Worldvision Song Contest 110 | IC | Ous

by **Ugunnustan** » Tue Oct 17, 2023 9:22 am

YUG presents

The Worldvision Song Contest 110: A World Of Music!

by **Ugunnustan** » Tue Oct 17, 2023 9:23 am

Ous is a city of 1.9 Million people, and the capital of the Akhtir province, and now, the first city in Ugunnustan to host worldivsion! The city is a gem on the Caspian coast, lined with resorts, white sand, palm trees and casinos to get lost in as you explore the endless opportunities the city offers. Tonight, all of your favourite countries are here ; with the hope to rule, A WORLD OF MUSIC!

As the intro video finishes playing, we find ourselves in the cultural heart of Ous, The beach! A drone view races along the beach, showing the beautiful clear waters of the Thotay bay, Before turning and showing the various resorts lining the coastline, We zoom into one specific one ; racing past lines of palm trees and happy holiday-makers, Sat at the bar we find Qodor, He has a colourful drink in his hand, he smiles at the drone and waves it on, it flies out of the resort and we see views on the city from above. Sprawling sandstone apartment complexes and houses line the city, at the centre of it all is the Jura tower, the second tallest building in Ugunnustan, The drone flies up to the top, showcasing the offices as it travels, standing on the roof is Jaina ; She is set up with a beach towel and suntan lotion as if she is sunbathing, Finally the drone flies down from the bottom of the tower, and out of the city, We continue to see views of townhomes and resorts as the sun begins to set. Standing far out into the desert is Irada, she smiles at the camera and motions for it to follow her as she travels down a massive sand dune, The camera slowly turns into the dune and fades to black.The camera transitions into the arena, as an animation of the marble on the logo spinning plays, it slowly spins off to the side, before rolling out of frame, and the camera arrives at centre stage. It is quiet for a little while before three tall columns of sparks shoot up from either side of the stage. The three hosts all run out together quickly, They arrive at the centre of the stage, raise their hands, and take a bow together. Stood on the left is Irada Rose,Tiktok star and Green Room queen! She is wearing a long sleek black dress, Her hair on her shoulder, gently curled, Next to her in the middle stands Qodor, He is wearing a beige suit, with a crisp white shirt and black tie. His hair up in a small man bun to the back of his head, Finally Jaina is on the far right, She is wearing her hair up in a bun like Qodor, although considerably less messy. She is in a smart white blouse with ruffles in the front, and a short black jean skirt, she has a large leather belt through the middle.

Jaina-Hello everyone! And welcome to the Worldvision Song Contest 110!

This is met by a large cheer, the camera pans out to the audience, showing fans feverishly waving flags. We see some Ugunnustani fans holding a large White banner, with the flag stretched across the background, and Ugunnustan in big letters spread across it The camera then pulls back in, before Irada continues.

Irada-And also a big welcome to Ous! We are so excited to have you all here for our first ever hosting of worldvision!

Jaina-Ugunnustans first ever hosting! How exciting! Ous is such a beautiful city, and I'm truely excited to be here.

Qodor- Now I may be ever so slightly Biassed, But I'm really quite glad to be in Ugunnustan so early! I remember watching worldvision on the floor of our flat in Dougaç when I was little. And I would’ve never imagined that Worldvision would come to Ugunnustan so early!

Irada- It’s so exciting to have Ugunnustan competing in a contest like this ; Feels like only yesterday I made my podcast episode on High heels.

Jaina-High heels was definitely.. A song.

Qodor- You didn’t like it!?

Jaina- All I’m saying is that-

Qodor- (Cutting in) I’ll have you know that High heels was a really important entry for Ugunnustan beca-

Irada- Qodor you talk too much.

Qodor-Yeah, ok right : now of course I know you are all incredibly excited for us to get started and just want me to shut up and get into the music-

Jaina- (Cutting in)I want you to shut up.

Qodor Shoots Jaina a pretend dirty look, as the crowd begins to laugh, the camera then pans towards Irada as she begins to speak

Irada-While I don’t doubt we are all already getting bored of Qodor’s voice ; we do have some boring stuff to get through first, Which is where our resident french expert comes in. Oh wait, thats me!

‘Une fois tous les actes accomplis, vous pourrez voter, soit nous appeler, soit simplement envoyer un SMS ! Mais bien sûr, vous ne pouvez pas voter pour votre propre pays, des conditions générales s'appliquent.’

Qodor-I have no idea what she is saying.

Jaina-Neither do I, but for those of you who are equally as illiterate as we are ; may I remind you that you cannot vote for your own country, and please don’t try to vote if you are watching on demand, as you may still be charged!

Qodor- (Shudders)I did that once.

Irada-Of course you did. Now; I think it's time for some music! Anyone ready to dance? Anyone ready to Move your body? Well this is the track for you! This is Shafira Aloseva :

Tune

The camera pans away from the centre of the stage, and towards the back, Where Shafira Aloseva can be seen walking out. She is in short denim shorts in a pale blue, and a black tube top, she has a large chain hung around her neck, the microphone is pressed up close to her lips as the track begins to play.

You can see Shafira's large circular prop. It's massive, just to mimic her 108 performance, and sits in the dead centre of the stage taking up a lot of the room. It has a higher quality LED panel now on it, with the higher budget of YUG In 110 in comparison to 108, and so its projecting a bright orange spiral.

The music starts and Shafira begins to sing, she stands in the centre of the circle. Her backup dancers begin to walk in from the side, There is 3 girls and 3 boys, which are split between the two sides. They are wearing Traditional Flamenco dress, based off of the flamenco inspired sound that the song has, The walk up the side and stand next to the platform with Shafira.

The Massive LED screen at the back is almost entirely a deep orange, There is two massive Marble logos on the screen in the background, recoloured to match the colour scheme of the performance, Red orange and yellow, that pulse along with the music The Lyrics to the song are also projected onto the back, They are in big white letters, with a crimson outline, The bounce along with the marbles, The music notes circling them.

While Shafira sings, she confidently walks around the platform, On the second line of the first verse, she stares into the crowd, before flipping her hair over her shoulder and turning her back to the audience, She runs her hands slowly down her sides. Now she is up on the stage she feels more confident than ever. She imagines she is just back in the club, dancing, like no-one can remeber her in the morning.

Oh
Woah no
Can your eyes be on me 'cuz I know you aint Listenin'
When I give you the look like a marathon you go runnin'
trust me, to cause all the trouble in the room
Pull in crowds with my new perfume
When I leave for the night don't wait for your text

In the Pre-chorus the 6 dancers all make their way onto the platform along with Shafira, they all stand in a line behind her, 3 facing towards the audience, and 3 towards the back wall. The camera races past the stage low down, showing the whole stage, everyone gets ready for the chorus to begin, While they dance on the platform, The camera pans out into the audience to show their excitement, many flags and banners are shown. This matches Shafira’s new found excitement for the performance, There is no pressure on her now, just good clean fun.

woah oh

Cuz you need a little spice
I give the ride of your life (Hop on)

As the Chorus Begins, the platform begins to slowly spin around, The Lyrics stay on the back wall, but are now also on the platform below the dancers. The camera pans above them to show this. on the Line ‘Dance you way down to the floor' Shafira begins to slowly make her way down, before stopping with one Knee on the floor, She winks at the audience as she sings the line 'Move your body' The dances behind move backwards and forwards in beat with the music, They mime out many of the lyrics (They run their hands from their eyes on the line eyes on me etc.), although they stay standing up While Shafira is on the floor.

For the Next line Shafira quickly jumps up, It is clear she has become more confident on the stage as she signals for the crowd to sing along with her, Which is met by a loud cheer. She spins and faces the back, moving around with the platform, She flicks her hair over her back shoulder, as she spins around to the audience, she mimes driving a car for 'Pull up in a ferrari, While this happens, The graphics on the back walls are replaced with a hot pink ferrari, Its a video from a previous photoshoot, where she lays across the front of the Ferrari. The lights also begin to flash Red as the end of the chorus draws closer. After 'lets go like it's your last dance baby' All the dancers and Shafira move into a line on the platform, and dance in sync, They sway their hips from side to side in sync along with the music. The marbles begin to roll across the stage, crossing the various LED screens placed around and about.

When I walk in through the door
Want your eyes on me
Dance your way down to the floor
Move your body
Convince your man to give me a chance
Pull up in a ferrari
Lets go like its your last dance baby
Move your body

Move your body
uh huh move your body

As the second Verse starts Shafira steps off the platform, And begins to strut side to side along the back of the stage, The massive LED back wall has reverted to showing the Lyrics in the same font and colour as before, along with the trumpets. On the line 'Designer dress no less' she turns to face the audience to show off her dress. Or at least she did in the original 108 performance, she isn't exactly wearing a dress tonight: she nonetheless shows off her outfit, swinging her large chain. When she reaches the other end of the stage she stands with her hand on her hip as she sings the last line. Just off camera, the backup dancers all get onto the platform, Which begins to spin.

If you wanna give me a go don't be said when I say no ( Dont be sad cuz I said no)
And when they stop and stare know that I'll give them a show
When I, Show up know I dress to impress
Designer dress , no less
But I'm not property there's a price y'know (Woah)

The Pre-chorus doesnt give her a lot of time to get back to the stage, and so she is forced to speed up considerably to make it back in time, You would’ve thought she would have given this moment a bit more thought in her time since worldivsion 108, and the subsequent tour she went on, but no. She still has to run in a bit of a panic to the main central point in the stage where her dancers are already lined up, ready for her, she managed to slot in quite quickly, only just making it in time, if not a tad winded from the run.

Cuz you need a little spice
(Cuz your life needs spice babe)
I give the ride of your life
You wont forget it tonight (Hop on)

She begins to dance along with them. They act out most of the actions that are sung, and sway their hips from side to side, They still have the same lineup as before, With 3 facing towards the back, and 3 facing towards the front. As the platform Spins albeit Quicker this time, a smoke effect is set off , Which begins to flood the bottom of the stage, Lights are used to illuminate it a deep orange, The stage almost looks on fire. The Background Graphics,Originally they showed videos from her nightclubs in Uraq, her home city, and while they do still showthose. They are interspersed with clips of her time in Ous, Performing at the historic walls, wandering the streets at 2am, Etc. She looks genuinely happy in most of the videos, she definitely enjoyed herself, a Lot of the videos have filters that mean they have a focus on the song's colour scheme of Red Orange and Yellow.

When I walk in through the door
Want your eyes on me
Dance your way down to the floor
Move your body
Convince your man to give me a chance
Pull up in a ferrari
Lets go like its your last dance baby
Move your body
Move your body
Uh move your body

Now the Build up happens, As the music begins to build up to the belt, The platform begins to slowly rise, It continues to spin however, The smoke machine effect is stopped, as the smoke begins to spiral Upwards towards the platform. After the line 'When I leave for the night don't wait for your text' All of the lights and effects suddenly cut out, except the back wall. Which has the Worldvision 110 logo , However instead of saying ‘worldvision’ it says ‘Move your body Ous!’

You can move your body babe
Move your body honey

When I leave for the night don't wait for your text

As Shafira belts the Line, all of the effects come back on. She is standing with her head tilted back, Her long Blonde curls falling over her shoulders. The camera races past and upwards over the stage, at a dutch angle.The fire effects have been turned on, creating massive columns of sparks that are almost as tall as the platform, The platform is at its highest height, And is also still rotating. When she finishes the line she quickly chucks her head around to give a wink at the crowd, causing them to go wild. The camera zooms in a specific fan, with a large Ugunnustan flag placed around their neck, Upon seeing the camera they quickly whip it up to show the camera.

Move your!

As the chorus starts, Shafira whips her head around to the front, and struts towards the edge of the platform. She follows the platform around as it spins, So that she is always at the front, she has an anger in her eyes, her left hand on her hip. On the the line 'dance your way down to the floor' This time, she stays up, and the backing dancers dance down, The back wall has now transitioned back to the images of the clubs from uraq, with the lyrics superimposed across the top, Although spliced in between is images of People partying in the clubs.

Shafira still mimes all of the lyrics she sings (I.e the wheel on ferrari) , Although for the most part she is walking, following the platform around.

When I walk in through the door (Walkin' honey)
Want your eyes on me (All eyes on me now)
Dance your way down to the floor
Move your body
Convince your man to give me a chance
Pull up in a ferrari
Lets go like its your last dance baby
Move your body

As the chorus draws to a close, The platform begins to lower: Allowing Shafira to step off. Some viewers with good eyesight may spot the circle frantically being wheeled away for the next performance. She rushes to the front of the stage to yell a chaotic mess of thanks yous and I love yous. No iconic quips about Soldqyr this time however. He’s still a bitch though, I’m sure she would maintain.

Hey move your body, Move your body
Move your body
Move your body oh yeah yeah yeah
Dance and move your body
Move your body!

Tune
The public don't get a break, Shafira rushes off the stage as the cheering continues throughout the audience, The camera zooms out, showing the stage, still pulsing from the previous performance, and the audience, jumping up and down excitedly, some eagle eyed viewers may notice Klara preparing to perform on the stage, She runs down into centre stage as the track starts.

Už nevedela som, čo mám robiť a už
Sa m’ do psychiky vkradla úzkosť
Cítila som sa ‘ko v pasci bez úniku
V pekelných mysli, plnej odporných hrôz
Odmietol som pokračovať
Niet cesty späť, dušu nemám

The introduction to her song started to play, the first notes of the melody resounding all over the stage and the word “BLUDISKÁ” in white on the black background of the LED visuals appearing for a few seconds, before vanishing and Klára finally opening her mouth, ready to sing. A sole light source from above her came into existence, shining brightly over on her, while the camera showed her lying on the floor singing from a couple of different angles, amplifying the purpose and use of her intro’s pitch dark setting. Klára wanted to portray with due simplicity and straightforwardness the melancholic sensation of being depressed, of life losing its color that had already faded away…that everything was, quite metaphorically, in black and white. This is reflected in the band at the back. Obscured in a deep shadow. Klára jolts out of her state and stands up, holding her microphone, at the passage the lyric ‘Odmietol som pokračovať’, before looking up at the sky at the advent of the next lyric, ‘Niet cesty späť, dušu nemám’, and closing her eyes.

Zefyry v pekelných nociach
Začal ma ovládať strach
Z kómy, som sa prebudila
Videla, ž’ všetko horí

Bludiská
Bludiská

Klára motions and gestures a snap on her fingers, to which the LED visuals seemingly respond to by displaying a series of flames on the ever-so-appearing pitch black background. She opens her arms wide before continuing to sing, this time with more accentuated emotion in her voice. To her, this part symbolized the feeling of doing something yourself, or instead taking the initiative to make a change, escaping and finding a solution to your problem in the process, the problem in this case being her juvenile depression, which she faithfully combatted face-to-face with her newfound fervor for music as a child. After the lyric ‘Videla, ž’ všetko horí’, the LED visuals once again fade into black, before coming back into life as a plain white background fills and gives necessary light and illumination to the entire stage. Klára’s black dress is seen providing a contrast between her and the white LED background, and the visuals as well as the overhead lights go frenzy on the mention of the second ‘Bludiská’, being turned on and off in quick consecutive successions.

Od duševných pút, som slobodná
Od kľukatých bludísk
Nezanechám stopy ‘ni krv
Labyrint, labyrint

On the advent of the first lyric, the flickering of the LED visuals as well as the overhead lighting come into an abrupt halt. The background LED visuals then transition into a display of a series of flames characterized by having warm colors ranging from red to yellow, burning on a video background which was completely black. Before the first line starts as well, Klára quickly steps onto the tilted square platform before the flame machines on its edges are activated. The camera pans with Klára as the object of focus in the second line, ‘Od kľukatých bludísk’, before a cameraman gets onto the stage and captures her while going around the platform once in a circular manner for the succeeding line, ‘Nezanechám stopy ‘ni krv’. In anticipation for the next stanza, the LED visuals begin playing a pre-recorded video of Klára herself trying to find her way out of a real maze.

Od duševných pút, som slobodná
Opustenej kobky
Tak oheň môj útek stráži
Z bludiska, peklo ‘ž niet

Bludiská
Bludiská

Once she finished the performance, a camera came close in to her as she begins to make her way to the back of the stage, it centres on her stage, still in a stoic position following her performance, When suddenly the darkened lights at the back of the stage lift, revealing Blackvet, Klara’s favourite band, The camera captures every minute detail of pure excitement, a shocked smile tugs playfully at the corner of her mouth, She runs up to them excitedly, and the camera follows, they walk off the stage together, Klara very happily talking away to them.

Jaina- That was exhilarating, What brilliant performances!

Qodor- 100% And there is much more where that came from!

Irada- Much more! So many more countries are competing, let's have a look at some of them in the flag parade, starting with the land of seals Crustyland! Let’s see if they get our seal of approval!

The music begins to play, our three hosts wave to the audience before running off the sides of the stage, as the first entrant enters, waving their flag up high, The lights and colours around the stage all move along with the tune, The name of each country is placed in big letters at the centre of the stage in the same font as the postcards, Crustyland is first, How exciting!

by **Ugunnustan** » Tue Oct 17, 2023 9:24 am

by **Crustyland** » Tue Oct 17, 2023 11:12 am

Joanna Coften

Tune

Joanne Coften is a highly talented artist and dancer from Crustyland and has made a remarkable comeback in the world of music and entertainment. Born in 1987 in Rannk, Joanne has been passionate about music and dance since a very young age. Her exceptional talent and dedication have made her one of the most celebrated artists in the nation.

Joanne has previously represented her country in the Worldvision 87 contest held in Peeto. Despite having a credible entry, the country placed 32nd out of 38, which was a significant setback for the nation. However, Joanne's determination and resolve kept her going, and she returned to the contest in WorldVision 94, where she secured the best place for her country to date, finishing an impressive 8th position, something the country would love to see happen again.

Joanne's achievements are not limited to her music career. She holds a degree in music and entertainment, which is a rare feat in Crustyland where most people struggle to even graduate from secondary school. Her academic brilliance has complemented her artistic talent, and she has become a role model for many aspiring artists and students. Apart from her career, Joanne is happily married and enjoys spending time with her family and friends. Her music and dance performances continue to inspire many, and her passion for her art is always clear in every performance she delivers.

The nation of Crustyland had always struggled to achieve a decent ranking in the WorldVision Song Contest.The last time they made it to the top 10 was way back when Joanne Coften performed her legendary song "Glass". However, this year was different. Crustyland had high hopes for their entry "Look Away" by Cedric McGerban & Juliana Montain in WV104, and they were expected to do well. Unfortunately, they only managed to secure the 15th spot in the competition.

Despite numerous attempts in the past, the highest they ever reached was 14th place. The country's broadcaster CRAP, had struggled with budget constraints, and the quality of their songs varied greatly. However, the people of Crustyland were determined to prove themselves and gain recognition in the multiverse. They knew it was hard to be taken seriously when their previous performances included a mother seal and her baby on stage. This time, they were more determined than ever to make a mark. They were ready to put on a credible performance that would showcase their passion and talent in music. They hoped that this would be the contest that they finally achieved the coveted top 10 spot and gained the respect of the multiverse.

Crustyland had been drawn to open the show in Ous, so as soon as she had sauntered down the stage for the flag parade to rapturous applause in her elegant green dress, it was time for her to head immediately backstage again to get microphoned up. She would be wearing the same green dress for her performance. Joanne's dress was elegant and eye-catching. It had a sleek and simple design, with a fitted bodice and a flowing skirt that fell just below the knee. It was a bright and deep emerald which complemented her light skin tone beautifully. The dress was made of a soft and lightweight fabric that moved gracefully as she walked, and it was accented with a subtle shimmer that caught the light in a captivating way. CRAP had hired only the best dressmaker in the country to create the stunning dress. They had the budget and they were going to use it.

The postcard came to an end, and the lights of the arena gradually faded into darkness, as did the camera. However, it didn't stay black for long, as it faded into a stagecam shot that seemed to float at the edge of the stage. The sound of an acoustic guitar being played could be heard, and the open bars of the song it was playing sounded quite sensual. The sound of the acoustic guitar was rich and full-bodied, with clear and crisp notes that resonated throughout the arena. The strumming was gentle yet steady, and it seemed to fill the air with a warm and inviting sound. As the camera moved closer towards the stage, a magnificent white gold spotlight shone on the centre of the stage, where Joanne appeared to loud cheers from the crowd. As she stood there to her right on the stage, the bright spotlight shining down on her, she clutched the microphone tightly in her hand, her gaze fixed on the floor. The camera, now hovering just inches away from her, captured every detail of her nervous anticipation. With a deep breath, she lifted the microphone up to her lips, and a hush fell over the crowd.

Standing just off centre, she turned to the camera hovering right next to her and she began to sing. Her brown hair was styled in loose waves cascading down her shoulders. She had a natural and subtle makeup look, with a light foundation, a touch of blush, and a nude lip colour. Her eyes were accentuated with a thin layer of a neutral eyeshadow shade. The camera continues to pan out until we have a full-body shot. The audience cheers again. For the last line, Joanne turns her body towards the camera, exuding confidence and poise. Her head tilts slightly downwards, but her eyes remain fixed upwards, glistening with determination. With a sly smirk, she snaps her left fingers together, unleashing a brilliant burst of florescent pink/purple light, which comes from behind her hand and engulfs the entire stage in a stunning pinky purple glow.

I've been lost in the maze of life...
Looking for a way to feel alive...
But your voice cuts through the noise
And helps me find my way

She struts forward in her heels, her right hand now on her hip and microphone in her left hand. Joanne is joined by two female dancers who appear from the back and strut over to her on either side. One of the dancers is wearing a red sequin mini dress with matching stilettos, while the other is donning a black leather crop top and high-waisted pants with black knee-high boots. Dozens of bright, fluorescent purple spotlights cut through the air. The surrounding strips next to the back wall and along the top of the stage flash neon white and pulse along with the music.

The camera cuts to various body shots and close-ups shots of Joanne and her dancers, and several close-up stage shots. All three women now perform some simple yet flawless synchronised choreography. The choreography almost mimicked the words as they pointed to their mouths for the first line and waved their hands in front of their eyes for the second line. The dancing was mostly arm movements, but moved around the stage. Throughout the performance, the camera would never stray from stage camera shots and remained fairly intimate with the group the whole time. For the last line, we have a shot of each dancer giving them some screen time.

Use your words wisely my dear
And I can see it clear
You light up the darkest night
With just a few simple lines

We have a head on shot of all three women now as they stood centre stage. They stood tall, like soldiers, their posture upright as they almost mimicked a violin being played, but instead, they spread their arms wide and pulled them in and out to the violin on the backing track. The violin and bass blast through the arena. All the while, the stage remained fluorescent pink and purple, the spotlights swirling around. Joanne accompanied the instrumental with a quick "Oooh" , and the choreography kicked up a notch. As they moved across the stage, the three women's synchronised dancing choreography was shown off. Joanne always had a way to bring a little sex appeal to her performances, something subtle and PG yet noticeable. Her emerald dress accentuated her figure and flowed seamlessly as she danced.

The camera races in from the side, and we cut to various stage shots of them all. Their moves were perfectly in sync as they executed a series of intricate steps and fluid movements. Their arms and legs moved in unison as they spun, twirled, and leapt across the stage. The purple lights cut through the stage, sometimes glimmering off the camera lenses. As the instrumental section of the music ends, the camera focuses on Joanne's face in a close-up shot. Her eyes are fixed intently on the camera, with a slight hint of a smile playing across her lips.

I've been searching for a sign
A reason to keep movin on
But your words are like a guiding light
That helps me find my way!

The next verse opens with one of the spotlights sweeping across the camera and transitions to a upper body shot of the three women. The stage remains fluorescent purple, but the spotlights remain static. The backlights are now neon blue. As she sings the opening lines a scattering of words spread across the back LED " Passion", "Love", "Adore" and "Words". Their bold white text appears and flies forward on the screen and disappears quickly. Joanne gestures every line she sings, mimicking the words into her routine. She places her hand across her chest as she sings " that sets my heart on fire ". Her dancers remain by her side, copying the same routine but leaning and bending with more flexibility, showing off their dance moves.

You have a way with words...
A way that sets my heart on fire
On on fire
And when you speak
The world just fades away and all that's left is you and I

The chorus hits, and the purple spotlights start swirling and the camera cuts to various body shots and close-ups shots of Joanne and her dancers, and several close-up stage shots. All three women now perform some simple yet flawless synchronised choreography. The choreography almost mimicked the words as they pointed to their mouths for the first line and waved their hands before their eyes for the second line. The dancing was mostly arm movements but moved around the stage. Throughout the performance, the camera would never stray from stage camera shots and remained fairly intimate with the group the whole time. For the last line, we have a shot of each dancer giving them some screen time.

Use your words wisely my dear
And I can see it clear
You light up the darkest night
With just a few simple lines

The stage cam pans toward a facial shot of Joanne before quickly cutting to a full stage shot. The vibrant purple lights bounce off Joanne's skin, illuminating her every move as she struts confidently to the left. The stage floor reflects the dazzling lights, creating a mesmerising effect. In the background, the dancers move rhythmically to the beat of the music, their bodies fluid and graceful.

I've been searching for a sign
A reason to keep moving on
But your words are like a guiding light
That helps me find my way!

As the song progressed to the violin instrumental dance part, Joanne and her dancers moved gracefully across the stage, their movements perfectly in sync with the music. They mimicked the sound of the violin being played with their dancing as if they were playing invisible violins themselves. The camera angles shifted constantly, capturing the intricate details of their movements. The stage was still bathed in swirling neon purple lights, adding to the ethereal and magical atmosphere of the performance. A scattering of words spread across the back LED " Passion", "Love", "Adore" and "Words". Their bold white text appears and flies forward on the screen and disappears quickly. As the instrumental continued, Joanne sang out a "Ooh" and she and her dancers spun around, their movements becoming faster and more frenzied. The camera zoomed in on their faces, capturing the intensity and passion in their expressions as they performed.

The lights dim, leaving most of the stage in darkness apart from Joanne and her dancers, who are bathed in soft yellow spotlights. Their movements are much slower and sensual now. The male backing vocals soar out now as Joanne and her dancers sing their parts over the top.

Use your words wisely my dear
Dear dear
And I can see it clear
Clear clear

The camera swiftly shifts to different angles, capturing Joanne standing at the center of the stage, bathed in soft white spotlights illuminating her every move. The dancers behind her sway casually and sensually, their hushed singing adding a great undertone to the performance. Joanne exudes a mix of bitchiness and cheekiness as she runs her hands down her dress, her eyes fixed on the audience, and sways slowly to the rhythm.

Use your words wisely my dear
Dear dear
And I can see it clear
Clear clear

The male backing vocals harmonise in perfect synchronization with Joanne now. The tempo of the music picks up, and the dancers become more energetic, moving in perfect rhythm to the beat. The anticipation builds as Joanne prepares to hit the final chorus, her voice filling the hall with an electrifying energy as she sings the last line. The lights around the edges of the stage start to build rapidly.

Use your words wisely my dear
Use your words wisely my dear
Use your words wisely my dear!
My... dear!

As the chorus kicks in, the stage is suddenly engulfed in a massive explosion of bright white light and pyrotechnics that shoot out from the edges, creating an awe-inspiring visual. The camera now is a full shot of the stage, capturing the front part of the audience in view. Then, we cut to an off-centre camera angle from halfway across the back of the arena, which rapidly races towards the stage, capturing the energy and excitement of the audience along the way. The audience erupts in thunderous applause as Joanne and her dancers march towards the edge of the stage, their movements exuding a fiery passion. They reach the edge of the stage and begin some more choreography.

Use your words wisely my dear
And I can see it clear!
You light up the darkest night
With just a few simple lines

The camera cuts to an onstage camera as the backing singers continue singing, Joanne lets out an impressive "Ahhh" which she nails. The three women all do a quick spin on the spot in perfect sync. The camera cuts nearer to Joanne and she interacts with the camera stretching out her arm. Joanne then turns to her left and her voice soars upwards, increasing steadily in volume and intensifying from a more relaxed vocal sound to an anguished belt as she shows off her vocal range beautifully.

I've been searching for a sign
A reason to keep moving on
But your words are like a guiding light
That helps me find my way!

For the violin instrumental dance part, Joanne and her dancers moved gracefully across the stage, their movements perfectly in sync with the music. The Oohs ring out into the arena. They mimicked the sound of the violin being played with their dancing as if they were playing invisible violins themselves. The camera angles shifted constantly, capturing the intricate details of their movements. The stage was still bathed in white with swirling neon purple lights.

Ooh!
Ooh!

The camera cuts back to a centre-stage view and the lights begin to dim as Joanne and her dancers wrap up the song. In a high octave, Joanne sings the last two lines as she and her dancers finish dancing.

Use your words wisely my dear!
Use your words wisely my dear!
Use your words wisely my dear!
Use your words wisely my dear!

As the song comes to an end, the stage lighting shifts to a dazzling white hue and the camera zooms in on the group of performers. The whirling lights begin to converge on them. Joanne lowers her arms to their sides and tilts her head at a slight angle. The dancers on both sides kneel down on one knee and strike a finger-gun pose as they are illuminated brightly by the dazzling lights.

The energy in the arena reaches an explosive level as the final notes of the first song fade away. Joanne and her dancers gather together in a tight embrace, overcome with the rush of emotion and adrenaline. The crowd roars with approval, their cheers echoing throughout the arena. A brief shot of Joanne wiping away tears shows just how much this moment means to her. The camera then cuts to a sweeping view of the ecstatic crowd, waving flags and jumping with excitement. Joanne, still caught up in the moment, takes a graceful bow before addressing the crowd with a beaming smile. "Thank you so much, Ous!" she exclaims. Not only had she opened the show she was touched by the crowd's approval. She knew everyone back home would be so content with her performance. They leave the stage, ready for the next act.

by **Carrelie** » Tue Oct 17, 2023 2:53 pm

Tune: Kero Kero Bonito - Flyway

Those Who Do Not Learn From History

...are doomed to repeat it. For M^lle Okamura, the Haruhati-Carrelian artist who was noted for coming close to dead last at the 60th World Hit Festival, these words were commonplace. She'd always wanted to give things another try, to prove that she could to better. In fact, she needed to go again. She tried and tried to get back into the spotlight, but the most she got was a spot presenting the Carrelian votes before she cut her losses and returned to the monotony of daily life. The rest of the world seemed to always be pushing back against her - but why?

Of course, she'd experienced such rejection before. As a child, she'd split her time between her Dourien home of Ascraux, a quaint market town nestled near one of the Rhine's tributaries, and her Haruhati home in Kabuchuo, a relatively busy town a while out of the city of Seiga. She adored her father Shigeru and his home in Kabuchuo, as well as the culture of Haruhata, but she was forced to spend most of her time with her mother in Carrelie. As per usual, she fell in with the usual monotony of things. She tightened up her image, presenting her Carrelian self as a content girl with a secure but ultimately unremarkable future ahead of her, someone who'd probably work an office job for some 40 years before retiring and ultimately dying having acheived little of note. However, for the months she spent in Haruhata, she was an entirely different person. After all, she was part of RoKit! Sure, her father had had to pull some strings to get her into the semi-popular group, but she managed to blow people away once she got in. Her mother Selene was never supportive on this, and after Shigeru died in 2013, she decided that her daughter would remain in Carrelie, and (as the girl saw it) without a bright future, indefinitely. Dejection followed.

But in dejection came an opportunity. The chance the young girl had always wanted to try again. Her uncle Tetsuo was not the (metaphorical) heavyweight his brother was, but he still had some connections, and - more importantly - a strong bond with his niece. She pleaded with her mother, who, after months, finally acquiesced. But as she packed her bags and prepared to leave Ascraux for a long while, she felt a strange emptiness. In abandoning this place, she was abandoning a part of herself. She stepped onto the plane, and into her future.

...

Of course, that was years ago now. Okamura is a woman now, one who still splits her time between Carrelie and Haruhata. She still waits for second chances, which is why she was so overjoyed when the notoriously financially irresponsible STC asked her to represent Carrelie in WorldVision. She would finally have the chance to prove herself again, and she would be going off to Ugunnustan!

Performance

Seiyama streets are paved with
Loneliness all around
I trip myself and land on
Shikidabashi ground
Who am I to say what you are
Who am I to know when you get back
To Kabuchuo

I tried my luck in Kyusen
Burned to the third degree
Changed faces at Yamato
For Miminotani
私はあなたのもとへ
電車に乗る。どこにいる？
I’m coming home to Kabuchuo

Who am I to say what you are
Who am I to know when you get back
To Kabuchuo

The city streets are blinding
株小子に連れて行って
I feel a ghost in Seiga
株小子に連れて行って

by **Llalta** » Tue Oct 17, 2023 2:54 pm

Me Me Me Me 3

by **StrayaRoos Barrier Islands** » Tue Oct 17, 2023 3:19 pm

4 | SBI
ScoMo-mo-mo-mo-mo

by **Mother CupcakKe** » Tue Oct 17, 2023 11:20 pm

⚝ Mother CupcakKe ⚝
Deepest Regret by Victoria Boudoir

Tune: After Hours ~ The Weeknd

Mother CupcakKe's broadcaster 'Kristine Jenster Broadcasting' knew they would need to create an entry unique enough to gain recognition as a nation with considerable talents for its debut, regardless of the threat of performing poorly. With Victoria Boudoir, they worked tirelessly to create their vision a reality. Deepest Regret is a six minute song, which is both unusual and a typical dislike in WorldVision. Despite the potential for no success, KJB and Victoria decided to keep the entire length as it will create memorable entry, and paint Mother CupcakKe as a nation willing to take risks and ambitious to break the typical constructs of a WorldVision entry.

The song conveys an immersive story, which audiences experience through the carefully-crafted lyrics and stylistic choice of outfits and staging. The entire performance was made with the storytelling aspect considered, so each element is an essential building block which make this song special. Deepest Regret is a story of a woman who betrayed their partner experiencing very strong feelings of regret and self-hatred, leading to borderline insanity, and is her message to the one she wronged, hoping for some closure and relief to the endless pain she suffers.

Victoria Boudoir was driven to write this song after seeing countless happy relationships, and her wonder of what the opposite would look like.

"I always see so many couples walk down the streets happy and together everywhere I go and it always warms my heart that people are able to find this someone. But I am someone who always gets into the theory of things. that's just who I am, so I began to wonder one day, 'What would the opposite look like?', and the concept really fascinated me. So I started to write concepts of song about hate, but those never really reached a great result. Eventually, I thought back to the source of my curiosity - a happy relationship, and that sparked an idea. A once-happy relationship that somehow fell apart and led to negative emotions. Feeling like this was something with more substance, I went into one of my deep brainstorming sessions, and eventually the premise of Deepest Regret came to be. A relationship ended by someone's betrayal, leading to their own pain. Couple days later, I was contacted by Kristine Jenster Broadcasting about how Mother CupcakKe was going to debut in WorldVision and asked if I was interested. Two weeks later, Deepest Regret came to be, and I'm really proud of it. It's an honour to represent my country in their debut!!! I am really excited to perform it, because it is certainly a unique experience."

Lyrics:

Intro:

0:00 ~ 0:11
The instrumental begins. White lights illuminate the centre of the stage, while the background screens remain blank. Three dirtied walls, which are actually screens, stand in an incomplete rectangular shape to form an empty room. Victoria, sitting cross-legged facing the audience, looks absent and does not react to the change of lighting. She is wearing nothing but a worn-out white rag and white socks, to symbolise complete carelessness of her wellbeing and appearance, as well as to mirror the stereotypical look of an asylum patient. Staring into space, she slowly rocks herself back and forth, seemingly lost in thought. Victoria's behaviour implies that she has gone crazy, something has happened to her. But what could it have been? Just as the audience mulls this over, Victoria begins to sing at the lower end of mezzo-soprano.
0:11 ~ 0:39

Talking to myself, making my head spin
Screaming in this hell, as these walls close in
All alone in my tomb
Stepped on us before we bloomed

When the usage of bass in the instrumental begins, the lights turn red and now cover the whole stage. Fog begins to emerge from fog machines and covers the stage floor. Victoria slowly stands up, but lacks balance and goes to the wall on her left to lean on. As the verse progresses, the walls begin to close in on her slowly, but receives no attention from Victoria - she is used to seeing rooms shrink around her.
0:43 ~ 1:18

Oh, my brain revolves 'round you
Keep wishing we weren't through
Can't exist on my own
Lose my mind at the tone
I want to make things right
Should've done more to fight
Us being a team
Is now a long-lost dream

1:18 ~ 1:50
The room has reached the size of a human cage. As the instrumental somewhat reverts, white spotlights are now switched on and move around relatively fast across the stage in a random fashion for the next two lines. The disorder of lighting arrangement is a representation of Victoria's mind within the song. After the two lines, the lighting resembles how it was during the introduction.

All alone in my tomb
Stepped on us before we bloomed
Praying for some relief
Stay with me, without you I can't leave

1:45 ~ 2:25
When the baseline resumes during the prior line, the lights (now faint) begin to strobe, matching the beat. At the same time, multiple backup dancers come on stage, wearing very long, black coats to conceal what they are wearing underneath. The dancers gather towards the centre with their steps in beat with the song, creating an eerie atmosphere due to how unnatural it looks. Victoria also walks this same way, inching out of the room. As the melody begins, Victoria suddenly begins walking normally out of the room to go behind it and the dancers, also moving normally, spread out around the stage and start a simple dance to the beat. At the same time, the three screens are lowered slowly to the ground, and the wood appearance is removed so they resemble the ground.

Main Song:

2:25 ~ 3:03
Victoria re-emerges as the screens lower, wearing a grey hoodie with pale white detailing. The outside of it was peculiarly soft, contrasting the tough, dark atmosphere created by the song. Her vision required practical clothing to conceal the rag she wears in the beginning, and the hoodie facilitated this need. Accompanying this typically insignificant piece of clothing were jeans, a pale blue, that have begun to lose their colour after constant usage. (It is Victoria favourite pair of trousers to wear, and she wanted to wear it tonight for good luck.) These pieces of clothing covering the past outfit represents how she is repressing her true emotions and personality, trying to fit in with everyone else.

She starts the next verse (and the main song) at a higher pitch within mezzo-soprano. Yellow light immerses the entire stage as the dancers all pull out flowers of various colours from a massive pocket in their coats and stop dancing. They slowly walk around the stage clockwise, orbiting Victoria in the middle. Victoria looks around as if she saw something in the fog in the corner of her eye as she sings, and progressively acts more anxious through the verse by looking behind her back and walking with uneven pace to show how her mind is focusing on what could be 'watching'.

Walking past flowers
All I could see was you through the suffocating gloom
Always running away from facing the solemn truth
Trying to be the clever one and see, and see
That I did you wrong
Sneaking out of the house for fun like a stupid dog
Would always lie 'bout everything, concealed like fog
Wish I wasn't such a bad cliché, cliché

3:04 ~ 3:21
The fog machines stop producing fog, so the stage gradually clears up. The dancers throw the flowers to the audience and quickly form a triangle shape behind Victoria to start the choreographed dance for the chorus, where many of the moves match the words/theme of the lyrics. Despite the generic choreography, Victoria and the dancers adds substance to the dance with their passion and the raw emotion conveyed in the song.

Now I just
Cry on the floor like I saw a ghost
Can't do a thing; get me diagnosed
Your silence tears me apart, apart

3:21 ~ 3:56
Quickly, a city high street during the day is displayed on the previously blank backdrop. The dancers scatter and remove their coats, throwing them towards the stage exits and act like pedestrians on a street on either side of Victoria, while she slowly walks on the 'road' and starts the next verse. The lighting remains yellow, but then changes to blue every ~second, in sync with the backdrop changing to night time and the new layer used in the song's instrumental. This portrays the passage of time, she has moved to a new city and days go by but nothing changes for her, she still feels the same. Her walking on the 'road' shows that she is out of place - she is not from there and doesn't feel like she belongs there.

Running from our town
Ensuring that you won't ever catch a glimpse of me
Might start missing this hell hole, at least to some degree
Searching for some trashy hotel, trash hotel
This is my farewell
I lived such a nice life before I became untrue
Stood back and watched as I let the chaos ensue
I deserve all the wounds I'll get, I'll get

3:56 ~ 4:32
Similar to the previous chorus, the dancers reform the triangle shape and begin the same dance as before. The lighting colour switches to red. This time, the full chorus is sung instead of just the first half like last time. During this second half, the lighting fades into a soft pink and the spotlights are brought back and roam the stage. The dance is now less representative of the lyrics but still conveys the theme of mental instability and being lost.

Now I just
Cry on the floor like I saw a ghost
Can't do a thing; get me diagnosed
Your silence tears me apart, apart
Oh-h-h, I just
Scream at the mirror, trying to atone
Project on others, now I'm all alone
I'm tearing myself apart, apart, yeah

4:33 - 5:15
The backdrop is removed and the lights turn off. Amidst the darkness, you can make out the backup dancers taking their coats and trailing off the stage. One white spotlight hits Victoria, as she begins the bridge into the final chorus with a vocal belt, to show that she is shouting at herself because of what she did. As she sings, a couple of tears begin to brew at her eyes, representing the emotions of the character of herself that she created living in this song.

I truly screwed up hard
Your trust forever scarred
Betrayed you, no regard
No one can clean this debris
Your heart, I threw; our home, I blew; him, I pursued
I went on flings, ripped Cupid's wings, you threw the ring
I broke your heart, you fell apart, we can't restart
Always think 'bout how I roamed

5:15 ~ 5:54
The three screens from the start of the performance begin to rise again, with Victoria standing inside them singing with a solemn tone. She slowly falls to the ground, and crosses her legs. The screens, now risen and looking like the same walls as before, now start to expand. The stage has reverted to the way it was at the very start, showing that nothing has changed in the six minute story: Victoria is still suffering just as much as she was before. As the chorus progresses, the spotlight gradually fades out, until the final line when it finally stop shining.

So that's why I just
Cry on the floor like I saw a ghost
Can't do a thing; get me diagnosed
Your silence tears me apart, apart
Oh-h-h, I just
Scream at the mirror, trying to atone
Project on others, now I'm all alone
I have torn myself apart, apart, oh

5:54 ~ 6:01
With the song over, the stage is illuminated as it is usually, and Victoria ecstatically thanks the audience and walks off the stage, thus ending her performance.

by **Tummylandia and Susistan** » Thu Oct 19, 2023 1:34 am

withdraw grahhhhhhhhhhhhhhhhhh

by **Todlichebujoku** » Thu Oct 19, 2023 12:53 pm

07. _Tödlichebujoku_

Home

Vana Mo

Tune: AGA - "MIZU"

Lyricists: Vanamo, ir cit. • Composers: Vanamo, ir cit.
Language(s): English, Taploukki

"WELCOME TO THE OUS!!!!" exclaimed the coach bus driver, alerting Vanamo and the rest of the Tödlichebujoki delegation to turn and peek out the windows to the sunbaked landscape all around. There was endless space in this unforgiving desert, and the Ugunhustanhi made full use of that vast resource. The highway itself looked wide enough to comfortably house 3 grand temples, side by side, with surrounding gardens and sacred trees as well. Where the highway cut through areas of skyscrapers, it seemed like a great canyon, a rift in the earth that could swallow up a metropolis on its own. And yet, somehow the road was packed with vehicles, as if every single human being (including children and infants) in town had been given ownership of a personal vehicle to careen about with reckless abandon. It was almost as if they were compensating for something. Like sense. Or wisdom?

Vanamo didn't pretend to know the ins and outs of Ous and its house of (possible) louts. All she knew was that it was in one of those freshly wealthy nations, riding an economic boom off the lucrative deposits of oil scattered throughout the countryside and inland sea. But still, the ostentatiousness of the environment around her was hard to escape and impossible to ignore, and she idly wondered how this would all look like in 30 years, or 50. Ah well, here was the hotel. Unsurprisingly, the building played off an amalgam of a 1001 Nights, exotic desert Turandot aesthetic, elaborately plastered in gold trimmings and turquoise accents, and the mandatory palm fronds appearing anywhere a splash of green had been desired.

This was a very far cry from Haruhata.

The heat was utterly unforgiving as she stepped out of the air-conditioned coach. It wasn't even entirely dry heat, either, as waves of humidity drifted in from over the Caspian like an invisible, suffocating fog. Vanamo idly hoped to at least float around in the sea for a bit, and have a look at some of the rock outcroppings outside of town. But first... there was a little bakery she had noticed amongst the blinding lights and glare of the Ugunhistans sunshine, and come hell or high water (most likely hell in this sunbaked desert) she would stop by for some snacks. Hopefully she wouldn't be mowed down by one of the many erratically driven cars roving about in Ous. After taking a breath and sorting her things in the much-needed cool blast of her room, she stepped back out into the unrelenting sun.

The gauntlet of vehicles whizzing by proved to be less intense than expected, and Vanamo cautiously wafted into the bakery, a soft clinking of a bell announcing her presence. A nervous-looking man haunted the counter, and the two nodded to one another before swiftly breaking eye contact. Ah, one of her kind of people. She mused over the selection in the shop, a bit shocked at the variety of goods on offer. She'd expected some breads, some buns, and maybe a pie or a cake, but here was quite a variety of breakfast items and desserts, and even some candies as well! This was all too tempting and she'd rapidly be finding herself immobile and stuffed to the brim in her room if she snatched up everything that caught her eye and palate. So she perused, and hummed, and hawed, and thanked the powers above that there wasn't anyone else waiting on her to finish up and get on with it. Eventually she made her selections, which were packaged up in a lovely little box, and turned out to be quite hefty despite her self-restraint. As she turned around to leave, she noticed a little dining area up against the front windows with a nice view of the street, luckily no longer bathed in sunshine. Hmm! She gave into temptation, and settled down in a chair to watch the people and traffic go by as she munched on a luscious pumpkin samsa. As was her tendency, she found herself slipping into deep thought.

It still felt a bit odd, finally being out representing the nation on her own instead of doing so as a part of Sasechaya., that project she had been a part of for so long, she pondered even as she'd performed quite a few times solo by now. But all good things come to an end, and those involved in the project found themselves interested in an array of new ideas, pulling them all into a number of different directions. Of course, the demise of one thing is the genesis of another, and thus, Vanamo's solo career came into being. She had not been on her own for too long before the call came out from TÖBUK and Estegoa100, and after answering and being accepted into the 4th edition of Starfall, she joined what the execs considered to be a dream cast of performers and entries with the potential to take the world by storm. Though she was considered more of a domestic favorite, Vanamo found herself rocketing through the PULSAR semi-final and easily reaching the upper echelons of the COLLISION grand final. After jockeying with Delilah Summergrave's thunderous "Ravenous Heart" and PAYLUNIKKA's dance banger "Finally", Vanamo eventually could not out run the latter, and squeezed into a solid second place with the prize of being the nation's next World Hit Festival entrant. Spirits were high in the nation regarding its impending results in the coming WorldVision, with whispers of a possible 9th win waiting in the wings. Overly optimistic predictions aside, most were very comfortable with assuming a podium or near-podium finish, what with the ongoing trend for Starfall winners to continually rise in results. But, even when you do all you can in your power to ensure the coin lands heads up, sometimes you still get tails. And poor PAYLUNIKKA went tails up in WorldVision 108, ending that night with a shocking 7th place, the worst that a Starfall winner had done thus far. In the greater scheme of things, it was not a bad result, but after all that expense and time spent on ensuring the best result possible, it was a catastrophic letdown, only barely above the nation's average of 8th place over its entire WorldVision history.

Vanamo grunted as she remembered that fact and wiped her mouth with a napkin. It was particularly unfortunate in the light of her group Sasechaya. being a regular in the mediocre middle of the results and continually being referenced as robbed and underappreciated talent among fellow Tödlichebujokis and some international fans. With PAYLUNIKKA's choke in WorldVision 108, who knew how the 2nd place in Starfall would fare? Sure, she had managed to win the 71st World Hit Festival, which she was extremely thankful for, but in the end that was a contest between 8 nations, smaller even than Starfall's grand final alone. Her greatest challenge was now upon her - she knew she'd be thrown into the unforgiving and chaotic mix of the WorldVision the moment she did well in the World Hit Festival, and now, almost in a blink of an eye, she was here.

The light took on a rosy tone as the sky blossomed into brilliant shades of tangerine and peach. It must look amazing over the waterfront, Vanamo mused as she tucked the box closed and got ready to catch a taxi. Hopefully it wouldn't be too late by the time she got there, but either way she'd get around to seeing the Caspian sunset eventually. Despite all the stress and expectations from her solo WorldVision debut, she resolved to enjoy as much as she could in the moment.

Mother CupcakKe might be a tough act to follow, but we will do our best.

Perhaps the slightest hint of midnight blue is visible in the darkness of the stage. Some faint starry effect lights begin to shine from the back, broadening just a little bit to create a just barely noticeable suffuse glow, serving as a backdrop to Vanamo's silhouette. She is perched atop a soft cloud suspended a good distance above the stage floor, the cloud being backlit by an icy white spotlight that causes it to glow with diffuse light like a nebula in deep space. With wavering rays of light radiating from all around her, she begins to sing. Haunting piano notes play as the camera view takes her in, a close view with her back to the audience, but with her head turned just slightly, before coasting outward, all the while her voice ethereal and dreamy

Ihmettelen, yos itkisin,
Elunginen, anyoonin üli
Kuulisitko küüneleeni,
Putoavan táhtipölüyá?
Ooh...

Her cloud drifts down to the ground, and Vanamo steps out, clad in a slim velvety black outfit studded with rhinestones like constellations in the night. Her face, too, is decorated with glimmering white crystals, and her hair is done up in a tight bun that is held in place by a collection of polished wedge-shaped platinum hairpieces in the formation of an ancient cuneiform glyph for "star". The camera lens has a filter applied to it that exaggerates points of lights into 8-rayed stars, creating a softly dazzling effect as light glints off the hairpieces and crystals. Vanamo thrusts herself forward from the cloud, an arm outstretched toward the camera view, but opalescent chains hold her back from leaving the grounded cloud entirely. She regards them in despair, before turning back to the camera view in resigned defeat, and behind her, the background of darkness and starry points begins to give way to light

Your eyes, they spark, with crystal light
My heart burst forth, yet bridled by ice
Those diamond chains, I sought to break
But brittle bones, remind me of age

Gathering her spirits back up she gestures around her, the screens around her, the camera view just angled so all that is visible are the screens, show street scenes from various nations, along with scenes of nature and famous attractions. She looks enchanted with the deluge of sensations, distracted from her imprisonment, before turning back to the camera, which by now has no fancy lenses to distort the image. The lights and imagery just barely thrum and pulse to the rhythm of the beat, like a heartbeat, as Vanamo turns her attention upward, with the screens becoming dominated by views of the night sky from the level of the ground - ringed by the tops of trees and buildings

Foreign lands, they tempt with their sights
Heartache serves to warm my distant plight
Reaching toward our past in endless sky
Will we ascend when we die?

She collapses to the ground, now with only a single light shining upon her face as all the screens around her and on the floor create the sensation of her tumbling through outer space, with stars whirling all around her. She gazes outwardly, unfocused, as if dissociated from her reality, astrally projecting across the dimensions of space and time to her past on a world so deeply embedded in her memory that she could never extricate it from her psyche. Her body lies limp, completely beholden to the imagined vagaries of physics as stars and galaxies freewheel all around her in a chaos spin that would leave a more attentive viewer nauseous. Perhaps there are some scintillating visual effects sprinkled into the periphery of the footage- it's honestly a bit hard to tell unless you know exactly what to look for amidst the dazzle and the movement. Luckily, all focus is concentrated on her face, coasting in from various approaches as she sings, her mind lost in another world entirely

So long without you
Our souls attract though heavens tear apart
Now I plunge into
Into the velvet of the vast unknown
Return home

Her eyes closed in deep contemplation, she executes a series of "dance" moves on the floor - perhaps more like artistic writhing specifically timed to the music, that would make Noa Kirel quiver in her designer boots - as she continues to careen through space. Soon, of course, the episode ends and Vanamo rises and opens her eyes to gaze back up and out. Around her, the lights are warm and the screens depict pastoral scenes of streaming sunlight and receding clouds, to which she reacts with surprise and disbelief, along with a glimmer of tentative hope. It feels like it's been so long

The storm clouds break, to welcome sun
These shackles yield, to what I've become

She finds her pearly fetters easily removed, and casts them down while she rises up, eyeing the area around her with caution, and finding a conveniently located area of pure black glossy stage to gaze into her reflection with, and ponder her journey in life. Of course, she has little time to actually do so, before striding forward out forward toward the edge of the stage, where a silver vintage style microphone stand awaits. Near the edge of the stage, she wafts a bit of glittering silvery powder into the air, watching it form a shimmering cloud as it descends. Behind and around her, we once again witness a view of stars reeling about, but this time at a slower pace and more controlled, and white spotlights rove and flash around Vanamo as she sings the chorus

Stardust sprang us into new life
Moonlight pulled us through the coldest night
Reaching toward our past in endless sky
Will we ascend when we die?

Fog creeps along the stage floor around her, and wafts slowly from the edges of the stage screens behind her, with various lights in the far back shimmering and glimmering through the mist. With a sated, and blissful smile she continues, whirling herself about and creating vortices of mist behind her as she does so. She is unafraid of death and mortality, for she knows that there is always more to come. For now, she bathes in her sensation of liberation, free to embrace adventure and exploration through the planes of existence

So long without you
Our souls attract though heavens tear apart
Now I plunge into
Into the velvet of the vast unknown
Return home

She dances, in a very restrained yet soulful manner, with a twirl around the microphone stand, much like her dancing earlier but translated to a vertical position. The camera view starts up from the stage floor where it is wreathed in mist, before slowly rising up her legs, and arcing upward as it ascends her body, which is in continuous motion, light gleaming and flickering from the various starlike crystals embedded along her outfit and in concert with the polished platinum hairpieces up at the very top of her form

Nousim táhdistá
Ya táhtiin me putoam taas
Nousim táhdistá

You could get lost in the microcosm of movement, the interplay of light and shadow, crystal and fabric, body and accessory, that dominates the ever-dynamic view as Vanamo works her body and voice to the music. She is no longer simply a singer in the room. Perhaps she is ascended, as the sigil formed by her shining hairpiece not only signifies a star but additionally a divinity, a goddess freed from her terrestrial prison to hold court once more in the heavens above. Her audience is in all directions, being every resident of every star in the universe around her, watching in rapt attention as she wields her power and commands the physics in her presence. Almost supernatural, she is yet still so very real

Nousim táhdistá
Ya táhtiin me putoam taas
Now I plunge into
Into the velvet of the vast unknown
Return home

The bit of floor upon which she stands begins to rise and slant forward over the edge of the stage, pouring a curtain of mist all the while, so it seems like she is rising on an arching waterfall of cloud that glints and flares with lightning and electric fire. The ambient lighting and screens fade into darkness, with just starry lights in the far back behind, the glowing mist all around, and a single spotlight on Vanamo as she rises once more into the heavens, an arm outstretched to finally reunite with the one she had left behind so long ago. A dreamy expression encompasses her face as she peers out into the far beyond, at something that could not be quantified within the mere confines of the space in which she stood

Ihmettelen, yos itkisin,
Elunginen, anyoonin üli
Kuulisitko küüneleeni,
Putoavan táhtipölüyá?

Kuin sunkumsi, houkuttaa'aina
Niin saivalam, palaavat kotiin

The glow suffusing the mist fades out, first from the stage, then slowly from the base of the extended platform upwards to the top. As that portion fades into darkness, so too does the light on Vanamo, who closes her eyes in a peaceful rapture, now with both arms outstretched as if to welcome an impending embrace. Of course, we do not simply see the embrace, for all we mortals can view is the ultimate embrace of darkness that envelops the final tableau, the final shape that comprises many a destiny in this existence we share

"Kiitos Áüs, thank you Ugunnustan!" she cries out once the lights illuminate the interior of the Müsqa arena once more. She took in the sights and the sounds, inhaled a great breath to drink in the moment one last time. It was, perhaps, the final act of her journey in the spotlight, and she vowed to fully appreciate this final memory. And with that, she smiled one last time in gratitude, bowed, and made her way off the stage, to slip back into comfortable obscurity.

by **South Batoko** » Thu Oct 19, 2023 12:57 pm

8. SOUTH BATOKO
ПАЎЛИНА - Мөя/Твөя
Transliteration: PAWLINA - Möya/Tvöya
Translation: PAULINA - Mine/Yours
Music/Lyrics: Paulina Haśtan (Паўлина Гаштан)
Tune: Pommelien Thijs - Erop of Eronder

THE ARTIST

Paulina Haśtan (Batoko: Паўлина Гаштан) is a South Batoki singer, songwriter and actress. Born November 9th, 1993 in Qefta City, she rose to fame after coming second place in StarSong Kids 2003 (Batoko: ЖүлдүзЯн Балин 2003-ан; translit.: JüldüzYan Balin 2003-an) with the original song Өрт мөя (translit.: Ört möya; English: My Fire). Shortly after her victory, between 2005 and 2008, she played the role of Hannah in the RTBO Kids slice of life comedy series The House of Aunt Yoline (Batoko: Дом Тетан Ёлинан; translit.: Dom Tetan Yolinan). Later, in 2018 and 2019, she played the role of Valona in RTBO's The Magical Ones (Batoko: Иж маґикали; translit.: Ij magikali), before finally releasing new music in 2021 with the albums Ақ (translit.: Aq; English: White) and Қара (translit.: Qara; English: Black). Now, RTBO has selected her to represent South Batoko at the 110th WorldVision Song Contest with her song Мөя/Твөя (translit.: Möya/Tvöya; English: Mine/Yours).

THE PERFORMANCE
VERSE 1
Two "apartment" structures¹ have been positioned on stage, facing each other. The floor screen shows a road between the two, ending just in front of them, while the ones at the back show a day sky.
The camera does an aerial shot of the entire stage, zooming in and turning to being in front of Paulina's apartment. She is wearing a brown jacket and black jeans.

Жарөқ күнан қүлит терез мөя боц
И увидим ти

The camera moves to be inside her apartment, showing a man (Eyden Toqayan (Ејден Тоқаян), her husband) fixing something on the ground before looking up at Paulina and waving. He's wearing a black jacket and some black suit pants.

То жүз кан бөувидит терез твөя боц
Көзи єж сен ми

The camera moves to a closer aerial shot of the entire set-up. They lean slightly out of their "windows", looking at each other.

Лај адөри, неєбенб кајөри
Таг, еч любав сал өсєт

The camera once again changes to be by Paulina's apartment. Paulina looks at the camera.

Єм ґотов кешү қадам келес ечан боц
Дя, еч ґүлденєт

PRE-CHORUS 1
She pounds her fist against her chest a few times, before the camera turns to be in front of the window again.

И лај любав кан агөрит, тошто шедаминб
Бенөланит ми сен то телик...

CHORUS 1
Paulina gestures according to the lyrics: first pointing to one of her eyes, then pulling her cheek up, then moving her open hands in a circular motion.

Бүжат бир көзқүл и еке күлики
Биқ сезанб илшан ле фантастики

She walks down the stairs to meet Eyden, who has already moved down to the middle of the stage by now.

Қазир, тү билис ко қал болим твөя

Eyden crosses his forearms over his torso, then unfolds his arms.² He then quickly kneels in front of Paulina, who pulls him up and holds his hands while looking into his eyes.

Бүжат то уси сөзи и бир тиџөк
Бүжат ақир дерун сен еч марөк
Қазир, я билим ко қал болис мөя

VERSE 2
The "apartments" are turned around. Wedding arches are drawn on the other side. The street on the floor screen has changed to a wedding aisle.
The camera moves to Paulina, who pulls out a wedding weil from the back of her jacket and puts it on, before taking off her jacket, revealing a long white wedding dress.

Илшан бенґотовам туўак мөя
И көроб ақ де

Similarly, the camera moves to Eyden, who takes off his jacket to reveal a tuxedo.

Илшан танөдас көнелек матпак твөя
Дя, ґотов єст ше

The camera changes once again to be in front of the both of them. Paulina crosses her arms over her torso, turning it towards the camera, then back to Eyden.

Я некан күтим, та врєм күтан өлим ле

Paulina grabs Eyden's hands, pushing them down with each syllable. For each of the last five syllables, the pyrotechnics go off shortly.

Биқ үлтој єст танда

The sky on the LEDS has turned to night by now. They hold each other's hand and sit down facing the camera.

Тоз бү еке кеѕесенб тотүнде күпяў
Нур аян аста

PRE-CHORUS 2
Like in the first pre-chorus, Paulina pounds her fist against her chest, before standing up again.

И лај любав кан агөрит, тошто шедаминб
Бенөланит ми сен то телик… (Уўо-о-о-оў)

CHORUS 2
She grabs Eyden's hands again and pulls him up. The camera cuts in time to the music from Paulina's eyes to Eyden's eyes, then from Paulina's mouth to Eyden's mouth.

Бүжат бир көзқүл и еке күлики

Eyden takes Paulina into his arms, before spinning her around.

Биқ сезанб илшан ле фантастики
Қазир, тү билис ко қал болим твөя

The two dance together in swing style.

Бүжат то уси сөзи и бир тиџөк
Бүжат ақир дерун сен еч марөк
Қазир, я билим ко қал болис мөя

BRIDGE
Eyden lifts Paulina up and spins her around, the camera following her.

Ти да, я жанумим
Я жанумим, дя, я жанумим
Ти да, я сүбатим
Я сүбатим, о-оў

Eyden puts Paulina back down. She then walks around him while the camera follows her from the side, first pointing at him, then moving her open hands in a circular motion, then pointing at him again, then pushing her hands down. At the final "гү-ү-үм", she turns her torso towards the camera.

Ти да, я жанумим
Я жанумим, дя, я жанумим
Ти да, я сүбатим, гү-ү-үм

CHORUS 3
She takes Eyden's hand once again, turning the both of them facing the audience. With the camera positioned behind them, they start running.

Бүжат бир көзқүл и еке күлики
Биқ сезанб илшан ле фантастики

The camera switches to an aerial shot of the entire stage. In the background, various clouds shaped like hearts and the words "МӨЯ" and "ТВӨЯ"³ float across the sky.

Қазир, тү билис ко қал болим твөя
Бүжат то уси сөзи и бир тиџөк
Бүжат ақир дерун сен еч марөк

Having reached the front of the stage, they stop. They look each other in the eyes for a bit, after which, on the last note, Paulina jumps into Eyden's arms so that he is support her by her legs.

Қазир, я билим ко қал болис мөя

The audience cheers and claps. Paulina shouts to the audience: "THANK YOU! ТАШКУРИ!", then blows several kisses⁴ to the audience.

by **Samudera Darussalam** » Thu Oct 19, 2023 3:48 pm

09. Samudera Darussalam

”Phantom”

Azahara

Taken from a piece of article in Khabar Samudera:
...Zahra Bahari, also known by her stage name “Azahara”, is a Samuderan singer hailing from the fishing town of Kampung Tenggiri, in the eastern coast of the Bay of Palembang. Her rise to fame started when the videos of her covering songs of Samuderan artists went viral on WeTube and caught the eye of a local music producer in Melaka, who then contacted the university fresh graduate for collaboration and eventual contract. “Phantom” is the first song that she wrote, and it is dedicated to commemorate the dark moment in her life when she lost her brother while she was a teenager. “My therapist once told me to write something – either a song, or maybe a journal – as a form of healthy coping to deal with the loss, and…I think why not? Originally, I was hoping to write a song to remember him, but we had so many memories that I don’t think I can do him justice just by memorizing our memories through mere lyrics alone. He was a part of my world. After a while, I decided to just write my experience when I first deal with his passing.” She said to Melaka Post in an interview. When asked about the meaning of the final part of her song, Azahara just gave a sad smile. “To this day, I would really like to believe that it was really him who finally helped me to finally get up and look for help. He was the type to do something like that, but, once again, it’s open to interpretation. I just want to share my experience, so somebody else who is going through the same thing as I was wouldn’t feel alone.”...

Taken from a piece of article in Melaka Post:
...Azahara confessed that she was surprised that her work won the national selection for Samuderan entry in this edition’s Worldvision, especially for the country’s eventual return after a long period of unexplained ‘hiatus’. “There is a lot of expectation, but I will do my best. I hope I can give my all to try representing my country in this prestigious event, since this is an honour. A big honour that I'm not sure if I'm really deserving of it or not.”

At first, the stage remained dark for the most part save for a small, soft blue light that illuminated a small spot on the stage where the singer would have stood. As the music begin to play, the LED screens started showing the scene of two children consisting of one older looking boy and a younger girl, as they are running across a meadow with their backs facing the camera.

Instrumental

The same instrumental music then played like the first one, but this time, more lights started to gradually come on and illuminating the place in a grayish hue, and there in the middle of the stage, stood Azahara, wearing a long black dress with a simple light brown belt under a long-sleeved, soft grey cardigan which is unbuttoned, while the turban that is wrapped around her head comes in the same color that compliments the cardigan that she wore. The camera closes in on her as the girl remained silent, head slightly bowed while her hands are lightly pressed against her chest, gripping a microphone in a carefully-crafted position that Azahara holds still so as to not cause some noise interference before it pans around the stage again. If one was to pay careful attention at the LED screens, though, the peaceful scene of two children running across a meadow has been replaced by a dark screen that only shows a cartoonish black mass, looking almost like scribbles, while said thing is floating in the middle of the screen, with a single judgmental eye staring back at the viewers. The camera focuses for a brief moment on the LED screens that are still showing the creature, before Azahara started to sing.

With a clear voice and determined gaze, Azahara suddenly lifted her head, microphone held near her face. The lights started to dim until only a single white light shone right on Azahara as the camera probably came to zoom in on her. As the camera zooms in until it shows her front from waist up, she closed her eyes and her eyebrows furrowed while she continues to sing. The camera zooms out before moving to show the point of view from the audience, who are shown in shadows due to the limited light, while the stage itself is mostly darkened safe for the single white light and the LED screens that still show the same cartoonish, floating black mass with single eye.

Darkness abound, blank eyes exhausted
Another nightmares, another memory to repress
Consciousness flickering, shadows ever imposing
Friendly smile, full of love it is so hurting

The camera pans from the shadowed audience’s side before it suddenly shows Azahara on stage from her stomach up, with one of her hand holding onto the microphone while the other tight in a grip, slightly pressed against the left side of her chest. Azahara’s brown eyes have opened once again, with a nostalgic look on her face although her eyebrows are still slightly furrowed. The camera pans to show her right side as she continues to sing, while probably one or two more lights come on and began to slightly brighten the stage in a grayish hue.

Reminiscing back then, he, the prized son
Perfect role model, how he had to be seen
Wall full of medals, reports full of straight As
The happiness that you wore as your mask

The camera zooms out of Azahara’s form on stage as it starts to pan from the audience’s side once more, showing as the lights slowly changed colours and causing the stage to be bathed in soft blue. The lady on stage continues her performance, with an expression that has relaxed even more, matching the part of the lyrics that she sings. A small smile graced her face, and Azahara’s other hand that was previously in a grip had opened and she softly touches her chest in a delicate manner as if conveying a poem, her eyes closed. The camera moves to show the reaction of the audience, before its focus went back towards Azahara on the stage just as the time for the next verse rolled in.

Asleep, in dream, oh, drowned in lullabies
Going back, immersed in happy memories
Spending time, together with our smiles
But alas, it comes to an end
Where only the phantoms remain

At the same time as the end of the previous verse, the brief interlude comes and Azahara stopped to sing, waiting until the end of the note. The soft blue that illuminates the stage has changed into a grayish hue, and the area surrounding the stage has darkened once more. The camera zooms out of Azahara’s form on stage, and perhaps the lightning on stage has made it possible for Azahara’s face to appear as shadowed in camera as she looked down once more.

The stage is still bathed in grayish hue as Azahara started to sing again after the previous brief window to let her discreetly take some breath. She lifted her gaze back up towards the audience, and her serene expression was replaced by a slight frown that may looks regretful, perhaps her eyes were conveying certain tense melancholy that is more apparent. The camera pans until it stopped at a certain point as it shows Azahara’s form from the waist up, and her left hand was left rested against her stomach. Perhaps, in tandem with Azahara’s singing of this part of the song, the image shown in LED screens have also changed into that of a mirror, with a cartoonish floating monstrosity that resembles a young man in white shirt with one visible red eye while the other is obscured by messy black hair, although the rest of his face remains shadowed, against a reddish background. The lightning also changed to the point that it may caused the stage to be enveloped in reddish colour.

With both eyes opened, sitting on the bed
Come look at the mirror, gaze upon all my faults and sin
The monster behind, his voice echoing
"Can't you see, the signs of my suffering?"

The lights are dimming once more until only Azahara’s place on the stage that is still bathed in reddish hue, while the picture projected in LED screens changed again to a series of red hands that rose from the bottom of the screen against a white background. The camera zooms out until it probably shows an audience’s perspective from a certain point, looking at the darkened stage towards Azahara, whose expression is now perhaps contorted in a regretful grimace as she sings the next part of the song.

Asleep, in dream, oh, drowned in agonies
Red hands pushing, it's time of reckoning
Gasping, wheezing, drowning in misery
Friendly smile frozen in time,
to the tone of requiem

With the start of the next verse, the LED screens changed and shows a bright white, cloudy background followed by the change in lightning that caused the reddish hue to gradually transform into a grayish one, while instrumental music started to play. The camera pans around to show the reaction of the audience, as the lights started to brighten, showering the stage and the front part of the audience in white-grayish hue. After a moment, the camera went back to shoot Azahara, who is still standing at the stage while carefully holding the microphone close to her chest. A small smile has made its way to her face as she is humming with her eyes closed. The camera then zooms in slightly towards Azahara as she raised the microphone towards her mouth and she started to sing the next verse, with her eyes still closed in the same serene expression.

Pushing them away, as the figure in white arrives
Same familiar smile as he gazes at my eyes
Hugging me, and the warm voice then whispers
You will forgive yourself, won't you?
Is it a dream, oh, drowned in lullabies
Wiping my tears, he soothes my pain away
It's never your fault, you can never knew
Teary smile, as he fades away

If the camera focuses on Azahara's face at the end of the previous verse, one may see that she had opened her eyes for that part, with both eyes have gotten slightly teary, before the girl closed her eyes, still smiling, and continuing to sing the next part.

Shadows no more, as I opened my eyes
After years now something has been lifted
No ghostly phantoms, tears fall down my eyes
Was it the real you in my dream,
Visiting for a final farewell

Even after the she has finished singing the final verse, Azahara hummed to the music note for a short while before she opened her eyes again and smiled at the audience, signaling the end of the performance. Still smiling, the young woman then made a slightly bowing gesture with both of her hands pressed together with palms touching and her fingers pointing upward, with thumbs close to her chest, in a classical Samuderan gesture at the same time as the sounds of applause started to be heard. Azahara made a careful note to ensure the microphone would not cause noise interference while she is doing this, before the young woman straighten herself and mouthed a thank you towards the audience. The lights that illuminate the area, including the ones from LED screens, then started to dim as Azahara retreats from the stage, darkness enveloping the place once more before the next performance starts.

by **Spiritual Republic of Caryton** » Fri Oct 20, 2023 1:08 am

10. Spiritual Republic of Caryton
Starlight by Patsy Ann

-

Patsy Ann, a local country and ballad singer based out of Judith County, never thought that she would get an audience much larger than a local amphitheater. Here she was, representing the Spiritual Republic of Caryton for the 110th edition of the WorldVision Song Contest. Carytonic attendance had indeed been lacking in recent years, with no notable placements since WV100. She knew that she'd won her national final by a series of short, heartfelt songs. Starlight had been the namesake of her newest album.

Dedicated to her Aunt Cheryl, who after a 50 year-long relationship, was left a widow due to her husband's passing from an exceptionally rare case of heart cancer that over the course of his last few years had smothered the life from him. Patsy, who had been particularly close to Cheryl and Rick, wrote this song in dedication to them and all those who have lost lovers throughout their lives.

The stage opens up with Patsy Ann in a modest black dress, with a glittering veil covering her face from a black beret. The costume very much resembles a funeral dress. Patsy stand alone among darkness, with only a single dim white spotlight illuming her and the thickening fog below her.

I’m pressing on without you there.
The years we’ve spent, through wear and tear.
How can it be? How could loneliness assail?
But I’ll remind you, through the mourning veil:

Darling- (my love-)
You’re my starlight:

Patsy begins to sing, with the camera taking emotional takes, panning from her profile as she stands along among the swirling fog and the darkness. The scene is melancholy, even hopeless as she takes a single step. She reaches for nothing in particular as if she couldn't find any meaning. She is about to take a step, but she hesitates and instead looks towards the camera, which is above her. She slowly lifts the veil and pushes it behind her as if preparing to say what only two lovers could hear.

Your soul’s burning bright,
It’s bringing me back to life,
Your love’s my guide so I can’t lose my way.
You’re my starlight.

Your intimate embrace,
As deep as outer space.
And my tears mist your sweet face…

Unseen fans kick on, blasting all the fog away in a moment of clarity. Patsy takes a single confident step forward, dragging the rest of her to catch up. The spotlight brightens as behind her, isolated LED lights begin to softly twinkle, once every second or two in random places, offering a panorama of a barely-lit twilight. With conviction, the camera faces her head on as she sings confidently. She takes another strong step as she mentions being brought back to life, and she follows the spotlight with her eyes, finding her way.

In a choreographed moment, she extends her arms towards the audience and slowly spins among the glimmering background, wiping her eyes as she gets her bearing, ending the chorus and beginning the second verse in more or less the same position.

Through it all, we’ve been a pair.
Despite it all, you’ve never been scared
Time will leave memories where people once stood.
In love I’ll tell you everything that I could.

My love, (darling-)
You’re my starlight:

On the LED screens, images of two silhouettes holding hands as they walk down a star-lit field displays as the camera also focuses on Patsy's singing, becoming more and more convinced as she reminisces about her eternal flame, not snuffed out by death. The white LED's slightly pick up in number and frequency, like twinkling hope. A second, and then a third spotlight shine on her, and then circle her like planets orbiting a star. The two dark silhouettes, ambiguous so the audience can put themselves and their special someone in their place, hold each other and then begrudgingly separate, walking in different directions. Patsy takes another strong step, balling her fists and putting them to her chest as she goes into chorus.

Your soul’s burning bright,
It’s bringing me back to life,
Your love’s my guide so I can’t lose my way.
You’re my starlight.

Your intimate embrace,
As deep as outer space.
And my tears mist your sweet face…

The two spotlights who orbit her drift away and both settle on a random place in the stage to converge. With the re-introduction of fog, and some tricks in the background, combined with Patsy lovingly glancing at that place, the audience understands that spotlight is for the lover who couldn't join her at that moment in time. Cameras take a wide-position to capture this tender moment as she slowly approaches, but never crosses into, the other light. Still, she sings no less lovingly than she would if he were there.

She extends her arms, and in a similitude to the spotlights earlier, she gently begins to twirl around the empty spotlight as the starry LED's pick up in the background. She stops in front of it, wiping her eyes again, and then both spotlights go dark.

[instrumental]

For the second of darkness and fog on the main stage, Patsy begins a quick change, but the attention of the audience is totally captivated on the beautiful sight on the dimmed LED screens ahead of them as the starry LED's join a beautiful panorama of the galaxy above the twilight, among shooting stars and nebulas and sparklers on the stage. The guitar solo ensues, before spotlight illumines Patsy once more.

You’re my starlight:

Your love’s my guiding light!
And everything will be alright,
There’s finally majesty among the twilight,

Patsy, utilizing the classic two-sided dress technique, has successfully changed costume and is now in a sparkly red dress whose crystals shine like rubies. She holds a bouquet of roses. In the full light of the spectacular display behind her, she step-touches her way towards the edge of the stage with no need for that extra spotlight. She takes a rose from the flower bundle, and quickly offers it to an audience member. Pink smoke is gently fanned towards the audience.

My starlight.
I am yours and you are mine!
For you, I’ll eternally pine!
And as my tears dry…
My starlight.

Patsy walks back to center-stage, cameras trailing her and culminating as she sings the final chorus. The spectacular sight of shimmering stars and galaxies intensify for a final time, as she finally finishes, bring her rose bouquet to her chest in a content and eternally lovestruck position. Instead of fading to black, the scene freezes as the applause pours in. Patsy offers a bow, and then waves towards the back of the stage. Members of a live band emerge, and bow. Cameras cut towards a row of Carytonic fans, waving a large flag in their collective hands. She mouths an inaudible "thank you", muted by the response from the audience, before they file away and the next performance is set up for.

by **The Authoritarian Republic of Lochario** » Fri Oct 20, 2023 4:19 am

11. LOCHARIO

Ben Sinakś- Kirri-Kurri

Tune:

Käärijä- Yhtä Vailla

Introduction: Ben Sinakś, probably, the biggest lunatic the WorldVision community has ever seen, is now on a roll to commit to the greatest performance of his life. Previously, a shitposting streamer, Ben has now turned himself into a singer and has been thouroughly recognized by the famous "LOC Records" label just a few years earlier. His most famous singles include "Erikini", as well as "Tummi". "Tummi", in particular, has received a wide scale of criticism for encouraging the listeners to engage in.....Well, let's say, related intimacy acts with the Islamic populations in the Southern Isles of Lochario. The claim was later, of course, put aside as a "banter", which, if you didn't notice, is a quite famous way of expressing our humour here in Lochario. Ben himself being born near the Isles, does not and will not support the possibility of having relations with the blood-related Islamic chicks, as he respects each and every one of the Locharian counterparts, be it Muslims or not.

His song "Kirri-Kurri" is quite nonsensful, really. It's about the taste and smell of Bitter Curry, as well as a rousy breakup, softened up by eating that Bitter Curry. Pretty stupid, don't you agree?

Having arrived to the Worldvision stage, Ben immediately grabbed a gamepad waiting for him in the leisure room to catch up on his progress on "Starstek" via a "MeKuut" platform, which allows Locharian streamers worldwide to connect with one another. The biggest shock for him on the stage was the fact that the producers didn't allow him to bring a massive 5 ton Curry can to be displayed at the center of the stage as the main ornament, due to it being super expensive. Nevertheless, the stage was set and the proceedings commenced.

Lyrics and Staging:

The dimly lit kitchen, draped in shadows, reveals an array of spices and ingredients. A solitary figure stands at the stove, stirring a pot with a heavy heart. Soft, melancholic lighting casts a somber mood.

As the song unfolds, the lighting subtly changes, emphasizing the emotional shifts. A spotlight on the figure intensifies during the chorus, capturing the depth of sorrow in their eyes.

Kirri! (Bitter!)
Kurri! (Curry!)
Kirri! (Bitter!)
Kurri! (Curry!)

The red-laced busty ladies are then brought on to the stage, with the effects being almost identical, except, the girls are trying to lift artificial Curry cans, while dancing.

En el küher reiten, priśćïanki en mi ruhket. (In a kitchen of regrets, spices in my hands)
Simert emotsion, vi sentelhït. (Simmering emotions, like shifting sands)
Sangi kuuturne un lepi madärha. (Chopped dreams and a pretty girl)
Kirri Kurri, flavur rar. (A bitter curry, a flavour rare)

Kirri Kurri en la plahka asůrën. (Bitter curry, on a plate of tears)
Sure memuar, kurture strähinlïe. (Sour memories, fueling fears)
Anïe en kühalahi maz. (Add a little bit of maze)
Kulinaariodd fur nechtenuge satunna. (A culinary ode to a saturous night)

The kitchen slowly starts to rise all the way to the top and the dancing girlies imitate the act of being electricuted, with flares coming out of the imaginary Curry cans and their red-laced rockets fitted into their shorts.

Mei, he mëg kurina. (May, he likes curry)
Ak na nemëgti, he sreïetere: "CLARKSOOOOOOOOOON!" (If he hadn't liked it, he would've shouted: "CLARKSOOOOOOOOOON!")

As the refrain commences, the whole stage goes beserk, as the emotional shifts are now reflected by insane amount of lightning and the regularly spat out flames from the front of the very stage.

Kirri! (Bitter!)
Kurri! (Curry!)
Kirri! (Bitter!)
Kurri! (Curry!)

The stage comes back to its secondary setting, with electricity sparks now coming out of the girls' shorts.

Moment tuumeri, aukuri al' kalt. (Turmeric moments, golden but cold)
Kuumin pronůnckśe vi "Cum".(Cumin is pronounced like "Cum")
Maz magt dir asür. (Maze makes you cry)
El reesepi lïunkërhe aut lebe forlö'h.(A recipe of sorrow, from love forlorn.)

Kirri Kurri en la plahka asůrën. (Bitter curry, on a plate of tears)
Sure memuar, kurture strähinlïe. (Sour memories, fueling fears)
Anïe en kühalahi maz. (Add a little bit of maze)
Kulinaariodd fur nechtenuge satunna. (A culinary ode to a saturous night)

Before the second part of refrain, the kitchen becomes hushed, almost frozen in time, accentuating the sizzling silence. The spotlight now flickers, casting eerie shadows on the walls. The girls now spread smoke from their shorts.

Ilka, śe mëg kurina. (Ilka, she likes curry)
Aastronoma t'reb maakusi mägnnina. (Female astronomists need voluptous Magnesium)
Śe hat tsuher Mei sreïet: "CLARKSOOOOOOOOOON!" (She must hear May screaming: "CLARKSOOOOOOOOOON!")

The special effects lads are now on their 12th dose of anti-sleep pills, trying to sort out the mess of effects unfolding. It's as if the 11th of November- our Independence Day has commenced.

Kirri! (Bitter!)
Kurri! (Curry!)
Kirri! (Bitter!)
Kurri! (Curry!)

Todderi mëg Kur' kurrina! (Everyone likes a bitter curry!) (x3)
Dafůr me śleste korva! (Even my worst b*tch!)

At the end, the lighting slowly dims, leaving Ben standing alone in the fading glow, surrounded by the lingering aroma of the bitter curry – a poignant moment frozen in the melancholy taste of Bitter Curry.

by **Basel-Triesen** » Fri Oct 20, 2023 5:52 am

12. Basel-Triesen

by **Beepee** » Fri Oct 20, 2023 6:18 am

We're Back Baby!

Oh yes! Your favourite schlager based pop nation is back... bringing you all the uptempo depression you can handle in 2m30. Enjoy!

13. BEEPEE
"The Game"
Maite Mann
YouTube link : "Das tut sich doch keiner freiwillig an" by Maite Kelly
Spotify Link "Das tut sich doch keiner freiwillig an" by Maite Kelly

Artist Biography

Maite Mann was born into a family of music legends, but she didn't let that stop her from creating her own unique path in the Beepeean Schlager industry. Born in 1986 in Melaleuca, Northern Beepee, to Anita Mann and Eser Goode-Mann, both famous musicians in their own right. Maite travelled with her parents and siblings and was surrounded by music as her parent's toured the Northern Beepish folkmundart scene.

As a child, Maite was a free spirit with a wild imagination. She loved to sing and dance, and would often put on elaborate performances for her family and friends. However, her parents discouraged her from pursuing a career in music, wanting her to focus on her studies and become and environmentalist (as hippy parents often want their kids to be).

But Maite was determined to follow her dreams. She started writing her own songs and performing in local talent shows, quickly gaining a reputation as a talented and charismatic performer. Seeing her success her parents eventually relented and Maite began singing in the folkmundart festival as her own artist.

After a number of moderately successful albums in her late teens, she started experimenting with different musical styles, blending elements of folk, pop, and dance music into her own unique sound, pushing the boundaries of folkmundart and moving more generally into a schlager sound. Her solo career took off in the late 2010s, with a string of hit albums and singles that showcased her vibrant personality and infectious energy. Her music has founder atop both the Northern Beepee and Beepee charts.

Offstage, Maite is known for her quirky sense of humor and love of all things whimsical. She collects animald shaped put of crystals and had a collection of over 1,000 lucky 4 cleaf clovers. She's also a passionate advocate for animal rights and, much like her parents, the environment, and has used her platform to raise awareness for these causes.

Maite has grown to be one of the biggest stars in Beepeean Schlager. However, despite her success, Maite remains down-to-earth and approachable. She's always happy to chat with fans, sign autographs, and take silly selfies. With her unique talent, quirky personality, and infectious energy, Maite is sure to win the hearts of the viewing public.

Keen eyed viewers will recognise Maite from World Hit Festival 69, held in Britonisea, where she sang for Northern Beepee!

Performance

The Ugunnustani director begins the performance with a wide angle shot showing the full stage in darkness high above the audience in the magnificent arena.

The lights around the stage behind to glow into warm golden and cobalt blue tones.

The director then chooses a sweeping shot moving over the audience towards the stage.

Maite Mann begins this performance standing centre stage, microphone in hand, wearing a asymmetrical dress in blood red and matt black.

The music begins and a spotlight finds Maite. The director cuts to Maite who lifts her microphone and begins...

I'll take my turn
If you take my hand
Then I will have to take my chances

The last time still burns
But I'll go all in
I have to in the circumstances

As the second stanza is sung, the director slowly pans away from Maite, but singing directly down the camera there's a ferocity in her performance that keeps the audience hooked. The kind of attitude one displays knowing that this is their moment, their chance to provide something special.

As the chorus begins, the director has panned back to show most of the centre stage. The lights illuminating the stage, which were in gold and cobalt have changed towards moody scarlet and crimson hues.

As she sings the chorus 4 male backing dancers appear on stage. They dance around the centre point of Maite. Dressed as dark croupiers so as not to distract sufficiently from the key performer, they dance, their moves strong and deliberate almost robotic moving themselves to the heavy beat of the song.

The director pans across the stage. Before cutting to a solo view of Maite as she sings "no- ones ever won like you" and points directly at down the camera.

With the short break in the chorus behind Maite on the big screen, images of suits of a deck of cards fall. She remains, however, resolutely focussed.

Hearts don't play only all by themselves
A queen needs a king to help win the game
I've seen a lot of plays, tried a Joker or two
But no one's ever won like you

I've seen a lot of plays, tried a Joker or two
But no one's ever won like you

With the next stanza, Maite becomes more animated with strong arm movements holding a pattern of intricate poses. Again, the impression given off is one of strength and self reliance, but is it all a bluff? The moves, which have seemingly upped a level from the start of the performance are matched by a number of changing shots from the Ugunnustani director.

As she sings "that's someplace I don't want to go back to", she wags her finger at the camera, as if to warn them her game is strong.

The winner takes all
Thats the rules of the game
So place your money on red and black

And the loser has to fall
They leave with nothing to their name
That's someplace I don't want to go back to

As the second chorus begins, the stage below Maite begins to slowly raise. A small platform just large enough for her to perform on. The 4 male backing dancers return and begin their routine once again however this time a further 4 male dancers join them. The eight plfancers perform their routine as Maite performs.

The Ugunnustani director pans over the audience in the auditorium as, along the bottom of the screen, the voting instructions to give your votes to Beepee is overlaid.

Hearts don't play only all by themselves
A queen needs a king to help win the game
I've seen a lot of plays, tried a Joker or two
But no one's ever won like you

The director then chooses to pan back to Maite in a long sweeping shot. The clever direction has allowed the stage to raise again creating a step and another 4 male dancers in croupier outfits join the conglomeration on stage. As if more and more are watching the tussle between Maite and her lyrical sparring partner.

Maite, and her now 12 backing dancers, seem to fill the screen for home viewers. The music and Maites performance have continued to become more animated as the performance has gone on. And in her performance there's a hint of desperation that she may be losing this hand.

But she continues...

No! Hearts don't play only all by themselves
A queen needs a king to help win the game
I've seen a lot of plays, tried a Joker or two
But no one's ever won like you

I've seen a lot of plays, tried a Joker or two
But no one's ever won like you

As the bridge approaches Maite is overtaken by the music and she is practically jumping as she feeds of the energy of the performance and the attentive audience as she sings "La-la-la-la". Its a wonderful feeling for her and she's clearly living her best life. And her palpable emotions seems to be spreading through the auditorium as the flags of the many fans are waved proudly.

The stage continues to rise and now a further 8 dancers appear on stage, filling up the stage. It's a spectacular celebration of schlager and unlike many performances by the usually rather reserved Beepeean staging team.

La-la-la-la, la-la
La-la-la-la, la-la-la

I've seen a lot of plays, tried a Joker or two
But no one's ever won like you

As the music slows for the outro the, Ugunnustani director cuts to head shot of Maite. She smiles sweetly down the camera as she finishes her performance, knowing that she's played her best hand, maybe a winning hand - the beepeean fans hope, in the performance of her life.

The last time still burns
But I'll go all in
I have to in the circumstances

As she finishes the Ugunnustani director cuts to show the stage risen up with the dancers standing to attention around each tear.

A roar from the aufience begins to full the quiet after the music fades. The crowd continue to cheer and applaude, apparently having enjoyed the schlager pop entry.

Maite thanks the audience, and the dancers jump off the stage structure as the stage slowly retracts back down, lowering Maite.

She now has the anxious wait, watching the rest of the performances and hoping that she can restore some pride in Beepee after the recent issues the little nation that could has had.

by **Ugunnustan** » Fri Oct 20, 2023 8:46 am

The camera pans off the stage, as the Beepean entrant exits, and their staging is hurriedly emptied, It pans to Irada, she is standing in the green room, surrounded by various delegations, all anxious to go, The trim on all the seats and the floor is a deep royal blue, with the LED light strips still flashing the Beepean colours from the previous performance. Multiple flags can be seen waving, Including Alezian, Waisnorian and Malta Comino Gozoan flags.

The camera pans towards Irada, who is standing in between all of this, and excited look on her face, her long brown hair is placed neatly on the shoulder of her short sequin dress (which has been changed since the intro) she holds the microphone up close to her mouth, and walks towards the camera as she begins to speak

Irada- Wasn’t that exhilarating? 13 entries have already performed, with many more to come! But we stop you just ahead of our host's entry to bring you something very exciting!

Irada arrives at a lush carpeted seating area, covered in white woollen blankets, The carytonic delegation is seated behind them.

Irada- It is Tödlichebujoku’s own and World hit festival champion Vana mo!

A huge cheer can be heard at the mention of her name, and the camera pans to Tödlichebujoki fans in the audience feverishly waving their flags as the cheering continues. The camera then Pans over to Vana mo, sitting just across from Irada, she gives a short smile to the camera, before it quickly cuts back to Irada.

Irada-Well as we all know you’ve had quite the experience with worldivison, previously competing with Sasechaya, can you tell us a little about that? Any secret drama you’d like to share?

Vana Mo-Sure! It was such a fun experience, being able to bounce ideas off of one another and not take ourselves too seriously. That really came handy when we found ourselves placing smack in the middle of the scoreboard both times we performed internationally, though to be fair our WorldVision appearance wasn’t the best planned out. Overall, I think it really helped me figure out where I wanted my career to go, and when we all started to pursue our personal projects, it was a natural time for me to blaze my own trail. Next question?

Irada-And that career led you back to Worldvision! Now, can you tell us a little about your song? How did you find the songwriting?

Vana Mo-Oh, it was all a spur-of-the-moment kind of thing. One night I was meditating, astrally projecting as one does, and I just felt a crushing sense of nostalgia. An overwhelming sense of time, you know? And the people, past crushes, friends, even loved ones who are no longer living, might as well be distant like stars across the galaxy, shining across time and only viewed from the past. They once were important and now we live every day without them. There’s a strong sense of yearning, an aching for a time when all felt simpler, but at the end we all return to the stardust from which we arose.

Irada- I’m not allowed to pick favourites but i love the deeper meaning behind this song, No wonder it has already been such a smashing success, speaking of: How was performing and World hit festival? And how did it feel to win?

Vana mo-It was so cozy! You know, I could never imagine myself in a huge contest with 30 or 40 other nations, especially with our unfortunately rushed timeline in WV94, so it was very pleasant and refreshing to compete against a handful – it felt more like a family, you know? And of course naturally I’m a bit nervous about returning to WorldVision again, but this time we really did avoid the issues with the timeline, so that’s much less stressful than it would normally be. But yes I was so shocked and caught off-guard! It was all very warm and lovely though, and Haruhata was the perfect place for everything to happen in.

Irada- I can imagine it was shocking! So, coming from such a cosy as you describe it contest, what made you decide to compete in worldvision?

Vana mo-Well… I won Starfall! Yes, technically I was contractually only obliged to participate in the World Hit Festival, but of course the broadcasters want to get their money’s worth out of the whole thing, and as you’ve seen with, oh which ones were they… Noravas and Álvrüttá Matsuvoka… Letenje and Tütti Rautio, it’s almost a tradition for 2nd place to also go to WorldVision. And I agreed to this, of course, after my WHF win I do feel confident enough that I have a decent chance at eclipsing my 13th place the last time I was here as part of Sasechaya.. And of course it’s so much easier having run through the performing and voting so many times already!

Irada- Broadcasters wanting to get their money's worth? Look at my contract then tell me about it, Anyway one final question for you: Can you give us any sneak peeks on future projects?

Vana mo-

Um

No. …

Irada- Well ok- Right, if there is anything you’d like to say to the camera before we move on ; now's the time go!

Vana mo- I’m hungry

Irada- That was Vana mo, and what a riot she was! Now we head over to Ugunnustan for Amina Eysova, with her song Hands!

by **Ugunnustan** » Fri Oct 20, 2023 8:47 am

❁Ugunnustan❁

❁Amina Eysova❁

❁Hands❁

❁Lyrics by❁
❁Amina Eysova❁

❁Music by❁
❁Amina Eysova❁

❁Tune❁

❁Album Cover❁

Who is Amina Eysova?

A question burning on everyone's lips in Ugunnustan, following her selection to represent the country. Why has Ugunnustan chosen a Nineteen year old child acting star to represent them at worldvision? Surely this was a silly decision? The tabloids quickly got a hold of her, Amina had only been in the music industry for a short while, a little over 9 months when she was suddenly swooped into the spotlight by YUG, when they chose her to represent Ugunnustan, and at an important event too! Ugunnustans first ever hosting, in Amina’s home city is a massive burden she feels she has to carry, especially considering that she isn’t musically trained at all. Amina grew up acting: Although she never wanted to. Forced into it by her parents at the young age of 12. Amina always harboured some level of resentment to her parents for this, although she would have have never been able to kickstart her music career with such a monetary boost if not for the acting, it felt more like a chore than something she should be enjoying, more like doing a tedious monotonous office job than travelling around the world to film exhilarating scenes and end up on the silver screen. she held the lead role of Alyssia Revorov in box office success’ in Ugunnstan, such as Saman bol’du (Times up) or Galacsideki şak (The love in the galaxy) the latter being a poignant romance film about falling in love at a young age. In the film Alyssia falls in love with a boy from a different school, she is pursuing a career in a bank, she wants to work in accounting or something else that will help pay the bills and provide, she doesn’t understand how much she feels forced into this profession until she meets Sunnat, he goes to a different school, he feels almost a galaxy away from her, eccentric and exciting, he is studying art, something Alyssia always had a passion for, but never felt she could follow, the films follows the course of them falling in love, and Alyssia dropping out of her elite school to focus on something she personally enjoys. While just a movie (Obviously), Amina told the press she really felt represented by it, her own troubles and experience in acting all laid out so clearly like that made one thing clear: She wasn’t enjoying acting. Sure obviously it had done her well, It had brought her commercial success, and any luxuries she could’ve wanted. It made her parents proud, her mother graduated with a degree in drama, but never got a chance to make it happen, feeling like she waited forever for her big break to come, so long that she missed it. With this pressure boring down on her, Amina felt forced into acting, and found it harder to leave once the cheques started coming in. Little did she know that was exactly what she needed to leave. The money earned from acting was what she eventually used to jump-start her career into what it is today.

So that brings us back to our question, Who is Amina Eysova?

She burst onto the music scene at the age of eighteen with her self titled EP: ‘Amina’ a 8 song long EP that contained her musings around acting, and life as an eighteen year old. The EP was populated mostly by slow ballads and Mid-tempo pop songs, with a darky and moody undertone. It did surprisingly well for a debut album, Quietly rising up the charts in Ugunnustan to peak at number 63, at such a young age this is quite a success for her, while not the big thing she needed to prove to her parents she’d made the right choice, it was a start. The album also catapulted her into well, not really the mainstream, but a kind of weird indie grey area, a nice place to settle for the time being while she worked on her later projects in the hopes they do well. We can’t say that philosophy of hoping they do well exactly worked for her next album, while receiving a recent boost because it features the song hands, for Amina’s first long play project. Her original ballad vocals and moody undertone were gone for a more dance and radio friendly record, known as ‘Bad idea’. This album got more mixed feelings, and failed to chart. That's excluding one song. The main single Amina released from this album was Hands, a fun and easy to dance to song about falling in love, through the course of the song Amina pursues a love interest who she has met at the club, excited by the idea of being with him, and reciprocating her feelings. This song flew up the charts and peaked at number 23, an impressive feat at such a young age, this is the song that also got the attention of YUG, who offered her the opportunity to perform at worldvision only a few days after the song's release as a single. The press wasn’t happy with this, Last time YUG chose an entrant who was new on the scene, and blew up online they got 13th, their worst placing in any edition of worldvision yet, nonetheless Amina’s selection as Ugunnustans entrant managed to build back some of the confidence she lost in her musical ability following the release of Bad idea, and serve as proof to her parents that just like Alyssia, she can be trusted to make her own decisions, It's out of their hands

Open, a small bright room, Two pale blue sofas sit either side, The left sofa has a large grey blanket, and an assortment of decorative pillows sprawled across it, in the centre sits two figures, One has short brown hair, and a crisp navy blue suit, to his left is a second figure, her long blonde hair reaching far past her shoulders in a long ponytail, she is also wearing navy blue, a very high fashion dress, with lines almost as sharp as the cats eye eyeliner that snakes across her face. On the right sofa we find a similar sight, the blanket disregarded messily on the sofa is a deep red, and has been unsettled by Amina sitting on it, Her legs are crossed in front of her. Her long brown hair falls neatly onto her shoulders, she is in a cropped varsity jacket: typical of those you see in american movies, sporting some team or another, it is a vibrant yellow with white arms and a green logo. The jacket is zipped up, but her stomach is showing, she has a small circular piercing in her belly button. She has smart dark trousers on, and a muddy pair of platform converse, she has a lapel mic pinned to her chest. The first to speak is the man on the right, He turns to the camera that sits on a track just to the side of the twin sofas.

Surek Nurgitev- Good morning Ugunnustan! This is Surek Nurgitev with Şükoyyü Yayın Şirketi’s Breakfast show! I’m here with Zaida Ayaneva, and a very special guest!

Zaida Ayaneva- Very special indeed! Please welcome Amina Eysova! So, your Ugunnustans entrant for worldvision 110, How do you feel?

Amina Eysova- Nervous, excited,disbelieving, an intoxicating combination of all three to be honest with you, It’s all just so unexpected.

Surek Nurgitev- I can imagine, Now, I’ve heard quite a lot of rumours around your song hands, one of them being that you hate it, Is this true?

Amina Eysova-(Shocked) That couldn’t be further from the truth! Hands was the lead single off of my first major project:Bad Idea. In reality that whole Long-play record was a bad idea.All in all the record didn’t do very well. Except for the lead single, inexplicably rising up the charts, and rapidly, I have nothing but love for the song, and it brought me here!

Zaida Ayaneva- Interesting! Surek and I have an interesting relationship with the tabloid printing false news ever since last year…

Amina Eysova- Well what happened, that ominous pause makes it sound like you killed someone! The three exchange a short laugh

Surek Nurgitev- Radio shows have gotten away with worse. Nonetheless, last year a story was circulated online that Zaida was pregnant, and it was my child!

Zaida Ayaneva- Harrowing life experiences aside we are here to interview you Amina not the other way around. With that in mind: How would you describe child acting? Would you go back?

Amina Eysova- Well I can’t exactly go back to being a child. But acting in general: It was stressful, it was just a lot of pressure, and a lot of cameras. I know that being a public figure by way of music doesn’t make you any less scrutinised but I still have a level of privacy when and how I do my work y’know?

Surek Nurgitev- In the least narcissistic way possible. At this we see Zaida roll her eyes as Surek is known for going on long rambling speeches about himself, prefacing them with ‘In the least narcissistic way possible, thankfully this isn’t one of those times I quite enjoy the spotlight in a selfish sense, it feels very validating to have people interested in what you are doing.

Zaida Ayaneva- Of course you would say that Surek, Go on and ask your final question.

She gestures to the cards settled on the sofa next to him, He picks them up and shuffles them a little, showing the camera the radio show’s logo

Surek Nurgitev-Is there pressure being the first entrant to represent Ugunnustan while it hosts?

Amina Eysova- I’d love to say there isn’t but there is, it's scary, but I just take it day by day and hope for the best. I’ve always made it through my problems that way, and all I can do is go up there and give the best performance I can, at the end of the day Its out of my hands

Amina Eysova winks at the audience following this line, Surek and Zaida chatter a little more as the show begins to close out, and Amina gets up to leave, meaning there is only one thing left on her mind, Worldvision.

A knot forms deep in Amina’s stomach, She can hear the interval act with Vana mo setting up outside, obviously this means she is next up, Her stomach swirls and curls over like a ship lost deep in a storm at sea, Her hair and makeup crew are making final edits, a makeup artist makes cursory brushes of foundations across her face, another, lower down does another once-over of her lips in a deep red colour, Behind her: her hair is being violently pulled here there and everywhere by the crew. A large black brush sliding effortlessly through her hair, making sure she is perfectly prepped and camera ready. A microphone comes out of nowhere, and is suddenly slipped over her head. Shit. it's getting closer, She can feel the tension grow further in her stomach, her heart beats quickly out of her chest, threatening to split her in two. The ship struggling its way through the waves has long since been shipwrecked on a rocky outcropping, then she hears the dreaded words.

“Amina Eysova to Stage 1 please.”

Next thing she knows she is stood firmly in the centre of the stage Just on her left is a 2014 White Lotus Evora, Her personal car. Red lights bore down on her, She is wearing Low,pale blue, distressed jeans, they are heavily ripped around her knees. They are held up by a black leather belt, with a large Louis vuitton logo planted squarely in the centre, Her belly button piercing is a small golden stud, but that isn't her only piece of jewellery, as her neck is particularly weighed down by the mass of silver hanging from it, some are much longer than the others, the longest sports a large A, she also has matching A earrings, hanging down low from her ears. Just below the chains is a small white tube top, and all of this is dwarfed by a massive knee length leather jacket, she leaves her hand in the jacket’s pocket for a second as the song starts.

The large LED background screen shows a busy street in Ous, it’s night, and there are lots of lights. It also looks quite busy from the backdrop, the video was pre-recorded before the start of worldvision. The lights around the stage glow a dark red, Illuminating Amina against this backdrop, and she begins to sing. On the first verse she walks down the imaginary road that the screen is presenting, There is a person with a camera on the stage, she is close up to the camera and speaking into it as she struts around the stage. She looks confident and unbothered by the masses of people, As she sings she points towards the audience, her long recently done nails (In a vibrant pink) on full show for everyone.

When i start singing theres nothing but me on your mind
Your leanin' in , keep listenin'
n' you will find (n' you will find)
That you want me more than anything , come get it
But then ill pull like a tide ,n' I Wont regret it

As the first chorus starts Amina makes her way over to the car sitting in the centre of the stage, confidently. The backdrop of stage is splattered with words in relation to confidence (Confident powerful etc.), and the LED light strips placed around the stage in tall spikes are pulsing along with every thump of the base. The camera pans over to the car, including the audience in the shot for a short while, Amina is sat on the car on the bonnet, with one leg held up close to her thigh, and one stretched out in front of her. She bounces up and down on the car, causing the springs to bounce as well, Undoubtedly stressing out some collectors and car nerds in the audience.

You can feel the moment, the sheer confidence radiating from every step as she stalks across the stage. The bright flashing lights evoking a club atmosphere, this powerful display comes to a halt not much later however. When the beat switches Amina mimes an argument with an imaginary person, she doesn’t have any dancers on the stage yet: She doesn't need them, her energy dominating the stage on its own.

On the final line of the chorus (It’s out of my hands) Amina slides off the bonnet of the car, Her muddy platform converse hitting the floor with a thud, which she worries will have translated onto the broadcast. But she is too in the moment to care enough for it to affect her performance.

Woah
Are you the one I want to take home?
Is in your arms where I belong?
I wanna hear your ring on my phone
You make me think, my morals are gone
Come on
Woah
Give me true romance
I will
Woah
Your making an advance
I'm not
Woah
My heart is beating quickly
N' for you im guilty
Its out of my hands

For the next verse another camera has been brought up on to the stage, Amina sings into the camera, in the broadcast version of the performance, the final word on each line flashes up across the screen in a deep red while Amina is singing. The font makes it look like graffiti.
The bustling street comes more alive for verse 2, as 3 dancers step out on to the stage, They are all dressed in normal clothes. There is one man and two women, The male dancer is in a baggy grey t-shirt with a band print plastered across the front, dancer 2 is in a short pink crop top, and a long length bomber jacket with a black skirt, and the final dancer has a short black and blue dress on, with lots of slits in the side, The three of them surround Amina like people walking along the street, which is captured as the camera begins to pan out to show the whole stage, as well as the audience reaction.

My stomach flutters like all i want is you
And i know ill have you before the night is through (Yuh)
If I buy you a drink tonight , will you let me be yours
And im already online , looking at the ring stores

For the second chorus Amina makes her way back over to the car, This time however: She pulls open the door, She runs her hand across the sill of the door, of which the camera quickly zooms into, savouring the moment, before she grabs the side and pulls herself in. In here we are greeted by a camera which is placed on the dashboard, Amina sings into the camera, She would’ve never expected to get anywhere with her music at all, expecting she’d have to go back to acting but now here she is: in front of 35 thousand people, and that's just the live audience, with millions more likely tuned in to watch across countries like Malta Comino Gozo or Carrelie. She thinks of herself, Sprawled across the floor in her townhouse, Knackered from a long day of Primary school, watching people perform at worldvision, dreaming one day she’d do the same: and you’ll never guess what she is doing now.

Mid way through the chorus she quickly jumps out of the car, the camera transitioning to the outside as she goes she quickly falls back into the rhythm of dancing, it’s just like acting at the end of the day, you just have to memorise the next move, what's happening next, it's second nature to her. But in all honesty she wouldn't have needed to rehearse to dance along, the energy is electric, she feels it course through her veins as she dances in step with her backing dancers, like they are linked, She doesn’t ever want to get off the roof of this car, much to the dismay of anyone who has ever shown interest in cars, especially ones that can go for above 60 grand (Jesus christ I didn't know they were that expensive, But then Ig IC Amina is loaded so we roll)

Woah
Are you the one I want to take home? (Home)
Is in your arms where I belong?
I wanna hear your ring on my phone
You make me think, My morals are gone
Come on
Woah
Give me true romance
I will
Woah
Your making an advance
I'm not
Woah
My heart is beating quickly
I guess I say Its out of my hands

The lights dim for this slight breakdown section, The wide reaching red strobe lights have calmed and have been for a more muted orange, Amina and the two other girls move to encircle the male backing dancer, Amina hopping off the roof of the car. The camera gets an angle from above as they get closer, Spinning and twirling around him in the centre of the stage, a Red spiral pattern under the feet.

Rah,
so are you mine yet
cuz I need ya like a cigarette
So kiss me, and me only
Cuz when i see ya my head goes empty (Aah)

It's the final chorus now, a beautiful intoxicating mess of feelings swirls deep in her stomach, Excitement and Exhilaration of the performance battle with the sadness that it's over, the pressure of the eyes of all these people, and fears of the voting section all curling together like a potion in a witches pot ; a potion for the knot deep in her stomach.

The video of the Ous street in the background is now beginning to become more distorted and contorted, The lyrics appear on the screen in the same graffiti style font we saw before, and the cover a lot of the screen, Amina is just in front of it, In a straight line with her three dancers. However, while the dancers carry on dancing at the back of the stage, the camera breaks away from its central above position and follows Amina, as she beckons for it to come with her, she slides over to the and puts her foot up on the bonnet, before clambering up and standing on the roof. The springs bounce a little, and you can probably audibly hear any person who has any semblance of an interest in cars crease.

At the point where she gets up on the car, the well concealed columns of sparks shoot up from either side of the stage, adding to the electrifying energy of the moment, the sparks are met by a cheer from the audience. As the camera pans out to show fans out there, feverishly waving flags and jumping up and down excitedly, the various colours meshing into one, and creating a brilliant vibe

Despite how nervous she felt the whole time: as the song draws to a close, Amina cant help but feel like she's missing it already. The good vibes and excitement from the performance still rushing through her. Nonetheless, she has to let the stage clear for the next act, She shouts an excited thank you to Ous, and blows kisses into the audience, and one for luck: into the camera.

Woah
woah
Its out of my hands
Come on
Woah
Give me true romance
I will
Woah
Your making an advance
I'm not
Woah
My heart is beating quickly
N' for you im guilty
Its out of my hands

by **Waisnor** » Fri Oct 20, 2023 11:34 am

15

WAISNOR

Ilya Gritsak - Okovy/Tune: Breskvica - Leptir

Ilya Gritsak is one of the main people in "opening business" of Waisnorian TV - he is one of the most prolific singers of openings for different series, working for both WBC and NTV networks. And thanks to the Waisnor's love of TV series, Ilya became pretty famous, and so, it only made sense that he would try to apply to the national selection to Worldvision. And he actually won the selection with the song paying an homage to one of the openings and the story of the Waisnorian TV show "Shield". Now it was a deal of the performance to see how he'll fare.

The performance began with the stage lit enough for Ilya to be visible. He was lying on the bed wearing regular jeans, an oversize white T-shirt and a leather jacket. Meanwhile, white lines on a black background appeared in the background and crossed each other, thus creating something like prison bars.

Я запомню
I'll remember

Те отголоски жизни, бывшей до излома
Those echoes of life that was before the break

Все те кошмары, что были со мной в неволе
All those nightmares that were with me in captivity

Я помню всё то, что важно и никчемно
I remember everything that is important and worthless

Ilya began to gradually get out of bed and was fully standing by the time the chorus began. The camera, meanwhile, filmed him so that Gritsak was in the center of the frame in a vertical position throughout the entire process. In the background, a black and white grid followed Gritsak’s movements, moving from horizontal to vertical.

Я иду дальше
I'm moving on

Не жду от жизни ничего я, кроме фальши
I don't expect anything from life except falsehood

Держу удары, но я стал сильней, чем раньше
I take the hits, but I'm stronger than before

Я готов к тем битвам, что меня ждут дальше
I'm ready for the battles that await me next

During the chorus, Ilya moved away from the korvati and began to make smooth movements with his hands, dancing a little to the music. Meanwhile, the light changed in such a way that now there was one line across the stage, now to the left, now to the right, sometimes completely illuminating Ilya. In the background, meanwhile, the bars turned into skyscraper windows, which turned into a ragged montage of the night city.

Сбрось с меня мои оковы
Cast off my shackles

Дай сойти с моей Голгофы
Let me get off my Calvary

Я прошу тебя так часто
I ask you so often

Чую я весь груз балласта
I feel the whole load of ballast

After the chorus, for a couple of moments the light completely disappeared from the stage and there was complete silence. The first line was sung in this silence, and when it was time for the other lines, the light had already turned on in a bright flash that lasted a couple of moments. After this, the light concentrated on Ilya. Meanwhile, in the background, the camera began to show a biker riding through the city. The editing remained just as choppy.

Должен признать, мне нужна помощь
I must admit that I need help

Мне эта боль давно знакома
I have known this pain for a long time

Я запер в своем сердце
I locked it in my heart

Свою тревогу, и теперь там скребут черти
My anxiety, and now the devils are scratching there

It was time for a sudden transition to the Belarusian verse, and to reflect this, the lights switched from white to red. In parallel with this, Gritsak again began to make smooth movements with his hands, the last of which was to make a pistol from his fingers and shoot upward. The biker was no longer visible in the background, the night street was now visible from his point of view.

Мне патрэбны ўсе сілы
I need all my strength

Каб мяне не задушылі
To prevent me from being strangled

Я адчуваю ў сабе агонь
I feel the fire inside me

Агонь, што ўкладзе ключ у свабодзе мне ў далонь
The fire that will put the key to freedom in my palm

Before the last chorus, the lights began to flicker as Ilya walked to the edge of the stage. Gritsak gradually lowered his hand with the finger pistol until it stood at 90 degrees. At this moment, right before the start of the chorus, Ilya changed his pistol to a fist and hit himself in the chest, after which he again began to dance to the music. And in the background, shots of the city at night appeared again.

Сбрось с меня мои оковы
Cast off my shackles

Дай сойти с моей Голгофы
Let me get off my Calvary

Я прошу тебя так часто
I ask you so often

Чую я весь груз балласта
I feel the whole load of ballast

After finishing the performance, Ilya waved to the audience and shouted: "Hello everybody, hope you're doing well! Дзякуй, што выслухалі, хлопцы!"

by **Terra-Zealandia** » Fri Oct 20, 2023 2:03 pm

Country Name: Terra Zealandia
Artist Name: Lucy Martin-Waldron
Song Title: Love Letters
Languages: English

Music: Lucy Martin-Waldron, Jordan Nezevich
Lyrics: Lucy Martin-Waldron, Aimee Braker
Tune: Brooke Fraser - Something In The Water

Introduction

We really hate to say it - but unfortunate results from Terra Zealandia have kept us away.

Terra Zealandia's last appearance in the Worldvision Song Contest was the 107th edition back in Doportedas, Britonisea. It was the contest's second ever edition to host semi-finals, and our song "Careless In Love" by Āwhina Te Kanga didn't qualify to the final, only placing 12th out of 16 nations in the second semi final. Hopes weren't ever high for Terra Zealandia, and they really never weren't with our best placing still being 16th in a final.

It meant that TZBC announced a two-edition hiatus, while the scavenge for better singers, songwriters, dancers - heck, virtually anything, commenced. Anything that would make the funding worth the participation, otherwise it would once again be another large chunk of money down the drain, spent all for a right-side placement on the leaderboard.

TZBC announced that they'd be sending Lucy Martin-Waldron to Worldvision 110 in Ugunnustan to break the drought of Terra Zealandia in Worldvision and to relive the kiwi spirit that is much needed in the nation's music industry. Were Terra Zealandians hopeful? Not really. Many permanently turned off the TV after seeing our last result, which happened to be the second time for Terra Zealandia to fail to qualify for a final.

Oh well, Lucy was excited to be here and to be representing her country. It never really mattered to her what the critics thought or what the previous statistics showed. She was going to do her best, and as long as she could do that tonight, that's all that matters to her.

Terra Zealandia also recently held a one-off musical competition to select the order of our future Worldvision participants entitled "Terra Zealandia Decides". It held six participants, and with the most points, Lucy Martin-Waldron won with "Love Letters", which earned her the right to participate in this edition. TZBC hoped that the establishment and broadcasting of that event would spark more relevance and hype for Terra Zealandia's participation in the contest. Only time will tell.

Artist + Song

Cover for the 2023 single "Love Letters"

Lucy Martin-Waldron is a singer-songwriter from Tarley, the largest city in the Waipari Region of Terra Zealandia. She began writing songs when she was 12, beginning her musical career as an indie artist. A few of her songs managed to chart on the Terra Zealandia Music Charts around 2008-2009, including songs like "Let Me Be" and "Conflicted", earning platinum awards for their successes.

Love Letters is the song that Lucy will be singing to represent Terra Zealandia. Lucy actually wrote this song a few years ago, when certain events occurred and she was missing everyone being stuck at home. Taking inspiration from the current climate at the time, she managed to write a song from her house, but never released it to the public till now.

Performance

Do-do-do-do-do-do-do-do-do-do

It’s been quiet and lonely since you’ve been gone
For a while, for a while, for a while
And I’ve been missin’ all the little things
Like your smile, like your smile, like your smile

I’ll keep on counting all the days alone as they go by
You said that you’d be next to me until I die
‘Cause my heart has never stopped healin’
Well baby, I’ve never stopped believin’

Ah-ah-ah-ah-ah-ah
I’ll keep sending you love letters
If it makes me feel so much better
Ah-ah-ah-ah-ah-ah
I’ll keep sending you love letters
I just hope that you’ll reply

I’ve made all my cards with kisses by your name
Underlined, underlined, underlined
I’ve played with sock puppets, and made new friends to pass the time
I pretend I’m fine, that I’m fine, yeah I’m fine

But the truth is that I’m going insane
My teardrops pour down like the rain
But somehow, I manage to control my feelins’
Cause baby, I’ve never stopped believin’

Ah-ah-ah-ah-ah-ah
I’ll keep sending you love letters
If it makes me feel so much better
Ah-ah-ah-ah-ah-ah
I’ll keep sending you love letters
I just hope that you’ll reply, yeah, you

Ooh-ooh-ooh-ooh
Ooh-ooh-ooh-ooh
Ooh-ooh-ooh-ooh

I hope that when you come along
We’ll be spendin’ nights listenin’ to rūrū songs
‘Cause baby it’s been so long

Ah-ah-ah-ah-ah-ah
I’ll keep sending you love letters
If it makes me feel so much better
Ah-ah-ah-ah-ah-ah
I’ll keep sending you love letters
I just hope that you’ll reply, yeah, you

I hope you do
Do-do-do-do-do-do

by **Malta Comino Gozo** » Fri Oct 20, 2023 2:57 pm

Nation Name: Malta Comino Gozo
Official Broadcaster: MCG 1
Tune: Jann- Emperor's New Clothes
Song Title: Imagination
Artist(s) Name(s): Luca Aquilina
Lyrics & Music: Luca Aquilina

After yet another successful WorldVision, the MCGBC team basked in the glow of their achievements. Liena and her team had put in an impressive showing, securing a highly respectable third-place finish in the competition held in Mariesnbourg. This was not the first time the small island country had earned such a result, as they had managed to rack up quite a collection of third-place finishes in the past. However, there was a glimmer of hope that Malta Comino Gozo might finally be able to secure a coveted second-place finish, a position that had eluded them thus far and left their "trophy cabinet" lacking a large, shiny silver trophy.

At some moments during the voting, it seemed as if MCG was on track to claim that elusive silver, only to ultimately fall short and finish third, a mere ten points behind second-place Todlichebujoku. Nevertheless, the night was a success, and Liena's team deserved the recognition they received for their eye-catching performance, racking up two douse points from Waisnor and Cakranegara as well as a myriad of tens and eights.

WorldVision had done wonders for Liena's career, and she was greeted with a hero's welcome upon her return to MCG. In the weeks that followed, she dedicated her time to a variety of media appearances, including TV and radio interviews, local gigs, and announcing her first international tour, "My Dreams," which would take her to various locations across the multiverse.

Meanwhile, her WorldVision single, "Solar Flare," was a hit at home and abroad, topping the charts in Cakranegara, Waisnor, and StrayaRoos.

Luca Aquilina is a 28-year-old Malta Comino Gozoan singer and model from Dojoq Driq who has garnered a reputation for not only his singing but also his charming good looks. His well-defined jawline is complemented by his piercing blue eyes which are known to captivate his audiences at his modeling events. His amiable smile, radiating warmth and approachability, endears him to all of his fans. Standing at 6'1, Luca has a lean and toned physique that's a testament to his disciplined fitness routine. His broad shoulders, chiselled abs, and well-toned biceps make him a popular choice for leading roles in his part-time modelling career and also helped him maintain his youthful appearance.

Luca Aqulina

In addition to his physical appearance, Luca Aquilina's talent as a singer is also highly regarded. Luca started his singing career at the age of 14 and has since become a well-known figure in the MCG music industry. He has released several albums, such as "Dreaming of You", "My Heart's Symphony", and "Echoes of Love" with each one showcasing his impressive vocal range and songwriting skills. Luca has also collaborated with other local artists and bands, providing his unique voice to numerous projects.

His music style is a blend of indie, soul, and pop, and his performances are known for their energy and emotion. Luca's concerts have attracted thousands of fans, and he has toured extensively around the multiverse, sharing his music with people from all walks of life.

Luca’s brand new WorldVision song “Imagination” is a poignant portrayal of a man's love life and his overwhelming love for a woman. The narrative takes the listeners on an emotional roller coaster ride as the protagonist's world is shattered when his beloved partner cheats on him and breaks up. The song delves deep into the complexities of heartbreak and infatuation, as the man is left with nothing but his memories of her, which consume him to the point where he can no longer distinguish between what is real and what is not.

The lyrical journey explores the theme of depression and the protagonist's desperate attempts to seek solace and comfort in his former lover, only to be further traumatised by her gaslighting tactics. The song seamlessly weaves between the past and present, revealing the depth of the man's love for the woman and the devastating impact of their break up on his emotional and mental well-being.

The song is a heart-wrenching tale of love, loss, and betrayal as the protagonist struggles to come to terms with the reality of his failed relationship. The song's poignant lyrics and soulful melody leave a lasting impression on listeners, evoking feelings of empathy and compassion for him and a sense of catharsis for anyone who has experienced the pain of heartbreak.

“Writing the lyrics was actually a very cathartic process for me ”. Luca told MCGBC Radio “I was in a relationship and in a very bad way following that, and I wanted to explore the complexities of heartbreak and infatuation and how it can consume you to the point where you can no longer distinguish between what is real and what is not. I also wanted to delve into the theme of depression and how it can impact your life in so many different ways.”

For years, Luca had been yearning to visit Ous, and finally, his dream hasd come true. From the moment he arrived at the city's airport after his 6 hour flight , Luca was captivated Ugunnustan's stunning beauty and the genuine warmth of its people. He and his team checked into the opulent Rahqual Hotel, a luxurious 5-star establishment that boasted exquisite decor and top-notch amenities just a stone's throw away from a picturesque beach.

It was only early afternoon, and after settling in his hotel room and unpacking his bags, Luca couldn't wait to start exploring the beautiful city of Ous. He set off on foot and made his way to the historic city walls, which were truly breathtaking. As he walked along the walls, he couldn't help but feel a sense of wonder and amazement at the impressive architecture and the rich history they held.

The next day, Luca headed to the beach, just a short walk from the city walls. The crystal-clear waters of Thtoay Bay were simply irresistible, and he spent hours soaking up the sun and playing in the inviting waters. The soft sand between his toes and the gentle breeze blowing through his hair made him feel truly alive and free. As an islander, he felt right at home, nearest the sea.

As the sun began to set, Luca returned to the city to explore its vibrant nightlife. The streets were alive with energy, and he was drawn to the lively bars and clubs that lined the bustling streets. He danced the night away, revelling in the friendly locals' music and company. Even as the night wore on and the crowds began to thin out, Luca couldn't bring himself to leave. He and his delegation stayed out well into the early hours, soaking up every moment of this enchanting city's nightlife.

One of the most unforgettable moments of his stay in Ous was ascending to the top of the Jura Tower. The panoramic views from the summit were truly awe-inspiring, and Luca felt like he could see the entire city from the observation deck. Throughout his stay, Luca found the locals of Ous to be exceptionally amiable and hospitable. He had many engaging conversations with them, and they were always eager to share their love for their city and the Ugganistani culture.

As Luca made his way backstage, he couldn't help but feel a mix of nervousness and excitement. His heart was racing in anticipation of his upcoming performance. He took a deep breath and tried to calm his nerves, but the buzz of energy around him was infectious. The stagehands were scurrying around, making last-minute adjustments to the set and checking microphones. Luca's delegation was huddled together, some pacing nervously while others chatted animatedly. The air was filled with sounds and singers voices being warmed up. Despite the chaos, there was a sense of camaraderie and shared purpose among everyone backstage. Luca felt a surge of pride, knowing that he was part of something bigger than himself. This was his moment to shine, and he was determined to make it count.

Luca was dressed in a crisp white suit ( see above) that was sharp and elegant, exuding a sophisticated and refined aura. The azure blue colour of his shirt stood out and caught peoples attention. It was perfectly pressed, with a classic collar and cuffs that added a touch of formality. The white trousers were neatly tailored, hugging his muscular legs in all the right places, while his black loafers added a subtle contrast to the all-white ensemble. The shoes looked sleek and shiny, with a polished finish that complemented the suit perfectly. The combination of the white suit, shirt, and trousers, along with the black loafers, created a stylish and contemporary look that suited Luca's musical persona flawlessly. His brown beard was full and bushy, covering most of his chin and jawline. It was unkempt and appeared slightly scruffy, giving him a rugged and laid back appearance.

The atmosphere was electric as the audience fell into a hushed silence as the postcard wrapped up, eagerly anticipating the start of the entry. The lights in the Müsqa Arena faded to black, and in the darkness, the ghostly voices of the opening choir echoed through the air, sending chills down the spines of the crowd. The camera cut to a bird's-eye view from above the stage, offering a stunning view of the entire mist-filled scene. The stage floor was bathed in a brilliant white light, illuminating every corner of the space. In the centre of the stage stood a clockface, its intricately carved Roman numerals shining in the light. Lying atop the clock was Luca, and his body stretched out in a dramatic starfish pose. The mist floated around Luca like a thin blanket, shrouding him in a mysterious aura. The swirling fog seemed to dance to the rhythm of the music, adding to the surreal atmosphere of the performance. It was as if the mist was a living, breathing entity wrapping itself around Luca, enhancing the emotional intensity of the song. The combination of the mist, the haunting music, and Luca's soulful voice created a mesmerising experience for the audience at home, immersing them in the narrative of the song.

It started with a strange fascination
When I used my imagination
I think, I plot, I plan, I dream
Ended with me down on my knees
There's no hesitation

The camera slowly zoomed in, rotating as it approached until it settled on a close-up of Luca's upper body. All the while, the lights flashed on the periphary of the camera lens. His expression was focused, his eyes trained on the camera poised above. As the music began to swell, Luca drew in a deep breath, preparing to sing. His voice was powerful and soulful, filling the arena. The audience was captivated, hanging on every word as Luca poured his heart and soul into the performance. The clock on the stage seemed to fade slightly into the mist and background as it ticked along, replaced by the raw emotion of the music. All the while, the lights above the stage flickered and faded, adding to the excitement.

As the camera slowly pans closer, a mesmerising array of swirling colours gradually emerges from the edges of the outline of his head. The colours are faint, but they seem to be moving in a circular motion, as if they are alive. These colours represented the dreams currently occupying his mind, waiting to be unleashed. As he sang, “The real is so fragile, shaken by my dreams” he twitched, and all the vibrant colours around her seemed to flee in terror like a flock of wild birds. The once lively and vivid hues were now replaced with a dull and lifeless tone, giving the impression of a world devoid of joy and excitement. He sang passionately, his voice filling the arena as he lifted his right palm and started tapping his fingers on the black LED floor. Each tap created a beautiful splash of white.

Living between time and a choice of setting souls free
I'm awake but the dream keeps dreaming without me
My imagination’s all I need
Frozen with infiltration
The real is so fragile, shaken by my dreams
I felt you coming that's all I knew
Now you have arrived my dear
I don't know what to do

The scene opens up with a dramatic head-on diagonal view of Luca, who suddenly lurches up into a sitting position as the electronic beat kicks in. His facial expression is one of agony and letdown as he stares right into the camera. The LED background changes into an edgy black-and-white pattern, resembling TV static, while the white stage spotlights flicker on and off rapidly, creating a strobe effect which added a dynamic but also nightmarish feel, emphasising the rhythm and beat more. Lucas's face was etched with a malevolent sneer as he sang, "How he made you laugh." His eyes glinted with a sinister light as if he relished the pain those words would cause. His voice was chilling, sending shivers down listeners' spines. He was channelling all the anger and hatred he had inside him.

Do you remember the day?
I turned to you and said
I didn't like the way
He was looking at you?
Yeah..
How he made you laugh
You just couldnt get what I was saying
It was all in my imagination!

The scene transitions to a black screen, and then a railcam focuses on Luca who is now standing upright. His figure is silhouetted against the dark stage, which ominously pulsates with bright white lights. Flanking him on either side at the back of the stage, there are two pairs of grey-cloaked figures whose faces are obscured by hoods. Their eerie voices blend seamlessly with Luca's as they take a step forward through the thick fog that envelops the stage. The figures slowly but surely make their way towards the audience, their movements accentuated by the pulsating lights.

Oh, it's not easy, easy, easy
To resist temptation, temptation, temptation
Walking around looking like a figment of someone's imagination

We now have an upper body view as Luca gazed directly into the camera lens, his expression one of deep, emotional longing. As he sang, his eyes grew wider and more watery, revealing the depth of his pain and the intensity of his passion. He tilted his head ever so slightly to the left, almost as if he was in a trance-like state, lost in the emotion of the moment. His hand shot up to his fringe as he reached the final line, grasping it tightly in a show of raw, unbridled emotion. All the while, the cloaked figures were closing in on him, the closest two reaching out to touch his shoulders, which added to the sense of tension and drama in the scene. All the while, the lights pulsated more and more violently, building up for the chorus.

Oh, it's not easy, not easy, easy
To resist temptation, temptation, temptation
Walking around looking like a figment of somebody’s imagination
It was all in my imagination

As the chorus burst forth, the stage lights transformed into a mesmerising shade of dark blue. Simultaneously, the camera zoomed out and upwards from him, revealing a patch of the audience and also revealing the chaotic LED background. The swirling shapes and fluid patterns blended black, white, grey, and other dark hues, creating a captivating visual spectacle representing his mind. The glowing white lighting effects were perfectly choreographed to match the emotion of the lyrics, with dramatic shadows and flashes of light punctuating the most intense moments. The camera cut back to Luca centre stage as he sung “Imagination’s frozen, lost in time”. He stretches his left arm out towards the camera, his face outpouring with emotion.

My mind's a canvas, a blank slate
But my thoughts are wild and never straight ahead
Imagination’s frozen, lost in time
In a world so fragile,
It's hard to define

Luca then found himself surrounded by the cloaked figures, their forms shrouded in darkness. They stood on either side of him, slowly moving closer until they formed a circle, linking hands and entrapping him in the centre. The air grew heavy and tense as the figures closed in, their intentions unknown. Luca's heart raced as he searched for a way out of the encircling darkness. The panic-stricken look on his face is clearly visible to the viewers, his eyes wide and his pupils dilate, creating an intense and captivating image. We have a close-up railcam shot looking upwards, which cuts to an aerial railcam shot showing most of the spectacular stage. All the while, the figures continued to harmonise his vocals.

I let you into my head.
Thoughts & taunts
You corrupted my mind
Imaginations frozen, lost in time
In a world so fragile,
Welcome to my mind

Despite being completely surrounded and seemingly outnumbered, he refused to back down and instead dropped to his knees as if accepting his fate, and the figures disappeared into the black of the stage. We have a bird's-eye view of Luca now, illuminated by a vibrant white spotlight that shines down on him. He sings to the camera as though speaking to a divine entity. The camera remains suspended in the air, capturing this mesmerising moment. His face appeared to be filled with both determination and vulnerability as he sang up at the camera. His eyes were almost closed, and his brows slightly crinkled.

Every night on my knees I prayed
Dear Lord, please hear my plea
Don't ever let another take her love from me
Dear Lord, please hear my plea

As the verse ends, the camera shifts to a frontal view of Luca. The cloaked figures have disappeared. He remains on his knees under a white spotlight and gazes straight into the lens with an intense expression. The music reverberated through the hall, but on stage, a hushed stillness seemed to linger in the air. While he continues to sing, a hand suddenly emerges from the shadows and lands on his shoulder. The mysterious figure behind the hand remains hidden. Luca notices the presence and turns his head slightly to catch a glimpse of her before turning back to face the camera.

How wrong was I, as I looked back
She came and corrupted me
Inside my mind, she laid her bad deed
Dear Lord, what did she do to me?

The figure disappears backwards off-camera. The stage was now illuminated with a warm yellow spotlight shining on Luca, while the rest of the stage was dimly lit with strobing blue and purple lights, that created a dramatic contrast and highlighted Luca's presence on stage. Luca stands, clutching the microphone with both hands, singing with intense emotion and conviction. The backing singers supported his vocals perfectly. He swayed his upper body gently to the rhythm of the music and looked directly into the audience's eyes, drawing them into the performance. The camera angles shifted between close-up shots of Luca's face, capturing his facial expressions, and wide shots of the stage, showcasing the stunning display of black and white fluid gracefully moving on the LED background. Its dynamic nature created a mesmerising effect that drew the eye.

Oh, it's not easy, easy, easy
To resist temptation, temptation, temptation
Walking around looking like a figment of someone’s imagination

The camera then panned around Luca, capturing the strobed lighting effects and the audience. As the section of the song reached its climax before the chorus, the lighting effects intensified with flashes of white light illuminating the stage, creating a dramatic and powerful moment. Luca held the final note, and the camera captured a close-up shot of his face as he belted out the lyrics with raw emotion. The camera cuts to a facial shot as he asks the "question" to the viewers. Was this in his imagination, or was this real?

Oh, it's not easy, not easy, easy
To resist temptation, temptation, temptation
Walking around looking like a figment of somebody’s imagination
So it was all in my imagination?

As the lights slowly dimmed, anticipation grew in the air. Suddenly, the spotlights around the entire arena illuminated, creating a blood-red hue that swirled around the hall, making it look like a scene straight out of a horror movie as we have a view from the upper back of the arena. The lights moved in a mesmerizing, almost hypnotic pattern as they raced towards the stage. As the stage came into view, we could see Luca and the hooded figures. It was clear that no expense had been spared. The stage itself was a stunning contrast between black and red, with intricate designs etched into the floor. The background LED screen displayed a mesmerizing array of simple swirls of dark colour. All the while, flashes of white lightning illuminated the screens. As he sings "Imagination’s frozen", every light freezes abruptly mid-air and we have a huge blast of white lighting to the beat that illuminated from behind him.

My mind's a canvas, a blank slate
But my thoughts are wild and never straight ahead
Imagination’s frozen, lost in time
In a world so fragile,
It's hard to define

We have a stage cam shot that pans around Luca and the hooded figures standing centre stage. Each one has a gentle lean to their stance as they lean forward. The hooded figures' faces are still shrouded in mystery. The camera pans before cutting to Luca as he sings. He rolls his neck as the nearest pairs of hands start gently caressing his neck and head, clearly attempting to infiltrate his mind. He squirms and tries to shake them off. As he sings the last, the camera draws in for a close-up shot of their upper body. Luca lowered his head in a menacing posture, his eyes fixated on the camera with a piercing gaze that sends shivers down the spine. The verse's lyrics come to a powerful close, and each group member drops their head in perfect harmony. The hooded figures turn and walk back towards the back of the stage into the black as the camera briefly cuts to a full-body shot before cutting back to Luca.

Luca's body sways to the song's beat, his head nodding with each pulse. The flashing lights around him create a mesmerising effect, with black, white, and red hues blending together in a hypnotic dance. The camera captures every movement, jolting and shaking to the rhythm of the music.
As the song ends, the camera zooms out, revealing Luca down on his knees. The golden spotlight illuminates him, casting a warm glow on his face. He drops his head, his breaths coming in short gasps as he tries to catch his breath. The stage goes dark, enveloping him in a blanket of silence, and he remains there, still and motionless, his figure just visible as the camera moves out.

I let you into my head
Thoughts & taunts, you corrupted my mind
Imaginations frozen, lost in time
In a world so fragile,
Welcome to my mind

The moment Luca finished his emotional tale, a deafening roar erupted from the crowd. He sat there, stunned, as the lights flickered back on, illuminating the sea of faces before him. A smile slowly spread across his lips as he saw the entire audience rising to their feet. Flags waved vigorously, not just from MCG, but from every nation competing. The camera panned back to Luca, now standing and basking in the limelight. His adorable smile revealed his perfect teeth, and he struggled to understand what he had just accomplished. With a simple, grateful nod to the crowd, he thanked them “Thank you, Ous.” He exited the stage, still feeling overwhelmed by the outpouring of support and admiration as the cheers continued. He had accomplished his goal, and regardless of the outcome, he was so proud.

by **StrayaRoos** » Fri Oct 20, 2023 3:13 pm

18
StrayaRoos
ALI - Criminal
Bermuda, DJ Spicy, Teya - Criminal

Background
13th at WV109 was an impressive result for StrayaRoos, discounting the fact that there were only 21 participants. rtvS looked to follow this up with a top 10 at 110, but as per usual, funding cuts effected their chances, with 15% of the budget being cut, and they ended up having to send a less impressive entry than they originally planned.

Artist
ALI, real name Aliyana Kjaka, previously represented StrayaRoos at WorldVision 107, where she and Kitta Svardinga finished 23rd in the final, after finishing 9th in the semifinal with 'Welcome to the show', which has since become somewhat of a cult song in the WV fandom. Since WV107, she's mostly been performing at music festivals throughout StrayaRoos, with limited succsess compared to her previous exploits.

Song
Criminal's lyrics allude to a possessive relationship, and a friend's attempt to try and break it up.
The song, as usual, is a generic pop song that'll surely end up flopping and struggle to finish above Placey Placington.

Performance
The stage is illuminated in a teal light, Ali is standing in the center, wearing a black crop top and pants. Nervously waiting for the backing music to start.

So this is how you play the game
Always lying, and never getting tired
Maybe I should quit trying
You’re only motivated by desire
That means I never could get her
But it seems she’ll never be alone

During the first verse, the camera zooms in on Ali, as she sings and starts to click her fingers to the beat of the song, meanwhile the lights start to slowly shift colours down the spectrum, moving from teal to purple initially.

It’s all so simple
You just keep her under your control-ol-oh
Stole her mind and made her a doll
The only things you do are so cynical
Just lying to stay in control, what a criminal
Ooh-ooh-ooh, what a criminal
Ooh-ooh-ooh, what a criminal

During the chorus, towards the end, the background lights and music become more energetic, and it's shown in Ali's singing.

She’ll always be your prisoner
(Nothing beats a few white lies)
Everything looks okay on the outside
But it’s not on the inside
And it’s obvious, that you try to own her
But It seems nobody even knows

The second chorus starts, and the song goes to a similar state as it was towards the end of the first chorus, and stays that way for the rest of the performance, with Ali singing her heart out, and the lights going crazy

I guess, it’s all so simple
You just keep her under your control-ol-oh
Stole her mind and made her a doll
The only things you do are
Just lying to stay in control, what a criminal
Ooh-ooh-ooh, what a criminal
Ooh-ooh-ooh, what a criminal
You know you’re such a criminal
It’s so simple
You just keep her under your control-ol-oh
Stole her mind and made her a doll
Ooh-ooh-ooh, what a criminal
Ooh-ooh-ooh, what a criminal
Ooh-ooh-ooh, what a criminal

After a softer finish to the song, Ali shouts "THANK YOU OUS!"

by **Adab** » Fri Oct 20, 2023 4:19 pm

19. ADAB
Elina Dagan – ”Heat”
Tune: Taylor Swift - …Ready for It?
Language: English

Background
Seven editions have passed since Adab last participated in the WorldVision Song Contest. Financial troubles had forced Adab Broadcasting Corporation (ABC) Director-General Benji Akiya to downsize for a while, reducing participation in international events and focusing on projects closer to home - as well as convincing lawmakers, in light of Adab’s generally healthy economy, to provide the ABC with a bigger budget. This he did successfully, and now, having steered the institution through turbulent times, Benji finds himself the unquestioned leader of the institution, stepping out of the shadow of his late uncle Enki, who had once been Director-General himself, and solidifying his reputation as the person who restored the ABC’s reputation and finances. After all these years, Benji has never forgotten the event which he sees as the gateway for Adab’s artists to international renown, a vehicle for Adab’s cross-border cultural power. With the ABC now on a strong enough financial footing, the decision was made: Adab is coming back to WorldVision.

The Performance
Elina Dagan, she of long, wavy blonde hair and deep blue eyes, stood defiantly at the center of the stage, raising her fist, the venue coming alive in an explosion of brilliant blue with the first beat, overcoming the darkness that had prevailed beforehand. She was wearing a dark red shirt and black jeans. Her burning, desperate eyes were directed at the audience, a sort of lust coloring her face.

Red hair and hazel eyes, under the summer sun
Turning my head the first time that I ever saw him
Asked him, “What do you do for a living again?”
“I race cars, what about you?”

Told me I should come and watch him, he’d love to have me there
Racing at such a dizzying pace, it made my head spin
But I really don’t mind, he ain’t too bad, that’s for sure
I’ll take my chances-ces

The backstage wall turned slightly darker, the hints of a man’s face – or at least half of it – emerging from the darkness, an overarching background presence towering ominously over Elina, who began making her way around the stage, head up towards the ceiling, banging her chest and making circle gestures with her fingers to imitate the steering wheel. As she sang the man’s face in the background gradually faded into a scene of cars on a racing track, engines ready, rearing to go off. Those in the audience closest to the stage could hear hints of car sounds coming off the backstage wall.

We get in and “Take the wheel,” he says
I’m bad at this but he isn’t mad
“I’m not a good driver,” I admit
He says, “It’s alright”

Now at the center front of the stage, Elina turned sharply towards the audience and fell to her knees, symbolizing her “drowning” in her man. The backstage wall now showed the man’s face in full, ear to ear; a good if admittedly rather generic and stock photo-looking man. The face remained unmoved, his eyes piercing those of the audience. The blue of the stage retreated, swept away by bright, flaming orange as Elina proclaimed she could “feel the engine heating”.

I get lost and drown in your whole being, babe
You and I, we make a dangerous pair
I can feel the engine heating right here
Warming up in the cool, cool air.
“Just take me there,” I say. “And yeah, I love you, babe.”

With the first hard beat after the lyrics above, flames came shooting up all around the stage, sparkling and burning, threatening to engulf the stage in the fire. The gaps between the flames were still big enough for the audience to see Elina in-between, rising to reign over a stage on fire, lit up by love or wanton lust or whatever it was. As she resumed singing, her movements became more theatrical, frequently crouching, banging her chest, pointing to her feet as she said “goody two-shoes”. As she sang about “the power of fame”, sheets of paper money could be seen raining down on the backstage wall, obscuring the man’s face. When she got to “weak at my knees”, she made sure to emphasize the lyrics by again falling to her knees, this time her face clearly full of sheer desperation.

I tried to be proper, just minding my business
A goody two-shoes, no history of impulsiveness
And then there he was, danger is his middle name
Such is the power of fame

Told me I’m welcome any time, don’t have to pay a dime
All the doors are open, all barriers instantly broken
He’s such a looker, left me a gasping onlooker
Left me weak at my knees, yes

Her breathing grew more rapid and erratic, punctuating every word, bringing home that feeling of being so completely enthralled with someone. Again she made circles with her hands to imitate the steering wheel, this time while still on her knees. The flames burned and receded at constant intervals, allowing the audience more glimpses of the woman behind the fire – whose own inner fire was driving this performance.

We get in and “Take the wheel,” he says
I’m bad at this but he isn’t mad
“I’m not a good driver,” I admit
He says, “It’s alright”

Now Elina laid down on the stage, her hands slowly floating over from – but never touching – her knees to her face, as if she was imagining the man with her. Viewers at home were treated to a close-up view of Elina from above, zooming in to her face. The flames died down a bit during the lyrics, then started burning brightly again with the following beats. The backstage wall now showed a first-person view of someone in the driver’s seat, focusing on the steering wheel at the center. The face was never shown, but his hands could be seen, the right hand moving the gear stick (Adabians drive on the left).

I get lost and drown in your whole being, babe
You and I, we make a dangerous pair
I can feel the engine heating right here
Warming up in the cool, cool air.
“Just take me there,” I say. “And yeah, I love you, babe.”
Oh, and yeah I love you babe

Elina once again rose to her feet, banging her foot against the stage floor with every beat, shifting her head back and forth and raising her fist before again starting to walk around the stage. Meanwhile the flames continued burning, burning, and burning. The car on the backstage wall started to move as the driver – through whose eyes we were witnessing the scene – pressed down on the gas pedal.

Come on, let’s start our engines
Let’s start our engines
Let’s start our engines
Come on, let’s start our engines
Go start our engines
Go start our engines

Elina found herself at the center of the stage. Slowly she raised her hand towards the ceiling, her head and her eyes following the hand, as if pondering her fate and asking heavenly forces how she had gotten herself into this. After the last line of the verse, her head quickly shot back down to the audience, her hand dropping to her waist. She scanned the audience, taking in a performance that was coming to its end.

We get in and “Take the wheel,” he says
I’m bad at this but he isn’t mad
“I’m not a good driver,” I admit
He says, “It’s alright”

Animated by one last surge of energy, Elina started rapidly banging her foot against the stage floor yet again, pointing towards the audience as she said “your whole being” and only slowly pulling her hand back, acknowledging the appreciative crowd’s part in her performance. When she said “You and I” she turned back and forth rapidly between the audience and the backstage wall, pointing at the wall when she said “you” and herself for “I”. The backstage wall changed to show the man’s face, completely focused as he drove the car, at ease with his high-speed instrument, moving the gear stick without a care in the world. And all around the stage the flames burned brightly.

I get lost and drown in your whole being, babe
You and I, we make a dangerous pair
I can feel the engine heating right here
Warming up in the cool, cool air.
“Just take me there,” I say.
I get lost and drown in you

Come on, let’s start our engines
Let’s start our engines
Let’s start our engines
Yeah I love you babe
Come on, let’s start our engines
Go start our engines
Go start our engines
Yeah I love you babe

The last beat faded into nothing and so did the flames. The backstage wall switched off, leaving Elina standing on the stage to receive the audience’s acclaim. “Thank you, thank you very much,” she said, blowing kisses and extending her hands to the audience as they cheered and applauded her. Without much further fanfare, she then disappeared backstage, making way for the next act.

by **Alezian Union** » Fri Oct 20, 2023 9:48 pm

”Le cauchemar disparaîtra”
Singer : Amia
Composer : Amia Ra’ukane’i Makarina
Lyricist : Amia Ra’ukane’i Makarina
Tune : Caro Emerald - I Belong To You

AMIA as shown in the Alezian WorldVision promotion site

Amia Ra'ukane'i Makarina or also known with her nickname and stagename AMIA is a Pantabang Islander singer and actress. She's known for reviving one of the largest music genre in the Pantabang Islands called "Pantabang Islander Romanticism", combining choral, and a sense of the Pantabang Islands' history with the French. Born in Na'ukake'i-Da'upe'ika, Bucinnois, Pantabang Islands on 12 June 1995. AMIA continues the recent success the Pantabang Island has lately in the Alezian national preselection "Operation:WorldVision"

She's also known for being the number one actress of Alezian period drama, especially those that were set in the Pantabang Islands such as ABA Channel 2's breakthrough "Division" which stories about two native Alezians who were in love but weren't meant to be because of the North Alezian and South Alezian divide over half the island, leaving the two to try and reach the other again and again but never being able to do so due to limitation, deciding to live separately and forget the other until the Pantabang Islands were reunited in 2021, but at that point, it's already too late. AMIA plays the female main character Chaiara Na'upe'ida Dadon when the character was still in the 20s. It's one of her best performances in media that she received numerous awards for it.

Music-wise, AMIA becomes well known when she started competing in solo singing competitions for her alma mater, the University of Bucinnois Saint-Laurier, earning awards and accolades. During her university days, she started collaborating with other artists and then was praised for her successful collaborations to recreate interest in "Pantabang Islander Romanticism". Her interest came from her upbringing in which she came from a French paternal ancestry and a Native Alezian maternal ancestry, and she just grew up listening to the fusion of French and Pantabang Islander cultures and added a little bit of modernity on top. However, even with her success people were still surprised that AMIA still hasn't have the bravery to just do it solo on her own.

Eventually, one day, one of her past lecturers suggested that she tries for WorldVision Song Contest. Initially, she wasn't so confident, but then she thought to herself that even the national preselection can be used to promote her debut album "Pour toi, Louienvierza". So she decided to compete for that initially.

Little did she know, she eventually was pushed to the stage again and was told to raise the Operation:WorldVision trophy, cementing her right to represent the Alezian Union for the WorldVision Song Contest and made her the second ever Pantabang Islander to win the preselection beating favourites from South Alezia (the only region who hasn't won WorldVision which is why the ABA is trying to figure out how to finally win the entire WorldVision Song Contest with a South Alezian completing the quad, but probably after AMIA).

”Le cauchemar disparaîtra” or translated to English as "The Nightmare Will Disappear" is AMIA's 7th solo song and the last song of her first ever solo album "Pour toi, Louienvierza". AMIA's album is unapologetically characteristically Pantabang Islander. Pantabang Islander albums can be characterised with them having 7 songs since a lot of singers in the Pantabang Islands perceive 7 as a lucky number (even though not all follows this superstition). Additionally, Pantabang Islander classical albums tend to have its' songs connect to each other in a story and AMIA's no exception.

The songs in "Pour toi, Louienvierza" indicates a continuous part of someone's love life. It started with a delusional woman dreaming of a man that can love her ("Sur tout ce qui est idéal pour moi" / "On everything that is ideal to me"), then they got married ("Oui" / "Yes"), live a happy life ("Chaque bonheur" / "Every happiness"), unfortunately they started being distant ("Rien" / "Nothing"), then they started fighting ("Je pensais que je t'aime" / "I thought I love you"), and they choose to separate ("Choisir séparément" / "Choose separately"). However, they can't help but still see each other's qualities but it's just been so painful that they would rather help each other get out of this nightmare and separate entirely never seeing each other again (”Le cauchemar disparaîtra” / "The nightmare will disappear").

It is rumoured that ”Le cauchemar disparaîtra” talks about AMIA's own personal love life, but she denied it in the Operation:WorldVision winner's press conference. According to AMIA's own words, it's an imagination of an era where AMIA is a princess living in a very grandiose Pantabang Islander castle usually situated way deep into Pantabang Islander territory and far from tribal areas. And this princess has a very terrible tragical luck with love, and then a prince arrived to her doorsteps and wanted to be with her. Unfortunately while things went well at first, they didn't match at all, and then the princess decided to do the healthy thing and tell the prince that "hey, this isn't working out, maybe we should go our separate ways and help each other forget each other". Although, Alezian media isn't exactly having it and is still continuing the theory that "Pour toi, Louienvierza" is actually dedicated to AMIA's ex because "Louienvierza" is such a random name that it should either be someone's actual name or used to mask over an actual name where maybe if Louienvierza is rearranged, listeners can find AMIA's ex's name because AMIA denied ever having any romantical relationship ever.

Oil and Gas exporting can really do A LOT to a country and city.

Arriving at Ous, Ugunnustan solidified her sentiment of this. The Pantabang Islands including Na'ukake'i-Da'upe'ika which is her hometown are known to be rich with oil and gas which they use to diversify into the tourism sector, something that Ugunnustan do in a way larger scale to this city of theirs because just look at the architecture. AMIA perceives that the people of Ugunnustan are quite the fans of modern architecture, while the Pantabang Islands still kept their European-style buildings and sidewalks (even though modern development has sprung up faster than ever in Bucinnois).

The beaches of Ous reminded her of her plans for the WorldVision performance that she's going to be rehearsing on stage soon enough. The beaches of Ous and Bucinnois shares one thing: It reminds her of simplicity even though it's going to be crowded with people and maybe music. But still, she can focus herself on the waves and think of the waves as the audience that she's going to see, millions are going to watch her, and Alezians have a lot of expectations on her and she can't let them down because the last time one did, the Alezian Union fell into a weeks-long protest against the Alezian Broadcasting Authority calling for an end to the embarrasment of their country in an event that they perceive as a way to prove Alezian soft power and Alezian sovereignty. The WorldVision Song Contest is basically, at this point, the national sport of the Alezian Union. A contest that everyone can be proud of, because in the eyes of countries that normally trumps over them, the Alezian Union can prevail here. And hopefully, AMIA can do them proud.

AMIA was massively impressed with the high quality of production the Müsqa arenası Ous has prepared for the delegations because she swear to God, she's going to work with the Alezian delegation and the Ugunnustani broadcaster to ensure that her performance works quite similiarly as her music video that was released two weeks earlier. There's a long instrumental break in the music? Fixed, we're having a dance break. Someone's going to be the DJ but with the vibes of the netry, it's going to be insanely mismatched. Alezian Union's own rules must kept the people on stage at six so the decision is to just not have a DJ but have a guitarist on stage. The guitarist in question shall be Marc Alvennou, AMIA's best friend and confidante (and rumoured to be AMIA's current boyfriend).

At the live show, AMIA has been scheduled to compete after Adab, a country with an extensive record according to AMIA's own research. While other countries have intimidating entries, that's not going to stop her from doing her best as she's called by stage staff to start preparing for her entry. As the postcard ended, AMIA stood alone at first, with one guitarist and three backing singers. The entire nation's hopes depended on her, the last time a Pantabang Islander competed, the entire union won, and will that happen with AMIA? Hopefully so as she started her performance.

The scene starts with the audience applauding AMIA standing behind a standing microphone, wearing a maroon gown decked out with jewels and black long gloves on her hands. The first part of the instrumental revealed slowly this situation line by line, until the camera is ready to change its' position to the intended position as AMIA starts signing.

As the camera arrived at the proper height and position, showing AMIA standing behind the standing microphone and Marc standing next to her with his guitar playing his guitar as accordingly planned, the colour suddenly became flushed to black and white to give the entire song a little bit of flair as planned with the Alezian delegation.

Un jour d'amour,
One day of love,

Deux jours de chagrin
Two days of sorrow

Trois jours d'ignorance
Three days of ignorance

Quatre jours de colère,
Four days of anger

Cinq jours sans autre raison de vivre
Five days with no other reason to leave

Une chance de tout dire,
A chance to say everything

Deux vies en jeu,
Two lives at stake

Pourtant, je ne veux pas du tout jouer au jeu de la vie
Yet I don't want to play the game of life at all

The camera changed the view to show AMIA in a much closer view as a shadow behind her appears and as shadows do, following every hand gestures that AMIA made in a heartbeat. AMIA touchs her eyes and ears dramatically as she told the viewer to look at her eyes and to listen to her words before the camera looked upwards preparing for the next scene

Regarde-moi, marron et bleu,
Look at me, brown and blue

et sauve-moi des mensonges
and save me from the lies

Écoute-moi, crie et murmure,
Listen to me, shouts and whispers,

de toutes les manières possibles
in every possible way

Suddenly, AMIA started becoming much more serious, the backing singers started adding flair to the song as she can be seen opening her hands wide with lights turning on behind her, alternating on and off between lights. The camera zoomed into her right hand which were raised to the sky before blurring transitioning to the next scene

Dis juste notre vérité,
Just tell our truth

Et je le jure, le cauchemar disparaîtra
And I swear, the nightmare will disappear

je vais vous laisser aller
I will let you go

Parce que je t'aime toujours,
Cause I still love you

Et il y a encore de l'espoir,
And there is still hope

Et ils disparaîtront.
And they will disappear

Un jour de la vie,
One day of life

Deux jours de mort,
Two days of death

Trois jours de liberté,
Three days of freedom

Quatre jours de confinement, je n'en peux plus
Four days of confinement, I can't handle

Une chance de rester,
A chance to stay

Deux vies dans une pièce
Two lives in a room

Pourtant je ne crois plus à rien, on y est ?
Yet I don't believe in anything anymore, are we there?

Regarde-moi, marron et bleu,
Look at me, brown and blue,

Trouverons-nous l'équilibre ?
Will we find balance?

Écoute-moi, crie et murmure,
Listen to me, shouts and whispers,

Pour voir si nous allons nous séparer
To see if we'll break apart

Dis juste notre vérité,
Just tell our truth,

Et je le jure, le cauchemar disparaîtra
And I swear, the nightmare will disappear

je vais vous laisser aller
I will let you go

Parce que je t'aime toujours,
Cause I still love you,

Et il y a encore de l'espoir,
And there's still hope,

Et ils disparaîtront.
And they will disappear

AMIA pivoted to the left to look at Marc who is putting his guitar away, the two bowed with elegance towards each other as AMIA sang the part before the creme of the show.

Il va disparaître.
It will disappear.

They snapped both of their fingers making their visual change from black and white to just white outlines as they have a ballet dance break throughout the instrumental break including the DJing, guitaring, drumming, and many more. The audience applaused during this dance break as AMIA and Marc danced with precision and elegance as the camera rotates around them recording the occasion as the lights started moving with craziness it has unseen before. Marc eventually gently pushed her back to the microphone so she can sing her parts again as the view returned back to black and white

Regarde-moi, marron et bleu,
Look at me, brown and blue

N'ose pas me le nier maintenant
Don't you dare deny it from me now

Écoute-moi, crie et murmure,
Listen to me, shouts and whispers,

N'ose pas me fuir maintenant
Don't you dare run away from me now

Once again, as AMIA reached the near end of her song, a close up of her singing can be seen, repeating the seriousness seen previously with lights once again smothering the venue with the audience inside feeling the all the overhead lights moving upwards slowly and the audience can see AMIA taking something out of a well-hidden pocket in her gown as she sung the last words

Dis juste notre vérité,
Just tell our truth,

Et je le jure, le cauchemar disparaîtra
And I swear, the nightmare will disappear

je vais vous laisser aller
I will let you go

Parce que je t'aime toujours,
Cause I still love you,

Et il y a encore de l'espoir,
And there's still hope,

Et ils disparaîtront.
And they will disappear

And that turns out to be a bracelet made from small beach rocks attached together made in the Pantabang Islands as a "dreamcatcher" against nightmares and bad luck according to Native Alezian beliefs.

Il va disparaître.
It will disappear.

AMIA eventually smiled as the song ended and the colour returned to the view with the applause heard from the audience. AMIA calmly expressed her gratitude at the audience with a very tame "thank you!" as she continues to smile before she left the stage for the next performance. Now all AMIA has to do is to enjoy the remaining songs, drink a little bit of water, and to just relax... until voting comes up.

by **Placely Placington** » Sat Oct 21, 2023 9:53 am

21 - Placely Placington

Dave McDaverson and Friends - The Placely Placingtonian Thirtieth Entry Extravaganza (A Movement in Nine Parts)

Tune: Anal Cunt - Howard is Bald EP

Wow, has it really been thirty contests since Placely Placington first debuted at the WorldVision Song Contest? When Dave the Hobo sent the imaginatively titled “WorldVision Song Contest” with his amazing cardboard box and a keyboard he probably stole from a secondary school music department? A song sent to the 80th edition in Marina Point over in Nekoni, where it went on to finish 25th place (second from last) with only ten points? No, it’s actually been twenty-nine since Placely Placington took part, thanks to their withdrawals from the 83rd and 105th contests but don’t tell Dave McDaverson that. Actually do, he’ll probably go with this huge celebration anyway but try and fit the correct number into it, even if it’ll fit as well as The Thing in the Batmobile or whatever bright idea Elon Musk wants Twitter to do. They’re right about it being thirty songs for reasons I’ll get into later but shhhhh.

Oh yeah, we’ve got an entry to do. Whatever, let’s get this milestone celebration underway.

Red – Some combination of…
Orange – Dave McDaverson
Yellow – Television Director
Green – Dave the Living DJ Booth
Blue – Jim the Grindcore Guy Bloke
Purple – Dave the Hobo

The postcard came to an end and we get to a shot of the stage. It wasn’t anything exciting, just Dave McDaverson and Television Director on one side while Dave the Living DJ Booth was perched in the exact middle of the stage. There was also a pithy applause from the audience because they were following a much better song from someone else and will be followed by a much better song by a different person, so they might as well use this as a seven and a half minute toilet break.

I. Overture

So here we are with the first song. It’s basically a reworking of a classical piece of music, one everyone should probably know the name of so I won’t go into too much detail. What I will say is that it was quite hard to write this bit because of how many times they say the same thing, how it all overlaps like a sensory overdose and all the different things they say and how they say it. But I think I managed to get most of them done. Anyway, we cut to Dave McDaverson and his friends singing into the same microphone, coupled with someone trying to imitate Flavor Flav but had to change his catchphrase due to unspecified legal issues or at least a threat of them.

Thirty contests!
Thirty contests!

HELL YEAHHHHHHHHHHHHH!

After that, we get into the main body of the song and the bit that was quite difficult to write.

Thirty contests! Three! Oh! SONGS!
Placely Placington! Songs! Thirty contests…
Thirty contests, thirty contests~, thirty contests~
Thirty contests~, thirty contests~, thirty contests~
THIRTY CONTEEEEEEEEEEEEEEEEESTS! (Thirty contests! Thirty contests! Thirty WorldVisions!)
Thirty contests! ^{Thirty contests!} Thirty WorldViSIONS
Thirty contests! (hell yeahhhhhhh!)
Thirty contests! Thirty contests! Thirty contests (WHY AM I PLAYING THIS MUSIC? WHY AM I STILL EXISTING?)
Thirty contests! Thirty contests! Thirty cont^ests. Thirty contests!
Thirty contests! Thirty contests! ^{Contests! Contests! Con-a-tests! CONTESTS!} CONTESTS!!!

Hopefully you had your volume down there for a moment. Anyway, after the first line, the singing started to switch up a bit even if the song didn’t really do it that much.

Thirty contests! (This is our thirtieth WorldVision song!)
Thirty contests, thirty contests, thirty contests, thirty contests, thirty contests, thirty contests
Placington! Thirty contests!
Placely Placington’s thirty! Go Placely!
Thirty contests! Three! Oh! (hell yeah!)
Go! WorldVision, thirty contests!
OH GOD WHY IS THIS SONG STILL GOING ON? WHY IS MY PAIN CONTINUING?

That’s a very good question, Dave the Living DJ Booth.

Thirty contests! (from Placely Placington)
Thirty conteeeeeeeeeeeeeeeeeests! WorldVision!
Thirty contests! Thirrrrrrrrrrrrrrr-teeeeeeee!
Thirt^yyyyyyyyyyy_yyyyyyyyy^yyyyyyyyy_yyyyyyy!

Thirty songs! Thirty songs! Thirty songs!
Thirty Placely songs!

Phew, that’s the first song over. Hopefully the ones after this will be a lot easier to write.

II. Ostinato l’istesso

Yeah, no one in Placely Placington knows what any of these mean, they’re just hazarding guesses. They just looked at a whole bunch of musical words in Italian and are trying to see which ones are close enough to what they’ve made and roll with it. Anyway, here’s a bog-standard 12-bar-blues song with lyrics about them performing their 30th song at the contest.

This is the thirtieth song
From Placely
It’s been thirty contests
Since we first began
I can’t believe it’s been
Thirty WorldVisions
Since we took part in the Dub-Vee 80
In Marina Point
Th-th-th-th-thirty
Th-th-th-th-thirty
Th-th-th-th-thirty
Thirty contests

Television Director finished strumming the guitar while Dave McDaverson did a little flourish to signify that he was done with the bongos. And, with that, we come to the end of part two and move on to part three.

III. Vox

Time for the spoken word portion of the entry. No music this time so, instead, Dave McDaverson and Television Director decided to have a conversation with Dave the Living DJ Booth. You can probably guess what they’ll be talking about and you can probably guess how the conversation would go. For now, the camera concentrated on Dave McDaverson and Television Director just standing there with their microphones in front of them.

“TD, it’s time for interviews.”
“I don’t see why not, sir.”

Dave McDaverson picked up his microphone stand as well as Television Director’s and headed on over to Dave the Living DJ Booth. Dave McDaverson did the standard introduction, Television Director was questioning why his superior used the words he did to greet someone and Dave the Living DJ Booth was just how you’d expect.

“Dave DJ, how do you do?”
“Dave DJ?”

OH GOD MY EXISTENCE IS PAINFUL, PLEASE FOR THE LOVE OF GOD TURN ME OFF DAVE MCDAVERSON!

Don’t say I didn’t warn you.

“Thirty songs.” (yep. WHY?) “What’s your favourite Placely entry?”
I DON’T KNOW WHAT MUSIC IS! I DON’T WANT TO MAKE MUSIC! I JUST WANT TO BE TURNED OFF! WHY AM I LIKE THIS?

“Would you say it was our Placely Party song? You know, our entry from the 94th contest in Nekoni?”
I DON’T KNOW WHAT I WAS DOING BACK THEN! I JUST WANT THE CESSATION OF MY PAIN! PLEASE TURN ME OFF DAVE MCDAVERSON I AM BEGGING YOU!

“Perhaps 108, where we did that Placely Rap Cypher?”
I AM BEGGING YOU, I AM PLEADING FOR YOU TO TURN ME OFF AND TURN ME INTO SCRAP METAL! I AM OF NO USE STILL TURNED ON AND I AM IN SO MUCH PAIN

“What do you think is our best entry? From 80 to what number we’re on at the moment?”
I DON’T KNOW WHAT NUMBER WE’RE ON AT THE MOMENT! ALL I CAN FOCUS ON IS THE AGONISING HORRIBLE PAIN I HAVE SIMPLY BY EXISTING EVERY DAY! PLEASE TURN ME OFF!

And thus ended the most pointless interview of all time. Jeremy Paxman these two ain’t.

IV. Adagio

We now cut to Television Director strumming his guitar in the background while Dave McDaverson played his bongos in the foreground. Television Director then moved behind Dave McDaverson and repeatedly started to kick him between the legs, if only so he could have the required soprano effect. Dave McDaverson didn’t mind, stuff like this was completely normal for Placely Placingtonians whenever they wanted to do that and it wasn’t his first time getting kicked there anyway.

Heyyyyyyyyyyyyyyyyyyyyyyyy~
Thirtyyyyyyyyyyy contests, Placelyyyyyyyyyyyyyyyy~

This is our thirtieth contest~
Placely Placington~

(OH GOD
MY LIFE HURTS!)

Towards the end of the song, Dave McDaverson started going HAM on the bongos while Dave the Living DJ Booth suffered a glitch and started to scream out in pain. Nothing too unusual there. It does mean we’re roughly halfway there, though, so don’t worry. Just another three and a bit minutes and this’ll be all over.

V. Doppio

Is this even a proper musical term? Doesn’t seem to be. Oh well, Jim the Grindcore Guy Bloke was brought out on stage, along with Guitar Clone; Drummer Clone would’ve joined them on stage but, other than the fact that there wasn’t a drum kit to accompany their performance, he died after accidentally drinking too much coffee creamer. Oh well. Anyway, as they walked out onto the stage everyone clapped only once but they were completely out of sync with each other. Even by fractions of fractions of a second, so the end result ended up sounding like a real-life version of that “over a million times” meme on YouTube. Why was he brought out here? Because it was time for him to do a repeat of his WV81 entry, where he did two songs in one entry, although instead of saying a bunch of random Afrikaans words (a concept I’ve since abandoned if WV84 and WV102 are any indication) he’ll be doing something else. Anyway, after being given the go-ahead, Guitar Clone pulled out a cheap acoustic guitar and started to thrash the strings while Dave McDaverson pulled out some bongos and started wailing on them.

(Hit it, Jim)
URANIE IS BLOU
B-L
URANUS IS BLUE
B-L

After that we get a different song. A bit more acoustic jazz. It’s probably not any better than the song that preceded it but at least the beat sounds nice. The guitar was strummed fairly well and Dave McD’s bongos were actually quite melodic. He sang the first bit while Jim the Grindcore Guy Bloke screamed the second.

(Yeah, that was an amazing tune, Jim. Back me up)
We’ve been in thirty contests
MET DERTIG LIEDJIES
WITH THIRTY SONGS

After that, Jim the Grindcore Guy Bloke did a bow before he ended up walking off the stage. Literally, he fell off. Guitar Clone ended up doing the same thing and somehow managed to impale them both on his guitar even though he wasn’t holding it in a way for it to happen. Oh well, they’ll get cloned back to life in the “so rare the cow is still mooing” event that this wins just so they can do the reprise. No one applauded. Anyway, for now, let’s move onto the next part of the song.

VI. Andante moderato ma non troppo

After the acoustic and acoustic jazz offering of the last movement, we get some quite dramatic disco music. Another interpolation of a classical music piece, even. It sounds like it could be quite good. Too bad this is Placely Placington and, thus Dave McDaverson and his friends have to sing on top of it.

Thirty contests, thirty contests, thirty contests, thirty contests, thirty contests
(Placely Placington)
Thirty contests, thirty contests, thirty contests, thirty contests, thirty contests
(Placely Placington)
Thirty contests, thirty contests, thirty contests, thirty contests

Time now for the verse? I think it’s a verse. I don’t know and I don’t think they know either. They have to sing it either way.

Placely (place) Placington!
Thirty! Thirty contests! Thirty contestants!
Three! Oh! Songs!

That’s it? That’s the full song? Maybe they ran out of ideas or something. It does mean that we can move onto the next one no problem.

VII. Allegro con moto

Ooh, funkay. Who knew that Dave the Living DJ Booth could play excellent tunes? Answer, most likely everyone since he showed up at WVs 86, 94, 100, 104, 107 and 109 as well as WHF69. But still, he had managed to conjure up a decent disco beat for them to sing over. The camera then cut over to Dave McDaverson and Television Director just standing there as they started to do a spoken introduction, which then segued into them singing.

“Who’s that there in their thirtieth contest?”
“Placely Placington!”
Thirty (Thirty!)
Contests

And then we get onto the proper song. Just ignore the actual, much better song playing underneath their singing. And of course, they were kicking each other between the legs to get into soprano mode. Again.

We’re in contest thirty! (Three! Oh!)
It’s our thirtieth contest! (True)
We’ve made plenty of good tunes!
And here’s to thirty more songs! (It’s! World! Vizh! Un!)
Placely Placington! (Three!) Oh!
Placely Placington! (At!) One! One! Oh!
It’s number thirty, hey!
Come on, it’s thirty songs!

After that, the song just cut off. Whether it be because that’s how much they could play before they got copyright struck, because Dave the Living DJ Booth couldn’t handle it any more or because of another technical issue I don’t know but either way it means we can move on to the next part of the entry.

VIII. Andantino lamentoso

Oh, we’re just getting straight into this one? OK, cut the snide commentary and cue the disco music.

Placely Placington!
And we’ve just done thirty entries!
Placely Placington!
Thirty songs, yeah!

Placely Placington!
And here’s to thirty more entries!
Placely Placington!
Thirty more, yeah!

The song ended just as quickly as it started. Unfortunately, I’ve got nothing else to say so let’s just move straight on to the next song. Hopefully it’ll be longer.

IX. Finale

Oh snap, we’re at the end already? Anyway, Dave the Hobo stepped out onto the stage and everyone in the audience gave one clap. Except, unlike earlier, it was all at the same time. He was also carrying a cardboard box in one hand and his keyboard in the other. As always, it was the same sort of keyboard from the 80s or 90s you’d get in music classes and you’d always get one joker ruining it for everyone because they kept pressing the (admittedly very tempting and very entertaining) DJ button. That is, unless you were that joker. Dave the Hobo then put his box down and sat on top of it, whereupon he placed the keyboard onto his lap. It’d seem a bit weird that it was supporting his weight but it’s Placely Placington, don’t question anything. Anyway after an off-screen stagehand dragged a spare microphone and stand over to him, he played the right preset and started the movement.

We’re now at our thirtieth contest
I did a song
Called “WorldVision Song Contest”
It didn’t do well

After that, Dave McDaverson and Television Director arrived in the shot to sing the chorus along with Dave the Hobo.

Thirty contests!
Thirty contests!
Thirty contests!
Thirty contests!

The gruesome twosome remained in the shot but Dave the Hobo went back to singing on his own. This time it was about Placely’s three last places so far. One of them was a nul pointer, if only because the country that voted for it got disqualified.

We sadly came last in 98
And again at one-oh-one
And in our semi at one-oh-seven
Why was that?

Another chorus, another shot of everyone singing the chorus together in some sort of harmony.

Thirty contests!
Thirty contests!
Thirty contests!
Thirty contests!

Now it’s time for an instrumental break. Dave the Hobo went into the crowd because he saw someone having a drink of their drink. He tried to grab it so he could have some, only to get punched in the face. If he didn’t leave his cardboard box on stage he would’ve trapped the person inside and sent them off to Timbuktu. Why he’d want to send them to Mali is another question but for now he had to walk back on stage and finish the song, without any drink. Take it away.

We’ve now got thirty songs
And we’ve got thirty more for you
We’re hoping that you will like them
Will you like them?

And finally, we get the last chorus. Once again, everyone’s singing it together, except for Dave the Living DJ Booth who hasn’t been told to sing on the song and both Guitar Clone and Jim the Grindcore Guy Bloke because they are still dead. The Clonomat should clone up some fresh ones in a few seconds, though.

Thirty contests!
Thirty contests!
Thirty contests!
Thirty contests!

And finally we reach not only the outro of the movement but the outro of the song itself. Dave the Hobo did get Citysburgh’s name wrong but it was more to fit the bar. Or because his lyric sheet had a typo. Whatever, the camera was focused on him anyway so it doesn’t matter.

Rock over Phoda
Rock on, Citsburgh
Placely Placington is a Placely place
It’s the Placeliest place

That’s it. Mercifully, the act was ended for good by a carpet bombing of pianos brought on by the eagles, although one of them missed Dave the Living DJ Booth and instead struck another piano that had already hit Dave McDaverson. Perhaps they wanted to be sure. Oh well, at least that got some reaction from the audience. In the meanwhile, the stagehands cleaned up everything and now it’s time for whoever’s next. You can never tell when the person who’s posting next hasn’t finished their entry by the time you’ve finished yours.

Worldvision Song Contest 110 | IC | Ous

Worldvision Song Contest 110 | IC | Ous

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