WorldVision Song Contest 49 in Prescott, Electrum

by **Electrum** » Fri Jul 15, 2016 4:51 pm

OOC Thread - Stage Details and Host Bid - Electrum in the WorldVision Song Contest - WorldVision 48 in Phoda, Talvezout - Previous winning song by Polkopia

The 49th WorldVision Song Contest
presented by

in association with
the Prescott City Council
and
Events Electrum

Max Hardwell: Hello everyone! Welcome to Prescott, it's been a long time coming, but you are finally here in our lovely city of Prescott!
Sonya Portelli: You're here live at The Ice Palace. Once the centre of the world's figure skating, we are now at the centre of the world's favourite singing competition!
Max Hardwell: Now Sonya, you may be asking, just who will be commentating for Electrum, if we're up here?
Sonya Portelli: It'd be us right?
Max Hardwell: Nope, it's going to be Gertrude Pullman's twin sister, Bertrand Pullman! Hi Bertrand! We can see you up there!
Sonya Portelli: Ugh, I can feel her icy stare already. Also hosting, will be a rotation of special guests! Anyways, this is the stuff of dreams... To the thirty thousand people inside The Ice Palace, get ready for the world's best singing!
Max Hardwell: But Sonya, let's not forget the people outside, thousands of people in the Prescott City Centre, in Madison Square just outside of this Ice Palace! Hello people outside!

Sonya Portelli: What a crowd, what a cheer! We'll come back outside later on during the voting. Anyways, on with the show! The first act!
Max Hardwell: Sonya, aren't you forgetting something you silly goose?
Sonya Portelli: No... oh!
Max Hardwell: It's the opening act! And boy do we have a surprise for everyone, we have a three-part opening act!
Sonya Portelli: And our surprise is that all, and I mean all of Electrum's acts in the past will be singing today! Your favourite bands and singers will come out once more and perform for you all.
Max Hardwell: First up is Eliza Nord, our darling, the debutant for Electrum who got third place way back in WorldVision 35 in Yttribia, singing "Heartbeat"
Sonya Portelli: Then, Monday's Child, who also came third, will be singing about why they love WorldVision so much!
Max Hardwell: Finally, Matty P, Tim Turner, and Will Gray plus his band will be singing the song "Hand it to You!" Give them all a big round of applause! Eliza, take it away!

(L-R) Eliza Nord, Monday's Child (Louisa, Adam, Simone and Michael), Matty P, Will Gray and co. (Edward, Will Gray, Cindy, Edward, Lachlan), Tim Turner

by **Electrum** » Fri Jul 15, 2016 4:52 pm

"Heartbeat" by Eliza Nord
"Pictures" by Sneaky Sound System

Eliza walks on stage with her trademark bizarre costume, a plain white shirt, pants, and yellow hoops hanging absolutely everywhere. She has a band of choreographers behind her, including several of the elderly man she performed with in WorldVision 35. They did stop-motion like moves, dancing for a few seconds, freezing into place, and then dancing again.

0:18
Up, the stairs,
Chemicals coursing in my body
Dance, drink
Eyes dilating as you walk by

You can't shut the heart beat in my heart,
You'd better not turn down the music ... ooohhh
And I've got no time to stop and think,
You'd better not crush my love for you

As soon as she says lit the spark, at the two dead-end-horseshoe ends of the stage, two fire fountains appear, spewing fire on and on. Then, in the middle of that, laser lights come out and circle the entire roof. It looked like a dragon was spewing lasers everywhere.

0:49
[Chorus]
Wasn't me, oh you've lit the spark,
Higher heartbeat, oh you could get lit too
And maybe I, oh like you too!
But lead me on, and you'll pay the price ... ooohhh

You must know,
Oh what you need to know,
I need it now,
And you've fluttered my heart up

Eliza Nord gets a scrapbook left there by production staff and lifts it up in the air. It is a handwritten drawing of an actual heart. She starts tearing the pages one by one and throwing into the audience. It is so fast, that the hand drawn heart seems to be beating before being thrown into the audience.

1:20
You can't shut the blood pulse in my heart,
You'd better not turn down the music ... ooohhh
And I've got no time to stop and think,
You'd better not crush my love for you

[Chorus] x2

One of the men walked to the front of the stage with Eliza. She repeatedly did a lasso motion, and the man went with it back and forth. Eventually she rolled him in and kissed him on the forehead (she was taller than the old man)

2:23
But lead me on, and you'll pay the price ...
But lead me on, and you'll pay the price ...
But lead me on, and you'll pay the price ...
You'd better not turn down the music ...
[Chorus] x2

Eliza said, "Thank you to the nations of the multiverse for making this a thing! I will never, ever forget you for as long as I live! And, as a surprise, I will be the green room presenter later on tonight, anyways, it's time for a costume change!" She giggled as she ran off stage.

"WorldVision" by Monday's Child
"Waterloo" by ABBA

On the way in, the Monday's Child band high-fived Eliza all in a row. Adam was on the guitar, Michael on the piano, and Louisa (blonde in image) and Simone (brunette) were looking as bright as ever. With a quick countdown, they were off. Adam and Michael were on stage, whilst Louisa and Simone were on two pedestals, on both ends of that horseshoe stage.

0:07
My my
It's WorldVision that everyone wants to have
Oh yeah
And it is the one destiny that we want but can't have
Might as well have a jam
We will never give up, no ma'am
WorldVision is better shared, with your best friends
WorldVision is the journey there and the love
WorldVision couldn't escape if I wanted to
WorldVision learning about the world is what's best
WorldVision finally is here in Electrum

The duo made several gestures as they bopped back and forth on the pedestals. They started to point cheekily at the audience when they said 'you were better'. They clasped their hands closed, then when they said 'peace' they reopened their hands again to reveal white doves flying from their hands. The doves flew through the audience, down to near the green rooms and then back to the stage, perching on the piano.

1:06
My my
We tried to win the thing, but you were better
Oh yeah
And now we've the time to celebrate peace and hope forever
And how we await the scores
Which will rock you to your core
WorldVision is better shared, with your best friends
WorldVision is the journey there and the love
WorldVision couldn't escape if I wanted to
WorldVision learning about the world is what's best
Oh, oh, WorldVision finally is here in Electrum

Louisa and Simone stand down from the pedestal, and these pedestals slowly lower and disappear into the floor. They go to the middle of the stage and start shimmying at each other. A large disco ball, just like their last performance, is lowered down, and lights are shined onto it, going everywhere into the audience. It is one big party.

2:02
And how we await the scores
Which will rock you to your core
WorldVision couldn't escape if I wanted to
WorldVision learning about the world is what's best
WorldVision finally is here in Electrum
WorldVision learning about the world is what's best
Oh, oh, WorldVision finally is here in Electrum
WorldVision learning about the world is what's best

At the end, Louisa has a quick message for everyone, "Thank you so much for coming here! I'll await the scores with my good friends. We just love the diversity of cultures, values, songs, genre and talent here in WorldVision. No matter which nation you are, we love them all!"

"Hand it to You" by Matty P, Tim Turner and Will Gray and co.
"I Want You Back" by The Jackson 5

The Group of 8 slowly shuffled in. Will Gray's band started setting up in the corner, and there were three solitary microphones at the front of the stage. Matty P was in the middle, being the designated main singer. Tim Turner would be singing the backing vocals and the very high parts, whilst Will Gray did the medium pitched parts (2:05-2:18). Will Gray's band would be supplying the music, in a farcry from their psychedelic-style music last time, Simon is the drummer (he had forgotten to be in the photo), Cindy on keyboard, Edward on bass and Lachlan on guitar. The stage was darkened, and there were three spotlights on the three singers.

0:17
Uh-huh huh huhhh
Let me tell you now
Uh-huh
(Mmhhmmm)

Welcome to the multiverse, to Worldvision in Prescott,
And who knew it could happen in one tiny dot?
Who knows what type of song will beat all, will it be your nation?
Will your star's dreams come true or will they undergo cremation?

The three singers were thrusting back and forth, whilst the band continued on rocking. On the screen behind them, there was a satellite shot which zeroed in on Electrum, slowly going to Prescott, sweeping past the mountains, and into the city. Then, there was a live shot of the audience from a drone outside at Madison Square. The drone then entered through the arena and into the main hall and up above the band.

0:46
Oh nations, what is your trump card?
(Give us the winning formula)
Won't you please tell us your big secret?
Oh well I've got to hand it to the singers
(Appreciate)
Thank you for coming to Electrum!
(Hand it to you)
Thank you so much!
(Hand it to you)
Ooh ooh baby
(Hand it to you)
Yeah yeah yeah yeah
(Hand it to you)
Na na na na

Will Gray and Tim Turner were still shuffling back and forth. They were even throwing confetti and streamers into the audience. Someone even through a roll of toilet paper on stage, so Will unrolled it and threw it back into the audience. As Matty continued to sing, they were pointing to the respective groups of people that were mentioned. The screen behind them showed backstage shots of commentators laughing, production staff getting to work, etc. This was a song to show gratitude. The two guitarist/bassist instrumentalists went on two different swings which were lowered down and they moved back and forth on stage whilst still playing.

1:12
What about the production staff who made this a thing?
Gotta hand it to you, for getting us this swing!
Camera men, commentators, we love you all!
And Gertrude's guards, hope you didn't start a brawl!

Let me tell ya now
We're looking forward to Praciba
(Not the only one we want)
Polkopia, Ekoz, Izmedu
Mister X, Britonisea, The Sarian
(Many more nations)
But now it's time to celebrate again!

Various children from all around Electrum were then shuffled on stage, waving flags of all the nations participating in the contest. Matty P didn't have enough time to mention all of the nations which participated in the contest, but were grateful that they were there.

1:58
Celebrate...
WorldVision...
Celebrate!
Worldvision!

2:05
Oh, just who will win?
A song with repetition?
Baby baby baby baby baby baby!
(Hand it to you)
The strongest female voice?
(Hand it to you)
Or perfect staging?

The singers were still shuffling back and forth, and the children started to hold hands to form a circle. They then spun back and forth around the band. It was truly a happy atmosphere.

2:18
Oh baby, I want to know who will win
But we'll have to wait until the end
(Hand it to you)
Spare me of this wait
(Hand it to you)
Vote for your favourite!

Audience, this is the day to shine,
Vote for your personal twelve
Baby, oh! Baby, oh! Baby, oh!
Hand it to you!
Hand it to you!

After all was said and done, the eight people walked off stage. Will Gray suddenly came running back and said, "I deserved more votes last time! You know it!" before running off stage again.

Max Hardwell: That must've been one of the longest openings in a while. We're done now.
Sonya Portelli: Phew! Now, let the contest begin! We start with the number one nation...

by **Electrum** » Fri Jul 15, 2016 4:53 pm

Commentaries

MRX One (Mister X) with Robert Baxter and Sam Smith
BVC One (Britonisea) with Daniel Richards and Tess Phillipa
PNB (Polkopia) with Viktor Khassanov and Anna Petravona
TOBUK (Todlichebujoku) with Kielo Tsukino and Taiki Bosch

Nations, Entries and Postcards

Send photos of landscapes of your nation and your singer (the photo of the singer is optional) via telegram to Electrum and your postcard will be made per the bid as soon as possible. (3-7 photos are recommended). You must also include the name of your singer(s) and the title of your song. Your song will have a number attached to it if you have reserved or posted with a number in this thread.

1. Talvezout
"I Don't Want To Say Goodbye" by Grezzja Haber

2. Venkatanaras Imharajuvaripieta Rdraskska
"Hello (Sorrow)" by Tallahassee Weaver & The Not-Militant Militia of Not-Actually-Militant Militant Talvezout

3. Polkopia
"Извини (Izvini)" by Sofi Tarentova

4. Ekoz
"Silence" by Eton Vørksaenaar

~~5. Luepola~~
~~"Call Me" by Anna Kashtanovaya~~

6. South Bourbonstan
"Deep Inside" by Aleha Melona

7. Todlichebujoku
"Bullets" by Pyórremyrsky + Fogo Inicial

8. West Phoenicia
"Please don't take my cigarettes" by The Laxettes

9. Alinghi Federal-Democratic Republic
"Ulula grande lupo" by Nature Chorus

10. Ardoki
"Ardoki is the Greatest!" by Alistair Killian Moriarty

11. Antahbrantahstan
"Bahagia" by Kim Eunseo

12. Kwadai
"Once Again" by Haya al Kuwari

13. Izmedu
"One Last Tear" by Kalina Ercegovic

14. Estogium
"Ultrasonic Sound" by Elektroe

15. Bloodbath Generation
"Seara" by Pink October

16. Vettrera
"Just For The Night" by Standard Error

17. Darkmania
"Send Me Some Help" by Carmilla Fulck ft. Chris Fulck

18. Kishrael
"Try Me" by M'tikut

19. Normandy and Picardy
"Ets Menídem (I Remain)" by Glore Manden

20. Britonisea
"Liberators" by Justs Prazeres

21. Kalosia
"Coming For You (Watch Out)" by Lessandra

22. West Aotearoa
? by ?

23. Mister X
"My Heart's On Fire" by Tracy Manson

24. Cheongji
"Him" by Girlfriend

25. Electrum
"Sing Your Prayers Now" by Michael Street

26. Arioslavia
"Stronger" by Irina Garmash

27. Electrum Diplomatic Offices
"Gertrude Pullman Style" by Gertrude Pullman

28. Adab
"The End" by Kinan al-Salaman

29. Praciba
"Baby I'm Your World (So Take Me Tonight)" by Þorvald Halldorsson & Þor Þorvaldsson

30. Mercedini
"Movin' On" by 5CARLET

31. The Sarian
"Need You (Begging)" by Laurie Lourde

by **Cheongji** » Fri Jul 15, 2016 5:27 pm

After Prescott, Electrum secures a victory in the WV49 host bid, netizens(Internet surfers) of Cheongji are curious to know more about Prescott, especially those who have not seen the Prescott host bid. Also, notably, Jians are getting curious to know what entry Cheongji will be presenting in the 49th WorldVision festival. Sisters' Slam Dunk have been mentioned, inciting rumours that they will be performing. However, that is mere speculation at best.

by **Talvezout** » Fri Jul 15, 2016 5:55 pm

01 - Talvezout
Grezzja Haber - I Don't Want To Say Goodbye
Melody is "Love in Rewind", by Dino Merlin.

After performing in Worldvision 47 for Talvezout and earning a 17th place, Grezzja went back to a rather simple life as a high school student in Talvezout. Despite her relatively middling placing for Talvezout, Grezzja's performance in Ekoz was loved by the people of Talvezout, and shortly after she completed her junior studies Grezzja was selected once more to represent Talvezout at Worldvision, this time in Prescott, Electrum. With her friends and the whole nation behind her, Grezzja not only aims to improve on her position, but to hopefully reach the top ten once more for Talvezout.

A piano, guitar, mandolin, upright double bass, trumpet, tambourine, viola, and violin are all onstage, lying in a circle. A short girl, with medium-length brown hair, would be playing the piano. Grezzja would be standing near her, and together they would sing the opening notes of the song. A tall guy, Indian, with black hair and brown highlights would come up and would start playing the guitar, in tune with the song. A tall girl, with long brown hair, would come up after the Indian guy and would also start playing with the mandolin. A short blond guy, with hair somewhat reminiscent of this, would walk up next to the upright bass, and would play the small triangle he pulled out of his pocket. He too would join the group, as well as a medium-height girl with long black hair, who would start using the tambourine.

Just from one to a hundred, quite a few years
So many laughs, so many tears
It’s all in the future, and in the past
Seems so familiar, seems so distant
Yet in the distance, beyond the surface
Nothing seems so certain
And within the darkness, within the emptiness
So the ending will begin

Upon Grezzja switching into Talvezian, the lighting would switch from the previously bright reds, yellows, and oranges to more solitary blues and purples. The screens in the back of the stage would show the streets of the city, slowly moving as if you, the viewer were walking along them. The audience would start clapping with the song, with the all of the people onstage clapping at end of every other line.

The song itself is a sort of extension of Grezzja's previous Worldvision entry, with Grezzja now tackling the depressions and demons within herself, and not her sister.

Ota tämä elämä tänään
Polttaa se ylös ja anna tuhkan lentää pois
Ja siellä tulee olla pieni kohtaukset kaivoksen
Nämä polttava muistoja aikaa
En, en halua sanoa hyvästit
Ja siellä tulee olemaan suurin pahoittelee elämän
Kääntösä- vuorovesi riitaa
Mutta en halua sanoa hyvästit

Three people would walk onstage. Two short Caucasian looking people would start playing the viola and violin, as a taller French-looking guy would start playing the trumpet. Grezzja would take the microphone out at the end of the transition; she and the rest of the band onstage would be waving their hands during the transition.

Adio
(Oh..)
Adieu
(Oh..)
Adios
(Oh..)

Grezzja having took the mic out of it's stand, would now head out to the audience, as she would transition from Talvezian to Talfossian. The lighting onstage would change as well, going from the moody blues to the nascent pinks and tans.

Biss minn sena sa mitt, pjuttost ftit snin
I raden dan kollu dwar me, kollha dwarek
I tista 'żżomm fuq li jibda mid-ċertezza
Imma jien ma nafx fejn imorru, mir-realtà

During the final chorus, Grezzja would now be away from the band, as the lighting would now concentrate on her, effectively isolating her away from everyone else. She would sing the chorus alone at the end by herself, her bandmates only joining in at the end.

Acaba de tomar esta vida desde hoy
quemaduras para arriba y deje que la mosca de las cenizas a
y habrá las escenas poco de mina
los ardientes estragos del tiempo
que no, no quiero decir adiós
y habrá las escenas poco mio
estas quemando recuerdos de tiempo
pero no quiero decir adiós

Grezzja would now run back to the band, who would all be waving their hands as fountains as sparks would erupt around them. The backing would sing this part, with Grezzja finally joining in for the final line.

Aplá párte méchri kai pyrovoloún mou éxo, na petáxei to sóma mou mésa sti thálassa
Aplá párte éxo kai tampáko mou éxo, svínoun ti flóga mésa mou

The performance would cap off with a final explosion of sparks. Grezzja would say "Thank you Prescott, thank you all so much!" before she and everyone else left the stage.

by **Venkatanaras Imharajuvaripieta Rdraskska** » Fri Jul 15, 2016 5:55 pm

2. Venkatanaras Imharajuvaripieta Rdraskska
Tallahassee Weaver & The Not-Militant Militia of Not-Actually-Militant Militant Talvezout
Hello (Sorrow)
Tune is Laika by The Hungry Hearts

A gray mass of female army officers, all in grey and wearing grey makeup, stand in the center of the stage. They start marching forwards, as the song begins.

To ónomá sas eínai akóma stin kardiá mou
To ónomá sas eínai akóma stin kardiá mou
To ónomá sas eínai akóma stin kardiá mou

The group of female officers would all sing in unison, as they would sing the first two verses.

O monachikós planítis, chatheí sto diástima
Mia fovisméni síma, pánta akoúgetai
Akrivós ópos éna xechasméno óneiro pou échei archísei na xekinísete
Éna móno thlípsi kaíei mésa stin kardiá mou

I katáthlipsi katigoría, échase se mia chronikí sképsi
Aftés oi apóichoi tou kósmou mou, pethaínoun poté galínio
Akrivós éna tremópaigma tis zoís mou pou perná san éna óneiro
Akrivós éna állo granázi tis aiónias michanís

One of the officers would break away from the rest, and would wipe off her greyscale makeup, revealing herself to be Tallahassee Weaver. She would also ditch the grey camouflage uniform, with her wearing a dress shirt and pants underneath the entire ensemble.

Kolliménos stin thlípsi, kóllise stin thlípsi
Kolliménos stin thlípsi pethaínoun aiónia
Kolliménos stin thlípsi, kóllise stin thlípsi
Kolliménos stin thlípsi kláma aiónia

Weaver would now be in front of the group, moving independent from the rest.

Boreíte tha boroúse na ítan i agápi mou
Boreíte tha boroúse na ítan i zoí mou

To ónomá sas eínai akóma stin kardiá mou
To ónomá sas eínai akóma stin kardiá mou

More officers would remove their camouflage clothes and would join Weaver up front, wiping off their makeup as well.

Tha boroúsate na mou kánei kakó tóses pollés forés
Tha boroúsate na mou pei tósa pollá psémata
Allá tóte tha mou meínei, allá sti synécheia na mou skotóthike
Chorís telikí anapnoí, chorís mia eniaía anapnoí

Dancers in military outfits would join the group, copying the movements of Weaver as the militia chorus marched in the back.

I kardiá mou eínai stin pyrkagiá
Alímono, chorís mia eniaía epithymía

Pírate tin kardiá mou, kai mou Adieu Prosforá
Pírate ti zoí mou, mou áfise chorís eséna

Kolliménos stin thlípsi, kóllise stin thlípsi
Kolliménos stin thlípsi pethaínoun aiónia
Kolliménos stin thlípsi, kóllise stin thlípsi
Kolliménos stin thlípsi kláma aiónia

More officers would shed their outfits, although Weaver would now be effectively distant from the rest of the group.

Boreíte tha boroúse na ítan i agápi mou
Boreíte tha boroúse na ítan i zoí mou

To ónomá sas eínai akóma stin kardiá mou
To ónomá sas eínai akóma stin kardiá mou

Pírate tin kardiá mou, kai mou Adieu Prosforá
Pírate ti zoí mou, mou áfise chorís eséna

Weaver would now be isolated from the rest of the militia who would now all be wearing outfits different from the greyscale ones they were wearing earlier. Alas, the militia would march up to Weaver and they would sing the final chorus together.

Kolliménos stin thlípsi, kóllise stin thlípsi
Kolliménos stin thlípsi pethaínoun aiónia
Kolliménos stin thlípsi, kóllise stin thlípsi
Kolliménos stin thlípsi kláma aiónia

by **Mister X** » Fri Jul 15, 2016 7:04 pm

Commentary comes from Robert Baxter and Sam Smith.

Robert: Three opening acts? FOR THATCHER'S SAKE, WE'LL BE HERE ALL NIGHT!

Opening Act

Robert: Sam, it's over, wake up...
Sam: Wauuuauhh...?
Robert: The opening acts are done. Good lord, they went on forever. We're live from Prescott - don't get punched - and this is WorldVision 49! Our 20th anniversary!
Sam: Right then, as per usual I will be rating how "hard" and "edgy" the song was along the scale of ultra-soft, super-soft, soft, medium, and hard - or plum, jam, butter, bread, and knife. A soft, mellow song will be plum, whereas a rock song will be knife.
Robert: To vote, you dial 9 12 12 from a mobile or 01721 12 12 from a landline followed by the number of the country you want to vote for. Lines will not open until all countries have performed and will close during the interval act. OK, then, are we ready?
Sam: Let's go!

05 Lupolska

Sam: All over the world, fools are poised ready to let death fly. A spark could turn into an inferno. Death falling from the sky, blind, random, anywhere, anytime. No one is safe, no one is innocent? Machines of death, screaming from above, of light brighter than the sun. Not a war between armies, nor a war between nations, but just death, death gone mad. The child looks up in the sky, his eyes turn to cinders. No more tears, only ashes. Is this honour? Is this war? Are these the weapons you would use? No. Put a stop to it.

11 Antahbrantahstan

Robert: We'll take a break, don't go away.

by **Polkopia** » Fri Jul 15, 2016 9:40 pm

3. Polkopia
Sofi Tarentova - Извини (Izvini)
Language: Russian
Translation: Sorry

Sofi Tatentova rose to fame in Polkopia after finishing second in The Voice - Polkopia at the young age of sixteen. She had released her debut single, "Nowhere", months after returning home, which climbed into the Top 50 of Polkopian charts. She is highly praised for her unique style which differs from mainstream Polkopian artists. Years later, Sofi won the most recent edition of the Landa vy Polkopiya. She had received top marks from two international juries, and won the domestic televote by a landslide. Her stellar performance in the National Final drew a lot of attention from Polkopian songwriters, and Sofi has already announced that she will be working on her debut album following the Worldvision Song Contest in Electrum.

Sofi Tatentova stood on in the middle of the stage. Sofi's long, white hair had been parted to the side with one long, white braid falling alongside her shoulders. A large, white rose had been placed on the other side of her head, place just atop of her right ear. Sofi wore a long-sleeved white dress which matched her hair and rose. Her eyelashes were painted white, and she had very faint light blue eyeshadow, but that was the only makeup she wore. Sofi had a very natural beauty that she wanted to illustrate as a part of her performance.

Sofi was accompanied with four backup dancers, three female and one male, who, like Sofi herself, were all dressed in white. Each of them stood behind her and could only barely be seen. The stage overall was rather dark. The outer ring of the LED screen of the stage was a deep gold color, but the actual LED screen showed a gray sky with snow beginning to fall. Fog also crept along Sofi's and the singers' legs, and reached about mid-calf on all of them. A very light breeze could be seen on stage as Sofi's hair was blown back slightly. The sound of a strong wind could also be heard on stage just before the song started and would continue all throughout the performance.

Sofi held up her microphone and looked down at the ground before singing.

Noch'yu - vremya za menya (At night is the time for me)
Lunnyy svet svetit yarche solntse. (The moonlight shines brighter than the sun)

As the background singers sang the "Ooh's", they slowly walked forward, further into view with each step that they took. Sofi looks directly into the camera as she signs with a pained expression on her face. Contacts have been put in her eyes to make her eyes seem a much brighter hazel color than she had already.

Daleko ot tsivilizatsii. (Far away from civilization)
Daleko ot lyudey. (Far away from people)

Ohi khotyat povredit' menya. (They want to damage me)
Ohi khotyat videt' menya kak ya padayu (They want to see me fall)

Bol' i pytki videt' vas zdes' (The pain and the torture of seeing you here)
Vedet menya sprosit' "pochemu..." (Leads me to ask why...)
Oooh...

The lights lit up and everyone on stage took five large steps forward. The background LED screen showed avalanches tear apart forests and the showed different angles of trees being uprooted in the storm.

Izvini! Ya ne pozvolyu tebe (Sorry! I won't let you)
Slomat' moyu dushu (Break my soul)
Izvini! Ty zakonchil so mnoy. (Sorry! You're finished with me)
Ukhodi! (Go away!)

I seychas (And now)
Chuvstvuyu sebya (I feel myself)
Sil'neye i smeleye. (Stronger and braver)
Ukhodi seychas! (Go away now!)

With the chorus ended, Sofi now stood at the front of the stage. The wind machine picked up on stage, and the background singers' hair, as well as Sofi's now blew back stronger, but it was nowhere near overwhelming. It gave an eerie, yet strong feeling on stage. The LED screen showed the gray sky, but this time, with heavy snowfall. Fake snow also seemed to fall from the ceiling and fall on top of Sofi, the background singers, and the floor of the stage as they sang.

Plyunesh' lozh' kazhdyy den' (You spit out lies every day)
I zastavil menya otstupit'. (And you forced me to run away)
Ya nikogda ne vernus' (I will never return)
K tebe i tvoyey lzhi (To you and your lies)
Ya sozhaleyu tebe. (I am sorry for you)
Ah...

Fireworks set off along the edges of the stage as the chorus began, and left as soon as they came. Along with the burst of blue and gold fire, they also shot glitter into the air, and it rained down on stage alongside the fake snow, coating the singers as they sang the chorus a second time.

Izvini! Ya ne pozvolyu tebe (Sorry! I won't let you)
Slomat' moyu dushu (Break my soul)
Izvini! Ty zakonchil so mnoy. (Sorry! You're finished with me)
Ukhodi! (Go away!)

I seychas (And now)
Chuvstvuyu sebya (I feel myself)
Sil'neye i smeleye. (Stronger and braver)
Ukhodi seychas! (Go away now!)

As the instrumental played, Sofi held her arms out to either side, closed her eyes, and looked up at the ceiling as glitter and snow fell delicately on her pale face. The camera panned around her, circling the Polkopian singer as she stood there.

Ah ah...

Ah ah...

Sofi now looked back at the audience, opened her eyes, and sang the final lines of the song.

Ukhodi seychas! (Go away now!)

Ukhodi seychas! (Go away now!)

Ukhodi seychas! (Go away now!)

The song had ended, and Sofi finished the song with her arms extended, looking up at the ceiling once again. Her face was covered with fake snow and glitter, but she still looked beautiful. She smiled. "Thank you Electrum! Thank you world!" She shouted into the microphone as she took her leave.

by **Ekoz** » Sat Jul 16, 2016 4:49 am

Tune

Eton Vørksaenaar, 27, won the most recent edition of MelodieFestivålen with his debut single "Silence", of which stormed to the top of the Ekoesestoplistan and stayed there for two non-consecutive weeks. The former model who has worked for the likes of Tommy Hilfiger Ekoz, and twice been on the cover of Ekozian Vogue turned to music in order to utilise a bigger platform to effect change. His single, 'Silence', is about the ongoing tensions in the world and the populations' struggle to commit to daily life in the way that once was, allowing this undetermined and ever-growing 'silent' fear taking over peoples lives.

Eton's first release, "Crazy" a dance-pop anthem was released in 2013 reached #9 in the Ekozian charts, making 'Silence' his most successful and highest charting entry in the Ekoesestoplistann. In regards to MelodieFestivålen and the WorldVision Song Contest, Eton stated "I'll put on my best performance. I'm honestly not bothered about where I place, just as long as people hear and are exposed to the message of my song, then I'll be happy." Eton performs fourth at the contest, hosted for the first time in Prescott, Electrum.

Eton stands centre stage, with a guitar. He is wearing the same as the promotional picture above, with a white vest underneath the blazer. His hair is styled like this, with a little bit of stubble also. The stage is plain, with only Eton and the microphone stand centre stage. The lighting is dark with the LED screen projecting a moving visual of this.

Ooh, ohh, ohh, ooh, ooh, ohh, ooh, ooh, oooooh, ooh.
Ooh, ooh, ooh, oooh, oh oh ooh.
Ooh, ohh, ohh, ooh, ooh, ohh, ooh, ooh, oooooh, ooh.
Ooh, oooh ooh, oooh ooooh-oh.

The camera is zoomed out, centre stage showing Eton standing behind the microphone stand and slowly zooms in as he begins to sing. Eton looks directly into the camera lens as if follows him, connecting to the audience.

Everywhere around is oh-so quiet,
People on the streets, no longer seen.
Maybe, it's because of all the darkness,
Reminding us of what we used to be.

The camera pans around Eton, zooming out from the left and turning towards to audience. As he begins the second verse, the camera pans centre stage onto Eton revealing him and the synchronized LED screen, which still projects a slowly moving visual of the road.

As the night grows forever colder,
No light to safetly guide us home,
What will become of all this silence?
Oh, the sound of this old city turned to stone.

The silence of the night grows ever strong.

As Eton begins to sing the chorus, the part of the song where it is silent, both the lighting and the LED screen quickly fade to black, before Eton begins to sing "Ohh". The staging remains relatively dark with only the LED screen and Eton in focus.

Ooh, ohh, ohh, ooh, ooh, ohh, ooh, ooh, oooooh, ooh.
Ooh, ooh, ooh, oooh, oh oh ooh.
Ooh, ohh, ohh, ooh, ooh, ohh, ooh, ooh, oooooh, ooh.
Ooh, oooh ooh, oooh ooooh-oh.

As the staging and performance is minimal, the camera pans in front of, and behind Eton revealing a mellow and focused arena audience. Flags can be seen waving to the melody of the song. The camera pans back around to the front of Eton from the left, as to which Eton catches the camera lens and looks into it. He sings passionately.

A never-ending sound to all the silence,
Living half the life we used to lead.
The dullness of the town gets ever greyer,
Ooh, I guess what will be, will forever be...

Forever be, oooh; it's the end of the road,
end of the road,
end of the road,
end of the road,
end of the road.

As Eton sing's, the LED screen begins to, extremely slowly at that, begin to change. As he sings, figures/sillhouettes of people are seen slowly appearing in a staggered way in front of the LED screen. Eton still is centre stage.

Ooh, ohh, ohh, ooh, ooh, ohh, ooh, ooh, oooooh, ooh.
Ooh, ooh, ooh, oooh, oh oh ooh.
Ooh, ohh, ohh, ooh, ooh, ohh, ooh, ooh, oooooh, ooh.
Ooh, oooh ooh, oooh ooooh-oh.

A group of sillhouettes appear behind Eton. Their faces cannot be seen. As Eton sings his verse, the group of sillhouettes sing the backing vocal "Ooh" behind him. The LED screen is still slowly changing.

The people of this town will not be broken,
the protest of our screams will be heard.
The silence of the night will not defeat us,
The melody will guide is to the light.

The LED screen visual changes to this and the faces of the sillhouettes are revealed, with a mix of different races/genders. As they join Eton in the final chorus of "Ooh ooh oohh..."', they all join into one group behind Eton and sing with him.

Ooh, ohh, ohh, ooh, ooh, ohh, ooh, ooh, oooooh, ooh.
Ooh, ooh, ooh, oooh, oh oh ooh.
Ooh, ohh, ohh, ooh, ooh, ohh, ooh, ooh, oooooh, ooh.
Ooh, oooh ooh, oooh ooooh-oh.

Our melody will guide us to the light.

Eton moves his guitar around his back and lets it hang from the strap. He rests his hand on the microphone on the stand and thanks the audience, whilst putting both his hands together and bowing to the audience before slowly walking off and waving at the crowd. The camera pans to a group of Ekozian fans waving and cheering with their Ekozian flags.

by **Lupolska** » Sat Jul 16, 2016 8:39 am

5. Luepola

by **South Bourbonstan** » Sat Jul 16, 2016 11:12 am

6-South Bourbonstan
Aleha Melona-Deep Inside

This year's entrant from South Bourbonstan is Aleha Melona,24. Born in Frada, Milford Isle, she grew up with parents who believed she was the next superstar. She denies the accusations of living like a queen. Aleha's family is not actually from South Bourbonstan but from one overseas colony. This unleashed hell as some stated "Our second contest and we are already sending non-native people?" However, the popular vote from "Tiwoj Wiebra"(Your choice) chose her as our entrant. The song is about the Bourbonstanian revolution which collapsed the old Bourbonstan Empire. This sparked criticism from North Bourbonstan on the subtext of this song. However, the song resonates with Aleha as her grandfathers fought in the revolution.

Tonight, Aleha is wearing a white dress. She waits backstage and drinks her water and does her final try before going onstage. They announce her name. She takes a deep breath and walks on.

A sound as if an old TV is being turned on is heard. Music starts. The stage is set dark with one light on Aleha and her microphone. Her face is sombre as she looks down.
As the drum is more audible, lights appear on dancers as they take a step around the stage with each hit. Aleha’s face looks towards the mic as she starts singing.

Where has the real world gone,
Joy and love have gone away,
What’s the matter?
Happiness is through,

The dancers lower and sway sideways.

There’s no more peace of mind,
Working in the daily grind,
What’s the matter?
This is what we give you,

As the chorus starts, the dancers stop moving as Aleha walks slowly to front-centre. One light focuses on Aleha as she sings.

But time stops still when
I look at you,

The lights then turn orange as dancers file in behind Aleha in a semicircle pattern. Each time a line is said, one of the 6 lines of dancers turns to face a different corner.

Deep inside,
What’s going on,
Deep Inside,
What’s going on,
Warmth, my warmth,
Warmth, warmth, warmth,

The dancers then walk in an army style to those corners. Aleha sways side to side. Before the next verse can start, the dancers get into pairs and move slowly with each other.

The government isn’t through,
They’re still looking out for you,
What’s the matter?
We’re almost always through,

The dancers change partners

Peace and love and marching bands,
Joy and hope and holding hands,
What’s the matter?
Just accept the truth,

As the chorus starts, the dancers stop moving as Aleha walks slowly to front-centre. One light focuses on Aleha as she sings.

Cause time stops still when
I look at you,

The lights then turn orange as dancers file in behind Aleha in a semicircle pattern. Every time a line is said the dancers sway down each line.

Deep inside,
What’s going on,
Deep Inside,
What’s going on,
Warmth, my warmth,
Warmth, warmth, warmth,

The dancers make two lines behind Aleha where they sway in canon.

March up to their oaken door,
Talk and stop and then talk more,
Make it better,

Deep inside,
What’s going on,
Deep Inside,
What’s going on,
Warmth, my warmth,
Warmth, warmth, warmth,

The dancers stand around Aleha in a semi-circle formation (again), they sway back and forth

This is bliss,
That’s what going on,
Complete bliss,
That’s what’s going on,
Warmth, my warmth,
Warmth, warmth, warmth

The dancers pick up Aleha on her way off stage as she carries on singing

This is bliss,
That’s what going on,
Complete bliss,
That’s what’s going on,
Warmth, my warmth,
Warmth, warmth, warmth

The chorus repeats. Aleha,whilst being carried off, says “Thank you, Prescott!”

by **Todlichebujoku** » Sat Jul 16, 2016 5:59 pm

07. _Tödlichebujoku_

Tune: The Weeknd - The Hills (Eminem Remix)

BULLETS

Pyórremyrsky + Fogo Inicial

With the second flop in ten editions (seven official participations), TÖBUK was certainly on edge. The unexpected second failure of the Äußerstenkeiken bid did little to ease the broadcaster's collective nerves, and the pressure was on to find an entry that would hopefully not crash someplace in the middle of the scoreboard. Of course, the art of predicting results was never really that accurate, with or without magic, and so the broadcaster embarked on a desperate search for what it hoped would be an entry that would redeem its recent lack of success. Luckily (at last), TÖBUK stumbled on an entry that might do just that- a new collaboration by the previous WorldVision entrant Pyórremyrsky with the established ethnic Lagoa rapper Fogo Inicial, called "Bullets".

Pyórremyrsky, often known simply as "Pyórre", was not expecting to return to the WorldVision stage. His performance in WV47 was thrilling and really an experience to remember, but he was satisfied with moving on with his own material and continuing to advocate justice and equality outside of the WorldVision limelight. However, news concerning a sudden spike in mass shootings and killings reached Tödlichebujoku on the heels of WV48, and the associated stories of heartbreaking loss and sorrow inspired the singer and advocate to write a song concerning it.

Similarly, a popular rapper known as Fogo Inicial from a well-known lower-class area of Sterblichengokai also began to consider a song on the subject. The two met in Äußerstenkeiken for a music awards event and realized how they could combine their ideas for a song that could really get across to millions, considering their combined numbers of fans inside and beyond the nation. Catching wind of the collaboration in its infancy, TÖBUK ~~begged~~ asked the artists to compete in the upcoming edition of WorldVision. The artists realized the opportunities inherent in the proposal, and decided to accept. While the broadcaster is primarily interested in saving face, Pyórremyrsky and Fogo Inicial are trying to create and send a message that speaks to all, combining the issues of alienization and loss with the struggle for forgiveness.

ARTIST STATEMENT

"Bullets" is a song with two primary parts. Fogo Inicial explores the gut feelings and reactions of those bereaved by the outburst of death, especially those who lost nearly everyone they loved. Pyórremyrsky performs from a more poetic standpoint, involved yet uninvolved as he mourns both those killed and the demise of the killer's innocence and conscience. As the song develops, Pyórre delves into the struggle to accept the loss of loved ones, yet also accept the reality of the killer's relative lack of punishment compared to the anguish that the mourners must face throughout their lives.

We hope this song helps those afflicted by their losses let their emotions out and heal, and perhaps even dissuade those planning to lash out in such a manner from doing so. We may succeed. We may fail. But either way, we will have at least tried, and show the world the struggles faced by those who must deal with the deaths caused by this sort of senseless violence.

South Bourbonstan's Aleha Melona had just finished performing. Hearing the applause of the audience, Pyórre and Fogo readied themselves for their performance. Both were seasoned international performers, but Fogo had the most to worry about, as he had never performed in an international competition and was also performing first. However both were confident in their abilities, and relieved their stress in their usual way. Fogo thought about his two daughters and husband, along with the stories of those who survived the shootings and killings. Meanwhile, Pyórre sketched out some quick poetry on a pad, fingered a slip of paper given to him at a recent concert by a victim's mother, and briefly prayed. Someone motioned- they were up.
"Don't screw up, mano."
"I think you should be worried, ystáváni."
"Pfft."

The stage is dark, glimmering with a faint sheen of blue, which is soon replaced by red. Bursts of static appear on the background screens and fog-covered stage floor as the music starts. Fogo Inicial is seen silhouetted in the center of the stage, facing backwards, his hood up

You fired shots into a crowd to see
Translations

The raw power of your fantasy

He turns around and takes his hood down, now lit from the front and revealing his outfit to consist of a black hooded sweatshirt and black jeans with red high tops. His expression intensifies and calms with the cadence of his lines, appearing furious at times and mournful at others. The fog dissipates as the lights brighten

Butchering all those lives like flies
What did you want from it, finally feel glee?
You never had dreams, feel free
Never understood the, real thing
Came close, but it's frankly
A substitution, warped reflection of the real scene

Two backing male singers, barely visible and hooded, step forward from the far back of the stage. The lights illuminating Fogo from the front dim, recalling his earlier silhouette. Ghostly figures of guns firing and scythes swinging appear and disappear on the background screens. Passion creeps into his voice as his voice intensifies and the lights brighten on him, as he walks to one of the projecting platforms, a certain energy in his steps

So your dark mind made whispers, and just like demons, they became you
Said, "Kill the vermin," bought an assault gun to assault youth
Like they were rats in life, then dust it seems
And tonight you reaped my every friend, they were a part of me
You tore my heart to shreds, can't mourn just a single tear
'Cause…

The Palace's interior brightens significantly as lights sweep out from the stage, and spotlights reveal Pyórre raised on the other projecting platform, clad in a tight white short-sleeved collared shirt and slim white jeans and gold high tops. The center stage is seen to be rimmed with protruding rusty guns and swords, tilted at an angle so that the audience isn't in danger of being accidentally impaled. On the background screens, guns splay outwards to the left and the right of the stage's center, spitting bloody bullets outward.

These bullets fly with deathly vulture wings
Blood and hate to perforate our dreams
I ask the powers why they chose him, to rend us
Cut my friends down, tear our world down
Crush my joys and my life to dust

He clutches at his heart, eyes pleading to the audience, then looks down in remorse and pity, as the background screens visualize his lyrics

My wounds, they burn with shards of searing glass
Desperate tears fall to the earth, so fast
He let these demons twist his mindset, his mem'ries,
Make him hold back, then lash out
Make him lash out, let him rampage free

The view swoops to Fogo as he begins, the spotlights plunging Pyórre back into darkness. Fogo stares with a particular coldness, like a seething hatred

And now I'll always hate you, it's hard to
Forgive from now on
I swear you're damned, it doesn’t matter who, what you do
'Cause you tore them from my arms
Now see the snow, watch it in the twilight's glow
How my sorrows weigh down ever colder
Like the hate when I saw you
Were you always such a loner?

His expression softens a bit to that of a wary, accusatory one, singing toward the view, which focuses on him. His expression then hardens back to rage as both his face and body motions grow more aggressive and the view zooms out. The background screens show an abstract person (like this) in a faint crowd that then evaporates. The abstract person then dual-wields automatic rifles and fires them

Guess you wanted community
But you never understood a team
Maybe you could have changed for good sometime
But no, so fuck you, torn dreams
So then you went to feel so free, that death spree
Now these bullets shriek, past reality
See my face but you'll only know the real me
Is after death, to heal me

The focus returns to Fogo, with his animated gestures. The background screens are visible behind him, showing a row of the abstract figures, which are then crossed out except for one. An overlay of a clock in the same simple art style runs at an accelerated pace, the screens' view zooming out to show another figure, the shooter, eventually fading away. With the last few lines, Fogo emphasizes his words, the stage pulsing red, a strong spotlight directly above him, the view focusing on him

To me you're just like typhoid
Took my friends as you wanted to
But I'm gonna wait out your plague 'til time ends you
So keep begging me, if you really felt remorse
You would finally
Understand how I feel alone, the raging desire for
Revenge
Determination to
Avenge
It takes more than words to repent, as..

The view pulls away as the spotlights fade on Fogo and brighten on Pyórre, still raised on his platform, and rows of spotlights sweep over the audience. This time, however, Fogo does not plunge into darkness. His platform rises, and Pyórre sings toward him, the two performing an almost convulsive, yet fluid dance in synchrony, as if they are directly affecting each other with their moves. The two are backed by an arc of pyros "weeping" red sparks, the background screens depicting the splayed guns from before, but this time with their bullets staining white orchid blossoms red

These bullets fly with deathly vulture wings
Blood and hate to perforate our dreams
I ask the powers why they chose him, to rend us
Cut my friends down, tear our world down
Crush my joys and my life to dust

My wounds, they burn with shards of searing glass
Desperate tears fall to the earth, so fast
He let these demons twist his mindset, his mem'ries,
Make him hold back, then lash out
Make him lash out, let him rampage free

The stage lights dim and both platforms lower as fog returns to the stage floor, with Fogo slipping into darkness. Pyórre kneels down and closes his eyes, his head bowed. He is lit by an ethereal light, and his clothes evidently incorporate metallic threads as both his clothes and his shoes glimmer as the view pans toward him. Pyórre then looks up, tears trailing down his face

Miná náen teidán kasvonne
I see your faces

Heal my soul, tonight
Heal my heart, tonight
Te viittoilette valolle
You beckon to the light

How must I live?
How can I….

He rises, then strides to the center stage as he sings. Fogo is nowhere to be seen, having slipped away in the darkness. Pyórre performs the new chorus with power and passion, golden sparks pouring down behind him like a waterfall. The background screens show shining figures stepping out of darkness, as spotlights swoop outward from Pyórre like a great eagle's wings

I can't deny my soul is fractured through
These bullets bite no matter who you lose
But maybe one day I'll be past this, stop grieving
They're all shining, not dying
I'm still living, can't be dying, yet

The view spirals around and above him as he looks and then reaches up. The background screens fade to black and then depict a faint, radiant sun surrounded by pulsing darkness

You might have smiled in the dark of night
But in the open you're consumed by fright
I pray that one day you will find it, that beauty
What you took then, ever holy
Who you took then, even holier

The stage lights fade, until Pyórre is only barely lit, to the point that only the glimmers of light reflecting off of his clothes' metallic threads and the odd glint of metal from the weaponry on the stage's rim are easily visible. He sinks to his knees, almost prostrated, his voice haunting the walls of the Palace as the music ends

Voinko miná anteeksiantaa
Can I forgive
in this life
or the next?

tássá elámássá
vai seuraavassa?

He disappears into the darkness

As the stage lights return to normal and Fogo joins Pyórre on the stage, the roar from their combined fans is almost deafening. The two smile- not in celebration, but in remembrance. The two artists nod and say, "Kiitos kaikille, Prescott. Obrigado, thank you so much."
However, all is not over, as Fogo adds, "But first, Pyórre has something to read for us all," and looks over to his companion.
Pyórre takes out the slip of paper. "This was given to me by the mother of a shooting victim. I hope its message resonates with you all tonight, and beyond."

The darkness falls, a suffocating veil
A funeral shroud for vibrant life
For innocent faces, innocent souls
We, the families, the friends
Will never forget, yet try to forgive.

The two then exit the stage.

by **West Phoencia** » Sat Jul 16, 2016 10:34 pm

8.

Nation Name: The Confederate Kingdom of West Phoenicia
Song Title: Please don't take my cigarettes
Artist(s) Name(s): The Laxettes (Angel, Missy and Margie Lax)

Tune: Original creation. But if you need inspiration try girl groups of the 60's. Like Leader of the Pack by The Shangri-Las.

Nicknamed The Maidens of Melodrama due to their haunting songs and ballads. This song touches on the importance of the tobacco industry in West Phoenicia which is in the Top 5 of their major exports.

This will be The Confederate Kingdom of West Phoenicia's debut in the WorldVision Song Competition.

The Ice Palace Stage is dark and silent. Whispers run through the crowd.

A small red flame appears, it glows and moves around in a small circular motion.

A feminine voice with a hint of sadness is heard is heard throughout the audience of those in the Ice Palace and those watching from outside.

"Just one more puff I’ll be right"

The sound of a car reving it's engine floods the arena.

The lights flash on and off like car blinkers before turning on.

The huge telescreens at the back of the stage display a scene of a 1950's Drive-in Movie theatre. Parked cars in the foreground watching a large movie screen showing an ad for the Refreshment stand.

A lone female stands on the stage, hair done up high in a beehive, and wearing a bubble gum pink poodle skirt, Peter Pan blouse and saddle shoes.

Cigarette in her right hand. She takes a drag letting out a stream of smoke as two girls in matching beehives and powder blue poodle skirts walk on from stage right sucking on lollipops and whispering as they approach the lone girl. One moves to stand behind her on her left side, the other on her right.

“Girl you look so happy you could be in heaven"
“That’s cause I met this boy at the drive-in”
“Did he take your hand and walk you to the stars?”
“Kinda, we went back to his car”
“Did he buy you popcorn and soda pop?”
“No but we danced the mashed potato and turned the radio off”
“Tell us Missy, tell us the lot”

[The two girls lean in as they begin to sway their hands and hips]

“My head was spinning I turned real hot”
“He leaned over to kiss me I thought I’d just die”

[Main singer touches her lips in remembrance]

[ The other two girls swoon and ooooh at the words]

“I remembered Momma’s homemade apple pie”
“I remembered the first time I tasted it I just cried”
“The same thing has only happened twice”
“Do you swear to the Lord, tell no lie?”
“I swear this boy gave me wings and made me fly”

[ She stretches out her arms and does a small skip towards the front of the stage.]

{The two girls follow each doing a cartwheel]

“What do your folks think of him, did you get a name?”
“Ma and Pa don’t like Johnny in any way”
“They told me I had to dump him the very next day”
“Girl this love is real intense and strange”[Friend 1]
“Was he great, did he behave?”[Friend 2]
“He was pancakes and lemonade”

[ She looks at the audience with sadness. As she takes another step towards the end of the stage]

In a higher pitch she wails with tears in her eyes.

“But I gave Johnny up don’t ask me why”
“Why?” “Why?” “Why”
“Ma and Pa won’t buy, buy, buy…”
“Why?” “Why?” “Why?”

“I had to choose between my cigarettes and my guy”
“I knew it was wrong but I had to win”
“Maybe it was wrong, maybe it was right”
“Just one more puff I’ll be right”
“No more tears to cry”
“Another empty wet pack tonight”

“You chose cancer sticks over your one true love?”

[ Both her friends shake their heads in disgust to the audience]

“Johnny was my drizzle of honey, my white dove”
“He was hot love gravy in my hot chilli soup”
“He was at the drive-in, in his hotted up Ford Coupe”
“All the girls would stand and drool”
“They wanted to be with Johnny too”
“Until my Ma and Pa made me choose”
“Between my ciggies and being a love sick fool”

[Main Singer fumbles for another cigarette lighting it before she wails with tears]

“But I gave Johnny up don’t ask me why”
“Why?” “Why?” “Why”
“Ma and Pa said they wouldn't buy, buy, buy…”
“Why?” “Why?” “Why?”

“I had to choose between my cigarettes and my guy”
“I knew it was wrong but I had to win”
“Maybe it was wrong, maybe it was right”
“Just one more puff I’ll be right”
“No more tears to cry”
“Another empty wet pack tonight”

[Main Singer takes a long drag. Before tossing it to the floor. Stepping on it]

“What did this boy do when you gave him the news”
“I told him after I did my make-up and rouge”
“My poor Johnny got real angry like cheese slipping off its cracker”
“Girl the way you talk of food and boys I’m surprised he didn’t smack ya!”

[Her two friends fold their arms, shaking their heads]

“Johnny wouldn’t do that, we had a connection like cotton candy and apple sauce”
“Huh? Are you for real? Your acting like an unhinged door”[Friend 1]
“That’s true this boy done you nothing but right”
“And all you gave him was a nasty bite”[Friend 2]

“But I gave Johnny up don’t ask me why”
“Why?” “Why?” “Why”
“Ma and Pa won’t buy, buy, buy…”
“Why?” “Why?” “Why?”

“I had to choose between my cigarettes and my guy"
“I knew it was wrong but I had to win”
“Maybe it was wrong, maybe it was right”
“Just one more puff I’ll be right”
“No more tears to cry”
“Another empty wet pack tonight”

[Main singer tries to light another cigarette, but her lighter wont work]

“Look I will tell him I’m sorry, just give me a light”
“You’re doing it after you put that cigarette in your mouth, right?”
“Yeh I just need one more drag to get me through”
“I wanna make it up to Johnny I need too”
“I just can’t believe what you did to him”[Friend 1]
“What you did should be a deadly sin”[Friend 2]

It’s not my fault my parents made me dump him”
“Now I’m feeling like a Halloween pumpkin”

“But I gave Johnny up don’t ask me why”
“Why?” “Why?” “Why”
“Ma and Pa won’t buy, buy, buy…”
“Why?” “Why?” “Why?”

“I had to choose between my cigarettes and that guy”
“I knew it was wrong but I had to win”
“Maybe it was wrong, maybe it was right”
“Just one more puff I’ll be right”
“No more tears to cry”
“Another empty wet pack tonight...."

[Main Singer cries out as she drops to her knees on the stage. She raises her head to look out at the audience]

[Her two friends shake their heads and slowly walk away as the stage slowly fades to black.

The sound of a small click is heard and all that can be seen is a red amber appearing.

by **Alinghi Federal-Democratic Republic** » Sun Jul 17, 2016 2:35 am

9. ALINGHI FEDERAL-DEMOCRATIC REPUBLIC

SONG: Ulula grande lupo
ARTITST: Nature Chorus
TUNE: https://www.youtube.com/watch?v=PZUpUCvA_Tc

The song are dedicated to our national animal, the Alingan Wolf.

In the stage ehre are a sort of leght eruption at the initial rithm, after when chorus became to sing in the back gorund where are the forest image

La su in montagna c'è un anima-leeee [up to the mountain where are an animal]
forte, maestoso e fie-ro [Strong, Majestic, and pround]
con il suo manto bianco e lo sguardo fiero-oo [with his white mantle, and the pround look]
è il guardia-a-no della nostra foresta[he's the guardian of our forest]

Immedantly two men enter with addomesticated alingan wolf

E' il grande lu-po [This is the great wolf] <the mans indicate the wolfs>
che ulula per no-ooi!!! [that howls for us]
Faa-cci se-ntir [let us hear]
il tuo grande ululo [the your great howl]

when the man becam to do "aaa aau" the wolfs became to howl (you must imagine this sorry)

aaa-aaa-aaa-auuuu
aaa-aaa-aaa-auuuu

now the only the solo singer were lighted up

tu va-ghi per la fo-re-sta [You wander in the forest]
sei il gra-nde do-mi-na-tor [you are the great dominator]

suddently the chorus and the two wolfs were lighted up

sei il gra-nde do-mi-na-tor [you are the great dominator]
di ques-ta gra-nde te-e-eeerra[ of thi big land]

Ulula per noi, [Howl fou us]
gra-nde lu-po, [great wolf]
Si fie-e-e-ero [be pround]
no-stro gra-nde lu-u-u-po [our great wolf]

Ulula grande lupo [Howl! great wolf

The singher before they leave the stege say Thank you Electrum, and the great wolf greet to you

by **Britonisea** » Sun Jul 17, 2016 2:39 am

BVC ONE
The 49th WorldVision Song Contest
Brityunik Vefecosoin Cairkovoin

Live Coverage of the 49th WorldVision Song Contest in Prescott, Electrum with Daniel Richards and Tess Phillipa

Tess: Hello and welcome to the 49th Coverage of the wondrous WorldVision Song Contest. This is Tess Phillipa, back from a break, and I am joined with Daniel Richards! Daniel?
Daniel: Hi, I am here. I'm a bit scared of this place, Tess. After my comments last edition around the song from Electrum, there has been mass distaste for me! A man threw a tennis ball at me!
Tess: To be fair, we were in a public park sitting on a bench outside the tennis courts.
Daniel: That doesn't justify what he did! Or she, whoever it was.
Tess: I think it was a man...anyway, did you miss me!?
Daniel: Don't ever leave me again!

Tess: In store for you tonight, we got a few Ultimaversian nations participating - actually, let's get on to that.
Daniel: What about it?
Tess: Well, you see, ever since the Ultimaversian Treaty was signed, they have been very patriotic when it comes to WorldVision - I don't know. Maybe it's just me.
Daniel: No, in fact, it's probably the region's most pride possession. Ekoz hosting the first WV, and Britonisea winning it. I think they see it as a good'un.
Tess: I see. Well, we got one at 4th, 14th, 15th, 20th and 26th. All spread out. What's more, after 20 editions, MRX has finally released that they're not sexist!
Daniel: Congratulations to the them b-
Tess: Well, Daniel. They are sending their first female soloist! Oh how I am so excited for that news!
Daniel: Yeah. Well, I'm not quite happy with the standards of songs this edition. There were a lot of songs in the national finals that didn't get through. It makes me really sad. I cry.
Tess: We are just going to have to get over it.

Daniel: Today, we are in for a treat! 3 SONGS! From Electrum. I understand that Electrum looks up to them for everything, like hosting a WorldVision, or our brilliant tennis skills (they seem to lack-
Tess: Daniel! That's rude! They're faaaaaaabulous.
Daniel: Oh don't get me started on The Sarian!

Opening Acts

Daniel: Right, so we just had a long opening act.
Tess: It didn’t really feel like a big party that it was supposed to be like, but okay.
Daniel: The songs did sound a bit old, but Electrum is correct.
Tess: Sorry?
Daniel: WorldVision finally is here! WorldVision learning about the world is what’s best!
Tess: I don’t like those sentences.
Daniel: So negative today, for some reason - calm down Tess!
Tess: *Grunts*
Daniel: Let’s get on to the real acts now, at least Electrum left a benchmark for the WV50 hosts to beat, and speaking of WV50 - we are bidding again!
Tess: How lovely, who are we up against?
Daniel: Polkopia…
Tess: Great. In my opinion, I think that Polkopia sho-
Daniel: At least we got a mention!
Tess: You just interrupted me...
Daniel: It’s Act 1, from Talvezout. Talvezout hasn’t been doing the best in the past few editions, so, they’re hoping to regain some of their previous top finishes. Good luck me’ol mates!

Tess: It's been a long evening - but it's time to vote!
Daniel: You don't have long, so please, go to your phones now!
Tess: You can have 3 free votes from the BVC- WorldVision made app but votes after that, and mobile texts cost 15p per vote. Calling from a mobile device may cost 30p per vote and from a landline is 35p + your contractors fee!
Daniel: The scores from here will be reduced to the size of Estogium's and the Estoge and Brito results will be added together as one.

Start Voting!

by **Ardoki** » Sun Jul 17, 2016 3:05 am

10: Alistair Killian Moriarty — Ardoki is the Greatest!
Tune: Modern Talking — TV Makes the Superstar

Alistair Killian Moriarty, Former President of Ardoki.

Alistair Killian Moriarty, the former president of Ardoki, and Ríona Keeva O'Brien, the former premier of Ardoki; had just got back from the IFC council, after their arrest for crimes against humanity and war crimes. They would never miss out on performing at WorldVision! Moriarty would sing a lovely song, about the greatness of Ardoki. While O'Brien would lead Elder Dance Crew (EDC) as the back-up dancers. Hopefully, this song would redeem them in the eyes of many Ardokians.

As the introduction started, smoke machines blew a heavy fog onto the stage. Moriarty could be seen centre-stage, with the silhouettes of O'Brien and EDC visible at the back.

Moriarty then started singing the first verse as he walked forward to the front of the stage. O'Brien and EDC followed him, swaying their arms to the left and right as they clicked their fingers.

It is the best
In the whole world
Our Presidents are very wise
And so just, oh yeah
Our GDP is up
And never down
And our living standard is
Record breaking
Our people are great
They are altruistic
Our state is just like heaven
We are the best, oh

By now, smoke had filled the entire stage, though the performers were still visible; red and blue lights were shone on the smoke to paint the stage area in the Ardokian national colours.

Moriarty then sang the first chorus, as O'Brien and EDC jumped to the left and right while clapping.

Ardoki is great
Ardoki is greater
Ardoki is the greatest
In the entire world, oh yeah
Ardoki is great
Ardoki is greater
Ardoki is the greatest
All should be like us

Moriarty sang the second chorus, as O'Brien and EDC waved their hands in the air while jumping energetically.

Ardoki is the best
It's a utopia
Social democracy
Republicanism
Secularism
Progressivism
Ardoki is the best
It's a utopia
It's a heaven on Earth
It gives us human rights
And democracy
Plus public services

Moriarty then began to sing the second verse as he quickly moved to and fro; O'Brien and EDC copied, though even faster.

Join our Party
There's more than one
Countless opportunities
If you believe, oh yeah
You have a chance
To be equal
Everyone is
Just equal
Including me
We have public healthcare
And universal education
We have a nanny state
It will protect, oh yeah

Moriarty then sang the first chorus, as O'Brien and EDC jumped to the left and right while clapping.

Ardoki is great
Ardoki is greater
Ardoki is the greatest
In the entire world, oh yeah
Ardoki is great
Ardoki is greater
Ardoki is the greatest
All should be like us

Moriarty sang the second chorus, as O'Brien and EDC waved their hands in the air while jumping energetically.

Ardoki is the best
It's a utopia
Social democracy
Republicanism
Secularism
Progressivism
Ardoki is the best
It's a utopia
It's a heaven on Earth
It gives us human rights
And democracy
Plus public services

The smoke machines worked even harder, extending the red/blue smoke into the audience. Luckily, the performers were still visible.

Moriarty then sang the first chorus, as O'Brien and EDC jumped to the left and right while clapping.

Ardoki is great
Ardoki is greater
Ardoki is the greatest
In the entire world, oh yeah
Ardoki is great
Ardoki is greater
Ardoki is the greatest
All should be like us

Moriarty sang the second chorus, as O'Brien and EDC waved their hands in the air while jumping energetically.

Ardoki is the best
It's a utopia
Social democracy
Republicanism
Secularism
Progressivism
Ardoki is the best
It's a utopia
It's a heaven on Earth
It gives us human rights
And democracy
Plus public services

By the time Moriarty sang the final two lines of the song, the entire auditorium had been filled with red/blue smoke and the performers were no longer visible.

Ardoki is great
Ardoki is greater

When the smoke eventually cleared, Moriarty, O'Brien, and EDC were nowhere to be seen. Everyone wondered when and where they would reappear.

by **Antahbrantahstan** » Sun Jul 17, 2016 5:38 am

11. ANTAHBRANTAHSTAN

Kim Eunseo-Bahagia

Tune: ZOE-Loin D'Ici

WIP!

by **Kwadai** » Sun Jul 17, 2016 10:44 am

Song 12. Kwadai
Artist: Haya al Kuwari
Song Title: "Once Again"
Melody: Loreen - Sidewalk

Twenty five year old Haya al Kuwari, (often referred to as Haya K) is rapidly becoming one of the most popular singer-songwriters in Kwadai. She rose to fame originally due to her acting in several Kwadaian films, but has since released one album, "Unforgettable" with songs both in her native Arabic, and in English. Haya describes her song for WorldVision, as being a way of telling people it's ok to stand up for yourself, make your own decisions and learn from them.

The stage opened up with a vibrant, fast paced light show of flashing blue and white light, Haya could not yet be seen. This changed as the bright flashes ceased and gave way to a calm glowing pulse of silver light on an otherwise black screen. Haya could now be seen, wearing a loose, but slim charcoal grey dress, with her hair hanging loose on her shoulder. Now, it was evident she was sitting down toward the back of the stage when she began singing, her head turned away from the audience.

I was left in a world of black, white and grey
 Wondering what all of this was for 
I can understand what went wrong
It never was one drink too many

Haya remained sitting as she turned around to face the audience for the chorus, starting with a high note. The stage light up once more, with beams of white light falling down the screen to land on the woman. But now it could be seen that her dress shimmered.

But now, it's my turn to roll the dice
 I've decided
The road I'll follow takes a different direction 
You're deleted
There's no space for you in my mind 
There is no heaven for you my friend 
Time to open my eyes again 
Time to open my eyes again

Haya stood up now and began walking to the front of the stage which had changed colour to a glimmer of blue on the screen which still was black like it had been for the first verse.

When I think about it I can see
 You never really cared about what's right for me 
You turned me into someone else 
We all can see how you're ink has stained this part of me

Now that she was standing up, Haya became more lively and smiled warmly as she sang with cracks appearing as grey lines on black before bursting and washing the stage and audience in a bath of more white and electric blue.

But now, it's my turn to roll the dice
 I've decided
The road I'll follow takes a different direction 
You're deleted
There's no space for you in my mind 
There is no heaven for you my friend 
Time to open my eyes again 

Haya looked more solemn for the next part of the song with the stage reflecting this by dimming the lights.

You'd think when we were together
 I would have been calm and at peace
 But now I see I'm right to stand up 
I was down but now I'm back on my feet 
Once again...My eyes are open once again

As the song ended the explosive light returned with a few shots of fire appearing in front of the stage while Haya finished the song.

But now, it's my turn to roll the dice
 I've decided
The road I'll follow takes a different direction 
You're deleted
There's no space for you in my mind 
There is no heaven for you my friend 
Time to open my eyes again 

Having finished singing, Hays paused to let the audience cheer before speaking again. "Shukran!", she exclaimed as it was time for her to finish.

by **Izmedu** » Sun Jul 17, 2016 10:47 am

13. IZMEDU
Kalina Ercegovic - One Last Tear

With Ivana Jeroncic's entry for WV48 securing a much higher final placing than expected (a 4th place amidst a sea of 15th to 20th place predictions), RTI managed to successfully perform an excellent comeback for the country and put the nightmare withdrawal of WV47 behind the curtain. Moving forward, as a brand new team that, for all intents and purposes, has now set the tone for the next few editions of Izmeduan participation, was a process that started with an intent to look for a 'different' entry. The extent to what 'different' defined was not strictly on music, but also on the emotional energy that the future WV49 entry would hold. Ivana's recent success made it clear to the team that trying to emulate the days of WV42-44 were over, and that trying to hunt down a new Poslie Postojanje or a NemaMinorca/Konstanca combo would be in vain. Thus, a search was quickly initiated as Ivana was welcomed home. Entries flowed into the channel mass enthusiasm was spread around in the advent of Izmedu's return to the contest. RTI had discovered that many entries tried to emulate the structure and emotional energies of Ivana's 'Confessions.' However, one song from the pile of imitators and usual entries stood out... This was where Kalina Ercegovic was chosen.

Kalina was a singer with a 'special interest' story who RTI, a few editions ago, would never have chosen for fear of pandering and trying to fish for sympathy votes. The singer herself knew this too, knowing the story attached to the entry and the deeply specific experiences behind each carefully crafted, intentionally vague lyrics to 'One Last Tear.' Similar to an Izmeduan singer from the World Hit Festival (Emil from WHF22), Kalina's childhood was marked with the violent end to the Izmeduan revolution and its equally bloody and traumatic aftermath. This caused Kalina to have both a mother and father who were emotionally and physically distant from her, with Kalina effectively being raised by a series of associates that the parents knew and barely trusted the young Kalina with. The mother was a fighter for the Izmeduan Revolutionary Army, whose lingering traumas during the war caused her to be unofficially unfit to raise her daughter until later in life when Kalina would become a teenager. While the father was a poisonous personality whose love with Kalina's mother was built out of a mutual desire for survival, with Kalina being an accident that the father didn't want or need.

She was a product of a relationship broken at the roots and a country that, for better or for worse, that was undergoing tumultuous change. Throughout her childhood, Kalina knew only the anger and disappointment of having no one to care for her in her time of emotional and physical needs. She knew the transient friends that both parents pushed upon her as a necessity. She only knew life's inevitable traumas and its never-ending descents into misfortune. The only positives surrounding her was an exposure to music in her adolescent years during high school as well as a slowly healing relationship with her mother. However, one further event would break down Kalina's family and inadvertently jump start her music career all at once.

In the midst of publishing singing covers and making a name for herself, Kalina's father suddenly left the family. Not only did it re-open the old wounds of Kalina's childhood, it also caused the newly mended relationship between Kalina and her mother to be strained once more. As the burden of having to keep the family afloat now fell on both Kalina and her mother, what was once a passion pursued for creativity and relief became a job. Kalina, juggling school at the same time, made producing songs a number one priority as she intensely studied the Izmeduan pop scenes and the increasing influences of WorldVision on the musical landscape. Her age then, 16, was both a boon and a curse as she canvassed each and every record label that serviced her type of mostly emotionally raw but universally applicable pop.

By age 18, two years of consistent sending and self-promotion landed her a minor record deal with Crno Records, a local recording outfit situated within the small county of Sjever-Jeblenica. From this record deal was another upheaval, with Kalina forced to move to that county from her still ravaged seaside hometown of Mersk, and herself having to leave the only family's she known. With secondary education out of the way, Kalina spent the next year dedicating her entire life to her first album. Titled Unwritten Stories, it was largely an album that was directed towards universally emotional songwriting and tapped into the the first phases of frustration, breakdown, and sadness. It was an album that was built for the uglier emotions in passion, and was thus somewhat derided for lacking emotional nuance. However, Kalina had inadvertently raised the profile and, through the public responding well to the material, Unwritten Stories charted #2 in the album charts with many songs proliferating the Izmeduan Top 100 singles on the basis of song sales alone.

The stress of celebrity life quickly got to Kalina, and without much of a trace to even her record label, she disappeared from the music world for three years. “One Last Tear” marks her comeback not only to the Izmeduan public, but perhaps a comeback to normality. In an imposed self-exile, Kalina had been figuring out ways to try and deal with her unflinching and intense emotions through intense avoidance and self-care, but realized that each method she had deployed only worsened the intensity of the emotions. In the thick of dealing with the overwhelming strain of never-ending grief, Kalina re-traced her purposes of becoming a singer... In the process of doing so, she allowed herself to tap into the creative parts of her craft, the passion beyond just doing it as a job. She allowed the emotions to course through her mind with genuity and without inhibition. She allowed herself to truly feel sadness for the first time in her 3 to 4 years working in the music industry...

Now, in Prescott, after having to go through a barrage of doubts placed against her as well as the usual troubles of being the Izmeduan entrant, she was prepared to finally step onto the Electrumite stage. After the criticisms of being too similar to Ivana Jeroncic in regards to song style, the excessive despair and anger in her song, and being considered the wrong choice for the country, she was standing before the stage in Prescott, feeling the cheer of the crowd in anticipation for the Izmeduan entry.

Heaving a sigh, she stepped onto the stage...

Stage lights billowed down to darkness in preparation for the Izmeduan entry, occurring among a loud cheer as the crowd recognized the nation to be one of the top 5 placers from the previous edition as well as the intense familiarity with the Izmeduan entries from the Electrumite crowd. This was not the first time that any Izmeduan has competed on Electrumite soil, but finally doing it in the WorldVision context was the real treat for tonight. The crowd quieted down as the soft piano notes of the Izmeduan entry began to radiate throughout the arena. The notes started off gentle, almost melancholy and reflective. At this moment, the camera cut to a view of Kalina being lit up by a faint spotlight, her face half-covered in shadow as the view back at home made it unclear which part of the stage she was on. Situated at one of the right catwalk, she stared at the camera during the song's mournful intro, before she brought down her face in preparation for singing...

The camera faded to a side view of Kalina, her form and spotlight shining against the total darkness of the arena, her eyes closed and rimmed with a slight tear. She was revealed to be wearing this outfit ensemble. The camera rotated itself slightly to her face similarly to some music videos that focused on such close ups of faces, her eyes opened as she began the first verse of the song...

I'm lying here damaged, all alone
Can't even feel the pain, it's too much
Don't know if I can live, feels empty
These moments of faith, all just lies

She sang the song to the camera, her mournful expression radiating grief as she looked down at the initial line of the song. At the second line of the verse, the camera began to move forward slightly, leading her towards the central stage are as the song began to slightly build. The camera then pans out slightly as Kalina faces towards the audience, the single spotlight on her being emphasized as the camera switched to far out views for a few seconds, emphasizing her singularity on stage. At the fourth line, she began to walk forward slightly, the camera switching to a side view accentuating the shadows of the light configuration.

The years of trust, the tears we shared, and the bonds we forged
You threw them away like dirt

She stood in place as she sang the chorus of the hook, the camera slowly encircling her before zooming out after one rotation as the song silenced itself briefly. Kalina's head down was solemn as astute ears could hear the song about to roar to life, the whirring of the chorus beginning to radiate through the Palace's speakers... The lights dimmed in preparation.

I won't cry for your love
Don't come back home, your deceit is all I know
You're just pure poison on my heart

With a slight dutch angle, the camera showed a view of Kalina stomping back in pure aggression, almost knocking the camera down with her hands due to its close proximity to her as she stepped back from the ferocity of her vocals. She belted out the lines, her head thrown back as her face was contorted with the raw pain from the song. At the chorus' start, the Palace exploded in pure white light. Each ring on the top of the stage was flashing with a solid, white background, lights dancing around Kalina as she passionately sang against the backdrop of these haunting lights, causing shadows of fog to appear around the stage that were concentrated near the rings. At some parts of the chorus' first half, she nearly bended down to allow her voice to radiate to the microphone, the camera catching the raw anger on her face.

The wounds you leave are still too raw
Even now they're unhealed scars
I won't cry for your love
The pain you leave kills me inside

She seemed to almost be acting out against the camera as a swipe on the fourth line caused the camera to suddenly rotate itself to the audience as she continued to passionately belt out the rest of the chorus. The light arrangement began to re-organize itself from the chaos of earlier and into a circular one, shining various spotlights on Kalina as she clutched her face on 'I won't cry for your love.' She began to step back to the screen behind her, stopping as she finished off the last words of the chorus, her face downwards as the lights began to dissipate from her.

(All gone...)
(All gone...)
(All gone...)

This was where the background vocalists took over as Kalina passionately controlled the stage through movements to the song's tempo, stomping her feet as she sang along at the second refrain of the post-chorus hook. During this, the screen behind her began to flash in solid white. At around the third 'all gone,' the screen began to 'tear' itself apart at the seams, dark miniscule cracks edging closer to the center as Kalian was imposed on that screen, with her downwards face front and center as she sang the vocalized 'gone' with the background singers.

I'd cry one last tear to let myself heal

She sang, almost spoke, this line softly, stopping her grooving as if grief overtook her, a virtual tear fell on the white screen behind her, represented by a black teardrop that almost dissolved the white screen as it made contact with the center. A splash of dark color, similar to a close-up of a teardrop in slow motion, occurred at the moment the screen's watery tear made 'contact.' In consequence, the screen began to dissolve into a chaotic image of static. Regardless, the paper-like tears that developed from 'all gone' only served to appear like cracks, placing a literal emphasis on the line Kalina just sang.

(Cried out...)
(Cried out...)
(Cried out...)

Lines of teardrops against the literal tearing of the screen as well as its dissolving existence began to dominate the screen behind her as Kalina could only helplessly there, walking forward to center stage holding her head. The lights began to slow down their parade of chaos as the screen stabilized itself from the tear and the static, mending itself to an image of a house's wall in black and white. A quaint domestic scene that was also continued with the floor screens being suddenly transformed into wooden floors. The lights suddenly disappeared as the song softened, with the camera emphasizing Kalina's heavily breathing form against the screen with a wide stage view.

Taking it day by day, just step by step
But you're everywhere I go, just leave me
Punched the wall and screamed out, go away
Why can't I be left alone? Why this?

The domestic scene on the screen was one marked with disorder, showing a pictured that was crooked, tapered walls that were beginning to rot away, and punch marks on the walls with dark stains surrounding those marks. At the second verse's start, Kalina contained her anger and hurt to reflect the sudden melancholy of the song's shift in tone, with the camera suddenly closing in on her face as she sang. A few strategic shots, especially around the third line, shots allowed Kalina's face to give off the illusion that it was situated right next to one of the punch marks on the walls, her anguished face looking down and her fist grabbing the microphone in a vice-like grip that was almost filling a hole that was left on the screen. Kalina began to step back as the verse ended, letting the camera zoom back in response as it began a brief bird's eye view of her standing against the virtual wooden floors of the stage, with dark spots representing fallen teardrops corresponding to the area she roughly walked.

The years of trust, the tears we shared, and the bonds we forged
You threw them away like dirt

The camera maintained its bird's eye view on Kalina as she sang the hook once more, the white lights that pulsed throughout the song beginning to fade once more as the scenes remained on the screen. At the last line before the chorus, the camera faded to a view of Kalina's face, singing and reaching out for the camera, making a fragile accusation towards the direction of the audience.

I won't cry for your love
Don't come back home, your deceit is all I know
You're just pure poison on my heart
The wounds you leave are still too raw
Even now they're unhealed scars
I won't cry for your love
The pain you leave kills me inside

She launched herself into the chorus with a fervor that was perhaps even more intense than the previous refrain, pushing beyond her emotional and performative limits to unleash the most powerful belts that she has on the first few lines. The camera suddenly made a quick zoom out as it surveyed the entire stage from an upwards view, the Palace's lights beating down on Kalina in a circular pattern as she passionately belted the words against the slow destruction of the domestic background. The house on the screen began to 'time lapse' into further disarray. The picture that was crooked began to drop on the floor, the walls that were rotting began to display signs of dry paint falling on the floor, and the punch marks on the floor proliferated after each time lapse frame that would remain for the whole chorus. As Kalina passionately stomped on the floor, one could see the tear stains getting larger as if the physicality of the floor turned into a picture, with both stains and literal tears beginning to proliferate as Kalina held her chest at some opportune moments. The camera, in occasion, caught specific close-ups on the fourth line of the chorus, her face contorting to the physical and emotional pain of the vocals that, despite its visibility, remained unwavering to the pressure. As the chorus finished, Kalina stepped forwards closer to the audience as the domestic background on the back screen continued its own self-destruction, three strategic, equally spaced, paper tears appearing on the screen as she belted out 'I won't cry for your love' and the ensuing final line, almost bending down as if singing directly to an audience member.

(All gone...)
(All gone...)
(All gone...)

Kalina stepped back onto the floor screens, grooving to the song's post-chorus as the background singers gave her some relief through the constant vocalizations of 'gone.' The white lights remained flashing to the beat as they scattered through the arena, the scenes on the screen making their transitions into an empty room in black and white. The camera made several revolutions around Kalina as she is seen vocalizing with the background singers without her microphone on her mouth.

I'd cry one last tear to let myself heal
(Cried out...)
(Cried out...)
(Cried out...)

As the song closed out its post-chorus section, the camera caught a solemn moment of her looking down on the floor as she sung the song's calling title, her eyes closed as the camera switched to a bird's eye view of her imposed on the floor. There were clear stains, scratch marks, and dark marks etched on it as she made movements on the floor. Each movement became slower as the grief from every vocalization of 'cried out' from the background singers caused her to move slower, almost to a standstill. Tied to each passionate but lethargic movement saw the visualizations on the floor screen becoming worse. Each stomp only proliferated the tear stains as fresh ones were created at each and any movement, as well as her stomps causing virtual marks on the floor.

You've left me broken and stained with anger
All the love I paid and the faith I spent
Every inch of my body burns in grief, I cry...
You repay me with silence...

Imposed on the empty room, with the camera attempting a new favorite tactic of the Izmeduan staging team by setting itself in front of her face from the neck up, Kalina's expressions were brimmed with defeat during this bridge, her vocals laced downwards as she looked like she would give out at any moment. Despite this, she pierced the camera by pointing at it, emphasizing the 'you' towards both the audience at home and in the arena. Her free index finger seemed to shake as her solitude was accentuated by the lack of moment from her part, the derelict room almost seeming to swallow her as the song's bridge closed out to a quieting moment. The lights died down as she sang 'you repay me with silence,' the camera slowly zooming out of her, the radiating light of the screens only remaining as the only sources of visible light.

Cried out... Cried out...

The camera faded to a sideways view of her face, slowly rotating against the shadow of light that was created on her face. Her eyes looked closed as she soft sang, 'cried out' twice. One with a fragility that betrayed the intense emotions about to pour out, and another sounding almost like a cry that was lost to any sort of comfort. Sudden drum sounds can be heard as the lights flashed to that brief rhythm, and Kalina stepped closer to the audience. Each ring at the top of the stage flashed one at a time, from top to bottom, to that brief, fleeting, but impactful line of drum play that themselves looked like a literal tearing of the proliferated darkness around their general areas.

The pain you leave kills me inside

Kalina quickly belted out this line, a sudden barrage of lights even more intense from before came on as the entire arena was lit in a bedlam of lights. In a brief flash, those lights were gone as Kalina belted out the song's glory note. The camera maintained a mid-view of her passionate, almost ad-libbed belting, with her crouching down from the raw power that was necessary for the note to be unleashed. She stepped back away from the audience as she visibly looked pained just from the note, holding her chest as the song entered its parting moments.

(All gone...)
(All gone...)
(All gone...)
I'd cry one last tear to let myself heal
(Cried out...)
(Cried out...)
(Cried out...)

In the thick of the chaos of the song's final moments, she quickly belted out the song's calling card as all the camera could do was survey the quickly devolving scene. The empty room began to slowly dissolve into a black screen, as the virtual teardrops on the stage floor only increased in intensity as the background singers carried the song to its near-end. At the last 'cried out,' each light aside from the spotlight on Kalina faded as a discolored image of the empty room appeared on the back screen.

This is my last goodbye, all cried out...

The final shot of the entry was a close up of Kalina's face, singing the final line directly into the camera. Her exhausted face parted the entry as the song closed off with these solemn lyrics and fading piano notes. At the song's close, the spotlight on her faded as an outline remained visible.

The cheer from the Electrumite crowd, especially from the Izmeduan contingent present, almost shocked her into being unable to move. She simply stood there, trying not to break down in front of the audience as Kalina pinched the middle of her nose. She then made a kissing motion to the crowd as the passion and energy from the crowd broke down her walls. There was no point in even hiding it under a facade as she visibly cried.

“Thank you so much...” Her voice croaked, cracking at the end as she walked slowly backstage, not wanting to delay the next entry.

by **Estogium** » Sun Jul 17, 2016 11:24 am

#14 Estogium
Elektroe - "Ultrasonic Sound"
Tune : Barei - "Time To Fight"

"Ultrasonic Sound"

The News Release;

Rumours of Elektroe coming back to WorldVision Song Contest has finally come true, and the fans of Elektroe will probably jump and down wherever they are when they find out she is coming back to sing her song "Ultrasonic Sound" which is a song about, not necessarily a partner, but a friend that you love ever so much or anyone who is very important to you. In the song, it has been describe to have a lot of metaphors and it has a bit of cheekiness of her song back in WorldVision Song Contest 43, where the song placed 4th place ¹ - which was the country's highest place until it was broken last edition by amazing Ellie Morgent who sang the song "Healer."

Back in WorldVision 43 she was picked because;

Elektroe was chosen to sing for Estogium for the following reasons;
She is in.
She sings fun songs that can lighten up the mood.
She always make the venue she singing at perfect to her.
She wants the audience to have fun.
She is on point with her vocals.

You may be wondering who is Elektroe? She is one of Estogium's most successful artists, who has (now) kindly represented Estogium 2 times.

The stage was dark at the moment. There was a lot of pressure on Estogium to live up to expectations, as the country came 2nd to Polkopia last edition, in the WorldVision 48. Elektroe lowered her facing the floor and looking in to it with fear, but excitement. The instrumentation started and 2 dancers from each side (4 in total) came in with rags, long rags and draped the stage with them.

Panasonic Light,
And Supersonic Flight,
The Dark manger of the night,
Multi-coloured flying kite,
Wrap your arms around me, touch around me, feel around me, lift your spirits up.
Up-up.

On the screen behind, there was a flying kit in front of a sky, of which looked like a light blue colour and on the side of the stage, you could see a bright light like the sun. Elektroe then moved more to the front, nearer the eager audience who were chanting her name. She smiled and began to sing the next part;

A Cosmic Ray,
On A Summer's Day,
No Clouds high in the sky,
Making me feel alright,
Your spirit lies with me, never leaves me, it kisses me, and holds me real tight.
Oo-oh.

A male came on stage. He was wearing ordinary closing - blue jeans, a white T Shirt and white and black shoes. He stood behind Elektroe and held her stomach, and with that Elektroe looked at him and smiled, while putting her hand on his hand. A bond between the two lovers grew. Putting your hand on your stomach could mean that you're pregnant - and from this action, live feeds started speculating whether Elektroe - at her age - was pregnant. Probably should mention that the man is the boyfriend of Elektroe, Harri.

Ultrasonic Sound, My Ultrasound,
Heal me from medical impairments,
Stay with me till the end.

When she sang "Ultrasonic," big ripples (as if you were throwing a stone in to a lake) spread out across the floors and the stage LED screen behind. The stage turned in to a water box, you could call it. Elektroe ran on the spot, as she felt the music run through her veins and her body. Harri moved off the stage and as he moved off, the camera (a mobile camera) swung around him and he smiled and winked at it.

Fight with me night on end,
You're more than a friend.
I may can't hear you right,
But you're in my mind.

The lights went blue, they flashed on and off. Elektroe was in the middle of the stage, where the light was more focused on. The camera faced Elektroe to the point where you could see her face and her neck down to her waist. She was tightly holding her microphone, and looking at her, she looked very innocent.

Pan-a-sonic.
Super-a-sonic mate.
Ultr-a-sonic.
With me 'till the end.

The camera shot was then from the corner of the arena, and as the song goes on, we would get closer and as we got closer, we got faster too.

Faster than jaguars,
Even faster than the cars,
Beating hard like the heart,
Bulls-eye with the dart.
You're not describable, non-comprehensive, my mind gon' sick, twirling in the mix.
La-La-La-La

The stage then brightened up from something quite dark in to using bright blues and and bright yellows. Elektroe felt in the song, but only a bit. She felt as though something more needed to cheer her up.

Ultrasonic Sound, My Ultrasound,
Heal me from medical impairments,
Stay with me till the end.
Fight with me night on end,
You're more than just a friend.
I may can't hear you right,
But you're in my mind.

The lights then flashed on and off in lights, in rows similar to the one in this video but in the colour blue. Elektroe was joined with Tens of people who cart-wheeled, jumped and ran on the stage as if we were at a kid's play ground. They were wearing all the colours of the rainbow.

Woooaah!
Mine!
Ahhh
Ultramaniac!
Ahh-Ahhh-Ahh--Ahhh
Mine!
Ahh-Ahhh-Ahh--Ahhh

After that quite exciting section of the song, where everything built up. The staging calmed down a bit and the stage's lights turned to a disco orange and purple, dancing and prancing around the stage keeping the mood up and happy.

Ultrasonic Sound, My Ultrasound,
Heal me from medical impairments,
Stay with me till the end.

Elektroe was ready for the last part to her song. She felt a little bit breathless and her face was a bit red, but she ignored her tiredness and continued to smile, like the professional she was. Elektroe winked at the camera and raised the microphone to her mouth and began singing the next part to her song.

Fight with me night on end,
You're more than A friend.
I may can't hear you right,
But you're in my mind.

"Thanks!" Elektroe smiled, she thought she did an okay performance to do well in this edition. She was feeling poorly all throughout the week and she needed to go to the doctors, but insisted that she would continue doing her work and making sure that she sent a good song to Electrum.

by **Bloodbath Generation** » Sun Jul 17, 2016 2:58 pm

15. Bloodbath Generation
Pink October- Seara (Night)
to the tune of Barbara Opsomer- Je Sors Ce Soir

19-year old Caroline Leadsom, going by her stage name Pink October, won a hotly contested national final. Her song is pure pop, with lots of violins and pumping drum machine in the instrumental. It has been described as "competent", 'decent", and "safe". The delegation are, as said by HoD Argos Fehelen, "just hoping to not be disqualified".

The performance begins with a strumming guitar. The lights come on with the beat, slowly revealing Caroline sitting on a sofa, laid back with one leg over the end of the sofa. She is wearing a t-shirt, knee socks and soccer shorts. As the verse progresses, she slowly gets up and walks to the mic stand in front of her.

I cad pe canapea (I fall on the sofa)
este cinci după-amiază (at only five in the afternoon)
verifica telfon meu (I check my phone)
Snap niște prieteni (snap some friends)
viața este lumesc (life is mundane)
dar el mă sună și spune (but he calls me and says)

The background is a starry, nighttime scene. Dalia is standing, arms at her side, in front of the mic stand.

Vom rupe regulile (let's break the rules)
Noi bem mult de gin si vodca (and let us drink some gin and vodka)
Vă întreb sfios (but now you ask me)
Ce facem (what are we doing)
eu spun noi lua înapoi noaptea (I say we taking back the night)

She rips the microphone off and begins strutting down the sides, arms open, as if singing in the street. The camera captures her smiling at the male dancer, teasing him and being flirtatious (on a family-friendly level, of course).

La dans cu mie (dance with me)
Relaxaza te (loosen up)
Eu nu doresc zori să seara(I never want this night to end)

Să cluburiles (at the clubs)
uita problemeles (let's forget our problems)
Eu nu doresc zori să seara(I never want this night to end)

Ahhh....ahhh...ahhhh....
zori să seara( this night to end)

She begins to strut confidently down the left side. She smiles at the camera as two backing singer/dancers join her at each side. Shots alternate between her and wide views of the stage and audience, waving flags and flashing lights.

Cui î pasă dacă e târziu (who cares if it's late)
Cui î pasă de responsabilitate (who cares about responsibility)
ei pot aștepta (those can wait)
pentru ca noi să trăim viața (for us to live life)

The stage is now dark again, with three spotlights. One is in the middle, where the male dancer is now seen again, this time looking straight into her eyes, his lips almost at the mic. The other two are on the backing performers, four in total. They are also in the same intimate pose.

Vom rupe regulile (let's break the rules)
Noi bem mult de gin si vodca (and let us drink some gin and vodka)
Vă întreb sfios (but now you ask me)
Ce facem (what are we doing)
eu spun noi lua înapoi noaptea (I say we taking back the night)

Caroline is spun around, and is now wearing a tight crop top and shorts. She is clearly more comfortable on stage, now dancing around, jumping and encouraging the crowd, while staying fairly in tone.

La dans cu mie (dance with me)
Relaxaza te (loosen up)
Eu nu doresc zori să seara(I never want this night to end)

Să cluburiles (at the clubs)
uita problemeles (let's forget our problems)
Eu nu doresc zori să seara(I never want this night to end)

Ahhh....ahhh...ahhhh....
zori să seara( this night to end)

Ahhh....ahhh...ahhhh....
zori să seara( this night to end)

The performance ends with her jumping in the arms of her male dancer. With one arm in the air, and beaming with pride, she utters a final "Thank you, PRESCOTT!" and jumps back onto the stage. The Bloodbathian delegation, now bigger than ever, is going bonkers. The rest of the arena is giving polite cheers and applause, enough to warrant success.

by **Vettrera** » Sun Jul 17, 2016 9:05 pm

16. VETTRERA
STANDARD ERROR -"OPEN YOUR MIND"

Known for their eclectic videos and unique live performances, Standard Error was voted on both by the pubic and international community to represent Vettrera at the 49th Worldvision Song Contest. The song will feature the band playing on the peripheries on the stage accompanied by the performing arts group "Shadows". "Shadows" rose to prominence on the Vettreran talent competition "Variety Night". The group is known for using contortion and gymnastics to make startling and beautiful images out of their bodies.

When asked specifically about the message of the song, SE frontman Rodrick Bluth was happy to explain. "The song is about looking at the impossible and trying to see that there are things around us that are fantastic. It's a constant message in most of our videos. We've filmed in zero gravity, we've filmed as stunt car drivers, we just always want our music and our visuals to take the listeners and watchers somewhere new. "Shadows" as an organization works the exact same way. This song is mainly us introducing ourselves to the international community and letting them know what we're about, and I'm excited for everyone to see it. This is Worldvision, so you're not just HEARING something, you're SEEING something. We want to make sure everyone can key in on that."

The band performs the introduction to the song and then goes directly into the lyrics. The band is spread out among the edges of the stage where a large black courtain has been hung on the stage. Yellow Lights are shining at each of the individual band performers as well as the curtain. The dancer part of "Shadows" can be seen getting in position during the verse, and by the end of the verse have formed their first image.

It’s hard to have faith in what can’t be seen
But I just want you to take the chance
And make this leap down here with me
And even though I, know your vision is cloudy
At second glance, you’ll see my fantasy

The dancers then collapse back down to prepare their next scene. The lights change to shades of blue and gray. During transition the focus is placed back onto the band.

Just Hear Me

The "Shadows" dancers return into their new shapes, creating the image of a girl swinging from a tree. The group quickly exits off stage to prepare the next set of dancers. The colors shining also change to a shade of deep blue.

There’s nothing we can’t do, nothing we can’t be
Just hold on for the ride
There’s nothing you should fear, Nothing’s scaring me
Baby when I’m here holding you tight
Please Open Your Eyes
Just Open Your Eyes
Come Here and Make My Night
Just Open Your Eyes

The next group of dancers appear, this time attempting to utilize both hand shadows and human contortion. This time they create an image of a whale encounter

It’s true, my vision’s not as clear as it should be
But I know my instincts are still right
When there’s magic in all I see
And we may not always, be on the same page
There’s still no one else, with whom I’d rather spend my days

The color design remains mostly constant at this point, but the current crop of dancers is once again replaced. The audience focuses back on the singers and respond positively to the music.

Just Hear Me

The new set make a use of depth perception to show the next image which can be viewed here. At this point focus is mainly drawn on the band during transitions, but then shifts back to the dancers once they are actually in position.

There’s nothing we can’t do, nothing we can’t be
Just hold on for the ride
There’s nothing you should fear, Nothing’s scaring me
Baby when I’m here holding you tight
Please Open Your Eyes
Just Open Your Eyes
Come Here and Make My Night
Just Open Your Eyes

The dancers take a reprieve so that the audience can once again focus on the band. The entire stage goes pitch black except for dim lights being focused on each of the band members, all spread out across the stage.

The images I’m seeing
Have got me going crazy
But when I get to see your face
I know what I’m really needing

When the lights turn back on, different shades of blue once again fill the stage. Contortionists are the main focus of this piece, as they create the image of the girl riding the bike

Just Open Your Eyes

The crew leaves the stage once again so the audience can focus on the band.

Just hear me
Hear me,

The lights along the stage turn a brilliant shade of orange as the dancers prepare their final image. The final image is actually the simplest of the ones presented, and is performed near the begining of the verse. It features a couple dancing in the sunset. Near the end of the stanza "The Shadows" and their curtain and props have left the stage leaving only Standard Error on stage. The crowd cheers as "The Shadows" take their official exit.

There’s nothing we can’t do, nothing we can’t be
Just hold on for the ride
There’s nothing you should fear, Nothing’s scaring me
Baby when I’m here holding you tight
Please Open Your Eyes
Just Open Your Eyes
Come Here and Make My Night
Just Open Your Eyes

The lights slowly dim to black to close out the song, creating a contrast between darkness and the idea of opening one's eyes. The crowd cheers as Standard Error says thank you and exits.

Open Your Eyes
Open Your Eyes

by **Darkmania** » Sun Jul 17, 2016 9:56 pm

17 - Darkmania

A picure of Camilla and Chris some days after their wedding.

The song starts. Camera flies slowly over the stage. Its dark. There are some light on Camilla, but she is wearing a hoodie over her head.

Sometime i make a huge amount of misakes
And sometime these mistakes get to big
I made this mistakes for some crap
Help me heal my endless pain

Fireworks. The stage now light ups like this. Camila now removes her hood over her head, reviling her face.

Anywhere, any time
needing help, need your hand
making mistakes
Yesterday got away
Fallen off where you are
A helping hand i need

Send Me Some Help now
Send Me Some Help
So Send Me Some Help now
Send Me Some Help

Camera cuts to Chris, who is a DJ. He plays on a keyboard to the beat of the music.

Camera then cuts to Camilla stating in front of a 5m x 3m LSD Screen on stage. Her movements are copied by a shadow but mirrored (When she moves to the left, the shadow moves to the right.)

Remember me, no time it fix
I can hear your prayers in my mind

I've become what you cannot embrace
I need you to remove my endless pain

Send Me Some Help now
Send Me Some Help
Will you Send Me Some Help now?
Send Me Some Help

Camera then cuts to Chris. Half wat through the beat he shouts “Audience, stand up and let’s have a rave partyyyyyyyyyyyyy”. At the end, camera cuts to Camilla. She faces the camera while the camera goes round herlike this.

A-anytime
I need you
All the time
Help me now- now

Same movements, only the camera goes the other round her. She still faces the camera.

A-anytime
I need you
All the time
Help me now- now

With some fireworks, the song ends. Camilla and Chris kisses each another. After the kiss, that lasts 3 seconds. Both says “Thank You So Much. Darkmania Loves You!” The camera cuts to the postcard to the next entry.

by **Kishrael** » Mon Jul 18, 2016 6:09 am

18. Kishrael - קשראל
M'tikut - Try Me
מתיקות - נסה אותי
Language: English
To the Tune Of - M.O - Who Do You Think Of

M'tikut (a literal translation of the English for 'Sweetness') emphatically won the Kishraeli national final Kdam-WorldVision with 52 points, tying with Sabeen Feldt but advancing on the tiebreaker. Upon their victory the media was quick to draw comparisons between M'tikut and the last Kishraeli girl band to participate in WorldVision, Cinderella Ra'ah, who won in WorldVision 33 with their song 'Or Odem'. Cinderella Ra'ah also narrowly won Kdam so there's that. M'tikut were quick to dismiss comparisons claiming to be their own brand of relevant girl-pop and sass, but then completely contradicted themselves by hiring former Cinderella front-girl Jaffe Dikini as one of the delegation members responsible for performance preparations. Nevertheless it is undeniable that this experience will help them in selling themselves successfully on stage and in the charts to help them achieve the most optimum results, something which girl-bands have struggled in recent years to be able to achieve.

There is no overriding expectations within Kishrael for the girls to win, in fact, Kishraelis have been rather surprised at their poor showing within WorldVision since their return, Liora finishing in 9th position with just 67 points was a shock to many in Kishrael, both audiences and critics alike who thought she may be a contender. It is evident that the WorldVision music scene has drifted away from the ground with which Kishrael was most comfortable, and in experimenting with a more mainstream genre they are not as successful. Nonetheless they have persevered, and M'tikut are serving up a form of pop orientated music which is aimed at appealing to the most amount of people possible with its vanilla nature and mainstream sounds. This approach was successful as reflected by the national final votes, receiving the joint top amount of top scores (three) and the joint top amount of countries voting for the entry (eight out of twelve). Some have panned the song as repetitive and a poor addition to the Kishraeli WorldVision catalogue, others would say it's catchy, but ultimately it is the world that will decide when it is performed on the stage.

As the music starts the stage is dark, and the girls all sing in unison on the dark stage. The back screen flashes dark green palm tree motifs with a dull white light in time with the music and the thin strips circling that flash with dull camo colours. The stage however is still dark and nothing can be truly made out, also assisted by the camera angle which only shows the whole stage and no individual details.

Who is loving you, why don’t you try me?
Who is loving you, why don’t you try me?
Love me, love me, love me
Love me, love me, love me

As this part ends the stage bursts into colour, the background now shows the dark green palm-tree leaf pattern upon a lighter green background, while the curved LED screen shows a light brown camo pattern which is moving. A warm yellow-orange spotlight falls on the first member of the band to sing, Tamari Iahel. She was wearing something similar to this, (but rather than white it was more of a brown/orange/yellow/gold mix). She was sat on top of a wooden box which had a square chunk out of the middle, so Tamari was sitting on something of a ledge. The front and sides of the box were covered in meshed metal and had orange and yellow lights twinkling on them, climbing around the mesh similar to a trellis of flowers. As the camera shows a wider shot there are three identical boxes each with a member of the band sitting on their own box.

Like the overcast that covers up the sun
And hides the day from me, you are that one
Like the waves that are crashing hard against the shore
I don’t want to hear you crying of heartbreak to me no more

As the beat becomes faster another similarly coloured spotlight comes onto the box and girl on the right side, Natalia Riese. She is sat with her legs crossed and wearing something similar to this (but without those crazy glasses and not a shiny fabric but a more muted, cotton). Natalia moves her shoulders in time with the music in an up and down motion and then near the end of her part she turns to the side a sweeps her hand across her forehead before winking at the camera.

So I’mma drop it low, dutty wine make it touch the flo’, yeah
And you can let me know, if it’s what you want I’mma give it some mo’, yeah
The night is here so I don’t know what you waiting fo’, yeah
And you can let me know, ‘cause I don’t know what you waiting fo’, yeah

As the pre-chorus kicked in the spotlight finally shone on the middle box where Shani Mandel sat, dressed in this. She immediately hops off the box and marches forward as all the girls sing together into the microphone, all joining in the middle. The two girls either side of Shani both rest their arms on her shoulders and the camera focuses on them from the front.

Who is loving you, why don’t you try me?
Who is loving you, why don’t you try me?
Love me, love me, love me
Love me, love me, love me

As the chorus begins the girls begin bouncing around loosely in an unscripted fashion creating a colloquial feel to the performance. They look both at each other and then at the camera, raising their arms and casually pointing at the camera. As they sing the chorus an LED pattern of pale blue and purple is projected onto them as they dance.

So tell me who’s lovin, who’s lovin you-ou
Who’s lovin who’s lovin you-ou
Who’s lovin, who’s lovin you-ou
Why don’t’cha don’t’cha try me’e
So tell me who’s lovin, who’s lovin you-ou
Who’s lovin who’s lovin you-ou
Who’s lovin, who’s lovin you-ou
Why don’t’cha don’t’cha try me’e

Shani bounced to one side of the stage as the camera moved with her and she sang the next verse. The camera occasionally cut away to the boxes where women rose from the centre and moved in fluid motions in time with the music, remaining as a silhouette. The other two girls took their positions on the other side of the stage on the extended podium on the left hand side.

We could be the greatest starlight shooting in the sky
Baby only if you told me you would try, why?
Like the waves that are crashing hard against the shore, yeah
I don’t want to hear you crying of heartbreak to me no more

Tamari and Natalia look down the camera from above, grinding and dancing with each other as they sing the next part. As the pre-chorus begins both Tamari and Natalia and Shani all come to the centre to sing the chorus. The dancers are now out from the boxes and stand behind them in a line, six in total. They have a wide gate, standing with their leads spread past shoulder width.

So baby the fault is yours, the fault that I can’t sleep no more, yeah
Don’t make the easy things so difficult, yeah
So you can let me know, let me know when you wanna’ go, yeah
And you can let me know, if you do I will show you mo’, yeah

Who is loving you, why don’t you try me?
Who is loving you, why don’t you try me?
Love me, love me, love me
Love me, love me, love me

As they all sing the chorus they dance on one another in the centre, grinding and moving, as the dancers in the background all perform and dance in motion, which includes them 'dutty wining' and moving around in a circular motion. They all have long ponytails which look nice as they whip them. The camera now sees that the dancers are all dressed in leather body suits and dark make up.

So tell me who’s lovin, who’s lovin you-ou
Who’s lovin who’s lovin you-ou
Who’s lovin, who’s lovin you-ou
Why don’t’cha don’t’cha try me’e
So tell me who’s lovin, who’s lovin you-ou
Who’s lovin who’s lovin you-ou
Who’s lovin, who’s lovin you-ou
Why don’t’cha don’t’cha try me’e

Natalia then sings the next part, marching forward as the camera moves with her, the shot is of her and her shoulders. She wears a determined expression on her face, before stopping at the end of the stage and posing at the end of the stage as the camera continues backwards and pans out. Tamari then takes the verse from 'Yeah mama' and she moves in time with the music, using expressive hand movements and pointing at the camera.

So tell me who’s lovin, who’s lovin
So let’s go on a safari, to a land really far away
Where the predators, they are hunting their quarry
Yeah mama, maybe I’m drunk but I know that I want him
So baby can’t you see, why don’t you try me, try me

As the final prechorus begins the LED projections comes back over their faces and they stand completely still, the camera captures all their faces next to one another. They all sing in unison with their microphones held to their face at a right angle.

Who is loving you, why don’t you try me?
Who is loving you, why don’t you try me?
Love me, love me, love me
Love me, love me, love me

At the final chorus the stage exploded into full golden colour and the girls all jumped about on stage singing in different directions. The dancers did their dance from before in the background and the camera pans back to capture the whole stage.

So tell me who’s lovin, who’s lovin you-ou
Who’s lovin who’s lovin you-ou
Who’s lovin, who’s lovin you-ou
Why don’t’cha don’t’cha try me’e
So tell me who’s lovin, who’s lovin you-ou
Who’s lovin who’s lovin you-ou
Who’s lovin, who’s lovin you-ou
Why don’t’cha don’t’cha try me’e

At the end of the song the girls squealed "Thank you Prescott, we love you, we are loving you!" before bouncing off stage, still full of energy.

by **Normandy and Picardy** » Mon Jul 18, 2016 7:37 am

19 - Normandy and Picardy
Glore Manden - Ets Menídem (I Remain)
https://m.youtube.com/watch?v=rpbyZ-uyY8I
Alternate Link: https://m.youtube.com/watch?v=6a0O0lKmY0c

Despite the brilliant result last edition, NNN brought back the NF format for the selection of the Normand WorldVision entry. The reasons for this were unclear, although some sources claimed that all of the submitted songs were brilliant, that NNN wanted to give their viewers a choice or that they were just having a laugh; none of these have been confirmed. No matter the reason, "Qua Vola Ganta Pôr Neûmen" (Who Will Sing for Normandy") returned to ÇN1 (The main channel run by NNN, Çène Neûmene 1), with a list of Normand musical talent, from the ever popular Marco Alto, to former WorldVision entrants The Subtle Swords. In fact, there was only one unknown in the field, Glore Manden, and despite the odds against her she won the day, but it was very close between her and Marco Alto.

The only non-English offering at this year's "Qua Vola Ganta Pôr Neûmen", "Ets Menídem" is sung in the Almerid language, spoken in the former colony and now OTN (Normand Overseas Territory) of Almerdja, where Glore's parents came from; they arrived in Caen 22 years ago when Glore was born, and raised her in Caen as well. Throughout her childhood, however, she never fell out of touch with her heritage, living amongst the Almerdji community in Caen. She had a relatively comfortable childhood, as her father owned a large shop which was always full of customers, but sadly Glore was victim to racist abuse, mainly from the ethnic Normand community; this was at a time when racism was still commonplace, and in some areas it still is sadly, although the situation had greatly improved. Glore felt that she should sing in Almerid, to showcase the language and Almerdja to the world, and to show that Normandy and Picardy has moved away from the shadows of its past. The song itself is your typical sort of relationship ballad, and Glore trying to deal with the fallout of a bad relationship, and deciding whether to stick to it or not. Some have found alternative meanings, with the song perhaps referencing a decision of a Almerdji Normand of whether to stay in Normandy or not, or even being about a person choosing to commit suicide or not. No matter what, it is nonetheless a beautiful ballad.

As the opening piano instrumental plays, the stage is pitch black. However, as Glore begins singing, she is illuminated by a white light, with a slight hint of a pinky-red colour, that shines from behind her. It fades on and off with every line, until the first verse is done and Glore, in a long cream dress like this, stands at the front of the stage, her microphone now on a microphone stand.

Smèslet dharez (A million tears)
Ne matsonti smèjum (Don't make a smile)
Jenez dhygs tun phlenoseti em (Your poison fills me)
Myd dhgsbet anovyt ne delë (But there is no pain)

As she begins singing the lights, as aforementioned, stop fading on and off, and they are joined by the background, which shows a white wall that is cracking and flaking. The cameras pan around Glore who looks at the camera as she sings, reaching out with her hands.

Ets wídeewos dhgsolunes (I see the clouds)
Myd ets dhèjewos gseptaním (But I live in hope)
Jonu dheewes ets flekëwos (One day I'll fly)
Upiur phle (Above it all)

As the chorus begins, the wall behind Glore finally breaks revealing a black silhouette on a cream background, representing Glore, as the silhouette of a man walks away, before reappearing behind Glore's silhouette and stabbing it in the back, and it shatters into pieces. The cameras, whilst still showing Glore singing, focus on the background throughout the short chorus.

Ets menídem gynta delëum (I remain despite the pain)
Anti ets jeyl stàtem gsenta dhímorum (I will stand against the tide)

As the chorus ends the lights become dimmer once more, but the red in the light grows. The silhouettes in the background disintegrates, being replaced by a household scene, but one by one the furniture becomes scattered, and from the angle that the cameras are showing the stage, also highlighting the shadows and half covering Glore in those shadows, the scene seems to move towards the viewer, becoming less a room and more of a walkway of broken memories (think like Italy at ESC 2015, but a lot darker, if you're unsure what I mean by this).

Somënez em dhejitetí (The voices tell me)
Jan vedinæ (To go again)
Ets'yl khesetem anti tenet (I'll try and hold on)
Gsenta phlemoum (Against everything)

As the second verse carries on , Gore walks to the very end of the stage, her feet incredibly light and barely disturbing the layer of smoke that had now begun to cover the stage, before appearing to lay down something, by the lyrics presumably her heart; as if to assure the audience of this the lights became even more red. As she sings the last line the camera moved rapidly around and up above her, showing her face which radiates passion, as well as pain, as Glore really puts all her emotion and power into it.

Yneses fleeánti (The wind blows)
Phe ets ledjetwos níetë (As I lay down)
Kher dhygs ets, të sidjosa (My heart, so cold)
Ets bhresëtem (I shatter)

As the second chorus begins, a wind machine begins blowing from the side, and Glore almost seems to fight against it, as it brings a sense of disorder to it. However, the cameras ensure that Glore can always be seen, singing with force, yet also expressing a certain sense of fragility. The background remains the same, although the silhouettes, in various positions, can be seen faintly, almost as shadows of something darker than is already apparent.

Ets menídem gynta delëum (I remain despite the pain)
Anti ets jeyl stàtem gsenta dhímorum (I will stand against the tide)
Ets menídem gynta delëum (I remain despite the pain)
Anti ets jeyl stàtem gsenta dhímorum (I will stand against the tide)

As the chorus ends the lights return to fading on and off, once again only behind Glore, and the cameras look right towards her as she sings, turned away slightly from the camera so you can't quite see her full face. The background returns to darkness as it was. As Glore stops singing and the mini instrumental begins, the backdrop seems to shatter with a burst of flame, accompanied by slight pyrotechnic bursts that appear sporadically up until the final chorus. The cameras take rapid shots of the stage, from all sides and angles, and little red spotlights illuminate the smoke and seem to almost stab at it. By this point the lights have obviously stopped fading at this point, and have grown more intense.

Ets sentem tje, sentem pejom (I feel you, I feel alone)
Sentem dhydjèt (I feel alive)
Ets nejëm phlemoum, myd ets anose n'jelem (I need it all, but I don't want it)
Të ne dhejitez ets nejëm tje (So don't say I need you)

As the final chorus begins, Glore stands on a raised platform that wasn't apparent until this point, as the spotlights carry on, although the pyrotechnics have stopped. The cameras once again focus on Glore as she stands above everything, battling against the oncoming storm.

Ets menídem gynta delëum (I remain despite the pain)
Anti ets jeyl stàtem gsenta dhímorum (I will stand against the tide)
Ets menídem gynta delëum (I remain despite the pain)
Anti ets jeyl stàtem gsenta dhímorum (I will stand against the tide)

The lights fade as the song ends, and as the crowds applaud the entry, Glore can be heard saying "Talamar" (Thank You in Almerid), along with the usual Normand "Marci Esa"

WorldVision Song Contest 49 in Prescott, Electrum

WorldVision Song Contest 49 in Prescott, Electrum

4 | Ekoz | Eton Vørksaenaar - Silence.

6-South Bourbonstan

BVC: WorldVision Song Contest 49 | Prescott, Electrum

10 — Ardoki

14 | Elektroe | "Ultrasonic Sound" | Estogium WorldVision 49

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