WorldVision 113 | Light City, Saint Monkey | IC Thread

by **Saint Monkey** » Tue Mar 19, 2024 4:34 am

Welcome to Light City, the City of Lightning, EDM, and more! Situated in the Heart of Saint Monkey, the Region Light City and the Lightning Lake has the Sanada Rainforest and the Fenta Southern Highlands in the South, the Lait Peaks in the North, and Farmland, and tropical Oasis's in the centre, including the largest lake, the Lightning Lake. With 1.1 million Lightning Strikes each year, It'll be sure to keep the Britonish and MCGoan tourists on their feet! Visitors can explore the city, and especially the Old Town, with intricate architecture dating back to the 1600s. Visit the Nito Tribe, try a Banana Supreme Delacora Lakeside, and do more exiting activities such as Zip Lining, Rock Climbing, Many Many Watersports, and some of the most Intense Escape Rooms you've ever seen. At night, the city shows a light show above the city each night at 21:00pm, or you could go out of the city, and watch the stars as you drift to sleep!

But why are we here again? Well the WorldVision train has stopped for the first time (But surely not last) in Saint Monkey! The city is known for its EDM (Electronic Dance Music) and has several record label within the city! We will be working with the Monsterdog Saint Monkey label, a sub-label of the amazing Monsterdog! They've been working with the Light City community for nearly 15 years empowering artists and improving the community with it! They've been helping EDM artists rise in Saint Monkey for ages now, creating a very popular industry inside the country. They really do give the Power of Music into the hands of EDM Artists!

Before we know, the night of the event arrives, and it's time to feel The Power of Music in Light City!

After the IBA Indent a black screen shows. Then the words, one by one, Get. Ready. for. the. Power. of. Light. City. Then the song fades in, with a drone shot flying over the Lighting Lake. The camera then zooms and is in the old town of Light City, surrounded by the 1600s architecture and coconut trees, the camera filled with sharp cuts, to make the feeling glitchy throughout. Then the camera spins fast, and transitions into a drone race in Port Soedinyat, the camera following a drone in Hot Pursuit. The camera then zooms, and is now in Flusstadt, on Light Island, during the Flusstadt GP, a racing event part of the MERS (Monkey Empire Racing Series), as cars battle each other. As the words DROP DROP DROP are said, the camera zooms and zooms, and eventually a satellite shot of the region is shown.

Then, after the drop, the camera zooms straight into Light City, and there's a drone, nose diving down a skyscraper, and then it pulls straight up, the camera cuts forward. Once it pans back up, a lighting bolt hits a Lightning Bolt on top a skyscraper, more specifically LaitLinkia (English: Light Watcher), a 187m tall skyscraper, which holds the world record for the most struck by lightning skyscraper (8,797... oh wait 8,798 times!). The camera moves to a headcam of an athlete competing in a 100m sprint, finishing in 11.5s in total, but the sharp cutting made it 5. It then moves to the Nito Tribe, doing a intense dance at the Festival of Tribes, finishing just recently. It cuts to a concert in Svetgrad, and pans around, and lighting is seen strike a passenger jet (Don't worry, nothing bad happened!). The camera then goes to a POV shot of someone swimming in the lake, and then the second drop.

It zooms right in and then in Scimmiaville, a Large FOV Shot of people Bungee Jumping. It then unexpectedly zooms to Kiana Knight's most recent concert with the same shot. The camera zooms out to the satellite shot then zooms back in to Light City's Monsterdog Saint Monkey's HQ in LightCity, showing artists singing, and recording. Then in the song outro, a drone shot of the Sanada Rainforest, and then the Fenta Falls just entering the shot can be seen. The end of the song, when the word DROP is said, it zooms straight to a live shot of the Monsterdog Unleashed Arena, and then zooms into the Arena, ready for the opening performance and the Flag Parade.

The camera transitions to dancers holding massive glowsticks, wearing glowing vests and trousers. They run out onto the stage, 50 of them in total, and form one curved line, with a gap in the middle. The camera then transitions to WorldVision fans jumping up and down. The dancers stay put, but make vigorous movements with their arms. Then, the duo The Jazz Box, David 'Hummingbird' Birch and Junior 'Sax Boi' Vermont, walk through the gap between the dancers, and then play the sax. The dancers then begin to move, whilst dancing, and create a gauntlet, two rows, and a space for people to walk through like this, just without the Red Carpet and limo, and with all the dancers instead. David and Junior begin to improvise (At 0:40 of the song), as a voice welcomes the first nations to WV113, each of the entrants waving their countries flags, and walking through the dancers' gauntlet, each announcement getting massive cheers from the crowd:

Aenglide!

Achaean Republic!

Adab!

Alezian Union!

Amoreiya!

Beepee!

CangutaRub!

Crustyland!

Elejamie!

Furballland!

Hakushiya!

Kalosia!

The song restarts from 0:40, and the dancers run towards the side of the crowd, and dissapear into the darkness. The pyrotechnics begin blasting out Fire and Water, the LEDs in the background projecting large lightning bolts, and David and Junior jamming in the centre. Suddenly, a fire eater rides a unicycle onto the stage, and begins to, well, eat fire. At the top of the arena, the roof LEDs show a large monster is causing mayhem in a fictional city, immersing the audience in a crazy show. The fire eater rides off stage, and at the drop two dancers begin a dance fight. In the background shows the names Daring Diva VS Jumping Jiver. There's also health bars, and they deteriorate as one makes a hit at the other. The lighting flickers on and off as they attack each other, and by 1:50, the Dancing Diva wins, and the Jumping Jiver falls on the floor and then through the stage. The Dancing Diva then moves up to begin dancing. Sarinah and Adrian Di Navaro, Alezia's and Kalosia's act come onto stage, and run near the pyrotechnics. Once they pass a pyrotechnic machine, a firework comes out, and the LEDs in the background turns hot red. Adrian shouts "WORLDVISION MAKE SOME NOISE!!!!!" and then at 2:25, Junior and David walk up and the rest of the dancers appear again to make the dancer gauntlet again. David and Junior begin improvising, and the rest of the nations walk up, smiling and waving their flags through the gauntlet, then running to the right of the stage, just as the other nations run out:

Kinqueven!

Malta Comino Gozo!

Missus X!

Mister X!

Mother CupcakKe!

Pais Occitans!

Placely Placington!

Robloxian Robloxia!

Saint Monkey!

StrayaRoos!

Suurna!

Ugunnustan!

Waisnor!

The song restarts at 2:25, and all the dancers form a row in front of the crowd. Then, all the nations' acts run in front of them, dancing and smiling, as the pyrotechnics run wild. Junior and David then rise up above both of them on two pillars, pyrotechnics still going crazy. Francesca Tanti, Roberta Carma and Maria Camia cartwheel to the front of the stage, and wave their flags, Francesca running to the side and throwing it into the crowd. At 3:00 the lights start going crazy, only barely able to see everyone on the stage every few seconds, pyrotechnics helping out with it. The dancers then create a human pyramid, and carry David and Junior to the floor. Then then run out to the crowd, high-fiving some as they go. Then the loud voice saying Welcome our hosts; Harry Chanda, Aurora Kucera aaaaaand..... Kapane Piña!!!!!!!!!!! A massive roar from the crowd ensues, as Harry comes sliding on, Aurora striding on, and Kapane strolling onto the stage. Then the outro of the song. A light beam focused only on the dancers can be seen, the acts heading to the Green Room. Then at the end of the song, all the pyrotechnic machine spew fire out, and the dancers run off leaving just our hosts.

Harry: Woah! What a opener!

Kapane: Cra-zy! Everyone give a big welcome to the 113th edition of the WorldVision Song Contest!!!!!!!

Aurora: (Can really be heard due to the crowd cheering) Wo- ha- wo-!

Harry: Hey everyone too!

Aurora: Haha, love the enthusiasm y'all! We have some fantastic entries tonight, which I'm sure you'll all love!

Kapane: And when voting opens, you make sure to give your points to your favorite act!

Harry: We should vote for Aurora then! Just wait until her performance later tonight!

Aurora: Harry, if anyone should win tonight, it should be Kapane! She saved lives through her charity work!

Kapane: Awwwww! You're so sweet Aurora, but you're gonna make me cry!

Aurora: No time for crying Kapane, as we're flying into our first song!

Harry: Facing in The Brick Wall by Ğretvak Ővokursza!

Kapane: So without further ado....

All: Let the 113th edition of the WorldVision Song Contest..... Begin!!!!!!!!!!

by **Saint Monkey** » Tue Mar 19, 2024 4:35 am

by **Furballland** » Tue Mar 19, 2024 4:41 am

Tune: Momoe Yamaguchi - ロックンロール・ウィドウ | Rokkun ro-ru widou (Rock 'n' Roll Widow)

Well, that didn't perform well, ranking on the right side of the scoreboard along with its closest ally Brodhavan. Furballland ranked 14th out of 25th scoring 99 points. She was neither ecstatic, nor happy with the results, but overall she was proud that she gave Furballland's best results in WV112. Despite the "disappointing" performance, "Sit Under the Tree," has indeed expanded in popularity because of its uniqueness, reaching the Top Charts in "the most unexpected place possible," Placely Placington, managing to reach the Top 3 in Hakushiya and Malta Comino Gozo, they also have managed to reach Top 10 in Kalosia, Ugunnustan, Brodhavan and Galliceléstia, however, despite the success, in Britonisea, it did not reach Top 100, not even Top 200. After the "disappointing" performance, she left Puerto Àmbar to create another music for her performance, and she wanted to perform again in the upcoming WV113, she wrote a letter to the Ministry of Music and Arts and the Furballlandian Committee for Worldvision, she was approved to perform again. She worked tirelessly to create this song, and with the help of her producers, and her closest friends, they worked on that song, which the named "Facing In The Brick Wall," After a few weeks, she finally finished it.

"Facing in The Brick Wall" is about a young rebel like Ğretvak, characterized as unstable, and out of touch with reality, often bullying other kids, and trying to grab their "soul" as long as it could. The girl was repeatedly punished forcing the rebellious girl to face the brick wall, this may give some of the victim's justice, although she was freed afterward. Over the weeks that followed, she viciously bullied many kids and prompted blackmail perpetrated by that rebellious girl, she is known to victimize herself and blame others for "hurting" her. Calling other kids "inferior" hurt the most, it ruins lives, but fortunately, she was punished, and was disappointed for her rebellious behavior.

"Facing in The Brick Wall" has been critically acclaimed for its focal point of view, and for being relatable to some people, despite that, this song has been criticized for being very blatant and very vulgaristic, and because of that, this song has been deemed unsafe due to some vulgar words that have been included in the song lyrics. Ğretvak knew that if she wanted to perform the same song, she would alter the lyrics to be deemed safe for some viewers, the lyrics have been altered to prevent such vulgar words from happening, although some sub-elements of vulgar words remain. This song is a very energetic one, with its catch instruments, and the voice is quite powerful according to the locals, Ğretvak is known for not releasing songs whenever she performed in international song contests such as Worldvision, she may not release the song to the public until the end of Worldvision 113.

Prior to the Performance

Yes, this is one nervous moment that Ğretvak faced while she was trying to prepare for her performance, she felt uneasy because she let her fans down by relegating Furballand to the right side of the scoreboard, she was scared that she may let her fans down again when she was scored too few points, she doesn't want to let this happen, but she was encouraged to perform by many of her closest colleagues and the Delegation team, as well as some of their competitors, and even when the song is very "dull," Ğretvak must perform that song, and must be smooth.

As the Worldvision started, she felt a sense of regret, but her team stopped her from quitting and helped her get ready, she felt exhausted at first, but she was back on her feet and was prepared, crowds started to cheer as the Wordvision starts, first the flag parade, and then, she was the first one to perform, she was shocked that she was the first to perform, and she is worried that she doesn't have much time, but Ğretvak must do it for the sake of Furballland's reputation, and its cultural hegemony. The Monkeyian hosts are now here, confidently talking about the Worldvision as a whole, and a few minutes later, she was ready to perform as the Monkeyian hosts said the word "Facing in The Brick Wall by Ğretvak Ővokursza! ," she knew that she must be ready for the performance, and she will be the first one to perform, the postcard that showed "The Rock of Music," and then, Ğretvak will now perform in front of 31,758 people in the Monsterdog Arena, the people were cheering at her, and many were excited for her to perform, she is ready to perform and will be somewhat unforgettable moment.

I am the bad girl that they should fear us all
Such losers that I am such a big bully
Beating the hell out of ya til' you rot
Don't mess it up or you're beaten up til' you're dead

I was such a rebel that I foolishly embraced
Don't mess yourself or we will scar you for life
Stunned to see them again

You act stupid, stupid, stupid, stupid, stupid, stupid
I should have gotten away with it

Facing in the Brick Wall (Ah-hah)
Facing in the Brick Wall (Ah-hah)
Really don't freaking care
Spanking myself for being such stupid rebel i am.

(Instrumental Break)

You would think that you could run away from me?
I was such a blackmailer who would rot your own kind
You're such a loser and i am the big girl
I've been reprimanded but i'm such a rebel

Welcome to my terrtiory but you're inferior
I'm always the best one and you deserve nothing
I twisted your foolish mind

You are stupid, stupid, stupid, stupid, stupid, stupid
I always destory your own soul

Facing in the Brick Wall (Ah-hah)
Facing in the Brick Wall (Ah-hah)
Mom and Dad spanked my guts
Gave me a spank it is but i don't give a care

Facing in the Brick Wall (Ah-hah)
Facing in the Brick Wall (Ah-hah)
Facing in the Brick Wall (Ah-hah)

by **Canguta666 in Roblox** » Tue Mar 19, 2024 5:16 am

Tune: Björk - Oceania

Performamce

I've.... ran... away.....

Far away from my home
I ran away as fast as i can
Piece by Piece, i have matched on
Finding a way to drift away from my home

In a boat, in the misty river
In the frigid midnight, drifted far
Gazing at the stars to find my way

I ran away further
Find my new home

I was such a burden
Told to run away
Drifting along the river, further from home
I haven't been that sorry enough
Regrets are in me waiting to rot
Row along, in the misty river

Searching for my soul
Why'd i think
So why me?
Am i sad?

I have regretted it
Run away
Think of me
Am i mad?

by **Kinqueven** » Tue Mar 19, 2024 5:56 am

#003: Kinqueven
Emmie Waksa: Repeat, Repeat

IC lyricist: Emmie Waska
IC language(s): all in english
IC composers: Emmie Waska, Muka Shusu
IC arrangers: Lolal Popok, Goll Dall, Hunn Trui
OOC tune: Hard Knock Life - Annie

After not competing in WV 112, Oanni was embarrased. Her laziness had gotten in the way, so she didn't write the song, Lament. After this, she was exlied from Kinqueven entirely.

Luckliy, Oanni's best friend's cousin, Emmie Waska, who was a famous singer in her hometown of Ouci, was willing to compete in WV 113 after the head of KBARS, Aurt Kushvi, asked her to.

"I was thrilled," Emmie stated to the hosts, "to compete in my dream competition. And then to find out it was in Light City right after I was confirmed! Omigo! That's Kinquish for 'crazy'. The lights, the lake, the everything! It was phe-no-me-nal!"

"Repeat, Repeat is about life at home. How it's always the same. Nothing changes, no new things. And the fact that nobody wants anything new. That's why at the end of the song I keep repeating, 'I'm done'. Because that's what I am. Done.

Song length: 2min 13sec

Lyrics:

Spoken word:
It's tiring, you know?
But I didn't make the rules!

Repeat, repeat, it happens all again
Step by step, and all say amen
I must say that I'm geting pretty bored
All of the things I want, I can't afford

You may ask, "Why would this ever happen?"
Well, my friend, they make our minds go tappin'
Our friends, all they ever do is blacken
Make our heart, our heart, do nothin' but fatten

Giving nothin'
Hopin somethin'
Will just appear

At this moment, Emmie hits a flawless high note

For 20 seconds, the backups harmonize the words "Repeat, Repeat". Meanwhile, Emmie hypes up the audience. Then, the music slows

Repeat, repeat, okay can this stop
Like rabbits, habits go hop hop hop
Repeat, Repeat, y'know what this ain't fun
All I can say is I'm done done done

Emmie then says, "Will it stop? NO!"

I'm done, I'm done, done done done
No more, no more, done done done!
I'm done, I'm done, I'm done, I'm done, I-i-i-i-i'm DONE!

P.S. there are instrumental breaks.

me on Wattpad · by **Hakushiya** » Tue Mar 19, 2024 6:10 am

#004: Hakushiya
Lim-One - “Snowdrop (雪花蓮)”**

IC lyricist: Lim-One
IC language(s): mostly English mixed with full lines in Greek + the title phrase being a Korean hanja reading
IC composers: Lim-One, AndaBlueFace
IC live vocalists: Lim-One (lead) and the Orc-Astra (backing)
IC pre-recorded backing vocalist: Lim-One
IC pre-recorded backing track arrangers: Lynette Jung (The Serene), AndaBlueFace, Elva Laine (Tortured Poets)
OOC tune: Vivid Bad Squad - “Ready Steady”

Lim-One in a promotional pic for her participation in StarSearch LX: Road to WV113

The Prologue (includes background information about the entrant + entry)
dear multiverse,

my professional name's Lim-One (pronouns: she/her), which is a nickname derived from my Korean name Lim Wonyoung - and in case you'd like to know my full legal name... well, it's Andrea Wonyoung Chryssomallis-Lim. for the record, I was born on the 11th of November in 1994 CE, and my androgynous vocal output's landed me on multiple domestic voice acting roles even before I'd gotten myself the chance to represent Hakushiya at WV113 - fellow Hakushiyans, if you've heard my voice before from the anime series [i]Rora's Ark then you might as well be supporting me right now as I open up to a multiversal crowd in Light City. besides all my professional voice acting gigs though, I was also a part-time Yonhwa College-Lotosia student from 2012 to 2017 and ended up getting a BFA in Musical Theater + BSc in Applied Chem for that.

now, about the song itself - without any help from my backing choir in the Orc-Astra or fellow SSLX: Road to WV113 contestant AndaBlueFace or Lynette Jung (who was also involved with the previous edition's entry) or Elva Laine (a sophomore-year high schooler at the Sunyoh Lyceum close to the state of Taykook's southern borders), I wouldn't've produced an entry that's both cultural and emotional at the same time - after all I've come crashing down at times but made it on my own again after all the pain's over, right? on a more cultural aspect though, I was heavily influenced by my half-Astrapian heritage for this - hopefully you know that tale where some goddess of spring rises back from the underworld after a long winter as it's alluded to throughout the song's lyrics.[/i]

-Lim-One

The Main Act (includes RP + lyrics for the entry itself)
(with transliterations in bold + lead-and-backing-sung lines underlined + lines sung only by pre-recorded vocals in italics)

0:00-0:10:
(introduction)

0:10-0:42:
(first verse)

Does this always have to break and burn and end like armageddon?
Not if there’s a light out in the dark woods
Is this cruel long winter all we’ve been searching for in the meadows?
There’s another way out there
Knowing the aura in my soul that keeps me running in and out for more
Even if all the shooting stars have shattered like porcelain
I won’t ever look back at the flames that ruined this world
Not for a second, not for an hour

0:42-0:58:
(first pre-chorus)

Just bell yourself up and look up above
We’ll be sailing into the infinite oceans, yeah
Whenever your heart calls for you and I
Whenever you make up your venturous mind

ας στηρίξουμε ο ένας τον άλλον
as stiríxoume o énas ton állon

0:58-1:25:
(first chorus)

Rising from down under
As all the earthly ground soaks up the fires
Don’t let go ‘cause you make me wanna
Rediscover the springs of my world, my world, my world
When it’s all been said and done
My soul’s divine will guide me down the roa-oa-oad, the roa-oa-oad

설화련
seolhwaryeon

1:25-1:41:
(dance break)

συντρίψαμε αλλά επιστρέψαμε πιο δυνατοί
μπορούμε να τα ξαναβρούμε εκεί που χάθηκαν
συντρίψαμε αλλά επιστρέψαμε πιο δυνατοί
μπορούμε να τα ξαναβρούμε εκεί που χάθηκαν
syntrípsame allá epistrépsame pio dynatoí
boroúme na ta xanavroúme ekeí pou cháthikan
syntrípsame allá epistrépsame pio dynatoí
boroúme na ta xanavroúme ekeí pou cháthikan

1:41-2:07:
(second verse)

Is it just me or are all the breezes blowing in the deep end?
Now it’s been left behind, maybe I should think again
Were we never fated for the saintly land on the other side?
There’s another way up there
Hey, hey, we got some teaching-each-other to do
‘Bout all the paths that you and I just never knew
‘Bout all the ups and downs, rights and wrongs
‘Bout all the minutes that life can’t afford

2:07-2:13:
(second pre-chorus)

σε όλα τα πνεύματα που ήρθαν και έφυγαν στο παρελθόν
παρακαλώ προστατέψτε κάθε κομμάτι μας
se óla ta pnévmata pou írthan kai éfygan sto parelthón
parakaló prostatépste káthe kommáti mas

2:13-2:30:
(second chorus)

Rising from down under (under)
Feel all the deep hearts bloom again like flowers (flowers)
Don’t let go ‘cause you make me wanna (wanna)
Rediscover the springs of my world, my world, my world

2:30-2:47:
(bridge)

Now is the time to pump ourselves up into the fields heroic
Where everything shimmers like the gold of lightning
May this symphony guide us towards a truthful harmony
Are you still with me?

2:47-2:56:
(bridge-to-final-chorus transition)

[box]
Call the shots (ah-ah-ah)
Touch the sky (ah-ah-ah)

2:56-3:22:
(final chorus)

Rising from down under (under)
We are the saviors in this love war (love war)
Don’t let go ‘cause we all just wanna (wanna)
Rediscover the springs that we lost, we lost, we lost
From here we search for a brand new dawn, a brand new world tonigh-igh-ight, tonigh-igh-ight

설화련
seolhwaryeon

3:22-end:
(instrumental-only outro - after the music's gone Lim-One says "thank you! 감사합니다! ευχαριστώ! vote Hakushiya!" to a cheering audience)

*OOC note: I used assistance from a generative AI expansion when making the cover art for this song (which per the WV strike system guidance isn't verboten outright) so

by **Amoreiya** » Tue Mar 19, 2024 6:13 am

#005: Amoreiya
VODA - “Red Pill Blues”*

IC lyricist: Wafah Lardon
IC language(s): all in English
IC composers: Aden Lisondra, Iskander "Kander" Zayn, Wafah Lardon
IC vocalist: Wafah Lardon
IC live orchestra: Aden Lisondra (drummer), Iskander "Kander" Zayn (keyboardist), Aina Peebo and Elijah Maraj (violinists), Lily Ikuta (bassist)
OOC tune: Loreen - “Jupiter Drive”

Pictured from left to right: VODA members Aden Lisondra (24yo, they/them), Iskander "Kander" Zayn (22yo, they/he), and Wafah Lardon (23yo, any including she/her)

The Main Act (includes RP + lyrics for the entry itself)

0:00-0:27
(first part of the intro - the live bass + keyboard drone parts enter w/ the entire stage area having been darkened for this performance's start)

0:27-0:41
(second part of the intro - the live drum part enters w/ red lights bathing the entire stage area)

0:41-1:25
(first verse - Wafah delivers some chilling vocals while Kander plays some block chords on their keyboard)

Shattered glass within my own visions
Crystal hail falling from the ceiling
This place just seems to be breaking
Like it’s all gone
Colorful hallucinations
Gold and diamonds, one in a million
Am I just sensing what I want to see
And what used to be?

1:25-1:51
(first delivery of the chorus - Aina and Elijah play their violins live to accompany the other live instrumentalists)

Everything here’s a beautiful mess-mess-mess
‘Cause I can’t tell if they’ve left me-e-e-e
And my heart and mind are clashing-ing-ing-ing
In a battle of convictions-tions-tions-tions
I’m on my red pill blues again

1:51-2:03
(first interlude)

2:03-2:25
(second verse)

Whispering against the current
Angels crying with the violins
Is this all a nightmare
Or the truth?

2:25-2:50
(second delivery of the chorus)

Everything here’s a beautiful mess-mess-mess
‘Cause I can’t tell if they’ve left me-e-e-e
And my heart and mind are clashing-ing-ing-ing
In a battle of convictions-tions-tions-tions
I’m on my red pill blues again

2:50-3:25
(second interlude - only the live bassist and keyboardist are playing here)

3:25-4:00
(bridge part - Wafah delivers something more chilling and repetitive to accompany the live instrumental)

Is this all just a nightmare or is this the truth?
Some things shouldn’t change
Is this all just a nightmare or is this the truth?
Some things shouldn’t change
Is this all just a nightmare or is this the truth?
Some things, some things, some things shouldn’t change like ever-yeah-yeah-yeah-yeah

4:00-4:21
(third interlude)

Some things, some things, some things shouldn’t change
Some things, some things, some things shouldn’t change

4:21-4:47
(final delivery of the chorus)

Everything here’s a beautiful mess-mess-mess
‘Cause I can’t tell if they’ve left me-e-e-e
And my heart and mind are clashing-ing-ing-ing
In a battle of convictions-tions-tions-tions
I’m on my red pill blues again

4:47-5:10
(climactic final interlude - at this point the red lights bathing the stage area start flashing on-and-off to the beat)

5:10-end
(outro part - to accompany the climactic fall in the live instrumental the entire stage area dims down to the beat until it goes pitch-black)

*OOC note: the cover art for this was based on that for Deborah Iurato's "Out of Space" ok

by **Crustyland** » Tue Mar 19, 2024 7:02 am

Tune

Iver Braaten is a talented young singer and artist from Char, Crustyland. At just 27 years old, he has already established himself as one of the most promising musicians in his country. With his captivating voice and unique style, Iver has won the hearts of fans across Crustyland. Some of his most popular hits include "Breaking Free," "Lost Without You," and "Heartbeat." Each of these songs charted in the top 10 on Crustyland's music charts and have been played on radio stations nationwide. Iver was chosen internally by CRAP to represent Crustyland at WorldVision. His new song "Finding My Way" is a catchy Alternative/rock indie song. Iver is the first openly gay singer to go represent Crustyland.

With a string of decent results recently Crustyland was keeping it up by sending decent entries. In WV#112, Tanya Evensen and her song "Come Dance With Me" placed 17th out of 25 with 83 points. She even secured twelve points from the Roosian jury. Things were definitely improving for Crustyland. Now, how would they do in Light City, Saint Monkey?

The stage is set with an air of anticipation as the audience eagerly awaits the performance. Soft, ethereal lights bathe the stage, casting a gentle glow on the faces of the band members as the last stage adjustments were made. There is one drummer, one electric guitarist and three male backing singer. The audience is excited as Iver Braaten steps onto the stage, his alternative rock outfit exuding confidence and style. He wears a black leather jacket adorned with intricate silver stitching, paired with faded denim jeans and chunky black boots. His pale skin glows under the spotlight, accentuated by a light moustache and two tiny ring earrings in each ear. A heart pendant necklace hangs around his neck, catching the light as he moves.

As the opening beatboxing fill the air, the camera cuts to close-up shots of Iver's face, capturing the intensity as he opens his eyes as he beatboxes with the mic close to his lips. He stands centre stage. The stage lights flash in time with the beat, adding a dynamic edge to the performance. The camera zooms out and the guitar trickles in and fades into an electric guitar, and Iver begins to sing. The stage is now bathed in a dark blue, and the lights around the stage pump to the beat. each word, Iver's voice resonates with joy and happiness. His vocals are light and exuberant. We cut to shits of each and member playing their instruments. We then cut to a quick shot of the band member playing the electric guitar. The classic sound of the electric guitar echoes through the air.

Lost in this haze of uncertainty,
I'm searching for a path,
To see through the mist and the fog
That shroud my heart, beats loud,
I'm not yet found
Yet found

The song goes up a notch, and Iver takes off. He heads towards the camera on the right side of the stage and bends down towards it, interacting with the camera. As he finishes singing "I'll soar" we cut back to a stage shot as he strides back to the centre of the stage. Commanding the stage he stands his feet shoulder length apart with he microphone in both hands, his right foot tapping to the beat. We cut to a an upper body shot for the last line.

Though storms may rage and the thunder may roar,
I'll keep pressing on
On this day, I'll soar
For in the heart of adversity,
I find the strength to set me free.
With faith as my guide,
I've someone by my side

As the song builds to its climax, the camera cuts to sweeping stage shots, capturing the energy and passion radiating from Iver and his band. The electric guitarist builds the pre-chorus, and the drummer pounds out a driving rhythm, adding to the intensity of the performance. All the while, the lights flash in time with the beat. The camera captures close-ups of Iver and panoramic shots of the stage, highlighting the band members as they play their instruments with precision and skill. Iver's three backing singers stand to his left, their harmonies blending seamlessly with his lead vocals.

I am finding my way
Where the light's dim and the wind blows,
I'll rise above the doubts that surround
In the sky, my dreams unbound
I am finding my way
I am finding my way
Through all the shadows...

As the drum introduces the chorus, the camera spins anticlockwise in from the back of the arena. The chorus hits, and Iver's voice goes up a notch. The stage erupts into a kaleidoscope of light and sound. The stage is bathed in dark blue and black now. The lights flash in sync with the pulsating rhythm, casting vibrant hues of red, blue, and purple across the stage. The pyrotechnics explode in a symphony of sparks and flames, illuminating the stage with cascades of shimmering light. The electric guitarist's fingers dance across the strings at an electrifying speed. The drummer pounds out a driving rhythm, his beats echoing like thunder in the air. Everyone on stage is having a blast, and Iver has the biggest smile on his face.

As Iver belts out the lyrics, his voice soaring to new heights, the audience engages by waving their flags. Iver and his band command the stage, their passion and energy radiating out.

I am finding my way
Where the light's dim and the wind blows,
I'll rise above the doubts that surround
In the sky, my dreams unbound
I am finding my way
To reach the heights
Where dreams reside,
With unwavering faith

As Iver sings about the journey etched in every step, the camera and white spotlight follow his movements as he walks to his left across the front of the stage, tracing the path he describes with each lyric. The stage backdrop comes alive now with an LED projecting images of winding roads and twisting trails. Iver really wanted to draw the viewers into the narrative coveted in his song. Feeling the weight of each trial and triumph, Iver's voice carries beautifully.

With faith as his guide, Iver's presence on stage radiates confidence and conviction. His movements mirror the resilience and determination echoed in his lyrics as he stands solid, now facing the audience. He twists and turns his body side to side as he sings "Each twist and turn" As the verse reaches its end, the stage erupts once more into a kaleidoscope of light and sound, propelling the audience onward with unwavering faith in the journey ahead.

A journey etched in every step I take
With faith as my guide, I won't forget it
The trials and trails that pave the road,
Each twist and turn... is a story untold

As Iver sings about strength, the camera captures close-up shots of his face, revealing a steely determination in his eyes. He makes a bicep flex pose with his right arm and the audience cheers. We then have a rail cam shot looking upwards at his marvellous outfit. His movements are purposeful, his body swaying to the rhythm of the music as he delivers each line with conviction.

Through the trials, I'll go and find my strength,
In the darkest hours, I'll go to great lengths,
To reach the heights where the dreams reside,
With unwavering faith I'll find the path

We have a full stage shot as the last chorus hits, and Iver jumps on the spot in time to a massive pyro spark from the stage edges. The lights flash in sync with the pulsating rhythm, casting vibrant hues of red, blue, and purple across the stage and the arena. We have a rail cam shot looking up as Iver makes his way down the catwalk his hand outstretched into the crowd as he sings "I'll rise above the doubts that surround". He gets to the end of the catwalk and does a little spin as we have a close-up. The camera then pans outwards. His vocals, supported by the backing singers, soar out into the air. With the biggest smile on his face he turns around and struts back to the main stage as the camera gives us a whole stage shot.

I am finding my way
Where the light's dim and the wind blows,
I'll rise above the doubts that surround
In the sky, my dreams unbound
I am finding my way
Finding my way through the shadows
To reach the heights, where dreams reside,
With unwavering faith

The energy in the arena is electric. The lights beamed down on Iver and his bandmates and Iver owns the stage. We have a sweeping shot of the crowd who are jumping and dancing along to the beat. The camera captures every angle, the lens zooming in and out as it hovers in front of the stage. Iver's voice is powerful and emotive, carrying across the arena as he pours every ounce of his being into the performance. The camera cuts to a series of rapid-fire shots, capturing the exhilaration on his face, shots from afar and close-up shots of his fingers strumming the guitar.

As the song draws to a close, the music subdues, and we cut to an upper-body shot of Iver singing into the camera lens. The camera angle changes, now showing a shot from behind Iver, capturing the crowd's energy as they sway and sing along to the final chorus. The camera then captures his every move, from the way he bops up and down to the way he pulls at his collar, lost in the music and the moment. The song ends with a full body shot ad Iver spreads his stance his arms spread wide with lights blaring out from behind him.

Where the light's dim and the wind blows,
I'll rise above the doubts that surround
I am finding my way through the shadows,
Where the light's dim and the wind blows,
I'll rise above the doubts that surround
In the sky, my dreams unbound
I am finding my way
With unwavering faith

The crowd erupts. With a triumphant smile, he takes a bow, his heart still racing from the adrenaline-fueled performance. "Bless you, thank you, Light City!" he shouts! They left the stage ready for Beepee to perform!

by **Robloxian Robloxia** » Tue Mar 19, 2024 7:51 am

7. Robloxian Robloxia

"Last Minute B." – Ummh

tune: zara larsson - wow

Oh gosh, oh gosh. Robloxia promised a nice fancy entry, but then Draca decided to postpone the release of her planned single “Love to Party”. There was no time. We have to write an entry ASAP. There was literally no time for discussion. rrrW grabbed random people and called for them to start making music, any kind. They grabbed a volunteer who wanted to start a music career. The artist felt so pressured and time restricted that they came up with the artist name of “Ummh”. Ummh uses he/him pronouns. The rrrW team made him a new song called “Last Minute B.” After a few rushes and singing help, they got him prepared to sing in front of a stage.

He starts on the stage super confused, and he walks to the mic.

Uhm IDK what to do! I’m really lost!
Please send help.
I’m not really even singing but this is stupid.
I’ve got no time

And there, he sings some more.

I love chicken, I love beef
I want fresh apples
I don’t care about placement but we
Got to get this stupid entry done

He's wearing a white shirt and grey pants. He then sings the chorus:

I’m a last minute b.
Yeahhh
I’m a last minute b.
I know

He continues singing and then he smiles:

I’m superbly shy but
I don’t know
One plus one
Really equals two

He secretly farts but he maintains a straight face and suppresses his giggles.

Mom and I’m not hungry
But I ate an anchor
I got no brains
This entry isn’t funny

He sings the chorus once again.

I’m a last minute b.
Yeahhh
I’m a last minute b.
I know

He then sings the next part with a super straight face. Not even a smile.

I’m confused
And you should give me money
La la la money
Yummy yummy

He screams when singing the last chorus.

I’m a last minute b.
Yeahhh
I’m a last minute b.
I know

He walks off stage. The end.
Last minute.

by **Beepee** » Tue Mar 19, 2024 8:54 am

Tune: Svea - "Dead Man Walking"

About The Singer

Frida Wyllé was chosen to represent Beepee at the WorldVision Song Contest through internal selection with her empowering song "Stones". The song, which delves into the pain of hurtful words and emotional barriers, and showcases Frida's strength and resilience with powerful vocals and lyrics.

Frida was born on March 20, 2000, in Harrisville, Beepee, one of the most deprived suburbs in Beepee. From a young age, Frida found solace in music, using it as a means to navigate the complexities of life, playing drums and guitar.

She used music as an escapism and as a form of self-expression, coursing her own path. Her lyrics often reflect the struggles she faced, particularly the impact of family related violence and emotional trauma. Frida's growling, powerfu voice and heartfelt performances resonate deeply with Beepeean audiences, earning her recognition as a powerful storyteller, and all Beepee hopes this will translate on the WorldVision stage.

About The Song

Frida Wyllé says her song is about overcoming hurtful words and emotional barriers.

Frida says "people often say 'sticks and stone may break bones, but words can never hurt you, and whilst there's sentiment in that, in abusive relationships those words cut just as deep as the stones people throw. Eventually those words build a metaphorical wall".

As the song progresses, however, the songer realises that holding onto these words only strengthens the barrier, leading to a sense of isolation and inner turmoil. Ultimately, the song is about finding the strength to tear down these walls, confront the pain, and move forward towards healing and self-empowerment.

Postcard

The Worldvision postcards this year celebrate the music of both the competing and the host nations.

With this in mind, the screen opens with a stunning aerial view over the majestic Huawan Falls in Northern Beepee.

The images are overlaid with Beepee's most famous musical export... schlager music... Resplendent with melodeon, and oompah beats.

Water gushes over the side of the waterfalls down in the mighty, muddy Huawan River.

At the edge of the base of the waterful we see a soaked but happy Frida Wyllé wearing a poncho. She smiles and waves at the camera, before saying the theme of this edition "The Power of Music".

The scene then cuts and find us now flying over Fenta Falls in Saint Monkey. The tropical flora, in shades of deep emerald green punctuated by bright yellow and pinks.

Playing over the images, some hard-core EDM, pounding away. Tss...tss..tss...

At the base of the waterfall through a bright rainbow, a capybara frolics at the side of the pool.

The scene then cuts to the stage for the beginning of the Beepeean performance.

Performance

Echoing the theme of the postcard, the waterfalls at the front of the stage, pour into the base below.

The smoke machine has wafted a thin layer of fog over the stage. The lights below give an ethereal cloudy look.

The LED wall behind the stage is darkness and the snow machine flutters a gentle flake or two which glints in the stage lights like stars twinkling in the night.

Frida stands, centerstage, in an emerald green bejeweled leotard, her blond hair scraped tightly into a high ponytail, which is supplemented to 40 inches.

The director starts with a long shot from the back of the Monsterdog Unleashed Arena. The audience excited to see what will come settles in and gets prepared to hold on tight.

The music begins...

A spotlight lights Frida from above And she scream-yells.... the camera zooms tight on Frida's face...

She stamps her feet to the the heavy drum beat as the stadium lights in bright white beams pound in time with the thumping music.

You said those hurtful words, made me feel two feet tall
Thought about them later, went over them all
Now I can't forget all those things you said
I hear them once again

The wind machine blows and the smoke dissipates from the stage showing small bundles of stones dotted around the stage.

From backstage, a male backing dancer runs on. He's wearing dark colours, moving in a modern and futuristic dance styling. It has the effect of dehumanising the dancer.

He dances away from her and picks up some stones and adds them to the nearest pile to Frida. This is something he will do throughout the performance building up the wall of stones beside her.

Frida however pays little attention to him, focussing squarely ahead, as she continues...

Kept telling me, that I wasn't good enough
Push me down further, I was under a crush
Every word you said turned hard like a stone
Until I couldn't cope

With the chorus, the lights pound to the beat in red, a sign of warning, a sign of threat.

Frida's voice is strong and clear. Defiant yet vulnerable. She occasionally looks at the backing dancer as he moves around her, but there's a look of distain in her face. Yet, the audience knows this is a facade.

The backing singers, who are hidden backstage, add depth to her performance, when they sing the echos.

The audience is a little agog, the music is more pop-y than usual from Beepee, although the lyrics unmistakably so, they wave their flags with pride throughout the arena.

Another stone went the wall today
With those awful words I heard you say
I keep (buildin' up)
I must (build it up)
But I'll tear it...

I took the words you said to me
And I built a wall to keep you away
I keep (buildin' up)
I must (build it up)
But I'll tear it, tear it down tonight.

Frida's voice appears calm and calculated, despite the years of hurt and turmoil growing resentment within her. She steps forward on stage towards the audience. Her ponytail swishes behind her. She finds the spotlight in front of her beaming down on her. Her emerald leotard shines brightly under the lights.

Her dancer ignores her moves and continues to build the stones up higher in the pile beside her...

Another angry word, another stone in the wall
Thought it would protect me until I took a fall
Now I got to tear it down, start over again
Gotta tear that wall right down

The on stage lighting dims for the next chorus and for those watching at home the camera focusses squarely on Frida. She sings directly down camera, only glancing away to show her susceptibility to those 'awful' words. Her nose crinkles in disgust.

The darkened stage allows the stagehands to rearrange the set, removing the piles of stones and bringing a slightly higher wall of stone.

Her two, female, backing singers, dressed in plain black outfits, now stand either side of her (just a step or two back, to keep the focus on Frida). And in the s3cond part of the chorus, with the stage reassembled, the camera slowly pans back to show the three women.

Another stone went the wall today
With those awful words I heard you say
I keep (buildin' up)
I must (build it up)
I'll tear it...

I took the words you said to me
And I built a wall to keep you away
I keep (buildin' up)
I must (build it up)
But I'll tear it, tear it down tonight.

The bridge is where Frida's voice finally finds the ultimate strength through the lyrics. To visualise this for the audience, her backing dancer moves towards her but she stands tall stops him with her hand as he moves in and she pushes him down and away. He scurries off stage.

Her voice begins soar as she sings "within me"...

I kept building high
With each stone you gave me
The wall inside my head
Til Im finding it
The strength within me

Her voice and her performance is now strong having found the strength within her and having banished her backing dancer.

Frida and her backing singers lean in to the performance raising their vocals to fill the arena.

As the chorus comes to an end, Frida walks away from the backing singers, the camera follows her to alow them to head into the darkness off-stage.

The lights flash Amber and red strobing as she sings the final few lines of the song.

Another stone went the wall today
With those awful words I heard you say
I keep (buildin' up)
I must (build it up)
I'll tear it...

I took the words you said to me
And I built a wall to keep you away
I keep (buildin' up)
I must (build it up)
But I'll tear it, tear it down tonight.

The heavy drum beat at the end together with the strobing light is mixed with the cheers and applause of the crowd, its a cacophony, as Frida walks to the wall of stones that's been built by the backing dancer, and with one full kick she kicks through them and the wall of stone tumbles to ground. At that moment the song ends and the lights go off all across the Monsterdog Unleashed Arena.

The crowd cheers enthusiastically, as they do to every performance.

And with that the Beepeean entry is over and we head to the Ugunnustan performance.

by **Ugunnustan** » Tue Mar 19, 2024 9:32 am

❁Ugunnustan❁

❁Klara tarasova❁

❁Lips❁

❁Lyrics by❁
❁Klara Tarasova
Maulen Kuanyshev
Nurbolat Tahirev
Olzhas Kapanev❁

❁Music by❁
❁Klara Tarasova
Maulen Kuanyshev
Nurbolat Tahirev
Olzhas Kapanev❁

❁Make you mine - Madison Beer❁

❁Album Cover❁

As a surely well read, professionally minded individual you are, you know the type I’m about to talk about don’t you? “Oh It just fell on me by accident, I didn’t mean to become famous” Bullshit. Utter bullshit. You're telling me I had to work pedal to the metal for YEARS? And you get everything handed to you on a silver platter? Work that one out universe. But that's just it, I kept working. Even if no-one watched out for the little guy I kept working, and working, and working. Towards my final goal; WorldVision. I knew in my heart of hearts I could do it, it’s not like I had a shortage of ambition or anything, I practically worked myself to exhaustion, all to get the final goal; a record deal. But getting noticed is HARD. Has anyone ever told you that? It’s so much easier to get noticed for something you don’t want to, like when my first ever song from when I was like twelve; horrific, incoherent and all the like, got leaked; in its full glory. Losing me a large majority of the meagre number of fans I had managed to amass from working tirelessly from age 17 all the way up to age 19. But it seems like your real efforts are actively shut out from the industry. At 19 I finally finished an EP, Dreams I had called it. I poured my heart, soul,all my whisperings and whims into that project all for it to be heard by a small cult following. You’re always told to try your best, that’s all you can do, but no amount of motivation quotes will help with the fact that nobody was listening, so obviously I needed to find a new solution.

That solution was try-outs, I wrote SO SO SO many different CV’s and Resumes I honestly think that if I saw another job application I’d break down into tears on the spot. I gave my Email address out to so many companies that were all selling my data I struggled to tell real legitimate enquiries from the usual spam and phishing emails, I did multiple times consider shooting that nigerian prince who miraculously has $200 million and just can't wait to share it with the world, better judgement be damned. In my head I’d managed to create this idealised image of these record companies, I’d follow the yellow brick road like Dorothy into stardom. But unfortunately, my road seemed considerably longer than hers, not a single singing lion or tin man approached me on my journey to offer me advice and support (I would be a little creeped out if a singing lion did approach me though so I’m still conflicted on whether this is a good thing or no) either way even after I followed the yellow brick road and worked myself to half to death, the record executives that waited for me in the end, the grand emerald city, were quite disappointing, and also their emerald city was made of concrete, and the tears of those who would’ve preferred the money to spent on public transit. You can imagine me, I’d dressed up considerably more than I usually would, slipped out of my comfortable baggy sweats and band tees into a more formal outfit. A navy blue striped blazer paired with an almost offensively tight skirt. I laboriously clammered to the top of the seemingly endless staircase that lined the office. Oh I didn’t even tell you about this office! One of the biggest culture shocks to me going from a small local artist to a big shot (at least in my mind) was the sheer size of the buildings. I grew up in Sukli. Sukli is the largest town in Semlorda, Akhtir, so essentially on a global scale it is non-existent. The tallest building in Sukli was my 5 story flat. (Impressive for a town of 1.3k) so dragging myself up to the 34th floor of an office in Sükoyyü was not a high point of my career. But I made it to the top. As glamorously as I could I lowered myself into the itchy office chair and came face to face with the executive. His thin lips drawn into a tight scowl, and his piercing blue eyes seemingly staring straight through me. The interview was one of the most nerve-wracking experiences of my life, I’d already had to drag myself through the corporate trenches trying to even get myself up here; so to find in some cruel twist of fate that the physical test wasn’t the only test I would need to pass wasn’t fun. Yet I did it. See I told you sob stories aren’t real. Before I knew it I was whisked into a new room, and then another, and another, piles of papers of pens, the smell of coffee and overworked interns filling the air as I was given contract after contract to sign. No matter how many suspiciously worded paragraphs I read, I always had to remind myself that it was for my family’s income, for my income. And probably to some more than minor extent to soothe that pang of anger that had stuck around and grew every single time I’d been told I wouldn’t amount to anything which; for a 21 year old, was probably far more than what should be socially acceptable. So I signed, and Signed, and then eventually I got kicked out of the building; no further instructions, no contact me here etcetera just, well; enjoy being an artist now. Good luck! Hope nothing goes wrong because we will NOT be there for you.

So I got to work, well back to work. I settled myself down at my laptop, cosy in my bed surrounded by cushion and a pile of stuffed animals (I tried to throw some out but I could never bring myself to) and began to write, Obviously inexperienced in the corporate world (I had never been able to hold down a proper full time job, unless helping build my neighbours shed counted) I expected that I would just have my own creative freedom to create my album. An album; gold dust to me at this time, I had wanted to create one for years, it’s like the mark that you had made it. You could have your face printed and mass produced, it would be played in cars and radio stations, and you would be heralded as the next coming of Shafira Aloseva. But that obviously didn’t happen or I wouldn’t be writing in such a self-lamenting tone. I finished my first project with much haste, I was excited, fresh off the buzz of a new job as a songwriter and singer, me against the world; who knows maybe I’d become one of those inspirational quotes I mentioned before. Yeah no. The label refused the album, I got an exhaustive email detailing invariable flaws that I had left while producing it, which I will admit, there were a lot. I don’t doubt the dim lights flooding your bed from a tiny table lamp are exactly a highly productive work environment; and I would be happy to go back to the drawing board if…. If they hadn’t used the songs anyway. Just not my version of the songs, my writing and beats had been given to a much larger singer, and of course; I hadn’t been given credit. My lack of corporate experience had truly come back to bite me because; turns out I should’ve read the small print! I wasn’t a singer, no matter how many long words they used to tip-toe around the subject I had been blatantly lied to, I was writing songs for much larger artists to perform. All rights go to the record company, and I got a tiny cut. I was honestly shocked that such a small dividend was even allowed, and yet they were still at it, taking liberties with what could and couldn't be written into a contract. So when; after a few months the paychecks stopped all together, I decided it was probably time to figure this out on my own, and I officially split from my label.

Working as your own independent artist is scary, in one extremely drawn out message that essentially boiled down to “I hate you, I quit” I had traded the only (semi) stable income I had ever known, for more creative freedom. But I took the leap (That’s another positive quote by the way) But shockingly, that is the only decision I’ve made on a whim that has ever worked out for me, and it was the largest. Unlike staying for an extra drink of the bar, and getting so far from sober I almost looped back around, and had to get carried back by the local firefighters (long story, for another time) this was the scariest, biggest, and most impactful decision I had ever made, and I made it on my own. For a little while I moped around, feeling sorry for myself, I went to bed in the early hours of the morning and woke up in the late hours of the afternoon, but I couldn’t let myself fall deeper into this hole forever, the more I gave into this state of mind, the closer the hole it built would get to swallowing me whole. So I bunkered down; and got to work. My appetite satiated by enough coffee beans to single handedly fund El Salvador, I wrote. I needed something to cheer me up. Something that would exude the confidence I didn’t feel in the moment, something that would give people who find themselves falling into a similar hole the strength to climb their way out, and that’s really where lips came from. It blast to the tops of the charts, something helped by the ever present rise of TikTok, and of course it’s internal selection were undoubtedly a help in filling that hole back up too, yet most importantly, a deep resentment i held had finally healed, scabbed over and been fixed, I had reached a point in my career and recovery process where I could finally say:

SUCK IT MRS YERIKEVA I’M GOING TO WORLDVISION.

Klara Tarasova is a 21 year old Ugunnustani singer, born in Sukli, Ugunnsutan. Born January 3rd 2003. Sukli is a town of 1,302 people in the borough of Semlorda, Akhtir. It is the 3rd largest town in the relatively barren borough. Klara Tarasova is a young pop star, most notable for her electronic beats and heavy pop influences, she says she draws from a lot of the new pop greats, however her favourite ever album is Artpop by Lady gaga, although she says that ILYZA will always hold a special place in her heart. She was picked through internal selection to represent Ugunnustan at the 113th WorldVision song contest in Light City, Saint Monkey, with her song lips. An electronic pop song about desire, and being confident in your own body, she says she wrote it to cheer herself up after a rough patch in her life.

Interview

Open a small bright room. If you have ever read any Ugunnsutani entry post 110 in any level of detail you will recognise it, because the background roleplay here; alike the room itself, undergoes very minor alterations every year as I see fit ( and depending or not if I want to pad the entry a bit more woops!) it is of course the Şükoyyü Yayın Şirketi’s Breakfast show’s main interview room, their first major interview for WorldVision was done during 110 with Amina, where she discussed her song: and ever since then they have consistently updated the nation with Worldvision news, as the national final season draws to a close, they turn their attention to the domestic happenings, meaning they of course have Ugunnustani WorldVision entrant Klara Tarasova in to talk about her song and her experiences. The set remains unchanged. 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, Surek Nurgitev, who is sitting on the left has short brown hair, parted messily through the centre. His short stubble is considerably better groomed this time around, and his fashion has improved, luckily to the eyes of most viewers. He was dressed down into a more fashionable and toned back maroon suit, the jacket is slung over his shoulder, and his white top has the first three buttons undone (Wow that is a lot really that many?) He sits legs crossed, his deep black shoes supremely shined and well manicured . to his left is a second figure,Zaida Ayaneva, her long blonde hair has been pulled tightly into a high ponytail, her signature look, even if she disrupted it last year with a large gold bangle in the front, holding the whole thing up.She is wearing a ruffled denim skirt,and a matching denim tube top, we wont question her for the double denim, especially with her makeup: With lines almost as sharp as the cat's 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, Klara sits on top, she has a short mini dress on, it is a pale blush pink with a high slit thigh that runs all the way up her leg. Her black hair is straightened and rests neatly on her shoulders, although it is disrupted by her hello kitty (yes hello kitty) branded earmuffs that sit just at the base of her neck. Her makeup is supposed to look very minimal, all of course for the deep red lip she has on, she smiles as Zaida begins to speak.

Surek Nurgitev- Good morning this is-

Zaida Ayaneva- You always do the openings, can I for a change?

Surek Nurgitev- Sure, I guess.

Zaida Ayaneva- You look offended.

Surek Nurgitev- Well, I’am b-

Zaida Ayaneva- Don’t care, Good morning Ugunnustan! This is Zaida Ayaneva with Şükoyyü Yayın Şirketi’s Breakfast show! This morning you have two brilliant, well one brilliant co-star and Surek Nurgitev, plus an extra special guest!

Surek Nurgitev- Hey!

Klara Tarasova - Hey!

Zaida Ayaneva- Hey Klara, how are you today?

Klara Tarasova - Is terrified a basic answer? I’ve never been on Tv before.

Surek Nurgitev- Usually people feel comforted by my warm personality and good looks.

Zaida Ayaneva- Ew, gross. Anyway Klara, I’m sure All of Ugunnustan is DYING to ask you some questions, so let’s get right to it shall we? I want to start with the title of your song, lips: how did it come about?

Klara Tarasova - It’s just fun! Such a simple word, and I think it really conveys the vibe I was going for overall quite well. But yeah, it just reflects how I enjoyed the song too.

Surek Nurgitev- I sure enjoyed the song. What helped you land on this electronic sound?

Klara Tarasova - That’s a great question, I draw from so many influences, but my favourite album is Artpop by Lady gaga, oooh or Ilyza’s experimental 3rd album! But in general I've always loved this sound. Quick thumping bass and vocal edits, overall the style is just me, along with a conglomeration of all of my favourite music from past and beyond.

Zaida Ayaneva- Those are some big artists to live up to, as an independent artist, how do you find it?

Klara Tarasova - Liberating! It was scary at first, like all things are, but as I over time got used to it, I realised how much I was missing by being tied down to a label, it was like trying to swim with a rock tied to your ankle. But now I’ve got my own freedom to do what I want to do. It's one of the best decisions I've ever made, and the biggest one I ever made on my own!

Surek Nurgitev- Wise words, and such wisdom at such a young age.

Zaida Ayaneva- It’s impressive, just like the big city! How are you finding it?

Klara Tarasova - Well I’m not finding a lot in reality, the amount of times i’ve managed to get lost in the maze of buildings will never cease to amaze me. You all need to collectively learn to build smaller buildings, and have less lanes because wow! Almost no-one owns a car in Sukli and now I have to feel like crossy road across every street!

Surek Nurgitev- See I knew I liked her! I support less lanes too.

Zaida Ayaneva- We aren’t here to talk about that though are we Surek? We are here to talk about Klara’s song.

Surek Nurgitev- And that song will be coming right up, but one last question Klara, how has your day been with us today?

Klara Tarasova - Brilliant, all of your energy is electric, and I can’t wait to chat with you all afterwards!

Zaida Ayaneva- Yes we should organise a girls night out!

Klara Tarasova - Of course.

Surek Nurgitev- Always left out…

Zaida Ayaneva- No you're not, you can do the thing.

Surek Nurgitev- Oh yeah! Klara, would you like to do the honours of telling them what song is coming up next!

Klara Tarasova - I would! Hey guys, this is Klara Tarasova, Ugunnustans entrant for WorldVision 113, and this is my song, lips:

Saint monkey. A country Klara had never heard of before. She had been an adamant watcher of WorldVision since Ugunnustan had joined the contest, but she never had taken much notice into the relatively new country that debuted in WorldVision 111. Even though she probably should have, yet her excitement was entirely focused, zeroed in; on Qalima, and her exhilarating win that sent shockwaves through the whole country. Honestly Klara’s scream could’ve sent shockwaves through the rest of Ugunnustan. Despite that; Klara hadn’t left Ugunnustan alot, so she was excited to discover new countries, she didn’t have a lot of experience with flights or travelling, The furthest she had gone recently was Bata-Al-Fera, a long drive but not too different from the rest of the country in the fact it is mostly just desert. She did know however, she wanted to have a deeper understanding of where she was going more than simply where it was on a map, Klara wanted to be well read. So as she sat on her AirUgunnustan flight, she flipped exhaustively through her Saint Monkey fact sheet, and the various travel brochures that filled the pockets and any empty space on the floor in and around her seat. She quickly found herself lost between the pages upon pages of unique weather patterns and tourist attractions; the beautiful natural shape and clear waters of the lightning lake, and even though she had seldom left the country before, she became more excited by the minute.

She arrived late in the evening, so she decided it was probably best to find her way to her hotel. She was in relatively light clothes, think white shorts, and a short sleeve knitted top, so she wasn't ready for when the heavens opened and poured rain on her. Her freshly straightened hair? RUINED. Her freshly done makeup that she finished on the plane? RUINED. But her day? Not so much, and that was because she got to see one of Light city’s famous thunderstorms. 250 days a year the city is bombarded with lightning, and she is lucky enough to catch one. Incredible. Even as she slipped into her plush Mercedes van, she had her eyes on the sky. Her head jumped against the speed bumps, as she rested her head against the rain-soaked window to get a glimpse of each crack of lighting, and scream of thunder. The hotel was almost as plush as the car; she’d never been somewhere with such high luxury. The marble walls and woollen carpets made Klara feel well out of her depth. Yet she resolved to enjoy it while she had the time.

The next day the weather had somewhat cleared up, and Klara’s hair had only just stopped being frizzy, so she had quite an optimistic view on the day that lay ahead of her. She slipped into some comfy trainers and a thicker outfit for today, as she was going to go into the town (and maybe hiking!) But first of course, the city centre. She just wandered, maybe one of her favourite parts of the trip, she got lost in the endless streets, views of tall buildings melting away into views of crystal clear lake water. That's where she eventually found herself, in a street wear shop on the Quayside. The tropical blue water sloshed gently against the quay that she stood above, but that wasn’t her focus. The cooling air conditioning was the best part of the shop, as she finally had an escape from the violent humidity the lake and rain threw onto the city. The shop itself was modern, abstract sculptures holding up rows upon rows of clothes so distressed they could be office workers. The staff however, bright and almost scarily happy for 9:00am, were more than happy to help her out. She picked out a replacement knitted jumper, along with a thick and fluffy black coat.

While she didn’t plan on it; she eventually found herself hiking. Not something she often indulged in, but shockingly something she found quite enjoyable. She did eye up mount light, however its towering stature made her unnerved, and so she opted for a much more scenic and peaceful route through the music forest. Where she found an odd statue. It was probably some art project like they have in many major cities back home, but she felt drawn to its beauty. Despite being a very minor part of her walk, she seemed to remember it quite well.

The Worldvision red carpet came next, well turquoise. Being from Ugunnustan, Klara was showing up pretty late, meaning most of the countries had already been through, nonetheless, even with the face of the relatively tired journalists; she still put on a good show, smiling brightly, and strutting confidently all the way down the runway. She had on a long flowing red dress, it trailing long behind her, with dangerously high boots that wobbled with every step, she did almost trip over them which was undoubtedly a nice pick me up for the journalists. She answered all questions offered to her; How do you feel about competing? Where did the name Lips come from? And even Why is your song so shit? Well it isn’t. The Todlichebujoki reporters truly have no shame. But as she walked down the carpet she thought to herself, this is it, I’ve made it. She had one thing to reiterate. Suck it Mrs Yerikeva. Probably good to clarify that Mrs Yerikeva is a music teacher who told Klara that she was bad at music, anyway.

Finally; the rehearsals, Ugunnustan had been drawn to go 9th, so pretty early in the running, and pretty scary for Klara. And even in the midst of so many stars, considerably brighter than hers; she adamantly refused to get starstruck, bar one band; Perdadores. A band from Elejamie, the first in the contest since their exit years ago, and writers of a song that she connected to on a deep level. Yes that Perdadores. She practically melted when she saw them walk out of their dressing room, and to a noticeable level, as she watched the expression on Kai's face shift to one of confusion. Shit. She probably ought to explain herself before they all wrote her off as mad. It wasn’t good. She practically just vomited up a word salad at them. If that was supposed to soothe the situation she had fumbled the bag. (She should never be a police negotiator, she really doesnt work well under pressure) Yet for some unknown reason, if anything because they took pity on watching Klara collapse in front of them, they did sit and chat with her a little while. She got to explain her connection to their song, and the band itself, and maybe, MAYBE managed to weasel her way into a friendship. She’d have to wait until one of them replied to her messages to be sure.

The postcard draws to an end and the lights rise on the performance. The previously dark stage is now bathed in swathes of pink light coming from several strobe lights above the stage, the camera starts in close to Klara’s face for the acapella section. It is just her on the stage. Wind machines are being used so in the background you can see her sharply straightened black hair blowing to the left.

Her makeup is sharp. She has a deep red lip on, and tightly cut cheeks in a much lighter blush pink, she has dark and long cat eye eyeliner that snakes from the side of her eyes and comes to a sharp point. She always wears a light smile on her face, she’s excited to be on the stage after all; after so much time being told she couldn't. The small microphone can be seen slightly, although efforts have been made to hide it.

I-I-I Want your kiss,kiss,kiss
On my lips,lips,lips
Tender relief and bliss
I-I-I need your Love,Love,Love
I want to,to,to
Have you on my lips

With the Acapella chorus drawing to an end the camera quickly shoots out, revealing Klara standing in the centre of four dancers, two either side, they all face the back, and as she sings the first line of the verse (This outfit so tight) They all turn around. And their outfits are. All of the dancers are in black leather jackets, they all have small patches on them in various colours, each containing references to previous Ugunnustani entries (Klara is a WorldVision superfan of course) and they all wear heavily ripped blue jeans, they look like bikers.

Klara is in the centre, she has a small washed denim skirt on, with an incredibly oversized black belt holding it up, This is paired with an asymmetrical pale pink crop top, and black thigh high heeled boots. She walks with confidence towards the front of the stage, as the dancers begin to spread out around her, she sings heavily with her hands, making gestures towards the audience as she sings, including one to tell them to join in, which they obliged; meeting her invitation with a cheer, likely spear-headed by the Ugunnustani fans in the audience.

This outfit so tight
just so he might
Steal a look at me
Why wont he? (Why wont he?)
Cuz i'm Stuck on this ride
And you're stuck in my mind
Too good to be true
Aren't you? (Aren't you?)

The pre-chorus now, and we see a climb in energy in the song, by now the dancers have worked their way to the front of the stage, and take position either side of Klara. They fluidly twist around Klara as she sings directly out into the audience. The camera begins to slowly zoom into her face, where a light scowl can be seen, this is intended to make her come across as confident, where in reality she’s lacking that, as this is one of her first ever live performances, and at such a large event and venue nonetheless.

The pink lights from before haven’t yet changed, however, a thick layer of smoke has begun to work its way across the bottom of the stage from smoke machines at the edges. The lights have also been used to turn this smoke a similar pale pink to both the ceiling lights and the back LED screen, which has remained a solid pink colour for the majority of the performance, however little darker pink hearts have begun to pop up across the screen.

Look at those eyes
He's lookin' so fine
I decide that
He's mine

Like Electricity
Power like industry
I'll love you skillfully
I'll drink you up in sips
I comfortably predict
I'll have you on my lips

Like Electricity
Power like industry
I'll love you
I'll drink you up in sips
I comfortably predict
I'll have you on my lips

The chorus, A high point in the song and a time to arouse *Insert lenny face Beepee*
Excitement in the audience. The dark purple hearts from before have now become fully visible like someone upped the opacity (finally) and the lyrics to the song are being displayed on them in a slightly smudged handwritten font in white. The pink lights have begun to strobe, shooting beams of bright pink light across the crowd in a circular motion.

The camera centres on Klara as she sings and dances, a smile on her face. Her dancers are in a line standing behind her, They all have their hands up to create the effect of a lotus flower (Think the live performance of Mata Hari in Eurovision) Their movements are slow and robotic to mimic the sound of the lyrics and beat, on lines such as “lips,lips,lips” they move in threes, with their hands to the left, top and then right, similar movements are repeated on other bits of the lines where three words are repeated such as “I-I-I” or “Kiss,Kiss,Kiss”

Klara herself starts to feel her nerves fade a little, as the pink lights circle over her, making her the centre of attention; she realises she has wanted to perform forever, and has worked towards this moment forever, and god it feels good.

I-I-I Want your kiss,kiss,kiss
On my lips,lips,lips
Tender relief and bliss
I-I-I need your Love,Love,Love
I want to,to,to
Have you on my lips

On my lips
(Our electricity)
(Like an energy)
(Our electricity)
On my lips

Now it’s the second verse, and the dancers disperse (Look at me rhyming) across the stage. The lights are dropped, and replaced by the dim light from the LED screen, which has turned mostly black bar a large deep purple heart that provides some illumination into the centre of the stage. On one of the short Lighting runways, (The one furthest to the left) We see a pink outline of Klara, she flips her hair side to side while she sings; further showing the confident demeanour she is trying to give off. The camera follows her movements as she begins to walk back onto the main section of the stage, where she meets her dancers, also just an outline, however they are in a blue light instead of a pink one.

Make me come alive
When I fantasise
About your body
And it's naughty (And it's naughty)
Someday you'll be mine
I can cross the line
Trapped inside my mind
And it's scary, Scary

As we reach the second pre-chorus the lights have risen back up, which is met by a cheer from the audience, Klara has made her way over to the centre of a backing dancer, and is now dancing sensually with one of the male dancers, he is meant to represent the person she is singing about, the other dancers circle around the two, and the camera shot flicks to one above them, you can see Klara’s slightly messy hair from the wind machine at the start, which she plays with while she dances.

As the second “Like electricity” on the pre chorus begins, she breaks off from the dancer and begins to once again work her way towards the centre of the stage, the other dancers follow her on the floor, but she turns around and gives them a scowl; which the the strobe lights and cameras get close to, illuminating her face, and it causes them to stop. The camera transitions to one of someone on stage, who follows Klara closely, she blows kisses into the camera and winks at it, giving the dancers just out of view a chance to stand. As the pre-chorus ends she gives the camera a kiss, and an imprint of lipstick appears on the handheld camera before it switches to a camera off stage and the cameraman scutters off.

Look at those eyes
He's lookin' so fine
I decide that
He's mine

Like Electricity
Power like industry
I'll love you skillfully
I'll drink you up in sips
I comfortably predict
I'll have you on my lips

Like Electricity
Power like industry
I'll love you
I'll drink you up in sips
I comfortably predict
I'll have you on my lips

For the final chorus, Klara slut drops to the floor, where she is joined by her dancers. The camera goes from a top down view, as she is lying down on the stage, the dancers move around and over here, switching positions and leaning in and out, all very tightly choreographed and fluid, Klara reaches up towards the camera, doing a motion to pull it in, she also blows a kiss at it.

The floor LED’s are now finally in use, as they are visible here. A large (you guessed it) heart is under Klara, it had a spiral effect that surrounds her, while the rest of the dancers are on top of the flat heart bit, the lyrics also pulsate on the outside of the heart area, the lyrics are in the same smudged white fonts as before, with the little lipstick effect from before around the edges.

The lights are flashing on and off throughout this final section, to build excitement and create an amped up atmosphere that is needed around such an electronic dance song as this one. The spark effects have also finally been brought into play, 3 tall towers of sparks shooting up on the stage as the camera pulls away. As this happens Klara and the dancers stand up, the dancers stay off to the side dancing; however Klara begins to strut along the front of the stage, occasionally leaning down to fans in the front row, this is met with a cheer.

The last 20 seconds of the song act as a dance break, so the dancers come to join Klara in the centre, it is supposed to look high energy and slightly chaotic, so they are all facing different directions, however they all perform the same movements in the same time, it creates a contrast between the tightly choreographed moves and the highly stimulating overall look and environment.

I-I-I Want your kiss,kiss,kiss
On my lips,lips,lips
Tender relief and bliss
I-I-I need your Love,Love,Love
I want to,to,to
Have you on my lips

I-I-I Want your kiss,kiss,kiss
On my lips,lips,lips
Tender relief and bliss
I-I-I (lips,Lips,Lips)
Need your Love,Love,Love
Have you on my lips

On my lips
(Our electricity)
(Like an energy)
(Our electricity)
On my lips

After the end of the song, the Saint Monkeyian director pans out into the audience, taking extra notice of all the Ugunnustani flags waved. Klara yells out Teşekhmat Teşekhmat! Thank you, Thank you! Before her and her dancers blow a kiss into the audience, they hurriedly run off the stage so it can be cleared for the South Batoki act that follows.

by **South Batoko** » Tue Mar 19, 2024 12:14 pm

WITHDRAWN

by **Carrelie** » Tue Mar 19, 2024 12:48 pm

by **Gallicelestia** » Tue Mar 19, 2024 12:52 pm

WITHDRAWN

by **Pais Occitans** » Tue Mar 19, 2024 1:49 pm

13. OCCITÀNIA

Tune : Dami Im - Sound of Silence https://youtu.be/5ymFX91HwM0

Magali Estiu - Lo País

Lyrics :

I a un au-ucèl que canta
E l'aiga pre-en son temps
Istòria de l'esperança
Eternal de nòstre pòble
Esborrat pe-er sempre
Mas los monts criidan, cri-idan
E cri-idan car

Per sempre cantaré pe-el país
Fier de ca-antar per lo país
Fier de ca-antar per lo país
Per sempre cantaré pel pa-aís
Fier de cantar per lo país
Fier de cantar per lo país

Que's ditz qué lo temps passat
Mas los cors son braves de nò-òu
Los pòts levats cap al cèu
Per liberar nòstra tèrra
L'ora es ve-enguda enfin
Mas los monts criidan, criidan
E cridan caaa-aa-aaa

Fier de ca-antar per lo país
Fier de ca-antar per lo paííís
Per sempre cantaré pel pa-aíís
Òc lo país
Fier de ca-antar per lo país
Fier de ca-antar per lo país

Que'm senti to-ots los cò-òrs ferits
E la-a tèrra canta
Mas las montanhas cridan,
Cridan, cridan perqueee-ee-eee

Fier de ca-antar per
Fier de ca-aatar per
Lo-o pa-aís
Fier de cantar per lo país
Per sempre cantaré
Pa-aí-íís
Òc lo país
Fier de ca-antar per lo país
Fier de ca-antar per lo paí-íííííís

You can find the pronounciation on this site : https://fonetizaire.locongres.com/index.php#resulttranscr

Translation :

There's a bird that sings
And the water takes its time
A Story of the Hope
Eternal of our people
Erased forever
But the mounts are shouting, shouting
Shouting because

Forever I will sing for the country
Proud to sing for the country
Proud to sing for the country
Forever I will sing for the country
Proud to sing for the country
Proud to sing for the country

I hear the words of the past
But our hearts are brave again
Fists raised to the sky
To free our land
The time has finally come
But the mounts are shouting, shouting
Shouting because

Forever I will sing for the country
Proud to sing for the country
Proud to sing for the country
Forever I will sing for the country
Yes the country
Proud to sing for the country
Proud to sing for the country

That I felt all the wounded hearts
And the earth sings
But the mountains are shouting, shouting
Shouting because

Forever I will sing for the country
Proud to sing for the country
Proud to sing for the country
Forever I will sing for the country
Yes the country
Proud to sing for the country
Proud to sing for the country

Magali Estiu

Magali Estiu was born in San Dalmatz, a small village in the Alps. Her amazing vocal capacities were soon noticed by her parents, who encouraged her to purchase her dreams. After the Independence War, in which she was involved, she won several smaller contests and was chosen by ÒC.TV to be the first Occitan contestant in Worldvision. Apart from being a singer, she is also a bee-keeper in her village that is situated in Provença (Provence).

The song

Written just before the war, when Occitans began the Revolution, "Lo País" is about Occitània's fight for independence, and of the Occitan culture, spirit, language & identity reborn after more than 700 years. It is also a song of hope, of recognition and of peace between France and Occitània.

by **Elejamie** » Tue Mar 19, 2024 4:22 pm

14. Elejamie

Perdadores – Odiamos tu canción

Tune: 5MIINUST, PUULUUP - (nendest) narkootikumidest ei tea me (küll) midagi (live at the Eesti Laul 2024 final)

From left to right: Jon Castillo (rap, production, drum machine programming), Eusebio Menéndez (rap, production), Caio Moreira (rap, production, guitars, bass, drums), Jiang Kai (rap, production, sampling)

Perdadores was formed in 2009 by Universidad de la Playa de Rocas students Juan Rafael “Jon” Castillo Abascal (born 8th December, 1988) and Eusebio Martín Menéndez Rojas (born 11th January, 1989). While the two didn’t really speak much if at all during their first two years as students, they managed to bond after a while due to their shared interest in both punk and hip hop. Originally calling themselves “The Losers” both as an ironic dig at themselves and as a shout-out to the seminal Elejamian punk band of the same name, they quickly renamed themselves Los Perdedores when they realised that the aforementioned band were still relatively popular and thus a lawsuit would be inevitable. They teamed up with a few classmates who played in a rock band and performed a few shows together, with them playing their instruments while Jon and Eusebio rapped. As popular as it was with the audience, the backing band eventually split from the project due to them not really being interested in the style leaving the duo to go at it alone. It didn’t help that neither of them could play guitar, bass or drums particularly well so recording their own beats and rapping over them a la The Roots wasn’t going to get far.

As luck would have it, the two met and quickly befriended Caio Marcelo Henrique Gonçalves Moreira (born 28th February, 1989), a fellow student and an an aspiring rapper in his own right. Despite being born and raised in a primarily Spanish-speaking part of the country and attending a primarily Spanish-speaking university, he would rap in Portuguese as that was what he primarily spoke at home. Not just that but he was a decent guitarist, bassist and an OK drummer, which meant that all they had to do was record him jamming and put it all together so they could rap over it. While they recorded some demos with that particular set-up, they eventually abandoned it when it turned out that Caio wasn’t that big on punk and that they couldn’t really make it sound as good as they wanted to. As a result, they scrapped the whole idea but kept the whole aesthetic. It was also around this time that they not only dropped the “Los” article but also renamed themselves to “Perdadores” simply to make it easier to look them up online. Hey, it worked for Chvrches.

This new line-up and change in style ended up proving to be the ticket to success. Not just that but they also managed to get a new member in Jiang Kai (蒋凯, born 19th October 1989), an international student originally from Tianjin. While he wasn’t a rapper to begin with nor did he have a huge amount of interest in the genre to start with, he still enjoyed their sound and wanted to contribute in some way, After providing them with a bunch of samples that they could use for their songs and showing them what they could do with them, they decided to bring him on as a producer. He didn’t really do much to start with, instead concentrating on finding songs or sounds that they could incorporate into their beats. But as he worked on his producing skills and his flows, he started to get more and more work to do until he was pretty much on equal footing with the other four. Finally confident that they’ve gotten things they want to, they decided to get to work on a demo tape to try and get signed to a label.

It took them quite a while but they managed to get signed onto a subsidiary of a large label. Bit of a sell-out move but if it meant a wider audience to reach out to they’ll probably take it. There they went on to release their first album “Somos un grupo de” (“We’re a group of”) in March 2011, which sold fairly well and got some critical acclaim. However, due to them still being in uni at the time, they had to wait quite a while before they could actually tour to support the album. And even then Kai had to sit it out as he was working towards his Master’s degree in chemistry and he wanted to concentrate on that. Despite this, the group’s tour of their home country with a couple of stops in random locales in Latin America proved to be enough of a success for them to make a small profit, even if they were playing in small venues to crowds of under a thousand (max). Their second album, Eñe, was released a couple of years later to about the same response but not as wide of a tour, instead being nationwide only.

Their third album, however, was the one that really put them on the map. Released in August 2016 and titled “P.R.D.R.S.”, a name that doesn’t stand for anything (although the group joking said it meant “Perdadores Rerdadores Derdadores Rerdadores Serdadores” as a playful stab at unnecessary rap acronyms), it spawned their biggest hit “Abróchense el cinturón” (“Fasten your seatbelts”). Not only was it the group’s sole number one to date but also charted in quite a few other countries and got a decent amount of radio airtime. Not to mention how it won Best Rap Album at the National Music Awards and was also nominated for Best Album. This of course lead to a tour that, much like their first one, saw them venture outside the country. They made a few stops in Mexico, a couple of stops in the USA and even finished things off with a few concerts in Spain. However, despite their success, the band not only split from their label but also went on a massive hiatus afterwards. Jon and Eusebio formed a duo called U-CAS and learned how to produce tracks on their own, Caio resumed his solo career and Kai concentrated on his main job as a pharmacologist; he would also receive Elejamian citizenship in 2017.

The band not only ended their hiatus in March 2020 but also explained why they went on it in the first place. They were unhappy with the way they were being treated by their record label. From having to take songs off their albums to repeated attempts to force them to rap in English in order to appeal to a wider audience to them not receiving much of a fair pay, they weren’t really having much fun making any music so, after the mandatory three album contract came to an end, they decided to jump ship. This then lead to a court case for the rights to the masters of those first three albums. Eventually both sides settled out of court with Perdadores regaining the rights to their masters in exchange for half of the profits from their next album going to their old label, at least for the first six months of release; they also received Ꞅ500,000 but the group opted to split it amongst various charities rather than pocket it for themselves. They would’ve gone ahead with a new record just to make sure that they could get this whole thing out of the way but unfortunately the country had to enter lockdown because of a certain pandemic and thus the hiatus had to be extended as they were in no real mood to carry on working. They did re-release those three albums with the tracks they were forced to leave off, though as they weren’t considered new albums they couldn’t use that as a loophole meaning they had to keep ideas stewing for a while.

When things calmed down enough for them to actually finally reform and do a new project, they managed to do just that. Reuniting properly in mid-2021 they got to work on their next album, which was titled “Hacer un disco que alguien realmente compre” (“Make a record that someone will actually buy”). While they could’ve theoretically have made an intentionally bad record as a middle finger to screw the old label out of their profits, not only would it mean that they wouldn’t make as much bank on it but also the judge would probably alter the terms of the deal to screw them even more. Not to mention that they themselves wouldn’t really be happy putting out a low quality product, especially after a long gap. They did, however, go all out and make it as in-your-face as it could be with their messages, albeit more out of catharsis rather than trying . For a start, they recorded three diss tracks towards their old label: “Serpientes con patas” (“Snakes with legs”), “Nueve para mí y uno para ti” (“Nine for you and one for me”) and “Braltos que nos dicen cómo halbar” (“Braltos who tell us how to speak”, with “Braltos” being a derogatory term for Anglophones). They also recorded a number of other songs including “Jesús dice que le parece bien” (“Jesus says he is fine with it”) which skewers people who use their religion to justify their hatred, a cover of the song “Confisco” which is the only solo Caio song not to be produced by him in any way (although he recorded all of the instruments, Jon and Eusebio both produced it), and “Otra” in which Eusebio, Caio and Kai bring up the racial discrimination they’ve received in the past (the former because he’s half-Paraguayan, the middle for being Afro-Brazilian and the latter because he’s a Chinese immigrant).

Despite the content of the album, which lead to some small controversy, it was still a huge success. It made enough money for both them and the old label to be very happy, it got them back on the radar after a long break and it lead to quite a decent tour that even saw them do a proper Elejamie and Latin America tour (although they had to work around Kai’s work schedule). Around this time they also released “Freestyle número noventa y seis” (“Freestyle #96”), a rap cypher that was supposed to be on the album but they couldn’t find where to fit it and so they just decided to release it on its own; it’s also notable because Eusebio came out as pansexual in his verse. After their tour came to an end, they took a bit of a break so that Kai could return to his job and catch up on any work he had missed while he was away. At least it gave the rest of them an excuse to recharge their batteries.

Towards the end of 2023 they announced they had a new album in the works and it was coming out in February the following year. Titled “AK-47”, it kind of continued the same sound that was on their last album, with a few songs on that being potshots. Namely “Portador de hierbas” (“Weed carrier”) directed towards people who act high and mighty for being associated with successful acts (and is believed to be a diss towards another rapper, although which one is up to interpretation), “Psícopata” (“Psychopath”) directed at stan culture and people who exacerbate it, and “Odiamos tu canción” (“We hate your song”) which is just them talking about things in the music industry that tick them off. However the overall tone of the album was a bit more lighter than the last one with songs such as “Química” (“Chemistry”) being simply a fun party anthem, “¿Importa?” (“Does it matter?”) about how it’s more important to be a good person than worry about what people say, and “Esperamos que você esteja bem, Zinho” (“We hope you’re doing well, Zinho”) which is a tribute to the former Dinosaur Head front man João Paulo dos Reis Arantes Silva whose stage antics were an inspiration for the group and whose mental breakdown in 2018 (followed by his subsequent stay in a mental institution and drop off the radar) spelled the end of his band. While the band hasn’t announced a tour yet, if only because they don’t know when would be a good time for Kai to take a break, they have announced that they were selected to represent the country at the 113rd WorldVision Song Contest in Saint Monkey so at least they’ll be promoting it in some way.

So that thing about Elejamie no longer participating in the WorldVision Song Contest? To the point where that guy called it a “monument to drivel”? And ETV closing down their WorldVision department to further emphasise the point? Yeah, about that…

ETV was adamant that it didn’t want to return to the contest, even going as far as stating that it would rather take part in NationVision. Channel 3 wasn’t interested in snatching up what was normally a ratings hit from their rival. All of the stations making up the CRTS air the World Hit Festival and one of their reps has stated that they don’t really have the budget to air both. And none of the other stations had stated their interest in hosting it. However WorldFans were desperate in wanting the Pacific island nation to return, either because it’s a disappointment whenever a country decides to leave the contest despite having some level of success, they wanted one of the most cursed countries to take part to suffer even more or because the ant farm broke and they’re bored. More than likely that first one. There was even a petition begging them to return which got a good amount of signatures, including a few big names in Elejamian entertainment. However, the response was always the same: “No, we’re not interested.”

And then in the run-up to the 113th contest in Light City, Saint Monkey, there was a bombshell announcement. Elejamie would indeed be returning to the contest. However their spokesman for the announcement, regular commentator Flynn Taggart, it would be for three non-consecutive contests just to see if it’s worth showing up for the odd competition and there’s a possibility that it will leave the WorldVision for good before those three contests are up. While this came as a bit of a surprise, he also explained the reason why. As Elejamie had withdrew from the 73rd World Hit Festival in order to re-examine things after a disappointing 9th place and back to back contests without top marks, wasn’t going to take part in the 10th Junior World Hit Festival due to a lack of interest in such things and WHF74 was going to be quite a while away, they figured that they might as well give this a shot just to get those people to stop begging them to return.

However, coming up with something to return to the contest with proved to be a tough choice. After all, do they send something that’d actually have a chance of winning or do they send something completely off the wall as if they wanted to teach those WorldFans to be careful what they wished for? Whatever the reason was, there was a bit of a mixed reaction when it was announced that they would be represented by Perdadores, a rap group made up of Jon Castillo, Eusebio Menéndez, Caio Moreira and Jiang Kai. On the one hand, the four were fairly moderate names in the Elejamian rap world especially with how their struggles with nitpicking executives ended up leading to some of their best work. On the other hand, their more experimental and confrontational style would probably not sit well with casual WorldVision fans, especially since their entry “Odiamos tu canción” (“We hate your song”) is essentially them ranting about things in the music industry that they like. There has been the odd conspiracy theorist chiming in, though they’ve been pretty much ignored.

Will it be like Springtime For Hitler or will it be like My Lovely Horse? Perdadores didn’t know nor did they particularly care. After all they had an apathetic broadcaster to deal with so they were allowed to keep some level of creative control, they were allowed to keep their raps in Spanish and Portuguese so WorldFans who get all iffy whenever someone sings in English will probably get some small enjoyment out of that, and it was a way for them to get their name out there so ultimately it wouldn’t matter if the whole thing lead to fame or infamy. Elejamian Broadcasting in general didn’t care a great deal either since they were playing each of their appearances by ear and were probably going to pull the plug at the first sign of trouble. And WorldFans were probably happy to see the country finally make a return regardless of the actual quality of the song so at least that’s something. Win-win-win.

Still, Perdadores had fun in and around Light City, did a couple of concerts to get the locals more used to their style and perhaps even score a collaboration or two with some local rappers to try and give them some cred. And rehearsals went well as well, even if they had to use stand-ins for what they had planned. So, naturally, they were ready to get things started. Will this be a welcome return to the country or will it end up proving that they should never have bothered with it in the first place. Only one way to find out, really.

The postcard came to an end and the viewing audience was greeted with a bunch of cheering fans in the foreground and a zooming shot of the stage. On it were four figures standing quite a distance away from each other and a table. There was also a bag of something to one side but it was a bit hard to make out due to the distance and everything surrounding it. After a while, the cheering died down and the lights dimmed a little bit. They didn’t go fully dark, they were just a bit less bright than they were earlier. Either way, it was showtime.

After a short while the lights remained the way they were while the song started playing. As something that sounded like someone plucking a violin as if it was a bass guitar started to play, the four members started to shout “¡Ay!” repeatedly as part of the intro to the song while they repeatedly move one of their arms, namely the one not holding the microphone. As they did that, there were flashes of light to make the stage less dim. Not bright flashes, just enough to show where they were and what they were doing. There were also a series of cuts going between each of the members as they did what they doing, before changing to a wide shot of the stage going dark towards the end.

Then the song proper started. The lights turned back on and the camera concentrated on Jon rapping the first verse. It also revealed what he and, indeed, the rest of the group were wearing black camo jacket, black cotton fingerless gloves and black camo cargo pants, as well as black and white trainers and, for some strange reason that’ll become apparent later, safety goggles. Yes, even Jon who normally wears glasses had a pair over them. They also had a microphone holder attached to a metal harness they wore over the top but it was more to keep it steady while they did what they were about to do, especially since there were no microphone stands nearby. In the background was a small rack that had a few baseball bats, just ordinary wooden bats that had a bit of tape to make it easier for them to grip onto. As for what Jon was doing? He was just moving around the stage, staring into the camera from time to time and moving his arm around. Occasionally there was the odd cut to his bandmates proving backup vocals but, for the first half of the verse they were either standing there or carrying things from off-stage. For the second half, though, they were merely taking out CDs that had a demo version of the song on and stacking them on top of the table, making sure that they don’t fall off.

Tú cállate con tus autofelicitaciones
Tienes éxito gracias a las conexiones
Es difícil entretener tus pretensiones
Cuando una máquina hace tus canciones
Tú cállate con tus autofelicitaciones
Tienes éxito gracias a las conexiones
Es difícil entretener tus pretensiones
Me preocupan las futuras generaciones
You shut up with your self-congratulations
You’re successful because of your connections
It’s hard to entertain your pretensions
When a machine makes your songs
You shut up with your self-congratulations
You’re successful because of your connections
It’s hard to entertain your pretensions
I worry for future generations

After that, the lights dimmed back to how they were again, although this time there were a couple of lights shining down on the four. There was also a quick pan over to Kai, a pan quick enough to distort the image on screen. He had one foot on the table and another on the floor. He also had a cheapy knock-off violin and the bow for it, which he rested on his knee and began to play like a cello. The camera concentrated on him doing this, even if it had to cut between a few different angles of this. Shortly afterwards there was a cut to Eusebio standing on one side of the screen, hunched back and letting out a long “Ajá-já”. As that was going on, there was a cut back over to Kai, who now had both feet on the floor and was winding up one of his arms. At the start of the chorus, he brought the violin down on the edge of the table, shattering it. At the start of the start of the chorus, Eusebio made his way to the front and started moving his hands around as he sang. In the background Kai, Caio and Jon started smashing the load of CDs on the table with baseball bats, hence the need for safety goggles. Sort of like the release party for Ai Jin by the Gerogerigegege, except the location and method of destruction’s different and there’s no Gero 30 doing his thing in the background.

Eusebio’s parts were just simple demands telling people to do something else, stop being proud of how terrible their lyrics are, or general demands to shut up and go away. Nothing particularly interesting or inspiring but he didn’t have an easy time coming up with a simple, catchy hook or finding out how to make it all rhyme. Meanwhile Caio’s lines are more a stab at recording engineers who make their music loud. A bit of a petty complaint, yes, but as someone who produces in both senses of the word he wants to make sure that his beats sound the best they can be due to him primarily using live instrumentation. Same goes for his groupmates having to base their tracks around samples, so having them all sound loud and distorted would probably make the resulting song sound a bit like crap too, even if they aren’t as perfectionist as him. Whatever, throw it into the list of gripes.

¡Cállate, márchate!
¡Toca otra cosa!
No seas orgullosa
De tus letras roñosa
O volume está em um nível absurdo
Bem, parabéns, o público agora é surdo
Shut up, go away!
Play something else!
Don’t be proud
Of your rusty lyrics
The volume is at an absurd level
Well, congratulations, the audience is now deaf

And then it was time for Eusebio to do his bit again, except this time he was joining in the destruction of the CDs. He wasn’t bashing the stack with a baseball bat like the others but he was kicking the piles that were forming and stomping on a few. Someone even brought out a ladder, which he climbed before he jumped off it and broke through the table. Not only were there not as many CDs or CD fragments on the table at that point but a) he had been taught how to do it safely and b) it was one of those tables you’d get in wrestling, where it’s designed to break easily and carefully. When it came time for Caio to do his bit, the camera panned over to him and followed him as he rapped his lines. Whenever it came to Eusebio adding backing vocals it cut to an aerial shot of him lying on the wreckage of the table. At least there were a few CDs underneath to help cushion everything, even though Eusebio would still be feeling that for a while.

Also Caio’s bit at the end is a stab at people who take old hits from the 90s and 00s and, rather than do anything to actually breathe new life into it, instead decides to make the most basic, boring “remix” that either misses the point of the song or turns it into a generic, unlistenable slog. Looking at you David Guetta, Kygo, and whoever turned Better Off Alone into that Kim Petras song. After all Kai may have sampled some traditional Uthossian folk music to make the beat, after all using world music as a base was sort of his thing when he was making his own beats, but at least he tried to give the whole thing a bit of energy and make it into a song that people would willingly want to listen to.

¡Cállate, márchate!
¡Toca otra cosa!
No seas orgullosa
De tus letras roñosa
Você deveria deixar as músicas em paz
Sua música é como uma chuva de antraz
Shut up, go away!
Play something else!
Don’t be proud
Of your rusty lyrics
You should just leave songs alone
Your music is like a shower of anthrax

And then it was time for the next verse of the song. There was a wide shot of the stage where everything was dimmed, there was only one light and it was shining down on Caio, the man was just standing there with one arm outstretched and leaning back a little bit as if he was staring at the ceiling and everyone else was in the back just standing still. All of that for the first line. After that there was a cut to a medium shot of Caio stomping around on the stage as he sang the next line, mostly because there were a few CDs under his feet and he wanted to carry on with the destruction going on. For the third line he stopped and turned to face the audience, all while the camera rolled and zoomed in to him. It stopped in the fourth line where it held the shot before it slowly rotated itself the right way up, all while Caio picked up a CD he hadn’t stepped on yet and flung it to the side as if it was a shuriken, where it bounced off the wall and broke.

The verse is also making fun of songs that have multiple writers but come across as horribly slapdash. And not in a “multiple singers and everyone writes their own verse” way, the artist/s they’re sampling being given songwriter credits or even a band writing it together, but rather a whole load of random people coming together to write the song and it ends up feeling a bit disjointed and terrible. I’m talking about FourFiveSeconds (TEN writers), Yummy (five writers) and that Jackie Chan song Tiësto did with a bunch of other people (six writers, as well as five producers if we want to extend this to composing), for example. Then again, most of those credits are either for doing the bare minimum, nepotism or simply being handed out like candy but shh, don’t tell Caio.

Ouça, muitos escritores causam consternação
Besteira, apatia, uma abominação
É uma demonstração de desorganização
E tudo isso só leva à exasperação
Listen, many writers cause consternation
Nonsense, apathy, an abomination
It’s a demonstration of disorganisation
And all this only leads to exasperation

This was then followed up by a quick pan over to Kai, who was walking from right to left with a swagger in his step and his baseball bat over his left shoulder. He simply walked as he sang the first line, though towards the end of it he stopped and pointed the end of the baseball bat right at the camera. He then carried on walking to the table, with the rest of his groupmates moving aside just to let him do what he was about to do. He stopped when he reached the table and broke it some more so it was finally split in two. He then grabbed a nearby spray paint can and sprayed the letters JDR on one of the broken as a subtle way of getting a certain swear word in there, before rounding things off by stomping on the table and breaking it some more. All while he’s rapping about payola, industry plants wanting to resort to underhanded tactics in order to get ahead and the concept of good profits over good music, compared to how acts like them got repeatedly shafted due to them not fitting the mold.

OK¹, el dinero habla pero no escucha
No quiere tener nada que ver con los chuchas²³
Una victoria fácil por cinco en tu hucha
Y por un número uno puedo ser tu puta⁴
OK, money talks but it doesn’t listen
It doesn’t want anything to do with us slobs
An easy win for five in your money box
And for a number one I can be your (you can probably guess)

And then the light started to dim a little bit and the lads went back to repeatedly shouting “¡Ay!”, although there was a “¡Música para el pueblo!” and a “¿Nos oyes?” mixed in at the start there. Jon, Eusebio and Caio waved their arms back and forth while Kai was buys trying to break off a leg from the table. With Eusebio helping out by providing a bit of weight to keep it still. He ended up screaming as he managed to break it off before he threw it down on another broken pile of CDs. Those should be fun for the stagehands to clean. Anyway, when it came time for the bridge, it was mostly Jon singing it with the others providing back-up. There wasn’t much in the way of camera shots, just merely a flurry of shots going between Jon and any of his groupmates with the odd zooming in wide shot of the stage thrown in. It probably didn’t help that the backing screen had been off all performance, not because of any technical issues but rather to avoid being distracting.

Es lo mismo día tras día
Ay, usa tus pulmones para una melodía
Si, es una tragedía⁵
Cuando prefieren comer más maíz que Polcopía
It’s the same thing day after day
Oh, use your lungs for a melody
Yes it’s such a tragedy
When they’d rather eat more corn⁶ than Polkopia⁷

As most of the CDs at this point were pretty much broken, there wasn’t really much more they could do to them other than make them even more broken. And, indeed, that’s what Jon and Kai did as they jumped on them or kicked piles of broken CDs. Meanwhile Caio broke a bit more of the table off and threw it into the crowd, not in a way intended to hurt them but rather for them to take home as souvenirs. That or break them up even more just to make it easier for them to go in the bin. Eusebio didn’t really do much during this bit, merely moving around the stage with a bit of a skip in his step, presumably to keep trampling the CDs underneath his feet, while moving his arm aggressively as he rapped. When it came to Caio’s bit, he was walking from right to left with his hand cupping the side of his head, as if he was trying to process something. He also had a worried look on his face and he was slightly moving his head from side to side, although fortunately it was part of the act.

¡Cállate, márchate!
¡Toca otra cosa!
No seas orgullosa
De tus letras roñosa
Sua música parece estar adormecida
Seu música está entediado com a vida
Shut up, go away!
Play something else!
Don’t be proud
Of your rusty lyrics
Your song sounds like it’s falling asleep
Your song is bored of life

And so it was time for the final chorus of the song. For this bit there were a few posters of popular figures, including a couple of past WorldVision winners, dropped down from the rafters and a whole load of small paint tins nearby. All of which had been prised open prior to them heading out on stage. With his microphone on attached to his harness, Eusebio started to rap the chorus while he threw paint all over the posters. Originally he was going to outright destroy them in a different way but, due to how easily imitable it would be and the fact that it’d cause a fire hazard, he was told not to do it. Besides, this was just as good when it came to calling out the contest on its supposed favouritism towards the bigger nations whereas smaller fries are either left in the dust or have to resort to selling out in order to get a chance to take the crown. Although this is ignoring the fact that, not only did Elejamie win the WV94 televote (but not the contest itself) with a city pop song but also the winner was a first-timer with a rock song. There are other reasons why this is inaccurate but this is the main one. Ah well, at least they can claim it as a way of them making themselves more known, like when 50 Cent made that How To Rob song. While Eusebio was in the background now slicing the posters up with bits of CD and case, although the camera would cut to him while he was providing back-up, Caio was just standing there in the middle of the stage. He was leaning on his baseball bat a little bit, although it was hard to tell due to it being a close-up shot.

¡Cállate, márchate!
¡Toca otra cosa!
No seas orgullosa
De tus letras roñosa
Você é apenas um imitador, ponto final
Você acha que é um crime ser original
Shut up, go away!
Play something else!
Don’t be proud
Of your rusty lyrics
You’re just a copycat, full stop
You think it’s a crime to be original

The camera then did a quick zoom out until it revealed what Caio was doing. It continued to zoom out afterwards until it turned into a wide shot of the stage showing everyone shouting “¡Ay!” again and again. Jon, Eusebio and Kai waved their arms back and forth as the music started to die down. Caio, meanwhile, just stood there but he chanted it as well. Nothing particularly exciting, as the song was already coming to an end and there wasn’t really a whole lot for them to do amongst the wreckage and mess they made.

After a while an audible enough amount of audience members chanted the same thing for a couple of seconds before they burst out in applause. Whether it be because they enjoyed the song (agreeing with its message being completely optional), because they were happy that Elejamie were now taking part even if it was an uneasy return or if they were doing it to be polite was up in the air but, either way, the lads would take it. They walked to the front of the stage and waved at the crowd. “¡Gracias, Santo Mono!” Jon shouted into the microphone. “Gracias, ¡que tengas una buena noche!” The four bowed before they made their way backstage. Fortunately the mess of broken CDs and broken bits of table was easy enough for the stagehands to sweep up and the paint that spilled could probably be tackled just in time. They brought some more CDs and another table in the unlikely event that they won and got to perform a reprise but, in the more likely event that they don’t win, they’ll probably just burn them all in a field or something. Still, the night was fairly young so it was just a matter of seeing where they go from here. And if they don’t get overshadowed by the Achaean Republic, whose song Pecado de Pensar was not only also in Portuguese but probably an easier listen for people. They'll just have to wait and see.

by **Achaean Republic** » Tue Mar 19, 2024 7:20 pm

15| Achaean Republic
Sparz - "Pecado de Pensar”
Tune: SZA - Saturn

God:

I’m standing on this platform, broken once again, about to humiliate myself in front of the rest of the world. There are so many eyeballs scavenging around every inch of my body that I can feel their presences creeping up on me, taunting me, tempting me to fail. Ironic, I know—after all, I am wearing an evil eye pendant my mother gave me before coming to the madness of the WorldVision bubble, the chaos of restless days, sleepless nights, endless hours of rehearsals and fan meetups and expectations with fans that sometimes feel they want something more of me than I can give at a moment. And God, these are the moments that I question if I made the right choice, if these are the consequences I must pay for trying to live my dream of singing onstage. Was it fair to You? Was it fair to me?

So many people have laid hands on me and spoken in tongues back at church, prophesying that You will call me to sing for Your glory someday, that people will repent and come back to You crawling and kneeling and begging for mercy. But the way they made You look as if You were ready to come down from Your throne and question the presence of their many sins. As if You could not extend mercy to those You love, no matter how weird or different of damaged they were! It took me to some to deconstruct them away from You—I still do, but please don’t tell that to my mother! She surely believes in You with all her heart, and has hoped so much for my success, despite me not being in her flock as she wanted.

There are so many thoughts running through my head at this moment. Is that girl on row G picking her nose? Why is she being carried like that…that’s dangerous! I give out a quite furtive glance at the audience who seems to be slightly far off the dark places on the stage. The stage was a tad small, completely different from what was experienced back in Puerto Ámbar. I was ready to turn out, but I felt the fire of nerves shooting their synapses all over my body. Oh, not again! Not to disappoint that girl on row G, picking her nose and yelling at me, yelling at her parents, yelling at everybody! Not to disappoint those Achaeans that somehow came all the way here to watch me! What else can be done?

I had to sing.

The stage around me was surrounded by plants and flowers. Some of them were fake, and some of them were real. How did the delegation transport orchids, roses, poppies, and lemon trees to Saint Monkey is beyond me—what mattered is that, just like in the music video (which was filmed in a corner of the Pico Altador National Park), it featured a dizzying array of beauty and color. (I know You make things beautiful, and we mess it up; we can’t help it, it’s in our nature!) In between each side of the stage there were four rope dancers dressed in blue, red, yellow, and green, twirling around and descending into the stage. They were nimble and beautiful, athletic and capable of performing at a Cirque du Soleil or something like that. I, on the other hand, was covered with the Brazilian locs my hairdresser installed weeks before (God, it’s itchy!) and dressed with the same energy of a Mad Max cosplayer trying to embody Furiosa. I looked good, but things were tight where they weren’t supposed to be! I adjusted my microphone and turned my body with a slight flight.

The camera approached my frame and expanded to cover the rest of the stage while the rope dancers slowly descended to the floor. I carefully tried to descend through the stares and show the dejection I experienced while writing the song. Yes, I wrote the song—but why in Portuguese, you ask? Couldn’t you have used Spanish since that’s what Achaean entries are usually done for, anyway? Or even English, for that matter? I don’t know; it made sense after reading Clarice Lispector’s writing. It also helps that I studied Portuguese for three years using Duolingo, Rosetta Stone and watching lots of telenovelas. It only made sense—and AS1 approved.

Deus, me dá coragem pra viver
Tua presença, plentidude
Sonhar você
Faz meu coração bom falar
Minha êxtase, a verdade
Quem quero ser

I think I did well enough to compose the song in Portuguese. I love the sing-songiness of it all, the playful intonations that smoothen out the composition of the accents and navigate between them. I tried to look dejected to the camera, trying to portray a contemplative, prayerful item as I could feel the dancers surround me. Two of them followed me into a straight line, while the other two stayed perched upon their ropes, making pirouettes with the silken fabric. On the floor, there were green lines like roots that float across the stage, almost as if a tree was starting to show roots and grow. Would that be a thing, God? Who can I root myself onto?

Caminho pra falar
Na virtude embalar
Coragem de Te amar, pois
Tem uma chance de ver alêm
Felicidade adoçar
A dificuldade de amar
Tristeza libre chorar
Minha alma é pra cê, meu corpo também

I asked for faith in the chorus. You know what type of faith I was asking. Not the little faith that You always railed against the apostles for not having it in You—though, to be fair, the way You spoke about things was too abstract for puny humans like me to understand, and of course these things would fly all over our heads. But I know what You meant…eventually. All the dancers beside me, the rope ladies finally on the floor and snaking their way through their barefoot legs, we made a line with me in the center. I quickly adjusted my microphone so it wouldn’t sound so funky as we slid downwards in unison and rested atop each other. My curly black hair touched the floor with it—its volume was stunning and impressive, and I was a bit sad that it might get muzzled out by the dust and the lights. But it did look cute, as I was looking at my faith.

Ooh
Fê para os machucados
Fê para os tentados
Na solidão vem
Ooh
Fê para quem busca
Fê para a coragem
Fazer o quê
Pecado de pensar

Pecado de pensar
Receba em Teus braços
Meu pecado de pensar

God, the stress was inordinate! The balance I had to do to keep my movements dainty and gracious, pat-to-pat following the lead of the dancers in the same way they followed my lead. The camera tilted slightly towards me walking back to the small stairs, sitting on them, spreading my legs and slightly pouting out of frustration. Then more “roots” came floating from the bottom and spreading drought from the stage, green roots that could contract its reflexes away and into the light. I forgot what was the ultimate purpose of the roots—I think it was supposed to mean something about securing roots in You or something? It was hard to keep track of all these things happening at once.

Deus, pessoas felizes
Só brilham mais; sabem fazer
Seu caminhar
Sem odiar Tuas ofensas
No meu corpo, na minh’alma
Meu enfrentar

The dancers kept positioning themselves around me, raising me by my arms and making me float. There was mist in the bottom of the floor, and the green roots placed on the arena transformed the light show into brief flashes of lightning. These were strong women, though! Carrying my weight around, almost Christ-like, too many allusions and intertextualities. I worried in my head: would this be enough? Is this too abstract for the Multiversal audience? I know many watching us have a quite preconceived notion of Achaean entries (it did help us get third place the last time), but I wanted to show something different. Maybe it was too different for them to understand. But You can’t say I didn’t try, God. You can’t say I didn’t try.

Caminho pra falar
Na virtude embalar
Coragem de Te amar, pois
Tem uma chance de ver alêm
Felicidade adoçar
A dificuldade de amar
Tristeza libre chorar
Minha alma é pra ‘cê, meu corpo também

This was my last chance to impress. The roots below me continued growing and flourishing, as if a new Eden was being created under my very eyes, as if my own fingers were pursuing signals to the earth. The wide pan cameras showed the growth of the stage into the forest, almost my display of faith growing within me. I was swaying my body left and right, almost trying to make my jerky movements look elegant and flexible the first time. The dancers, all looking like fairies or imps dedicated to protecting this newly formed garden (though I chuckled in my head, calling them Keebler elves and garden gnomes, haha!) transferred garden into an explosion of color. The mist died down, and so did my feet, finally barefoot, were free to walk the stage to the center.

If anything, Duolingo didn't fail me with my Portuguese pronunciation. At least things went quite chill.

Ooh
Fê para os machucados
Fê para os tentados
Na solidão vem
Ooh
Fê para quem busca
Fê para a coragem
Fazer o quê
Pecado de pensar

Pecado de pensar
Receba em Teus braços
Meu pecado de pensar

by **StrayaRoos** » Tue Mar 19, 2024 11:08 pm

16
StrayaRoos
Jake Riala - Torn Apart
Sam Fischer - This City

The Artist
Jake Riala is a 28-year-old singer-songwriter from Eay, in StrayaRoos' mountainous regions. His first breakout came in 2023, where he won The Voice StrayaRoos by a landslide public vote, and was subsequently placed in rtvS' 'pot'¹ of future WV entries. He was then selected and revealed for WV113 on March 16, with the song "Torn Apart".

The Song
Torn Apart is Jake's third single, and was released on March 4, 2024, ahead of WV113. The song reflects on the regrets that he's had throughout his life, specifically leaving his first relationship in an attempt to find greener pastures elsewhere, which there weren't, and the subsequent regret he felt. He's described the song as "Somewhere between country and a ballad" genre-wise.

The Performance
The stage is set. Jake's standing behind a microphone stand, his guitar around his neck. The lights dim, and the camera turns to him. It's time. He's surrounded by darkness, although there's a spotlight focused on him.

Nobody seems to know me as well as you
They just come one night, then go to someone new
All of my little lies and regrets
Going through my whole life and all the upsets
Though when I see you everything is black and blue

For the chorus, the lights rise, and the spotlight disappears. The now-visible LED board is a dull black. Jake continues to play his guitar and sing, sounding slightly choked up this time.

Is this what tore me apart?
Is this what stopped me from feeling loved?
I shouldn’t have even asked
All these years that I’ve felt like I’m alone
Do I even know if I can go back home?
Is this what tore me apart?
Are you what tore me apart?

Jake changes his tone to a more sentimental(?) one during the second verse, and the guitar gets heavily used during the verse.

All these years where I felt like I was cursed
So many times when I woke up hurt
They would leave at two and never come back to me
Leaving nothing but the memories

Jake then repeats the line 'All these years where I felt I was cursed' in the same tone as the previous verse, before moving back to the way he was singing in the previous chorus, but this time he's got a backing track that repeats what's said in some lines²

All these years where I felt like I was cursed
Oh, are you what tore me apart? (what tore me apart)
Is this what stopped me from feeling loved?
I shouldn’t have even asked (even asked)
All these years I’ve felt like I’m alone (oh)
Do I even know if I can go back home?
Is this what tore me apart?
Are you what tore me apart?
Ooh-ooh-ooh, ooh, ooh, ooh, ooh, oh
Ooh-ooh-ooh, ooh, ooh, ooh, ooh

For rhe bridge, Jake's voice becomes more emotional. He also ditches the guitar and picks up the mic off the stand, and heads to the edge of the stage.

Is this what broke me?
Is this what changed me forever?
Is this what broke me?
Is this what changed me forever?
Is this what tore me apart? (oh, yeah)

The song's finale has Jake tearing apart his vocal cords apart. and that's it really.

Are you what tore me apart? (what tore me apart)
I shouldn’t have even asked (even asked)
All these years I’ve felt like I’m alone (oh)
Do I even know if I can go back home?
Is this what tore me apart?
Are you what tore me apart?
Ooh-ooh-ooh, ooh, ooh, ooh, ooh, yeah
Ooh-ooh-ooh, ooh, ooh, ooh, ooh, oh
Is this what tore me apart?
Are you what tore me apart?

Jake yells a thank you and leaves the stage.

Footnotes
¹ There's a (most likely correct) theory in Roosian WV fan circles that rtvS places the name of each artist in their pool (Altos, Sajuna, K/K, etc.), alongside the most recent winners of the reality TV singing contests into a bowl, and the artist of any decent covers they find on YouTube, and then draw the representative from there. To get removed, it is believed a Top 10 finish in WV is required.
₂ That's the best way I can explain it. You can work out what I'm trying to say.

by **Waisnor** » Tue Mar 19, 2024 11:18 pm

17

WAISNOR

Arisa - Shakh i mat/Tune: AYLIVA - Schwarzes Herz

Arisa, or Alisa Kukisheva, is a pretty new face on Waisnorian music scene. Inspired by Waisnorian participation in Eurovision and Worldvision, she began her music career in 2022, immediately gaining a small but loyal fanbase. Thankfully, she was able to hit some time on Music.tv, main Waisnorian music channel, and so, her popularity began growing. And finally, she signed in on the national selection to Worldvision and won it, securing her place in Saint Monkey.

Let's go the performance: Arisa was already on stage, dressed in a black dress and gloves that reached her elbows. Meanwhile, the lights illuminated the entire stage, revealing that there were several people on stage dressed in black and white outfits, standing completely motionless. Meanwhile, the singer began to calmly walk around the stage between people.

Весь мир - доска
The whole world is a board

Смотрю свысока
I look down on it

На то, как медленно двигаю фигуры я
How slowly I move my figures

На убой
For slaughter

In the background, meanwhile, a scene of a group game of chess appeared, filmed from above. The camera moved to the side, so one board with pieces disappeared from the screen, and the other appeared. Meanwhile, Arisa continued to walk between the people, who remained just as motionless, but now she lightly touched them.

Весь мир - игра
The whole world is a game

Всё так же бодра
Still as cheerful

Игра, которую веду до упоения
A game that I play to the point of ecstasy

С толпой
With the crowd

When it was time for the chorus, the normal light on the screen turned into a projection of a chessboard on stage. The people standing on the stage approached the board perfectly, standing on the squares they were supposed to be on. At the same time, another person became visible, a man in a white suit and black gloves, who was standing on the right side of the stage, while Arisa was on the left.

Шах и мат, опять я ставлю шах и мат
Checkmate, again I put checkmate

Но это лишь одна игра, может, в другой мой король зажат
But this is just one game, maybe my king is cornered in another

Шах и мат, играю в жизнь я без конца
Checkmate, I play in life endlessly

Осталось лишь гадать, кого в этой игре возьмут на живца
All that remains is to guess who will be taken on live bait in this game

The group game in the background then gave way to the sight of giant chess pieces facing each other. Meanwhile, on stage, Arisa and another person began their part, moving people from one square to another. When one of the human figures was killed, it fell onto the stage and was dragged away by its fallen comrades.

Перехожу в эндшпиль, играю свой дебют
I move to the endgame, play my opening

Я иду в атаку, но я жду, когда меня добьют
I'm going on the attack, but I'm waiting for them to finish me off

Я не жду, делаю свой ход
I don't wait, I make my move

Мой соперник вот-вот падёт
My opponent is about to fall

In the background, by this time, cracks began to spread across the chess pieces and they began to fall apart, debris falling down. Meanwhile, on stage, the party continued, fewer and fewer pieces remained, and the singer and the unknown man came closer to each other, still controlling their pieces.

Конь, ферзь, слон, все идут на битву
Knight, queen, bishop, everyone goes to battle

Дрожь в руках, словно веду по бритвам
Trembling in my hands, as if I was run them through razors

Но это лишь одна из тех партий, которые я должна прожить
But this is just one of those games that I have to live through

The chorus came again, and now Arisa and the man stood close to each other. When the singer began to sing the verse, she and the man began to dance in sync, exactly repeating each other's movements. Meanwhile, against the background of the chess pieces, the chess pieces had already begun to collapse completely while the camera flew through their debris.

Шах и мат, опять я ставлю шах и мат
Checkmate, again I put checkmate

Но это лишь одна игра, может, в другой мой король зажат
But this is just one game, maybe my king is cornered in another

Шах и мат, играю в жизнь я без конца
Checkmate, I play in life endlessly

Осталось лишь гадать, кого в этой игре возьмут на живца
All that remains is to guess who will be taken on live bait in this game

After finishing the performance, both Arisa and the man take closer to the stage, bowed down and waved to the audience with Arisa saying: " Thank you all! I love you, people!"

by **Malta Comino Gozo** » Wed Mar 20, 2024 1:41 am

Nation Name: Malta Comino Gozo
Official Broadcaster: MCG 1
Tune: Angelina Mango - La noia
Song Title: What More Do You Want (From Me?)
Artist(s) Name(s): Francesca Tanti
Lyrics & Music: Francesca Tanti

WorldVision 112 was always going to be a hotly contested contest. Firstly, there was the return of Fanal, the Malta Comino Gozoan band that had won WV 108 with their song "Addict" with a whopping 276 points who, on winning the contest, were catapulted into stardom across the multiverse and secondly, the return of Britonisea to the competition, a nation with a hugely successful history and the same amount of wins as MCG, eight.

Talk pre-contest across all social media channels had Fanal or Kiana Knight to be crowned the winner of WorldVision 112. Fanal knew a return wouldn't necessarily result in another win, but what the heck, they could they give it another go. This was the contest that had made them who they were now!

Right off the bat, Malta Comino Gozo received 12 points from the first jury, Furballland putting them top of the board. Fanal was ecstatic; they lived for the feeling of 12 points as they celebrated in front of the cameras. A minute or so later, Britonisea received their first 12 points from Brodhavan.

The voting carried on strong for both nations, with MCG receiving eight points and ten points, respectively, from Hakushiya and Beepee before securing another 12 points from Saint Monkey. MCG was in the lead by four points. Then came a sudden gap in votes for Fanal,and Britonisea only got a few points, with 12's going to debutants Gallicelestia and to last contest winners Ugunnustan. Then, as if someone had ramped up the acceleration, Britonisea got top mark after top mark, with MCG coming close, earning a few ten points. The gap was widening now, Fanal and the audience couldnt take their eyes off the screens. What had been a two-horse race was rapidly turning into a runaway winner. All the while, they stuck with second place and third place, constantly changing but barely catching them. The jury votes ended, and Britonisea had received a whopping eight sets of 12s compared to MCG's two.

Fanal and the rest of the delegation sat on the edge of their seats, their hands intertwined and their hearts pounding as they waited for the televote results. The camera kept cutting to them and the rest of the delegation, who had draped their flags over their shoulders in anticipation. Meanwhile, the band members sat nervously, leaning forward with their fingers crossed and biting their nails as they watched the screens. The wait was emotionally draining, and every passing moment felt like an eternity.

Then it was their turn. "Malta Comino Gozo now has its chance to overtake the Achaean Republic. They need at least 89 points to overtake Achaea and take the lead. Malta Comino Gozo, you’ve received... 118 points!" The camera was there to witness the celebration. 252 points! What an incredible score! Fanal lept up and hugged one another. The crowd scream with excitement. Had they done enough? Celebrations soon turned to nerves again as they regrouped and stood huddled around the screen. Britonisea had won the Jury vote a record-breaking five times but has only won the whole contest twice since.

"Britonisea, you’ve received... 152 points!" Shock and awe. Kiana had done it, earning Britonisea their ninth win in the contest! Also, how had Malta Comino Gozo gone from never being runners-up to suddenly being runners-up twice?! Who would have predicted that? Shock in the MCG delegation soon turned to one of pride and accomplishment. "SECOND PLACE!" Aaron blurted out, a huge smile on his face. "This is crazy, guys! What the hell?" The band celebrated in their booth, it wasn't a win, but second place was a hugely successful achievement nonetheless. Kiana walked by on the way to the stage, waving enthusiastically, and Fanal responded by waving back and cheering loudly. There was the new champion!

In the days and weeks after the contest, Fanal again dominated the charts across the multiverse, charting at number one in MCG, Saint Monkey, and Furball and and achieving a top 10 in countries like Waisnor, Beepee, and Ugunnustan. WorldVision had done it again for them, and Fanal would always cherish that.

MCG had rarely hosted a national final for WorldVision. Malta Comino Gozo Decides had been used on just some occasions. Most recently, it was used in WV96, where Monsieur Disbelief won and went on to win WorldVision, becoming the first MCGoan participant to win using a National Final. The country then went on as it usually would, choosing internally despite the success of the latest NF. The same was going to be done for WV#113 until the organisers at MCGBC decided that instead of reviving an old concept, they should use an event that was already well-loved, ongoing, and watched by thousands across the country.

Fast forward to "Notes 2024," the highly acclaimed singing show that has been entertaining audiences with its focus on a live orchestra since the 1960s. The grand finale of the 2024 edition of "Notes" was held in the spectacular Valletta Marina Arena, where sixteen talented artists showcased their skills by performing a brand new self-written song in Maltese. The show was a massive success, with a live audience of 6,500 and a combined viewership of over 350,000 nationwide across three shows.

The sensational teenager Francesca Tanti emerged victorious, with her song called "X'Tixtieq Aktar" receiving top scores from four out of six juries and winning the public vote by a whopping 32 points ahead of the runner-up. In a post-show press conference, it was revealed that Francesca Tanti would be the first-ever winner of "Notes" to represent Malta Comino Gozo at the WorldVision Song Contest 113. Notably, Liena Aqualina, who competed in WV 109, and Noah Pandolfino, who competed in WV 111, both participated in the previous editions of "Notes" in 2021 and 2022, respectively, finishing in second place. At only 16, Francesca Tanti is the youngest winner of "Notes" and the youngest contestant MCG has sent to WorldVision. See her Notes performance here.

So, who is Francesca Tanti? Francesca Tanti, born on June 12, 2007, hails from the picturesque village of Isjedi Għoli, nestled in the northeastern region of the island of Malta in Malta Comino Gozo. Despite her young age of just 16, Francesca has already made a significant impact on the music scene, both locally and nationally.

Raised in the vibrant cultural landscape of MCG, Francesca discovered her passion for singing at a young age. Growing up in Isjedi Għoli, she was surrounded by her community's rich musical traditions, such as the annual village fiesta, which fueled her love for music and performance. From an early age, Francesca showcased exceptional vocal talent and a natural stage presence, captivating audiences at her primary school with her emotive performances and powerful voice. Her dedication to her hobby, coupled with unwavering determination, propelled her towards success in various local singing competitions and events as she grew up. As she did, Francesca fell in love with songwriting. Whether it was jotting down lyrics, composing melodies, or experimenting with musical arrangements, songwriting allowed her to channel her emotions and creativity into her own original compositions.

Francesca's journey to more widespread success reached new heights when she participated in the prestigious singing competition "Notes" in 2024. With her mesmerizing performances and undeniable talent, she emerged as the youngest winner in the show's history, capturing the hearts of both judges and the public alike.

Following her victory on "Notes," Francesca's success continued to rise as she earned the opportunity to represent Malta Comino Gozo at the WorldVision Song Contest 113 in Light City, Saint Monkey. This remarkable achievement not only solidified her status as a rising star in the music industry but also showcased her ability to shine on the global stage. Despite her rapid ascent to fame, Francesca remains grounded and committed to her passion for music. With a promising career ahead of her, she continues to inspire audiences with her soulful voice, captivating performances, and unwavering determination to pursue her dreams.

[align=center]

Radio MCG Host Daniel Gallego: Bongu, listeners! You're tuned in to Radio MCG, and as promised, we have a special guest joining us today. Please welcome the talented Francesca Tanti!

Francesca: Bongu, everyone! Bongu, it's great to be here!

Daniel Gallego: Francesca, we're excited to have you on the show. Your latest song, "X'Tixtieq Aktar," for the 113th WorldVision has been making waves. Can you tell us all a little bit about what inspired the song?

Francesca: Absolutely. "X'Tixtieq Aktar" is a song about the complexities of love and the struggles that come with trying to meet someone's expectations. It's about that feeling of giving your all to someone but still feeling like it's never enough. To be honest, it's a deeply personal song for me as it explores themes of longing, vulnerability, and the desire for acceptance.

Daniel Gallego: That sounds incredibly poignant. What motivated you to sing this song in Maltese apart from obviously "Notes" only allowing songs in Maltese, of course!

Francesca: Well, singing in Maltese allowed me to connect with my roots and express myself in a language that feels inherently personal and authentic to me. I wanted to capture the essence of the song's message in a way that felt genuine, and singing in Maltese allowed me to do just that.

Daniel Gallego: That's fascinating. Yet you chose to keep the song's title in English: "What More Do You Want (From Me?)" Can you tell us about that decision?

Francesca: Sure! While the lyrics of the song are in Maltese, I wanted to maintain a sense of universality in the title that would resonate with a wider audience. "What More Do You Want (From Me?)" captures the central theme of the song – that feeling of yearning and questioning in the face of unrequited love – in a way that I felt would be relatable to listeners regardless of language. Plus the average person watching WorldVision is going to have a hard time trying to pronounce X'Tixtieq Aktar!

Daniel Gallego : It's clear that a lot of thought went into the creation of this song. Before we let you go, Francesca, is there anything else you'd like to share with our listeners?

Francesca: Thank you to everyone who has supported me and my music. It's been an incredible journey, and I'm so grateful for the opportunity to share my stories and connect with people through music. I can't wait to represent MCG on the WorldVision stage! We got this!

Daniel Gallego: Thank you so much for joining us today, Francesca. We can't wait to hear more from you in the future! The best of luck in Light City!

Francesca: Thank you for having me. Take care, everyone!

The flight to Light City, Saint Monkey meant Francesca and her team would need to take two flights as there was no direct flight from Valletta International. Their first leg was early in the morning, 6am to be exact to Densmouth in Carrelie where they would catch their second flight to Light City. It was a long ten hour flight but at least it meant they would arrive during the day in Light City.

As the plane descended into Light City, Francesca and her team were greeted by a dramatic scene. The sky was dark and foreboding, with thick clouds swirling ominously overhead. The distant rumble of thunder echoed through the air, punctuated by flashes of majestic lightning that illuminated the landscape below. Even though it was only 3pm , the dark clouds made it feel like night had descended upon the city. Francesca couldn't help but marvel at the spectacle before her. This country was famous for its lightning, and it certainly lived up to its reputation. The brief flashes of lightning illuminated the mountains in the distance, casting eerie shadows across the rugged terrain.

The air was warm and humid, typical of a tropical climate. Francesca could feel the tingling sensation of anticipation as she listened to the thunder rolling in the distance. As the team made their way through the airport, Francesca could sense the impending rain. They boarded a shuttle bus that would take them into the heart of the city. As they navigated through the drenched streets, the rain began to fall in earnest, drumming against the windows of the bus in a steady rhythm. Francesca watched in awe as the urban yet lush green landscape, dotted with palm trees, passed by her window. The city had fully embraced their first WorldVision, with banners and flags adorning the streets.

Despite the torrential downpour, Francesca couldn't help but feel a sense of excitement and wonder. She had never experienced anything quite like this before. She wondered how the locals felt about the frequent rain – were they tired of it, or had they fully embraced it as part of their way of life? As she pondered this, Francesca couldn't wait to explore Light City and immerse herself in its unique atmosphere.

Despite the weather, there were periods of lovely sunshine, and the team explored all the beautiful sights, including Lait peaks surrounding Mount Light and Fenta Falls. Each area was littered with wildlife, with lizards, parrots, and butterflies literally everywhere. At Fenta Falls, Francesca got some fantastic shots of the famous capybara; she had never seen one before and couldn't help but fall in love with these beautiful animals.

Francesca stood on the bustling WorldVision Carpet, a whirlwind of excitement and nerves swirling around her. Cameras flashed, journalists clamoured for interviews, and fans from across the multiverse cheered as their favourite contestants made their way down the vibrant carpet. Dressed in a stunning white gown adorned with intricate lace and shimmering sequins, Francesca felt a mix of awe and trepidation as she navigated the sea of paparazzi and reporters. At just seventeen years old, she was the youngest contestant in WorldVision 113, and being far from home for the first time without her parents made her feel slightly adrift amid the glamorous chaos. She had done some promotion of her song in Waisnor, Achaean Republic Carrelie, and the Alezian Union beforehand, but she had her parents by her side.

But as she smiled for the cameras and greeted fans from Elejamie, Britonisea, hosts Saint Monkey, and then Malta Comino Gozo, Francesca felt a sense of determination wash over her. She had worked tirelessly to earn her place on the WorldVision stage, and seeing people from back home, she wasn't about to let her nerves get the best of her now. As she made her way down the carpet, Francesca was approached by journalists eager to hear her story.

"Francesca, over here!" called a reporter from Elejamie. "How does it feel to be the youngest contestant at WorldVision this year?"
Francesca paused, gathering her thoughts before answering with a bright smile. "It's definitely a bit overwhelming, but I'm incredibly grateful for the opportunity to represent my country on such an amazing stage. I'm just trying to soak it all in and enjoy the experience!"

Another journalist, this time from Natanya, chimed in. "Your song 'X'Tixtieq Aktar' has been receiving a lot of attention. Can you tell us what inspired it?"
Francesca nodded, her confidence growing with each question. "Absolutely. 'X'Tixtieq Aktar' is a song about the complexities of love and the struggle to meet someone's expectations. It's a deeply personal song for me due to a past relationship, and I hope that listeners can connect with the emotion behind it."

As the interviews continued, Francesca found herself growing more comfortable in the spotlight. She realized that despite her initial apprehension, she belonged on the WorldVision Carpet, sharing her music with fans from around the world. As she smiled for the cameras and waved to the cheering crowd, Francesca knew that she was exactly where she wanted to be.

With Saint Monkey being ten hours behind MCG, it was going to be quite the strange contest for the population who sat around the TV screens at 8am in the morning on Sunday. Sparkling wine and nibbles for breakfast, anyone? The time difference had little effect on people watching back home it only enhanced the excitement somewhat. On the other side of the world, Francesca stood centre stage, the stagehands performing some last-minute checks on her ear monitor. They had one minute, and the stage was a bustle of people moving the platforms into position. Francesca took a deep breath, feeling her heart race with excitement and nerves as the stagehands made some last-minute adjustments. She closed her eyes for a moment, focusing on her breathing and trying to calm her racing thoughts. This was it - the moment she had been working towards for months. As she opened her eyes, she looked out into the large audience and felt a rush of adrenaline. She could feel the weight of the microphone in her hand and the ear monitor in place, ready to start the show. Despite her nerves, she couldn't help but feel a sense of pride and exhilaration at the thought of performing in front of so many people, especially on the world stage! As the stagehands finished their checks and gave her a nod, Francesca took a deep breath and prepared to step into the spotlight.

(OOC- All line references will be in English to make it easier to follow)

The postcard ended, and the roar of the crowd echoed through the arena. The camera is suspended above the audience, capturing the entire stage. We fade into a body shot of Francesca standing sideways with her left side facing the viewers. Her left hand is placed on her hip, and her neck and head are tilted upwards. She raises the microphone towards her tilted head and begins to sing. A second later, the sound of the steel drum fills the arena. Soft, warm spotlights emit from the back LED, illuminating Francesca and creating an intimate atmosphere. She is silhouetted against the screen, adding to the dramatic effect. The camera begins to pan outwards slowly, and surrounding the golden light, we can see a backdrop depicting a starry night sky, with twinkling lights scattered across it to mimic stars shining brightly. The camera work makes the whole thing rather intimate as it zooms out just enough so nothing else is on show, making it look like she really was just standing under a night sky.

Francesca is wearing a gown made of a soft, lightweight fabric that drapes beautifully around her figure. The shades of midnight blue seem to shift and change subtly in the light, creating a mesmerising effect. The gown is adorned with sparkling sequins, which catch the light and shimmer like the stars around her, drawing the audience's attention to her every move. Her choice of outfit exuded vulnerability and strength, reflecting the song's emotional journey. Her wavy dark brown hair was slightly curled and reached down to her torso. Her vocals are deep yet soft and almost spoken somewhat rather than sung.

As Francesca finished the second line, she turned to the audience, and we cut to a stage cam, giving us almost a full-figure shot of her. The warm and radiant glow of the golden light that once enveloped her has all but faded away, leaving behind a subdued and tranquil atmosphere under the night sky. As Francesca stands there, she is now illuminated by a gentle and soothing moonlight-like spotlight that softly highlights her features, casting a delicate shadow of her on the floor of the stage, which we can see as the camera cuts to an above angle briefly showing her and her elegant gown cast a long whispy shadow across the stage. Her expression for the first two lines had been neutral and her vocals subdued, but now, as the music and beat picked it, an extra flare was added to her expression, movements and vocals. We cut back to a stage shot of her as she sang "You left me here". She stood with her hand on her right hip now, and she oozed almost a sassiness and or cocky attitude now, her facial expression a mix of confidence, defiance, and maybe even slight amusement as if to say, "Who do you think you are?".

She then raises her right hand up to her head and spins it. She then places it back on her hip fast as she sung "But you didn't care" The camera slowly draws inwards towards her as the verse finishes.

L-istilel fuqi, jiddi tant qawwi
Imma f'qalbi llejla, hemm biss il-lejl
Ħallejtni hawn,
Waħdu jgħajjat jistaqsi għaliex,
Nistaqsi għaliex tajt kollox,
Imma ma ħadtx ħsieb, ma kantajtx
L-għanja tal-imħabba li darba konna nafu

The stars above me, they shine so brightly
But in my heart tonight, there's only the night
You left me here,
Alone to cry wondering why,
Wondering why I gave my all,
But you didn't care, you didn't sing
The song of love that we once knew

We cut back to a full stage shot now. From the corners of our screen, six female backing dancers begin to shimmy their way into the frame. The dancers wore outfits combining traditional MCGoan textiles with modern elements such as crop tops. Three were in midnight blue, and three were neon pink. The skirts and dresses featured intricate lace and crochet accents, and some had off-the-shoulder or asymmetrical necklines. They also wore sequined glittery masks across their faces and hair ornaments that complimented their costumes and added a touch of glamour. Hidden under their dresses were comfortable flat shoes. All these elements were carefully chosen to compliment Francesca's attire and show off MCGoan culture.

As Francesca expresses her loneliness, the dancers form a circle around her, swaying gently from side to side in a traditional cumbia circle dance. Their movements are synchronized, conveying a sense of unity and solidarity with her.

As she sang, "Is now gone, and so are you", we now have an onstage camera view that spins anticlockwise around her. Francesca follows the camera as she stands inside the dancer's circle. The dancers leave enough gaps so we can still see her clearly. The dancers transition into a more reflective choreography, with movements inspired by traditional folk dances that convey the melancholy and longing expressed in the lyrics. They perform intricate footwork patterns and graceful spins as the camera circles them. All of them are facing inwards towards Francesca. As she sings about haunting memories, the dancers move in a hauntingly beautiful manner. They intertwine with one another, creating a haunting portrayal that evokes the pain of lost love. The camera continues to spin around them. Right on queue as Francesca sings "And I'm alone" we have a railcam shot looking upwards towards her as the dancers disperse into the darkness around the stage.

Issa spiċċa, u hekk int
Il-memorji, iħammġuni xorta
Mill-imħabba kollha li konna nħossu
Imma issa spiċċa, u jien waħdi
B'xejn ma baqa' miegħi, imma dar vojta

Is now gone, and so are you
The memories, they haunt me still
Of all the love we used to feel
But now it's gone, and I'm alone
With nothing left with me, but an empty home

The camera then frames Francesca and the whole back LED screen perfectly. Francesca stands there with a sway in her hips as she sings towards the camera. For each line she sings, the words "The tears, I cry, They fall, Like rain" ( in English) appear on the LED screen behind her in big white text that fades in and out, accompanied by a small flash of light that lights up the stage. She runs a finger down her cheek to symbolise a tear as the camera quickly cuts to an upper body shot before returning to a whole stage shot. As she sang, the flamenco guitar plays in the background. The way she kept her gaze on the camera lens with her upset yet cocky expression said it all. She was singing directly to the one who left her. She knew he would be watching. At that moment, it was just him and her.

Id-dmugħ
Nibki,
Jaqgħu
Bħal xita
Hekk kif nipprova ntaffu l-uġigħ
Imma xejn ma jgħin, u xejn mhu sew
Mingħajrek hawn, hawn f'ħajti

The tears
I cry,
They fall
Like rain
As I try to ease the pain
But nothing helps, and nothing's right
Without you here, here in my life

We have an intimate stage close-up of Francesca now as she sings towards the camera. She is lit in a white spotlight as the stage goes dark. As she sings towards the camera, her facial expression appears to be sincere and emotional. Her eyes are watery, and her eyebrows are slightly furrowed, indicating a sense of regret and remorse. Her lips are slightly parted, and she appears to be pouring her heart out through her performance. The guitar has stopped, and the sound of the violins and cellos echoes through the air before the tinkle of the harp kicks in, accompanied by a twinkle of golden lights that are perfectly synchronised.

Naf li għamilt xi żbalji, imma jien lest li nbiddel
Jekk jogħġbok agħtini ċans ieħor, biex nerġa' nagħmel l-affarijiet sew

I know I've made some mistakes, but I'm willing to change
Please give me one more chance, to make things right again

As the chorus begins, Francesca stands commanding centre stage, illuminated by a white but almost golden spotlight. The music was enough to get the audience shimmying and moving as the various instruments that added the cumbia flare came into play, including the synthesizer, piano, acoustic guitar and strings. The music was playback but with an added live orchestra on top which was playing off-screen. The mix of both added depth to the chorus. The camera cuts from the whole stage view and zooms in to her to show a facial shot revealing her intense emotions as she starts to sing. The lighting on the back screen changes, displaying vibrant, colourful yellows, oranges and red LED effects that reflect the infectious energy of the cumbia-inspired music.

As she pleads, "What more do you want?" The camera angle changes to a wider shot, capturing the vibrant and energetic cumbia-inspired choreography of the dancers who have reappeared on either side of her on the stair-like platforms—three on the left, three on the right. The camera moves around the stage to capture the dancers' dynamic movements, incorporating quick steps and rhythmic hip movements.

The LED effects move in sync with the dancers' movements, creating a stunning visual display behind. As the dancers reach out to the audience with outstretched arms, the camera angle shifts to a bird's-eye view, capturing the multiple levels and platforms they are on. The camera then zooms in on Francesca's expression, showing her infectious smile as she almost invites the audience to join in the spirited dance.

As she sings "What more can I give you?" The camera angle changes to a close-up of the dancers, showcasing their technical skill with intricate partnering sequences featuring spins, dips, and lifts that highlight the joy and passion of their love. Their expressions were hidden by the masks covering their mouths. The LED effects on the back screen intensify as the chorus plays. The camera angle changes to a wide shot, capturing the entire stage and the audience as Francesca sings "Ooh..!" . As the chorus comes to an end, the dancers disperse again, and we are left with just Francesca. Her vocals echo out into the arena as we cut to a view from the back of the arena, showing the entire stage and audience. Flags aplenty are waving.

Ah!
X'tixtieq aktar?
Mmm!
X'tixtieq aktar?
Minni?
Ah!
X'tixtieq aktar?
Ooh..!
X'nista' nagħtik aktar?
Tarbija

Ah!
What more do you want?
Mmm!
What more do you want?
From me?
Ah!
What more do you want?
Ooh..!
What more can I give you?
Baby

The MCG delegation had put a lot into the staging again, and this time, they were using projection mapping to transform the stage into a breathtaking cosmic landscape. The backdrop displays a panoramic view of the night sky, with twinkling stars and distant galaxies stretching out into infinity.

For most of the verse, the camera remains static, fixed just on the stage to capture the whole visual experience. As Francesca stood in the centre singing/almost rapping, the stars seemed to pulse and shimmer in time with the music, adding to the sense of wonder and awe. Francesca's gown seemed to come alive now, catching the light and shimmering. Her movements were fluid and graceful, accentuated by the subtle swaying of her gown and the gentle breeze that swept through the stage.

The projection mapping extended beyond the square backdrop to envelop the entire stage in a swirling vortex of stardust and celestial imagery that transported the viewers to a different place. She looked around her. As she sang, "What more do you dare to dream? When you can reach the stars." Glowing constellations appear and dance across the floor beneath Francesca's feet while shooting stars suddenly streak across the sky above her head, getting audible applause from the enthusiastic crowd, which helpfully snapped people back into reality slightly. As she sang, her brown eyes shone with determination and hope, reflecting her unwavering belief in the power of love to guide her on her journey. Francesca's hair, which was styled in loose waves that cascaded down her shoulders, catches the light from the effects and white spotlights and glimmers like it was caught in moonlight.

The visual effects become even more immersive as Francesca sings, "What more can you ask, When you have love in your heart now?" The projection mapping now plays images of radiant hearts and swirling galaxies merging and intertwining, symbolising the boundless power of love to transcend time and space. She tries to reach outwards towards the swirls.

As she sang, "What more do you want? When you have all that, you are here with you," the projection mapping focuses on Francesca herself, casting her image against a backdrop of shimmering stars and swirling nebulae. Francesca's vocals pick up a notch now. She had cleverly mixed Maltese and English into this verse to help convey the lyrics. The camera, still in the same position, zooms into her now as she gives a sassy side eye to the camera and sings "Here!" The camera pulls out again. All the while, Francesca's vocal delivery in a verse that was sung so fast was flawless.

X'għandek bżonn aktar
Meta jkollok kollox
X'tazzarda toħlom aktar?
Meta tista 'tilħaq l-istilel
X'tista' tistaqsi aktar
Meta jkollok l-imħabba f'qalbek issa
What more do you want?
Meta jkollok dak kollu li tkun hawn miegħek
Hawn!
What more do you want?
Tajtkom qalbi u ruħi kollha

What more do you need
When you have everything
What more do you dare to dream?
When you can reach the stars
What more can you ask
When you have love in your heart now
What more do you want?
When you have all that you are here with you
Here!
What more do you want?
I've given you my heart and all my soul

The projection mapping fades now, and we cut to an upper-body stage shot of Francesca. The screen and spotlight above her change to a golden light. The beautiful sound of the piano echoes out into the arena as she sings. As she sang, she interacted with her gown and hair. The interactions are subtle yet impactful. She tilted her head to the right as she sang, her brows furrowed, almost pleading. As she sung "I know I've made some mistakes" she clutches the microphone in both hands now and look upwards towards the camera now suspended above her.

Allura jekk jogħġbok isma' lili issa, tmur imkien
Verament tajtkom kollox, dak kollu li kelli
Naf li għamilt xi żbalji, imma jien lest li nbiddel
Jekk jogħġbok agħtini ċans ieħor, biex nerġa' nagħmel l-affarijiet sew

So please listen to me now, don't go anywhere
I really gave you everything, everything that I had
I know I've made some mistakes, but I'm willing to change
Please give me one more chance, to make things right again

The suspended camera pulls outwards at an angle, and with a violent fling of her right hand, Francescas literally brushes all the begging aside as if something inside of her had snapped. She strides off towards the right side of the stage, gripping her gown. We cut to a full stage shot so we can see a large portion of the excited audience. Francesca's charisma through the song was unmatched. The dancers have reappeared now and perform their choreography surrounding Francesca, with Francesca also joining in. The whole stage is bathed in a light golden glow, and the LED screen is now showing intricate patterns and formations, pulsating and changing between autumnal colours.

The folk/cumbia-based choreography featured lots of energetic and fluid movements. The dancers moved in sync with the music, with a lot of emphasis on footwork and hip movements. The whole troupe and Francesca move to the right and then to the left as one unit. The steps are intricate but seem effortless as they glide across the stage.

Ah!
X'tixtieq aktar?
Hmm!
X'tixtieq aktar?
Minni?
Ah!
X'tixtieq aktar?
Ooh!
X'nista' nagħtik aktar?
Tarbija

Ah!
What more do you want?
Hmm!
What more do you want?
From me?
Ah!
What more do you want?
Ooh!
What more can I give you?
Baby

As the lights gradually dimmed, we have a shot from the cameraman whose emerged from the stage's right side, sprinting towards Francesca, who is stood on the lightning-fork-shaped catwalk. The camera now captured an up-close and personal shot of Francesca, who was the sole focus of attention. The LED backdrop displayed a breathtaking starry night sky with tiny twinkling lights scattered across it. The sound of a delicate harp being played could be heard in the music. Francesca sang directly towards the camera lens at the viewers back home as it glided in and out towards her. Her vocals were as light as a feather, and the lyrics flowed like poetry. Francesca's eyes reflected a depth of emotion as she sang, revealing vulnerability and openness. There's a softness to her gaze, a gentle invitation for the audience to glimpse into her heart.

Jien għamilt żbalji irrid nistqarr
Imma l-imħabba tiegħi għalik hija bla limitu, mhux inqas
Bħal xmara li tgħaddi mingħajr mistrieħ
Fjammi li taħraq, li qatt ma tirgressa

I've made mistakes I must confess
But my love for you is boundless, no less
Like a river that flows without rest
A flame that burns, never to regress

The lights above the stage begin to flash white as the beat builds. The camera stays with her, almost playing with her as it sweeps gently from right to left. Francesca furrows her brow now and moves her body rhythmically. There's a hint of regret in her eyes, tempered by a quiet resolve to make amends and move forward. In the final lines, Francesca's voice rises with conviction, her expression infused with strength and resilience. There's a fiery determination in her eyes, a refusal to let past mistakes define her or diminish her capacity for love.

Xi trid aktar?
Meta nkun wieqaf hawn, b'dirgħajn miftuħa
Lest biex iħobb, biex iżommok mill-ħsara
Allura jekk jogħġbok ejja lura, u ħalli l-imħabba tagħna tkun charmed
X'tixtieq aktar minni?
Ah
Minni,
Il-maħbub tiegħi?
Qalbi?
Ruħi?

What more do you want?
When I'm standing here with open arms
Ready to love, to keep you from harm
So please come back and let our love be charmed
What more do you want from me?

Ah
From me,
My love?
My heart?
My soul?

The music stops, and we have a panning panoramic view of the stage from the middle of the darkened audience. Francesca, standing alone on the vast stage, looks small but vulnerable and determined. Eight white spotlights have converged on her, illuminating her from different angles. She stretches out her right arm and leans forward, giving it her all. Her soft and angelic vocals resonate throughout the arena, sending shivers down everyone's spine.

With each word she sings, Francesca's sincerity shines through. Her voice is filled with genuine emotion, her delivery heartfelt and authentic. There's no pretence or deceit; she lays her feelings bare for all to see. The audience watches in awe as she delivers a heartfelt performance. They could really feel her pain. Gradually, the sound of the orchestral music starts to creep back in, and the lights around the stage begin to warm into a soft orange, enveloping her in a comforting embrace, and she feels less exposed. For the last two lines, we have a railcam shot looking upwards towards her as she sings out into the audience.

Għax jien tajtkom l-għeżież kollha tiegħi biex tagħmluk sħiħ
U nibqa' nagħti, għal dejjem aktar,
Allura jekk jogħġbok tmurx, tħallinix nimraħ
F'dan id-deżert tal-uġigħ, kollox waħdu
Ibqa' miegħi, u ħalli l-imħabba tagħna tintwera
Bħal xempju ta' tama, għal dejjem biex inkunu magħrufa

For I have given you all my dear to make you whole
And I'll keep giving forevermore,
So please don't go don't leave me to roam
In this wilderness of pain all alone
Stay with me, and let our love be shown
Like a beacon of hope, forever to be known

As the rhythm of the music sweeps over Francesca, her smile widens into a radiant beam, reflecting the joy and freedom coursing through her veins. We have a brief static panoramic view of the whole stage, and with a sudden burst of energy, the chorus ignites into life, sending pyrotechnic sparks into the air from the edges of the stage.

Francesca fully embraces the moment, allowing herself to let loose and surrender to the music. Francesca exuded infectious energy as she properly let loose, dancing, twirling, and sashaying across the stage. She was now free of all these weighing constraints, her stunning blue gown swirling around her with each graceful movement. The woman dancers behind performed their cumbia inspired dance behind her. They sway their hips in sync with the pulsating beat of the music, executing quick steps and turns that reflect the lively tempo of the song and have very expressive arm movements that complement their footwork. Their arms sweep gracefully through the air, tracing fluid arcs and circles.

The stage is illuminated in a burnt orange hue, with yellow spotlights shining out from the edges, casting a warm glow over Francesca and her dance troupe. Fluttering yellow spotlights dance across the audience, adding to the electrifying atmosphere. The live orchestra, positioned out of sight, accompanies the backing track with the rich sounds of violins, cellos and drums. Their music blends seamlessly with Francesca's amazing vocals, adding depth and intensity to the performance and propelling the energy in the arena to new heights.

As the camera sweeps across the stage in sweeping panoramic angles, viewers are treated to breathtaking views of Francesca and her dance troupe in action. Shots from behind Francesca and her troupe reveal the enthusiastic audience, waving flags and cheering in support. In a stunning finale, the camera rotates clockwise around Francesca as she sings the last few lines of the song. The stage is a whirlwind of autumnal colours and movement, beautifully chaotic yet perfectly synchronized. We cut to a stage shot as Francesca and her dance troupe come together in a triumphant pose, with Francesca in the middle and their arms raised high in celebration as the music reaches its crescendo.

X'tixtieq aktar?
Ah!
X'tixtieq aktar?
Minni?
Ahh!
X'tixtieq aktar?
Oh Oh!
Xi trid aktar?
Minni? Minni?

What more do you want?
Ah!
What more do you want?
From me?
Ahh!
What more do you want?
Oh Oh!
What more do you want?
From me? From me?

As the final notes of the song fade, the crowd erupts into thunderous applause and cheers, and energetic flags fill the air. Francesca stands at the centre of the stage, her chest heaving as she catches her breath, a radiant smile lighting up her face. She feels a surge of adrenaline coursing through her veins, buoyed by the overwhelming response from the audience. Francesca's heart swells with gratitude and joy as she takes in the sea of faces before her, each one filled with admiration and appreciation. The dancers jump up and down with glee, their energy infectious and contagious.

With tears of happiness glistening in her eyes, Francesca raises her hands in a gesture of thanks, her voice choked with emotion as she addresses the WorldVision crowd. "Thank you, thank you all so much! Grazzi ħafna!" As the applause and cheers continue to ring out around her, Francesca's smile widens even further, her heart overflowing with love and gratitude. She feels a deep sense of fulfilment and accomplishment, knowing that she has poured her heart and soul into her performance.

With one final wave to the adoring crowd, Francesca and the dancers exit the stage, her heart full and her spirit soaring. She knew that this moment would stay with her forever, a cherished memory of a performance that had touched the hearts of everyone watching.

by **Kalosia** » Wed Mar 20, 2024 7:49 am

"One who is devoid of hope and is conscious of being so has ceased to belong to the future."
— Albert Camus

It was a coincidence that the nation was at crossroads. Perhaps it was the pandemic. Or maybe it was the changing geopolitical landscape that has disrupted the world order in the past few years. Entering the so-called "Roaring 20s", there was a shift in perception amongst the Kalosian populace. After a decade spent opening up to the world and embracing laid back, liberal attitudes, many had begun to question whether the pre-pandemic fabric of society was sustainable and could survive the challenges that the nation faced today. Progressive views prevailed, but there was also a longing to return to a more traditional idea of Kalosia. That perhaps the nation—socioculturally and politically—ought to pivot and adopt new role models, and reprioritize things that were overlooked and neglected in the past decade.

Despite—or perhaps because of—the various groups and communities that make up this country, the far-right did not rise as sharply as it may have elsewhere. The numbers are certainly not enough to shake the political status quo, and thankfully so. But decision-makers recognized that to ignore them would lead to problems down the line. They are part of Kalosian society too, after all, and the best way to prevent a catastrophic bubble burst is to prevent such a bubble to grow in the first place.

Caught amidst this was the state broadcaster, Radiu-Televižio Kalosia. Its editorial independence was thankfully not under question, and it has always and will always serve the interests of the Kalosian people. But being a publically-funded service, there was the question on whether its money was being spent well, and towards the right priorities. The International Broadcasting Alliance, with its headquarters in Siéra Alba, is clearly strategic for the country, yet are its offerings worth the public attention?

Outside of the successful and groundbreaking hosting of the 100th WorldVision Song Contest in Monterra, it seemed as though Kalosia's glory days at the contest was long over. It was around the turn of the decade that we began to struggle at the contest. Where 10th place was once looked down upon, nowadays it is met with relief. Kalosia's last top podium position was a second place in WorldVision 85—undoubtedly this drought is the longest-such streak in Kalosian WorldVision history. And even that runner-up placing is viewed as a robbery—it was the first time in the contest's then-13-year history that an entry that won the jury vote did not win overall.

So, after over 30 editions, is this all still worth it? For those who believe the answer is yes, the number of people you need to convince continues to grow. If this skepticism is not countered by an entry that the nation can be proud of, if the public no longer believes that a Kalosian WorldVision delegation is worth funding, then the nation's days left in the contest are numbered.

By no means is this the last-ever entry, but the pressure is on for RTVK to impress. And their gamble is on a 27-year old newcomer to the music scene.

Adrian di Navaro

Born in 1996, Adrian di Navaro initially pursued a career in finance. He graduated from the University of Altornia in 2018 with a Bachelor's-equivalent degree in Finance. Music had been a side hobby for him; he would deejay on weekends to make a bit of money but never saw it as a career path. No, Adrian thought to himself, he wanted a future that is stable and allowed him to afford the kind of lifestyle that many young men like him dreamed of. After he landed his first job as a fresh graduate at a major consultancy firm, he decided to let go of music and focus on his main stint.

While consultancy life went well for him at first, somehow the pandemic felt like a breath of fresh air for him. Being able to work from home meant that he could save money he would otherwise spend on outings, and time he would otherwise spend commuting. Perhaps if it wasn't for the pandemic he would still be in that day job. It was when people started going back to the office that he struggled to re-adapt to his old way of living.

By late 2022, Adrian was one of many young professionals facing burnout, and the high-stakes, high-pressure work culture at his firm did not help. He thought he needed a break, perhaps in the form of a vacation abroad. So he saved up for a vacation to the sunny shores of Malta Comino Gozo. And boy did he enjoy it! The beautiful beaches and great nightlife "brought him back to life", as he said in a recent interview. On his first day back to work, he realized that the holiday did not cure his burnout. It simply paused it.

Adrian was at crossroads. Was this how he wished to spend the rest of his life?

As Kalosia entered the new year of 2023, a quarter before midnight, Adrian realized that he had entered a quarter-life crisis. He vowed to dedicate 2023 to getting out of it. The spirit of change accompanied him as he picked music back up, although with a more refined sense of direction. He wanted to do pop, but in a way that combines classical sounds with a more modern, polished production. The melange that he formulated seemed to hit the spot, thanks to the help of a few of his university friends who majored in music, not money.

Through that network, he signed on to an independent record label and released his first single in May 2023, titled Whatever You Do. It performed modestly, but his follow-up single Getaway, released later that year in August, was a relative hit. It did not top the charts, but did just well enough for his name to gain traction across Kalosia.

As the months grew colder, he shifted away from the cool, refreshing vibes of his first two songs and tried to explore more warmer, cozier sounds. By December, he was ready to release his next single, but felt like it had the potential to be his big breakthrough. Not wanting to fumble the bag, he decided to take a gamble and submit it to RTVK, for their consideration for the WorldVision Song Contest. "I had nothing to lose", Adrian said in an interview with Wivibloggs. "If I was accepted, I'd get to introduce my music to a global audience, and if not, I can still promote it anyway."

"It is not death that one should fear, but one should fear never beginning to live."
— Marcus Aurelius

And so the song was accepted and Adrian was named the Kalosian entrant to the 113th WorldVision Song Contest.

The song, Crossroads, was up close and personal. Adrian opened up about his quarter-life crisis in an interview with national media, talking about the burnout he faced and the mental health struggles that the young people of today face. He admits that the song was inspired by this thematically, but emphasizes that the song isn't about himself:

Adrian di Navaro wrote:"I was a video of a ballet dancer on social media, she looked about my age. I wondered if she too faced the kind of fears I did, whether she is scared to still be the woman she is today, like, 30 years from now. Then it dawned on me: Have you ever seen an old ballet dancer? I sure haven't.

I learned that they typically retire in their late 30s, but many take up coaching roles or switch to difference dance styles. So in my head, I pictured a woman whose body can no longer support the kind of movements she was trained to do her entire life. A woman who is forced to start her life anew and doesn't know which way to go."

The song is thus presented as a letter to that imaginary woman, who, to be clear, is experiencing a mid-life crisis rather than a quarter life one. But "these feelings of helplessness and despair can happen at any age", Adrian correctly argues. "My song is for those who feel lost."

Musically, the song is a pop track, with a somewhat unusual combination of elements from a few different styles of music. The resulting sound, however, is far from unconventional. In the studio track, the violin parts were played by Adrian's good friend Biánka Fortunas, who has performed as part of the Monterra Philharmonic Orchestra before.

When the song was released, it was an instant hit. Critics deemed it refreshing, and within a week it was already 2nd in the national music charts. Adrian had started working on his next single already, but with the sudden rise to fame he has made it his top priority after the contest. Although the song wasn't particularly revolutionary in the grand scheme of Kalosia's recent WorldVision history, it showed a lot of promise and gave the Kalosian public a kind of hope that they had not experienced in years.

"Waking up this morning, I smile. Twenty-four brand new hours are before me. I vow to live fully in each moment and to look at all beings with eyes of compassion."
— Thich Nhat Hanh

Saint Monkey was much like Malta Comino Gozo in the sense that they were both tropical island nations, but that is where the similarities stop. Still, Adrian arrived in Light City with the same amount of enthusiasm as he did when he set foot in Valletta for the first time.

The sunny weather was welcomed by Adrian, who saw this trip as a chance to bask under the sun and truly enjoy life. Any free time he had in-between rehearsals and publicity engagements was an opportunity to find some clarity amidst the hustle and bustle of the WorldVision circuit. As he wasn't paying out of pocket for the tickets and accommodation, he wanted to make the most of his time here. One morning, he went hiking around Mount Light. Another morning was spent swimming in Lake Lightning.

It was nice, honestly, to tread upon this tropical paradise knowing that you don't have to return to a dreaded day job. The trip to Malta Comino Gozo changed his life, but this one changed his life again. Upon returning from Valletta he realized that he was looking at himself and his life with such scornful despair, and he needed to change that. Here, he had just step foot at the airport when he realized already that, when a man has inner peace and happiness, he can see the joy in other people and in turn radiate warmth that brings up the mood of the room. He was having the time of his life and the contest proper hadn't even taken place yet! Inspiration struck him like lightning, and he was determined to incorporate his 'enlightenment' in his following single.

But eventually, the day of the final arrived, and despite his happiness, Adrian was of course buzzed with a bit of excitement and a bit of nerves.

"Be who you are and say what you feel, because those who mind don't matter, and those who matter don't mind."
— Bernard M. Baruch

For the big night, Adrian was more than determined to give it his all. He wore this exact look; a brown corduroy buttoned shirt and dark navy denim, giving a classy and refined look that felt simple yet special. He was joined by a cellist, a violinist, an electric bassist, an electric guitarist, and a drummer. The bassist and guitarist were also backing singers. There are also two dancers who will come on later. Altogether there are to be eight of them on stage.

As the Kalosian postcard played, the stage crew helped set up. Adrian crossed paths with Francesca Tanti, the Malta Comino Gozoan entrant who had just finished performing. He congratulated her on the performance and she thanked him in turn and wished him luck. It was quite nice, actually, to be drawn to perform right after a country which ended up becoming quite formative in the current chapter of Adrian's life story, although at the same time Francesca was one of the favourites to win...

...so it was kinda daunting performing right after! On the other hand, Adrian himself is also one of the favourites, although with seemingly less of a chance to win if the odds are anything to believe. Soon enough, the stage is set up. Adrian is seated in front of a double keyboard rack and takes the center spotlight, while behind him from left to right in a curved line formation: the cellist and violinist, the bassist, the guitarist, and the drummer. The dancers are nowhere to be seen, and the audience doesn't know about them yet. Everyone is situated on the lower stage.

As the song began, the camera fades from black to an on-stage steadicam shot at the strings musicians—both women and wearing long black dresses. The lights are rather dim but there is a red aura emanating across the room. The cameraman pulls away and eventually brings Adrian into shot, just in time for him to sing the opening lines of the song. During the third line, Adrian turns to his side where one of the static cameras is waiting for him. It goes without saying that this whole time he is also using the keyboard—specifically the upper one which has more synth bass-like sounds, and actually includes a small DJ pad attached to the apparatus.

When you’re feeling lost, you have a tendency to shrink
As you stand at crossroads, you’re afraid you’ll turn to waste
Really, you need clarity to look ahead and think
To get the life you want, just pick a way (Oh-oh-oh oh)

As he finishes singing, he turns back, facing his keyboard. Now Adrian moves his hands to the bottom rack, where he starts playing it like a regular piano. A spidercam watches over him from above, giving us viewers a bird's eye view of him playing the piano.

Oh oh, how did you end here? (Hmm-mm)
You’re down, the only way out is up
Oh oh, your future is clear (Hmm-mm)
Take my hand, I’ll save you now

Now a steadicam is on stage, focused on the drummer as he leads into the chorus. As Adrian and his backing singers perform, the camera makes its way around the stage, giving screentime to each and everyone of the backing musicians before circling around Adrian. I'd like to highlight that the camera manages to catch the guitarist as he makes the guitar riff that stands out in this chorus's arrangement. At this point, the stage has more of a brown aura to it rather than red... the LED lights are off as Adrian and the artistic team behind this entry's staging wanted something a bit more laid back and minimalist, focusing on the performers at hand. Initially the idea was there to have some sort of background graphics, but after wasting time trying to think of something that didn't come off as tacky and inauthentic, the delegation decided to straight up not use them altogether, which had increasingly become the usual Kalosian staging approach in the past several editions. In terms of the stage effects, the emphasis therefore were on the brown background lights and pale gold spotlights creating a bit of visual depth in this entry's staging. These spotlights do move a little, and everyone on stage is just doing their own thing, and this in turn creates a pretty effective performance.

(Woah oh oh) You tried to save face, but you fell from grace
The girl that you were, you will never be her
It’s time to move on, and continue your song
It’s never too late to dream

As we cut into this small instrumental bit, the cameras focus briefly on our strings players before cutting back to the spidercam hovering over Adrian, slowly circling him as he also plays and later sings this line:

It’s never too late to dream

There is a camera change to a steadicam focused on the drums, which then turns as Adrian sings the first line to reveal one of the dancers that has made it onto the stage—a young, 25 year old ballerina doing, well, ballet. She is dressed in all white. A white spotlight shines upon her from above; the manner in which this happens makes her dress and tiara particularly glisten. The audience cheers at this dancer's entrance, and she dances her way from the right side to the center, taking the attention away from Adrian. During the third line, another dancer comes from the other side of the stage. And guess what? She's 59 years old! This lady once did ballet, but following her retirement she explored other forms of movement. Here, her movements look like a simplified, elderly-friendly version of ballet. She is wearing something similar to the younger ballerina, adjusted for comfort and body type, and a spotlight similarly makes it shine. The older dancer receives an even louder reception from the audience.

Twenty-five, those were the glory days
Proved yourself to everyone (Oh-oh, oh-oh)
Fifty-nine, don’t care what haters say
Because you’ll never be as young (Oh-oh-oh oh)

Now we are cut to a static camera from the front of the stage, where we can see Adrian— actually, not really, because the two dancers are in front of him onstage! The two dance with each other in a carefully-choreographed routine that brings out the best in both of our graceful ladies. Halfway through the next part, the camera cuts to the spidercam again.

But now, how did you end here? (Oh oh oh)
Still down, the only way out is up
Oh oh, your future’s still clear
Not too late, I’ll show you how

A steadicam has once again entered the stage, this time circling around the two ladies, providing a close up that reveals both of them are smiling, despite the rather somber message of the song. Is this what true happiness feels like? The choreography has been carefully crafted in a way to paint a narrative that you never are too old to find happiness. Regardless of how old someone is physically, a young spirit can always introduce inner peace into their soul. We ought to connect with our spirits, wouldn't you agree?

The steadicam then moves on to Adrian, who is mainly playing the top keyboard, and then to the guitarist who delivers his signature riff again. Then we cut to a static camera that focuses on Adrian.

(Woah oh oh) You tried to save face, but you fell from grace
The girl that you were, you will never be her
It’s time to move on, and continue your song
It’s never too late to dream

Now a steadicam once again focuses on the strings ladies, before zooming a bit out and revealing the two dancers in front of them making moves specifically synced to the dynamic patterns of the strings. A brief camera cut to the bassist who vocalizes into the mic, which quickly transitions into a shot of an audience member enjoying the song.

It’s never too late to dream

Suddenly, the stage lights gets dark, emanating a deep red aura with a singular spotlight on Adrian. We see him start to sing from the perspective of a static camera in front of the stage, providing a wide shot that slowly zooms in. In the third line of the next bit, the camera switches to a steadicam right in front of Adrian and his cameras, which then circles counter-clockwise towards the back of the stage (Adrian and his dual-keyboard faces the right from an audience perspective). As the steadicam continues to circle, Adrian focuses on playing the keyboard rather than turn his body to face the camera. And it continues to circle around him...

But now, how did you end here? (Hmm-mm)
Still down, the only way out is up
Oh oh, your future is clear (Hmm-mm)
Take my hand, I’ll save you now

...as the lights kick back in, returning to that brown aura with dynamic pale golden spotlights. The steadicam shot continues, with the operator now going around the stage, passing by each musician one by one, and once again capturing the guitarist playing the riff. Each of them are giving their all as this is the song's final chorus.

(Woah oh oh) You tried to save face, but you fell from grace
The girl that you were, you will never be her
It’s time to move on, and continue your song
It’s never too late to dream

Now, in this brief string bit, the spidercam provides us a look at the back of the stage, on the elevated platform where both of the dancers are now. They are still very gracefully in sync with each other, and they seem very intimate, almost as if they were a mother-and-daughter pair bonding. During the vocalization sounds, the camera switches to the bassist who sings the "oh-oh-ohs" into his microphone, before the camera cuts again to the violinist and cellist. Finally, the camera switches to the static one in front of the stage, which closes up on Adrian but begins to zoom out. He sings the final line of the song:

It’s never too late to dream

The camera continues to zoom out, showcasing the final movements of not only the musicians but also the dancers, who are visibly still on top of the elevated platform. They choreographically appear to embrace each other as the final notes of the song are played.

As the song comes to an end, everything comes to a standstill. After a moment, the audience goes wild for Adrian and his team. Adrian gets up from his seat and carries the microphone with him. The musicians also come up to the front of the stage and form a line with him, and then they take a bow. The dancers, staying on the platform, follow suit.

Adrian then brings the mic to his face. "Life is a gift, use it wisely. Thank you Light City!"

The audience cheers further as our performers make their way offstage and the stage crew assist in offloading the setup. As the hosts come on stage, Adrian and his team are smiling ear to ear. They did it! Regardless of their result, they can now return home to Kalosia with the pride of giving their all in front of this multiversal audience.

But for Adrian, this is a milestone in his life for one more reason: now he knows for sure that his quarter-life crisis has passed. No longer is he at crossroads, as he has chosen the right path. And hopefully, the Kalosian public feels the same about their continued participation at the WorldVision Song Contest.

"Do not be afraid, our fate cannot be taken from us, it is a gift."
— Dante Alighieri

by **Saint Monkey** » Wed Mar 20, 2024 9:40 am

Aurora: That was one brilliant performance! Well done Adrian!

Harry: Agreed! And woah that passed qu-ick!

Aurora: We had 19 entries before here, and it's safe to say they were just brilliant!

Harry: So, we have now our first interval act.

Aurora: We have a song that sounds pretty serious, but has a funny meaning behind it. I Want You Back by Part Saturn and featuring Morris Harrison.

Harry: When they met at a studio to write a new song and came with matching jeans and jumpers, matching cars and watches!

Aurora: They joked about how they'd like their cars and other belongings back from each other and, so, like any artist, a song was made out of it.

Harry: It is truly a banger!

Aurora: But first, we have Kapane down with 4 entries in the Green Room!

Harry: So let's go to Kapane!

Kapane: Hello! I am met with Francesca Tanti, Perdadores, Emmie Waska and Frida Wyllé!

Kapane: Starting with you Francesca, firstly, how are you liking Light City?

Francesca: Oh wow, Light City is like nothing I've ever experienced! The constant beat of EDM everywhere you go, combined with the lightning culture, it's just mind-blowing. I feel like I'm living in a whole new world, and I absolutely love it!

Kapane: Oh, that's awesome to hear, we're honoured to have you here tonight too! This time a more of a question about music, what inspired you to become a musician?

Francesca: Music has been my escape ever since I can remember. Growing up, I found refuge in melodies and lyrics when words failed me. But witnessing the way music brought people together, how it ignited emotions and sparked conversations, truly inspired me to pick up an instrument and start creating my own tunes. Music has this incredible power to transcend barriers and connect us on a deeper level, and I knew I wanted to be a part of that magic.

Kapane: Totally agreed. When I became a musician, I wanted to connect to my soul, find something that I hadn't found yet! Super meaningful! And last question, what words do you have for any future musicians?

Francesca: To all the young musicians out there, I'd say embrace your journey wholeheartedly. Don't be afraid to experiment with different sounds and styles, because that's how you'll discover your unique voice. Surround yourself with fellow artists who lift you up and challenge you to grow. And remember, success doesn't happen overnight—be patient with yourself, keep honing your craft, and never lose sight of why you fell in love with music in the first place. Your passion and dedication will carry you through the highs and lows of this incredible journey.

Kapane: Thank you. Good luck! Francesca Tanti everyone!

Crowd: WOOOOOO!!!!!!!

Kapane: Moving on to Elejamie band Perdadores! What inspired you to write this song?

Jon: After a couple of diss tracks towards our old label, like "Serpientes con patas" and "Braltos que nos dicen cómo hablar", and that "Psícopata" song about unironic stans, we decided to turn our attention to things that actual musicians do that annoy us. Like taking old songs and transforming them into absolute garbage, multiple people writing the same song and it ends up being a bit low-effort, or producers making the song sound absolutely loud and terrible - Caio absolutely hates that.

Caio: I can confirm that. I make my beats with live instruments, so of course I want them to sound the best they can be.

Eusebio: We wanted to write something that was a middle finger to all the industry plants, all the payola, all the people willing to do underhanded things to get up the ladder in the industry. Not because they have to, because they want to.

Kapane: I know how that feels. I've seen many musicians across the world be underpaid, treated terribly and being told what to write. It's wrong, and that's something that needs to change in the music industry. Sticking with the theme, if you could change anything in the music industry, what would it be?

Jon: A lot of things but I suppose the biggest change would be to dismantle the whole corporate nature of it. Putting good profits over a good product. Especially if the artist themselves don't get much from it. It's why we went independent and haven't looked back.

Kai: I want to also include idols to that as well. It's even worse if you look at how strict and controlling it can be, with very few exceptions, which leads to mental problems later on. It's why I decided to start a music career in Elejamie rather than back home, even though that was not my original plan. Because I would imagine that it would be so depressing that I would quit after a few months and concentrate on my real science job full-time.

Kapane: Ok, final question, and on a lighter mood, how are you enjoying the night? How is it going?

Caio: Sim! É ótimo estar aqui!

Kai: Yes, I'm having fun tonight.

Jon: No complaints from me here.

Eusebio: Good food and good drink, what's not to like about tonight?

Kapane: I'm rooting for you guys, have a great night!

Perdadores: (in unison) ¡Adiós!

Crowd: WOOOOO!!!!!!!

Kapane: So, now we move to Emmie Waska from debutants Kinqueven! We're honored to have you here tonight. How has the WorldVision experience been for you?

Emmie: I've had dreams about WorldVision for a VERY long time. And to be on the stage now? Why, I can't believe my brain! The bright lights everywhere is a literal dream!

Kapane: Haha I can tell! Kinqueven tried competing last time in 112, but never managed to. Luckily there here today! Where do you see yourself in 5 years?

Emmie: I see myself with a famous WV star. Who, can't say for sure. But a famous one!

Kapane: Seeing a Qalima Serieva collab soon? Hehe that would be great! And final question, any shout out to friends?

Emmie: My friends Huju, Kili, Kaly, and Ghu. We have a friend group called the Bronze childs. Because? We are all 3rd childs.

Kapane: Well there you are! Huju, Kili, Kaly, Ghu and Emmie everyone!

Crowd: WOOOOOO!!!!

Kapane: Ok, finally but certainly not least Frida Wyllé and Beepee! Good evening Frida! First question, How did you feel during your performance?

Frida: Oh it was great... I was nervous, but I loved being in front of the crowd.

Kapane: Understandable, but you did great out there! Why did you want to compete in WorldVision?

Frida: Its the dream of every Beepeean singer to be here... with the best fans in the world!!!!!

Crowd: WOOOOOOO!!!!!!!!!!!

Kapane: I can agree, you're all incredible! Ok, Ok, final question, Where would you like to go to on tour and why?

Frida: Oh... that's a toughie..... I'd say Britonisea, cause its not too hot and its not too cold...

Kapane: Great answer! Well Frida, have a great night and best of luck! Frida Wyllé everyone!!!!!

Crowd: WOOOOO!!!!!!

Kapane: Ok, we have an awesome performance next, so get ready for Part Saturn and Morris Harrison with the song I Want You Back!!!!!

Crowd: WOOOOO!!!!!!!!!

Tune

I know we fell apart
I found out you stole
Everything I built from scratch
You got me looking for your heart
(Looking for your heart)
I've know I've died
Not seeing you tonight

Yes, you
Should stay with me
I need to find what's mine
I and he
She and thee
Steal our things when it's bedtime

Yes, you
Should be with me
And we can get it back, get it back, want you back now, back now
Get it back want you back now, back now (yea!)

Your Face, Your Clothes
My Car, My Watch
Back, want you back
Your Hair, Your TV, Your house
You back, back, all of you
Back, Want, Want
Want you, Back, Back
Want you, Back, Back
Want you, Back, Back, Back

Finding a new frame of mind
Returning back to life
After decades of your strife
I know you're pulling my soul apart
'Cause of your things, the same things
Stolen in this night, black night

Yes, you
Should stay with me
I need to find what's mine
I and he
She and thee
Steal our things when it's bedtime

Yes, you
Should be with me
And we can get it back, get it back, want you back now, back now
Get it back want you back now, back now (yea!)

Your Face, Your Clothes
My Car, My Watch
Back, want you back
Your Hair, Your TV, Your house
You back, back, all of you
Back, Want, Want
Want you, Back, Back
Want you, Back, Back
Want you, Back, Back, Back

Yes, you
Should stay with me
I and he
She and thee
Yes, you
Should be with me
And we can get it back, get it back, want you back now, back now
Get it back want you back now, back now (yea!)

Your Face, Your Clothes
My Car, My Watch
Back, want you back
Your Hair, Your TV, Your house
You back, back, all of you
Back, Want, Want
Want you, Back, Back
Want you, Back, Back
Want you, Back, Back, Back

by **Placely Placington** » Wed Mar 20, 2024 10:53 am

20 - Placely Placington

Dave McDaverson and the Missourissippian Placely Placington Boys - Goodbye Always Seems To Be The Hardest Word

Tune: Sideways Hank O'Malley and the Alabama Bottle Boys - The Ballad of Chapped Lips Calhoun

So another contest came and went and Placely Placington finished near the bottom. Turns out that the vast majority of people couldn’t handle how hardcore the Hardcore Placely Rap was and it finished joint second from last. It only managed a single point, courtesy of Aenglide for some reason, so it seemed like there was an exception or two. But overall Dave McDaverson didn’t really care. After all, he had some good news.

The money from that baby food deal with Millenhaal came in. Placely was now swimming in a ton of money, meaning that they no longer needed to rely on competing in the WorldVision or even the World hit Festival for pity money. Just as long as Dave McDaverson doesn’t embezzle it all then they would be set for a very long time. Absolutely perfect. However, they decided that they couldn’t leave the contest in the middle of the night without any warning (even though the general consensus is that it’d be better if they did), so they decided to rip off Elejamie and just send one last song to the contest before going on an extended hiatus. Will it do well as one hurrah? Or will it bottom out like all their other entries? More than likely that first one but they might as well give it a go.

Also this is the closest you’re going to get to a serious Placely entry so don’t ask what the joke is (other than it’s the Placely characters you all know performing it) because there really isn’t one.

You know how it be. The postcard came to an end and there were a whole load of Placely Placington people on stage. From left to right, there was Dave the Hobo on pedal steel guitar, Television Director on guitar and vocals, Dave McDaverson on bass, Potassium Man on drums, Wynan Schitt on banjo and a contraption that means he can play the harmonica as well but it makes him look like Darth Vader or Billy Joel, and Melty on fiddle. There were also a whole load of fake plastic cacti around the stage, as well as a giant Cactuar statue for some reason. And everyone was wearing giant cowboy hats, although Television Director’s had to be sellotaped on and Melty’s looked like it was going to fall off at any moment because of his constant melting.

As always, the crowd didn’t applaud or anything of that sort. They just sat there in complete silence. Their expressions or reactions didn’t change much when the song started, nor later on when Television Director started singing. Some people are asking why it’s not Dave McDaverson singing since it’s technically his band but, then again, how many songs did Dave Clark sing lead in the Dave Clark Five?

Well I’m sure that everyone’s heard the news
That we are here to say our adieus
And we know that the news will be hard to bear
It’s a shame and most of you are sad
But just remember and just be glad,
Don’t forget Placely will always be there

With the sole exception of Wynan Schitt (whose voice would come out all harmonica-y), everyone started to sing back-up as Television Director mentioned a few of Placely Placington’s acts. And also crowbar in a terrible rhyme while he was at it.

E Oe and their love of vowels
PP All Stars rocked the crowd
Jim the Grindcore Guy Bloke will take a break

Television Director leaned back as he started to strum a little bit before he carried on with the song. He nearly said the title of it, which was something, but he probably would’ve ran out of space for the words so it had to be shortened. He also appeared to have forgotten his line at one point but, then again, he didn’t write this song. He also told “Dave” to hit it but whether it be Hobo or McDaverson was anyone’s guess. Probably the latter, given his massive ego and the fact that he wrote the song itself.

I am sure that you have all heard
That goodbye is the hardest word
And I find it hard when the right time comes
I choke up when I try and say it
It makes me mad and I… don’t care
I’ve now got to pack my clothes
Seems like it’s now time to go
Hit it, Dave.

This was then followed by an instrumental portion with Dave the Hobo’s steel guitar taking the lead. There was even a fiddle solo from Melty, plodding around the stage despite the fact that he was still turning into a melting puddle of goop. Oh, and there were a few sweeping shots of the band playing their instruments. Eventually it then lead to a new verse where everything went dark with only two lights shining down on the stage, one on Television Director singing the words and one on Wynan providing some harmonica back-up.

Now it’s time for us to sing this hit song
Say our goodbyes
And wish the best of luck to each and everyone one of Placely’s homies:
And yes, we mean all of them
Vartugia
Crustyland
SBI
And everyone whose name I’ve forgotten

The lights turned on as everyone went back to playing their instruments. They even provided a bit of back-up vocals to Television Director explaining why Placely was leaving the contest in the first place. Suffice to say the audience probably wasn’t going to be interested in knowing what those other songs are, at least not until Placely ends up crawling back for one reason or another.

We’ve now got a lot of money
There’s now no need to take part
We wanted to send some more songs
So please don’t take it to heart

And so it was time for the last verse with Television Director assuring that Placely Placington will be back one day. Unsurprisingly, the audience was not comforted by that bit of information. Nor were they comforted by the claims that they’ll be presented with new songs from Placely regardless of how supposedly easy they are to sing. Dave the Hobo also added a little extra at the end, although whether it was actually supposed to be like that or if he ad-libbed it was anyone’s guess. Not even Dave McDaverson knew but he didn’t care that much. He now had plenty of money, which was absolutely perfect for him.

Sadly we don’t have much left to say
But we know we’ll be back one day
And this time we shall try our best to do things right
We’ll have some new tunes to bring you
We’ll make them easy to sing to
We’ll give you some words to live by
As we ride on in the night
(Placely says goodbye)

A second or two after Dave the Hobo said that last line, the song finally came to an end. Much like at the start, there was no applause. There was just relief that Placely was going on a break. “Thank you.” Television Director said before he and the rest of the band went off stage. For once there were no deaths or even anything unusual, just a simple plain performance. At worst the stagehands would have to clean up the mess that Melty had made from his melting but considering Elejamie’s performance earlier that evening that was pretty much easy. At least it means the stage can be ready for the next performer without any problems.

by **Natanya** » Wed Mar 20, 2024 11:07 am

21. nat anya yisssss actually competing this time

by **Hafamarimyht** » Wed Mar 20, 2024 11:43 am

WITHDRAWN