BVC | 51st WorldVision Song Contest | Kyvivre, Britonisea

by **Britonisea** » Mon Oct 03, 2016 12:47 pm

The Entries of WV51 // The OOC Thread // Previous Contest // The bid

A BVC Production

6:30pm Britonish Time

Hello, welcome to the 51st WorldVision Song Contest which is being held in Kyvivre. This song contest is the second time in Britonisea after successfully hosting in Quickenden ten editions ago.

Currently, the arena is filling up slowly. You can hear the audience chatting and arguing about who is going to be the winner of the 51st WorldVision Song Contest. The stage is currently very dark. In the broadcast of BVC, they have just finished watching Lottery: The Winning Raffle and the winner won around £6 Brito Pound Sterlings, which is equivalent to around $11.2 million universal dollars! Congratulations to them.

The arena is mostly filled up, and it is 6.55pm and it is expected that the show will start at 7.00pm. As fans dash to their seats, a staff-member comes around with popcorn and drink asking the fans if they want a quick snack whilst watching the spectacle happening on the stage. The amount the people have to pay for popcorn and drink in this stadium is horribly high and the tourists are none-the-wiser so buy it anyway. When they take a trip to Britannual Foodstores, they will see that they can get x5 more popcorn for half the price. It’s 6.57pm now. The stage, which was once dark and unlit lit up and the arena’s lights turned off with only spotlights being the source of light for the audience, The staff-members dash out of the arena to see if they have hit their target of ripping tourists off. 29,000 people are in the arena, and it’s expected 21,000 people are from Ultimaverse, mainly from participating WorldVision nations. The rest are from all around the multiverse. It’s 6.58pm and the Britonish Delegation Head appears on the stage - the audience claps. “The WorldVision Song Contest is about to go live to the world in 2 minutes - and I’m sure we will have a fun time. Please, audience, show your gratitude to all participating countries and show exceptional support for the hosts alongside the crew as without them, this competition wouldn’t be here. Right. The timer is counting down - it’s time for the WorldVision Song Contest 51.” The audience applauded and the Head walked off the stage. It was 30 seconds until the WorldVision wait was over. Welcome, world to the WorldVision Song Contest 51...

The BVC Broadcast, who are broadcasting the competition showed the stage counting down from 20 seconds to 10 seconds before going full screen and counting down with the number in the logo.

Suddenly, you went inside of a packed arena of 29,000 people - but it wasn’t loud like you’d expect it to be. Is anyone home? The people at home were also confused. What had happened? Is this the first problem of the contest so far? No. The camera panned in, and as you got closer, you could see a light blob. 1 spotlight on this blob. As the camera came in, you could see her face. She looked as if she was out as see for a long time - her clothes were supposed to be white and crisp, but they were grey and creased. The camera stopped. She looked at the camera...There was a pause.

“Welcome to the 51st WorldVision Song Contest!” . She shouted as the stage dispersed into all the colours of the world. The theme music started to play as the voice over welcome the two hosts of the evening.. “Please welcome, on stage, Fedé Callahan and Mehkl Maddox Ajax" The two males came on stage in matching outfits, but Mehkl had white on and Fede had the black version on. As they walked further forward, they received a louder reaction from the audience. The stage suddenly turned plain with only grey, black and white (which on camera, fit very well with the staging) while the music stopped simultaneously.

Fedé Callahan // Mehkl Maddox-Ajax

Fedé: Welcome to the 51st WorldVision Song Contest! I am Fedé Callahan!
Mehkl: I am Mehkl Maddox-Ajax! We are pleased to have you here in Kyvivre, what a wonderful occasion!
Fedé: So, Mehkl...Why aren't you performing tonight? You did win the Mehlodhifehstivalhen de Brityunik...
Mehkl: I know, I did. However, I did participate in the World Hit Festival a couple miles down the road...*Cheers from the audience* and it just didn't work out for me. Therefore, I went in contact with my great friend Rigas. And well...
Fedé: Wow, that's interesting. Anyway. Tonight we have a great show for you. We have Mehkl singing his song for the opening act, we have last edition's winner coming back to sing in the interval - as well as myself singing my World Hit Festival song! *Cheers from the audience*
Mehkl: Right, okay. Let's get ready.
Fedé: It's Mehkl with his opening song, "Broken Fortune."

The Broken Fortune - Mehkl Maddox Ajax

It was a shame. Mehkl was supposed to be Britonisea's send off act for the 51st WorldVision Song Contest - but he bailed out after the poor result in Kyvivre a few weeks prior. He did insist on hosting the competition and singing his song instead - and BVC happily agreed. He then told BVC to accept Rigas Jengiz instead - and that went well. But here Mehkl was. He was still performing (which is the main thing.) Mehkl had taken his place on stage. The stage was, described by BVC, derelict. The stage was quite dark also, and the camera was far away from the stage. As the audience died down from cheering the Britonish entrant on stage, the audience had wondered why nothing was happening on stage. A dark, murky, brown colour appeared on stage and around the stage too. The colour was white and looked down on Mehkl, who was standing right in the middle of the stage. Looking at the floor of the stage, you could see that the colour was more burgundy than brown - though for the television viewers, this wasn't as noticeable. The music began to play, and it sounded very airy and weary. The camera started to move closer as he began to sing.

A secret chance,
A strong façade.
A hypnotising gift,
An overpowering trance.

For the television viewers, the only thing that you could see is the camera coming towards Mehkl, and as the camera came closer and closer, the lights moved in a pirouette to make it seem as if the camera was moving at a faster paste towards the camera, but in fact, it did not speed up. Nothing much had changed from the start of the song, and it seemed as if he was whispering in to the microphone, though loud enough for you to hear him - quiet enough to make you wonder and anticipate. Suddenly, as he was about to sing the next part, the stage behind showed dark pictures of Britonisea and people being locked up - modern day slavery. It was written as a cartoon, a black and white cartoon - but it wasn't comical, it was very serious.

A secret chance,
By no happenstance.
Somehow you see through the mist,
Stronger as you advance.

As he sang the words "Stronger as you advance" he got louder, and you could hear his roar, thick voice come out of him showing his pure anger. By now, the camera (around "By no happenstance") had came face on with him. He looked at the camera with no expression at all, though, one could argue that he had a look of distaste and disgust on his face - as if he was judging you. The camera coming towards Mehkl made it so that it seemed as if the audience was being approached at personally. Then, as he finished singing the next part, the camera zoomed out fast past, and the stage turned black and white from the deepest point of the stage - as if you saw a tree growing at a fast pace. He then held out one of his hands and as he sings, he tilts his head to the right - feeling the music through his whole body.

Why don't we have a chance? Why can't we be on top of the world too?
The precious talent you have, the talent we all lust after.
We admit the jealousy, of your legacy, of the enemy...
The broken fortune.

During the chorus, the camera panned from the left side of the arena, to the right of the arena. The accordion could be heard in the background, and the instruments seemed to get louder. Also, the screen had died down back to the murky brown colour and the camera turned back to his face. Similar to this showing, he continued to look at the camera. The camera would occasion tilt to the sides, too. The audience watched in awe.

A secret chance,
Maddening circumstance.
There's no risk-taking,
Leaping into the vast.

The bass instrument came in, and at every stop the camera would flick to a different view of the stage - which was of a church, an abandoned church. The colour was still distorted, and you could not tell what the actual colour of the decor in the church was. The camera, nor the staging revealed anything, and it didn't want to reveal anything yet. The audience were still wondering what was going on, as the staging intensified. The lighting in the arena still moved in a pirouette movement.

Far from our past,
Our lights glistened, at last.
Though it seems like weren't good enough,
We're the joker's dance.

After he had sung this section of the song, he was about to sing the next chorus. In previous years, Britonisea has used the 'whirlwind' technique which isn't used in other performances, usually. This year, the whirlwind wasn't of wind or leaves, but small cristalised particles in the air. As they started to fall from the ceiling of the arena - creating a winter, cold feeling of euphoria and nostalgia - they started to fall in a spiral way around Mehkl, who was standing right in the middle of them. The camera, a mobile camera, quickly moved around Mehkl watching the snow particles fall from the air. The audience in the stage cheered very loudly. They really liked this, especially as this was a Britonish act on stage.

Why don't we have a chance? Why can't we be on top of the world too?
The precious talent you have, the talent we all lust after.
We admit the jealousy, of your legacy, of the enemy...
The broken fortune.

The snow started to fade away before coming to a halt. The staging slowly impulsed the colour black and white as the next section came in to effect. As the next section came in, the camera looked at some people who looked as if they were dressed as monks in the dark. They were singing the next part of the song - making it ever more mystical and mysterious than it was already. This was the first time that Mehkl was fully out of the shot.

Hold us in your arms,
Nourish us in your glory.
We are in need of your saving,
Keep your enemies close.

All of the artists had joined him on stage in a line and all looked happy and excited for the upcoming WorldVision Song Contest.

Nothing can hold us back,
From rising to the top.
Nothing can hold us back,
We heed the subtle chants.
We admit the jealousy,
Of your legacy,
A misfortune.

In the last section, big powered sprinklers shot in to the air, and the brown colour in the staging faded in to the colour - REMEMBER - in six different languages; Britonish, English, French, Kalosian, Korean and Turkish. As he finished the song, the stern look on his face was still there for a second, before it slowly faded in to a smile. With that, he then walked over to Fedé and the camera zoomed out to look at all the acts on stage in the order of their performance.

Fedé: I'm really impressed, Mehkl!
Mehkl: Thanks, not everyone is born with the full package as myself.
Fedé: Yeah, well...Let's move on to all the acts, and get to meet them! Then we are going straight to the postcard of the first act and that's were the song contest begins!

by **Britonisea** » Mon Oct 03, 2016 12:48 pm

The Entries

Playlist of The Entries

01
ESTOGIUM
Postcard

02
MISTER X
Postcard

03
MISSUS X
Postcard

04
KANNAP
Postcard

05
DARKMANIA
Postcard

06
EKOZ
Postcard

07
POLKOPIA
Postcard

08
NORMANDY AND PICARDY
Postcard

09
ETHANE
Postcard

10
TALVEZOUT
Postcard

11
MERCEDINI
Postcard

12
ELECTRUM
Postcard

13
ADAB
Postcard

14
ZEGANAS
Postcard

15
GURORI
Postcard

16
BRITONISEA
Postcard

17
CHEONGJI
Postcard

18
KALOSIA
Postcard

19
ELECTRUM DIPLOMATIC OFFICES
Postcard

20
ARIOSLAVIA
Postcard

21
IZMEDU
Postcard

Commentaries

The Hosts // 2
With Mehkl Maddox Ajax and Fede Callahan - WorldVision 51

DaTV
With Jürgen Frÿdriksen - Darkmania

MRX // 2
With Robert Baxter & Sam Smith - Mister X

BVC
With Amedeo Arjan & Tess Phillipa - Britonisea

MSX
With Rick Leg - Missus X

LET'S WATCH PEOPLE!
With Miaria and Sukie - Kasanovakoratica

RTR
With Mathilda Sanford - Antahbrantahstan

Mehkl: Right, the nations are out and we are now ready.
Fede: Shame it was shorter than that of the WorldVision 41, the Opening.
Mekhl: Let's get on with it. Please welcome act 1, from Estogium!

by **Estogium** » Mon Oct 03, 2016 1:30 pm

#01 Estogium
Karjohan Kajetan - "Midsomer (Midsummer)"
Tune : Babou - "Manjana"
Languages: English, Old Britonish Latin (Title)

Karjohan Katejan is an Estogian artist who is representing Estogium in the 51st WorldVision Song Contest in Kyvivre, Britonisea. Only a few miles down the road, Karjohan participated in the 27th World Hit Festival - which also took place in Kyvivre (arenakyvivre). The competition went quite successful for him as he received 18 points which gained him 5th place out of a total 14 places. Estogium has not had such success in the World Hit, so for the nation to do well in that, Estogium was rearing to go when they put Karjohan to perform in Kyvivre. Not only that, but they had the equipment in Kyvivre and translating it to the new stage would be much easier as they could work with the people in WorldVision, who also worked with them during the World Hit Festival.

The song started after the postcard was played and as the postcard slid to the left, you could see the staging. In his opinion, Karjohan preffered the stage in the World Hit Festival due to space. However, he was fine performing in Kyvivre, again. He felt comfortable. The staging was nice and orange and he came out dressed in white, with his hear slick back. He looked like he was rearing to go and ready for the performance of his life.

Hekki, Lyvivre!! Midsomer, Midsomer, Midsomer!!

There were two loud bangs, and with those bangs, two steam puffed from the floor of the stage. The LED floor behind flashed from red to blue at every bang quickly and snappy. With that, the lights also changed colour in the opposite colours. For example, when the red flashed on the screen, the lights would be blue and visa versa. The lights then faded in to orange, and Karjohan came out wearing something new, and young. He was smiling when he came out and he looked like he was enjoying his time, eventhough he had just got on the stage. He came from the back - almost out of no where - and he came forward. He put the microphone to his face, and looked forward towards the audience - where the first of his many camera angles were located in the arena.

Eccentric feeling,
The fireworks in the air (ai-ai-air)
Emotion's reeling,
From the shock of this affair!
Our time has come now,
Though this doesn't last too long (no-no-no)
Enjoy, sway your hands.
Every good thing comes to an end.

When he sang "from this affair", the camera went to this man - who looked as young as Karjohan looked. He was on these drums, and as the next part of the song continued, he banged the drum - and with that, you could hear the bass guitar roll in. The song now sounded fuller and made some people in the audience have the chills, and made their hair stand on end. The staging still stayed the same, but, two lights at the top flashed white at the top of the stage. Then after, the camera went back to look at Karjohan front on. Karjohan looked at the camera with the same cheeky smirk he is renowned for in Estogium. Here though, you could see some people lingering at the back of stage and the audience started to wonder why they were there.

What are you scared of?
Enjoying the unique feeling!?
Come out and enjoy the sun (the sun, okay?)
The water splashing in the air,
Please don't care if you get wet,
Stop hiding away from your fears, 'cuz

When he began singing this section, ("What are you scared of?") two male dancers came out. They looked as though they were wearing a simplified version of whatever Karjohan was wearing. At the start, the dancer on the left on the stage came on by pivoting using both of his feet. It looked as though he was on a hoverboard. However, before you could see Karjohan, the image shot to the next dancer who came from the right. He was quite far back, and started to do giant leaps to get further faster. The dancer was looking at the audience, while also concentrating where we was going. They then came in to the shot where Karjohan was standing and as the camera zoomed out at a fast place, and the two dancers faced each other in a mirror movement. After Karjohan moved around the stage, the drums sounded through the arena again, and the colours turned from yellow to blue then green at every beat. The camera zoomed in and swayed to the left before he began singing the next part of the song.

Everyone in the sun (Sun, Sun)
All dancing, as we're one (One, One)
Everyone united, Uni - ted.
Strangers come together, you and me,
Midsomer!
Na-Na-Na-Nu-Na, Na Na Na! Midsomer, (Ay, Ay) Midsomer, Midsomer!
Na-Na-Na-Nu-Na, Na Na Na! Midsomer, (Ay, Ay) Midsomer, Midsomer!

The dancers were still mirroring each other on the opposite sides of Karjohan - but at this time, they had turned to face the audience. You could see that there were dancing singers in the back, who were young like the rest of them on the stage. It was a woman and a man. They weren't really doing much on the stage apart from swaying themselves to the beat of the music, and smiling, whilst holding a microphone in one hand. They were wearing something similar to Karjohan, but they both had less clothes on but still looked more formal.

Kyvivre riving,
Splash of paint, feathers, and dreams.
The Love is thriving,
The locking of lips and teeth.

As Karjohan sung, "Kyvivre riving," people came on stage wearing carnival outfits and the stage flashed carnival colours - which were red, orange, green, blue and yellow. And plus, the crowd roars at what he had sang, as this was a changed lyric from the World Hit. The screens behind were further showing the carnival atmosphere, but in contrast to the bright stage, it showed the carnival night life, and how interesting it can get. The dancers were temporarily off the stage as the carnival came through the stage - but as soon as they had left, it was time to sing the next part of the song; and you could see Karjohan once again.

What are you scared of?
Enjoying the unique feeling!?
Please don't care if you get wet,
Stop hiding away from your fears, 'cuz

From the ceiling of the arena, water fell. The water came down at a pace it would if the fire alarms were set off. Avoiding wetting the audience, the water was thrown at the back of the stage - but close enough for you to see what was happening. Everyone, but Karjohan, was in the "rain" area of the stage, and as the rain carried on, Karjohan stepped forward to the front of the stage and started to wave at everyone, and give some people at the front a handshake. He then looked at the camera which was slowly creeping up to him from the position of the audience.

Everyone in the sun (Sun, Sun)
All dancing, as we're one (One, One)
Everyone united, Uni - ted.
Strangers come together, you and me,
Midsomer!
Na-Na-Na-Nu-Na, Na Na Na! Midsomer, (Ay, Ay) Midsomer, Midsomer!
Na-Na-Na-Nu-Na, Na Na Na! Midsomer, (Ay, Ay) Midsomer, Midsomer!

The camera zoomed through the delegation's and the greenroom who were dancing to the music of Karjohan, and as the camera focused on the delegations, the wet dancers swiftly moved off stage, leaving Karjohan and the drummer left on the stage. As the stage started to die down the colours, the camera then panned round to the stage - from the top of the stage and moved down from the ceiling to Karjohan.

All the kids around the block, block, block
Scream, "We just wanna Rock!"
Everyone united, Uni - ted.
Strangers come together, in - the - sun.
Midsomer!
Na-Na-Na-Nu-Na, (Ooh, dance for me!) Na Na Na! Midsomer, (Ay, Ay) Midsomer, Midsomer!
Na-Na-Na-Nu-Na, Na Na Na! (Oh yeah!) Midsomer, (Midsummer) Midsomer, Midsomer! (Oh, yes!)

Then he finished and the confetti shot in to the air, "Thanks, everyone, Thanks Brityunik!! Thanks ever so much!" he said as his neighbours cheered him off the stage.

by **Mister X** » Mon Oct 03, 2016 2:44 pm

02 MISTER X

Rebound - "The Man Who Tempted Me".
Tune: "The Phantom Of The Opera"
from The Phantom Of The Opera (2004) by Andrew Lloyd Webber and Richard Stilgoe, arr. Gerard Butler and Emmy Rossum.

Rebound is a mixed group, comprising of two females and two males. Despite press speculation, there aren't any relationships within the band. They have competed in WorldVision before, but this time they are tempted to put Mister X back into the driving seat of WorldVision, having not had a top ten finish since WorldVision 44. "A win would be nice," they said, "but really we need a good result for the sake of Mister Xian music. We are a force to be reckoned with in the world and it's time we showed everyone else what we can really do."

Speaking about their previous WorldVision experience, they said they would, at the very least, like to better the appalling result they had before. Consequently, Rebound's new track, "The Man Who Tempted Me", is an attempt at something quite different. Rather edgy, almost, as if there's a will to get the rest of the world to listen to something new. The two ladies in Rebound stand on the middle of the stagein white bridal dresses, and the music begins, the lights begin to strobe suddenly, as the two men come from the back of the stage, wearing black suits with black ties, but also wearing a white face mask and a cape each. They menacingly move towards the ladies at the front of the stage. The stage is shrouded in dry ice and mist, and the ladies began to sing.

When people sing to me,
In night and day,
I've always thought that they
Have made mistakes

From the left of the stage (from the audience's perspective), a woman in a black dress wearing a face mask and a man in a white suit start dancing, with every chord a staccato, attacking movement. It's quite scary to watch as the matador tempts the cape, although she seems uninterested. It's somewhat foreshadowing of where the song is going, but nonetheless, it's intense. Meanwhile, the men of Rebound also start making aggressive shapes on some of the chords as they continue to slowly move towards the front of the stage where the ladies are at.

Because they make me cry,
But there was one,
The man who tempted me was quite all right,
He didn't hide

The two men finally reached the front of the stage alongside the ladies, and continued to make attacking moves. Each man took one woman and grabbed her roughly, pulling her round and she also started shaping. It was somewhere between a dance and an assault. The dancers at the side of the stage then gradually made their way off, back to the side. As the instrumental stopped and the men started singing themselves, the women, in perfect synchronisation, started attempting to "free" themselves from their male counterpart's grip, but they had a good hold of the women and thus would not let them go.

Hide from what, my dear?
Nothing to fear,
I can't recall the last
Time I saw you,
Because you run from me,
Every time,
The man who tempted you, I'm not so bad,
I'm in your mind...

The women pushed their men to the floor, but gradually they began to look upon him more favourably, and as they began the next verse, held out a hand to their man, inviting him to take it and come up off the floor. The men did so and in so doing, tore off their face masks to show that in reality, they were just a normal person, no matter how menacing they looked. They eventually started singing in unison, showing that the women had allowed themselves to be influenced by the men.

Now I have seen your face,
I have no fear,
I had no man but then
It's me, I'm here
I thought you were no more
Than a stalker
The man who tempted me, you know, he's fine,
Filling my mind

Each couple then copied the dancing that occurred earlier, copying it perfectly, showing to the audience that what they saw earlier was simply a foreshadowing of what was actually to come. They danced perfectly. Every single chord was accentuated, every single movement sharp and full of attack. It is allegorical of their relationship, in that it was born out of what was thought to be violence, but a gradual realisation that, occasionally, people can change, and moreover, that people can be wrong in making assumptions. Whilst the dancing was occurring, a vocal choir appeared at the back of the stage, and the members of Rebound occasionally sung whilst doing the dance.

(The man who tempted me...)
He's there, the man who tempted me...
Oh... (Yes, my darling!)
Oh... (Yes, my darling!)
Oh... (Yes, oh yes!!)
Oh...
Oh... (Yes, my darling!)
Oh... (Yes, oh yes!!)
Oh...

The dancing eventually built up and the movements became quicker and quicker. Eventually, the men stood back as the women sang the final line, and once that finished, yellow lights began to dawn on the stage and the four members of Rebound all collapsed to the floor, as if the sun was rising and they couldn't survive in daylight.

by **Missus X** » Mon Oct 03, 2016 3:03 pm

03 Missus X

The Four Ducks - "Quack"
Tune: Bill Medley & Jennifer Warnes - "(I've Had) The Time Of My Life".

Four ducks waddled to the front of the stage.

Quack quack quack quack quack quack quack ack-ack-ack
Quack-quack quack quack quack quack quack-quack-quack
Quack quack quack quack quack
Quack quack quack quack quack quack quaaaaaaaaaack

They started waddling around the stage with no real sense of direction.

Quack quack quack quack quack quack quack
Quack quack quack quack quack quack quack
Qu-quack quack quaaack
Quack quack quack quack quack quack quack
Quack quack quack quack quack quack quack
Quaaaaaack quaaaaaack
Quack quack quack quack quack quack quack
Quack quack quack quack quack quack quack
Qu-quack quack quaaack
Quack quack quack quack quack quack quack
Quack quack quack quack quack quack quack
Qu-quack quaaaaaack quaaaaaack

Quack qu-quack quack!

Quaaaaaack quack quaaaaaack quack
Quack quack quack quack quack quaaaaaaack
Quack quack quack quack quaaaaaaaaack quaaaaaaaack
Quack quack quack quack
Quack quack

Quack quack quack quack quack quack quack ack-ack-ack
Quack-quack quack quack quack quack quack-quack-quack
Quack quack quack quack quack
Quack quack quack quack quack quack quaaaaaaaaaack

At this point a surprise owl swooped down to say two words:

Hoot hooty!

Quack quack quack quack quack quack quack
Quack quack quack quack quack quack quack
Quack quack quack quack quack quack quack
Quack quack quack quack quack quack quaaaaaaaack
Quaack
Quack quack quack quack quack quack quack
Quack quack quack
Quack quack quack quaaaaaaaaaaack
Quack qu-quack
Quack quack quack quack!
Quaaaaaack quack quaaaaaack quack
Quack quack quack quack quack quaaaaaaack
Quack quack quack quack quaaaaaaaaack quaaaaaaaack
Quack quack quack quack
Quack quack

Quack quack quack quack quack quack quack ack-ack-ack
Quack-quack quack quack quack quack quack-quack-quack
Quack quack quack quack quack
Quack quack quack quack quack quack quaaaaaaaaaack
Quack quack quack quack quack quack quack ack-ack-ack
Quack-quack quack quack quack quack quack-quack-quack
Quack quack quack
Quack quack
Quack quack quack quack quack quack quaaaaaaaaaack

During the instrumental, a shadowy human figure emerged from the back of the stage. As it came into the light the audience - to their horror - discovered who it was.

It was Rick Leg, and he started singing.

Now I want to be a big duck
And I can't remember much much else
'Cause I know
This is true
And I know what I can do
I want to be a big duck
And I can't remember much much else
'Cause I know
This is true
And I know what I can do
I want to be a big duck
And I can't remember much much else
'Cause I know
This is true
And I know what I can do

Rick and the ducks then waddled off the stage.

by **Kannap** » Mon Oct 03, 2016 5:09 pm

#4 | Kannap
Brett Valdrell and Jackson Cullowee - "Still Want Your Love"
Tune: X Ambassadors - Unsteady

As the time came for the Kannapians to step out onto the stage to perform, all the lights on the stage dimmed slowly until the entire stage was in darkness. Then, a single light purple spotlight lit up a person standing in the center of the stage, Jackson Cullowee. As the spotlight shone upon him, music began to play. He looked up at the spotlight for the brief second before beginning to sing the song that he came to this competition to sing.

Love, love me, love me please
While I still want your love
Still want your love
Love, love me, love me please
While I still want your love
Still want your love

As Jackson sings, the spotlight casts a beautiful glow upon him. As he sings into the second line, "While I still want your love," pink lights dazzle the stage as the word "love" rolls off of his tongue. The lights once again dazzle the stage with the repeat of the word in the third line of the song. When he sings, "Love, love me, love me please," the lights don't appear for those instances of the word "love," though the lights appear once again with the word in lines five and six.

Darling, come near
Come close, be here
Sweetie, I’m willing
I’m willing to show you love

Jackson continues singing when the words continue into the next part of the song, he begins to walk towards the front of the stage and the spotlight follows him. He sings the words, "Darling, come near. Come close, be here." As those words finish coming from his mouth, he begins to look downward, seemingly at his feet. His eyes close and he keeps the position.

It is at that moment that another voice can be heard and Brett Valdrell walks onto the stage behind Jackson Cullowee. Valdrell sings the words, "Sweetie, I'm willing. I'm willing to show you love." He stares intently at the back of Jackson Cullowee's head as these words come from him.

If you want me, let it show
I want you, doesn’t it show?

Turning around dramatically to face Valdrell, Jackson Cullowee sings the words, "If you want it show." and Brett Valdrell, knowing his part, sings right back, "I want you, doesn't it show?" The two stare at each other intently as they sing their parts.

Love, love me, love me please
While I still want your love
still want your love
Love, love me, love me please
While I still want your love
Still want your love

A short silence follows the first encounter of the two singers on the stage before they both sing the chorus together. As they begin singing the chorus, they start nearing each other and turning their bodies so that the audience can see them from the side and see that both of the singers are looking at one another, rather than seeing the presentation staring at Cullowee's back obscuring their view of Valdrell. The audience can now see both singers clearly as they stare intensely at each other. As the two sing into the repetition of the chorus, they get to be about one foot away from each other, near enough for them to touch each other if they wanted. The two don't touch however, and Brett turns away from Jackson as he begins singing the next part of the song.

Sweetheart, I know
That you’re finished feeling disregard
Honey, I know you love me
Even when you find it hard to show

Brett continues singing, "Sweetheart, I know. That you're finished feeling disregard." It is now Jackson who stares intently at the back of Valdrell rather than the other way around like earlier in the song. Jackson sings in response, "Honey, I know you love me. Even when you find it hard to show."

If you want me, let it show
I want you, see it show!

Valdrell turns back to face towards Cullowee, singing "If you want me, let it show." Jackson quickly sings back to Brett, "I want you, see it show!"

Love, love me, love me please
While I still want your love
still want your love
Love, love me, love me please
While I still want your love
Still want your love

Love, love me, love me please
While I still want your love
still want your love

As they start to sing the chorus together in unison again, Brett and Jackson start slowly walking towards each other. As they sing, "still want your love" for the first time in this singing of the chorus, they get close enough to each other once again to touch each other if they wanted. Unlike earlier, they reach out to each other and grab each others hands. They sing into the repetition of the chorus and continue holding each other's hands.

Finally, as they begin singing, "Love, love me, love me please" for the final time, they turn their bodies to face the front of the stage, just holding one of the other's hands instead of both of their hands. As they finish out with "still want your love" for the last time, they look at each other and smile before looking back towards the front of the stage, raising their joined hands together and then lowering their hands back down as they bow. They then release each other's hand and then walk backstage.

by **Darkmania** » Tue Oct 04, 2016 12:14 am

05. Darkmania

TheBandKnownAsStarFox-The 80`s are comming back!

WALK THE MOON- Shut Up And Dance

I`m sure there will be a lot of StarFox jokes aimed at me due to the band name referencing the StarFox series.

The melody begins to play. Adriän beings to claps to make sure that the audience are in line to the tune, something they so doing. TBKASF is wearing black lether jackets and jeans. Adriän has his mic on a micstand

Let us remember us some good times
Just between you and me
You and me had a good time
Remember, The 80`s are coming back!
We make you good memories
We go like «Remember
The 80`s are coming back!”

Adriän then takes the mic out of the stand and helds it for the rest of the song.

In `81 I meet my girl
The usual love stuff, arrow from Cupid hit
We felt in love, married in `89
Oh, we had many good memories,
Many good memories

Bandmates sings along with Adriän.

Relive our memories
You and me gets a fun time
We relived our youth again!

Let us remember us some good times
Just between you and me
You and me had a good time
Remember, The 80`s are coming back!
We make you good memories
We go like «Remember
The 80`s are coming back!

(Act)

A perfect time and some beat up sneaks,
Perfect times, but also some bullscrap
I felt it in my chest as she looked at me.
I knew we felling like we`re young
Feels like we`re young!

Bandmates sings along with Adriän again.

Relive our memories
You and me gets a fun time
We relived our youth again!

"Let us remember us some good times
Just between you and me
You and me had a good time
Remember, The 80`s are coming back!
We make you good memories
We go like «Remember
The 80`s are coming back!

He is now in the center of the exstended part of the scene where

Nationstates, rise up and dance!

Adriän jumps into the crowd and begins cwoud surfing

Relive our memories
You and me gets a fun time
We relived our youth again!!!

The crowd puts Adriän back at the stage. He rises up when he is on stage.

Let us remember us some good times
Just between you and me
You and me had a good time
Remember, The 80`s are coming back!
We make you good memories
We go like «Remember
The 80`s are coming back!"

(Act)

Let us remember us some good times
Just between you and me
You and me had a good time
Remember, The 80`s are coming back!
We make you good memories
We go like «Remember
The 80`s are coming back!
Ooh-ooh-hoo, The 80`s are coming back! [x2]

The song end with fireworks and a big applause. As the band mates thanks the audience, they shouts "Thank you. Darkmansij kilka tou!" (Darkmania Loves You).

by **Darkmania** » Tue Oct 04, 2016 12:14 am

DaTV`s first ever english commentary are presended by Jürgen Frÿdriksen, known for being a bit too strict music-critic, and a bit rude!

(Insert pic here!)

by **Ekoz** » Tue Oct 04, 2016 2:46 am

by **Polkopia** » Tue Oct 04, 2016 7:24 am

7. Polkopia

by **Normandy and Picardy** » Tue Oct 04, 2016 7:33 am

8 - Normandy and Picardy
Susanne Felludan - Free
https://www.youtube.com/watch?v=BMxpv8naRd8

After the 3rd place at WorldVision 50, and with their winning entry from WV46, 'Hurts' by Jules Vergule being voted the best song in WorldVision, Normandy and Picardy, and indeed the broadcaster NNN, were in high spirits. So, when the time came to find a new song to represent Normandy and Picardy at the 51st Song Contest, people were surprised to find that Normandy and Picardy had revived 'Qua Vola Gantar Por Neumen' ('Who Will Sing for Normandy', the Normand WorldVision national final), rather than making an internal selection. NNN sources said that they wanted to give the public a choice, and that there were too many good songs for them to choose from. And so, as the songs emerged and the excitement grew towards the National Final, the entire nation was abuzz, waiting to find out who they would vote to be their entry at WorldVision 51. Then suddenly, and without explanation, NNN cancelled the National Final, despite already haven taken in some of the votes from the International Juries. No news has come fromm NNN about this situation, but when they released details of the entry to be sent to Kyvivre a few days later, for many things became clear. Susanne Felludan had been chosen to represent the nation with her song, 'Free', which is described as 'a sweet love song, about finding freedom from a past relationship and falling into the arms of someone who truly cares about you'. Many where confused by the decision, but some speculated the song had been sent to the bradcaster too late for the submission period, but that the Head of WorldVision had decided to send the song straight to WorldVision. Whatever happened, it is very strange, although it has happened before so it isn't without precedent. Sussane Felludan is the master of Normand Ballads, often with some sort of subtle ethnic feel (as in this song). She has had 6 hit albums and a plethora of number ones, so perhaps it is unsurprising that NNN decided to choose her over the songs in the national final. She was born in Caen in 1981 to a musician father, who encouraged her into music early on, and her mother owned a bookshop. Her career was kickstarted by Normand producer Stavos Kallen, who helped her release her first song, 'Something Silly', after hearing her busking on the streets of Caen. Since then, she has become one of the icons of Normand music, but no-one had ever considered her going to WorldVision. But here she is, but will she do well. Let's see...

The stage is pitch black as the final preparations for the song are made. Manos is scared, but is also ready to sing his song and show the multiverse his talent. As the instrumental section at the beginning of the song begins, a faint light shines on the stage, showing Susanne wearing a simple white dress, kind of like this, her feet surrounded by a layer of smoke, the light reflecting gently of it. She looks up and faces the camera, with a rather melancholy face, but not too sad. She begins to walk forwards towards the front, the smoke moving and floating around her as she walks directly forward, the camera panning around her as she does so until she gets up to the microphone stand at the front of the stage, the camera behind her as she looks out to the crowd. The camera fades and shoes us Susanne's face close up, and begins to zoom out slightly as she sings. With the first line she sings, she reaches out to the camera and as she does a flash of white appears on the background that until this time has remained a dark navy blue colour. As she sings the last line of the first verse the lights become more intense, lighting up the stage and its sea of smoke more, including the backing singers who stand in two twos on either side of Susanne. Susanne turns around and raises her hand, and the camera zooms in to show her hand, out of which butterflies, which are really on the background screen behind Susanne, appear.

I can feel something inside
And it grows stronger and stronger
I can rise above the clouds
Fly away from all this madness

The cameras pan out and shows the butterflies lighting up the background as they, but the darkness returns once they 'leave' the background screen. However, the whole stage now appears brighter, and Susanne's face of melancholy has instead been replaced with one that seems to excude hope, and to a certain extent joy. She sways in time to the music and her arms and hands move around expressley, helping enamate the feeling coming from Susanne's facial expression ever further.

I can feel something inside
My heart's beating only for you
And I live to feel you near
You power my whole world

The camera feed at the start of the chorus is looking up from the side at Susanne,and rises up and moves around the stage as the chorus progresses, before looking downwards at her and doing the reverse. Susanne keeps on swaying expressively, and putting everything into her performance as she sings the chorus. As the chrous ends Susanne turns around, the cameras following her as she does so.

They can try to hold me back
But no one can keep me from your love
I can finally spread my winds
And fall for your touch
Now I am free, now I am fee

The camera pans out during the first line, rotating slightly as it does so, but as Susanne sings the second line it shows her from a sidewards view, zooming very slighlty in as she sing 'wonder'. The camera view returns to one further out, which then proceeds to pan around the stage but zooms in as it does so, before returning to a forwards views as the final line of the verse begins.

I can feel myself unwind
Falling into your wonder
And nothing can compare
To the way you hold me closer

The butterflies from the first chorus reappear during this second one, coming out in two streams and flying around the background, with small hologram versions flying around Susanne herself, who is illuminated slightly by a spotlight, as are the backing singers. Aside from that, not much is different than from the first chorus.

They can try to hold me back
But no one can keep me from your love
I can finally spread my winds
And fall for your touch
Now I am free, now I am fee

The lights dim as the chorus ends, with all the butterflies (both the holograms and the ones in the background) dissapearing, and a single spotlight is left with Susanne standing. As the backing singers sing 'Now I am free', the lights pulsate a little and show the rest of the stage, slowly building up with the music as the final chorus-bit gets nearer and nearer. The camera however remains focused on Susanne throughout this section.

I can fly above the clouds
Now I am free
No cage can hold me back

As she starts to sing the second half of the chorus for the final time, a 'curtain' of pyrotechnics comes down from the ceiling, a beautiful yellow/golden colour illuminating the entire arena. The cameras are zoomed out to capture this curtain, which envelopes the stage and Susanne within. However, just before the repetition of 'Now I Am Free' which ends the song, the curtain stops, by a pyrotechnic flurry accompanies the final line and helps bring the song to a dramatic close, the cameras now having zoomed in to show Susanna, who definetey appears to have enjoyed herself but is also visibly exhausted.

I can finally spread my wings
And fall for your touch
Now I am free, now I am free

Now I am free!

Susanne shots 'Thank you Kyvivre! Marci Esa!' as she walks off the stage, and the crowd cheer loudly, especially the Normand contingent (who would naturally to outcheer everyone). Will Susanne deliver Normandy and Picardy another Top 10 finish? Who knows...

by **Ethane** » Tue Oct 04, 2016 1:20 pm

Image of The Way In.
Centre is Olly Adams, the lead singer and dancer
Left is Luke Samuels, backing vocals and dancer
Right is Taylor Dinehead backing vocals and dancer

The Way In
The Way In are back again, performing for Ethane in their second and Ethane's 7th Worldvision Song Contest. Having performed quite dismally at their first Worldvision, finishing 20th, they are back to prove they are the best, and place in a decent position.

They were set up 6 years ago under the name Days Gone By, and released their debut album with SRL(Star Records Local), who they got discovered by at a talent show in Ethane, called Tonight. This album was not very successful as they were not well known, as they were new to the music scene. About 7 months after this, they released their second album called Again, My Love. This album proved to be their breakthrough album, which sent them rocketing up in popularity, with their song shooting to 3rd in the charts from no where. Many commentators compared the rise of Days Gone By to be similar to that of Lives, who were a rock group in Ethane in the 80's.
After a year long hiatus after their second album, they came back off their break, and rebranded themselves as The Way In. They immediately hit gold, with their song 'Gold', which reached 2nd in the singles charts, followed up by another hit single, 'This Kind of Love', which sold a record number of copies in its first week, 2 million in Ethane to be precise. They released a new album, 'Time', in the December after their previous Worldvision performance. The song, Times Running Out, was on that album. The album proved to be average, and wasn't a flop, but neither turned any heads. They are back at Worldvision to do just that with their latest single, 'Kites', which will be released on an album in about 4 months time.

SONG

The stage is dark, ready for the performance to begin. Just before the music begins, Olly Adams, the lead singer of The Way In, emerges into a spotlight focused on centre stage. There is a little ground fog on the stage, highlighted by the spotlight, which adds to the atmosphere. Olly is wearing a handsfree microphone, which is by his mouth, so he can participate in the dance moves. As the music builds up towards the start of the verse, light blue and yellow lights fade in, creating a bright, summers day-like atmosphere on stage, with all the fog having quickly dissipated. These lights reveal two backing singers, Luke Samuels and Taylor Dinehead, standing behind him in a crouched position. Just before Olly begins to sing, he too lowers himself to a crouching position. When he starts singing, he moves forward in almost a crawling movement, followed by the two backing singers, who basically copy his actions at the same time as him to create a sense of unity and community between the three of them. As Olly sings ''Sets your mind free'', all three of them moe their hands to their heads and move them around in a rubbing like motion, before falling down into an animal like pose and continuing crawling, just more animalistic in nature. As it comes close to the end of the first verse, they come close to the front of the stage. As Olly sings ''not believe'', they all turn around 360 degrees on the spot in a pivot. The two backing singers then move to either side of Olly in a sliding motion and they dangle their legs over the side of the stage coming into the pre-chorus. During the verse, the large screen on the stage is showing clips of clear, blue sky, sometimes catching glimpses of trees, the sun, and some birds. As it gets towards the end of the verse, there is almost always a tree or a bird in the clips. The camera is first focused on Olly, but slowly pans out to the moment when he starts singing and they all start dancing, where all three backing singers are included in the shot. As Olly sings ''the birds tweet'' the camera switches to the audience for a few seconds, before taking a view of the whole arena, switching back to the three of them with a view of the screen for the end of the verse going into the pre-chorus. The lighting throughout the verse has an ambient, summers day atmosphere to it, and so the lighting does sometimes flicker and variate from the norm. It is created to look as natural as possible.

There were no clouds in the sky,
It was the perfect day to fly,
Blue was all that you could see,
It sets your mind free.
The birds tweet, seeing me come,
I’m here to join them in the fun,
From here, all the world you see,
You would not believe.

From the way the music is building up, you can tell it is building up to the chorus. This build up is also reflected in the other aspects of staging as well. The clips on the screen are more jolty, and seem to be showing some red thing zip across the screen at random moments, leaving the audience guessing as to what it may be. The lights become a lot sharper as it builds up to the chorus, as if the day gets brighter as the more lively part of the song comes about. To begin with, the three performers remain with their legs dangling over the edge of the stage, 'waiting' for the chorus, but this does change. As Olly sings 'amazement', the three performers begin to shimmy backwards on their backsides. They are also all three moving gradually and slowly to a crouching position from a sitting position, while waving their hands by their sides in a slow-motion action, so their movement to crouching goes unnoticed. They make it about 1.5 metres back from the edge of the stage and into a crouching position by the time the chorus begins. Straight after Olly sings 'breath', the lights drop out leaving the stage dark, and the screen stops showing clips, leaving it black. The performers cannot be seen, while they adjust their position on the stage for the chorus. The cameras are initially focused on the performers shifting backwards, but to keep the movement to crouching unnoticeable, they switch to a far-out side on camera, first focusing on the audience before panning across to the performers on the stage. As the lights drop out, the camera angle switches to a far-out, arena-wide view, ready to view the start of the chorus in full.

Waiting in anticipation,
Waiting in amazement,
The world is waiting
with baited breath.

As the chorus begins, the lights switch back on. This time, the yellow and blue lights are interjected with red lights, which themselves are in a gradual fade in, fade out. The yellow lights are also flashing, but they are more spontaneous, as there seems to be no set pattern to them. The blue lights remain steady and constantly on. The lights coming back on reveal that the performers are in a completely different place from before. Olly stands centre-stage, strings attached to him which cannot be seen, but with a red-kite like thing on his back, while the two other performers are located in either back corner of the stage. As the chorus begins, the two performers rush forward and grab a large, visible rope connected to Olly's foot in centre-stage, and hold on to it, as Olly moves up and into the air attached to the strings which are pulling him up. As he sings, he makes a kite like motion with his hands, the red kite on his back fluttering in the wind from the wind machines in the top realms of the stage. A spotlight is continuously focused on him. The screen is showing a red kite flying around a park, occasionally showing the kid on the ground below in the shot holding on to the string and controlling it. The cameras start of with an arena-wide view, before switching to an audience view and panning across. Half way through the chorus, they then focus on Olly, who is flying, panning the camera across and following him across the stage. The two performers at the bottom are waving side to side throughout the chorus.

Soaring through the sky like a kite, (oh oh oh oh oh like a kite) oh oh oh oh
Flying to the highest of heights, (oh oh oh oh oh like a kite) oh oh oh oh
Always keeping the string tight, uh uh uh uh
Don’t let me go,
Never too low.

Most of the staging returns to the situation it was in during the first verse: lighting, clips on the screen. As the song enters the second verse, the two performers let go of the rope they are holding, while Olly is centre-stage but in the air and he 'falls' (gently) on to a wooden platform which rose up from the floor at centre-stage at the start of the verse. The two performers fall to the floor, and spin round on the floor while moving their hands over the chests and faces, pushing themselves round in a circle with their feet. Olly remains attached to the two invisible strings, standing tall on the wooden platform with a spotlight shining down on him, as he moved his hands back and forth gracefully, as if he is fanning his kite 'wings'. The camera is first focused on Olly as he falls to the floor, before panning across to the audience and then switching back to a side on view with all three performers in view.

The trees are so lush and green
The world, bigger than it seems,
Nature oh so beautiful,
Waiting for you,
As you prepare to fly,
Waiting for the wondrous sights,
The breath of wind waiting to blow
you as you are thrown.

Once again, the song moves into the pre-chorus staging set up, with the lights and the screen showing much the same thing. The two backing vocalists remain spinning around on the floor, but becoming more frantic, both ripping a hole in their shirts towards the end of the pre-chorus as they begin to stand up, which still slowly spinning, moving behind Olly. Olly puts his hands into the air as it comes towards the end of the pre-chorus, as if ready to take off.

Waiting in anticipation,
Waiting in amazement,
The world is waiting
with baited breath.

As with the previous chorus, the lights and the screen do their respective actions repeating what they did for the previous chorus. The backing singers begin to spiral around Olly, who is slowly raised up this time. They initially are spinning around with the ropes, but as the chorus comes to a close, they drop the rope because it becomes tangled and move around in more of a prance.

Soaring through the sky like a kite, (oh oh oh oh oh like a kite) oh oh oh oh
Flying to the highest of heights, (oh oh oh oh oh like a kite) oh oh oh oh
Always keeping the string tight, uh uh uh uh
Don’t let me go,
Never too low.
I can see everything from here, oh oh oh oh
Keep me in tow,
Don’t let me go.

Olly is in the sir, motionless and wings flat. The two performers on the stage continue to prance round in a circle around where Olly is. As Olly sings 'restricted', the two performers on the stage grab hold of the ropes and pull them tight, stopping themselves spinning.

The view from the sky,
Is dumbfounding,
Yet you want to fly
higher you’re yearning,
But restricted you are,
can’t go too far,
The string is tight,
not the highest height.

The lights and everything resets as such, building up to the chorus again.

like…. A kite uh uh uh ooh ooh ooh

As the chorus begins, fireworks flash up and the lights once again go into overdrive, just slightly more over the top than previous choruses. Olly is soaring around in the air again, kite 'wings' outstretched. The two performers on the stage collapse to the floor.

Soaring through the sky like a kite, oh oh oh oh a kite
Flying to the highest of heights, oh oh oh oh kite
Always keeping the string tight, uh uh uh uh
Don’t let me go,
Never too low.
I can see everything from here, uh uh uh uh
Keep me in tow,
Don’t let me go.

As the singing comes to and end, Olly is brought down to the floor.

''Thank you. Thank you Kyvivre! Thanks Britonisea! You guys are amazing!''
He and the two backing vocalists proceed to walk off stage.

by **Talvezout** » Tue Oct 04, 2016 9:02 pm

Talvezout -10
Sunny Siracauso & The Iberian Orchestra
"Black Waters"

Italics: Sunny
Bolded Italics: Lucas Bergiologio

Compared to Talvezout's previous entries, this one was considerably more laid back, due to financial and time issues. The orchestra, Sunny, and Lucas were all standing onstage, clothed in simple black.

I am but a simple woman
Standing in a sea of dreams
I am but a simple person
Living in this shower of sun beams

I am but a little child
Lost in this world
I am but simply lost in heaven
A sufferer in this paradise

As I sink in these black waters
Will I find who I am
Sink in these waters
Find who I will be

I am a ship on an ocean of hope
Floating on this surface of simplicity
I am a bird, soaring over this world
Flying over the land

Let me fly, ooh
Let me dream
Let me live
Lost in this world of you

You are my little river
You guide and you flow
You are my little cloud
You cover and you soar
I am but a simple man
I am but a simple lover

Tell me how I have lived
Oh tell me my sins
Tell me wrongs and rights
Tell me, my love

You are my guiding force
You are my greatest love
You make my days worthwhile

I am but simply lost
In a raging river of pain
I am but simply drowning
In this black sea

by **Mercedini** » Wed Oct 05, 2016 4:37 am

11

Mercedini

Rachel Nollov - Unbreakable
Tune: Dami Im - Super Love

After improving performances in every WorldVision so far. MRCTV elected to hold another national to choose Mercedini's representative in the WorldVision Song Contest. Trying to improve on their 13th place in last edition's contest in Kasin, they chose eight more up and coming artists in the Mercedinian music world to participate in the upcoming contest held in Kyvivre, Britonisea. With international juries and the Mercedinian public voting, Rachel Nollov was selected to represent Mercedini in Kyvivre with her song; 'Unbreakable'.

Rachel Nollov is a 22-year old singer-songwriter who was born in the city of Langtree, located in the south of the country. She later made the short journey to Zoloroni where she studied at Zoloroni City University to study 'Music & Fine Arts'. In her early days, Rachel used to play in small bars and pubs hoping to get recognition, but it wasn't long before she was spotted and signed to a record label to show off her tremendous musical talents.
In recent years, she has released her first album and has supported many other artists on tour in Mercedini and other nations around the multiverse. WorldVision and general music fans from outside of Mercedini would most likely know her from the first edition of SongSearch, where she finished in third place. However, she re-entered SongSearch in the next edition and emphatically won against seven other artists by a huge margin of 46 points, meaning there is plenty of anticipation for Rachel to do well in Kyvivre.

In an interview before she boarded her flight to Britonisea, she said, "When I entered SongSearch for the second time, I wasn't expecting such a massive victory, I was thankful to everyone who voted for my song, I just hope I can replicate that when I am on stage at WorldVision."
After winning by such a big margin in the national final, there is no doubt that there is plenty of pressure and hype around Rachel Nollov's performance. Her track is classed as an upbeat dance track which is the kind of song that generally does well at WorldVision. Can Mercedini break their duck of top 10s in WorldVision? Only time will tell...

The song starts with Rachel standing at the very back of the stage, the LED screen behind her displaying with shooting stars flying across the screen intermittently. The camera focuses on a young man playing the piano at the side off the stage (with three backing singers in front of microphone stands standing at the other side of the stage. The stage floor is covered in a thin carpet of smoke which thickens the closer you get to the back of the stage. Rachel, who is barefoot and wearing a flowing flowery dress, lifts the mic in front of her mouth to sing the first verse of the song.

Hey, I want to tell you something, baby
I just want a place where you and I are truly free
Because I'm flying through the blue skies above
That's why I, I want it to be truly love

She flicks her dress which wafts the smoke into a mini tornado next to her as she sings into the central camera which is zoomed into the centre of the stage. She taps her feet to the beat of the song as it kicks in. She offers her hand to the camera as she sings the lyrics with passion. Her backing singers join in to support her with the final to lines of the verse, the LED screen pans down to reveal a picturesque landscape lit by moonlight.

These days and nights are lonely when you are not here
I want you to be with me so that we have no fear
Because I'm flying through the blue skies above
That's why I, I want it to be truly love

She spreads her arm out wide as she hits the big notes in the prelude, the LED screen lights up as the sun rises over the distant mountains which lights up the rest of the trees and plants in the foreground. The camera moves up on stage and circles around her, while Rachel spins around singing into the camera as the background become disorientating. The camera moves away and the camera angle reverts back to the central one.

We never find things tough
Yeah, you're love is enough
We're gonna turn this world around
Boy, we're unbreakable

In the instrumental part before the chorus, the walks towards the stage gleefully as the camera sweeps across the back of the arena, focusing on the stage as flags sweep across in the foreground. By the time the instrumental is finished, she is at the front of the stage, smiling into the crowd.

As she sings the chorus, she stretches her free arm out and arches backwards to force the long note out of her lungs. The camera does a multitude of fast sweeping shots from side to side as this happens. The backing singers are on stage swinging their arms from side to side in time with the music while the piano guy is rocking out while the music was blaring out and the lights were flashing.

Boy, we're unbreakable
Yeah, we're unbreakable
We're gonna turn this world around
Oh, we're unbreakable

The flashing lights fade and Rachel walks over to one of the islands to sing to one side of the arena before waling over to the other island to interact with all sides of the arena. She walks back to the centre of the stage and leans onto the piano to sing at the young man who is playing the piano, they make eye contact and he smiles while playing the keys. She walks back onto centre stage to the second half of the second verse.

I'm trying to find the words I need to speak to you
It don't even matter all the stuff that we've been through
Because I'm flying through the blue skies above
That's why I, I want it to be truly love

A wind machine is turned on, the slow breeze causes the smoke to dissipate and some stray hairs to flap in the wind. The landscape displayed on the LED transformed with mountains and lakes forming and animals starting to spring about in the lush greenery. Blue and Green lights begin to glow to give a natural tone on the stage. The camera at the back of the arena rushes towards the stage to make a stunning shot of the audience and the performers on stage.

I'm floating on the surface of the deep, blue sea
I'm totally lost in your eyes as you look at me
Because I'm flying through the blue skies above
That's why I, I want it to be truly love

The wind machine is turned up a bit more which causes her dress and hair to flow in the wind, the smoke is completely blown away revealing the grass and stony display of the floor LED screen which expands the natural tone to the entire stage. The camera moves to a wide shot encompassing the entire stage with all the performers doing their separate things. She clutches her chest at she hits the final not of the second prelude.

We never find things tough
Yeah, you're love is enough
We're gonna turn this world around
Boy, we're unbreakable

For the second chorus, Rachel struts forwards with sass as she sings the lyrics and notes for the second time. She leans forward to let her hair and dress flow behind her as fireworks and pyrotechnics fly from the stage to simulate the intensity and enthusiasm she is putting into the song. She opens her body up and spreads her arms wide as she sings the second chorus.

Boy, we're unbreakable
Yeah, we're unbreakable
We're gonna turn this world around
Oh, we're unbreakable

(Yeah, we're unbreakable)
(Yeah, we're unbreakable)

The young man on the piano stands up and embraces Rachel for the bridge of the song. The fall to their knees hands clap together in harmony. The stage goes dark and a single spotlight is placed upon them, they lock eyes as she sings the lyrics to him while the backing singers accompany her with harmonies. At they sing the second line they rise up and both look into the audience in tandem. As she finishes, they unclasp their hands and release their embrace as the song quickens pace.

And even when we're mountains apart, I will climb (ah, ah, ah)
'cause our hearts and souls are glowing inside, can't deny (ah, ah, ah)
(Yeah, we're unbreakable)
(Yeah, we're unbreakable)

The piano guy and Rachel simulate a classic ballroom spin before he returns to the piano and Rachel moves to the front of the stage once again. When the chorus explodes into life, lights, pyrotechnics and confetti fly from the stage and rain down onto the performers and the audience. She stretches her body as she powerfully releases her notes.

Boy, we're unbreakable
Yeah, we're unbreakable
We're gonna turn this world around
Oh, we're unbreakable

She hits the powerhouse notes with ease as she crouches down to get as much force out of her lungs as she can. She then proceeds to walk over to the left hand side island to finish her performance as the confetti continues to fall. She reaches the end of the island where she stretches her arms wide to sing her final note of the song. She smiles into the camera as she finished her performance and waves

Boy, we're unbreakable
Yeah, we're unbreakable
We're gonna turn this world around
Oh, we're unbreakable

She smiles into the camera as she finished her performance and waves to the crowd as the song ends 'Merci Brityunik, Thank You Kyvivre, I love you so much!'. She blows a kiss to the camera and walks off the stage with the rest of her performers to finish their performance and making way for the next performance.

by **Mister X** » Wed Oct 05, 2016 6:39 pm

Commentary on MRX ONE with Robert Baxter and Sam Smith.

Robert: Good evening, ladies, gentlemen, and children, and welcome to WorldVision 51. It's nice to see you to see you nice!
Sam: Who do you think you are? Sorry, everyone, it appears Robert's on one of his pills. This is still WorldVision, and welcome along to the time of your life.
Robert: No Rick Leg for Missus X tonight as I can see him in the box next to us, commentating for MSX Television for the very first time, so good luck to him there.
Sam: Anyway, here are our hosts. We're live from, er, Kvyat in Britonisea. Didn't know they'd named a city after a terrible F1 driver.
Robert: Let's get into it then, and here's the opening act. The presenters' banter was, well, as poor as banter could ever be, really.
Sam: Ouch.

Opening Act

Robert: That didn't scream "opening act" to me, did it?
Sam: Yeah, no, I think you're right. I know it was meant to be the Britonish entry tonight but come on, you can do better than that for an opening act. It wasn't a big extravaganza as an opening act should be, in my honest opinion.
Robert: So whilst Mehkl cools down after that roasting, let's get into it with song number one from Estogium.

01 Estogium

Robert: Oh, it wasn't about "Midsomer Murders", the multiverse's most overrated TV show.
Sam: Well, I liked it! Far better than what Estogium has been sending recently, and that can be no bad thing. Fabulous!
Robert: Hang on, where's Rick Leg going? He's leaving the box next door!
Sam: Don't worry about that. Concentrate on Estogium.
Robert: I wasn't 100% sure about the camera directions there that I could see on the monitor. Shots of delegations don't normally win votes. At first I thought there was a technical problem
Sam: Nonetheless, I loved it, and that's a knife. And if you don't know what a knife is, you've been living under a rock since WorldVision 33.
Robert: Anyway, next up, it's Mister X!

02 Mister X

Sam: Oh come on, can we finally win it?
Robert: I don't know. I do hope so. It was dramatic, complicated, exciting, passioned, and ace!
Sam: "Passioned"? Understatement of the century. It was moodier than a thunderstorm in the pampas! Knife. Next, Missus X. And no Rick Leg - in more ways than one - where has he got to?

03 Missus X

Robert: That cheeky bugger.
Sam: He can't keep himself out of the action, can he?
Robert: It was bonkers, mind you. I kind of liked it. Missus X has only ever had one top 10 position, could this be the second time for them?
Sam: No. Bread. And now, let's move on to Kannap.

04 Kannap

Sam: That was one of those I was waiting to kick off and never did. It really wasn't my cup of tea, I'm afraid. It was, on the other hand, quite majestic, and it's certainly not the worst song ever.
Robert: Yeah, I have to agree with you. It wasn't quite what we like up here in the MRX commentary box, as I'm sure you all-- oh look, Rick Leg's back in the commentary box. Cheating idiot.
Sam: Aaaaaaaaand before we get taken off the air, we'll tell you that that was jam, and we'll move on to the next song.

05 Darkmania

06 Ekoz

07 Polkopia

08 Normandy and Picardy

Robert: The mantra of all of the other participants tonight will be "STOP NORMANDY AND PICARDY". I'm getting sick of them winning and doing very well whilst we can't even muster a top ten placing. Back in the day, we took that for granted. Oh, how times have changed. Anyhow, will Normandy and Picardy do well again?
Sam: This is one of those songs that is... OK. I think they'll get another top 10 with that, for sure. But I'm not sure it can win. Estogium and Mister X's entries are better than this. And that's not just blind patriotism, I genuinely would rank our song above this one.
Robert: So are you saying, therefore, that we'll finish top 10?
Sam: It's not me voting, don't forget. Anyway, I don't mind this track, certainly. I think it's butter. Let's move on, now, to the next entry.

09 Ethane

10 Talvezout

11 Mercedini

by **Electrum** » Sat Oct 08, 2016 6:44 am

12. ELECTRUM

Song: "Guardian Angel"
Artist: Sarah Bright
Tune: The Fear by Lily Allen

Introduction
Network ENN once again held their internal selections. Citing the increased expenditure of holding a national/international vote, Network ENN has done this consistently for many editions. Though some have doubted ENN's choices, with some songs not doing as well as expected, ENN has proven the naysayers wrong with two podium finishes in the past two editions. Now they've gone for a slightly unconventional song with a slightly unconventional singer in Sarah Bright. Sarah Bright isn't well known on the Electrum music charts, but has been playing in bars and indie concerts. Through the traditional submission process (of sending tapes in the male), Network ENN selected her, even though they hadn't seen or heard of her yet.

Sarah Bright describes her song as a song about self discovery, and was written mainly based on her experiences of cliques in high school -- there would always be social stratification, but sticking to your guns would mean you would win out in the end. She describes her song as hurriedly written (to meet the strict Network ENN deadline), but the tune is something she is very happy with.

The Performer

The Song

Sarah walks on stage with a blue dress, much like the image above and a small backpack. She stands in front of the substantial diamond screen, looking down. Once the other instruments starts playing, she walks towards the audience.

0:10
She wanted to fit in and be with the girls
Oh was it funny when they spun her in a whirl
Leading her on with false pretences of friendship
When they hated and whispered behind her back

And when she found out of the betrayal and liars
But everyone knows, revenge is being a survivor

Getting to the chorus, all of a sudden the stage lit up. With the fog on the floor, she waves her hands around the floor when she finally revealed an old dusty book. In perfect sync with the screen behind her, she opened the book up and outstretched it in front of her face. On the screen, the book would spit out a bright sky with clouds. She put the book down and continued to sing.

0:32
They'll look at our girl and put her in the burn book
But she won’t fight back, that’s what angels look for

She just has to wait for her angel, what a chore
Until then she’s bunkering from a war
And when do you think she will be set free?
And when will she return to reality?

Going to both of the 'claws' of the stage, she went towards the audience and started engaging with them more. From behind, a well-dressed man in a suit comes in and taps her behind the shoulder. They do a quick dance and a twirl before he comes off stage.

1:15
Guardian Angel’s going to save you from the fear
You’ll know when he arrives and you won’t shed a tear
And your angel will show you your Prince Charming
And he’ll be by your side making life calming

All of her life her intentions have been pure
Her guardian angel will lead her the way for sure

She picked the book up again and attempted to open the landscape, just like last time. This time however, the book burnt in her hands, and the happy atmosphere behind her turned into ruin, the sky turning from blue to orange-red.

1:37
They'll look at our girl and put her in the burn book
But she won’t fight back, that’s what angels look for

She just has to wait for her angel, what a chore
Until then she’s bunkering from a war
And when do you think she will be set free?
And when will she return to reality?

The forgotten backpack finally had a use. Sarah pulled a ripcord from her back, and all of a sudden two large, feathered wings emerged from her back pack. In the very final run through the chorus, she outstretched her arms and appeared to fly.

2:27
Ignoring the insults and looking at the mirror
Suddenly it’s all become just a little clearer
All along our hero was her own angel
Ignoring the haters will make it be alright

She just has to wait for her angel, what a chore
Until then she’s bunkering from a war
And when do you think she will be set free?
And when will she return to reality?

by **Adab** » Sat Oct 08, 2016 7:44 am

13. Adab
"Musical Experiment"
Writer: Kinan al-Salaman
Performer: Kinan al-Salaman

Kinan al-Salaman posing for The Adab Times recently

Tune: Lou Reed - Metal Machine Music, Part 1
Language: English

Background

Kinan al-Salaman's previous WorldVision performance, while praised as usual for its music, became by far the most controversial of his career simply because of the choices that he made leading up to the performance. In assembling his backing band, al-Salaman had recruited several death row convicts - a human trafficker, a drug lord, and an armed robber - under the promise of commutation of their sentences to life imprisonment, with a view towards eventual parole and freedom. Despite consistently claiming to have Emperor Tizqar III's support, the legality of al-Salaman's actions was called into question as he and the band prepared for their WorldVision performance. In the political snafus that followed, several members of the Privy Council claimed that al-Salaman had been misinformed by certain members of the government that he was allowed to act with the Emperor's name and permission, while in fact no such clearance had been given. Another member of the Privy Council went beyond that, alleging that al-Salaman had bribed the Emperor and several other ministers in order to be allowed to go forward with his plan. This accusation, while having its own supporters, was widely seen as baseless and insulting to the Emperor's dignity, and he announced his resignation from the council a few days later amid rumors that he was considered for arrest under a charge of treason (even if the police did consider this, they eventually did not go ahead). As all this was going on, the Emperor strangely kept his silence and withdrew to the safety of the Imperial Palace. The palace's official statement was that the elderly Emperor was resting, while rumors flew around saying that he was deliberating on what to do with al-Salaman or that he was nearing death.

Even as al-Salaman stepped onstage at Kasin, Kalosia that night, he was well aware that he might have tampered with the law and the Emperor's dignity, and that the Emperor might not have actually given his consent to the plan; al-Salaman did not actually meet the Emperor, only receiving permission from some of his advisers, who claimed that they had talked to the Emperor. Should things go horribly wrong, al-Salaman considered blaming the advisers, but at the same time wondered if the Adabian public - especially his many supporters - would desert him and accuse him as a coward for seemingly refusing to go down in flames without pulling others with him. It was only immediately after the performance that al-Salaman was assured by a representative of the Emperor backstage that, whatever happened in the days and weeks following the performance, his life - and that of his backing band - would be safe. After all, as far as al-Salaman was aware, he had the Emperor's permission, received through a legal procedure. Then, just as it seemed that the worst was past, relief turned into confusion and then anger some two hours later when al-Salaman was informed that an arrest warrant had just been issued for his backing band, that they had been immediately "moved to safety" (that was, the plane that would carry them back to Adab) by security personnel, and that they would be executed upon their return to Adabian soil. Informed by the government official who visited his hotel room that the Emperor had given his consent to this, al-Salaman flew into a rage, claiming that the "establishment" (i.e., the government and music execs) was conspiring to "remove" him in favor of newer, younger acts. Al-Salaman stated that he was willing to make way for other, more potential acts, but only through "peaceful" means and not as a result of a conspiracy. At one point al-Salaman considered seeking asylum in Kalosia, only agreeing to return to Adab after he had said government official write a statement saying that no arrest warrant would be issued under any circumstances for him and that his life was safe.

The execution went ahead as planned, with all convicts executed simultaneously by firing squad in the Adab City Penitentiary; an emotional al-Salaman was allowed to visit the convicts an hour before that, delivering prayers and promising rewards in the afterlife, but declined to see the execution itself. In the increasingly volatile political and social climate of the country, al-Salaman's supporters rose up to defend their hero from what they saw as baseless accusations and disgraceful lies from many groups. A demonstration on one of Adab City's major streets was attended by no less than 20,000 of al-Salaman's supporters, two days after The Adab City Enquirer called al-Salaman a "criminal", "traitor", and "lawbreaker" and called for his arrest. A day after the demonstration, the volatile climate took a turn for the violent as the head offices of The Adab City Enquirer were set on fire by some youths; the fire, small in scale, was quickly extinguished. When put under arrest, the youths claimed themselves as "warriors of Kinan al-Salaman" and praised his "redemption through music" approach. Al-Salaman quickly issued a statement denouncing their actions, while also agreeing on the latter point and criticizing the convicts' execution.

As things seemed to get only a little better with time, Emperor Tizqar III issued a surprising statement: he had never been consulted by his advisers, who were apparently rather more sympathetic to the whole "redemption through music" idea than the Emperor himself ever was, apologized for this "terrible misstep and negligence in conducting my duties", and called for the people of Adab to "go home and keep the peace". A surprised al-Salaman, convinced that he had had the Emperor's support the entire time, rushed to the Imperial Palace to get the Emperor to change his mind, as thousands of his supporters followed on his heels. Finding the palace gates locked, al-Salaman proceeded to get down on his knees and pledge allegiance to the Emperor before the gates as his supporters watched and shouted for the Emperor to come out. After a few minutes, one of the Emperor's grandsons came out to talk to al-Salaman. What began as a warm, courteous meeting devolved into a heated exchange as the prince revealed that al-Salaman had been allowed "another chance" at WorldVision, but only because the Emperor found him annoying and wanted him out of the country for a while; at one point the Emperor, at the suggestion of some music execs and members of the Privy Council, had considered having al-Salaman arrested outright and finding another act to take his place. Al-Salaman then went home, relieved that he was alive, free, and allowed to compete on WorldVision, but also horrified at the idea that some members of the music establishment were in favor of his arrest.

The performance

With the eyes of thousands in the venue set on him, stony-faced and wordless Kinan al-Salaman walked across and to the front of the stage, dressed entirely and somberly in black robes as if he was attending the performance of some black magic. The technicians who had been setting up the equipment for the last ten to twenty minutes nodded at the singer and filed off the stage. Following al-Salaman, closely and equally quietly, were no less than five guitarists, who walked to the front of the stage with al-Salaman; they, like al-Salaman, were dressed in black robes, and they all were wearing earplugs. There, they bowed to the audience before splitting up and taking their places on the stage. Al-Salaman looked at each and every one of the guitarists, asking them if they were ready; they all nodded. In what would eventually be seen as the first sign of the performance's unusual nature, al-Salaman's housekeeper came onstage, carrying a chair, an issue of The Adab Times from four days ago, and earplugs for his boss (the housekeeper had already worn his own earplugs). Al-Salaman sat on the chair and delivered a short speech like a king speaking from his throne:

"This composition is called 'Musical Experiment'. A gift to the government and the music executives of Adab, who have so, so graciously supported me through all these years. This is my gift to them, for their faith in me. Thank you and have a good night."

Al-Salaman gave the first signal. The five guitarists held their instruments tightly. The housekeeper retreated to the back of the stage and appeared to set up two or three radios and some other equipment. The guitarists looked at each other and nodded. The housekeeper nodded too.

Al-Salaman gave the second signal. The housekeeper turned on all two or three radios and the other equipment, whatever it was. The five guitarists started together, shredded together.

And the music came rolling, streaming, echoing through the venue. And al-Salaman sat, reading the papers.

2 minute and 33 seconds

Al-Salaman looked at his watch, apparently nodded to himself, and sang in an eerily flat, emotionless voice as the guitarists continued to excite themselves with their playing. The housekeeper had exited the stage about a minute and a half ago.

This is the truth, my composition
Call it the "Musical Experiment"
Woe be to all the music executives
In Adab they are a den of jackals
Jackals, jackals, jackals

Once he finished singing, al-Salaman read the papers again.

6 minutes and 46 seconds

Al-Salaman glanced at his phone, stood up for the first time since the performance began, and grabbed the microphone rather tightly, singing in a somewhat strong falsetto that nevertheless struggled to rise above the loud and exciting playing, although some in the crowd wondered if this was al-Salaman's intention all along.

Jackals, jackals, jackals
Jackals, jackals, jackals
Rise up against the powers that be

After he finished the verse, al-Salaman sat back down again and scrolled through whatever he was scrolling through on his phone.

8 minutes and 8 seconds

Al-Salaman's housekeeper returned to the stage with a bottle of water. Al-Salaman drank the water and threw the bottle somewhere off the stage.

10 minutes and 12 seconds

Al-Salaman appeared to say something to the guitarists, but no one could hear it. Still the performance went on.

13 minutes and 20 seconds

Al-Salaman stood up without any prior warning and started singing in a somewhat rough, folk-ish voice.

Yeah, I went golfing in the highlands, yeah
And Maggie's mom don't know no more
The ship they sank in the wetlands
Sucked in all the sand and dust with it
How I wish I went eighteen holes

16 minutes and 10 seconds

The housekeeper had rushed back to the stage about half a minute ago. Now Al-Salaman gave the signal. The housekeeper turned off all the radios and whatever other equipment on the back of the stage. The guitarists suddenly stopped playing. Everyone departed the stage without a word or a bow, leaving attendees surprised, sickened, curious, confused, but most of all baffled at what they had heard.

Some seconds later, an Adabian government official went onstage to announce that the performance had been recorded and that it would be included on al-Salaman's upcoming live album. Then he went offstage.

by **Britonisea** » Sat Oct 08, 2016 10:15 am

Fedé: Thanks, Kinan - once again, representing Adab!
Mehkl: Now, Fedé, I love the WorldVision Song Contest - and I am very interested to see what songs we, as a nation, liked...In a list...I'm not sure I'd ever get this.
Fedé: Oh, yeah! Of course! I have this information. People worked hard to find out how many streams were made on Britonisea's most popular music streaming apps, Spotify and Google Play Music. We have averaged the results - the same way they would be averaged in weekly charts - so that they represent the amount of people listening on each app. (Spotify has twice the amount of downloads than Google Play Music) These charts exclude Britonisea and Estogium; which are the only nations to feature in the top 7.
Mehkl: Let's take a look then!

(Non-ABEN Records included below)

Mehkl: Oh wow, so what do we have here?
Fedé: The data you needed. We measured the streams for the first 7 days after the competition - and this includes WorldVision's 30 to 50. It's unlikely that editions 30-33 would be on there, as we were getting used to the competition. However, Lyonsland did gain WorldVision's first 1 million plus streams from Britonisea. As the editions went on, you can see that Todlichebujoku had around 4 and a half million streams in the first week. They held the record for the most streams in a week until Normandy and Picardy in WorldVision 39 - sending that swing-y type song which the Britonish seemed to have loved. It beat Todlichebujoku's record by 2 million. Since then, Gim had overtaken them in WorldVision 42 - then Nekoni in 46. Nekoni still leads the pack with 7.38 million streams, and placed 1st on the Britonish Charts for 7 weeks. Lately, in WorldVision 49, 3 songs had entered the top 13. Arioslavia, our neighbours, being one of them with 6.92 million streams. What I found interesting is that most of these songs did not even get top marks from Britonisea...
Mehkl: Amazing! You can check out more on http://www.worldvision.tv/kyvivre51 or an alternative link will be given by your broadcasters!
Fedé: We're going off to Song 14!

by **Zeganas** » Sat Oct 08, 2016 11:10 am

#14 Zeganas
Black Flag Revolution
"Run Away"

The band, Black Flag Revolution, was getting ready to do their song. They were of a typical band composition, from left to right in the above picture, guitarist Daniel Dejesus, drummer Tevan Jackson, singer Andy James Smith, and bassist Brent Green. Their song "run away" is particularly inspired by the time when they wanted to move out of the republic of Palanu (the state subdivisions of Zeganas are called Republics) and the journey to do that. They had done that in a tour in 2012, when they performed in their hometown, they decided to move out. The song talks of their struggles in their old home and how they know they will find a better life in a new one.

And now that the postcard has finished playing, the stage was dark, the only lights were some small lights from phones in the audience.
Then the music starts up and a black and white animation slowly fades into view, depicting various 3D minimalist imagery depicting things in the song.

(verse 1)
What kind of path am I currently following
There is this drastic measure, it's got me swallowing
I... Will Run Away
One day I crossed my heart and then I hoped to die
But then a promise for a new life has arrived
Soo... I'll Run Away

As things go to the pre-chorus, the dim black and white animations become brighter, and the lights on the stage start to turn on. Singer Andy James Smith walks across the stage and depicts what he sings with some body motions.

(pre-chorus 1)
What I'm reaching..
What I'm reaching is right there
What I used to call home is now dead
My goal's ahead ahead

When the pre chorus stops, everything goes black for a split second before the animation is back on the screen in color. With imagery on the screen showing a teenager reaching for a light, and then a guitar.

(chorus 1)
So I will Run Away
Yeah I will Run Away from Home
I don't care what they think of me now
My goal's ahead ahead
Cuz I will Run Away
Yeah I will Run Away from Home
I don't care what they think of me now
My goal's ahead ahead
Ahead to success

During the short instrumental break, Andy Smith walks towards the front of the stage and sits down to sing the 2nd verse, smiling in the middle of the verse where there's a vocal pause.
The animations on the screen in the backround also go back to being dim and grey, but during the vocal pause, the animations have red coloring from depicting the fire described in the song.

(verse 2)
Everybody told me that life is just unfair
And if that's really true then guess what I just don't care
Buut... I'll Run Away
I know it carries risk and I'll be for hire.
But it won't be jumping from the pot to the fire.
Soo... I'll Run Away

Just like the first prechorus, the animation brightens up, and Andy Smith walks across the stage. This time, he faces a cameraman that comes by during part of the pre chorus.

(pre chorus 2)
What I'm reaching..
What I'm reaching is right there
What I used to call home is now dead
My goal's ahead ahead

Same transition as the first prechorus to chorus, except this time, Andy Smith gets into the correct position as the stage lights up with swirling circles of different colors right where different singers are, Andy's circle moving slowly across stage, and he walks along it.

(chorus 2)
So I will Run Away
Yeah I will Run Away from Home
I don't care what they think of me now
My goal's ahead ahead
Cuz I will Run Away
Yeah I will Run Away from Home
I don't care what they think of me now
My goal's ahead ahead
Ahead..

Andy Smith then walks down one of the catwalks to the very edge of it. He stays there for the first half of the bridge before going back to the main part of the stage and making matching poses to ones on the back screen, a camera facing Andy Smith from below to get the perspective perfect.

(bridge)
As I walked out from my home
I had thought of the life I'll live
But I don't care what it is
What I know is that it's better than this
freaking deadend now I know that
My goal's ahead ahead ahead

During the extended instrumental break, Daniel DeJesus and Brent Green both sing at a certain distance from the microphone to make an erie background sounding singing. They walk forward on the stage towards the very front of it.

And then when the final chorus comes back, all three jump up at a time so that the chorus starts right when they land, at the same time pyrotechnics even got activated. The animation in the background being less minimalistic and showing more realistic fire swirling around in rings. Spotlights moving around the stage.

(chorus 3) (x2)
So I will Run Away
Yeah I will Run Away from Home
I don't care what they think of me now
My goal's ahead ahead
Cuz I will Run Away
Yeah I will Run Away from Home
I don't care what they think of me now
My goal's ahead ahead

Ahead to success..

And as the song finally reaches a close, the stage progressively gets dimmer and dimmer, leaving only spotlights on the band members.
The song ends. All of them yelling out "THANK YOU BRITONISEA! THANK YOU NATIONSTATES! WE LOVE YOUUUU!"

by **Gurori** » Sun Oct 09, 2016 7:13 am

WorldVision
Song Contest
Entry #15
Welcome to Gurori
By Satoshi Yasuda
Tune

Satoshi entered the stage and waved as walked to the centre of it. He prepared his earphone looked towards an audience. "I hope you enjoy the performance." He said as a band walked on stage and set up. Satoshi then gave a nod to the band and they began to play. Once the intro concluded (0:00 to 0:08 in the tune's video).

Welcome to Gurori, you may bask in our glory!
Let me tell you a story, about Gurori, tonight!
Welcome to Gurori, our wonderful territory!
Feel free to visit the glory of Gurori, anytime!

As the flutes began to play, Satoshi began to clap which got the audience into a rhythm of claps.

With skies oh so blue, wildlife like a zoo!
You won't ever regret your stay!
We have a clear view of the stars, we even have racing cars!
So please join us at our home, today!

And as the steel drums set in, Satoshi walked around the stage, continuing to clap.

Welcome to our nation, a scene beyond imagination!
A place of salvation, with a stable foundation!
A land of creation, our leadership ain't dictation!
Without any frustration, or starvation, it's nice!

He stopped singing as an instrumental began (1:00 to 1:32), when it concluded he began to sing again but stopped clapping.

Welcome to Gurori, you may bask in our glory!
Let me tell you a story, about Gurori, tonight!
Welcome to Gurori, our wonderful territory!
Feel free to visit the glory of Gurori, anytime!

And with that the song was over (1:50 in the video). As the audience applauded, Satoshi bowed and spoke. "Enjoy the rest of the show, everybody!"

by **Britonisea** » Sun Oct 09, 2016 12:01 pm

#16 BRITONISEA
Rigas Jengiz "I Will Be Gone"
Tune : Saara Aalto - "No Fear (Dance Remix)"

Writers: Rigas Jengiz, Timothy White
Producers: Rigas Jengiz, Martyn Luther

Rigas Jengiz is a female Britonish popstar who has released many songs which has been #1 in Britonisea, including her recent song "I Will Be Gone" which tells the tale of a woman who has retaliated after an abusive partner had attacked her. As shown in the music video, you can see that the woman had retaliated in an aggressive manner and has brutally injured her partner. It is unclear whether the attack was lethal, however she has stated that it is a song which is adaptable to anyone, and you can make up the story as the song progresses throughout.

Previously, Rigas Jengiz wasn't chosen to represent Britonisea in the 51st WorldVision Song Contest. The winner of the recent Mehlodhifehstivalhen de Brityunik had the rights - which was Mehkl Maddox Ajax. Mehkl Maddox Ajax had represented Britonisea with the song, "Broken Fortune" which was aimed at why some people, and some nations, do well in society whilst others look upon them in envy - wishing for what they had. Mehkl Maddox Ajax gained only 14 of the available 210 points - and therefore, he was relegated to 9th place in the competition. 9th place was an okay result, but not a result the Britonish public nor the public broadcaster wanted. Despite the result, there were going to be revamps to make Mehkl's song more WorldVision friendly; as the competition is different to that of the World Hit Festival. However, Mehkl declined responsibility in representing Britonisea as he said that he doesn't want to take the risk to go out on a sour note. He then spoke to Rigas, who at the time had finished hosting the 27th World Hit Festival in Kyvivre. Rigas was to fill in for Mehkl with a song of her choice. Whilst BVC wanted her to sing her winning World Hit Festival 26 song, she put forward a new song which the BVC liked a lot, and instead used.

Rigas is an established artist, who loves participating in competitive situations like this. Rigas Jengiz first participated in Vha Mehlodhivestoile, which was an experiment by BVC to see different ways an artist could be picked. Whilst the experiment was successful, Rigas wasn't picked the winner of the competition. She did, however, win the international votes and with support from them, she came second and was allowed to represent Britonisea in the upcoming World Hit Festival. In Normandy and Picardy, she represented Britonisea with the song "Queen" in tenth position. Despite her good placing, she failed to deliver, and came 9th place with only 5 points... This was very distressing, and lead to talks of Britonisea not further participating in the World Hit Festival. She then represented Britonisea in the 26th World Hit Festival, which gave her more success. Between Izmedu and Britonisea, the scores were tied and it took Kalosia to call those who handle the votes to see who would win. In the end, Britonisea had more raw votes, and that lead to Britonisea winning their first World Hit Festival.

She then decided to co-host the 27th World Hit Festival with her friend, 47th WorldVision winner Mini Surrey North. Together, they hosted well in the arena down the road in arenakyvivre. Here, Mehkl participated in the contest. The roles have reversed this time around. Now, Mehkl is hosting and Rigas is performing.

As the stage flashed a white light and the lights span around to the middle of the stage, the roar of those within the Narook Arena and those who were sitting at home watching the Britonish act died down. It was so quiet, everyone transfixed on the stage and what is to come from the song. This song was different to recent Britonish entries. For example, having the previous singers (like Amadeo Arjan) bought a lighter more fast paced and fresh song to the stage. However, this song was still fast, but unlike the fresh song we're used to, this has a lot of bass and sass. From the stage, there was just a white light - a spotlight. Similar to her World Hit Festival appearance, she should at the rear of the stage, just standing there. As the song began to start, the audience cheered loudly and she raised the microphone to her mouth; ready to impress the WorldVision Crowd, but more importantly her friends, family and fans.

Stains of blood on the floor,
I never meant what I did.
Walking on the smashed glass,
After the events of yesterday.

Thirty seconds in to the song, the spotlight was interrupted as the whole stage flashed from dark (or off) to a bright white light. At this time, the audience also clapped, creating a thunder sound to ring in the arena. The camera was at the roof, the ceiling of the arena facing downwards on to the stage, capturing every single moment of this clap. From the stage flashing white to the audience clapping - the camera caught it all. After the clap, 2 female dancers came swirling in from the background - ever so elegantly in their own spotlight. They wore black. As they swanned on to the stage, you could tell the contrast they had from Rigas, who had walked forward.

Release the pain,
Release my thoughts.
Release the stress,
Open my soul.

As she sings about releasing her pain, and her thoughts, she does a love over her heart, and as she reaches the last syllable of each sentence, she would extend her arms - representing her beating heart, her fluttering heart for her beloved that she may have injured. The dancers at the back of the stage mimicked her actions behind her - but posed a lower status, showing that they aren't yet important as the main singer, Rigas. (Even if everyone is important on stage.)

Tainted love, I can't see anymore.
It overcame, I don't know where I'd gone..
This isn't me, only God knows.

As the song hit one minute, the stage lit up in grey, with a diamante flooring. Along the screens, you could see mist, which would rise to the top of the screen and travel back down, similar to the convection current. The dancers were not two anymore, but four! The other four had joined in with them, and there were two men. The four dancers had split themselves up and now were on the two "catwalks" of the stage. Rigas Jengiz was the only one in Flamingo Circus - or the centre part of the staging.

I should've seen the faults earlier on,
As it only left deep wounds which one can't recover from, from, oh...
Clutch the hand.
Sharp as obsidian.
Cold as ice.
And thrust forward.

Colours red and blue flashed upon the scream slowly, and the fan machine turned, blowing Rigas' dress backwards. The dancers then came back to the centre and as she sang "Clutch the hand," they all clutched on to her limbs - and as they did so, she started to feel uncomfortable and she wasn't able to get out of their grasp.

Tainted love, I can't see anymore.
It overcame, I don't know where I've gone.
This isn't me, only God knows.
No-No!

Massive lights from the side of the stage lit up creating a barrier type staging with the lights. Rigas acted as if she was trapped in these barriers as she extended her hands outwards, as if she was begging to get out.

Tainted love, I can't see anymore. (Tainted Love, yes, Unreal Love, yes)
It overcame, I didn't know I had gone. (Broken Heart, yes, Broken Heart, yes)
This isn't me, only God knows.
Although we were near, we were so far...
The respect gone, I felt the break...

At this point, the stage had lit up in to royal blue, grey and white - with the barriers still visible. As this part of the song was sung, a low drone camera had flied through the audience, and on the way, it has passed all the Britonish flags. When she had sung about how the respect had gone, the drone then flied upwards, so the audience and the people at home saw the roof with all the structures. However, as the next part came, it quickly did a 360 turn and then did a close up on Rigas, who was looking in to a slow moving camera coming towards her.

Tainted love,
Broken heart,
Deep wounds...

The lighting here was like a pulse. The lights flashed on and off along with the clicking of her fingers. The camera then zoomed out and focused on her hand as she clicked it in a sassy manner. The dancers, at this point, were not on camera - but were still there. They had now walked up from the "catwalk" and are now approaching Rigas Jengiz - who was still furiously clicking her fingers.

Tainted love, I can't see anymore.(Get your priority, priorities straight)
It overcame, I don't know where I'd gone. (Where did you go? Where did you go?)
This isn't me, only God knows. (Only God Knows, Only He Knows)
No-No!
Although we were near, we were so far... (Tainted Love, yes, Unreal Love, yes)
Respect gone, I felt the break... (Broken Heart, yes, Broken Heart, yes)
Our love on a collision course.

When she started to sing the final chorus, the lights which acted as if they were a barrier (or a prison cell) started to flash on and off, while the other lights in the arena would swirl around in the audience. The camera quickly zoomed out from the middle of the stage out to the further point in the arena. From there, the camera then went from the left (the left back) to the right back. As it crossed the middle, that's when Rigas sang "No-No!" After that, you could really hear the backing singers loudly - creating wonderful harmonies. The people who gained the standing spots in the middle of the arena were dancing and jumping on the spots.

I'm so sorry, I am sorry.
I'm so sorry, I am sorry.
You won't see me, You won't see me.
When you blink, I, I will be gone...

"Merci, Lyvivre!" Rigas shouted. The dancers who were mimicing her waved like her before running off stage. She then turned around and walked straight off. The crowd went wild as she disappeared behind the rear end of the stage before quietening down for the next act to perform on stage.

by **Cheongji** » Wed Oct 12, 2016 5:08 am

17. Cheongji

F.A.M. - Diplomatic Move

F.A.M. - Diplomatic Move (Performance Video)

Stage is dark, but it is soon illuminated, showing a background board of an arrow-struck heart(shown in 0:09 of performance video) and five girls lining themselves horizontally across the stage. Seulgi is at the very left, facing right, and four other girls are lined next to her, all facing left.

La, la, la, la, lalala, lalalalala, la, la, lala, la, la,
La, la, la, la, lalala, lalalalala, la, la, lala, la, la.

The girls remain standing without moving. After a few seconds, (0:16 of performance video) Seulgi moves to the right, while walking behind the girls all facing her, as the girls bend over and stand tall again, as Seulgi walks behind each of the girls. After Seulgi walks past the girls, she moves forward, now being at the very right, and the girls extend their arms to one another. After a few seconds, they bring their arms back to their bodies. Seulgi and Joy start singing. (0:10 - 0:37 of performance video)

I couldn't believe that you'd do,
this to me, although I,
sus-pect-ed this be-fore-hand; now,
I think I should be more sly. (니가 이럴줄 몰랐어, 좀 수상하긴 했지만, 이제부터 난 좀 더 sly 해질께.)
You think I'm too na-ive to fall for your lips,
your lips that speak on nothing but lies. (너는 내가 너무도 순진하다고 생각하지만 니 말 안 믿어.)

Then, the girls form an inverted pyramid position, where Yeri is at the center of the stage, while the rest of the girls stand behind her towards left and right. Yeri sings, as she lifts up both of her arms, as if she is about to make a hug. Once Yeri finishes her part, Irene moves to the very middle of the girls towards the center of the stage and sings. (0:38 - 0:52 of performance video)

You think that, 'This is game',
where you can taunt me,
like I'm some rewind-a-ble toy. (넌 항상 'This is game', 장난감같이 놀릴수다 생각하지만,)
But if you want to play an act-ual game,
I will show you how skill-ful I am. (하지만 진짜 game을 하자하면, 날 못 이긴다고 보여줄께.)

With Irene in the center of the stage, the girls bend their body forward by approximately 15 degrees and pat their chests in accordance with the chorus of the song. They also dance left to right and bend forward by 15 degrees. while having their arms upwards, as if they are flexing their muscles. (0:52 - 1:22 of performance video)

Although my heart be-be-beats,
quite ra-pi-d-ly, (내 heart가 beat-beat-beat, 아주 빠르게)
Upon you, my heart be-be-beats,
in-cre-di-b-ly, (너를 보면 heart beat-beat-beat, 아주 강하게)
Until the very final moment,
Coming closer, close, oh crazy,
Time to 'stablish my... dip-lo-ma-tic move. (마지막 남은 순간까지, 점점 다가오지 Crazy, 이제 내가 만들 di-plo-ma-tic move)

Ah, ah, ah, yeah,

La, la, la, la, lalala, lalalalala, la, la, lala, la, la,

Until the very final moment,
Coming closer, close, oh crazy,
Time to 'stablish my... dip-lo-ma-tic move. (마지막 남은 순간까지, 점점 다가오지 Crazy, 이제 내가 만들 di-plo-ma-tic move)

Yeri moves to the center of the stage again and sings the second verse of this song. Four girls surround her shaped as a circle and blow lips towards her, while Yeri sings. After Yeri sings, Wendy moves towards the center of the stage, and sings her part, while the rest of the girls blow lips the opposite direction(towards left and right of the stage). (1:22 - 1:36 of performance video)

You think you are in-vin-ci-ble,
with mul-ti-ple strengths,
but I know all your weak-ness-es,
and I can say them out loud. (넌 니가 많은 장점 가져서 무적이라 생-, -각하지만 약점들 내가 다 알고있어)
In a care-ful-ly, cal-cu-la-ted manner,
I can crum-ble you to the ground. (조심이 계산을 하면 너 따-,-위를 바닥으로 떨어지게)

Irene moves to the center of the stage and sings, and once she finishes her part, Joy moves to the left of the stage, while the rest of the girls move to the right of the stage. Joy starts to sings as the rest of the girls line up vertically on the right of the stage, and, at first, they jump slightly to the right of the stage from the girl in the front to back, and after that, girls jump up and kneel down one by one from front to the back. (1:36 - 1:51 of performance video)

[color=FF40FF]You think that, 'This is game',
where you can taunt me,
like I'm some rewind-a-ble toy. (넌 항상 'This is game', 장난감같이 놀릴수다 생각하지만,)[/color]
But if you want to play an act-ual game,
don't whine if you begin to lose. (하지만 진짜 game을 하자하면, 지면 엉엉 울지마.)

With Irene in the center of the stage, the girls bend their body forward by approximately 15 degrees and pat their chests in accordance with the chorus of the song. They also dance left to right and bend forward by 15 degrees. while having their arms upwards, as if they are flexing their muscles. (1:52 - 2:22 of performance video)

Although my heart be-be-beats,
quite ra-pi-d-ly, (내 heart가 beat-beat-beat, 아주 빠르게)
Upon you, my heart be-be-beats,
in-cre-di-b-ly, (너를 보면 heart beat-beat-beat, 아주 강하게)
Until the very final moment,
Coming closer, close, oh crazy,
Time to 'stablish my... dip-lo-ma-tic move. (마지막 남은 순간까지, 점점 다가오지 Crazy, 이제 내가 만들 di-plo-ma-tic move)

Ah, ah, ah, yeah,

La, la, la, la, lalala, lalalalala, la, la, lala, la, la,

Until the very final moment,
Coming closer, close, oh crazy,
Time to 'stablish my... dip-lo-ma-tic move. (마지막 남은 순간까지, 점점 다가오지 Crazy, 이제 내가 만들 di-plo-ma-tic move)

Seulgi moves to the center of the stage and sings, as the girls re-align themselves horizontally. After Seulgi finishes her part, Wendy moves to the front of the stage, while Seulgi moves aside. (2:22 - 2:38 of performance video.)

When you try to go for a re-venge,(혹시 나를 복수 하려면)
I won't be,
there to hear you, (난 거기 없을텐데)
Oh, how sweet this game will be to you. (얼마나 즐거운 game, game, oh sweet.)

The girls are lined diagonally with the right side bulging front, while the left side bulges behind. They move their outstretched arms up and down, dancing in the final chorus of this song. (2:38 - 3:15 of performance video)

Although my heart be-be-beats,
quite ra-pi-d-ly, (내 heart가 beat-beat-beat, 아주 빠르게)
Upon you, my heart be-be-beats,
in-cre-di-b-ly, (너를 보면 heart beat-beat-beat, 아주 강하게)
Until the very final moment,
Coming closer, close, oh crazy,
Time to 'stablish my... dip-lo-ma-tic move. (마지막 남은 순간까지, 점점 다가오지 Crazy, 이제 내가 만들 di-plo-ma-tic move)

Ah, ah, ah, yeah,

La, la, la, la, lalala, lalalalala, la, la, lala, la, la,

Until the very final moment,
Coming closer, close, oh crazy,
Time to 'stablish my... dip-lo-ma-tic move. (마지막 남은 순간까지, 점점 다가오지 Crazy, 이제 내가 만들 di-plo-ma-tic move)

Girls continue to line themselves horizontally and dance, and they eventually move their right arms from their chests to their right, as the song ends. (3:16 - end of performance video)

Although my heart be-be-beats,
quite ra-pi-d-ly, (내 heart가 beat-beat-beat, 아주 빠르게)

La, la, la, la, lalala, lalalalala, la, la, lala, la, la,

Although my heart be-be-beats,
quite ra-pi-d-ly, (내 heart가 beat-beat-beat, 아주 빠르게)

Heart be-be-be-beats.

by **Britonisea** » Thu Oct 13, 2016 10:26 am

Live Coverage of the 51st WorldVision Song Contest in Kyvivre, Britonisea with Amedeo Arjan and Tess Philipa

Amedeo Arjan: Hello, and welcome to the live coverage of the 51st WorldVision Song Contest. *Picture of a helicopter camera coming through Kyvivre*
Tess Philipa: With Amedeo Arjan and Tess Phillipa! We are so excited to present the WorldVision Song Contest at home, in Kyvivre.
Amedeo: And, confirmed by the broadcaster, this will be our last contest for quite awhile, so we have to enjoy this as much as we can!
Tess: Despite the hype, not a lot of nations are participating this time round, a lot of countries have withdrawn this edition.
Amedeo: With Polkopia, who was supposed to perform 7th being the last one to bail out.
Tess: I guess that is their loss because tonight is going to be brilliant!
Amedeo: Ten editions since Quickenden, we are back in Britonisea - and we are ready to start the coverage. Let's go live in the arena and count down. Luckily, because these are Britonish people, we won't have to speak over them! Straight after the opening act, we have Estogium!

TBA

by **Missus X** » Thu Oct 13, 2016 4:39 pm

Hello bitches, it's me, Rick Leg, live for MSX Television, and here's another sodding WorldVision. I won't talk much.

(OOC: Remember, this is all tongue-in-cheek.)

OPENING ACT: Cold, frigid, passionless, and didn't have any sort of feeling to it at all.
01 ESTOGIUM: I liked the bit when he got wet. Rah. But there were not enough murders in it for a song entitled "Midsomer". Got to go now for a bit.
02 MISTER X:
03 MISSUS X:
04 KANNAP: D, U, double L: dull.
05 DARKMANIA:
06 EKOZ:
07 POLKOPIA:
08 NORMANDY AND PICARDY So many bloody butterflies. What is this, Countryfile?
09 ETHANE:
10 TALVEZOUT:
11 MERCEDINI: Such a fucking clichéd performance, a diva bellowing into a wind machine. Rubbish.
12 ELECTRUM: Backpacks and books do not have a place in WorldVision. Take them away.
13 ADAB: All the Ls: limp, lame, lifeless, lacklustre. That was utter shite. 17 minutes of absolute nothing. I want my life back.
14 ZEGANAS: I'll go for all the positives in this one. There were bits of it I... didn't mind.
15 GURORI: The happy slapping was awful. I'll have nightmares over it.
16 BRITONISEA: I didn't get that. Did she hurt him or not? And if so, why on earth would he want to get back with you, you deluded woman??
17 CHEONGJI: La la fucking la.

by **Kasanovakoratica** » Sat Oct 15, 2016 6:42 pm

PROLOGUE
Before the transmission begins, a strange meowing sound can be heard. A rooster's cry erupts, then the meowing intensifies. It culminates in...

BVC | 51st WorldVision Song Contest | Kyvivre, Britonisea

BVC | 51st WorldVision Song Contest | Kyvivre, Britonisea

Entries | Your Competition

01 | Estogium | Karjohan Katejan - "Midsommer"

04 | Kannap

#GoodLuckTBKASF

06 | Ekoz

11 | Mercedini

ENTRY #15

NEXT: The 51st WorldVision Song Contest

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