54th WorldVision Song Contest | Kønikstaat, Ekoz | STE

by **Ekoz** » Tue Feb 21, 2017 7:15 am

As the commercial breaks (or the equivalent) of each national broadcaster ends, the above image of 'STE Presentår' softly fades onto the screen. The Official WorldVision 54 theme begins to play. The second image fades onto the screen as the music continues and slowly fades out just before 0:36s. During the break of the music, the visual on the screen turns to black, and the crowd in the arena can be heard screaming at the top of their lungs. As the music begins to start again, the stage lights slowly begin to light up as the beat continues.

The camera pans slowly closer towards the stage, where an army of around 100 dancers each side of the stage appear in editorial white costumes. The begin to start the choreography in unison. As the chorus build up of the theme music grows ever louder and intense, the dancers' choreography becomes more vigourous. At 0:50s, a loud male voice is heard in an Ekozian accent* "Ladies and Gentlemen, Welcome to the 54th WorldVision Song Contest, in Kønikstaat". As the music reaches it's climax before the break, fireworks shot around the roof and mid-section of the arena within full view of the cameras. As the beat hits and the break begins, a huge pyrotechnic explosion alights the stage and the crowd reacts with a huge roar. The dancers continue their choreography forming one giant army of dancers.

The camera continues to pan around the arena, showing close-ups of a huge array of nationalities, like fans from Mister X above. As the music begins to play, flags and fans from all across the world are showing with huge grins, banners and flags. As the music continues, the camera pans directly on the centre of the stage. There are three bangs of the theme music the stage abruptly turns pitch black and the music stops. The crowed begin to roar fiercely. There is a five-ten second pause before the same male voice announces "Ladies and Gentlemen, please welcome your opening act, Nicolai Fjørgren

by **Ekoz** » Tue Feb 21, 2017 7:16 am

.

Nicolai Fjørgren - Our Time (WorldVision 54)

As the male voice finishes introducing Nicolai and the opening act. The stage stays dark. The crowd can be heard cheering and clapping waiting for something to happen on the stage or for the music to begin. Nicolai, on the left, stands in position behind a propped up microphone. His silhouette barely visible to the viewers at home.

The instrumental begins to start. There are 6 individual spotlights facing upwards to the roof of the arena, in a circular position around Nicolai. The rest of the stage is pitch black. As the instrumental continues to play, the tip of Earth at night appears to rise on the LED screen. The camera zooms out from the LED background revealing upper half of Nicolai to the right of the camera and he begins to sing. He places his right and onto the microphone on the stand and stares inspiringly into the camera.

The World united as one,
Even if for a day,
The sound of our beating drum,
Reminds to not be afraid

Yeah, we can change the world now, wait.
We can start today cos it's our time, it's our time.

As the chorus begins, the six vertical spotlights begin spread out into their positioned directions respectively. The camera zooms out giving a full view of the stage and the LED screen. The visual image of the Earth still only reveals the tip of the earth as it continues to rise. Nicolai takes the mic from the stand and begins to walk around the centre of the stage. On the more anthemic parts of the chorus, he raises his hand and points to the roof.

This, here, now is our time.
Time to reach to the sky.
This, our destiny..
To be free, you and me,
To be free, you and me.

Before the instrumental drop, the camera pans around from the stage giving the viewers a 'performers-eye-vision' of the crowd. As the chorus grows and beings to end, LED panels on each spectator's seat miscellaneously light up, giving the illusion of stars within the night's sky. As the beat fully begins to drop, the entire stadium lights up in a white light before spotlights around the stadium being to swirl in every direction. The camera pans around the stadium showing close-ups of the crowd and fans before panning back around to Nicolai behind the mic stand.

This, here, now is our time.

Nicolai remains behind the mic-stand and begins to sing the second verse. The camera pans back onto the LED screen, where at this point, the visual image of the Earth has risen almost half the way up. He continues to remain in position similarly to the first verse. The home-crowd being to cheer when Nicolai sings in Ekozian.

Enn grånselös paradis
(A borderless paradise)
Enn stør folksgemenskåp.
(One big community)
Vi kan møta hård tidter
(Though we may face hard times)
Det ar dags att forenn, stå och komp vør vad ar rätt
(That's the time to unite, stand for what is right)
Det ar vår tid, just nu.
It's our time, right now
Here and now, here and now.

A big group of silhouettes gather behind Nicolai as the chorus begins again. The clap their hands twice and raise them to the air on the beat of the instrumental. Nicolai also does the same, and encourages the audience to the the same.

This, here, now is our time.
Time to reach to the sky.
This, our destiny..
To be free, you and me,
To be free, you and me.

Similarly to the drop after the first chorus, the individual panels on the spectator's seats light up before flashing as the camera pans around the stage. The viewers are again showing a wide panning zoom around the arena showing fans from all over the world. As the instrumental begins to end and the final chorus begins. The LED visual shows a fully-risen Earth. The arena remains dark. When the chorus begins, the LED visual of Earth lights up with a bright white light alongside spotlights and the LED spectator panels. Silver confetti is released around the arena as the camera pans around before revealing a camera shot of the centre of the stage, where a pyrotechnic shower begins.

This, here, now is our time.
The time to ignite a million voices,
This, our destiny..
To be free, you and me,
To be free, you and me.

As the music beings to fade, the LED spetcator panels, spotlights and stage lights all slowly fade in unison to the music. The bright LED image of the Earth continues to brightly shine as the music stops. The crowd cheer with excitement. Nicolai smiles at the camera before waving to the arena and bows shyly before the stage dims.

As the stage dims and the crowd cheers, the same male voice says "Ladies and Gentlemen, please welcome your hosts Andars Kristianson and India Vorskellerup"

by **Ekoz** » Tue Feb 21, 2017 7:17 am

As the male voice introduces both Andars and India, the entire stage lights up showing full use of all of the technical equipment. The theme music beings to play again. A huge pyrotechnic bang alights as both Andars and India walk on the catwalk at the centre of the stage. The crowd erupt with excitement and flags from all over the world are seen waving, as well as fans jumping up and down and drinking. Andars is seen wearing a tightly fitted black tuxedo and India is wearing a fitted red floor-length gown. As both read the edge of the stage, the instrumental music fades quietly, but is stil playing as they begin and continue to speak.

Andars: Wow.... Wow. Thank-you everybody! Thank-you!
India: (giggling as the crowd continue to cheer) Such a noisy bunch! It's finally here everyone!

They both look at each other and look back to the audience before saying together...

Both: WELCOME TO THE FIFTY-FOURTH WORLDVISION SONG CONTEST!

The crowd erupt againl; the camera pans around the arena revealing fans screaming and waving flags before zooming back in onto Andars and India.

Andars:Yes, India, the WorldVision Song Contest is finally back on our television screens, and we couldn't be more excited to host the contest back in Ekoz for the fourth time! We just can't get rid of you! (He laughs)
India: Well Andars, who would want to. We LOVE WorldVision don't we?! (She waits for the crowd to finish cheering). Ladies and Gentlemen, again, welcome to the WorldVision Song Contest, brought live to you from Kønikstaat, Ekoz. We're so honoured to have the opportunity to host this amazing contest once again!
Andars: We, of course, must give a huge round of applause to our opening act this evening, Nicolai Fjølgren! His song, 'Our Time' is available to stream and download now, and 75% of the proceeds will go a designated charity of choice by none other than the winner of this very edition of the contest! Of course, the other 25 percent goes on the budget for India's three hundred gowns she will wear tonight, but we won't say any more about that... (the crowd laugh)
India: Please be quiet Mr "I nearly announced the wrong winner at MelodieFestivålen last month" (the crowd continue to laugh and cheer)
Anyway, before I was rudely interrupted (She winks and grins at Andars), tonight, over thirty nations will compete on stage live, broadcaster to over 100 million people to win your votes and become the 54th winner of the WorldVision Song Contest. We must of course discuss the usual disclaimers such as do not vote for your own nation and do not vote until all nation's have performed!
Andars: Yes, so please do not do any of that, it will cost you money but you will not effect the final vote. You may also vote on the official WorldVision app, available on any smartphone device.
India: Well, Andars... now that that's over, I think it's time, do you? (Andars looks and nods excitedly) Shall we say it together? (she shy-ly looks at Andars, nods and grins)

Both: LET THE WORLDVISION SONG CONTEST, BEGIN!

The camera pans 360 degrees around the arena before zooming in on the screen featuring the logo of the contest, which slowly transitions to the first postcard of the first performing nation, Missus X.

by **Ekoz** » Tue Feb 21, 2017 7:17 am

4. Merecendi

7. Riplania

12. Darkmania

21. Puerto Candelaria

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by **Missus X** » Tue Feb 21, 2017 8:00 am

01 MISSUS X

Rick Leg - "Lend Me The Jar"
Tune: Rona Nishliu - "Suus"
Music: Rick Leg
Lyrics: Rick Leg

Rick Leg is back. Unfortunately.

Rick Leg stands on the stage alone in a suit in a single spotlight. There is a jam jar on the side of the stage.

Hmm, nectar pot,
Touch a real sear, Tom, ow!
Call, hum all four knees, cock, oh
Yo
Hun
Yo oh oh oh oh
Yo oh oh oh
Yo oh oh oh
Call, hum all four knees, cock, oh

After all, I wrote yummy ink
New piss, battery, touch beer, tit down... now!
Men pour energy down soft
Attack, shit ends up now in doubt,
Bored of you, Schmit, scan read sea
Got it, raw tit, rah, zoo, oh, oh, poor pee!
Hmm, too less air mud,
No to stealing gel,
Red bricks, posh bricks, and my Rosie...

The stage fills with more light and Rick begins clutching his bottom.

But lend me the JAAAAAAAAAAAAAAAAAAAR!
JAAAAAAAAAAAAAAAAAAAAR!
JAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAR!
Stick to Cher, piss on me, ready to pour tan in,
Stick to Cher, piss on me, ready to pour tan in.

Rick takes his trousers down and begins to shit into the jam jar. Unfortunately, he has been subject to a severe bout of constipation and so he makes some very strange sounds whilst doing so.

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAARGH!
AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAARGH!

He then pulls his trousers up as a stage hand disposes of Rick's faeces.

But lend me the JAAAAAAAAAAAAAAAAAAAR!
JAAAAAAAAAAAAAAAAAAAAR!
JAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAR!
Stick to Cher, piss on me, ready to pour tan in,
Stick to Cher, piss on me, ready to pour tan in.

by **Britonisea** » Tue Feb 21, 2017 8:41 am

#02 BRITONISEA
Florise Kentsh- "Jekyll and Hyde"
Tune : Ellinoora - "Elefantin Paino"
Writers: Viktor Nelson, Jamie Banks, Gertrude Fisham
Music: Mark Walling, T:Roden, Florise Kentsh

After returning from taking a break from WorldVision Song Contest 52, before returning and placing a respectable 11th place, with 47 points. However, despite the far-from bad performance, the BVC spokesperson for the WorldVision Song Contest commented that; "Days like Pre-WV40 are over, and so, I wouldn't like to see scores like that; we want to maintain a high standard and maintain a high position with as much points as possible. Though it is the taking part that counts, we would like to take part and show the lessons that we have learn over the past 23 editions. It's time we say 'RIGHT' and get in to the music studio and start taking this thing seriously." The spokesperson continued to speak; "So, we had to start off by getting our participants for the Mehlodhifehstivalhen. It is our normal national selection to pick Britonish acts, and while the production is high, it doesn't compare with Mehlodhivestoile. Anyway, we picked ten great acts to go straight to the finals and over a two hour spectacular, which included a 50/50 Jury and televote split, 160 points was awarded to Florise Kentsh, who sang the song, "Jekyll and Hyde." She was closely followed by Fede Callahan who received 152 points in Mehlodhifehstivalhen." Finally, the spokesperson managed to add; "I am happy with the song, but the song still needs that extra tweak before it gets released in to the big wide world. I am sure that it will turn some heads."

For the 54th WorldVision Song Contest, Florise Kentsh will be representing Britonisea with the song "Jekyll and Hyde" which will be described later in the overview. Florise grew up in the town of Caesium, Britonisea (it is a border city like Alshkan, both Estogian and Britonish) which is far in the North, further than Eaux. Caesium is not town plagued with tourism, but it did have a stadium which could hold thousands of people. That arena, arenacaesium, was occasionally open for people to go to experience what it is like to perform on the big stage as it wasn't expected that people from that small town village would go on to performing in big arenas; never mind traveling to other countries. Florise attended the arenacaseium excursion, which was an extra curricular event she could go to learn about the arena and perform. There, she met other writings like Jamie Banks, who ended up writing the song, "Jekyll and Hyde" with his wonderful team of writers. When she was 17 years old, she was taking an A-Level in Theatre Studies and Light engineering of which she both passed. She was also keep her music roots close to her chest. Still living in Caesium at 21, going to a small (though credible) university in that town, she found that she was getting bored, and unlike the rest of the people in her town, she was not going to give up on her dream. Though it was years since she last met him, she reunited with Jamie Banks who was a professional teacher at the arenacaesium.

Wondering how to raise her platform, she went to him wondering whether he had the answers to her prayers, and at first, he didn't. However, as weeks went past, Jamie presented Florise a set of lyrics for her to make a song to to perform at the BVC Bash, which is a music platform for relatively unknown singers. Doing a song to it, she was accepted to perform at the BVC Bash which was being held in Cappenyaden that year. Only then, a BVC music specialist saw interest in her and noted her down in his book. Jamie enjoyed creating a set of lyrics for the successful song, "Winter like it's always Summer" and so, he decided to write another song with the input of other writers such as Gertrude Fishman and Ekozian Viktor Nelson, hoping they would bring something to the song that he had perhaps forgotten. Giving it the title, "Jekyll and Hyde" and changing the song to make it fit those lyrics was not a hard task for Gertrude and Viktor. As BVC called open submissions for Mehlodhifehstivalhen, Jamie Banks got back to Florise giving her the song Jekyll and Hyde to a banjo-like instrument as the melody. Though Florise was happy with the lyrics, she was not so sure about the instrumentation of the song.

T:Roden is a Britonish artist that she managed to get a hold of after his one-off tour to the town of Caesium. T:Roden to a listen to the song and disagreed that the banjo was a bad touch and thought that they could rather work around that. After, T:Roden left Caesium to finish his tour but promised Florise to return to Caesium to finish the song with her. A few days after he left, Florise received a call from BVC Music stating that she was one of the shortlisted acts to be put forward to the finals of Mehlodhifehstivalhen - but of course, that depends on the song. Admittedly, she wasn't thinking straight and rather promised a song rather than doing the usual I'll think about it, please call back in 48 hours! BVC announced that Mark Walling, who helped produce the WorldVision 53 song will travel to Caesium to help her with her song. And as T:Roden went to Caesium, he was greeted with the great news that Mark Walling was joining them in making the song. The song now has sounds replicating that of a clock for effect, an introduction and a solid piano melody. As the song went on, the song would build in both dynamics and in texture of the music. In a statement released, T:Roden stated how happy he was of the song and he couldn't have wished for something better. The song was then sent to BVC, who rightly accepted it to be performed in Mehlodhifehstivalhen.

Florise Kentsh spoke about what her song is actually about, "You know, this is a question I have been pondering on. What emotion do I want to convey? What emotion do I want to show to my audience. I think its either about paranoia - because in the song, I am singing about how the feeling that I am feeling is comparable to being killed, swallowed, scorched and lynched, all it once! But then, I also think its about not trusting. If you look deeper in to the lyrics, you would be able to find that I am keeping someone safe, I am telling them not to cry, I am telling them to hide behind me because I am the safe one. I think it is an amalgamation of being paranoid, wanting whoever you want to be safe (from someone else perhaps) and also pain. This could be jealousy! The use of Jekyll and Hyde is to speak about how everyone out there is acting one way, but really want to act a different way, and if they could, they would act differently, man's dual nature. But, surely, I am the one singing, so why wouldn't I be speaking about myself? You could also see there is hypocrisy in this song too. The song is really vague, and I would love to make the audience decide what the song actually means!"

On arrival to the host country, Ekoz, Florise decided to look at some sights and as she walked around, she found the big derelict building which looked as though it had established in the 19th Century. Obviously, she was with someone who had a camera on them. They decided to explore the building and so they went in hoping that nothing bad would happen to them. This drew the child out in her as it reminded her of climbing, jumping and running along buildings where it was not perhaps the safest place to be. Florise then went up to the second floor of the room and noticed that there was a window and a rocking chair in the middle of the room. She sat in the chair and noticed how uncomfortable the chair was. She then told who she was with to get our their camera and take a video of the chair rocking back and forth. After the chair rocking was videoed, she said that she would like to incorporate that in her performance, but she did not know whether she could. Having a rocking chair displayed on the LED screens was a bit limiting and wouldn't set the scene.

During rehearsals, she had finally decided what she wanted to do with the staging and it had fitted really well with the rest of the staging. You will be able to see how it used during the performance. She was performing second in the Grand Final, and she was alerted that this was the earliest Britonisea had ever performed. She was extremely excited, but also nervous. Good luck Florise!

The stage was being set for Florise's performance. This was the first time that she had performed in front of an audience that would rival that of the Mehlodhifehstivalhen, and still, this audience was much larger. Sure, she was feeling very nervous and holding the microphone, which was ruby-encrusted, in her right hand she was now ready to perform on the stage. The audience started clapping after the previous performance and that was her cue to get on the stage and get ready. This was her moment to shine, and this could possibly be her last moment too. She had traveled such a long way; not by aeroplane, but mentally. She had to set her sights on performing well here. This is not a Britonish audience, who may be much nicer to her. This is an audience unfamiliar to her, and they could take the song very differently. There was a rocking chair placed in the middle of the stage and it started rocking forwards - behind - forwards - behind as the stage floor was covered with a blanket of thick theatre smoking which seamed in to the audience before dispersing over the empty spaces in the arena. Wearing this frock, she slowly came towards the stage and took a deep breath as the audience one again applauded for our act, the Britonish act.

Aerosol sprays and extensive floor mopping were down during the postcard break to make sure that the performance was at least satisfying after that horrific display prior to this performance. We can assure you that the prior performance did not affect the Britonish performance.

Once the audience had calmed down, the song began to play. The very short introduction saw Florise walk from the back of the arena. The camera following her, moving back and higher, slowly traveling its way down her body - showing her wonderful clothing. Blue and red fizzled in the midst of haze, making an eerie, foreboding feel in the arena. The audience watched in glee as the song began to reach its first chorus and she held the ruby microphone to her face; almost blocking her mouth behind the top bit of the microphone. Keeping it tense, the camera would now be close to her face showing that though the mood is uncanny, she is keeping the audience at home (and in the arena) close to her as she tells you to beware.

Killed and swallowed whole?
Scorched? Lynched, also?
Only the worst of one comes out when they let it.
A twisted tale of one.
One head, but two minds?
Man's dual nature exposed for the world to see...

The clock sound in the background started to get louder and you started to notice it a bit more. Moreover, if you were apart of the audience or were watching on television, you would notice that the screens behind of you were filled with clocks, smashed together, fully functional but instead of ticking in normal time, every two clicks of the clock sound, the hour hand would turn to the next number (from 12 to 1, 1 to 2). Florise then sat on the rocking chair which she had finally put to a rest and the camera came from behind it. As the camera came around to her face, she held out her hand, grasping for it before it faded to an aerial shot of the stage. The floor, you would notice, was similar to molten lava, but the floors were moving towards the audience.

You won't believe me but I am here to tell you something,
Before it gets too late and you regret it dearly.
You won't listen to me but I am warning you,
And I am sure one day you'll turn around,
You'll realise if you...

She now stood from her chair as she sung about how she is "here to tell you something," and she commenced to the edge of the arena, where a drone camera came flying past her before fading to the camera in front of her of which she looked deep in to. The staging turned from molten rock and clocks to dark and murky green and yellow; both dwelling in with each other creating an unsettling colour mixture which would make you squint your eyes at the weird combination. The camera at "You nay listen" then positioned itself to a pianist who wasn't there before. The camera focused on the pianists hands played chords up and down the grand piano. As the next part was about to be sung, a single yellow light amongst the other lights shone the most and the other colours around the arena died out.

Look at them walking, you'll see they act like they're you and I,
A dream, unreal, which they all fantasise.
They're good at not showing what they really want to do with us.
Hide behind me, don't you cry.
Ma joahae, They're all Jekyll and Hyde.

When the first chorus started, her ruby microphone glared as the yellow light hit against it. The camera then came from the back of her and then lifted itself in to the sky revealing the audience who all had their light tags on which created beautiful yellow star-like dots in the darkness of the arena. During this chorus, she had sung with some beauty and poise, her voice smoothing transitioning over her vowels as she harshly hit the consonants. You could tell that Florise has had extensive lessons when it came to her voice. During the transition between the chorus and the second verse was a transition which was tense. She walked from where she was, the middle edge of the stage, before turning her back to the audience and walking towards a banjo player who was sitting down on the rocking chair; which had been moved further back in to the arena. The camera following behind her, revealing the banjo player as she moved out of the way.

Efforts to hide their bad side,
Their fragmented, demented minds.
Goes unmissed when you are too close them.
They'll make you think you are there's,
They'll make you think, they'll always be there!
But really, you're a puppet on a string.

She circled the banjo player, almost as if she was singing to him, telling him to stay safe. The camera was circling around them in the opposite direction, and every time that they went to the audience, you could see little yellow dots swaying slowly from right to left. Florise when singing about how "They'll make you think" travelled her way to the other side of the arena where she was at the piano. She was then singing to the pianist as the camera quickly shot to a group of women wearing a long white veil playing the violin as she started singing the next part of the song;

This game is survival of the fittest!
Oh and if you lose, you're going down, down, down, oh!

She then smiled as she started singing about how you will go "down, down, down," and the stage complimented this as the yellow light changed to a red light around the whole arena which was used to symbolise hate and all the emotions which aren't associated with the good of humankind. Her red ruby microphone almost seemed to blend in with the background as she began to sing with the audience guiding her. Their tags also turned from yellow to red, making the whole of the arena now shine red.

Look at them walking, you think they have no primary intention.
Look at them thinking as they walk by.
They're good at not showing us what they want to do with you and I,
Hide behind me, don't you cry.
Because they're all Jekyll and Hyde.

This chorus had more of a build up, and so when she started to sing it, she got in to a "crouching" positioned as the camera came to find her from an aerial view and then zoomed. She looked like she was singing was so much conviction, as this was a song that she could easily relate to, and this song has been long in the making - and this could be the last time she performed it on such a stage - with such lighting - for such a reason. When she started to sing about how she tells you "don't you cry" she then gets up and looks directly down the middle of the arena.

She then gets up and as the song starts to get built up through the dynamics and the texture, she got up with a tear rolling down her face and jerked around, making her dress follow her direction. As the song started to build up behind her, she then moved to the piano, which had steps leading up to the top of it. The piano was moved a bit more forward, so she was nearer to the audience and then as the last "Woooooh" was sung, she held her hands up to the sky and waited for her next bit to sing the song as that would be as large as the bits before it. Suddenly, people from any areas around the stage came on holding batons, male and female, clustering on to one, creating a war-like scene on stage.

Hy-Hy-Hyde, Wooooh!
Ahhh, Wooooh!
Ahhh, Wooooh,
No, oh, no oh no...

Ahhh, Wooooh!
Ahhh, Wooooh!
Wooooh, yeah-oh!
Look at them walking, you think they have no primary intention.
They're just all Jekyll and Hyde!

As she started singing again after that tension building moment. Everything in the arena blacked out and there were two spotlights on the stage. One of which were focused on her on the piano top, and another was a male who had previously ran on the stage. The man looked like he was lost, alone, cold. Suddenly, as she belted the "Hyde" bit, he turned to look at the audience and then was engulfed by the others who were on stage. To add to this, the camera moved from nearby the stage and quickly zoomed out and with it came laser-lights shining in to the lights as well as haze light.

They're good at not showing us what they want to do with us.
Hide behind me, don't you cry!
Don't you dare worry as I shelter you from them,
I've experienced the hard way, so you don't have to.
It's just 'cuz they're all Jekyll and Hyde!
Ahhh, Wooooh!
Ahhh, Wooooh!

Florise was singing with the same passion that she was singing as those who came running on the stage stood in a line swaying to the right and the left. There were then shots of people in the crowd, hugging, kissing etc and you can also hear the hum of the audience singing along. By this time, she managed to get herself off the piano and to the man who plays to banjo. He kept on playing that banjo, and almost seemed forgotten among the rest of the stage.

Oooh, Oooh,
Yah, Yah, Yah, Yah.
Oh no, they're all Jekyll and Hyde...

As the song began to finish, the yellow spotlight reappered for the last time, and on his (the banjo player) lap, she sat, to the side as then she hugged him. The audience then applauded as they cheered "Jekyll and Hyde" which was also plastered on the screens behind the two in gold. She then got up with the banjo player and then held hands and bowed. "Thanks a million! Thank you Ekoz, thank you Ultimaverse!" she shouted as the postcard to the next country started to play.

Ma joahae - My love (Old Britonish Latin- commonly used in English in Britonisea)

by **Polkopia** » Tue Feb 21, 2017 12:06 pm

03. Polkopia
Mitya Radić - Thinking Of You
Music & Lyrics: Stefan Jovonić, Mitya Radić, Fyodor Markov

Mitya Radić was the most recent winner of The Voice: Polkopia, and also, the most recent winner of the Landa vy Polkopiya, after tying for first place in the international jury votes with Anastasija Kovač & Edvin Kasun's "Something", Mitya went on and secured the victory in the domestic televote, where he scored 61 points, compared to the 58 points that the duet scored, earning Mitya the right to compete in Ekoz for the 54th Worldvision Song Contest. Mitya describes his song, "Thinking of You", as a metaphor for millions around the multiverse who struggle with addiction, whether to overcome a hardship, or just roped into the addiction. "Whatever the reasoning for one's addiction, I know it's a hard and unforgiving way of life, and I surely wish the best for them." Mitya said in an interview shortly before the Landa vy Polkopiya final. Now, several months later, Mitya and his team were in Ekoz to bring Polkopia yet another victory in the Worldvision Song Contest.

As the music started playing in the background, images of neon trumpets were shown on the background LED screen, one by one, until there were six trumpets in total, all standing vertically on the background screen. The trumpets bounced slightly with the tunes of the horns in the background. As they bounced, small neon outlines of musical notes flew out of the horn, across the screen, and out of view. The main camera showed a view of the stage from the front, where the lack of lights made the singers invisible. The only thing that could be seen on stage was the neon horns in the background and the notes before they flew out of view. As the bass kicked in, the trumpets’ movements became more exaggerated, and the perimeter of the stage lit up in the same neon pattern as the trumpets. The perimeter of the stage did so as well. On stage, it became clear that there was at least one keyboard player, as the instrument began to light up in the same neon pattern. A spotlight shown on Mitya Radić, the singer, who was wearing an all-black outfit and his microphone had different colored rings around it, in the same neon pattern as the rest of the stage.

As he started singing, the background pattern all seemed to swiftly drift to the center, and form into a neon drop of liquid, which seemed to drop below the stage and out of view. Throughout the verse, neon-colored grasses appeared at the base of the LED screen. Mitya himself stood in one place, tapping his leg to the beat, while holding the microphone to his mouth.

I caught you on my mind again, can I get a break?
There’s no way to stop you from calling out my name, is it all fake?

Mitya stepped forward, and different neon shapes entered the stage, running around in what looked to be a chaotic mess, but in actuality, it was 5 or 6 background dancers, dressed up in all black, but had neon paint on them, running and dancing on stage. Of course, they weren’t visible due to lack of lighting, so to the average viewer, it would appear as a different neon squiggles.

B-Burning you all night
Can’t make it through this fight
Don’t want to think of you
Don’t want to have to choose
Ten thousand sins and lies
To feel just one more high
I’ve got to keep you off my mind

Once the bridge ended, the dancers all rushed toward the middle, where Mitya was standing, and crowded around him, dancing in place. The spotlight was strictly on Mitya, so the dancers were still unrecognizable, but the pattern around him seemed surreal. While singing, Mitya seemed unaware of the patterns around him, and his sole concentration was on his singing.

Goodbye…
I was thinking of you for too long.
Now I…
I’m lost in my own perfect world.
So leave me alone.

Now, a neon cloud appeared in the background, dropping neon-colored raindrops on the ‘ground’ of the LED screen. From the ground, two neon silhouettes of people sprung up, picked up an umbrella (also neon-colored), and walked away in the distance. The raindrops that were falling paused, and circled around a middle point. More objects joined, and soon, the patterns on the entire LED screen was spinning rapidly, until Mitya started singing again, at which point, it paused, and another pattern filled the screen, still neon-colored. As he sang, the waves rose and fell with the beat.

Hours and hours, they pass on and on
Was it worth the time?
Once you’re out of me, I can’t help myself
Come back into my life.

More dancers seemed to crowd around him now, before the entire stage seemed full of these strange neon-colored squiggly patterns that bounced, fell, swayed, made any kind of movements, though they only did so in tune with the beat. Mitya still seemed unaware of what was going on around him.

B-Burning you all night
Can’t make it through this fight
I have to think of you
This is what I choose
Ten thousand sins and lies
To feel just one more high
I’ve got to keep you on my mind

Fire sprung out on the perimeter of the stage, but only for a moment, as the chours kicked in. Then, it was all back to how it was before. The dancers danced, but the background screen seemed a lot more chaotic now, in the sense that the colors merged with one another, before turning into a dull gray color. The wave patterns still bounced, however.

Goodbye…
I was thinking of you for too long.
Now I…
I’m lost in my own perfect world.

The patterns turned completely black, and the neon patterns on stage turned completely off. Mitya got on one knee and looked at the ground as he sang.

I have to find the strength to tell myself
One more high isn’t worth all these sins and lies, no no
Ohh.. that’s right.
Ohh.. that’s right.
Ohh.. that’s right.
Ohh..

As the music played, the neon patterns on stage appeared once again, and grabbed Mitya, and held him in the air. Mitya was laying on his back, with the dancers below him. Some of the patterns moved, while others stood still. Mitya sang the chorus again, laying on his back.

Goodbye…
I’ve gotta get you off my mind.
Now I…
I will no longer be confined
So leave me alone.

After the chorus, one by one, some of the dancers left the stage, on and on until Mitya was gently placed on the ground. The lights brightened slightly so that the stage itself was visible now, as was the keyboard player in the back. The background screen became an animation of water waves crashing into one another rather than neon patterns. A few dancers danced around Mitya as he lay there, and Mitya stood up, and pushed the dancers away as he sang. After he pushed each dancer away, the dancer left the stage.

Leave me
Leave me
Leave me alone today
Leave me
Leave me
Leave me alone today
Leave me
Leave me
Leave me alone today

The song was ended, and the last of the dancers had left the stage. Mitya stood there, looking into the camera for the first time. He exhaled and smiled, and the lights returned back to normal.
“Thank you, Ekoz!” He shouted, waving, before leaving the stage.

by **Merecendi-** » Tue Feb 21, 2017 12:09 pm

_04. MERECENDI_

Tune: Chanting, chanting, CHANTING!!!!
(not the exact tune, but the general atmosphere)

Reserved

Indefinitely

The music group Indefinitely was formed by the members Zeroux, Devidead, Bye, and Not, seven years ago at 10:43:05 PM in a tiny little Classical Revival bar in Kallarane that serves these magical little truffle brownies that are truly the most excellent hallucinogenic confections one could ever find in a global village such as Kallarae. The moist, supple texture and simple mind-blowing effectiveness of the pastries have truly launched this humble business into the limelight of altered-state society. Indefinitely had never been so lucky to find each other in this stunningly beautiful space and truly have never forgotten this unforgettable experience with all their hearts. They love you, all of you, with the power of love and beg to be considered in their humble highness.
Zeroux started life at 2:36:38 AM in a bathtub on the outskirts of Kallaraen, forever falling for the almighty Robert Baxter from his preconception. Every living hour of his every day was spent in anticipation of being in sight of his beloved- his very first sentence, as attested by his many caretakers, was in fact about Robert, as was his very first sentence ever to be written on a physical surface. Zeroux's first waking memory, from the time he was just a wee little bouncer, was a vision of Robert coming to him from afar. Every essay and presentation Zeroux ever gave in his educational career was dedicated to Robert, from his very first paper on the lives of waterbears to his final presentation on the controversial ethics of using antibacterial solutions on nonhuman skin, and the ethnosocial implications that follow. Zeroux turned his body into a shrine for Robert Baxter, his flawless medical and dental history creating a perfect slate for the most devoted alterations and replacements. In fact, only 46.754% of his current body is the same as what he came into the world with, the rest being carefully crafted on and modified to suit his undying devotion. He faced extreme fears about his future once he reached sexual maturity, and wondered how he could ever live on this living planet the way he was, and realized he must change his body and soul to further suit his true passions and leanings. This glorious revolution lent Zeroux the true strength to continue not dying and brought him to the most wonderful regions of Callarane in his quest to become whole and one with his one devotion and his truly beloved.
At 7:36:29 PM in small but cozy warehouse in Kalelrane, Devidead was brought forth into the world by the combined powers of an electrical engineer holding a power drill and a great and acclaimed writer wielding a mighty pen. Devidead was fixated from before preconception on the charisma and sheer attractiveness of the nigh-immortal and truly great Jean Beauvoir, his sheer prowess imprinting permanently on Devidead's developing soul and body. Devidead never truly found a path in life, only the one true calling of Devidead's guide and soulmate, the eternally glorious and inimitable Jean. Devidead could always be found writing the most eloquent and lengthy odes to the Normand commentator on any surface possible, using any material possible. Devidead's works can still be seen today on a wide range of scales, from the physical to the figurative, and from space to a microscopic level. Devidead's constant hero worship of Jean resulted in the manifestation of various semicorporeal versions of Jean wandering about Kallarene, many of which can still be seen en masse today. Unlike Zeroux, Devidead had never been in the most perfect health, with innumerable cases of rot and cavity making appearances upon both body and mind, possibly due to the combustive circumstances of Devidead's birth and early upbringing, and compounded by the topical ointment prescribed by an admittedly sketchy medical caretaker Devidead could never remember the name of, who tended to use many incantations and unusual remedies (the which doctor who??). Devidead's compulsively artistic wanderings and medical instability brought the being to nearly all areas of Kollarane, culminating in the transfer of Devidead's abilities to work only with bodily fluids, and the wanderer's sudden employment in a particular NeoClassical pastry bar that bears Jean's name and life history. Upon meeting the soon-to-be-joined members of Indefinitely, Devidead realized there was no way to cease talking about WorldVision, and founded the group in deep reverence to Devidead's guiding light, the one and only Jean Beauvoir.
The hellish sun had never been kind to Bye, who arrived upon this mortal coil under the blazing light of noon, 12:01:00 PM to be exact. The air was ostensibly 30.122 degrees Celsius at the time, and her skin turned dark like a marshmallow in the embers of a dying fire. In the blinding light of her creation, Bye found salvation in the combination of Zeke Lemondey and Rigas Jengiz. They were the perfect combination, the soothing comfort in her torturous beginning, and never ceased to find the most exalted spot in her growing and expanding mind. Bye's silent screams of her her first exam in education were shrieks of prayer to her two saviors, her true direction in the whirlwind of life. Her guardians in the physical world never interacted with her, only stood sullen and silent before the gathering storm of her chaotic maturity, not even when the storm was unleashed and Bye was flung from wall to wall and from sky to ground as her body tried to tear itself apart, rejecting the gift of her soul thrust upon it so many years ago in a final frenzy of independence. Only Bye's enduring faith in Rigas and Zeke allowed her to hold on to sanity as she thrashed and cried upon the unyielding floor. Her ordeal only ceased when she saw a vision of Rigas, sheer holiness emanating from her being, reaching out to the weary Bye, and with Zeke walking over to embrace her, waves of soothing coolness washing over Bye's shattered being, healing her like blessed water from a baptismal font. From that point on, Bye never ceased to lose faith in her two paragons of perfection, her confounding and contradictory medical state holding no candle to the caring, healing light of the omnipotent duo. Her first meeting with the other members of what was to be Indefinitely only strengthened her conviction, and she would never stray from the soft, benevolent rays of Rigas and Zeke.
Not never knew how he came about. Not only ever saw the stars of a dying era fall from the sky at 9:39:48 PM, the stifling 92.68% relative humidity wreaking havoc on his developing lungs. Only the piercing beauty of Sonya Portelli's unwavering gaze broke through the 28.72 degree Celsius heat to open the mind of the tiny infant Not, who was to be forever captivated by her unparalleled visage. From that moment on, Not was bound and determined to see his quintessence of beauty in the flesh. Not just virtually. Not just mentally. But in the living, beating, respirating flesh. Every night Sonya came to him in dreams, whispering in his ears, caressing him, singing him to deeper sleep. Every day he lived a life and spoke to others, but only ever spoke to Sonya. His heart rate was 68.21 beats per minute, his blood pressure was 118/86, but he only ever breathed and beat for Sonya. Not wrote treatises for Sonya. Not ran for Sonya. Not worked hard for Sonya. Not plastered Sonya's face on the largest buildings in Kellorene. Not praised Sonya, and preached for Sonya. Not's teachings spread far and wide for Sonya. Not never gave up on pleasing Sonya, on finding Sonya, on meeting Sonya. Not founded Indefinitely for Sonya, and Not left Kallaraan and came to WorldVision for Sonya. Not was bound to Sonya, and vowed to never leave his lifelong guide and eternal companion.

the arena is pitch black. strobe lights illuminate the group members periodically as they whirl about in long, streaming costumes, chanting incessantly

Bito Birotito Boratiso, Nito Sino Biratosino
Brihto Brahto Brohto, Broto Niso Sinea
Brito Britoo Nisia...

they continue along this vein for some time

Polko Kolpi Aiya, Kolo Paki Pokia
Polo Kopo Pikipa, Polkopi Kapi Kiliya
Papi Pako Palio, Pili Kopa Kapilo...

this continues on and on...

Eximi Mistare Ax, Aremes Ixtare Sim
Eximixte Ristemi, Estimare Exinex
Mimitares Arexi, Sirstimi Exinin...

and on and on...

Elicatrum Tarumkal, Elie Yali Alatrum
Rumba Rumta Arictum, Ali Lecta Alictarum
Luctra Ructum Alicrum, Tumba Lucte Elium...

it's as if they go on... indefinitely

Norma Nada Piccary, Picareedy Normapic
Deema Norda Picarum, Normda Nordum Reemapic
Noraranda Picadum, Normianda Pinkaree...

they continue through a random number of nations, almost endlessly. Then, as the music ends, they stop and all the spotlights illuminate the stage, mildly blinding the darkness-accustomed audience

RESERVED!!!!

The members scramble to the front of the stage and declare their undying devotion to their respective commentators, pure compassion and love emanating from their hearts and voices. Zeroux kneels and exposes his body-shrine and Bye prostrates herself upon the stage. Massive images of all five commentators are shown on the stage screens.

by **Darkmania** » Tue Feb 21, 2017 12:56 pm

LIVE FROM KØNIKSTAAT, EKOZ ITS WSC 54!!

DaTV commentary hosted by Frëdrik Känase and Julia Festmedne!

OOC: Im getting tired of this picure of Scott Mills and Mel Giedroyc. Can you guys find a better one for `55?

Julia Festmedne (Music critic)
Frëdrik Känase (Comentator for DaTV)

Its that time on the year again! When Ekoz host a songcontest, and nations came to see whp much of a trainwreck all of their entries are.
Some of the songs this night is just shit. Some bring their uunderstandivle language and sing S. Some joins for the first time. Some returning. But only one can win. And lets face it, it`s not Darkmania.

-WIP-

by **Natanya** » Tue Feb 21, 2017 1:19 pm

05. Natanya
Kaylileenástkadeenada Ñadiakimadoradaþínkaðerren - Hvítur; Svartur; Grár
Lyrics & Music: Kaylileenástkadeenada Ñadiakimadoradaþínkaðerren
Tune:Eivør - Dansaðu Vindur

Staging:
The stage was set as a bright white winter scene, with faux-snow falling onto Kaylileenástkadeenada as she sungs. Bright white darted out into the audience and slowly moved throughout the performance. Kaylileenástkadeenada stood in one position for the song but swayed and moved her arms to the music. Kaylileenástkadeenada was wearing a long white winter coat.

Lyrics:

Náttúran vex frjálslega í kringum okkur,
Öndun fersku lofti, hætta ég að velta,
Litur, Þau keppa í kringum mig
Allt þar á milli svörtu í hvítt
Litur, oh, dansa Litur,
Koma á friði í sál mína.

Hvítur snjór og grár himinn,
Svart nótt og sterkir vindar,
Finnst slá af elskandi hjarta mínu,
Nakinn og hrátt, kynnt fyrir þér.
Litur, oh, dansa Litur,
Koma á friði í sál mína.

Litur, Þau keppa í kringum mig
Allt þar á milli svörtu í hvítt
Litur, oh, dansa Litur,
Koma á friði í sál mína.

Gakktu til liðs við mig, við skulum dansa,
Að eilífu gleypti í friði og æðruleysi
Litur, Þau keppa í kringum mig
Allt þar á milli svörtu í hvítt
Litur, oh, dansa Litur,
Koma á friði í sál mína.

Litur, oh, dansa Litur,
Koma á friði í sálir okkar.

"Þakka þér fyrir" Kaylileenástkadeenada quietly addresses the audience before walking off the stage.

by **Estogium** » Tue Feb 21, 2017 4:37 pm

#06 ESTOGIUM
Israael Kashtkar - "I Thought I Could Survive"
Tune : Marco Mengoni - "Guerriero"

Writers: Israael Kashtkar, Eustace Carlinhos
Music Gilbert Johansen, Timothy Burton, Kilburn Lewis and Israael Kashtkar

Estogium will be represented in the 54th WorldVision Song Contest in Ekoz by Israael Kashtkar. Initially, it was supposed to be Eustace Carlinhos, however, he has been admitted in to hospital after a problem with his larynx. Israael was called by Eustace (his agent and management) to represent the country with the song he was initially supposed to sing, knowing how well Israael knew it after he co-wrote it alongside Eustace himself. The song, "I Thought I Could Survive" is unlike any of the recent songs that Estogium has sent. It will be sung in the English language and it is more powerful than last edition's song. Estogium is hoping to better its performance than last time, and with (what seems like) a bigger field of nations, expectations have been raised and so have the level of production of the songs.

Israael Kashtkar had participated in WorldVision 52, where he sang the song "Akron De Hatchet (Arson of the Heart) which placed 6th with 71 points.

Taken from WorldVision 52;

Israael Kashtkar is a 24 year old Estogian man who is known as one of the biggest artists in the Brityunikosphere which are the places which speak Old Britonish Latin, or Rwhitten, in Estogium, Aloquirbe, Northern Britonisea (mainly Nightom), parts of Aurevbush and far-east Arioslavia, near the Estogium-Arioslavian sea. Israael Kashtkar's signed up with the label Nyx Music, who is run by Mehkl Maddox Ajax (Represent Britonisea in the World Hit Festival, WHF27, 9th) who is excited to see how the songs is organised on stage. "He is a confident performer, and I think that he could do very well," said Mehkl Maddox Ajax in the Big Reveal: Estogium [for WV52], a show where the Estogian WorldVision and World Hit Festival songs are announced.

There, the entry started. There was no music, but rather the sound of shoes clacking on to the cold hard floor of the arena's stage. This was the second time he had performed at the WorldVision Song Contest and he was very excited to perform here, again. He had never been to Ekoz either, and so, this was a treat for him. Flashed on to the screens behind him, and under him - over it and to his side was a wet and cold alleyway that you could easily find in the Estogian capital city of Darlington. He wore a dark jacket which went from his shoulders to his knees, but despite how long it was, it suited him. Under his jacket, he wore a blue jeans and thick, sturdy timberland shoes of the colour palish yellow. He then walked in looking on around at the audience as if he didn't know where he was. He then found a lamp-post to sit next to (there was a lamp-post on the stage). He looked up where the camera greeted him. The music started to start, and from the microphone that was behind him, he grabbed it and began to start singing in a piano dynamic, and would increase as the song went on.

Walking down hollowed, empty streets.
Of the city, which was once a driving force.
My mind's not here, it's playing memories.
Trying to recall, what's hidden behind the mist.

Look up at the sky, the clouds painted black.
You couldn't change it, if you could do that.
I wondering, I blame myself for leaving.
I was being greedy, selfish and absentminded.

The camera slowly followed it's way through the stage, which was full of props and features which turned the stage in to more of a city. At the end of the verse, the camera managed to get itself round to Israael Kashtkar who was sitting there by the lampost. He looked up at the camera before giving it 'the rolled eyes' and standing up. Here, would be the first glance of Israael that the audience would get as he walked towards the audience by going over this bench and sitting on it. The stage was quite bright at this point, it was representing daytime. There was a big build up to the chorus of the song and for the viewers at home, what they could see faded away.

And now the sky is bleeding, weeping my name loud.
Thunder sounding off, screaming, shouting at me.
Ember rising from the river which once was full of those,
With dreams which could've been achieved.

And as I walk forth, the guilt inside's immense.
Trying to beat me down, and it's working.
At each step, I'm being torn down.
At each step, I'm nearer to the ground.

This song was different to other songs Estogium had sent, and probably quite unique to what you will hear. The chorus of the song is quite messy and unsettling - but isn't that the world today? The chorus reflects the world today. Although there is a beat to the music and you can tell the rhythm, it still sounds distorted and not everything fits together. During that chorus, the LED wall was of the same area, but it was at night time. But by the end of the chorus, this had changed in to the early hours of morning - the stadium filling up with a pinky-orange.

When I was 18, I thought I could survive.
I thought the world was out there, to help me get by.
I got on that train which led me far away,
I didn't think about the pain I would've left here.

When I was 18, I had just left school.
I shunned the skills they lectured at me.
And when I was alone, I didn't know what to do.
I was trapped in world inside my mind.

He has gotten up from the bench when he started to sing the chorus and moved towards the chorus, clutching the microphone with the anger that he felt within himself as sung about 'his' life story. During this, the camera would frantically try to catch up with him with jerky and unstable movements, forcing itself to his face before moving back further away and then coming from behind him before focusing on his eyes.

After the chorus calmed down, so did the staging and so did the camera. The light in the arena was a spotlight and focussed on him. During this time, the things behind him was taken off stage to make him derelict on the stage - all by himself...

It's fake, I can't watch my past.
Oh, how I took it for granted; and I'm sorry.
Would you forgive me if you were revived.
I'd trade a spot for hell, my sanity already has died.

Respond, please, please.
Give me, a sign...

During this verse above, he managed to go around on to the platform (used in Sweden 2016) closer to the audience on the island. And as he sang those lyrics, pictures of him when he was younger showed up on the weird distorted screens behind of him. When singing about how you should "Respond, please please," he then got down on to his knees and raised his hands towards the light which was on the far side of the arena.

Walking in to the house; my prior abode.
Swept away like a hurricane, nothing remains.
Glistening diamond through the wreckage,
Stared at me as I picked up.

And one thing I noticed was a reflection.
The only thing to have survive, and that was me.
I remember that, the ring of your first wedding.
I'm the bearer, I was the protector.

He then managed to get himself back up from kneeling, but stayed in that position. The next chorus was about to begin, and so, he took a large breath. The camera slowly moved towards his face while the staging laid stripped back and plain.

When I was 18, I thought I could survive.
I thought the world was out there, to help me get by.
I got on that train which led me far away,
I didn't think about the pain I would've left here.

When I was 18, I had just left school.
I shunned the skills they lectured at me.
And when I was alone, I didn't know what to do.
I was trapped in world inside my mind.

There was a camera which came from behind him. Israael was looking up at a spotlight which came from the far center of the arena and shone brightly on him. It looked as though he was transfixed on the light. The camera was still behind him but raised itself to be over and to those at home, the light seemed to get brighter and over time, there was a white screen on their television screens. The camera then slowly faded to face Israael from the audience's view. He was still standing there, but he wasn't looking at the light anymore.

I cannot express how I am feeling.
My deepest condolences...
When I was 18, I though I could survive.
Now I'm double that, and I wish I had died.

As the stage turned black after his performance, he slowly lowered to the floor. The audience started to applaud though not very loudly. Perhaps they weren't yet awake. "Thank-you, Kønikstaat" he said modestly in to his microphone before walking off the stage huffing and puffing. He then sat down with his delegation and waited for the next performances to go on.

by **Polkopia** » Tue Feb 21, 2017 4:49 pm

Commentary WIP

by **RIPlania** » Tue Feb 21, 2017 10:35 pm

#07 - RIPlania

Death in 2 Minutes And 19 Seconds

Shop Owner
Composer: Mr Stuff Composers, Shop Owner Is Our True God

Shop Owner appears on stage for his first WVSC in a very long time, and the entire crowd, most of which come from RIPlania, stand up, and those who fail to stand up, who are mostly from the pathetic Britonisea, are killed on the spot by one of the 6373 RIPlanian Executors attending the building tonight. Shop Owner starts to sing, and everybody cheers like they are supposed to.

"Alright kiddies!
We all know I like death!
Well, here's death for you in 2 minutes and 19 seconds...
STARTING NOW!!!"

Shop Owner then uses his massive 7'1", 250 lb. frame to pick up multiple weapons, which he then starts throwing into the crowd.

"ALLLLRRRIIIIIIGGGGHHHTTY!!!!
NOW KILL THE PERSON NEXT TO YOU
KILL THEM WITH YOUR GUN!
KILL THEM WITH YOUR GUN!
KILL THEM WITH YOUR GUN!
IF YOU HAVE A BOMBBBBBB
IF YOU HAVE A BOMBBBBBB
THROW IT AT THAT GUY FROM BRITONISEA
BRITONISEA SUCKS
THE MULTIVERSE SUCKS
NOW SING WITH ME
SHOP OWNER IS GOD
SHOP OWNER IS GOD
SHOP OWNER IS LIFE
SHOP OWNER IS LIFE
NOW KILL THE PERSON IN FRONT OF YOU!
MAKE SURE THERE'S NO LIFE YET IN THEM!
YOU'LL DIE TOO!
FAMILY FUN FOR ALL!
NOW....
IT CONCERNS ME THAT THERE ISN'T ENOUGH DEATH IN THIS BUILDING...

SOOOOOOOOOOOOOOOOOOOOOOOOOOOO...

YEAAAAAAAAAHHHH BAAAAAAAAABBBBBBYYYYYY!!!!

DEATH DEATH DEATH DEATH DEATH DEATH DEATH DEATH DEATH DEATH DEATH DEATH DEATH THE WARRIORS BLEW A 3-1 LEAD DEATH DEATH DEATH DEATH POTATOES DEATH DEATH DEATH I AM YOUR GOD DEATH DEATH DEATH NOW LET'S ALL DIE! DEATH DEATH

YEAAAAAAAAAAAAAHHHHHHH!!!!!!!

EKOZ 54. SHOP OWNER IS GOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOODDDDDDDDDDDDDDDDDDDDDDDDD!!!!!!!!!

THANK YOU EVERYBODY! THE RIPLANIAN EXECUTORS WILL NOW BURY YOUR BODIES ON A REMOTE ISLAND SOMEWHERE NEAR ELECTRUM. WE WILL BURY ALL 73,948 OF YOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOUUUUUUUU!!!!!"

And with that, the fans that are left cheer Shop Owner off, while the executors pick up the bodies of all that have been killed in the attacks by the Lord Almighty Shop Owner, who is now clutching the WorldVision trophy as he has already won the event with a beautiful performance.

by **Electrum Diplomatic Offices** » Wed Feb 22, 2017 3:06 am

8. ELECTRUM DIPLOMATIC OFFICES

Song: "You're Just Jealous!"
Artist and Lyricist and Composer: Gertrude Pullman
Tune: "I Don't Like It" by Pauline Pantsdown

Introduction
Gertrude Pullman, knows she has haters from across the multiverse. The only way she can rationalise that she has haters is that they are jealous of her creative genius, both in the composing and songwriting realms. She is also an Olympic medal winning athlete, winning in the women's Table Tennis Team competition in the last Summer Olympiad. She is well accomplished, so its not surprising she would think that the only reason she can think of that people hate her is that they are jealous of her.

The Performer

The Song

Gertrude Pullman walks on stage to boos -- she is very hated where-ever she is. She starts saying:

This message is for all you haters out there:
You’re just jealous.

Then, the music finally starts up:

0:04
When I get points without effort
You’re just jealous, when my history’s more checkered
My dignity’s still intact, my dignity’s still intact
I won an Olympic Medal, silver to be exact!

You’re just jealous, when I get points without effort
You’re just jealous, when my history’s more checkered
My dignity’s still intact, my dignity’s still intact
I won an Olympic Medal, silver to be exact!

1, 2, 3, 4, 5, 6, 7, 8, 10 points, 12 points, puppet vote
1, 2, 3, 4, 5, 6, 7, 8, 10 points, 12 points, nul point

I’ll get points

She then struts her stuff on stage with her typical guard uniform, showing off the silver medal that she won in the Olympics just the year before, biting it. Then, she throws phones onto the audience, with preloaded text messages that are delayed to send votes to the Electrum Diplomatic Offices when the phone is turned on. On screen behind her, a mock-up of the graphics shows all nations giving her 12 points.

0:43
You’re just jealous, when umm... I’m constantly right
You’re just jealous, when umm… I’m the highlight

My dignity’s still intact, my dignity’s still intact
I won an Olympic Medal, silver to be exact!

A montage of videos appears throughout the screen, showing WorldVision through the ages -- though the videos themselves only have Gertrude Pullman doing various stunts, like when she hit someone with a handbag in her debut, to her screaming at the audience. She starts throwing eggs onto the audience to show her disgust at them.

0:58
CHORUS
You’re just jealous, yes, yes, yes you are, don’t deny,
You’re just jealous, just admit you’re wrong!
You’re just jealous, yes, yes, yes you are, don’t deny,
You’re just jealous, just admit you’re wrong!

Please explain, why my body has arthritis
At least I’m not like stupid youth, too old for tonsillitis

Her security guard friends go on stage -- they all look just like her, elderly women who are angry. They force everyone in the audience to stand up, or they face tasers. After the first few audience members refuse to stand up, they get tased, making everyone else stand up immediately. The boos get even more louder than before. When she sings about the cats, a whole bunch of cats are released onto the stage. All twenty-five of them are owned by Gertrude as her pets, and they run around, and even jump down into the audience, scared of all the noise, sound and light coming from everywhere.

1:25
I have lots of friends, and they'll do anything I will say

So pour down the gruel, and toss in prune juice
Coz this is my last stand and payback for abuse, yeah!

See the fat on the cat, no time to chat, you annoying gnat
See the fat on the cat, no time to chat, you annoying gnat

Stand up, stand up, up, up
This is a warning, or else we electrocute, yeah!

Prune juice gruel, prune juice gruel
What do you mean, not too cruel
Prune juice gruel, prune juice gruel
Enjoy it cos', this is slave fuel

One of her Gregoryisgodistani slaves is forced to go on stage. As she is a Government VIP of Gregoryisgodistan, she can have as many Gregoryisgodistani slaves as she wants. She forces him to go on all fours, as she sits on his back and continues to sing. She forces the slave to continue walking around the audience. All of a sudden, whole barrels of prune juice and gruel are released on stage and into the audience, into one sticky mess. She scoops some of the mixture and stuffs it into the mouth of the slave whilst continuing to sing.

2:00
CHORUS

You’re jealous that I possess a slave
Who cares about their early grave
And I taught it to behave, I won't cop that, no way

J, J, J, J just admit it!

It’s alright to be envious
The haters are oblivious
But I know I’m always right
Without an error, error, error...

Satisfied with her hi jinx, she shoos the slave off stage. She starts picking up some of the gruel/prune juice mixture and throwing it into the audience. Some of the security guards join her on stage and do the same thing.

2:42
I have lots of friends, and they'll do anything I will say

So pour down the gruel, and toss in prune juice
Coz this is my last stand and payback for abuse, yeah!

See the fat on the cat, no time to chat, you annoying gnat
See the fat on the cat, no time to chat, you annoying gnat

CHORUS

I’m right and you're wrong, admit it because you’re jealous

Gertrude drops the mic. Then, she kisses her silver medal and walks off stage.

by **Mister X** » Wed Feb 22, 2017 3:36 am

09 MISTER X

Will Carter - "Let Him Go".
Tune: Remedy - "Want Some More".
Music: Mike Stock, Matt Aitken, Pete Waterman, René Meulensteen, Chris David, Slavisa Jokanovic, Scott Malone.
Lyrics: Mike Stock, Matt Aitken, Pete Waterman, René Meulensteen, Will Carter, David Davis, John Stuart.

Back in the WorldVision Song Contest, Will Carter is attempting to do a lot better than was done in WorldVision 47, coincidentally also in Ekoz. An indication of just how seriously Mister X are taking it this time is the fact that the song was written by no less than 10 writers. This song generated some interest in the international media, and Will Carter, along with the other 6 lyricists, was forced to deny that this song has political meaning.

Will Carter went on record to explain the tropes of his song: "this song tells us that if you decide to do something, no one should be able to stop you. My song is about standing up for the small guy bullied by a bigger partner, who just wants to get away, to leave". This did nothing to halt the controversy surrounding the song, but for those who were able to relate to it, it resonated across the multiverse. For Will and the other 9 writers, this song means a lot. It's the sort of thing people have been wanting to do for years. And now it's Will Carter's chance to do it.

Will Carter stands on the stage wearing a black suit with a white shirt and a red tie. He stands in the middle of the stage. Alone. As every note on the music plays, a bank of lights comes on and then slowly fades off. Through it all, Will stands perfectly still. Off-stage, a 40-strong choir begin to sing the first few bars.

(Hey, wanna, hey, wanna, hey, hey, hey, wanna
Hey, wanna, hey, wanna,
Want to let go?)

Some more lights come on to the stage, and then Will starts to move around the stage whilst singing the verse. As he is doing this, at the back of the stage, there is a fat man in a suit far too tight for him who is playing with money and a briefcase, oblivious to the fact that he is littering banknotes everywhere.

Let me tell you a big story,
About a man who didn't know
What he was signing up for
When you bullied him to enter.
You know, no one likes you,
Manipulative and cruel,
I admire his courage
To want out from you.

The choir begin to join in again as they slowly make their way onto the stage, stopping to pick up the backnotes as they go.

All you do is lie to him but he knows what he wants,
It's not quite what you promised so I think you'd better stop,
When you went too far what he did was just ask you to go,
You said he can't survive without you but we both know that's not true.

The choir have now completed their walk onto the stage. The bureaucrat tries to walk back over to the other side of the stage, but his route is blocked by the choir. Infuriated, he starts trying to push his way through. The choir get trampled on.

Want to let go?
It won't be easy but I know that you can do it,
I'll help you, so
Why don't you think about doing what you want to?
Want to let go?
It won't be easy but I know that you can do it,
I'll help you, so
Why don't you think about doing what you want to?

The choir begin to rise back to their feet, and Will turns around and sings at them, and they sing back to him.

(Hey, wanna, hey, wanna, hey, hey, hey, wanna
Hey, wanna, hey, wanna,
Want to let go?
Hey, wanna, hey, wanna, hey, hey, hey, wanna
Hey, wanna, hey, wanna,
Want to let go?)

Regaining their mojo, the choir begin to sway from side to side at the back of the stage, and Will faces the audience once more to sing the next verse.

There are people out there bullied by your fear
He's just the first and others could well follow,
I want you to succeed, no, really, I do,
But you'll need to change your ways before it's too late.
You need to not try to draw him back in
He wants to go so don't try to stop him
Honestly, you know, you've got to
Just let him go because you know he wants to.

Ah, you know he wants to.
You know he wants to.
Ah, you know he wants to.
So don't try to stop him now!

These words have effect on the choir. The man comes back to walk across the stage again, and this time, the choir put their foot down. They've had enough. The man tries to push them over again but they're not having any of it. In the next section of the song, Will's instructions are specifically focused on the man.

All you do is lie to him but he knows what he wants,
It's not quite what you promised so I think you'd better stop,
When you went too far what he did was just ask you to go,
You said he can't survive without you but we both know that's not true.

Will's singing now has the audience on their feet. It's about standing up for the small guy against the bureaucrat.

Want to let go?
It won't be easy but I know that you can do it,
I'll help you, so
Why don't you think about doing what you want to?
Want to let go?
It won't be easy but I know that you can do it,
I'll help you, so
Why don't you think about doing what you want to?

(Hey, wanna, hey, wanna, hey, hey, hey, wanna
Hey, wanna, hey, wanna,
Want to let go?
Hey, wanna, hey, wanna, hey, hey, hey, wanna
Hey, wanna, hey, wanna,
Want to let go?)

The choir slowly walk towards the front of the stage to indicate solidarity with Will: he is one of their own now, as a thank you for inspiring them to stand up to the bureaucrat in the first place.

I think you've got him thinking, baby, he's going to reform today,
'Cause you know that what he wants is just not morally right,
You know that you just want us now to live in peace and harmony,
Don't hurt him now, and will you just let him go?

Want to let go?
It won't be easy but I know that you can do it,
I'll help you, so
Why don't you think about doing what you want to?
Want to let go?
It won't be easy but I know that you can do it,
I'll help you, so
Why don't you think about doing what you want to?

(Hey, wanna, hey, wanna, hey, hey, hey, wanna
Hey, wanna, hey, wanna,
Want to let go?
Hey, wanna, hey, wanna, hey, hey, hey, wanna
Hey, wanna, hey, wanna,
Want to let go?)

The choir and Will then start dancing together. Simultaneously, the bureaucrat returns from the side of the stage in short and a Hawaiian T-shirt, proving that people can reform.

Will thanks the audience, and together, everyone leaves the stage.

by **Electrum** » Wed Feb 22, 2017 4:51 am

10. ELECTRUM

Song: "Remember"
Artist: Larissa Bridges
Lyrics: Larissa Bridges and Michel Li
Composer: Michel Li
Tune: "I Love It" by Sneaky Sound System

Introduction
Larissa Bridges was selected to represent Electrum for the 54th WorldVision Contest, as always through an internal selection. She teamed up with runner-up from a previous WorldVision, Michel Li to produce a song about longing. Although the lyrics are quite sad and sympathetic, the song itself is upbeat, again, a juxtaposition just like when Michel Li sang her song in WorldVision 50. Larissa is signed with an independent company, and hopes to get a lot of exposure from WorldVision. The song is about not being able to let go, and is an experience, Larissa is sure, that many people have experienced before, such as herself.

The Performer

The Song

Larissa walks on stage after the Mister X song. She waves a quick 'hi' to the audience, closes her eyes and puts her head down, in anticipation for the music to start. Once the music starts, Larissa looks up and starts to sing. She gestures with her hands and arms a lot, putting both of her hands over her heart and pulling away, then doing hand movements not unlike seen in a night club as she continues to sing (see the music video).

0:15
The days go by slowly
My soul is lonely
I'm looking over at our photos
Nothing else to do
Don’t know why, but I want you back
and I don’t quite know if this is normal

Remember when we were more than strangers
Remember when you said we’re friends, and now this is the end

The light softens up at the start of each verse. She starts pacing up on the stage, and focuses her actions directly on the camera. Larissa stared at the camera longingly, as if to ask if he could return. Several male back-up dancers started dancing behind her. Larissa went up to them and started dancing suggestively but the back-up dancers were completely ignoring her advances. She throws a rose at one, but it is ignored.

1:17
We had...
A chance to turn this round
but now I think that you never needed me
You cut me off, oh I remember
Now I'm nothing but a memory
so why do I yearn for you again

Remember when we were more than strangers
Remember when you said we’re friends, and now this is the end
Remember when we were more than strangers
Remember when you said we’re friends, and now this is the end

She picks up a phone while singing. At the same time, the four back-up dancers pick up their phone and slam it down. Larissa, looking heartbroken, moves towards the front of the stage again, arms outstretched... Four female back-up dancers join the men, and they dance together whilst Larissa is just by herself in the middle of the stage -- every man has a new woman.

2:26
I want you to remember
Oh, pick up my calls

Remember when we were more than strangers
Remember when you said we’re friends, and now this is the end
Remember when we were more than strangers
Remember when you said we’re friends, and now this is the end

Remember, remember, remember, remember,
Remember, remember… we were more than strangers

Larissa takes a bow and leaves the stage.

by **Adab** » Wed Feb 22, 2017 8:04 am

11. Adab
"You Can't Make All Things Right"
Writer: Kinan al-Salaman
Performer: Kinan al-Salaman

Al-Salaman at a private performance for family and friends, a few weeks ago

Tune: Pas Band - Kesepian Kita
Language: English

Background
Just a day after the end of WorldVision 53, a cousin of Kinan al-Salaman died from a sudden heart attack in Adab City, leaving behind a wife and two children, aged five and seven. Al-Salaman flew back to his home country to discover that one of his uncles had filed for custody of the children, deeming the deceased's wife physically and mentally unstable and otherwise sorely lacking in morals. The wife was, as the uncle and his lawyers claimed, an alcoholic and serial adulterer, something that had never been brought up at all when her husband was still alive. Hoping to rest for a few days before going back to the studio, al-Salaman instead found himself driving to a family meeting at their ancestral home on the Jabal al-Druze. Members of the extended family had taken sides and argued fiercely against each other as the cousin's wife and the uncle - who had brought their lawyers to the meeting - clashed verbally and physically over one chaotic night. Stressed at the division in his family, al-Salaman had a fit of rage, in which he rambled about, insulted, and criticized everyone else in the house before smashing a vase and finally driving home, still extremely enraged, to Adab City.

Back in the city, al-Salaman immediately immersed himself in the recording process, partly to finish his new album, partly as an attempt to take his mind off the traumatic event. After a string of pop, rock, and folk albums, al-Salaman was keen to change his sound and make something that, in his own words, "would veer more towards the jazzy, easy listening thing, pretty suitable for your stereotypical evening dance." With WorldVision 54 rapidly coming up, al-Salaman decided to take one song from the recording sessions and perform it there. Then, as if he didn't have enough troubles already, an association which dubbed itself the Adabian Musicians Against Kinan al-Salaman filed suit against the singer, seeking to ban him from WorldVision and "open the place for younger, fresher musicians." What immediately followed next was unclear to the wider public - the suit itself would not be publicly revealed until after its resolution - but what the public did know was that a trial by combat was ultimately held just outside Mosul, which ended in victory for al-Salaman's champion - and thus for al-Salaman himself. The series of outrageous events that befell al-Salaman inspired him to modify the lyrics for his newest WorldVision song in order to more accurately reflect his thoughts and situation.

The performance
To the loud cheers and claps of the Adabians in the venue, Kinan al-Salaman and his backing band appeared from backstage, all of them dressed smartly in tuxedos. As the band members prepared the equipment and checked their respective instruments, al-Salaman strolled to the front of the stage and took the microphone. "Thank you, thank you," the singer said with a grin as the audience cheered him on. "You know, it's a great pleasure for me to be back on the hallowed WorldVision stage. Admittedly some of you have grown bored with my repeated appearances. I know that feeling, I'm bored of myself too sometimes. Don't worry, though. We'll try to do our best tonight. We don't really do theatrics for this one performance, since this song wouldn't fit in with all those lights and spectacular noises and their kind. No outrageous stage decorations, just me and the band. It's perhaps my most low-key WorldVision performance in a while."

Al-Salaman then spent a brief amount of time detailing the creation of this song and the events that inspired it. "1, 2, 3," he said into the microphone, almost in a whisper, signaling for the band to begin playing.

It's never easy to go walking blindly
Not when you're numb to the world entire
And through it all, I don't have a single clue
All I can say is I don't know what I gotta do

Holding on to hope in the worst of times
It seems to be a dumb man's guide
Though I've tried, you know I have no idea
It all comes back again and I don't know why

For a moment, al-Salaman turned his back on the audience and walked towards the guitarist, stopping at a short distance from him. After an exchange of nods, smiles, and hand signals between him, the guitarist, and the drummer, al-Salaman returned to the front.

Sometimes you just can't make all things right
Not when you're deaf to life's despairs
It all floats away, and I can't seem to get hold

Al-Salaman trotted around the stage for a while, leaving the spotlight to his band for the instrumental interlude. A fan on the front row threw a bouquet of flowers to the stage, which al-Salaman proceeded to take and smell.

But even the greatest is sometimes powerless
When nature comes and throws all the rocks at him
Shaken by the waves, helplessly drowned beneath them all
Sometimes it's better to fall then to go slowly

As al-Salaman went back to his place at the front, the Adabians in the audience cheered wildly for their hero. Al-Salaman acknowledged them with a wave and a grin. Meanwhile, the band members were enjoying themselves.

Sometimes you just can't make all things right
Not when you're deaf to life's despairs
It all floats away, and I can't seem to get hold

Sometimes you just can't make all things right
All good feelings break in the end
None will ever do, you're deaf and gone anyway

Al-Salaman closed his eyes and swayed a little, enjoying the music of his band as it slowly faded away. Still holding on to his microphone, he chanted a soft, airy "aha-aha", with his band members providing backing vocals. And so it went until the guitarist sounded the last note and the music finally came to an end. Al-Salaman gathered his band at the front for a final bow and thanked their audience before leaving the stage.

by **Darkmania** » Wed Feb 22, 2017 9:02 am

12.Darkmania

Sädre Semickservis – “Yma Frÿ e Livär” (I am free and living)

Text and Music: Sädre Semickservis

Pastora Soler - Quédate conmigo (Stay With Me)

Winner of SFD, She will peform the first pure non-english darkmanian song. What can go wrong?

Entry WIP

by **Normandy and Picardy** » Wed Feb 22, 2017 9:41 am

13 - Normandy and Picardy
Jules Atrante - The Sounds of My Heart
Music: Marcus Greville, Hugo Arsen, Jules Atrante|Lyrics: Marcus Greville, Jules Atrante
Tune (Knez - Adio)

NNN had spent a large amount hosting the last contest, so much that it stretched the budget to the very limit and quite noticably effected the channel for the rest of the year. Ending third after finishing outside the top 10 the contest before was obviously brilliant and was hopefully a sign of things to come, but obviously was still a dissapointment for Normandy and Picardy, having not won both times they have hosted despite the high win rate for hosts. Still, a podium place was brilliant, so the resignation of the Head of Delegation, Marco Orans, came as a huge surprise to everyone, not only in the Normand WorldVision community but in NNN itself. Marco told journalists at a press conference, 'I have enjoyed working with NNN to bring a high quality to Normand entries at WorldVision for the last 8 contests, but I feel I must stand down and let someone else take the reins, and I wish them all the best'. The desperate scramble to find a new head of delegation (considering this had not been expected, so no preparations had been made) began in earnest, and rumours about who it might be instantly began in the ways these rumours begin. Eventually, Anais Aloren was revealed as the new head of delegation, the first time a woman has taken the role. Anais made it clear she wanted to carry on in her footsteps of her successor, but also wanted to 'experiment' more and go beyond the typical Normand fare.

In this vein, the national final 'Qui Chantera Pour Normandie' was brought back for another edition, seen as though it was very successful last edition and NNN hoped it would bring them success this time as well (of course we won't know if it did until after the contest). The national final contained a much wider range of songs last time, ranging from Electronica to Folk Ballads and a wide range of synthpop and pop-rock. Overall, the national final seemed to move in a much more 'electronic' direction, with synths dominating the majority of the songs. However, it was the folk ballad 'Les Bruits' (The Sounds), sung by Jules Atrante that won the content. Jules has been popular in the folk scene in Normandy and Picardy for over 20 years, and has had relative chart success as well, having got No.3 on the ChansonsNormand Chart with 'L'Estival'. He is best known for his ballads, although he has been known to perform upbeat songs as well, and this entry is also a ballad, which did not surprise fan's of his. Jules' song had not even been considered a possibility by Normand WorldVision Fans, who had thrown their support behind Siddran (with 'Another Shot') and Marie Arsan (with 'Complete'), with Chezmoi (ft. Suzanne Avrene, with 'Shadows') being considered a dark horse. The International Juries however overwhelmingly voted for 'Les Bruits', and although Jules only finished 3rd in the Normand televote behind Siddran and Chezmoi, he was given the ticket to Konikstaat and the 54th WorldVision Song Contest.

Jule announced soon after the final that his song would be revamped, and a bilingual version sent to Konikstaat under the title 'The Sounds of My Heart'. Although this angered certain people, who claimed the song would lose some of its beauty, Jules himself said, 'I want the entire the world to understand this song, and a bilingual song is the best way to do this. This song is universal, a tale of heartbreak, and although the music should cross borders translating a proportion of the song into English will help get the message across'. Indeed, the song is a tale of heartbreak, a tale through the sorrows of a man who has to break up with his partner for an unrevealed reason and how he misses her, and wants to be with her again even though he can't. The relationship falls apart (see 'je t'ai besoin' versus ''vous n'avez pas', showing how they are becoming more distant) and yet Jules still loves her and needs to see her again. It is a universal message, and one that Jules and Normandy and Picardy hope will appeal to the wider WorldVision audience? Will it? Only time will tell...

As the music began, the stage was lit with a dim white light from the left crossing diagonally across the stage to the back, where a woman wearing a long black dress, drapped over the edges of a platform on which she sits which has been made to look like a rock rising above the smoke 'clouds', sat, holding a violin, which she began to play. The camera slowly zoomed in, as she looked away from the camera, seemingly shy and also angry, her head down and turned away. The background showed pictures of the Normand countryside such as this, adding to the dim lighting of the stage and to the whole 'natural' feel. The camera zoomed in on the lady, who (if it was possible) seemed to turn enough to seem 'seperate' from the stage, as if she was closing herself off from everyone and everything. As Jules walked on stage, entering from the back, and began singing, the camera - which by this point was showing a full view of the woman - faded and then showed Jules (wearing an outfit similar to that in the picture, only instead of black the jacket was navy blue). He began singing, looking to the camera as he walked to the front of the stage, past the woman to whom he turned briefly (she quite obviously ignored him), with the smoke lapping around his ankles. Below the layer of smoke, the LED could just be made out to show a dark body of water, waves crossing it slowly.

J'entends les bruits de mon coeur (I hear the sounds of my heart)
L'appel d'amour qui chantera (The call of love that will sing)
Pour toujours dans cet infini (Forever in this infinity)
Les mots ne viendra jamais (The words will never come)
Mais un jour, il le faut finir (But one day, it must end)
Une petite adieu et une embrasse (A little adieu and a kiss)

Jules backing singers, four women (two on each side of the stage) walked out from the shadows at either side of the stage as the lights began to intensify. They wore suits similar to Jules'. They sang along with him, adding a sense of passion and power to the song, as the background began to show a flock of birds flying through the air, across the different screens and away, before it panned down to a view of a mountain range.

Oh, ma coeur casse à dire (Oh my heart breaks to say)
Ces mots sombre (These dark words)
Oh, mes lèvres ne veulent pas à dire (Oh my lips don't want to say)
Au revoir (Goodbye)
Oui, je t'ai besoin encore (Yes, I still need you)
Même si vous me n'avez pas besoin aussi (Even if you don't need me too)
Ma cherie (My sweetheart)

Jules walked to the right hand side of the stage as the next verse begins, the camera panning around him as he walked until it eventually was in front of him again; in a sense it seemed to try to be catching up to him. The two backing singers stood behind him, holding his shoulders (one on either side), before melancholically walking away, leaving him alone singing into the camera. A hologram of a flock of birds appeared in front of him at the end of the verse, which dissapated as soon as it was past him.

Oh the darkness cradles me
The stars are gone and the moon weeps
As I try to fix a broken heart
A million words and still I find
Your name returning to my mind
Oh its a curse that I crave

The cameras zoomed out as the lights began to intensify, still white with perhaps a golden shade to them at this point. Jules began to walk back to the centre of the stage as the camera panned across, showing the backing dancer and then zooming in on the violinist again, who at this point was looking at the camera and revealed her face for the first time, looking quite obviously saddened. With every clap the lights faded brighter and dimmer, becoming more intense as they go on. For the last two lines of the 'prechorus', the cameras return to Jules, who poured every emotion he could conjure into the performance.

I hear the sounds of my heart
They cry with me
I hear the sounds of my heart
And they are searching
Oh I need you more each day
And I can't bare to just stand here and staaaaaaaay

The lights changed colour, now being a mixture of dark blue and red, and the screens in the background now showed the same pictures of the countryside but in the moonlight, with a single white light mimicking the moon light across the smoke and the water on the LED floor. The cameras showed the violinist, now standing up and having abandonded her violin, now dancing in a traditional style and lit by a spotlight. Smoke built up around her platform, as Jules approached the platform; the woman pretended to kick him away and turned away, and Jules fell to his knees looking up to her, the cameras fading again.

ooooh
oooooh
oh oh oh oh ooooh
oh oh ooooh ooooh
oh oh ooooh ooooh
oh oh ooooh ooooh
oh oh ooooh ooooh
oooooh

When the camera faded back, it showed Jules in the centre of the stage, smoke surrounding him and the woman and the backing singers all looking at him. As he sang the first line, he looked up to the camera, hand outstretched, singing to the audience at home. As the song continued, the section of the stage he was standing on began to rise, smoke billowing out, and a series of spotlights focused on Jules. As the song ended, Jules fell to his knees, hand outstretched to the violinist who again turned her head, and the song ended with a burst of pyrotechnics before the stage was flooded with darkness.

Oh my heart breaks again
Just to see you, oh there's nothing that I
Wouldn't give
I walk through all of my mistakes
And you are the light that guides me

So save me

Jules could be heard shouting 'Merci Konikstaat' as he left the stage, having done all he could. Would it be enough to see Normandy and Picardy stay in the Top 10. Jules, and Normandy and Picardy, could only wait...

by **Ekoz** » Wed Feb 22, 2017 9:49 am

Thor Rikkardson - Survivor (Övleva)

Though Thor won MelodieFestivålen with a clear margin, his victory has been plagued with criticism and controversery due to no fault of his own. Thor admitted having contribute to the lyrics of the original MelodieFestivålen winning song, Up All Night, he was unaware that one of the composers of the song had previously collaborated and used the instrumental on an unreleased song with another composer. Said composer then tried to sue Andars Sollerskøll (the composer who submitted the song to MelodieFestivålen) for not accrediting him for their collaborative work, thus the STE had no choice but to disqualify the winning MelodieFestivålen song.

As Thor played no part within the controversy, the STE confirmed that Thor would still represent Ekoz at the contest in Kønikstaat and were actively collaborating with record labels and Thor alike to find a suitable replacement entry to represent the country. Thor, having previously wrote "Survivor (Övleva)" with a producer (Hansen Vollergård) that he worked with on his debut album, immediately submitted the song to the STE, as to which the STE ecstatically announced would be the replacement entry for the contest, and immediately began working with Thor and the WorldVision team on the staging and promotion of the new song. Although plagued with controversy, "Survivor (Övleva)" shot straight to the top of the Ekoesestopplistan with critics preffering the replacement song to the original winner. Will the controversy surround Thor and his MelodieFestivålen win affect him at the contest? Only time will tell...'

Thor is stood to the center of stage, behind a microphone stand with a two diagonal LED screens in the background, which are black. He is wearing a hat (pictured above), black trousers and boots with a long black cotton trench-coat. The stage is dark and moodily lit with dark colours. A spotlight shines from behind Thor, showing a silhouette of Thor's figure. As the music begins, he eerily stares into the camera. The spotlight behind him hits his cheekbones and face giving off a harsh and dark view of his face. He begins to sing into the camera with his piercing blue eyes looking directly into the camera lens.

No one told me of the struggles to come,
but,I won't be done.
It won't deter me, you will never detain,
No not today...

The camera pans to the side of Thor though he still looks out at the audience. In the distance to the side of Thor is the background of the black LED screen. For a split second, the word ''Övleva' flashes onto the LED screen in a red, almost blood-like colour before immediately flashing away. On each of these, the camera changes angle to the other side, showing both sides of Thor and the two LED screens.

(övleva)
No, I will not conform,
(övleva)
I will whether this storm,
(övleva)
You have all been warned, warned.
(övleva)
No, I will not conform,
(övleva)
I will whether this storm,
(övleva)
You have all been warned, warned.
(övleva)

As Thor begins the chorus, the spotlights to the back of Thor begin to rise to the roof of the stage and Thor's face is lit up by a central spotlight. The camera pans out, revealing Thor's complete outfit and the two diagonal LED screens, which both light up with a bright white background. The camera again switches to different angles showing both sides of Thor, before rolling around the stage and revealing the audience and Thors back to the viewer and then returning to centre stage. As the chorus begins to fade into the second verse, the lighting fades to it's previous dark, eery state. During the small instrumental break at the end of the chorus, a faceless dancer appears wearing a nude body suit.

I'm a survivor, I will move higher,
No one can tell me I'm wrong,
Nothing will stop me, no hesitation,
I will be strong through the dark, through the dark.

(övleva)

Thor remains behind the mic stand, with both his arms to the side of him. As he begins to sing the second verse, the faceless dancer in a nude body suit appears behind Thor and begins to start a contemporary dance around him. On the "They try to blind me" the dancer stands behind Thor and puts his hands in front of Thor's eyes as he continues to sing, representing the oppression Thor is singing about. As he sings "stopped" for the second time, the dancer immediately removes his hands and begins to dance around to the side of the stage, in front of the LED screen to the left.

Though with blurred vision, passion never will drop,
No, won't be dropped,
They try to blind me; I will never be stopped,
No, won't be stopped.

Similarly to the first pre-chorus, the diagonal LED screens reveal the red 'Övleva' for a split second. Each time the word appears, the contemporary dancer reacts to the word by raising his fist to the air. A second contemporary dancer appears on the other side of the stage as the camera changes angles from each side of the stage.

(övleva)
No, I will not conform,
(övleva)
I will whether this storm,
(övleva)
You have all been warned, warned.
(övleva)
No, I will not conform,
(övleva)
I will whether this storm,
(övleva)
You have all been warned, warned.
(övleva)

As Thor begins to start the second chorus and on the building beat of the instrumental, the camera pans upwards from the centre stage view of Thor to reveal a birds eye view of the stage, revealing the two contemporary dancers spinning around in a ballet style of dance. The camera then zooms out over the audience before zooming back in to Thor, centre stage, and the two dancers vigorously dancing behind him both to the left and right of the stage.

I'm a survivor, I will move higher,
No one can tell me I'm wrong,
Nothing will stop me, no hesitation,
I will be strong through the dark, through the dark.

As Thor starts to rap, the stage turns dark and the camera pans in directly onto his face from below looking up at Thor. He takes the microphone of the stand and begins to look down into the camera. The lighting turns to colours of dark orange and red before turning dark and revealing the spotlight on Thor. As he continues to rap, the end words "tougher, stronger" etc appear on the LED screens directly as Thor raps. As the rap builds into the chorus, so does the lighting.

Because, I will liken to the fire,
No intentions, no interventions,
Because, I will grow a little tougher,
Fear no longer, grow up stronger.
I'll choose my destiny,
No one will answer to me,
I'll take my own destiny, own destiny, ohh.

Just before the chorus, Thor puts the microphone back onto the stand and holds both of his arms out. As the chorus starts, a huge blaze of fire ignites on the both ends of the stage and continue to grow throughout the chorus. As he begins to sing the chorus, a vigorous wind machine begins to hit Thor, with him being physically affected by it. He holds onto the mic as he wind machine begins to accelerate. His long trench coat can be seen flapping. The dancers appear to be vigorously dancing around Thor whilst also using the breadth of the sage. The camera pans around the audience before panning back onto Thor and the dancers.

I'm a survivor, I will move higher,
No one can tell me I'm wrong,
Yeah, Nothing will stop me, no hesitation,
I will be strong through the dark, through the dark.

As he sings the second chorus, the wind machine fades slightly to give the illusion that Thor is less affected by the wind machine, although his coat still flaps around. He takes the mic off the stand and walks towards to the camera lens and points into the camera on the "It won't deter me". As the song begins to end on the final chords, he stands behind his microphone stand centre stage with his fist in the air. Both backing dancers copy slowly behind him. Both LED screens glow with bright white lights lighting up the stage.

Oh, I'm a survivor, I will move higher,
No one can tell me I'm wrong,
Nothing will stop me, no hesitation,
I will be strong through the dark,

(Yeah, No one told me of the struggles to come)
No one can tell me I'm wrong,
(Oh, It won't deter me, you will never detain)
I will be strong through the dark, through the dark.

As the music finishes, Thor looks seriously into the camera, before winking and smiling. He then covers his face with his and and begins to bow. He shouts "Takk Ekoese! Thank-you WorldVision!!

by **Lupolska** » Wed Feb 22, 2017 10:12 am

The band’s five members are Marco, Cësser, Acïlli, Attilo, and Scären. Marco is the band’s typical lead vocalist, and he and Attilo both play the guitar. Acïlli plays the bass, Scären plays the drums, and Cësser operates the mixer, producing the artificial noise for the performance in place of the track. The three vocalists are Marco, Attila, and Acïlli.

The stage is unlit. As the track begins playing, the stage slowly lights up in red, faintly revealing the five members of the band. Before they can be seen clearly, the lights flash blindingly bright upon the first syllable of the initial verse; afterwards, the stage is brightly lit in a reddish-scarlet color, with the background flashing in patterns of a dark red and black. The five members of the band are positioned around the stage atop variably-raised platforms with their instruments. Faint spotlights cast a slight glow on the band members to help them stand out on the stage, but the spotlights are otherwise almost unnoticeable. The vocalists begin singing.

Say, can we stay strong?
Can we hold on?
Together we’ll survive, I hope…

After the initial verses, the platforms lower for each vocalist, allowing them to step off and walk around. Initally, only the lead vocalist/guitarist, Marco, steps down, slinging his guitar onto his back flawlessly. He grabs the microphone off the stand and begins his stanza, walking around stage. The background has ceased flashing in patterns and is now black, with numerous dim but distinct wisps of red appearing and disappearing. The stage is more dimly lit, but still enough to clearly see it.

As soon as you appeared, you set fire to me-
Without a thought, I said, “I must not let you go free.”
And so to you I took the walk, entered this freefall,
So I could steal your key.
Every day, every night, you set fire to me
When you were by my side, I knew I’d turn the tide
Through the desert, in the forest, over mountaintops
We would never stop.

As Marco began his segue into the refrain, the other vocalists began to sing as his backups. The wisps of red in the background intensify in size and rapidity. He begins returning to his position, putting the guitar back into his hands and returning to his platform, and putting the mic back on its stand.

And now we’ve strayed from our old path, so far apart,
Two wounded hearts,
Torn asunder, a million parts!

The stage repeats the sequence as during the initial verses. The vocalists sing in unison.

Say, can we stay strong?
Can we hold on?
Together we’ll survive, I hope...
Hey, can we believe everything’s fine?
I pray we never cross the line.

The second stanza returns the same background and style as before, but this time the other guitarist, Attilo, takes the lead, slinging his own guitar and assuming the mic.

Remember days ago, you told me everything was alright.
But your two hazel eyes, shining there in the light,
Betrayed your feelings, thoughts, and dealings hiding within your mind.
And yet you still denied.
And so I asked you yet again what was bothering you so.
With your clenched fists you still refused to tell me how
Or what to change or fix, so I left the house after six,
And drove to work alone.

The wisps in the background intensify, and Marco returns to his platform throughout the buildup. The other vocalists rejoin.

And now we’ve strayed from our old path, so far apart,
Two wounded hearts,
Torn asunder, a million parts!

The stage repeats its refrain sequence. The vocalists, as before, sing in unison. The drummer and mixer’s platforms lower during this performance.

Say, can we stay strong?
Can we hold on?
Together we’ll survive, I hope...
Hey, can we believe everything’s fine?
I pray we never cross the line.

At the end of the refrain, the mixer, Cësser, leaps over his equipment; simultaneously, the bassist, Acïlli takes his mic off his stand and tosses it to the mixer, who catches it perfectly. The mixer, having already set up the tune for the bridge, runs between the vocalists to the edge of the stage, leaning over the edge and shuffling onstage somewhat whilst rapping and acting out the accompanying motions typical of rappers.

I told you, when you fear,
Come to me and I
will grab ahold o’you.
Don’t you shed tears, I’m always here
And I’ll steer the moon from orbit.
Should there be warrant, I’ll cross the sea,
Move mountain ranges, melt glaciers miles wide, yes, I’d try
to seize the planets, and the sky surrounding!
My heart is pounding, my love is abounding, my soul shouts for you
I’ll fucking smash this stage here in Kønikstaat, hear my voice
If it’d possibly reunite us.

The background briefly switches to the wisps, but suddenly freezes.

The mixer grabs the vocalist’s guitar by the end, snapping the sling from the rest of the guitar. He swings the guitar onto the stage, smashing it with one fell swoop. As he does this, the rest of the band begins to smash their instruments: the bassist and guitarists mirror the mixer’s actions with their own instruments. The guitarist from whom the guitar was stolen flips over the table on which the mixing equipment is housed. The drummer, Scären stands up and pushes over his drumset, and kicks the pieces closest to his feet across the stage and into the mixing equipment on the ground, further destroying both instruments. The entire charade lasts roughly 10-15 seconds, after which the music resumes from an audio track.

The drummer and mixer reach inside one of the destroyed drums to produce five microphones, which are tossed to the vocalists just in time for the final repeat of the refrain. The stage returns to its refrain sequence, and pyrotechnics are launched from the front of the stage at the beginning. All five band members are now singing and dancing to the song.

Say, can we stay strong?
Can we hold on?
Together we’ll survive, I hope...
Hey, can we believe everything’s fine?
I pray we never cross the line.

A second set of pyrotechnics are set off at the top of the stage near the end of the chorus, raining a shower of sparks between the band and the audience. The sparks dissipate as the song finishes.

The lead vocalist, Marco, calmly addresses the crowd, “Many thanks, Kønikstaat.” as the band members cheer and hug each other behind him. Marco joins the brief on-stage celebration before the band collectively departs the stage.

by **Ekoz** » Wed Feb 22, 2017 10:58 am

India and Andars appear to the left hand side of the stage wearing a gray three-piecs tuxedo and India is wearing a green sequin gown

Andars: Already, fifteen nations have performed! Doesn't time fly when you're having fun?!
India: It does Andars it does, shame I'm not having any fun with you though... (she laughs).

Now, ladies and gentlemen, we have a very special exclusive for you. We have an exclusive, backstage insight to how the WorldVision Contest is staged, with information from the unseen, unsung heroes of the WorldVision Song Contest, the handsome and strong men that build this very stage that we stand on, no less. Not even the STE has seen this!
Andars: Yes, it's so exclusive, we don't actually know ourselves. (He winks)
India:So without further ado, here it is ladies and gentlemen, your backstage exclusive...

by **Ekoz** » Wed Feb 22, 2017 11:09 am

Handsom & Strong Men - "Screw It In"

Before the music starts, the camera pans around the empty arena. Heavy machinery, tapping, metal works and construction noises can be heard. The camera zooms in on men hard at work building the WorldVision stage. Men are strapped from the roof working at all different heights, on both high scaffolding and on the floor of the arena (See here for visual). All of the men bulging muscular men wearing tight, almost too small flannel shirts with tight demin hotpants and Timbaland boots. As the music begins, the camera pans on one particular man walking around the tight. The camera zooms up from his crotch region an he begins to lipsync the song. He is walking around the work-site, introducing the viewers to the construction work.

Our job is simple, let me explain
Behind the scenes,we entertain,
With our big tools we'll, construct a stage.
For all those fairy, WorldVision gays...

The camera pans to a man working on an elevated bit of construction. He also is is introduced crotch first and the camera then pans up onto his upper body. He winks into the camera lens as he seductively screws in metal pieces to the structure.

Screw it in, gotta screw it in.
Nice and tight, make it feel alright.

The camera zooms out as the chorus begin and around half a dozen men are visible doing varies different jobs from hammering, screwing, lifting and moving things. All of them are lipsyncing the words to the camera and doing their jobs seductively. Oil spills can be seen on the floor. On the (mmm)/(yeah), the camera zooms up on a man with oil squirting around him. He also seductively lipsyncs into the camera

Screw it in and grab your mighty hammer,
Pound it down, so hard with that big slammer,
Check its hard, for ultimate protection,
Safety is the way to be,
You better screw it in (mmm), pound it down (yeah), check it's hard and it will be alright.
Screw it in and grab your mighty hammer,
Screw it in all nice and tight.

The camera quickly zooms around to the back of the stage where there are around twenty men scattered out pulling heavy metal structures up into place with a metal rope. The camera zooms in onto one of the men, a bulging muscular blonde and he begins to lipsync. As he describes the movements, the camera pans onto his hands around the rope.

Here are some strong ropes, for us to pull.
To make the stage look, nice and tall.
So grab a firm hard grip, use all that weight, be sure to tug, tug, tug it down.

Tug it down, pull it so far down
Firm hard grip, all up to the tip.

Similarly to the first chorus, the camera pans around the arena with a wide shot revealing all of the construction sight and the men at work, whilst at moments zooming in on men seductively looking and singing into the camera.

Screw it in and grab your mighty hammer,
Pound it down, so hard with that big slammer,
Check its hard, for ultimate protection,
Safety is the way to be,
You better screw it in (mmm), pound it down (yeah), check it's hard and it will be alright.
Screw it in and grab your mighty hammer,
Screw it in all nice and tight.

Most of the men are walking to an empty space at the front of the stage whilst men still appear on the elevated scaffolding on both sides of the construction of the stage. The men, around 40 of them, walk slowly towards the camera, which shows a wide shot to the viewers. Th walk seductively.

Screw it in, gotta screw it in.
Nice and tight, make it feel alright.

As the beat begins to kick in, the men rip off their flannel shirts revealing their muscular and toned bodies. When the final chorus hits, the men wave around their flannel shirts in a choreographed movement emphasising their physiques. The camera pans in and out of each of the men whilst also circling them. The camera also zooms in on a group of men with oil being sprayed over their bodies and faces as they lipsync into the camera.

Screw it in and grab your mighty hammer,
Pound it down, so hard with that big slammer,
Check its hard, for ultimate protection,
Safety is the way to be,
You better screw it in (mmm), pound it down (yeah), check it's hard and it will be alright.
Screw it in and grab your mighty hammer,
Screw it in all nice and tight.

As the song finishes, the men all stop and pant still looking at the camera. A whistle then blows with an unseen man using a megaphone saying "Back to Work everybody, Carnise wasn't built in a day". The men all pick up their flannel shirts and resume to their activities. A man turns back to the camera and winks, before the camera fades to black and back to the actual arena.

by **Ekoz** » Wed Feb 22, 2017 12:06 pm

India and Andars appear to the left hand side of the stage again from where they left of introducing the backstage exclusive

Andars: (lost for words) What I just witness cannot be unseen...
India: Speak for yourself Andars, I very much enjoyed that if I do say so myself! Did you ga-, guys! (she shouts to the audience, they respond with a roar of cheers)
Andars: (clears throat and re-adjusts his tie) Right, now that's finished, as for which I'm sure the STE will be very proud of, it's time to carry on with the serious part of the show, the next nation's performance!
India: Oh, you're so boring Andars, but I will admit, we must keep on schedule! STE News is on at 11:30pm. Ladies and Gentleman, song number sixteen!

by **Monaeroglisseurest Pleindanguillese** » Wed Feb 22, 2017 1:13 pm

16 - Monaeroglisseurest Pleindanguilles
Maria Montrer - Fast Paced Pop Love Song
Music: Marie Montrer|Lyrics: Marie Montrer
Tune (Eini - Draama)

Monaeroglisseurest Pleindanguilles had not taken part in the contest for a long time, but then someone at MPTV decided it might be a wise idea to enter again and so filled the papers and asked a friend at NNN to lend them a few quid. This ended up at the desk of the director of NNN who looked at the bill, sighed and signed it off. This might explain the giant black hole in the NNN's budget for this year, but then again that might be the luxury party yacht bought for the annual office do. Whatever it was, Monaeroglisseur was back and ready to grace the contest once more. This time they chose Marie Montrer, a Monaeroese comedian, satirist and musician, with her song 'Fast Paced Pop Love Song'. MPTV decided on her instantly, and left her to her own devices for a month creating a song to grace the Worldvision Stage in Konikstaat. This was the result...

As the song begins, the stage is pitch black. A blue light begins to shine in the background fading on and off, and then three 'spotlights' emerge from this', illuminating the stage in blue, creating a pattern with the shadows that remained. The spotlights, which were focused on the front, seemed to pull back and focus on Marie as she walks onto the stage, wearing a dress like this, except more frilly. A wind machine ebgins to blow the bottom of her dress about as she walks forward singing, the spotlights following her. She sings into the camera, which pans around her and then turns to show her face.

This is the dramatic opening to the song
Meant to create suspense and draw the audience in
To this soppy story of how I'm meant to love you
As the smoke machine turns on and the first verse ends
They're meant to believe I love you

There is a small flash and the stage is fully lit. The LED floor shows a disco floor, yet not lit up and looking rather forlorn. As Marie sings 'give me the slip', the camera pans out and provides a look over the audience, before returning to Marie as she sings the last line, the lights intensifying as her lyrics say.

Throw in some synths to make it sound all hip
Although they haven't cool since '96
This is the part where the camera gives me the slip
And pans around the stage as the lights begin
To intensify just as we reach the chorus

4 gorgeous, hunkylicious men (I'll leave this up to your imagination) walk onto the stage as the chorus begins, with the disco floor on the LED bursts into life. The camera alternately follows each of them as they reach the front of the stage, and the lights in the stadium flash between red and blue, spotlights shining across the stage and the audience as well, over with the camera pans during the audience. As Marie sings the last two lines, each of the men poses and is shown by the camera for a brief moment before it moves onto the next one.

'Cause you know this is a fast paced pop love song
Kind of a ballad but still danceable
This is the bit where I say that I need you
How do people live writing this type
Of meaningless rubbish to produce a hit?
Oh this is just a fast paced pop love song

Marie walks up to the man closest to her on the left, turning around as she strokes his face, before blowing him a kiss and pushing him away. The man to her immediate right is ~~the next victim~~ next, and he holds her from behind, before she pushes away from him, kissing him as she does so, before returning back to her place at the front, looking rather nonchalant before the whole affair as she mimes a person writing as she sings the last line, rolling her eyes as she does so.

After the chorus the lyrics begin to run dry
Although there was never much life in them anyway
'Oh I love you I need you' is what I say
A damsel in distress shouting a mayday
Oh this stuff seems to write itself

During this next chorus, the lighting people move the lights about next, and the four men perform a dance routine especially choreographed to show off their best features along with the camera angles (they got some tips from STE it seems). Other than that, not much happens.

'Cause you know this is a fast paced pop love song
Kind of a ballad but still danceable
This is the bit where I say that I need you
How do people live writing this type
Of meaningless rubbish to produce a hit?
Oh this is just a fast paced pop love song

The stage is dark but a series of spotlights move rapidly across the stage, the LED disco floor dissapearing for moment. The camera focuses on Marie as she sings into the camera, mocking the trope of 'singing to the audience'

Throw in a weird dubstep section
A bridge that says exactly the same
As everything else in this entire track

There is a flash as the lights spark back to life, accompanied by a good old bit of pyrotechnic work (this is where the budget went, along with the insurance for the four male dancers). Speaking of them, the four men had managed to get behind Marie during the chorus, and they lift he up acting like a platform on which she sits, singing the last chorus. There is a good bit of camera panning around the stage during this. Before the final line, the men put Marie down, before lying on the floor one by one resting their heads on their muscular arms. There is another big flash of pyrotechnics as the song ends.

'Cause you know this is a fast paced pop love song
Kind of a ballad but still danceable
This is the bit where I say that I need you
How do people live writing this type
Of meaningless rubbish to produce a hit?
Oh this is just a fast paced pop love song

Marie shouts 'I hope you like that, you ungrateful [insert word here]. Just kidding, lol! Stop taking things so seriously! LOVE YOU WORLDVISION!' before leaving the stage as preparations for the next song begins.

54th WorldVision Song Contest | Kønikstaat, Ekoz | STE

54th WorldVision Song Contest | Kønikstaat, Ekoz | STE

STE | WorldVision | Host's Introduction |

02 | Britonisea | Florise Kentsh - "Jekyll and Hyde"

DaTV Commentary

06 | Estogium | Israael Kashtkar - I Thought I Could Survive

#DarkmaniaVision

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