo themed similar to a sports team logo. As Daou sung the first two lines, the camera shifted to a front perspective, slowly zooming out, and panned across the entire group.

The first time I saw you
I never thought I’d fall for your charm
You captivated me in ways
That I cannot explain
Oh, you’ve put a spell on me
And there’s nothing I can do about it
My only wish is for you to be
Here in my arms

The camera would change focus onto Kaarlo as he moved into the center position as Daou moved out of the way, falling into the group choreography. The group continued to change positions as the verse came to an end so that Areva and Rayce could finish it, while the overhead lighting faded in and out of a light yellow as the stage screens displayed a sports scoreboard themed visuals.

Perfect lover (Na, na, na)
Little by little (Na, na, na)
You touch my heart & soul
In ways that I can’t explain

INFIИITE sang the first two lines of the pre-chorus as they harmonized during the na, na, na’s before transitioning to a different formation to prepare for the next section.

I’m in love with all the things you do
Embedded into my mind, you’re the perfect
Lover (Na, na, na)
Little by little (Na, na, na)

Making me feel all flustered
Why won’t you just be mine, you’re the perfect
Lover (Na, na, na)
Little by little (Na, na, na)

As the beat dropped sparkle fountains sprang to life behind the group, and everyone started moving in unison. The back lighting would switch to hues of blue and green, suddenly flashing to white as the word "Lover" was said and then return to the previous colors. The above stage lighting would begin to swing back and forth at a quick pace as the camera switched between two angles of a camera panning across the stage & a close up shot of Areva who was in the center position.

Oh-oh-oh, oh-oh-oh, oh-oh-oh
Oh-oh-oh, oh-oh
Please just be mine
Oh-oh-oh, oh-oh
Please just be mine

They changed into an arrow shaped formation with Videl in the front as the group harmonized together to sing their shared Ooh’s. The camera followed Videl as he would bend down to fit in with the rest of the group then quickly switched Areva as he popped up to say the final line of the chorus.

Oh, how I’m stuck on you
You’ve got me wrapped around your finger
Oh, your love is like a drug
It’s like I’m high on love

As the guitar riff led into the second verse, the stage lighting was pulled back to fading light yellow again. Tora moved to the front of the formation, popping his chest along to the beat as he sang the first two lines before kneeling down and moving over for Pentor to take the center position. As the final two lines were finished the members moved into formation to prepare for the upcoming segment.

Perfect lover (Na, na, na)
Little by little (Na, na, na)
You touch my heart & soul
In ways that I can’t explain

The camera now zoomed out onto the entire group as they blended their voices together for the first two lines. The angle soon changed to a close up focus of Areva as he walked up from the back right while he sang the remainder of the pre-chorus.

I’m in love with all the things you do
Embedded into my mind, you’re the perfect
Lover (Na, na, na)
Little by little (Na, na, na)

Making me feel all flustered
Why won’t you just be mine, you’re the perfect
Lover (Na, na, na)
Little by little (Na, na, na)

INFIИITE fell into the choreography as the camera panned across the stage focusing on Daou, Areva, and Tora as they sang their own lines. The stage lighting once again started to switch between blue and green.

Can’t get you out of my head
You’re constantly driving me insane
Don’t stop your love, don’t stop loving me right now
Just keep on loving, keep on loving me right now
You’ve got me chained and I don’t wanna be free
Being away from you has me constantly feeling weak
I desire to be your one and only forever love

The camera slowly moved forward past Videl & Kaarlo to focus on Rayce as he ducked under his fellow band members arms to sing his lines. Stage lighting now white, would be slowly tilting upwards as the song built up. Perspective would then switch onto Tora as he walked between the group while singing the next two lines. Formations would change to Areva being center with the group closely surrounding him. As he finished his lines he would move out of the frame of the camera as it zoomed into Pentor for him to deliver the final line. 

I’m in love with all the things you do
Embedded into my mind, you’re the perfect
Lover (Na, na, na)
Little by little (Na, na, na)

Making me feel all flustered
Why won’t you just be mine, you’re the perfect
Lover (Na, na, na)
Little by little (Na, na, na)

Fire machines would turn off and on at the beginning of the stage randomly as the last chorus hit while the boys did the final set of choreography. A low angle camera would pan across the front of the stage while changing angles every so often to focus on one of the members.

Oh-oh-oh, oh-oh-oh, oh-oh-oh
Oh-oh-oh, oh-oh
Please just be mine
Oh-oh-oh, oh-oh
Please just be mine)

As the song came towards its end, the group moved into their last position as the camera changed between different angles of flying across the crowd to front views of the stage. INFIИITE ended the song, turning their backs towards the crowd as they looked up to the scoreboard visual on screen. They turned around, facing the crowd again to take a final bow before all walking off stage.

by **Ethane** » Mon Jul 11, 2022 10:14 am

57- Ethane - I Hide & I Hide by Amy Coulter
To the tune of: Baby Queen - Buzzkill

Amy Coulter strolls on to the stage. She is clad in a dress which, from the top is white, but slowly transitions into a patchwork of rainbow-coloured strands and patches; it is a strong attempt at a tie-dye dress using colours from the rainbow. Her hair matches the vibrant look, dyed a very deep red-brown colour. Amy’s lips are also plastered with a bright red gloss, and her face is covered in a very ‘shiny’ foundation. This look is accentuated by the spotlights beaming down on her as she crosses the stage to start her song, beads of sweat dripping down her face in the heat.

Before the song even starts, the stage is bursting with colour and light. Hues of red, blue, yellow, indigo, and violet flash across the stage and the rest of the arena, lighting up the crowd in a festival of colour. A strong contingent of the crowd is holding rainbow flags and waving them in the air with passion as Amy arrives, ensuring that their voices are heard across the multiverse.

As she reaches the front of the stage, Amy looks up and scans the audience. It is a big crowd. And she loves it. She prepares herself, lets that feeling of euphoria wash over her. This means something. To her. And to them. She has to stand up and make her voice count. She creates a large, beaming smile across her face and looks out across the audience. It’s time.
The TV cameras capture that emotion – that determination – as it sets on her face. Behind the scenes, the TV directors are preparing. On cue, that iconic bass riff kicks in. The audience screams and shouts. Ethane’s song begins. Amy Coulter opens her mouth, putting the microphone close to her lips, eyes glinting with excitement. And she sings.
You can hear the emotion coursing through her vocal chords as she accentuates every word. This means something to her. This isn’t just any generic pop song – every lyric has a backstory, has a time and a place where it can be placed. And that gives this song power.

Amy is clearly moved as she is singing, but stays quite still, shifting slightly on the spot but never moving far. The staging is flashy, with low-level flashes of colour across the arena, the lighting having calmed since she started walking on to the stage in a carnival-like setting. That colour penetrates this base-layer of mist that has built up along the bottom of the stage, as if penetrating into something hidden.

The TV director’s constantly switch the camera between a couple of shots. The wide-frame captures the whole atmosphere well, especially the colourful lights shining across the arena and penetrating that mist. A few side-angles show Amy singing, while also showing the passion of some of the audience as they sing along with the lyrics. But it is the face-focused shot that captures the most. It reveals Amy’s inner determination and emotional turmoil as she sings every lyric, capturing every emotion displayed on her face for all to see.

I lack control over the time of the rising sun.
As ages go, wish I could've been young.
Surpass the lies I'm wanting to tell myself,
Shoved away in a cardboard box hiding on my shelf.
My life ain't perfect but this would make it worse,
Hidden secrets I will take into my hearse.
Told to live a certain way to make everything okay.
But this ain't me, dad, and I just wanted you to say:

Amy takes a step forward. She points out to the audience, forcing that grin across her face. Amy sweeps her hand across the audience, before moving it to mimic a grin on her face. The camera captures this, focusing in on her face. While this is happening, the lighting steps up in intensity. The colours of the rainbow flash out across the arena at all levels, utilising almost all the lights in the arena. But it isn’t an in-your-face flashy, more a quirky pattern of lighting with slow gentle changes in the lighting. Projected on to the stage rear and floor in one large pattern is a video of Amy using her hands to slowly force a grin on to her face by drawing it out. This is surrounded by a patchwork of moving colours in various shapes and sizes, pulsating with the beat as the move across the screen.

Just be who you wanna be,
Reclaim your identity,
But you won't say that it's alright.
So I'll keep all of that out of sight.

The coloured lights cut out. More mist is pumped out on to the stage, reflecting the notion that Amy is trying to hide ‘herself’. The stage is left quite dark, with white lights here and there illuminating nothing in particular. Amy is lit up with a few bright spotlights herself. As she sings the chorus, the camera slowly spins round her. She turns with the camera, facing into it and singing to the audience at home, sometimes reaching out towards them. The rear screen also stops displaying Amy or the colour, and displays a large, singular red heart in the centre which is slowly beating and pulsating, red dripping out of the bottom of it as if the blood is spilling out slowly.

I don't wanna have to feel this.
Why do I have to feel this?
I don't wanna have to feel this.
Rip my own heart out so I won't feel this
Why do I have to feel this?
So I hide and I hide and I just can't stop it.

The low level colourful lights gradually return during verse 2, once again slowly penetrating that mist that had started to build up across the stage and the arena, clearing it slightly. This clears the view for the camera which had cut to a wide shot, the stage slightly obscured by that mist.

Amy puts the microphone in a stand that has been placed right in front of her. She starts twisting and moving, her dancing demonstrating a sense of frustration and a sense that she is fighting against herself. Dance moves include a demonstration of pushing against herself and pulling herself forward, as well as holding her head in her hands as she drops it towards the floor, spins it round as she brings her head back up again.

My life has these rigid boundaries I'm expected to never pass.
Watch these shows that make me feel, I'm living in a house of glass.
I dream of travelling but I don't know who's standing beside me.
Journey through my mind, my dreams holding my secret discovery.
That colourful canvas illuminating confidence
Red, orange, yellow, green, indigo, and some violet.
Until I return to the real world and give up any false pretence.
You know I'm not myself, mate, but I know that you won't even say:

She grabs hold of the microphone stand as she sings the pre-chorus again. The lighting once again steps up. She twirls a bit, almost as if she is growing more comfortable and accepting herself. As she twirls, the colour from the bottom of her dress ‘runs’ up her dress a little more, extending the tie-dye effect on the white.

On the screen, the pulsating heart remains slowly dripping blood, but is surrounded by a circle of rainbow colours (imagine like the skittles adverts), which are slowly encircling the heart closer and closer.

Just be who you wanna be,
Reclaim your identity,
But you won't say that it's alright.
So I'll keep all of that out of sight.

As soon as the rainbow colours are touching the pulsating heart, they cut out along with the revolving coloured lights beaming out across the audience. The staging returns to the relative darkness of the previous chorus, hiding away many mysteries and secrets. Amy turns away from the audience.

I don't wanna have to feel this.
Why do I have to feel this?
I don't wanna have to feel this.
Rip my own heart out so I won't feel this
Why do I have to feel this?
So I hide and I hide and I just can't stop it.

At this point, Amy turns back to the audience, and starts clapping her hands above her head along with the tune. She encourages the audience to join in as well, and you can hear the sound of thousands of people clapping along with the music, almost overpowering the song itself. Amy starts to sing again, calmer and clearly reflecting and thinking. She is coming to terms with it. The smile on her face slowly grows more genuine again. Amy is a great performative artist. As the song goes (bang bang), all the lights in the arena very briefly flash off and on again.

I don't wanna have to feel this, but I do.
Wear my heart on my sleeve in every hue.
Just wanna meet someone cool.
Even though it breaks those rules.
I wish I could be confident.
I don't want to have to feel this, I have to hide it.
Imagine if they knew all my shit.
Feeling this as I sing church hymns
I don't want to have to hide them.

Amy grabs the microphone out of the stand and runs forward, right up to the audience and charges around the front of the stage, still encouraging the audience to clap along. The lights are at full intensity now, beaming out across the audience, creating a carnival atmosphere as people dance to the tune, some people awfully.

I don't wanna have to feel this.
Rip my own heart out so I won't feel this
Why do I have to feel this?
So I hide and I hide and I just can't stop it.

I don't wanna have to feel this.
Rip my own heart out so I won't feel this
Why do I have to feel this?
So I hide and I hide and I just can't stop it.

Amy stops singing, but keeps vibing with the audience for a few seconds. Then the song slowly drifts out, as does the flashing – though the colourful lights remain, shining across the arena. She holds the microphone to her mouth, and chuckles.

“Thank you so much, Monterra! Thank you, Kalosia! Thank you, everyone! This is for everyone who has ever felt marginalised, has ever felt like they’re not welcome, or they’re not accepted. This is for everyone who has to hide who they truly are, every day. You are brave. And I stand with you. I love all of you, thank you!”

by **Llalta** » Mon Jul 11, 2022 3:00 pm

08 ✧ LLALTA
"Apex of the New World" by Hana Uemura
Music ✧ John Marshall, Esther Winterbourne
Lyrics ✧ John Marshall, Esther Winterbourne, Hana Uemura

~✧~

"フレスベルグの少女～風花雪月～" - Caro

The cover art of the single "Apex of the New World", by Hana Uemura. The single is also Llalta's entry in the 100th WorldVision Song Contest in Monterra, Kalosia.

~✧~ BACKGROUND ~✧~

5 editions ago, in Nakom, Yvesia, Llalta last participated with the song "The Time Of Your Life" by Titania, a completely new direction for the tiny island nation. Mixing genres both familiar and unfamiliar to the Llaltese music scene, such as R&B and electropop, it garnered much attention from international WorldVision fans and critics, considered a bold choice for a nation that had never strayed far from the 'Llaltese sound'. The song, about the insignificant significance of human life and unconditional self love, partnered with beautiful staging and an emotional performance, finished the night placing 4th, following the 4th received by Lacey the participation prior in WorldVision 90, as well as the nation's 6th top 5 in WorldVision. As a result, the hype for WorldVision in Llalta was at an all time high. With recent participations having brought successful results, audience shares exceeding 80%, and the Llaltese music industry stepping in all kinds of new directions, many considered this the beginning of a renaissance. The start of a new era. However, as WorldVision 96 rolled around, many Llaltese expected and wanted another participation, and yet, the LBN said nothing. Some theorised they were taking a break to raise funds, or struggled to find artists to represent them, or even rumours of internal conflict, but another edition came and went without any news. And another, and another. At that point, many considered Llalta in WorldVision a lost cause, a mere fantasy, as edition after edition, Llalta never appeared. Eventually, the LBN released a statement to quash the demands and questions, stating on Twitter that: "Unfortunately, we have been unable to partake in WorldVision as sufficient funding has not been secured, as well as staffing shortages. As much as we would love to share Llaltese music with the world and participate in the near future, we cannot guarantee that Llalta will be returning to the contest within the next 10 editions." Many Llaltese fans were disappointed, but unsurprised. The LBN had always faced monetary issues and schedule clashes due it's small size, which has always impacted Llalta's WorldVision participations. Most expected the same for WorldVision 100, despite the underlying hope they would participate to celebrate the centennial edition.

Behind the scenes however, the LBN had been preparing for WorldVision 100 since their last participation in WorldVision 95. After staff shortages hit the state-run company in late 2021, dropping by 20%, the network worked tirelessly to outsource staff from Britonisea. Following the temporary closure of LBN 2, the network moved half of the current operations to Doportedas, opening a small building in it's financial district. Funded almost entirely by the Llaltese government, the plan aimed to increase the network as well as develop it's educational resources and technology, as well as potentially branching out to facilitate apprenticeships and degree-level TV & Media courses in Britonisea and Llalta. Despite this, as WorldVision 100 drew nearer, the LBN regrouped their new Llaltese delegation, consisting of prior Llaltese delegates (now far improved in their field) with a few new Britonish members, bringing a new vision to the delegation. For the broadcaster, this project was a way to reinvent themselves and the projection of Llalta that the world knew, this entry the first statement of a new and improved LBN. Thus, they knew they had to put everything they had, what they knew and what they had learnt, to create something only they could produce.

Prior to the announcement of WorldVision 97, Japanese-Llaltese singer Hana Uemura had signed to the same Britonish label as Llaltese singer-songwriter and WorldVision winner, Esther Winterbourne, where the two first met. After bonding over their memories of Llalta, the two began collaborating on music together, recording a few demos, as Hana was preparing for her debut, which was aimed for the autumn of 2022. In the Spring of 2022, the LBN reached out to Esther to ask for her to enter the 100th WorldVision Song Contest on behalf of Llalta, though she declined. However, she recommended Hana Uemura to the LBN, who she knew had the potential to be a star. At first they were cautious. After all, sending someone with little to no experience in the industry was a huge risk, especially to perform in front of such a large audience, in what was speculated to be the most competitive edition of all. In response, Esther sent over a few demos that the two had recorded together, including one of "Apex of the New World". The LBN contacted Hana themselves soon after, offering the chance to perform as well as promote what would be her debut single, and though dubious, she eventually agreed. When asked what kind of song she wanted to sing, Hana responded with "Apex of the New World", to the surprise of Esther and the LBN. Though the LBN initially opposed the demo, after Hana explained what the song meant to her, they had no choice but to allow her to at least work with Esther Winterbourne and acclaimed writer and band member of Evergreen, John Marshall, to create a song that would celebrate the music of Llalta for the 100th WorldVision Song Contest. During this time, she had also worked with them to create a handful of other potential entries.

The song was first written by Esther Winterbourne for the 3rd edition of LlaltaVision: The Duels, originally sung by Esther herself. However, it was placed aside for her 2 other entries, which the LBN had deemed far stronger. Thus, it lay waste in her back catalogue of songs that would never be released. However, when she met Hana, the song ended up as one of the first that Esther worked with her on, as her vocals were the perfect pairing alongside the song. Hana had loved the song so much however, that she fought for it to be her debut single, again, to be rejected by her label. However, with the LBN promising to breathe new life into the song, as well as 2 esteemed songwriters, she knew it was her song to sing. Rewritten and rearranged over a few weeks in one of Britonisea's most modern music studios, the song transformed from a chill trap-based electropop song to a more dramatic, upbeat track with EDM/dubstep elements infused into its chorus, as well as introducing orchestral elements to create grandeur. Esther had also rewritten the lyrics as Hana had asked, introducing a completely new vision for the old song, as well as referencing past Llaltese entries. As a result, the song was proposed once again to the LBN, who after lots of thinking, decided it was the best option. Something personal, that celebrated everything that Llalta was and will be. The song was finally mixed and completed a few days after, the music video filmed over another week in multiple locations, such as St. Margarets Cathedral in St. Christopher, as well as the heavy usage of CGI, created via a Britonish team. At last, on the 20th of May, the ambitious project had almost finished, costing upwards of USD$500,000, including all the expenses of song production, filming and media campaigns, the most of any Llaltese entry to date.

Then, on the 8th of June, a multitude of rumours began to surface of Llaltese participation in WorldVision 100, though most thought nothing of them, as just rumours. Out of the blue however, the LBN confirmed participation on the following Friday, 10th of June, 6:30 PM GMT, via Twitter. The official LBN Twitter account stated that Hana Uemura was to represent the nation at the upcoming WorldVision 100. And as suddenly as it disappeared, the Llaltese hype for WorldVision returned, glad that finally, the LBN was to confirm participation. What was even more shocking was the post that came 2 days later, at 8 PM GMT on the 12th of June. A teaser photo, aptly named "Prologue" was released, of a girl walking towards a chair in a church-like hall. Immediately, WorldVision fans were excited to see what was in store, as this was the first time the LBN had ever released extensive promotions for an entry. Avid WorldVision theorists began to dissect leaked information and the information given. A teaser video was then released on the 14th, also titled "Prologue", which appeared to be the first teaser image in motion, accompanied by a mere piano. Throughout the week, 2 more teaser images were released, "Face Yourself" and "Apex", released on the 15th and 17th respectively. Each teaser showed the date 20.06.2022, which was the alleged release of the new single. Alongside the onslaught of teasers, little had any idea what the new song was to sound like, especially since this was Hana Uemura's debut single.

On the Saturday however, the music video trailer was released, and the name of the song was finally revealed to the world: "Apex of the New World". The trailer hinted at a dramatic electropop song, carried by soaring melodies and a grand horn section, something rarely seen in the Llaltese music scene. The visuals were dark yet colourful, Hana Uemura appearing in the hall, seemingly facing herself, the backdrop depicting burning moons and planets. With 2 days left before the release of the song, the single cover art was revealed on the 19th, and the song was finally revealed on the Monday, the 20th. With an ambitious promotion cycle that the LBN had never done before, at least, not for a WorldVision entry.

~✧~

~✧~ THE ARTIST ~✧~

HANA UEMURA

Age 24 (born 20th December, 1997)
Born in Akita, Japan, Hana Uemura is a debut singer, the 100th WorldVision Song Contest being her first tenure in the music industry. Born to a Llaltese mother and a Japanese father, alongside 1 younger sibling, the family moving to St. Christopher, Llalta in the wake of the millennium. There, she attended St. Christopher Academy, her passive, quiet yet amicable personality garnering her a lot of friends, even though she had only just begun to learn English. However, she soon caught up, her high academic ability allowing her to learn quickly. At first, she had taken interest in the sciences, dreaming of becoming an astronaut or a scientist. However, that dream changed at age 9, after listening to one of the Japanese CDs her father had taken from Akita. After listening to the album for hours and hours on end, she looked for more records from them, finding that Llalta had no records from Japan. After trying relentlessly, the effort was deemed futile. However, Hana found a passion for singing after singing along to the CD, and dreamed of bringing alternate styles from Japan over to Llalta, who had little to no exposure to the likes of J-Pop or the like. After taking up singing lessons with June Summerfields, her passion grew even stronger. Her vision only expanded after a family trip to Britonisea, where billboards of singers and celebrities glittered in the skyline. She often dreamed to her friends of her future career in lands far, far away, performing on a stage for thousands. Though it was a mere hobby at first, as she grew closer to 18, the light seemed closer than she imagined.

Like many other Llaltese graduates, she chose to do her degree in Britonisea, the city of Luton in particular. Though her degree was in Astrophysics, she secretly hoped to take root there, wishing that she could blossom her career. Once there however, she found it hard to integrate within the student crowd at Luton, finding herself friendless and homesick within her first year. Furthermore, her confidence had dropped greatly, and the light that she once chased no longer shined. The workload seemed endless with no end in sight, overwhelming her until she fell into a slump. She found the darkest parts of her seemed to grow like a rash, a scar she could not rid of. After a while, she had ended up lashing out at her few friends, becoming a shell of her former self, even growing depressed. The one thing that had carried her through the night was music, the music of Llalta and her other home. But even then, it had seemed a fruitless attempt to keep living. During her second year, she had dropped out of university, running away from herself and her fears. For a few months, she had ended up living in a small apartment, isolated from the world around her. However, one evening, the melodious symphony of a single piano resounded in the silent city, and for the first time in a while, she began to cry and cry until her head ached and her eyes hurt. But something inside her changed, like a flame ignited.

She worked a long time to improve herself, a year or so, facing herself in ways she had never dared to do. And for once, the days seemed bright. She had ended up singing in a bar after mustering up the courage to audition, at the will of her newfound friends, and began to find new joys in her life, and herself. She moved in with her friends, somewhere small still, but they were happy. She had also visited Llalta once again, though at first with company, to face the family she had feared to let down, even if that fear was irrational. And though she still had good days and bad days, it didn't matter to her. Her life changed when she was scouted after one show however. Though it had always been her dream, she didn't know whether it was her chance to take. Her friends pushed her to do so, offering to drive her, and perhaps buy her a dinner if she failed, and eventually, she took the chance. Recording a few Llaltese songs her mother sang to her, she nervously awaited the response. Though it took a while (especially due to her impatience), she eventually got a callback, the child in her smiling. Though Hana knew it wouldn't be easy, she chose to sign, starting late 2021.

After recording multiple demos with Esther Winterbourne, Uemura was set to debut in late 2022 with an EP. However, after being chosen to represent Llalta at the 100th WorldVision Song Contest, her debut was moved to the 20th of June, with the song "Apex of the New World". Though "Apex of the New World" is her only released track as of yet, she has stated that her sound infuses J-Pop and Electropop with the more acoustic and orchestral sounds of Llalta to create grand and fantastical songs that pay homage to the adventures and odysseys of life. "Apex of the New World" is a culmination of everything she loves in music, and a taste of what is to come in her blossoming career.

~✧~ THE SONG ~✧~

"APEX OF THE NEW WORLD"
"Apex of the New World", performed by Hana Uemura is a J-Pop song infused with a multitude of genres such as Llaltese Folk with EDM and Dubstep elements present throughout the song. Released on the 20th of June 2022, the song is a song about the odyssey that is learning to love oneself, accepting every single aspect of ourselves, positive and negative, and never giving up. We are all undefinable, complex beings of all kinds of colours that we must accept as ourselves, and only if we learn to love ourselves unconditionally, no matter how challenging, are we able to move from the past. And though we are not perfect; and we may never be, we must never give up in striving to be the bests version of ourselves, learning to grow and overcome mistakes and habits that we have fallen into unknowingly. Though sometimes it's hard to face the darkest truths of ourselves, the only way we can truly move is by facing it, embracing it, and growing as a result. But even if we do still make mistakes, we can only grow from them, not hate ourselves. To learn to connect with people, to be the light to others as you have always wanted to have yourself. And though hope seems so far away, the brightest hope comes from within. And one day, we may create the perfect reality that only the imperfections of humanity can paint.

“Apex of the New World” is about how, every person is made up of thousands of colours, like our personality, our past, our future, our identities. We are all like paintings, every second and moment another stroke on our canvas. Sometimes we make mistakes or we internalize our negative experiences, which can grow into much worse things, we can grow to resent ourselves, another shade on our canvas of life. However, the song is about never giving up and striving to be the best we can be. Accepting all our colours, and though we may not be perfect, that is perfect enough. The brightest hope comes from within, so as long as we keep going and love ourselves unconditionally and grow and nurture, we can create our “new world” where we can finally love every single colour of ourselves.
Hana Uemura at the Junterapten Pre-Party

At 4m57s long, the song was originally written for the 3rd LlaltaVision: The Duels, late 2021 by Esther Winterbourne. However, it was shelved as it was deemed too 'uncompetitive' to be an entry. Originally sang by Esther herself, the demo was far slower, implementing a trap-style beat alongside a synth-heavy chorus, far more chilled than the version presented today. However, as requested by Hana Uemura, who had re-recorded the demo in early 2022, the track was rearranged by Esther Winterbourne and John Marshall to feature a larger soundscape and a faster rhythm. Including orchestral elements, such as a triumphant horn section, the song became far grander than originally conceived, something far more impactful, something that would last. The lyrics had originally taken the perspective of someone who had overcome self-hatred, though was vastly rewritten to fit the narrative proposed by Hana, a more realistic approach which sang of someone who knows they are not yet the person they want to be, yet still strives to better themselves anyway. Encompassing a more vibrant lyrical landscape, the lyrics were also embellished with multiple references to previous Llaltese WorldVision entries, most significantly WorldVision 65 ("Just Be You!"), WorldVision 69 ("Like Memories"), WorldVision 86 ("To Live") and WorldVision 90 ("Constellations"). The song aimed to be a culmination of the journey Llalta has taken in WorldVision, taking lyrical and musical elements to create the perfect song to celebrate WorldVision 100, combining the past, present and future of Llalta. The perfect ending for the old, and the shining start for the new. Or perhaps the middle of a slow and long journey to the light!

Promoted over 10 days via numerous teaser photos and teaser videos, the song was released to critical acclaim, debuting at #1 on the Llaltese Top 20 Chart as well as appearing in various international WorldVision charts, peaking at #8 on WV Radar and #9 on the Maltese Hot 10. The entry is also 30/1 on the odds at wvworld.com (as of the 4th update, dated 25/06). The music video also reached 500 Thousand views within 2 weeks of release, being the most highly anticipated Llaltese entry as of yet. The song has also succeeded in several records so far, despite only a few weeks of release, including the highest 1st day streams (both on streaming service and Youtube) of any Llaltese song as well as charting overseas in nations no Llaltese song has charted before, and predicted to break many more with the broadcast of the contest.

~✧~ THE PERFORMANCE ~✧~

As the postcard ends, the arena dims until it is almost pitch black, the crowd cheering one final time before plunging into silence. Onstage, time seemed to slow as the start drew nearer. Taking a deep breath, Uemura rocked back and forth on the balls of the heels of her shoes, her face turned to the ground. This is it, she told herself, again and again, the chance to show everything she and her country were made of. Though she had performed a few times since her debut, the notable of which being the Junterapten Pre-Party, she had severely underestimated the sheer size of the crowd, not to mention all those at home who would be watching from the camera's eye. And yet, all those faces seemed to melt away with each deep breath, until the only person in the crowd she wanted to please, was herself. Then again, perhaps that was what made it all the more intimidating, that she would mess up her one chance to prove to herself how far she had come. Of which, she thought about what she would have thought a few years ago, during her time at university. What the child whose eyes glittered gold would have thought. To have achieved her dream, to be the light she had once chased; a little laughter escaped her pursed lips. A happiness she could not describe began to well up in her, the joy of being alive. The air was sticky and humid, yet, each breath gave her the energy to keep going. She felt the urge to run a mile, roll in the fields as the sun shone down on her, the excited feeling one might feel when they imagined all the possible stories their life would tell.

The countdown in her earpiece snapped her from her childish excitement. This is it, the moment her life had led up. She felt as if she was ready to fly, weightless, but the moment held her down. The future was ahead of her, but the time was now. She took another deep breath, shutting her eyes tightly, She thought about herself in that moment, everything she was and will be, and the her that stood upon that stage, and smiled. This was what she had dreamed of, and she thought only to savour and enjoy every note, every movement and every moment upon that stage. To do the best she that she could.

This is it.

As the song begins, the piano melody reverberates throughout the arena, the stage lighting up at once. The shot features black bars covering the top and bottom of the screen, thinning the aspect ratio vertically to create a more cinematic effect. Upon the black LED screen, a small golden butterfly flutters across the darkness from the right side of the LED screen to the centre, golden particles sparkling with each flap of its wing. The camera zooms into the butterfly, following it's movements as it pans across, ending the shot at centre stage, where Hana Uemura is revealed, standing on the main stage, eyes shut, her face tilted slightly downwards. Throughout the performance, she holds a wireless microphone, not restricting her movements. Her outfit consists of a black strap top embellished with golden embroidery, intertwined with jewels to give a luxurious look. Wrapped around her is a draped asymmetric toga style garment which wraps around her body, elegant yet dramatic, also embellished with golden jewellery, shimmering in the lights like the scales of a fish. Around her neck sits a thick golden neck accessory which is decorated similarly to the embellishments on the rest of the outfit. Her black hair is pulled back into a half ponytail, the rest falling to just above her shoulder blades. She is crowned with a headpiece of gold jewellery; the design again matching the embellishments of the outfit, daintily wrapped against her hair. Her make-up is soft and naturally, only her cheekbones highlighted with a small amount of glitter. Overall, her outfit represents an angelic, elegant motif, dark colours keeping her image grounded in humanity.

The butterfly dissolves into a burst of sparkling gold dust behind her, forming butterfly wings with the particles for a few moments as Hana begins to sing the first line of the song, opening her eyes and looking into the camera, bringing the microphone to her lips, the lights catching her eye with a blue sparkle. As she sings "the dearest child", the music swells, building up to the introduction of the main rhythm, the camera zooming backwards as a troupe of blue and white spotlights are drawn into Hana, before releasing as the music picks up. A volley of blue lights then billow outwards as she continues to sing the introduction, a large arched window design appearing on the black LED screen as well as 2 smaller ones upon the pillars that form from either side of the stage, a call to the music video as well as matching the grandeur and extent of the song, the butterfly dust bursting into the black. The arched window is detailed, pulsing to the beat of the song, alongside the multitude of lights that surround the stage which have also begun to pulse. As Uemura sings "who thought the argent stars were hers to hold", she raises her hand to the sky, her eyes trailing them as she looks beyond the heavens, her voice effortlessly singing the soaring melody, a slight twinge of pain highlighting her voice. A crane camera slowly circles around her from the skies, a shot angled halfway between her eye line and a bird's eye view, where the stage floor is also seen, a white light beneath Hana pulsing to the beat. She sings the beginning of the 3rd line, the music building up once again, the lights strobing alongside the beat, building up to the first drop. The LED arched window also flashes, the lines beginning to violently distort with glitchy effects. The beat then drops, the EDM/Dubstep elements of the song appearing for the first time. And with them, the lights begin to billow outwards relentlessly, a constant flow of lights in gold and blue blossoming outwards in all directions, matching the chaos of the drop. Hana, almost lost in the lights, steps forwards, behind her, the lines and shapes that once formed the windows stretching and distorting into geometric shapes, bright white lines glitching to the beat, even spilling out to the LED floor below her. The camera takes a wide pan of the stage before, taking a closer body shot of Hana, who thrusts her hands up to the ceiling, the yearning in her voice growing stronger. As she sings the final line, her hand slowly falls, pulled into a fist against her chest, the camera zoomed in, following it before making its way to her face, her eyes looking straight into the lens, glittering in the light. Every so often, a lens flare will momentarily obscure the view of the camera, but even so, she remains unfazed as she sings the final note, her voice a little withdrawn, her eyes slowly falling to the floor as the camera fades to black. As her vocals echo throughout the arena, each beat is accompanied by a different camera angle, speeding up as the beat does. Each cut fades in and out to create an almost blinking-like effect.

The dearest child, eyes glittered gold
Who thought the argent stars were hers to hold
As the years pass by, I don’t feel any older
Except the light I once chased no longer shines

As the music calms down, the camera takes a wide shot of the stage, first faced towards the audience at a slight angle, showcasing Hana walking forward towards the sea of people and flags, waving like a turbulent sea. As the music has quietened, so too have the lights, the general atmosphere of the stage far darker than before, a slightly mysterious and heavy atmosphere entering the arena. Then, the camera takes a wide shot from the front, the LED screen returning to the stained glass window graphic of before, this time with gold and blue particles gently blowing from the bottom, like the sparks of a flame. The sparks seem to ebb and flow to the beat of the song, the dim lights also pulsing gently to the heartbeat-like rhythm. The colour palette of the whole performance as of yet evokes the blue, white and gold colours of Llalta. The camera takes a pan of the stage as Uemura brings the microphone to her lips, singing the poetic lines of the first verse, her voice like a river, each silk syllable like the song of an angel. The first camera shots consist of mostly close up sequences, unmoving. These shots are interspersed with wider shots, wide views of the stage and such, showcasing Uemura's loneliness, so minuscule in front of the large arched window, her voice slightly trembling. Though the stage is dark, her face is free of shadow, a white spotlight illuminating her from above, causing her armour of jewellery to glisten, even more so on every beat, due to the myriad of other spotlights pulsing. Her voice is soft, as airy as the lyrics she sings, each note floating high above the dramatic instrumental. Her face is just as soft, a slight smile painted upon her face, though one that could either be one of regret or nostalgic delusion, each string of words displaying another memory in her mind, perhaps looked upon fondly, or perhaps looked upon with hate. On the 5th line, she turns slightly to the side, lifting her free arm into the air, her movements elegant and slow. Behind her, a sapphire blue butterfly flutters, the camera directly facing Uemura to give the illusion the butterfly is flying around her arm. Her gaze turns to her arm, where the butterfly is directed. The lights also increase in intensity as the music does, white lights flashing to the rhythm of the violin. As she sings the final line of the verse however, Uemura swirls her arm like the pirouette of a ballerina, the blue butterfly turning into a cloud of shimmering blue dust. However, as she swirls her arm, the LED dust swirls too, as if controlled by her.

A summer sky, burnished in bronze
Clouds painting odysseys
The zephyr, waltzing with leaves
Caressing my blushed cheeks
The butterfly, fluttering by
Whose sapphires wings beat soundlessly
Unnoticed, until flutters turned into typhoons

As the pre-chorus begins, Hana sings "wrathful storm", each syllable in time with each beat. As a result, 3 sets of lights flash white to each syllable, the camera taking 3 different shots. Her voice is as strong as the words she sings, her face contorting for a split moment as a brief interlude of emotion splashes across her face. Her arm swirls a little more vigorously, though still elegant, and the gold sparks that appear on the LED screen now also begin to spiral to each swirl of her hand. The LED particles begin to rise as they spiral, expanding, surrounding Hana. Furthermore, the arched windows present on the LED screens dapple light upon the stage, as if rays of sunlight were piercing through a blossom of leaves beyond, the dappled light dancing upon the stage behind her. As she sings, "uncontrollable", she pulls her free hand from the sky towards her shoulders before sliding them back to her side. Her voice tainted with regret, the bittersweet sadness of such memories seeping through the tone of her voice. As the song builds up the first chorus, the beat returns, the lights flashing more frequently and sporadically as a result. The camera circles her once, Uemura rarely looking into the camera, focussed on her story as she faces the audience. The golden dust on the LED screen also begins to swirl faster, as if it were brewing into a tornado. She sings the final line, her voice increasing in power as to build up for the chorus, the camera slowly zooms into her at her eye level. Behind her a tornado of gold and blue dust, she looks fiercely into the camera, her arm outstretched, reaching towards the viewer. Singing the final note, she flings her hand straight into the air, her index finger outstretched to the heavens, the camera rapidly zooming on it, until only a brief section of the LED screen and her hand could be seen. As for the spotlights, they flash white, blue and gold with increasing brightness and speed as the build up progresses, preparing for the drop of the chorus.

The wrathful storm, uncontrollable
I could only run away
But trapped inside, golden eyes
The child I could never face

Uemura sings the first line, "I’ll never give in", the music silencing briefly as to prepare for the drop. The camera is still zoomed in on her hand, panning around the front for a second, until the drop occurs, the EDM style drop exploding into the arena, the camera shot dropping. The camera shakes up and down a little, simulating the bounce of a fallen object, before zooming out to reveal a wide shot of the stage, though very near to Uemura's eye level, whom of which stands centre stage, hand gripped to the microphone as if it were her own heart. As the lights billow outwards to the rhythm, spotlights frantically rising upwards, replicating the chaotic, strobing lights of an EDM festival, the LED wall behind once again depicts the twisted geometric lines that it had shown before. The geometric lines shift and portray glitch-like effects in time with the song, creating an energetic atmosphere. The camera shots consist mainly of wider shots, showing the grandeur of the staging and song, the shortened aspect ratio truly enhancing the lighting effects and stage graphics, pulling the focus on Uemura, surrounded by a palace of lights, as well as closer up shots, allowing Uemura's emotions to be shown to the WorldVision viewers. Uemura slings the train of her white toga piece behind her, singing with far more power than initially showcased, though still a little restrained. Even in such a dramatic chorus, she rarely uses hand motions or moves her body as she sings her longer notes. Rather, it appears more reflective, as if singing to herself. Throughout, her eyes are guided upwards, to the back wall of the arena, as if looking to the future. However, as she sings the 3rd line, her gaze falls to her side, the camera circling her using an upwards angle, the lights almost depicted as a crown upon her head. After, as the chorus draws to a close, she sings the final line, she closes her eyes shut, reaching the higher notes as she tilts her head up, still slightly turned to the side before facing the front, a small smile displayed upon her face; a resolution.

I’ll never give in, never give up
I’ll never look back until I’ve learnt to live
Laughter and love, mistakes and pain
All the colours of being alive I must face

As the chorus ends, the music quietens down once more, Uemura's last words echoing over the instrumental. She turns towards the back before walking towards backstage centre, the spotlights around the stage pulling inwards to face towards her, dimming a little whilst still pulsing to the beat. The LED screen returns to the arched window graphic, a few gold and blue sparks once again returning to a more subdued state. As the music builds up with a whoosh, the lights billow outwards, and suddenly a filter is placed upon the camera, turning the colour palette of each shot to greyscale. The 2nd verse features a more tense atmosphere the beginning consisting of a single unstopping beat and little else, built upon via rapid camera shots, most if, not all, close ups and body shots from the front of the stage, rarely showing the audience or any features that could remove the immersion of the segment. Multiple shots feature unconventional camera compositions for a performance, such as multiple extreme close ups alongside shots where Uemura is off centre, or only half in shot. In addition, Uemura begins to sing the line, "alone I cry, stained black and blue", turning her head around towards the front as the music reduces to the beat and piano, the stage becoming darkened, a few sparse lights pulsing to the beat, significantly the lights that border the stage featuring heavily as they pulse, twisted shadows dancing upon her face. Even upon the LED screen, the arched window lights up in sporadic segments, randomly flashing in no particular order to add to the immersion. She turns around, outstretching her arm to the right, the camera following with a close up shot accordingly. However, as she draws her arm back in, the camera provides a slight pan so that it returns to a shot consisting of the chest upwards.

The 2nd half of the verse is similar to that of the 1st verse, the more orchestral soundscape returning with a flourish of colour, the camera shots no longer greyscale. From beneath her feet, a small explosion of coloured particles, mostly blue and gold, burst outwards, spreading to the bottom of the LED screen where the arched window design suddenly appears once more. Though the stage is still a little darkened, a few more lights billow outwards as before. As she sings "it’s hard to break the loop", the particles of colours upon the LED screen move, as if carried by the breeze, to form a figure of eight, following the dainty eight drawn by Uemura's free hand herself, though the formation dissipates as she sings the final line, spreading her free arm outwards, the sparks following suit, pluming into a blossom of colourful sparkles. A gleam in her eye flares in the lens of the camera, as her neutral expression is displaced by a slight smile, even if just for a moment.

Alone I cry, stained black and blue
The typhoon storms on
I cannot stop, I cannot hide
Only watch myself explode
An oath of change, written in red
It’s hard to break the loop
I can't reset yesterday, but tomorrow dawns

The 2nd pre-chorus replicates many of the lighting effects of the 1st: the flash of lights that accompany the opening 3 musical flourishes, alongside the sparkles creating a swirl behind Uemura upon the LED screen. Moreover, the arched window upon the screen continues to dapple light, though in a few more colours than the gold and blue of before. However, the segment feature camera shots that are far more dynamic, first featuring a pan that not only travels from the left to right, but also moves slightly downwards, highlighting the beautiful spectacle of the particles, swirling and pirouetting around Uemura. However, as the rhythm begins to build in preparation for the chorus, the spotlights around the stage begin to light up with each beat, including the arched window upon the LED screen. Hana begins to step forward, lights following her lead as she puts her foot down, singing the final line, "I’m braving the eye of the storm", gazing directly into the camera as the tornado of particles swirls with more vigour than before, circling behind her, representing her as the eye of the storm. Again, that same smile spreads upon her face, a hope lighting her dark eyes. The lights cloud her as they begin to flash more intensely with each building beat, the camera zooming into her before turning its focus upwards, a small golden butterfly appearing upon the LED screen, to which the camera shot consists of only that graphic, a few golden sparkles shedding from it's wings.

The eclipsed light, starless nights
I can't see beyond my reach
But day by day, scar by scar
I’m braving the eye of the storm

Once again, with the introduction of the chorus, Uemura sings the first line with a newfound strength, the music cutting out entirely bar the violin, growing louder in order to build the chorus. And again, the camera drops alongside the beat drop, shaking to simulate the energy of such a fall. The lights billow outwards again, however the lights consist of a few more colours scattered within the mass of gold, white and blue, such as pinks, purples and reds, an almost festival-like colour scheme. The LED screen projects the warping geometric shapes formed from the lines of the arched window. In addition glitch effects further emphasize the rhythmic pulsing of the lines, each major warp matching the heavy beats of the song, enhancing the visuals with the song. Uemura's voice sings each lyric as if her last, each word emphasized with the true meanings that only she truly knows. Her make-up sparkling in the lights, she turns to face the front, a glimmer in her smile as her face creases with a bittersweet joy, one that sees hope in the future, the future one has made many mistakes in their life to learn of. Perhaps she was glad to have been able to learn and grow, yet part of her wished life was easier, that she could have learnt under different circumstances. Either way, in the moment, it didn't matter, there was only the fleeting now and the everlasting future. After a wide shot of the stage, the bright and colourful lights gleaming in the camera as it panned, the audience displayed in front as their flags and faces were lit up in a chaotic strobe of lights, the shot switched to a crane camera, which zoomed into Hana from the front. All the colours of every light in her eyes, she splayed her hand across her chest, singing the final line with sincerity, shutting her eyes as the note left her lips.

Hana lets a sharp breath out as she pulls the microphone from her mouth, the camera sweeping the stage with a panoramic shot. The horn section begins after, the brass instruments playing the soaring melody of the chorus over battle drum style beat as the stage shifts dramatically in appearance. Firstly the LED screen returns to the arched window graphic of before, though multiple rows of the window appear, beginning and ending with the pillars on the side, as if it were the wall of a large hallway. However, the window panels become like that of a stained glass window, each decorated with segments that paint a scene of a flower meadow consisting of all kinds of colours like pink, green, red, purple and blue, beneath a sky, each window representing a different time of day from a rising sun in the dawn upon a pale sky, to the sun in the top of the sky, bright and yellow upon a blue noon sky. A bronzed sky that represents dusk, the moon rising, alongside one of night, a sky full of stars with the moon. The 'wall' of the LED hallway is a gold colour, with sapphire blue embellishments. Gold and blue sparkling particles also appear at the bottom ends of the screen, as before. As the horn segment blasts into the arena, like a battle song, spires of flames burst out of the sides of the stage with the beginning of every bar. The lights are darkened, though still retaining a blue and gold colour scheme, as they billow outwards, matching the heavier feeling connected with that section. At first, Uemura does an elegant twirl, moving her arms in a way that allows the fabric of her garment to trail behind gracefully, like the wind, before turning to begin to walk to the very back of the stage. Beneath her, a complex pattern featuring all kinds of rich colours used in the entry a displayed on a rug-like graphic, the patterns glowing and pulsing to the rhythm, as if it were living, the song it's heartbeat, shown as the camera takes a bird's eye view of her. As she walks, the camera takes sweeping shots of her and the stage, the shots following almost the same composition as that of a film, prioritising aesthetics during the brief instrumental section to emphasize the majestic nature of the song and its visuals, further complimented by the aspect ratio. A few shots of the audience are taken too, a small patch of Llaltese fans dancing with their Llaltese flag in the far back of the stands being highlighted before returning to the stage, in all its beautiful colours, a kaleidoscope of lights.

I’ll never give in, never give up
I’ll never look back until I’ve painted with the wind
Laughter and love, mistakes and pain
All the colours of who I am I must embrace

As the bridge begins, Hana turns around once more, lifting the microphone to sing the gentler section of the song, the instrumental being overtaken by a harmonious group of violins. Behind her upon the LED screen, the hallway design is washed away with a mass of butterflies in all kinds of colours, mostly of bright and warm colours alongside sapphire blues to simulate a colour palette like that of a festival, a celebration. The butterflies twinkle as they flap, leaving behind trails of sparkling particles much like the butterflies seen before. They also spread across the stage floor, as if emanating from Uemura, who stands near the back of the stage. They continually flutter throughout the whole of the bridge. As Uemura sings the first line, she tilts her body slightly to the left, raising her arm at a 60° angle upwards, as she turns her head to face the sky. Her voice is raised higher, as light as air as she sings the more hopeful lyrics of the song. The 2nd line is sung, the camera taking a wide panorama of the stage showcasing the true beauty of the scene. A few spotlights billow upwards and outwards, corresponding to the general directions of the butterflies, though move far slower due to the music requiring a more soft lighting effect. As she sings "it’s my life to live", she turns to her heart, placing a hand gently upon her chest, a sign of acceptance, her voice lightened by her slight grin. In a song with few breaks, the bridge seems to provide a moment of gentle uplifting, like a summer breeze or the wing of an angel. She continues the line, almost shaking her head in an insignificant defiance, turning her head up to the steadicam. The music then proceeds to build up, battle drum style percussion entering the composition, the music becoming more uplifting with every beat. The lights unused before now begin to pulse to the beat, flaring in the camera like distant fireworks. She sings "and though I’ve not yet spread my wings", spreading her free arm outwards, her voice a little stronger, parallel to the music, her eyes glinting with determination. She reaches forward for the next line, gobo lighting projecting her with dappled light, corresponding to the lyrics, before dilating from her position and outwards. The camera also zooms outwards, once again portraying the scale of the stage, as well as spotlighting the colourful yet graceful aesthetics. A steadicam however returns the focus with a shot featuring Uemura from the waist upwards, capturing her as she belts the final line, face creases as she puts her all into the note, eyes shut, her voice going downwards at the tail end of the note. In the end, surrounded by a volley of lights flashing to the ever-increasing beat, she lifts her head delicately, dragging the microphone up to her lips again, taking a deep breath as the bridge came to a close.

The light no longer shines
Not even the azure sky remains
But it’s my life to live, no matter the timeline
And though I’ve not yet spread my wings
A light flickers through my chrysalis
I know the future is mine alone to change

The penultimate chorus begins, Uemura singing the first line with a hopeful smile upon her face as the music cuts out, with only a mere piano remaining. The last wave of butterflies upon the LED screen and flooring flutter away, a few sparse butterflies trailing behind before they completely vanish, leaving a black screen, the arched window as before suddenly flashing upon the screen behind her. This time however, the window panes are lit up in white, Uemura a near silhouette upon the white panels before 3 dim golden spotlights rapidly pull in and shine upon her. Apart from the single arched window and the 3 spotlights however, the arena is almost completely pitch black, creating a more intimate atmosphere, the camera taking steady and closer shots of Uemura, her lyrics speaking of her dream of the future. Her voice is soft yet slightly rough, her voice strained with the overwhelming amount of emotions running through her head: hopefulness, joy, regret, determination and others unnamed. It was almost over, and yet she never wanted it to end. Immersed in the song, the time had gone too quickly, though perhaps it was for the better. A performance so enjoyed she had forgotten the days, the minutes passing by. She wished she could do it all over again, proud of the song she had sung, the life she'd lived. As she sang the second line, she loosely wrapped her arm around herself, her eyes gently closing. The camera takes a wider shot of the stage, the composition consisting of Uemura in front of the arched window creating a sense of peace and beauty, despite how simple it is. A smile upon her face, she opened her eyes once more, her irises met with the glimmer of the spotlight, causing her to wince a little before singing the line "I’ll love every colour". After, a beat is reintroduced, each line introducing another layer of percussion to the piano section. At first, only the colourful outlines of butterflies could be seen, only fading in with each beat before fading out once again. With each new rhythm however, another group of butterflies are revealed, until an eclectic swarm of butterfly outlines pulse to various rhythmic sequences all at once. The lighting also corresponds to the layers of rhythmic sequences, until a numerous amount of spotlights begin strobing as to build up the final chorus. Uemura's voice also grows stronger with every syllable, as if the present were looming back on her, her bright reality shining her awake. The camera pans the stage, bombarded by lights, obscuring the view until the camera begins to zoom out from Uemura, who begins to walk towards the front of the stage. Singing the final line, surrounded by a carnival of multi-coloured lights she sings the final note, clutching her microphone as the note leaves her lips.

A distant day, I’ll look back and smile
Embrace the night that I once ran far from
I’ll love every colour, all that I am
I'll become the light I once chased

As the lights rapidly increase in intensity corresponding with the musical build up, Uemura ends her note, breathless as she prepares for the final drop of the song, leading to the ultimate chorus. As the music cuts out, string instruments raise the tension for the final chorus, getting louder as she sings the first line of the chorus: "I’ll never give in", her last push of defiance blazing in her voice, her last statement, enunciating every word with every inch of her being. She reaches forward with her hand, the camera pulling outwards from a close up shot of her face. As this happens, the LED screen behind flashes white, the light emanating from behind Uemura, until it covers the whole stage, lighting billowing out also. However, as the bass slides, postponing the drop, the camera pushes back forwards towards her, shifting the camera's focal length so that the background grows closer to create a distorted effect on the shot. The arena turns near pitch black, including the LED screen, the stage floor and spotlights, giving the illusion that the camera had inverted black and white colours. However, behind Uemura upon the LED screen are a pair of butterfly wings, consisting of white geometric lines, flickering on and off behind her silhouette, bordered by a thin outline of white from a light behind. The camera also tilts to the left, adding to the distorted and sudden effect of the short segment. A few triangles mimicking the cut of a diamond or jewel flashing brightly on-screen to the glitchy sound effects, a few containing refracted rays of light.

However, as the final drop of the chorus appears, the camera shakes a little, transitioning to a zoomed out shot of the stage, the LED screen and stage now covered in fast beams of multicoloured lights, referencing the lyrics. A thousand streaks of colourful light emanate from Uemura who walks to the front of the stage, singing with everything she has. Meanwhile, a ring of pyrotechnics begin to burst out from the edges of the stage. The lights flash in multiple colours, complementary to the stage colours, with the velocity and colour of a festival, painting the arena in a thousand colours. Overall, the stage is rather overwhelming, yet corresponds directly to the themes and rhythm of the song. The wind machine is turned on, Uemura's outfit flowing behind her like an aurora, her hair also fluttering. The camera zooms into Uemura, who stares into the approaching camera with a fire in her eyes, the gold upon her outfit and jewellery glittering in the camera. She is often obscured by the sheer mass of lights, flaring in the lens, temporarily blocking the view, though it only adds to the grandeur of the final chorus, as well as the heightened emotions showcased in the performance. And somehow, her voice pierces through the song, her softer tone washed in the hues of her resolution. As she sings the third line, she spreads her arms out, singing with even greater happiness as she spread her song with the world. As she sings the final line, she stretches her arm towards the camera, her hand curling into a fist, singing with the last slither of energy. Behind her on the LED screen, a bright white light begins to form, though only small at first, like a halo around her head, it grows and grows as the chorus draws to a close. She sings the final note, holding until she cannot sing any longer, her voice fading away as a breath of relief, joy, sadness, is exhaled as she pulls the microphone from her lips.

I’ll never give in, never give up
I know the brightest light comes from within
Let my light refract, into a million colours
Paint with every hue, the apex of the new world

As the last chorus ends, the horn section returning for the outro, Uemura walks towards the newly produced catwalk, towards the satellite stage. As she does, the streaks of coloured light pave the way to the satellite stage, Uemura following the light as she smiles, the crowd cheering as she passes by. Sparkling confetti begins to fall from the ceiling as the horn section plays the final melody, glittering around her as she looks around, glancing at all the faces of the audience. Spotting a Llaltese flag in the far corner of the arena, she smiles, laughing under her breath. Whilst the camera mostly follows her, it also reveals the story painted upon the LED screen, the white light lowering from the centre of the screen to the bottom, the streaks of light emanating from the light instead of Uemura. The lights begin to shift colour scheme returning to the colours of Llalta (of gold, navy and white), the white becoming a sunrise of sorts as the colour palette shifts. As the string section begins to finish the melody, Uemura makes it to the satellite stage where she turns to the main stage one final time, before looking forward. Upon the LED screen and stage, the white light begins to rise like a sun, filling the whole stage in white, except for the spotlights.

As the song nears it's conclusion, the final three notes are played, the camera blurring out as it zooms into the spotlight, flaring in the lens. It then transitions to the three separate shots, each sequenced in time with the music, before finally ending with a shot of Uemura upon the satellite stage, in front of the back LED screen, where a scene consisting of space (reminiscent of that of the single cover) appears, multicoloured planets shown in a sky full of multicoloured stars, each shining brightly, striking the black with spears of light. A dozen coloured planets in various distances from the scene appear, some of flames and some of water. Meanwhile, a ring of spotlights shine upon Uemura, who ends with her hand to the sky reaching for the distant future, breathing heavily as the last 5 minutes finally began to settle in. A spotlight directed near the camera casts a ring of refracted light into the ending shot, again, reminiscent of the single cover.

As she takes a deep breath, and another, she realises it's all over. What her life had been leading up to, what her future will remember. She stood there a moment, breathless, unable to process the prior events, smiling although she didn't know why. It was only when the crowd began to cheer did she snap back to reality. A beautiful reality. Turning to face the audience, she looked around, amazed at what she had just done. Proud. The last speckles on confetti landed upon her and the stage, her face glittering as she turned towards the camera. "Thank you... thank you so much Monterra! Thank you world!" The only words she could produce, though she wished she could say so much more. But it didn't matter now. It was all over. Relief or sadness, she still could not decipher, but she felt an unexplainable joy nonetheless. She had done it at last. She had always wondered whether she could embrace the past, a question that had plagued her until recently. And yet, here she was, standing at the dawn of her new world.

~✧~

by **Quebec and Shingoryeo** » Mon Jul 11, 2022 3:57 pm

59 - QUEBEC AND SHINGORYEO - 언제나 하나 (Always, One)

By Evermore and Louise

To the tune of: Sigrid and Bring Me The Horizon - Bad Life

BACKGROUND

For the first time in over thirty-five years, we see a Quebecois representative in the WorldVision Song Contest. Of course, the unusual circumstance in which the QBC was offered invitation to the 100th WorldVision Song Contest had meant that the entry, with a year to go, had to be figured out sooner than later. With none of the entrants from the twenties and the thirties of the contest in a physical, health or mortal condition (some of the lads and lasses had long passed into the eternity), the QBC was left in a particular void over who to send for the landmark edition.

Still, everybody knew that Quebec and Shingoryeo, two-time finalist of the contest in the days bygone, were going to send an entry. So, with this in mind, they spent half a month and three rounds of national final going through the songs in the heat. Eventually, it was decided that the lucky entrant heading to Monterra's going to be Louise, a 19-year old winner of the Zoomer-Factor's 212th Season straight out of Attawapiskat, Abitibi-Agawa province; and five-man Evermore, a Quebecois alt-rock band originating from the industrial centre (and soon-to-be Olympic host city) of Twin Cities.

It was a particularly interesting choice, especially when considering that Louise, while a rising star in the Quebecois musical scene, was more of known for her repertoire of dreampop tunes, Evermore didn't exactly fit the mantle expected of them. The atmosphere of the contest and the attitude held by the QBC had changed so much that even once-entrant Rogue, the legendary pop rock group who still went on tours even as their members, octogenarians in essence, reached eighties and nineties...would not have fit now. Still, the homecrowd back in Joongyeong and Songak seemed more than impressed with this song, 언제나 하나 (Always, One), that they felt the song would represent the Anaialanian nation, the one known for the tragedies and lyricisms held by her peoples, would fit to the contest.

PERFORMANCE

It's all dark when Louise (full name Louise A. Baird), quietly enters the stage with a single light over her. She is wearing a dark, plain turtleneck and jeans. For now the screen is turned off. She slowly moves to the front of the stage, where there is a single, grand piano, and sits on a small stool right in front of it. Louise turns around, looks at the crowd and waves back at the audience, who responds to her with a massive round of cheers and applause. Smiling back at them, she returns her focus to her piano, takes a deep breath and starts singing as she plays.

[Verse 1: 0:01]

Letters are shredded, ink spilled and then dried
Writing in an empty room filled with dust and cracks
These days I'm all lost,
feel stuck in square one Heart sinking below the trenches inside this heart

The tiles under her start lighting up from pure darkness to that of dark blue, just verging outside of darkness, as they form wavy patterns, as she continues singing in mezzo piano.

[Pre-Chorus 1: 0:20]

Ooh, it's hard to feel the fingertips
When all I feel are numb inside
And only colours I see, they be grey
Sorrows hitting hard on beating shores
As I pull myself down deep inside
And my eyes lose their shades of jade

Raindrops start falling over the stage. The LED screen's pillars are not turned on yet, but the backstage crew starts keeping a close eye on them, as they have to prepare for the next sequences after the chorus. Still, the first singing of the chorus remains quiet, solitary and intimate, as Louise turns to look at the audience. As she sings the chorus, she is trying to express the feelings of solidarity among two friends, who may or may not be intimate in their own ways, in the times of darkness and loss as youths lost and wandering in their twenties.

[Chorus: 0:40]

어두운 저곳 밤하늘
I'll run to you in darkness

그 달빛 하나만 보고 다가가서
Chase the moonlight under the night sky

너와 나의 불꽃앞
I will tell you without a word

말없이 말해주리
In front of our eternal flame

여기에서 너와 난
Here, this I promise you

언제나 하나
Always, we are one

The LED pillars behind Louise are now turned on, not showing a scenary or graphic projection, but that of Roy Choo, the lead vocalist of Evermore, standing on the green screen painted dark. He, too feeling lost, is singing gently, as he walks back and forth without looking at the audience.
He, of course, is not at the stage yet, though you can't help but to wonder when he will, as he sings about the verse of feeling broken and wandering endlessly so.

[Verse 2: 1:06]

모랫바람 가운데 홀로서서
Everything's shattered and all's gone in a breath

모든걸 한숨에 잃어버린것처럼
Watching myself stand in middle of sandstorm

고요한 아침에 숨이차서
Silent in the morning, running out of breath

무너지는 하늘밑 달리는거처럼
Watching the world crumble in the calm

All of sudden, the screen shifts into a different scene - that of a house slowly being flooded by the tempest. It was at that moment when Roy, his hair slowly balding and greying at 45 years of age, enters the satellite stage with an elevator from under the stage. He is wearing an old, leather jacket of his with blue jeans and spiked boots. A second light, the one separate from one focused at Louise and her piano right now, is placed into Roy, as he jumps back and forth while singing the pre-chorus. The camera moves to focus on him.

[Pre-Chorus 2: 1:26]

Oh, this road hits high and beating hard
When you're driving over the purple lake
Waves crashing hard, there I stand and lie
So tonight I'll anchor and tie it with me
To ask away where you now in dark
And let you find the pieces of shard

It was then that a light round of pyrotechnics explodes from above the stage, producing a thunder and lightning, as Louise and Roy start singing the full chorus the first time. The pillars, previously showing the scenes of a flooding house, start showing the house sinking, one lumber piece after another, into the water. Feeling the rain, and the lights erupt, Louise gets up from her stool and starts dancing back and forth - almost in the manners of a Farf pogo - as the crowd starts cheering at both Roy and Louise. They are also going back and forth to the singers' dancers, by shaking their heads and doing waves of their own.

[Chorus: 1:46]

어두운 저곳 밤하늘
I will run to you in darkness

그 달빛 하나만 보고 다가가서
Chase the moonlight under the night sky

너와 나의 불꽃앞
I will tell you without a word

말없이 말해주리
In front of our eternal flame

여기에서 너와 난
Here this I promise you

언제나 하나
Always, we are one

우리 마음속 조각들
And I know our pieces are lost

심연해속 갇혀있는것도 알아
And I know feeling imprisoned in this abyss

모든게 두려운건 알지만
And I know all feels daft

마음속 같은것도 알아
but the feelings remain the same

어디라도 너와 난 언제나 하나
Here this I promise you

언제나 하나
Always, we are one

The post-chorus kicks off with a guitar solo by Evermore's guitarist, Jean-Philippe van Leuken, as the main stage lighting is turned onto reveal the remaining band members - Jean-Philippe, his brother Ian the bassist, Leon Park-Chizik the multi-instrumentalist (who is playing the trumpet right now), and Noel Bruce Cassidy, the legendary drummer - on the back half of the main stage. The lights, still pale, are now in full action, while the pillars remain focused on the sinking home. To the solo Louise and Roy start screaming out the song, almost in a matter of two souls blasting reliefs and calls of their deepest realms.

NAHOOOOO-Ohhhh

YEAH

The main stage lighting starts changing from that of just white to various shades of blue. The rainfall gets more intense, almost as if we are expecting a flood sooner than later. They continue to go back and forth at each other's calls, just shouting it all out, whiole the fans are waving back and forth like a human wave.

Oh----no

One-Two-Three-Four

Eventually, as the guitar solo reaches the end, Louise and Roy both jump into the stage, singing out the chorus for the final time while crowdsurfing over the rabid crowd. It is then that a column of fire emerges and other pyrotechnics explode all over the main stage in a boom. The columns, previously showing that of a flooding house, replace those images with dynamic use of bright colours, from red to yellow and blue and green. Ian and Leon, who are playing the bass and trumpet as we speak, too move closer to the front of the stage, swaying back and forth as they come very close to reaching the audience and their screams.

[Chorus: 2:47]

어두운 저곳 밤하늘
I will run to you in darkness

그 달빛 하나만 보고 다가가서
Chase the moonlight under the night sky

너와 나의 불꽃앞
I will tell you without a word

말없이 말해주리
In front of our eternal flame

여기에서 너와 난
Here this I promise you

언제나 하나
Always, we are one

우리 마음속 조각들
And I know our pieces are lost

심연해속 갇혀있는것도 알아
And I know feeling imprisoned in this abyss

모든게 두려운건 알지만
And I know all feels daft

마음속 같은것도 알아
but the feelings remain the same

어디라도 너와 난
Here this I promise you

언제나 하나
Always, we are one

Finally, as the chorus is sung for the fourth time, Roy and Louise slowly make their way back into the satellite stage.

There is no music playing, and the piano is back on the main stage, but it doesn't matter as Louise and Roy, smiling at each other in pure disbelief that they are about to finish the first Quebecois entry in the WorldVision Song Contest for the first time in three-dozen years, sing the last line - once more - and for the last time.

언제나 하나
Always, we are one

Then that was it. As the audience give Louise and Evermore a round of applause, Louise and Roy first gestured to Jean-Philippe, Leon and Noel, who wave back at the crowd before giving a bow. And then, it's now their turn to bow at the crowd, before Louise and Roy embrace each other.

'That's it, we fucking did it Roy. Can you believe it?' asked Louise. The embrace lasts for few seconds before he answers back, saying: 'yes, we've done something wonderful.'

They then let go, five of them bowing to the crowd once more, before walking out of the stages.

by **Kalosia** » Mon Jul 11, 2022 4:06 pm

Placeholder: All songs have been performed, time to start voting. Here is a recap of all entries in the semifinal.

Running Order — Semifinal One:
RECAP [alternative]

Saviera
Flusia
Ertzei Kishim
Axuva
Besen
Tödlichebujoku
StrayaRoos
Crustyland
Norrp
Northern Beepee
Ikslund
Scotatrova
Alezian Union
Antahbrantahstan
Pemecutan
Achaean Republic
Te Ika-a-Maui Me Te Waipounamu
Waisnor
Darkmania
Filshia
Hlhata States
Electrum Diplomatic Offices

AQs voting in this semifinal: Polkopia, Carrelie, Elejamie

Running Order — Semifinal Two:
RECAP [alternative]

Dentricia
Placely Placington
Beepee
Aenglide
Adab
Cakranegara
Vartugia
Antenovaria
Titaniumland
Fatimanian Federation
Erie-Arcadia
Zwangzug
Electrum
Caryton
Moorland
South Batoko
Izmedu
Hafamarimët
Togonistan
Yvesia
Ethane
Llalta
Quebec & Shingoryeo

AQs voting in this semifinal: Britonisea, Malta Comino Gozo, Kalosia

VOTE HERE: Semifinal One • Semifinal Two • Combined Ranking

by **Kalosia** » Mon Jul 11, 2022 4:07 pm

Post reserved for interval act — interview with AQs

Semifinal 1

**Polkopia**

"Now Viktoriya, Polkopia has the most amount of wins at the WorldVision Song Contest and consistently does well. Does this success put any pressure on you at all as a performer, especially during the contest's 100th edition?"

"It’s a lot of pressure for sure, but I’ve spoken with artists who have participated in the past like SAMIRA, who were more than happy to give me advice. Basically, she told me to not get in my head and overthink every little detail and to just have fun, so that’s what I’m going to focus on now."

**Carrelie**
"Isabeau, you're here because you won your national final HitFest. What do you say is the difference between performing in HitFest to actually performing on the WorldVision stage?"

"Oh, the HitFest! I think performing there in Denbouchre and Haufenbourg was... how do I say it... there was less pressure on me, you know? Now all the world's eyes are on me, and performing on stage in front of all these people - it's nerve-wracking but mon dieu is it rewarding!"

**Elejamie**
"Omar, considering Elejamie had placed 5th last edition, do you think that this success will continue into this and possibly future editions of the contest? Are you personally expecting anything out of this centennial edition?"

"We all hope so. I don't know about future editions because of what's going on with our broadcaster but, for WorldVision 100, we hope we've put on a good show for everyone with a great song too."

Semifinal 2

**Britonisea**
"As Britonisea is obviously our most recent winner of the WorldVision Song Contest, do you think that you have this pressure on you, as an automatic qualifier and most importantly as the reigning champion, to live up to everybody's expectations this time around?"

"I think representing Britonisea anyway has its pressures and luckily for me, I've experienced it before, at the World Hit Festival so I'm not too stressed. Mostly due to our recent string of good results, I was knew there was going to be a certain level of expectations that I would have to meet. Of course, because of Petre's fantastic performance last edition, it means I'll have to work just a little harder as the bar is very, very high and I know that a lot of people will be looking to see what next from our country so I hope I made Britonisea proud!"

**Malta Comino Gozo**
"What was the creative process like behind 'Take It From A Man Who Knows' for the two of you? Would you say that you both contributed greatly to the song overall or did one of you prevail in one aspect of the song's composition?"

“Good question. Well glen here is the master song writer he’s behind the majority of this songs composition, I’m like 20% haha! I helped!”
"Yeah, tbh I wrote it in like one night after a very bad break up so I kinda poured my heart out, showed it to my best friend here , Kartha and she helped me adapt it for the international audience.”

Kalosia
"So Eva, the last time that Monterra had hosted the contest was back in WorldVision 75. Would you say that you feel the need to live up to the same level as all the work put into this hosting, and will you be emulating that on stage?"

Of course! I feel like there is a lot of pressure on the host entrant, no matter where it is being held... it is a daunting task to match the quality that the amazing team has given into this show, but I will put my 100% into my performance on Saturday.

by **Kalosia** » Mon Jul 11, 2022 4:16 pm

Post reserved for closure of voting (ICly) and final interval acts

SEMIFINAL ONE
"Qüenia Resu Gotigo" by Stefanía Rovoles
tune: Kalokairi Kai Pathos — Helena Paparizou

Stefanía Rovoles

Scotatrovian star Stefanía Rovoles performs 'Qüenia Resu Gotigo', a Scotatrovian-language version of Kalosia's entry to the 76th WorldVision Song Contest, 'Insemë (Together)' by Mikhail Khaled.

Enthoç, i’etang u plane
Farim toth que poem
Para vethre fistas
Ía muldá luixos

Gom u batate
Que send toth le tempe
Le momente ei tan giulce
Axte, ai tue plathe

Enthoç, garth ai la maír
Toth súa beleza
Ía comon que brill
Impleze tue oes

Ía ll’aurora
Quoth un granze fista
Nel tan benála
Comon reta
So, I have a plan
We’ll do all that we can
To see sights
And many lights

With a beat
That I feel all the time
The moment is really sweet
Here, at your side

So, look at the sea
All its beauty
And how it shines
It fills your eyes

And the sunset
What a great view
Not as beautiful
As you are

Qüenia resu gotigo
Toth retru bue athór
Durazire par sempri
Tú ai míes broixes

Qüenia resu gotigo
Nosre espirras toqu
Tú et míe thezore
Enthoç thame tua man

Enthoç, resu gotigo
Ie thé guiadare
Gartharós lí strelas
Ía lirin longue

Gom u batate
Que send toth le tempe
Le momente ei tan giulce
Axte, ai tue plathe
When I’m with you
All will be good now
We will last forever
You in my arms

When I’m with you
Our souls touch
You’re my treasure
So give me your hand

So, I’m with you
I will guide you
We will watch the stars
And we will go far

With a beat
That I feel all the time
The moment is really sweet
Here, at your side

Qüenia resu gotigo
Toth retru bue athór
Durazire par sempri
Tú ai míes broixes

Qüenia resu gotigo
Nosre espirras toqu
Tú et míe thezore
Enthoç thame tua man

Gartharós, gartharós lí strelas
Senziro, senziro nosre corthos
Partexarós toth nosre sires

Gartharós, gartharós lí strelas
Senziro, senziro nosre corthos
Partexarós toth nosre sires
When I’m with you
All will be good now
We will last forever
You in my arms

When I’m with you
Our souls touch
You’re my treasure
So give me your hand

We will watch, we will watch the stars
We will feel, we will feel our hearts
We will share all our secrets

We will watch, we will watch the stars
We will feel, we will feel our hearts
We will share all our secrets

Qüenia resto axte iunx
Me send tan sicure
Qüenia qüerá emarte
Elvidá le tempe

Qüenia resto axte iunx
Noz conexzó mellor
U pethaze eu arthe
Athór avam ai vivar

Qüenia resu gotigo
Toth retru bue athór
Durazire par sempri
Tú ai míes broixes

Qüenia resu gotigo
Nosre espirras toqu
Tú et míe thezore
Enthoç thame tua man
When we are here together
I feel so safe
When I want to love you
I forget the time

When we are here together
We get to know each other better
A piece of art
Now let’s live

When I’m with you
All will be good now
We will last forever
You in my arms

When I’m with you
Our souls touch
You’re my treasure
So give me your hand

SEMIFINAL TWO
"A Song for the Future" by Hatsune Miku
tune: Meteor — John Zeroness ft. Hatsune Miku

She has sold out tours all over the world and represented Japan at the ABU TV Song Festival 2019. Now, she is here to perform at the second semifinal of the 100th WorldVision Song Contest.

The song she will perform is originally titled 'Meteor', but following discussions between RTVK and the team in charge of bringing Miku to life, it was agreed to retitle this song for the performance, in order to better reach multiversal audiences. Of course, being a hologram, she cannot move a lot. Therefore, the producers have made the most of the camera angles as well as other stage effects in order to keep the pace of the song.

真夜中奏でる
(mayonaka kanaderu)

時計のつぶやき
(tokei no tsubuyaki)

チクタクと夢の
(chikutaku to yume no)

はじまりを告げる
(hajimari o tsugeru)

凸凹の街を
(dekoboko no machi o)

眺む雲の上
(nagamu kumo no ue)

微かにひらめく
(kasuka ni hirameku)

迷子の訪れ
(maigo no otozure)

僕らは君を探しながら唄うよ
(bokura wa kimi o sagashi nagara utau yo)

遠く想う声がいつか届けられるように
(tooku omou koe ga itsuka todokerareru you ni)

星の流れる夜に
(hoshi no nagareru yoru ni)

北風が通りを吹き抜け
(kitakaze ga toori o fukinuke)

待ち人から便りはなく
(machibito kara tayori wa naku)

明くる日を描くだけ
(akuruhi o egaku dake)

星は願いを乗せて
(hoshi wa negai o nosete)

あの空を静かに散り行き
(ano sora o shizuka ni chiri yuki)

僕たちは眠りのなかで
(bokutachi wa nemuri no naka de)

幸せな夢を見る
(shiawase na yume o miru)

新たに一筋
(arata ni hitosuji)

雲紡ぎ伸びる
(kumo tsumugi nobiru)

キラキラ無数の
(kirakira musuu no)

光が生まれて
(hikari ga umarete)

足音呼び声
(ashioto yobigoe)

誰もが目覚める
(dare mo ga mezameru)

いくつの願いを
(ikutsu no negai o)

今宵託すだろう
(koyoi takusu darou)

あなたのことは会えなくても分かるよ
(anata no koto wa aenakute mo wakaru yo)

遠い街で同じ雨に打たれ佇んでる
(tooi machi de onaji ame ni utare tatazunderu)

星の降り注ぐ夜
(hoshi no furisosogu yoru)

雨の音声を飲み込んで
(ame no oto koe o nomikonde)

僕たちは眠れないまま
(bokutachi wa nemurenai mama)

輝く空を見てた
(kagayaku sora o miteta)

星屑の七色と
(hoshikuzu no nanairo to)

ざわめきが大地に響いて
(zawameki ga daichi ni hibiite)

乱れ咲いた花火のように
(midare saita hanabi no you ni)

空を舞う紙吹雪
(sora o mau kamifubuki)

外灯のストロボと
(gaitou no sutorobo to)

波紋のように広がる雲
(hamon no you ni hirogaru kumo)

浮かぶ水ゆらめく髪
(ukabu mizu yurameku kami)

鳥たちの群れは飛び去り
(tori-tachi no mure wa tobisari)

まるで奇跡を予感し
(marude kiseki o yokanshi)

飛び起きたかのような幼子の背を
(tobiokita ka no you na osanago no se o)

包む母の指先が震えている
(tsutsumu haha no yubisaki ga furuete iru)

僕はただ立ち尽くし
(boku wa tada tachitsukushi)

寝ぼけながら記憶を巡る[/b][/size]
(neboke nagara kioku o meguru)

歩んだ時間のすべてが
(ayunda jikan no subete ga)

ここに蘇った今
(koko ni yomigaetta ima)

動き出した歯車に
(ugokidashita haguruma ni)

この身を奪われるときまで
(kono mi o ubawareru toki made)

強くただ強くあなたを想ってる
(tsuyoku tada tsuyoku anata o omotteru)

星の降り注ぐ夜
(hoshi no furisosogu yoru)

北風が光の粉を運んで
(kitakaze ga hinoko o hakonde)

僕たちは眠れないまま
(bokutachi wa nemurenai mama)

明くる日を願うだけ
(akuruhi o negau dake)

星屑の泣き声と
(hoshikuzu no nakigoe to)

耳鳴りが最期に途切れて
(miminari ga saigo ni togirete)

音のない景色のなかで
(oto no nai keshiki no naka de)

終わらない夢を見る
(owaranai yume o miru)

星の降り注ぐ夜
(hoshi no furisosogu yoru)

小さな両手を握れば
(chiisana ryoute o nigireba)

星は遠くの空へ
(hoshi wa tooku no sora e)

僕らの願いを届けて
(bokura no negai o todokete)

幸せな朝を呼ぶ
(shiawase na asa o yobu)

source of lyrics and translation

by **Britonisea** » Thu Jul 14, 2022 2:00 pm

BITC Presents;
Live Coverage of the 100th Edition of the WorldVision Song Contest in Monterra, Kalosia
Your commentators for the evening are Rigas Jengiz and Cole Heiman.
Broadcast started 19:58 BST 19 July 2022, the transcript is after voting recap for SF1 opened...

>> RECAP <<

Rigas Jengiz: Now, please remember Britonisea! You're not supposed to vote in this Semi-Final - our chance to shine will be in just a couple of days!

Cole Heiman: Hopefully you guys will still be here and not watching the Olympic Games which I know will draw a huge number of people...

Rigas Jengiz: Oh yes, the Olympics starts tomorrow! Don't worry, we will get a second screen in and watch it in the corner during the second Semi-Final!

Cole Heiman: Solid plan that, but I'm not sure the Head of Music & Entertainment of BITC would be a fan of that comment, Rigas!

Rigas Jengiz: Welp, I guess I've gotta start thinking about being employed by BVC then!

Cole Heiman: Hahaha! Tonight, we will hear snippets from three automatic qualifiers - Polkopia, Elejamie and Carrelie - who also placed in the top 5 last edition.

Rigas Jengiz: Britonisea's Josh is also automatically qualifying to the Grand Final, but Britonisea votes in the Second Semi-Final, so we will have to wait a bit longer until we hear from our Joshie. Anyway, let's have a listen to what they've got to say about themselves shall we?

>> INTERVIEWS <<

Cole Heiman: Wonderful, well good luck to the participants from Polkopia, Elejamie and Carrelie! Let's see who will make up the top five at the 100th WorldVision Song Contest!

Rigas Jengiz: This Semi-Final shebang is so exciting, isn't it?

Cole Heiman: They should definitely keep it - just as long as we get a pass to the final every year!

Rigas Jengiz: Naughty, naughty! I'm sure it wouldn't be too bad if we had to go through the Semis - remember World Hit Festival!

Cole Heiman: We did boss it there, I think we participated out of fear haha of NQing!

Rigas Jengiz: A lot of nations have gone all out in fear of not qualifying! But it's time for another recap and then the voting lines close! And remember Britonisea, PLEASE DO NOT VOTE!

>> RECAP <<

Cole Heiman: And that's the lines closed!

Rigas Jengiz: We're due to find out the qualifiers very soon!

Cole Heiman: Right, some weeks ago, we were live in Junterapten as 15 wonderful acts took to the stage in the Junterapten Centre to showcase their song for WorldVision. They also had interviews either with Xavier Benchek or our very Rigas Jengiz.

Rigas Jengiz: Good fun, let's take a look at how it went down when we went subtue vhe luz Junteräpten - ooh na na!

JUNTERAPTEN PRE-PARTY VT
The BITC feed cuts to a pre-made video of the Junterapten Pre-Party with the first few shots showing establishing shots of the Junterapten Centre being packed with people, including fans. We see Xavier Benchek and Rigas Jengiz physically jump up from under the frame into it...

Xavier Benchek: Hello, hello, hello, wonderful fans of the WorldVision Song Contest! We are live in Junterapten, well not actually live, but we're doing this piece to camera live from Junterapten's legendary Pre-Party.

Rigas Jengiz: And so many fantastic performances are set to happen on this very stage!

There was a shot of the huge Junterapten Centre stage from the back of the concert area. We could see Rigas Jengiz and Xavier Benchek holding microphones and looking down the lens of a cameraman who joined them on the stage.

Xavier Benchek: Each act tonight will have a cute little interview with either of us as well - I'm not going to lie to you Rigas, but I am a bit nervous!

Rigas Jengiz: Oh, there's nothing to be worried about - you're a fantastic host! Right, they're about to open the doors to the public! Run, Xavier! We've gotta take shelter!

The pair of them run out of frame before we see a montage of people coming through the doors of the Junterapten Centre. We then went to Scotatrova's act for the WorldVision Song Contest. Between each question asked, the frame cut, suggesting these questions were not asked one after another:

SCOTATROVA | SEMI-FINAL ONE
Areceli Vasta - "Rewind"

Rigas Jengiz: Now, Areceli, you're the winner of ECS 2022 which is most definitely one of the biggest national finals out there - how was the process for you, did you expect to win?

Areceli Vasta: In all honesty, I didn't expect to win at all. I was surprised that I was chosen to represent my home state of Elejalde, let alone to actually make it to the final. There were 31 other brilliant acts this year and I'm just proud to have competed alongside them.

Rigas Jengiz: What is the story behind your song, "Rewind"? What can we take away from the song when you perform it on the 19th July?

Areceli Vasta: Well, the story behind 'Rewind' is told from the perspective of someone who believes that their relationship has progressed too quickly in a short amount of time, and therefore wants to 'rewind' and go back. I think that during the performance, I will emulate the emotions that they feel, at least I hope I to!

Rigas Jengiz: You have many fans in Junterapten here tonight, you have your performance in around 30 minutes - how are you feeling about performing at the pre-party?

Areceli Vasta: I'm feeling very excited to be performing tonight! It's the first time since the ECS 2022 Final that I'll be performing Rewind and I can't wait!

VOTE 12, VOTE SCOATROVA

STRAYAROOS | SEMI-FINAL ONE
Deratha - "Spin it"

Rigas Jengiz: Welcome, Deratha to Britonisea! I hope you've had a brilliant journey here. I would like to speak to you about Roovision! You managed to win it with 109 points - congratulations by the way! How was Roovision for you and what will you take from that to the WorldVision Song Contest.

Deratha: It was a decent show and it was good to win it this time - as I lost out a few editions ago to Unia!

Rigas Jengiz: How do you feel about your participation in WorldVision? How have you prepared for the contest so far?

Deratha: I've not really prepared to be honest. The only thing the team behind my song's been working on is other things...like trying to fix up the staging.

Rigas Jengiz: You're one of the few people that I am interviewing after you performed here in Junterapten - how did you find the crowd here at the Pre-Party?

Deratha: The crowd was nice! It feels good to be performing in front of the world for the first time!!

VOTE 07, VOTE STRAYAROOS

AXUVA | SEMI-FINAL ONE
YUNSEO - "So far"

Rigas Jengiz: Hello there, Yunseo and welcome to Britonisea! How are you feeling ahead of your performance in about half an hours time in front of the Junterapten audience?

YUNSEO: Well, to be honest, I'm feeling kind of nervous because of the fact that it's a performance and for me.. what comes with performances and nervousness, and I actually think its good for me to be nervous because every time I get nervous before a show rather its big or small, soon as I step on stage I just remove all the nervousness once I get further enough into the song and I'm just focused on performing."

Rigas Jengiz: What is your song "So Far" about - how personal is it to you?

YUNSEO: This song was made because... I was just being.... immature and just wrong and it was made from a past relationship that I was in and I just kept slipping up and eventually we broke up and this song was made because I was acknowledging and, I recognized what I was doing wrong as a partner but it was really too late for apologies and, thinks like that cause you know we're apart but while I was writing this song I realized that this song can really mix into like a double entendre because it could have a meaning for like, someone who has passed away and you can't reach them anymore, or someone you were in love with and you can't reach them anymore because they have moved, or you guys have just broken up and it really can translate into many things, so yeah."

Rigas Jengiz: How much would it mean to see Axuva place in the top 10 in the Semi-Final to qualify and then perhaps...top 10 in the final, do you think you have what it takes?

YUNSEO: It would mean a lot... mostly because number one, we have never done it, and number two...we've been waiting for a long time and yeah I do think I have what it takes cause I'm confident.

Rigas Jengiz: Could you give us any hints or clues as to what your staging will look like for the 100th WorldVision Song Contest?

YUNSEO: Um.. you'll see me up there, that's all Ill say for now. But this production is pretty good and I just really love how it all turned out and I can't wait for everyone to see it.

VOTE 04, VOTE AXUVA

BESEN | SEMI-FINAL ONE
JAZA - "Heart"

Xavier Benchek: Now JAZA, I want to learn more about you! Please could you tell me more about who you are as a person - your background, your hobbies...

JAZA: Well, what can I say... me and my family grew up in a very poor suburb of Lipa. Throughout my life, my mother would always push herself to provide for me and my sisters - unfortunately for her my very first and passionate hobby was piano, and of course it was expensive. In the end it all worked out though and when I started to become successful in the music industry I paid her back... and then some... which is great and I'm thankful for what I've achieved.

Xavier Benchek: You had your radio reveal not too long ago...how did your internal selection come about? Did you approach the broadcaster or did they approach you?

JAZA: Oh yes! It was so fun to hear my song be played on BAEN Radio 1, which is our largest and most popular radio station in the whole of Besen. I've worked with them a lot before and it was even more great this time because I got to debut my Worldvision entry of course! BAEN approached me and the process was really simple, we worked together to figure out every aspect of what the song would be and how to the performance would look, both parties were super hands on. Of course, I'm massively grateful for this opportunity that they have given me to perform in front of the world and for the world to hear my music, seriously.

Xavier Benchek: Are there any secrets that you can tell us ahead of your performance in the Monterra for the 100th WorldVision Song Contest?

JAZA: Uh, uh, uh. I can't tell you much haha. All I can say about our performance is that there will be a loooot of lights and balls. We've been quite ambitious!

VOTE 05, VOTE BESEN

TODLICHEBUJOKU | SEMI-FINAL ONE
Almatsi Mustonen - "Quarter To Two"

Xavier Benchek: Hello there Almatsi! Well, I wanted to start off by speaking about Starfall. You were in Starfall 2 but didn't represent Todlichebujoku at WorldVision...is there anything that you've taken from your experience there that you've either already brought to your WV100 journey already or will bring to Monterra?

Almatsi Mustonen: Oh, Starfall 2. Yeah, I'd say I learned two things off the top of my head - don't trust the odds, and stay humble. I was so heavily favored to top the semi-final - I don't think that news really made it internationally, but it was implied so much to me that I was a surefire qualification. So I went along with what the producers wanted me to do, act how they wanted me to act, feeling assured that I'd still make it through to Collision.. but well, as we know that didn't happen. I was honestly so devastated, and with the way I'd been acting, at least some in the audience must have felt some savage glee in my failure. It was so hard to keep myself from making a real scene, and I keep that in mind a lot, especially this latest Starfall when my sister Keeve also competed in the Pulsar heat and didn't qualify either. Luckily, she didn't take it as badly as I did, as I had been there before and was able to be by her side.

So yeah. I've learned to be my authentic self, on stage, and not let any sort of odds or outside opinions affect how I act. It's so easy to fall victim to the trap of having high expectations and being utterly devastated when they aren't met. You just have to know you did your best, learn, and move on.

Xavier Benchek: We're lucky in Junterapten as we're one of the first to hear your song, "Quarter to Two" - could you tell us a bit more about the song and the meaning behind it?

Almatsi Mustonen: It's heavily based on the fatalism borne out from the massive crisis we had some years ago, which continues to have aftershocks even today. Those of you who watched WorldVision 86 may remember the moment when a demon crashed the voting segment, but of course it was all the more horrible at home, with the government and corporations being infiltrated and exploited, with huge societal strife and infighting, all made worse by an uncontained hex and destabilizing reality. Even recently, after most of the damage has been healed, we are still learning of those in power using the chaos to further personal agendas, power, and wealth. One of our longtime Regents, in fact, was just discovered to have been complicit in the events, and that betrayal triggered me to come up with "Quarter To Two".

So with all that background, "Quarter To Two" reflects the attitude of, well, "fuck it, the world is ending, so let's have one last party till we die". It's kind of making the best of an abysmal situation, where things are so horrifically out of balance and dangerous that it's just utterly overwhelming to comprehend and respond to. We're stuck here, our choices are either to despair or to enjoy our last moments... and we will not despair.

Xavier Benchek: Todlichebujoku is one of the most successful nations at the WorldVision Song Contest, with seven wins! How do you feel about representing your country? Nervous?

Almatsi Mustonen: Oh definitely. We've had a wild ride of results over the past years - almost a decade back home I think, and with the recent string of good results, there's huge pressure to continue that, and not backslide into the long series of sub-top 10 placements we had not so long ago. But I'm here, and though I'm very nervous as to how everything turns out, all I can do is to do my best, and pray that the world will remember and love what I bring to the stage.

VOTE 06, VOTE TODLICHEBUJOKU

...WE KNOW YOU'RE BUSY BUT...

Xavier Benchek: Tonight there will be an after party and you have a VIP pass - will we be seeing you at the party tonight?!

Areceli Vasta: Of course I will be there, I'm quite looking forward to it.

JAZA: You can always catch me at the party that's for sure. It'll be great to see all of the other contestants let loose and we'll be able to have a night of fun together - it's gonna be great! My manager won't be happy but...

YUNSEO: Of course i'll be there but chances are I'll be at rehearsal right before so hopefully I don't get tired and like pass out, but yes I'll be there.

Almatsi Mustonen: Hah! Do you even have to ask? I've heard the Britonish know how to throw a good party, and though it won't be as wild and crazy as what the Achaeans put on, I'm sure it'll be one to remember!

Thank you to Tobu, Bes, Ax, Scot and Straya for completing these questions, good luck in the semi-finals!

At the end of the VT, we cut back to the arena after the performance of Stefanía Rovoles - it seemed as though they were ready to reveal the eleven qualifiers of tonight's Semi-Final...

Rigas Jengiz: Oh it's so great seeing that VT - the memories from Junterapten, just splendid! The after-party certainly wasn't as crazy as the Achaeans' parties but, Almatsi was right, it truly was an unforgettable night.

Cole Heiman: Amazing stuff! On Thursday, we will hear from some of the semi-finals two acts and also we will hear from the Banques sisters after their domination of WorldVision recently.

Rigas Jengiz: But NOW! It's time to find out who will be going to Saturday's Grand Final!? Let's go live to the arena to find out...

by **Britonisea** » Fri Jul 15, 2022 7:27 am

BITC Presents;
Live Coverage of the 100th Edition of the WorldVision Song Contest in Monterra, Kalosia
Your commentators for the evening are Rigas Jengiz and Cole Heiman.
Broadcast started 19:58 BST 21 July 2022, the transcript is after voting recap for SF2 opened...

>> RECAP <<

Rigas Jengiz: ...and that was Quebec & Shingoryeo rounding out the recap there - some exciting songs in that pack but Britonisea, it's now your time to vote for who you think will win the WorldVision Song Contest!

Cole Heiman: In all honesty, I'm quite shocked that this is a Semi-Final! I mean, 23 songs have just been performed and three other nations will be voting in this Semi-Final - it's the size of a normal contest!

Rigas Jengiz: Yes, especially back in the day! Speaking of three other nations, Britonisea - of course - as the winning entry last edition qualified directly to the Grand Final this edition.

Cole Heiman: We were drawn to perform in the 2nd Semi-Final, alongside Malta Comino Gozo and Kalosia - the hosts of the competition. During the interval here, we will be looking at a sneak peek of those nations' performances and hearing a bit from them too.

Rigas Jengiz: Yep! Josh Morris' staging is pretty exciting but in actual fact, I've got to shut up because we're going to hear from them right now!

>> INTERVIEWS <<

Cole Heiman: ...and those were your automatic qualifiers! I really hope you enjoyed that snippet of Josh Morris' performance and if you'd like to watch the full thing, you can find that on the official WorldVision YouTube page!

Rigas Jengiz: It was great hearing from him, right? He's really soaking up the vibe - I'm sure he will be just fine on Saturday.

Cole Heiman: Now, I believe we're going to go for another recap before the lines close. Junterapten hosted a fantastic pre-party for 15 WorldVision participants and after the lines close, we will be giving you a little clip of what happened there.

Rigas Jengiz: Oh yes, I had the opportunity to interview some of the fantastic acts of this edition's contest - they're all so wonderful, aw.

>> RECAP <<

Cole Heiman: ...and let's count down together, Britonisea! *counts*

Rigas Jengiz: Yes, that's it! Lines are closed! Please do not vote as it will not count and you still may be charged!

Cole Heiman: Right, some weeks ago, we were live in Junterapten as 15 wonderful acts took to the stage in the Junterapten Centre to showcase their song for WorldVision. They also had interviews either with Xavier Benchek or our very Rigas Jengiz.

Rigas Jengiz: Good fun. In this Part, we will have a chat to a couple of the Semi-Final 2 acts, alongside Malta Comino Gozo and Kalosia, who we just saw, let's take a look at how it went down when we went subtue vhe luz Junteräpten - ooh na na!

BEEPEE | SEMI-FINAL TWO
Norma Deen - "Upside Down"

Xavier Benchek: Hello Norma, you're my first interview tonight - you lucky gal. Could you tell me more about who Norma is as a person?

Norma Deen: Hi Xavier. Thank you so much for having me here tonight. I'm so excited to be here. Me? I'm a singer who loves just to sing and dance to entertain!

But I'm also a little shy. So when I get a little bit of personal time, I love to just watch a movie and veg out.

Xavier Benchek: Could you explain to me what your song, "Upside Down" is about?

Norma Deen: "Upside down" really speaks to me as a song. It's about those feelings of insecurity we all have and the changes that happen to you when you find that special someone. They come along and flip your world 'Upside down'. Also, it's a little bit of a bop and who doesn't like a bop?

Xavier Benchek: Out of the other WorldVision Song Contest 100 participants - is there anyone's song that you have on repeat?

Norma Deen: Obviously, "Nightmares" by Britonisea's own Josh Morris is on heavy repeat. Also Christina Louis' "Nuisance" from Antahbrantahstan... but there are so many good entries it's hard to choose just one or two.

VOTE 03, VOTE BEEPEE

HAFAMARIMET | SEMI-FINAL TWO
Nïlara- "Take"

Rigas Jengiz: Ahead of your appointment at the WorldVision 100, you won WorldVision Judadïl 100 - where it appears you were quite the favourite there, I mean you received a full set of votes from the Jury and won 65% of the televote. That experience must've been thrilling for you?

Nïlara: Yeah definitely! I hoped I would win obviously, but that was way more than I was expecting!

Rigas Jengiz: How does it make you feel about your chances in Monterra? It must've prepared you pretty well for the real thing?

Nïlara: *laughing* I don't think anything really can prepare you for WorldVision. Even the biggest arenas, it's not like you have so many people watching you on television and also voting! I think that's the scariest thing I can imagine, so I don't want to think about it too much. But I think maybe I could finish in the top ten!

Rigas Jengiz: Speak through your preparation for WorldVision between now and the live semi-final? Is your schedule busy?

Nïlara: Yes but I like to be busy! I have a lot of rehearsals and other shows, I'm also going to Dacharia and some other places. But to me, to perform is like a party! I get to have so many WorldVision parties leading up to the big one, so I feel very lucky to be busy.
VOTE 18, VOTE HAFAMARIMET

LLALTA | SEMI-FINAL TWO
Hana Uemura - "Apex of the New World"

Xavier Benchek: Now Llalta will be returning to the contest after four editions, with your last participation giving your nation 4th place - which is a fantastic result. Llalta generally has pretty good results at the contest - does this pressure you to do well this edition - which is expected to be very competitive?

Hana Uemura: I feel no pressure at all! I’m just honoured to be able to represent Llalta amongst so many incredible artists and so many incredible and diverse cultures, especially for such a landmark edition.

Xavier Benchek: Could you tell me more about your song, "Apex of the New World"? What is the song about and what does it mean to you?

Hana Uemura: “Apex of the New World” is about how, every person is made up of thousands of colours, like our personality, our past, our future, our identities. We are all like paintings, every second and moment another stroke on our canvas. Sometimes we make mistakes or we internalize our negative experiences, which can grow into much worse things, we can grow to resent ourselves, another shade on our canvas of life. However, the song is about never giving up and striving to be the best we can be. Accepting all our colours, and though we may not be perfect, that is perfect enough. As long as we keep going and love ourselves unconditionally and grow, we can all have hope! We can create our “new world” where we can finally love every single colour of ourselves.

It also contains multiple references to past Llaltese entries, a celebration of how far Llalta has come in the contest and the entries that came before it!

Xavier Benchek: The song was written by Esther Winterbourne, who has previously won the WorldVision Song Contest and of course, she is here today! How was it like working with a legend such as Winterbourne?

Hana Uemura: Esther is an absolute sweetheart! We actually only just met properly a few months ago, since I was too old and shy to really cross paths with her much back in Llalta. And you know, she is an inspiration to every Llaltese, and her music really helped me through homesickness when I was in university, near here, in Luton actually! So I was extremely starstruck when she actually reached out to me after I got signed to the same label as her, and I recorded a few demos with her. So by the time I was asked to participate in WorldVision, working with her was as smooth as butter! She is incredibly attuned to people’s emotions, so when she wrote the lyrics to the song, it was as if my thoughts were spilt across the page, her talented lyricism turned my mundane emotions into poetry. I would have been extremely happy to let her take the reigns, but she made sure to let me voice my opinions and my wants for the song, creating a more personal record. By the end, I was almost sad that it was over! She has such a passion and creativity that it honestly lit a spark in me, inspiring me to do even better with my music.
VOTE 22, VOTE LLALTA

MALTA COMINO GOZO | AUTOMATIC QUALIFIER (SF2)
Glen Ferguson and Kartha Gewart - "Take It From A Man Who Knows"

Rigas Jengiz: Now because there are two of you, I am just going to throw some questions out there, and then you can both respond to them or one of you - however you wanna play it we can do it! Right, so, how are you feeling after it was revealed that you would be Malta Comino Gozoan representative for the 100th WorldVision Song Contest?

Kartha Gewart: You go first Glen…

Glen Ferguson: No you first!

Kartha Gewart: Aha fine! Well, it’s kinda weird really! MCG1 and us BOTH had the same idea and the day we were about to contact them they contacted us, and invited us! We couldn’t believe our luck! We had to accept obviously!

Rigas Jengiz: You guys have a busy schedule ahead of the Contest. Of course, you guys have the pre-party...then I am assuming you'll be at Foundation Day in Malta Comino Gozo and then straight to Kalosia for the rehearsals for the 100th WorldVision Song Contest... How are you coping?

Glen Ferguson: Yh, we have such a busy schedule, as you said first the MCG Foundation Day Party followed by ALOT of TV appearances in MCG and radio interviews before a quick stop around mainly in Elejamie and ofc Britonisea! We’re coping quite well we’re used to this Worldvision Whirl! After all, this is our second time!

Rigas Jengiz: And WorldVision? How prepared do you guys feel about the contest?

Kartha Gewart: We’re very calm, I know we have a lot to live up to in terms of results as Malta Comino Gozo has really been turning it up on the Worldvision stage but at the end of the day we’re just happy to take part again!

KALOSIA | AUTOMATIC QUALIFIER (SF2)
Eva Renati - "MeowMeow"

Xavier Benchek: Your journey to get to the WorldVision song contest wasn't easy! You were of course selected via FKK - do you think that has helped you in terms of nerves and what to expect for the WorldVision Song Contest 100?

Eva Renati: Honey, nerves are nothing new! FKK has definitely helped me build confidence in my own entry, but that festival is a whole different party compared to WorldVision. I'd say what really helped me set my expectations is my past WorldVision experience, when I entered in WorldVision 64.

Xavier Benchek: What was the first thing you did when you won FKK2022?

Eva Renati: I was in disbelief! I had not been one of the favourites in the betting odds, and MeowMeow is an experimental and risky song compared to the kind of music that people expect from FKK. Of course I had to get up on stage to accept the trophy and perform again, but once the show was over, I went backstage and called my mum.

Xavier Benchek: Could you reveal to us how different your performance will be from FKK2022 to the 100th WorldVision Song Contest?

Eva Renati: Of course it will be different, since FKK does not emphasize staging and optics as much as WorldVision does. While I had a backing band at the festival, for WorldVision we will have dancers instead. I think I'll save the specifics for the on-stage rehearsals though!

Xavier Benchek: Well, we've asked pretty much everyone here today and now I am going to ask you too - so...will we be seeing you at the Pre-Party After Party tonight? Its in only forty minutes - it would be great to see you there!

BRITONISEA
THE BANQUES SISTERS

Xavier Benchek: Oh look who it ain't! It's Miss Kelsey Banques, the winner of the 81st WorldVision Song Contest!

Rigas Jengiz: How are you doing my lovely, you still seem to have lots of fans even though you went to WorldVision...nearly 20 editions ago!

Kelsey Banques: Yes! Can you believe it? Boschke was such a long time ago, wow. Anywho, it's great still having the support from the fans after this time and I've still been involved in the WrorldVision circuit, singing backing vocals for my sister when she went to WorldVision...in fact, she's right here!

Rigas Jengiz: Oh hello Aaliyah!

Aaliyah Banques: How are you guys, you look hot today - the pair of you!

Xavier Benchek: Aw, thank you darling! Aaliyah, we just asked your sister but could you tell us a bit about how you feel about your WorldVision experience and whether it still affects you now almost 10 editions on?

Aaliyah Banques: Honestly, it's been great - I mean...WorldVision 90 was very dramatic and all, and Vha Mehlodhivestoile was so difficult but I gained so much from it and I also gained a lot of fans as well, and their support has been fantastic.

Rigas Jengiz: Obviously last edition was our first win in 12 editions, what did you guys think of Petre's performance?

Aaliyah Banques: I was in love with it honestly, it was a deserved winner and we won with such a huge points margin - it really shows that the song resonated with both the jury and the televote, and not just one or the other like in my case haha. But yeah, it was fantastic and probably one of the best Britonish performances ever.

Kelsey Banques: I mean, Josh has a lot to do to try and top Petre's performance, it was stunning. I've been in Vha Mehlodhivestoile a couple of times and I remember Petre being there. Of course me and him both qualified in 2018 directly to the final and we were in the final together in 2020 so to see him get to the final in 2022 and then go on to win - I was so proud of him. We're great friends and he usually got frustrated at Vha Mehlodhivestoile so I know this win probably meant the world to him and on his sixth attempt he went HUGE and won with an impressive score so, yeah! I was literally in tears seeing him celebrate...

Aaliyah Banques: ...she was!

Kelsey Banques: Yeah, I'm so excited to see my boy tonight.

Xavier Benchek: And of course, you mention our Josh - how do you rate his chances at the WorldVision Song Contest?

Kelsey Banques: You know, Josh has a fantastic song that is very Britonish and I think that if he brings the stage performance, he will do exceptionally well. We've seen him win the World Hit Festival and I know it would mean a lot to him to become the first on stage singer to win both contests and I think he's got a good chance, definitely.

Aaliyah Banques: It's always difficult representing your nation after you won, but we've seen Taron Woods still win, we've seen some spectacular finishes after we've won - top three I think we got the last three times we won so there's obviously...yeah. We are sure Josh will make Britonisea proud regardless.

...WE KNOW YOU'RE BUSY BUT...

Xavier Benchek: Well, we've asked pretty much everyone here today and now I am going to ask you too - so...will we be seeing you at the Pre-Party After Party tonight?

Eva Renati: Yes of course! It's been very fun so far but the night is still long. See you soon!

Aaliyah Banques: ...ummmm yes!!!

Kelsey Banques: Drinks on you!

Kartha Gewart: Absolutely we’ll be there!

Glen Ferguson: Where there’s wine and beer we are there aha!

Nïlara: *laughing* How could I miss such a good time!

Hana Uemura: Haha, we’ll see. If I were to go it would be my very first party! Well, big party at least. But then again, I am not sure whether I would really like to go. There is a reason I have never been to a club…

At the end of that of Hana's response, we cut back to the events happening in Monterra, as we reached the end of their interval act...

Cole Heiman: Oh, I hope Hana ended up going in the end!

Rigas Jengiz: I won't say, I won't say! At the final we will hear from the rest of the pre-party acts, including Petre Lemetre as well - he did make an appearance!

Cole Heiman: But we must move swiftly on and find out who will qualify to that final, should we?!

WorldVision Song Contest 100 | Semifinals | Monterra KLS

Estogium | AMIRAH - DEJA VU (withdrawn)

Official Commentary by BITC, Semi-Final 1

Official Commentary by BITC, Semi-Final 2

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