BITC | 66th WorldVision Song Contest | Telm City, Britonisea

by **Britonisea** » Mon Jul 09, 2018 11:47 pm

A Britonish International Television Company (BITC) Production

WELCOME TO THE 66th WORLDVISION SONG CONTEST.
WELCOME TO TELM CITY.

Telm City and the rest of Britonisea are delighted for you to all join us in this great city that we call home. We join together in The Telm Arena, which has a current capacity of 22,780 people. As the nation prepares to host it's fourth WorldVision Song Contest, Britons around the country are putting up the last of the bunting, pouring the final drinks and opening the just-delivered box of pizzas. For weeks on television, there's been even more advertisement for the WorldVision Song Contest than in the past - as if in the last few editions there wasn't a lot of promotion. BITC are certainly hoping for around 65% of the television audience to be watching tonight, and it could well receive that. The multiverse is in for a treat at the 66th WorldVision Song Contest.

FIND OUT MORE INFORMATION
All the necessary links you need right here...

THE OOC & DISCUSSION THREAD
Updates regarding the contest will be posted here.

THE HOST BID
Here, you can find the successful Telm City bid. The stage details are located here.

THE OPENING ACT
The Opening Act and the host intervention is found here. Why don't you go and check it out?

THE ENTRIES OF WORLDVISION 66
All of the songs from tonight's show can be found under one single link!

65th WORLDVISION SONG CONTEST: Rouen, Normandy and Picardy
Do you need tips? Why not go back in time and look at the fantastic 65th WorldVision Song Contest in Rouen!

THE PLAYLIST
The official playlist of the 66th WorldVision Song Contest can be found here! Please click on it to go to the official WorldVision. Remember, it is likely a listen-a-long will happen straight after the vote lines open.

THE OFFICIAL WIKI PAGE
The official wiki page about the 66th WorldVision Song Contest is located here - have a look!.

by **Britonisea** » Tue Jul 10, 2018 10:00 am

CHECK OUT THE SONGS
Links to all of the nations' performances...

01 • Polkopia | Polkopieme
Entry | Vote | Postcard
7-time winners, Polkopia, kick-start the evening with their high energy song, "Davai Polkopiya!" by Macks & Amir

02 • Vartugia | Vatugieme
Entry | Vote | Postcard
Vartugia is back at it again with yet another song which will shock you all. Apparent you are singing "Why do we even bother with these vartugian entires anymore?"

03 • South Botoko | Botoque Surd
Entry | Vote | Postcard
South Botoko debuts at the WorldVision Song Contest in Telm City, with their song "Dance Beat" by Onar Baka

04 • Saintrabina | Sanrabieme
Entry | Vote | Postcard
Saintrabina enters the 66th WorldVision Song Contest with their song in Polish; it's called "Litania do Czterech Żywiołów" by Albatrosy.

05 • Todlichebujoku | Todlichebuton
Entry | Vote | Postcard
With the first of the two "Turn Back Time" songs, 4-time winners, Todlichebujoku returns to Britonisea with a song performed by Svea Valdnieks.

06 • Christarnea | Christarieme
Entry | Vote | Postcard
Another song performed in Polish is being sent by Christarnea, and they will be sending the song, "Gwiazdozbiory" by Marcowy Zając.

07 • Syrche | Sychrieme
Entry | Vote | Postcard
Syrche returns to the WorldVision Song Contest...

08 • Izmedu | Izmedu
Entry | Vote | Postcard
Coming second place a record seven times, Izmedu's going for another one - or even one place higher - with the song "Maja osveta" by PRIAMAIKI.

09 • Ardoki | Ardokiton
Entry | Vote | Postcard
After coming last place at the 65th WorldVision Song Contest, Ardoki is hoping to avoid bottom again demanding you "Give Us Your Twelve Points Now!" by Deirdre Immaculata O'Reilly!

10 • Adab | Adab
Entry | Vote | Postcard
Recently, Adab has been on a roll and are hoping to add replicate recent success at this contest with "Bury" by Maria Zorei.

11 • Nekoni | Nekoniton
Entry | Vote | Postcard
Hosts of the 64th WorldVision Song Contest, Nekoni, return to the WorldVision Song Contest in Britonisea with the song "21 Days" by Luca Florén.

12 • Electrum | Elecktrom
Entry | Vote | Postcard
After taking a long hiatus from the competition, Electrum will be returning to the contest with "Summertime Blues" sung by Sage.

13 • Electrum Diplomatic Offices | Elecktrom Diplosimikophise
Entry | Vote | Postcard
Wherever Electrum goes, the Diplomatic Offices follows! EDO is back in the contest with Gertrude and her Klan, singing "Devil's Number".

14 • Proluvia | Proluvieme
Entry | Vote | Postcard
Rock and Roll! Proluvia are hoping to score highly with the song "Mirace" by the band, Ignorance & Want.

15 • Indo States | Etais D'Indieme
Entry | Vote | Postcard
Indo States joins the WorldVision Song Contest, debuting in Britonisea, with a medley, including " La Hypnotizir" by Melissa Maria Clara Apostol

16 • Britonisea | Brityunik
Entry | Vote | Postcard
The host country, Britonisea, will be performing their song, "Run" by Kelsey Banques who is known in and around the WorldVision circuit.

17 • Raffiah | Raffiah
Entry | Vote | Postcard
Raffiah debuts to the WorldVision Song Contest with the Yardion-born Alexandra singing her song, "Dialects".

18 • Mercedini | Mekredieme
Entry | Vote | Postcard
After not appearing at WV57, Mercedini sends a delegation to Britonisea for the first time in 15 editions, with the song, "Loved Ones" by Rapidly Descending Barrier.

19 • Antahbrantahstan | Antahbrantahston
Entry | Vote | Postcard
Antahbrantahstan returns to the WorldVision Song Contest once again, with the song "Spice It Up" by the artist Mariska Tulang.

20 • Axuva | Aksuvieme
Entry | Vote | Postcard
Although Axuva intended to participate in the 65th WorldVision Song Contest, Axuva instead will debut in Telm City with the song, "TBA" by Zayra Zaharov.

21 • Titaniumland | Tytaniuton
Entry | Vote | Postcard
Titaniumland returns to the WorldVision Song Contest after a long break, and this edition they will be sending....

22 • Lochario | Lokhariton
Entry | Vote | Postcard
Lochario is having another go at the WorldVision Song Contest, with the song...

23 • Nightom | Knighton
Entry | Vote | Postcard
Nightom takes the short trip to Telm City, sending their very own Louka Elliot, who is singing the song, "Turn Back Time"

24 • Mister X | Monserex
Entry | Vote | Postcard
Mister X is looking for their second victory with the pop anthem of the contest "Defined" by the singer Danny Alonso.

25 • Wazekia | Wazkenbush
Entry | Vote | Postcard
Wazekia returns to the WorldVision Song Contest in what seems to be a tradition, appearing in contests held by us! Vicaletta will be singing the song, "Above".

~~26 • Wolfrenia | Wolfrenieme~~
Entry | Vote | Postcard
After hosting a national final, Wolfrenia comes to Telm City with the song, "Be With Me"

27 • Kendor | Kenditon
Entry | Vote | Postcard
The Federation of Kendor is debuting at the Worldision Song Contest, with the song "Frankenlyric" by the Unconventional Symphony.

28 • Zitravgrad | Zytragrad
Entry | Vote | Postcard
Zitravgrad debuts at the WorldVision Song Contest with the inviting face of Anatoli Joseyevich Diebitsch singing "Providenska Sunset"

29 • Normandy and Picardy | Nueram de Pica
Entry | Vote | Postcard
We feel lucky Normandy and Picardy didn't withdraw on us! Julie Arsenelle will be singing "Love, Desire, Lust"!

30 • Togonistan | Togoniston
Entry | Vote | Postcard
Togonistan returns to the WorldVision Song Contest with the song, "Sunlight" by Mareta Ioane.

31 • Bloodbath Generation | Generie Brusteme
Entry | Vote | Postcard
Bloodbath Generation is finally back in the game, and where better than Britonisea? The cast of LABAS/LABAN will be singing "Free"!

32 • Saviera | Savieme
Entry | Vote | Postcard
Saviera is returning to the WorldVision Song Contest with a dark song called "Na Na Na" by Y. Laurel.

33 • Merecendi | Merchedieme
Entry | Vote | Postcard
Merecendi is the 33rd nation performing tonight, with the song that is "Reserved" by CBA.

34 • Kalosia | Kalosieme
Entry | Vote | Postcard
Kalosia is hoping to add another win in Telm City tonight with the song "L'Amurë Rušmoresë" by Montereu.

35 • Ethane| Ettieme
Entry | Vote | Postcard
Ethane is seeking their first win at the contest with the entry "Doomsday Clock" by Harry Parsons.

WHO LIKED YOUR SONG?

The Fan At The Venue • Darkmania
TBA Name

Audience Reaction • New Edom
Stephen Pahath-Moab & Lavinia Tuller Part 1 • Part 2

BITC • Britonisea
Rigas Jengiz & Mini Surrey North

RN3 / MixTV• Indo States
TBA

SBS • South Botoko
Ciyina Baka & Omir Kelez

PNB • Polkopia
Vastya Ilusov & Darya Kasić

Alpine Interior Teleast • Syrche
Jermaine Jeffeson & Madem Palorvikk

MRX • Mister X
Robert Baxter & Sam Smith Part 1 • Part 2

by **Britonisea** » Tue Jul 10, 2018 10:03 am

At the start of the production, as soon as it hit 20:00 Britonish Time, all of the television and radios played the official tune of WorldVision Song Contest. The design of the 66th WorldVision Song Contest splashed on to the screen, the mixture of different shades of pink. The tune of the WorldVision Song Contest slowly died down we faded in to the arena, which was now packed to the brim with all the eager Britonish (and international) fans ready to see what would come of the 66th WorldVision Song Contest. The camera that everyone at home was viewing slowly faded away as we focused on a single man playing the piano...

#00 OPENING ACT
The Orchestra of Dreams - "Capturing Every Moment"
Tune : Two Steps From Hell - "Never Give Up On Your Dreams"
Music: The Orchestra of Dreams Lyrics: Michael Freeman, Jake Adams

As soon as more instruments came in to the song, at around 14 seconds in to the song, the whole stage splashed in to the pink colours that would be present throughout the whole contest. The audience cheered loudly, waving their national flags in the audience. Dancers came filling up the stage, with all of them holding a flag for each of the nations that are participating in this edition of the WorldVision Song Contest. Something that was promised was not an overly long opening act - but that doesn't mean that we must have a short one! The dancers came on to the stage rather quickly - one after each other, filling the stage up as each flag was waved side-to-side in unison.

Here we are in this arena
And we are celebrating.
Leave all your worries at the doors!
Capture this moment!

As the singers started to come in, the camera quickly changed to the group of people who were singing this song. The group slowly started to fill the stage - the very back of the stage - to make it look even more congested than it already did. Each of the singers that came on were all holding a mini version of the flags of the participating nations in the 66th WorldVision Song Contest. All of the dancers who were holding the larger flags formed a circle on the stage and put down their flags, so that a circle of colours fled the majority of the stage.

WorldVision, celebrate.
WorldVision, it’s sixty six.

WorldVision, celebrate.
WorldVision, it’s sixty six.

WorldVision, celebrate.
WorldVision, it’s sixty six.

WorldVision, celebrate.
WorldVision, it’s sixty six.

The dancers left the flag and pole that were behind and slowly started to sway in a clockwise position, dancing around the many flags on the floor. The singers that filled the stage at the back swayed dramatically along with the music - but that was good as they looked as though they really were enjoying themselves. We were only around two minutes in to the performance (not even half way), and we had to present each of the flags. The song was slowly progressing in terms of texture and dynamics, and at around 2m10 seconds, the women from the group of singers at the back stood forwards and bunched together. There lights on top of the stage started to flash on and off really quickly. The camera managed to capture this by tilting forward, almost looking down on all of the action.

Time will fly past quickly,
Absorb and feel each day,
Capturing every moment you live; remember it.

The Earth is beautiful,
We take it for granted.
It’s time to stop, look at what we have created together.

The dancers suddenly stopped and picked which ever flag and pole was in front of them (they obviously knew which flag they had to pick up though). As the women started to sing and the lights started to flash a lot, the camera zoomed from below in to the right side of the stage where the first country performing tonight was being held by the dancer. Though, not too long after, another camera did exactly the same action - meeting up with the nation who was to perform second. The two dancers, after getting a few seconds of the camera being focused on them, then ran to the back off the stage.

Come, take my hand - let’s fly!
We’ll start this new journey.
Let’s scream and shout and sing, to let our voices be heard.

You know the world’s waiting?
Waiting for you and I.
We have to capture every moment that we will ever live!

As this part of the performance came up, we were going through all of the countries that were participating still. The flag of Ardoki was swung from side to side by one of the dancers before we moved on to Adab. The audience reacted by cheering for Adab. There was a long shot of what was happening in the arena, slowly zooming in to the action as it went on. The light and dark pink hues still filled up the stage.

Here we are in this arena
And we’re celebrating.
Leave all your worries at the doors!
Capture this moment!

We focused on some audience members before going to the next few nations on the list such as Proluvia and the Indo States. The Britonish flag did not show up after Indo States, however, as the next flag that a dancer waved was reserved for Raffiah. The singers in the back kept on waving their miniature flags, swaying along to the music and singing louder and louder as we reached the end of the Opening Act. As Mercedini's flag was waved in the audience, the largest Mercedinian contingent applauded loudly, while the nation received a warm welcome from Britonish fans.

It is
WorldVision, sixty-six
WorldVision, celebrate it.
WorldVision, capture it.
Making moments which will last.
WorldVision sixty-six
WorldVision, celebrate it.
WorldVision, we are capturing every moment

Time will fly past quickly,
Absorb and feel each day,
Capturing every moment you live; remember it.

The Earth is beautiful,
We take it for granted.
It’s time to stop, look at what we have created together.

The last nation performing tonight was shown by the cameras in the arena, and with a large cheer, the lights dimmed a bit, making way for the flag of Britonisea. For those at home, who had the name of each nation appearing at the bottom of their screen, they had been waiting for the time that they saw Britonisea's name come up - and it finally did. The rest of the dancers holding all of the flags circled around each other in the back of the frame.

Come, take my hand - let’s fly!
We’ll start this new journey.
Let’s scream and shout and sing, to let our voices be heard.

You know the world’s waiting?
Waiting for you and I.
We have to capture every moment that we will ever live!

During this instrumental part, the only flag that was on the stage was the Britonish flag. The audience went crazy as all the lights beamed on the lone dancer holding the flag on the stage... He proudly waved his flag around, walking further and further towards the audience - who couldn't get enough of it. The camera did focus on a few Britonish fans who were already crying like Izmeduans in amazement in happiness that their nation was hosting the competition after nine editions (it seems like such a long time ago since Machievelihe, doesn't it?). All of the other nations came slowly on to the nation, all appearing in a line behind the dancer holding the Britonish flag, with the nation on the far left being the first performer. The furthest away camera showed all of this happening as the lights flashed the pinks of the logo.

Come, take my hand - let’s fly! (WorldVision, sixty-six)
We’ll start this new journey. (WorldVision, celebrate it.)
Let’s scream and shout and sing, (WorldVision, capture it.)
To let our voices be heard. (WorldVision, we are capturing every moment)
You know the world’s waiting? (WorldVision sixty-six)
Waiting for you and I. (WorldVision, celebrate it.)
We have to capture every moment that we will ever live!
(WorldVision, we are capturing every moment)

At the end of the performance, all of the dancers with the flags dropped to the floor and there was a blackout. The audience went absolutely crazy for that wonderful performance. BVC are literally quivering in their boots watching the success BITC has had so far with their take on what the WorldVision Song Contest should look like. The camera zoomed out on the audience cheering for a couple of seconds, giving enough time for the masses of people to get off the stage. The lights in the arena slowly faded in, but after this, the camera focused on the stage and the introduction of the hosts. A voice over interrupted the celebrations...

"LADIES AND GENTLEMEN, PLEASE WELCOME YOUR HOSTS OF THE SIXTY SIXTH WORLDVISION SONG CONTEST!"

With that, the two hosts - Frida Grover and Cole Heiman - came walking out on to the stage hand in hand. Frida Grover was wearing a long teal sparkly dress with blue heels on, while Cole Heiman was wearing a black tuxedo, with a white shirt on below and the whitest-of-white trainers (since that's the fashion these days). They walked to the roar of Britonisea and were ready to introduce the contest to all of those watching...

by **Britonisea** » Tue Jul 10, 2018 10:10 am

Cole Heiman: Good Evening WorldVision, Good Evening to Telm City - welcome to our wonderful country for the fourth time, but more importantly, welcome to Telm City for the first time ever!

The 23 thousand people packed in the arena all put their hands together and the facts Cole Heiman had just said. A camera panned around the huge Telm Arena before focusing on the hosts again.

Frida Grover: Indeed! We have many acts performing tonight on the stage - but who will come on top? Well, that’s for you at home to decide! Before we get in to how the WorldVision Song Contest works, let us introduce ourselves. I’m Frida Grover…!

The audience cheered after Frida Grover, which made her signal towards the audience to not make too much noise for her, but they did anyway. Cole Heiman started to speak over the cheering audience.

Cole Heiman: And I am Cole Heiman - we are your hosts for the evening, and we will be taking you through the evening. The contest has been going on for years now, and we are now at the 66th iteration of the contest.

Frida Grover: And Britonisea, I can assure you at home, will take very good care of the contest. As I said earlier, you will be the ones who decide who is going to win the WorldVision Song Contest - and here is how.

As the graphic displayed on the screen, the audience in the arena all cheered, searching for when their favourite song of the WorldVision Song Contest 66 will perform. Cole Heiman and Frida Grover continue to speak.

Cole Heiman: At the end of all of the performances, you will be able to vote for who you think should win the WorldVision Song Contest. Your broadcaster will then collect all the votes, and they will either be amalgamated with jury votes or your votes will be the only decisive factor. Some nations might opt for just a jury, but please check that out on the WorldVision Song Contest website!

Frida Grover: Let’s pretend all of the votes are through. We will then go around to all of the participating nations, and we will give out each nation’s top ten. The nation who had topped each country’s vote will be given 12 points. The second place will be given 10 points, then 8, all the way down to 1 point. The nation that came 11th and so-on will not be given any points.

Cole Heiman: The winner will then be crowned, they will perform again and that’s it from Telm City. But let me tell you this right now, the contest won’t be over for another few hours, so you better sit back and enjoy the show and…

BOTH: LET THE SIXTY-SIXTH WORLDVISION SONG CONTEST BEGIN!

The camera yet again zooms out as we fade to the first postcard of the evening...The loud cheer of the audience gets drowned out by the music of the postcard.

by **Polkopia** » Tue Jul 10, 2018 11:50 am

01. Polkopia
Macks & Amir | Davai Polkopiya!

Language: English/Polkopian¹
Title Translation: Let's Go, Polkopia!
Tune: Samir & Viktor - Put Your Hands Up för Sverige (feat. Anis Don Demina)

¹ Contains one phrase in Italian

Polkopia's song to the 66th Worldvision Song Contest was selected to be "Davai Polkopiya!", written and recorded by the duo Samir & Viktor in order to celebrate their nation's return to international football (soccer) via the World Cup. For a long time, football has played an important role in Polkopian sports culture and continues to thrive domestically, however internationally, the team has struggled. The Polkopian team's best placing in the World Cup was finishing in the Group Stages of the 74th World Cup and has gradually decreased in international prestige in the years to follow. The team's official hiatus from international football came after the unexpected death of Polkopian coach, Spartak Stenin, whose death plunged the entire nation into mourning for the beloved coach. Even to this day, Stenin remains one of the most highly-regarded faces of Polkopian sports, and his legacy lives on to this very day. When it was revealed that the Polkopian Football Association (PFA) planned on returning to the international level, Polkopian citizens everywhere took to the streets to celebrate. Although citizens don't believe that Polkopia will triumph in the tournament, many are enthusiastic about the PFA looking to establish Polkopia as an international football competitor once more, and some even believe that if this mindset continues, it won't take long before Polkopia becomes a football powerhouse and can challenge even the most accredited teams across the multiverse.

The release of the song, Davai Polkopiya! brought instant success to Macksim Borischev and Amir Habibullah, the pair more commonly known throughout Polkopia as Macks & Amir. The two have been in the music industry together for seven years and have produced several radio-friendly songs throughout their careers, but the release of Davai Polkopiya! saw the first time that one of their songs reached the Top 10 of the Polkopian charts, peaking at #1 for two weeks, before falling back down to #3, and then #7 a few weeks later. Nevertheless, the atmosphere around Polkopia, and the people's excitement for the nation's return to international football competitions has no doubt been the cause of such instant success. Although the success within Polkopia is evident, the results from the Landa vy Polkopiya show that the song has potential overseas as well. Out of seven international juries who placed their votes in the competition, four gave Davai Polkopiya! top marks, proving that the song's infectious beat will transcend borders, despite the obvious language barriers.

The stage was set, and the Polkopian postcard had just been shown to the audience. Macks and Amir took their places on stage, with each of them standing on one side of the stage, completely apart from one another. The lights were completely dark, hiding the two from view, but when the instrumentation begins, lights will illuminate the two of them and Macks would be seen wearing a black baseball hat with a small Polkopian flag on the side, just above the ear. He'd be wearing a black button-down shirt with the buttons unbuttoned, and a white shirt underneath. He'd also be wearing black jeans which were ripped at the knees, and the sleeves on his shirt were rolled up to his elbows. Amir, on the other hand, wore a short-sleeve white button-down shirt with small gold and black soccer balls dotted along the entirety of the shirt. He wore black jeans as well, and the top two buttons of his shirt were unbuttoned, exposing a bit of his upper-torso to the viewers. In the center of the stage, there seemed to be a strange contraption which resembled a disco ball cut in half, with the flat side facing the stage floor. When the instrumentation began, the device would spin and reflect light that was projected onto it in many different directions. When the instrumental DID begin, the two grinned toward the cheering audience and walked forward, toward the front of the stage. The background LED screens showed a wave pattern against a black background, which only waved in sync with the beat. The waves would move suddenly and abrupt, but somehow seemed to flow regardless. Every section of the wave was colored in a different shade of gold, and there were gold-colored footballs (soccer balls), standing bears, athletes performing a bicycle kick, and bottles of vodka. It would look similar to this, and as the waves moved, the symbols would shift to the side, off-screen, and another shape would move in from the other side to take its place. The LED screen at the ceiling would show the same symbols, and they'd fly across the screen in sync with the symbols on the back screens. Spotlights would circulate around the stage, and camera shots would show golden lights moving around the cheering crowd. Finally, they began to sing.

Red: Macks singing
Blue: Amir singing
Purple: Together singing

Let's shout davai Polkopiya!

Let's shout 'come on, Polkopia!'

The camera rapidly transitioned to Macks, who walked toward the camera, one hand on his microphone, the other waving and moving in tune with the beat. Occasionally he'd point toward the camera and the camera would back away from him as he approached, so that the distance between Macks and the camera would remain the same throughout his verses. Every time Amir chimes in for his lines, the camera would pan to him as he stands on the edge of the stage, looking toward the camera from a much further distance than Macks.

Každiviy den' i každiva nochta
Every day and every night

Bum pesit' za nova komanda
We will sing for the new team

The gold and the black shirts
Everyone, we'll be cheering from the same heart

Ce važom yasveg i bez unovo pošta
With you forever and without a single doubt

Čto viy vescite nam, čtobiy miy gordzi
That you will make us proud

One nation one team
Everyone, we'll be hoping for the same dream

The camera now pans out, and the LED screen on the floor shows a gold-white-black striped pattern which repeats itself and extends from one end of the stage, until the other end. After showing this view, the camera then shows members of the audience, some waving Polkopian flags, jumping and singing along with the song. When the two sang together, the camera showed a view from the back of the stage, where the two were had put their free hands up, and the rest of the audience followed suit.

Vse, ot mara, do goram, do gorodam
Everyone, from the sea, to the mountains, to the cities

Bum pesit' za nova komanda
We will sing for the new team

The gold and the black shirts
Everyone, we'll be cheering from the same heart

Vmerto miy bum unitit' nad unom flage
Together we'll unite under one flag

I miy bum kricit na gevenekh
And we'll shout to the heavens

Come on, davai Polkopiya!
Come on, let's go, Polkopia!

The LED screens now showed pairs of black-colored hands and gold-colored hands clapping in tune with the beat, and the sound of the audience members clapping could be heard all throughout the arena. Macks and Amir also clapped, using their free hand to clap against their microphones while they sang.

Ila blotakh i pustax
Through thick and thin

Miy bum vam poderživat'
We'll support you

Allni zlatnikh i chyornikh
Shirts of gold and black

Futbalnički Polkopii
Footballers of Polkopia

I khoču ražpunat vem, vem, vem, vem, vem
And I want to tell you, you, you, you, you

I khoču ražpunat vem
And I want to tell you

For every word the two sang here, the camera would show different angles of them, the stage, and audience members as they got ready for the beat drop. Macks and Amir all had their hand in their air, and at the last note, they hang their heads back and shouted into the microphone.

Come on, davai!
Come on, let's go!

Come on, davai!
Come on, let's go!

Davaite
Let's go!

Davaite
Let's go!

Davaite-te-te-te-te
Let's go!

Davai Polkopiya!
Let's go, Polkopia!

With the beat drop, the two started dancing a dance that resembled this, and the crowd panned to members of the audience, who were all waving their respective flags, dancing and jumping to the beat. The background LED screens showed the same symbols and pattern as in the opening instrumentation, and steam erupted from the back end of the stage. The large device in the center of the stage spun while reflecting some of the lights that were projected onto it, creating a small light show on stage with the LED projections and steam in the background, creating a unique atmosphere on-stage.

Come on, davai!
Come on, let's go!

Come on, davai Polkopiya!
Come on, let's go, Polkopia!

The atmosphere on stage shifted to how it was before the beat drop, during Macks's verses, only this time the camera followed Amir as he planned to sing his verse. At the first word, he gave a half-salute to the camera, and sang in a similar manner as Macks.

Ciao!
Hi!

Ne čto-to fantasia
This isn't some sort of fantasy

I miy ne čumočeni za vritnya
And we are not crazy for believing

We can do it!
The gold and the black, we will prove it!

Our team fights for you and for me now.
Come and join us as we sing now

Come on, davai Polkopiya!
Come on, let's go, Polkopia!

Everything from the buildup remained the same, except the two walked further apart, toward different ends of the stage as they sang, pumping their hands up in the air in sync with the beat.

Ila blotakh i pustax
Through thick and thin

Miy bum vam poderživat'
We'll support you

Allni zlatnikh i chyornikh
Shirts of gold and black

Futbalnički Polkopii
Footballers of Polkopia

I khoču ražpunat vem, vem, vem, vem, vem
And I want to tell you, you, you, you, you

I khoču ražpunat vem
And I want to tell you

Come on, davai Polkopiya!
Come on, let's go, Polkopia!

The two ran off the main stage and ran up and down the arena. They began high-fiving people who were seated at the end of the rows in the audience, and the camera switched between showing Macks and Amir. By the time they sand the last line together, they had ran across multiple rows and made it back onto the stage.

Come on, davai!
Come on, let's go!

Come on, davai Polkopiya!
Come on, let's go, Polkopia!

Now, several people entered the stage from the back, all wearing shirts that were colored in either black, gold, or white. Some held large, Polkopian flags and waved them around. The people were jumping and bouncing, singing "Oooooh" while Macks and Amir repeated the main lines of the chorus.

Come on, davai!
Come on, let's go!

Come on, davai Polkopiya!
Come on, let's go, Polkopia!

Come on, davai!
Come on, let's go!

Come on, davai Polkopiya!
Come on, let's go, Polkopia!

As the beat settled down a bit, Macks and Amir took a second to breathe. They walked over to the device center-stage and flipped a switch. Suddenly, it began spinning faster than usual, and the two backed away, returning to their original positions. The members of the Polkopian delegation who joined them on stage stopped jumping momentarily and awaited the surprise to come.

Come on, davai!
Come on, let's go!

Come on, davai!
Come on, let's go!

Davaite
Let's go!

Davaite
Let's go!

Davaite-te-te-te-te
Let's go!

Davai Polkopiya!
Let's go, Polkopia!

As soon as they finished singing the last note, colored chalk erupted from the device, covering the stage, as well as those on it, in various shades of green, pink, blue, yellow, red, and every color in between. Polkopian flags and colors could still be seen waving in the back of the stage, despite the chaos, and a wind machine kicked in to blow some of the chalk toward those sitting in the front two rows. Macks and Amir ran off stage, running in between the rows again, singing.

Oooohhh.. oh oh oh
Oooohhh.. oh
Come on, davai!
Come on, let's go!

Oooohhh.. oh oh oh
Oooohhh.. oh
Come on, davai Polkopiya!
Come on, let's go, Polkopia!

Oooohhh.. oh oh oh
Oooohhh.. oh
Come on, davai!
Come on, let's go!

They had managed to run all around the arena, before returning back to the stage, where the chalk has subsided. The Polkopians in the back were covered in all sorts of colors, as were Macks and Amir. The two embraced each other right in front of the Polkopians and shouted the last line of the song together.

Come on, davai Polkopiya!
Come on, let's go, Polkopia!

The two, huffing and puffing from exhaustion, bowed and blew kisses to the audience, who roared with applause. "Thank... you!" Shouted Amir through breaths, and him and Macks made their way off stage, along with the rest of the Polkopians who were on-stage.

by **Vartugia** » Tue Jul 10, 2018 11:57 am

02.Vartugia

You- "Why do we even bother with these vartugian entires anymore?”

Baa, Baa, Black Sheep!

The great boycott of WV over earape continues, with You singing for Vart this time. Why the fuck are they always singing so low-quality songs?

You enter the stage dressed as a unicorn that drank too much of wine and just came after a cocaine binge. You dance very poorly and sing so poorly, we even hear glass shutters and get destroyed. The tune is not played.

Hey, Hey Worldvision
Give us null points now!
No, Bitch, Missus X here
We give you 69 points
And a joint.
This song weird.
IZMEDU!!!!!!!!!!!!!!!!!!!!111
...

The audience wonders what the fuck this and begins to throw rotten tomatoes on the stage in the middle of the song and throws on You. While the rain of the tomato, You randomly takes off your trousers and begins to make weird facial expressions. And some brown thing comes out of his butt. This is what Vartugia brings to WorldVision. Litteral shit.

The stage is filled with rotten tomatoes and the "brown thing" on stage... so here is some filler so the stage can get cleaned and so the next can sing their song.

by **South Batoko** » Tue Jul 10, 2018 12:52 pm

03. South Batoko
"Dance Beat" - Onar Baka
Language(s): English
Tune: Jahzzar - Green Lights

After the postcard for South Batoko plays, you can see Onar and his 3 background singers, one of whom slipped on a leftover tomato from Vartugia's entry.
The music immediately starts.
Onar sings
Backgroud singers sing
both sing

0:01

I dance to the dance beat just for you, ooh
If you weren't by my side, I'd have nothing to do... oh yeah, uhuh

The chorus immediately starts.

0:18

Dance, beats, flow through my heart
'till, the, end yeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaah

He starts constantly kneeling and standing, while he sings:

0:38

You were so scared, I helped you out, ah yeah, ah yeah, uhuh
If you could not do something, I'd come and give you brav'ry too.

0:55

Dance, beats, flow through my heart
'till, the, end yeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaah

1:11

Dance beats

Dance beats

Onar rocks out the guitar the was hiding on his back and started playing a solo.
After the solo, the background singer start singing in the same tones as the synths in the music.

2:07

Yeah, dance beats, oh oh
Yeah, yeah, oh oh

The chorus starts playing.

Yeah, oh
oh oh oh oh oh oh

Yeah, oh
Dance beats! Dance beats!

Onar also starts singing yeah's in the tone of the synths.

Onar shouts: 'Asme, WordlVision! Asme, Britonesia! Thank you all!' before leaving the stage, almost slipping over another tomato from Vartugia's entry.

by **Saintrabina** » Tue Jul 10, 2018 1:44 pm

04 | SAINTRABINA
Albatrosy
Litania do Czterech Żywiołów
Title translation: Litany to the Four Elements
Tune: Original track "composed", written, sung and recorded by me
Language: Polish
Lyrics: Ruło Brachlesz, Edward Białek, Nina Białek
Music: Ruło Brachlesz, Nina Białek, Szymon Kalitowski, Leon Igracz

Albatrosy (eng. Albatrosses) is an electronic band formed in Obrachlesz, Saintrabina in 2012. It consists of four members - the marriage of Edward (vocal) and Nina Białek (keyboard), Szymon Kalitowski (guitar) and Leon Igracz (drums). Nina and Edward met each others in Obrachlesz Art School where he was a vocal teacher and she was a student, however they started to be in a relationship one year after she graduated. Because the old Edward's band ELO-S fell apart, they decided to form a band together. The duo was joined by Szymon and Leon as they were Nina's close friends. The band started with more rocky style of music and this is how their first album "Sny Ludzkich Żyrandoli" (eng. Dreams of the Human Chandeliers) from 2014 sounded like. The next album "Ariadna" from 2016 was a result of cooperation with Ruło Brachlesz, famous Saintrabinian composer and lyricist. Recently the band released its first EP "Sezony" (eng. Seasons), where the single "Litania do Czterech Żywiołów" comes from. It has been chosen to be the Saintrabinian entry in this contest.

The members of the band are already present on the stage when the music starts. All of the male artists wear white linen "peasant" shirt and brown trousers while Nina wears white linen dress in the similar style. Nina stands on the left side of the stage by her keyboard, Leon sits by his drums on the right side while Szymon with his electric guitar and Edward stand by the microphone stands at the front. The stage is illuminated by different shades of white and yellow light at the beginning. When the first part of versus comes, the LED screens on the floor and in the background show birds on the Saintrabinian sky above the mountains and forests and the white light is getting dominant as the following four verses treat about the element of air. The musician seems to float in the air.

W płuca tchnie powietrze rześkie chłodny nocny wiatr
Pobudziwszy dreszcze muśnie krańce cienkich szat
Wokół mnie rozniesie twych pachnących włosów woń
I niczym tornado zerwie z nas ostatnią broń

The next four verses talk about the element of water. The LED screens present the mirrors of water in Saintrabinian rivers and lakes. The light is changing its color into white and dominant blue. The visualisation under the artists' feet creates circles on the water. It looks quite realistic. We can see also some fish and underwater stones and plants.

Usta me zanurzę w słodkiej toni twoich ust
Pot obleje nagie ciała gdy zabraknie tchu
Rzuci nas w potężne łoża fale uczuć sztorm
Pościel zmieni się w oko cyklonu a my z nią

The light is getting crazy changing its color from blue to green, yellow and red and the other way really fast. The reflectors seem to circle in random directions. Edward takes his microphone and come closer to Szymon singing the chorus. The LED screen behind previews all the previous images like a kaleidoscope.

Módlmy się do bóstw
Powietrza ognia ziem i wód
W rytuale tym
Żywioły cztery wiodą prym
Zbiór zwierzęcych cech
Wybaczy nam pierwotny grzech
Zanim ludzka twarz
Kobiety i mężczyzny
Zawstydzi nas

The lights calm down and turn into dominant green and some shades of brown and golden. Edward comes back to his microphone stand and put the microphone in it. The LED screen behind shows Saintrabinian mountains and their forests, green trees and grey stones. There are some forest animals hidden among them. The floor is covered with some green grass and brown earth. All the leaves are waving in the air. The following verses treat about the element of earth.

Suną palce jak lawina zboczem stromych gór
Trzęsie się już ziemia drży nam pod stopami grunt
Przemieszczamy jedno z ciał względem drugiego z nich
Porównując to do ruchów tektonicznych płyt

The forests behind start to burn in big fires. The ground is turning into black ash. We can see big flames and a lot of smoke on the screen behind the artists as the next part of the song talks about the element of fire. The lights are changing their colors into red and orange. Edward seems to be unbelievable calm in comparison to the picture around.

Lecą iskry spod rozgrzanych namiętnością serc
Tykają jak bomb liczniki wyznaczając kres
Ich eksplozja w pożar przemieniła grzeszny akt
Ogień dwoje ludzi stopił w jeden zmysł i kształt

The fire disappears and the LED screen started to show all the previous images really fast. The lights are spinning around and changing their colors randomly. Edward takes his microphone out of the stand again and comes closer to the audience singing the second chorus. He tries to make them sing with him.

Módlmy się do bóstw
Powietrza ognia ziem i wód
W rytuale tym
Żywioły cztery wiodą prym
Zbiór zwierzęcych cech
Wybaczy nam pierwotny grzech
Zanim ludzka twarz
Kobiety i mężczyzny
Zawstydzi nas

The stage turns completely dark. Then the weak white light falls on the stage. It is getting brighter and brighter while the last chorus is heading for the end. Edward kneels on the edge of the stage. The rest of the members sings the last part of the song while he makes some vocal ornaments.

Módlmy się do bóstw
Powietrza ognia ziem i wód
W rytuale tym
Żywioły cztery wiodą prym
Zbiór zwierzęcych cech
Wybaczy nam pierwotny grzech
Zanim ludzka twarz
Kobiety i mężczyzny
Zawstydzi nas

The big flash of light illuminates the stage and all of the members goes to the front of the stage to take a bow towards the global audience. They hold their hands and seem to be really happy with this performance.

by **Todlichebujoku** » Tue Jul 10, 2018 1:49 pm

05. _Tödlichebujoku_

Tune: Lana Del Rey - Dark Paradise

Turn Back Time

Svea Valdnieks

Svea Valdnieks, real name Aino Strohkirch, was born and raised in the small town of Untotenakačan to a pair of musicians-turned-vegetable-farmers. Her parents, when freed from the duties of the fields, would play and discuss music with friends and family, and it was in this environment that Aino's interest in music was rooted. While she thought little of it while growing up, Aino found herself diving into music after pursuing an education in Sterblichengokai, ingratiating herself into the music scene of the nation's largest city. In fact, she threw herself into her musical pursuits to the extent that she began to neglect her studies in urban agroforestry, so much so that she began to lose interest and passion in the subject and skirted dangerously close to flunking out. Coupled with that, she began to have trouble keeping herself financially afloat. Her one rock through all that turmoil was her mentor Benno Brinkerhoff, an established songwriter who had written a number of highly acclaimed songs. While most did not become hits, Benno attained a close, devoted following, and Aino was honored to be taken in as one of his protégées. With her parents many hours away by caravan, Benno became her father figure, and helped her stay sane, giving her sage advice through her darkest moments.
As Aino rebounded and reorganized her life, improving her grades for the year and dropping out on good terms with the faculty, she was able to truly throw herself into music without reservation, securing a job at a venue (the Rétícho do Sol) where she hoped to perform one day. The sun was breaking through the clouds, and the light was brightening at the end of the tunnel. With Benno, she came up with the pseudonym Svea Valdnieks that gave off the elegant yet chill vibe she wanted to portray. She released her first EP, and began slowly increasing in visibility to the local music industry, and finally got booked by her very own workplace. But luck was not at her side, as Benno was suddenly hospital-bound by a malignant growth that had erupted without warning. Aino, now primarily known as Svea, was touring in Éuszerstenkeiken at the time, but immediately rushed back across the nation to be with him for what she believed was simply a severe flu, or some sort of treatable condition. Alas, Benno's preexisting heart condition unexpected interfered with the growth while Aino was speaking with the hospital staff, and passed away before she could return to his side. Wracked by shock, guilt, and loss, she could not be pried from his side until well past the next dawn. At his funeral, Aino was positively catatonic and had to be restrained from throwing herself into his grave, and simply could not function for the following weeks, with her parents taking a break from their farm to help her perform simple tasks until she recovered to an acceptable point. Aino, however, was still beside herself with grief over the next year, and managed to take a break from her career with whatever profits she managed from her lingering music sales and her saved money. At one point she returned to live with her parents, to feel how it was like to feel life from the earth, and gaze over the fields and the blossoms of the new orchards.
Only after this period did she feel the strength return to follow her passions, to begin to write and sing again. Her renewed activity began to garner interest among the insiders of the Sterblichengokai music scene, and soon after she released a heartfelt message announcing her latest single's impending release, the WorldVision branch of TÖBUK contacted her about a possible opportunity to perform on the international stage. Of course, with the song being such a personal one, she needed a significant amount of time to mull it over, but in the end, she decided to take the opportunity for all it was worth. After all, while Benno may not have broken into the mainstream, he had told her many times to follow her heart and do what was best for her, and that he would support her no matter what. Though still nervous and anxious about the prospect, she knew that she could use this opportunity to branch out and grow further as a person, and pursue whatever dreams she could.

TÖBUK, meanwhile, was struggling. Its last two entries did not pan out anywhere near as well as its board had hoped they would, and so they cast their net far and wide to find a different tack. Their saving grace was Svea Valdnieks, a promising new singer-songwriter who had just suffered an intense emotional trauma and so was compelled to create something with deep emotion, a level of emotional engagement that was felt to be lacking in the broadcaster's last few submissions to the contest. While the broadcaster had planned for Voiyt to return eventually, along with Salamu and Sorya Ueno, those artists were not available for the upcoming contest and so TÖBUK had to find a new artist unknown in the WorldVision and Sinun Valintasi scenes. With Svea being the nation's hope for redemption, her upcoming performance has become the next big topic around the Tödlichebujoki dinner table.

Svea Valdnieks tried to focus on her breaths. In... out... in.. out.. the storied nation Saintrabina's band Albatrosy was about to finish their performance, and Svea was due to follow up their act. Everything had to be perfect. This is Britonisea, after all, she thought to herself as she smirked at the host nation's storied and parodied penchant for absolute perfection in appearances and in the performing arts. Well, there was nothing else to do than do her absolute best. And almost without warning, it was time. Her makeup was on, her outfit was set, and she began her journey to the stage and to the cameras.

The arena is dark, and the stage subtly flashes blue for a second. As the music begins, star-like lights glimmer along the back of the stage, as Svea is slowly illuminated with a soft light. She is wearing a slim black dress, velvety in nature, with black roses pinned along her neckline and waist, and stands at an elegant silver microphone stand, her hair to one side. She takes a few deep breaths, looks toward the audience, and trembling, grasps the microphone

Miracles are fleeting, but you stayed strong
Your spirit made of fire, burned so long
Ohhh...
But nothing's forever

Svea takes a breath to steady herself as the music intensifies, with a subtle flicker of accent lighting throughout the stage echoing the drumbeats

Life and death together, on and on
Held your letter one night, gone by dawn
Ohhh...
Now we are severed

She tries to face away from the audience to hide her sorrrow, but then gives up and gives in to it all, turning back to the light as if reminiscing in regret, blinking rapidly to stem the tears

Your life a masterpiece, a symphony
To me you were a mystery
All we could have said

Once we could speak so free and never be
Constrained by health, it seemed
But now you're gone instead (gone)

The lights cut down momentarily upon Svea's expression of total loss, and the camera view zooms out to capture the entire interior of the arena. As the chorus begins, an animation of a golden hourglass with its sand rising upwards appears as golden lights sweep in towards Svea, while a separate row of spotlights along the edge of the stage floor sweeps up and out over the audience. The camera view pans along this arrangement of light while locked on the stage. Svea herself closes her eyes wistfully with the first line of the chorus, clutching the microphone stand before gazing toward the audience and holding her hands over her heart

If I could only turn back time
To hold you and to say goodbye
My heart is bursting through, tears spring anew
Raging oceans surge from my eyes

Animations of lightning bolts flash and flicker behind the hourglass on the background screen, with some accent lights around the arena echoing the faintly strobing lighting effect. Oddly, it seems that the electric effects are somehow subtly echoed on Svea's dress, flickering in the dark matte depths

If I could only turn back time
To hold you and to say goodbye
My heart is bursting through, tears spring anew
Raging oceans surge from my eyes

The stage and lighting effects of the chorus turn down, returning to the ethereal star-effect background and general darkness of the earlier verses. This time, falling lilies and roses drift in front of the background screens like a floral snow, lit by a soft light that does not wash out the starry background, while stronger red pulses emanate throughout the arena with the louder, more intense drumbeats. Svea grasps higher up on the microphone stand, tearing up as the camera zooms in, as she relives the dark memory of attending Benno's funeral and losing her self-control in mourning

Now I stand gazing, with funeral song
Flower wreaths on both sides, joy, it feels wrong
Ohhh...
I'm falling in tears

Svea closes her eyes in an attempt to stop the flow of tears while she sings in T-Suomi, picturing him in her head as she continues. If only she had met him so much earlier, spent so much more time with him... The fall of flowers ceases, leaving a colorful and fragrant pile along the screens

Olitte püstüssá, ya vastuussa
You were upstanding, and responsible

Toivotan, ettá tapasin
I wish I'd met

Sinut aiemmin
You in the past

Olisimme, voineet puhua
We could, have spoken

Niin palyon enemmán
So much more

Mutta voi, ei enáán
But can, no longer

The lights intensify as before, the spotlights along the stage floor sweeping up and then over the audience, spotlights spinning circles around Svea, who leans forward, looking toward the audience and then to empty space beyond them

If I could only turn back time
To hold you and to say goodbye
My heart is bursting through, tears spring anew
Raging oceans surge from my eyes

If I could only turn back time
To hold you and to say goodbye
Mutta vanhat muistot, kuten laulut,
But old memories, like songs,

Paluu yálleen minulle
Come back to me again

The intense light sweeping and swirling cuts out, with only vertical spotlights shining on stage, half of them, evenly distributed throughout the stage, blinking out as the other half blink on, only pausing every other line when Svea sings full sentences

Voi voi voi voi, ei ei ei ei
Oh oh oh oh, no no no no

Haluan vain olla taas kanssasi
All I want to do is be with you again

Voi voi voi voi, ei ei ei ei
Oh oh oh oh, no no no no

All I want to do is be with you, you see

The vertical spotlights cut out and replaced by lateral spotlights that focus at Svea's feet, lighting her from below and revealing that her dress is not entirely black; in fact, there are visible silver streaks that race upwards from the bottom. She detaches the microphone and leans backwards, an arm on her forehead as if about to faint

I dream, I eat, my heart aches when I'm weak
I flash back when I shouldn't be
And break down like a sad machine
One dream, one beat, relentless through the week
Reminding me you've passed

The spotlights strobe intensely for a second with the orchestral buildup, and spotlights splay out once more from the stage, rotating in time with the camera panning across from a distance. A zoom in reveals that Svea's dress is lighting up like lightning and fire, as it begins to smoke, and a dark heavy smoke begins to creep across the stage floor

If I could only turn back time
To hold you and to say goodbye
My heart is bursting through, tears spring anew
Raging oceans surge from my eyes

If I could only turn back time
To hold you and to say goodbye
Mutta vanhat muistot, kuten laulut,
But old memories, like songs,

Paluu yálleen minulle
Come back to me again

She collapses into the smoke, and lies down, closing her eyes, the sparking seams of her dress clearly visible through the smoke layer that quickly dissipates from around her as a puff of air blows down from above. The lights tone down, so that only the most subtle stage lighting and floor star animations illuminate Svea and the stage

Voi voi voi voi, ei ei ei ei
Oh oh oh oh, no no no no

Haluan vain olla taas kanssasi
All I want to do is be with you again

Voi voi voi voi, ei ei ei ei
Oh oh oh oh, no no no no

All that I can wish, is to say goodbye

The few remaining lights and subtle animations fade into darkness, with faint starry lights slowly blinking out one by one as silence descends up on the arena

Making her way back up on her feet and to the edge of the stage, Svea breathes, "Kiitos Telm City, thank you all," before stepping away from the stage.

Well, that seemed to go well. Svea waved to the camera that was soon to catch her visage once more for the international audience as she sipped at her juice. Life was good. At least, for now. And Aino Strohkirch was intent on living while the living was prime.

by **Christarnea** » Tue Jul 10, 2018 1:51 pm

06 | CHRISTARNEA
Marcowy Zając
Gwiazdozbiory
Title translation: Constellations
Tune: Original track "composed", written, sung and recorded by me
Language: Polish
Lyrics: Ruło Brachlesz, Marek Zajączkiewicz
Music: Ruło Brachlesz

Marek Zajączkiewicz a.k.a. Marcowy Zając (eng. March Hare) is a young singer and actor born in 1992 in Busolaher, Christarnea. He started his actor career at the age of 12 when he appeared in a few episodes of local TV series "Dzień Dobry, Panie Kowalski" (eng. Good Morning, Mr Kowalski). He graduated from Busolaher Art School at the age of 24. Today he is connected with Busolaher Young Actor's Theatre. During his studies he found out that music is also his passion. He started to take trumpet lessons but after some time he decided to try singing. He started his first band Gabaryty with two of his close colleagues - Antoni Różycki and Dagmar Bronek but it didn't last too long. One year ago he decided to perform solo under the pseudonim Marcowy Zając. He moved to Obrachlesz, Saintrabina and started to cooperate with Ruło Brachlesz, famous Saintrabinian composer and lyricist. The result of their collaboration is a song "Gwiazdozbiory" that is going to be the first single from Marek's debiut album that will probably come out very soon.

The stage is empty at the beginning. The LED screen in the background shows the black city skyline and the purple-pink-orange sky above. The stars on the night vaulting are blinking to the rhythm of the beat. Then we can notice the silhouette of Marek who is heading for the microphone stand in the center of the stage that is illuminated by the weak stream of light from the front reflector. He is wearing long black cardigan, white T-shirt underneath, black leather jeans and black leather shoes. He is starting to sing the first versus with some nonchalance in his voice and behavior.

Przez różowe horyzonty
Przemkną błędne smugi światła
Kreśląc koła, prostokąty
Na urbanistycznych warstwach

The lights in the windows of the city skyline in the background go off. The night sky is attacked by a few falling stars and turns navy blue. The city skyline is disappearing slowly in the embrace of the dark.

Zgaszą lampy niemych okien
Zmierzwią białe prześcieradła
Chodź, schowamy się za rogiem
Bocznych ulic tego miasta

The stars are getting brighter and stops to blink for a moment. However the face of an artist is shown in the camera. He is singing the pre-chorus snapping with his fingers to the rhythm.

Nie znajdą nas
Gdy nas otacza ciemny żelbetowy las
My - dwie postacie
Wątłe cienie na asfalcie

The camera does not show the two male dancers joining the stage. One of them is wearing the black clothes and the second one - the white ones.

Nie znajdą nas
Popatrz w niebo, nosi Twoją twarz
Tę w coraz bardziej
Lunarnym kształcie

The camera shows the whole stage now. The stars behind start to spin around the centre one. They are moving faster and faster. We can see the black dancer on the left and the white one on the right side of the stage. They are dancing simultaneously. Marek is standing still at the microphone stand and singing the chorus.

Mimo jeszcze wczesnej pory
W Tobie widzę gwiazdozbiory
Każdy metr i każdy gram
Na pamięć znam

Granatowe nieboskłony
Mam ich skrawki w prawej dłoni
Wzejdź i zostaw tam swój ślad
Jak jedna z gwiazd

The vortex of the stars is decelerating and the dancers freeze for a time. Marek is taking the microphone and kicks the stand that falls on the floor. He moves towards the audience walking along the edge of the stage and singing the second versus.

To ta noc bez latarników
Gdy się jarzy tylko księżyc
Niechaj ma w nas swych wspólników
Niech nas sobie zaprzysięży

The dancers come to life and start to dance some kind of robotic routine.

Twoje oczy jak neony
W szyldzie stacji benzynowej
Dają znak mym zagubionym
Że twe serce jest gotowe

Marek comes back to his previous place. The dancers come closer to him. They are performing by his side while he is singing the pre-chorus. The night sky seems to be brighter now. The stars are blinking to the beat.

Nie znajdą nas
Gdy nas otacza ciemny żelbetowy las
My - dwie postacie
Wątłe cienie na asfalcie

The dancers hide behind Marek making some kind of arm dancing and snapping to the rhythm.

Nie znajdą nas
Popatrz w niebo, ile jest tam mas
Tworzą wariacje
I konstelacje

The flash of light is cutting the background night sky. The stars start to move in all directions performing some kind of dance routine. The dancers jumps away to their stage sides and perform their more energetic dance routine simultaneously. Marek tries to dance with them but he focuses more on his vocal.

Mimo jeszcze wczesnej pory
W Tobie widzę gwiazdozbiory
Każdy metr i każdy gram
Na pamięć znam

The sky is slowly turning purple-pink-orange again. The black skyline of the city appears too.

Granatowe nieboskłony
Mam ich skrawki w prawej dłoni
Wzejdź i zostaw tam swój ślad
Jak jedna z gwiazd

The stars freeze for a moment and start to blink to the beat. The lights in the windows of the city skyline go on from the left to the right side. The dancers leave the stage while the camera man is focusing on the background.

Nie znajdą nas
Gdy nas otacza ciemny żelbetowy las
My - dwie postacie
Wątłe cienie na asfalcie

The camera shows Marek's profile. He is singing towards the audience.

Nie znajdą nas
Popatrz w niebo, tam się łamie czas
Czas między nami
Gwiazdozbiorami

At the end of the performance he gives a wide rakish smile and waves his hand. He bows and leaves the stage being happy with his performance.

by **Syrche** » Tue Jul 10, 2018 3:10 pm

07 |Syrche
Language: English | Tune

Sheante had made a name for herself among the Trans-Sexual community. She had been crowned "Miss Trans-Syrche" in 2012 and in 2013 took 14th place in WorldVision 29. To date, "Broken Love" was Sheante's greatest musical contribution. She hoped to further her legacy with a new international hit, but time would tell.

The pace of the new project had been rushed due to a busy tour schedule at home, and though she was hesitant to admit it, Sheante had aged a bit since the last time she was on the WorldVision stage...

The lights were down. The music started. After four bars the lights abruptly lifted to full brightness, engulfing the stage in white/ yellow. Sheante began to sing the lyrics and slowly revealed herself, dressed in blue futuristic glasses to match her blue hair and a white dress and gloves,, entering from stage left during the entire first verse.

I felt a spark
in my heart
riding on a wave
exaltation

Sheante stood still in the center of the stage engulfed in light and staring out at the crowd. She craned her head as she sang the next verse, moving nothing more than her head and left arm, which held the mic.

the music stopped
no instrument played
Echoes of the past
on delay

As the second verse closes, Sheante is joined by 12 backup dancers, who begin to dance in unison with her to the chorus arrangement. The Dance consists of multiple symmetrical alignments. Trust me. Sheante knows how to dance and so does her backup!

Though you danced against the flame
You lost your heart to love.
Burnt hot, grew cold to hold
Feels, Though, Oh....
You were up against the flame
You were in and out of love
Burnt hot, grew cold to hold
Feels....

The dancers disappear offstage. Sheante returns to center stage and resumes her motionless posture or staring at the audience.

Words you said
in the night
who is left to say
what's wrong or right?
Wrong or Right?

The lights suddenly drop and the backup dancers are back on stage with LED body suits. The same dance as before is repeated, but this time it is in the dark with lit up LED body suits.

Though you danced against the flame
You lost your head and heart to love.
Burnt hot, grew cold to hold
Feels, Though, Oh....
You were up against the flame
You were in and out of love
Burnt hot, grew cold to hold
Feels...

The lights have returned and the group of dancers have split into to rival factions.
The rival factions are going at each other in a feigned aggression.

Dance off Dance Off
Dance off Dance Off
Dance off Dance Off
Dance off Dance Off

The lights drop as the chorus begins. The led suits fade into the background.
A large LED screen in the back comes to life in the middle of the chorus and as Sheante says "Feels." an animation of a FIREWORK goes off.
The screen is lit up in reds and blues and whites.

You were up against the flame
You were in and out of love
Burnt hot, grew cold to hold
Feels...
You were up against the flame
You were in and out of love
Burnt hot, grew cold to hold
Feels...

The lights fade back in to reveal the same situation as before, two rival factions.

Dance off Dance Off
Dance off Dance Off

The factions approach each other.
Some embrace.
Some Kiss.

Dance off Dance Off
Dance off Dance Off

Sheante: "Thanks for having me Telm City! Who wants to party tonight with Sheante? We're definitely having a good time here at WorldVision 66! WOOOOOH!"

Sheante descends the stage and wanders off into the audience, shaking hands with many foreign delegations

by **Izmedu** » Tue Jul 10, 2018 3:21 pm

08. IZMEDU
PRIAMAIKI - Maja osveta
Translation: My Revenge
Tune: ВИА Гра - Перемирие

The name PRIAMAIKI is one that is hallowed and infamous within the Izmeduan music industry. It is at once a sales force, one of Izmedu's most famous girl groups, a source of internal strife within the music industry, a name so forbidden amongst executives that to utter it is the equivalent of uttering the persona non grata's name, but most of all... it is also simultaneously a household name. While the name PRIAMAIKI has stood the test of time, its members, recordings, and history are marked with instability, strife, and enough drama to fill out a novel filled with music industry gossip. PRIAMAIKI was a girl group project started by Zlata Zugec. At the time, she was a veteran Izmeduan music industry executive whose success made her a person that aspiring pop stars wanted to work with, despite the possible risks of overwork and lack of compensation. She was known to be the one executive 'that could get you from nobody to Platinum in the space of one single.'

PRIAMAIKI was her first girl group project, consisted of auditioning aspiring but unknown young Izmeduan women in their mid-20s for a trio of girls. Initially an experiment in seeing if the girl group format would be commercially viable, Zlata Zugec's PRIAMAIKI worked... and perhaps worked too well. The original triad of PRIAMAIKI lasted for three years, blazing the charts with catchy pop tunes, sex appeal, and a regimented artist schedule that Zugec insisted to keep them 'fresh' for the market. However, strife hit the PRIAMAIKI project. For the next six years of its tormented history, the girl group became less of a stable force to a constant revolving door of Izmeduan women in their early 20s. Some women left of their own accord, some left for health reasons, and some left out of feeling betrayed and used for Zlata's own gain. Whatever the case, a controversial court case involving Zlata's ethics in the music industry was bought to court. PRIAMAIKI, along with Zlata Zugec's career, seemed to lie in eternal tatters...

Fast forward to close to the present day, the PRIAMAIKI project takes on a far different form than its past incarnation. Of course, PRIAMAIKI's roots as a manufactured and label-built girl group were not forgotten. Its current three members, Katarina, Danijela, and Marta were assembled by their supporting label (ZvizdeZapis) and were largely of the same demographic as past PRIAMAIKI members. However, there was a key change to this new incarnation (which, by this point, hadn't even considered Izmepisma participation or were even public yet). This time, the three women were allowed to have a strong sense of artistic autonomy and direction to where they wanted to take the girl group. The three women were intensely briefed about the history of the girl group, as well as were made well-aware that a return, even if executed well, would be a controversial prospect.

The first single was originally planned to be just a comeback single that celebrated the return of PRIAMAIKI. The problem? The concept of what the comeback would look like was hotly debated between the artists and their managers. Ultimately, what was there to comeback to? Katarina, Danijela, and Marta knew that they were going to have win back the old fans of PRIAMAIKI while at the same time also maintain a new image. They knew that they were not the same girl group that bore the same name, a lesson that they had learned as ex-PRIAMAIKI women were bought in for consultation. They bore the legacy of the old PRIAMAIKI on their shoulders, and that very realization formed the core of the eventual comeback. It would be a tribute to the old women that established the name PRIAMAIKI, a defiant celebration and a declaration of independence.

However, as Katarina, Danijela, and Marta engaged in the songwriting process, the resulting product that came out was much different than anyone realized. Set to a rousing dance production gifted to them by one of PRIAMAIKI's old producers, the song that came out was a lot less of a celebration and more of a song for vengeance. To the three women's surprise, the song almost sounded like as if the original members of PRIAMAIKI returned from their music industry exile and sought vengeance and parity from their working conditions. Regardless, the new PRIAMAIKI had a solid foundation to which to work upon. Now, there was the question, what to do with the material? Izmepisma was one answer.

Miracle timing and generous label backing provided the foundation to which Izmepisma became the clear, if risky road, to create the PRIAMAIKI comeback. RTI were shocked that the name would pop up in their shortlists, seeing that the original PRIAMAIKI constantly evaded WorldVision participation. Their involvement quickly leaked to Izmeduan WV fan communities that followed the Izmepisma cycle. Hype quickly grew around their participation, drawing into a fever pitch into a closely fought grand final where the televote, after an intense jury voting round, secured PRIAMAIKI the ticket to WorldVision.

For RTI, this represented both a boon and a risk. PRIAMAIKI's win was largely unexpected by fans, with many expecting their favorite status to be false and that they would merely finish in the podium. That didn't turn out to be the case, with the televote turning the tides around on a hotly contested jury voting. RTI had the benefit of having an immensely strong domestic prospect on their hands, but on the WorldVision stage, PRIAMAIKI was a risk. It was a risk in the sense that RTI could well be descending into madness. “Maja osveta” represented the same exact song type that carried the country close to the winning line, only to narrowly lose out. Additionally, girl groups have historically been Izmedu's weakest performing entries in the contest.

Either way, both RTI and PRIAMAIKI carried a tale of revenge, vengeance, and redemption to the contest. On one side was a channel attempting to find their way to victory. On the other side is a girl group reclaiming the artistry of their predecessors. Despite differing motives, their goals dovetailed as they planned out the performance and eventual trip to Telm City, Britonisea.

Would it lead to the victory that RTI were so desperate for? Would it lead to the redemption that the women of PRIAMAIKI sought to have? Those questions would be answered by the end of tonight.

There was one important step to that, their performance.

Stage lights billowed down to the center of the Telm Arena at the advent of the Izmeduan entry. The three women that consisted of PRIAMAIKI were situated at the center of the stage, caked in darkness amongst a wild crowd cheer. The entry would start with a haunting 'whoosh,' the faint sound of bells in the background as the crowd cheer would quiet down. At the start of these bells, which would ring three times, the camera cut to a barely lit silhouette of the three members. There was a brief flash to Katarina, standing in the center, then to Danijela on her left, and then Marta on the right. The stage lights were a dim white through this, before quickly shifting to a bright red that revealed wisps of smoke clouds that surrounded them. The bells would cease, heralding the beginning of the vocals that Katarina would commence.

Bio sam do smrta-i agnialatadi
Tako nevino i loikto conbez straha
Ponos i neznanje bili su moj propast
Plakum con krvlju

The camera situated itself to a frontal view of Katarina at the start of the first verse. The instrumentation remained calm, only a soft synth orchestra providing the background. The spotlight was at its brightest configuration on her, casting the other two members in shadow. She sang the song with a bit of a sultry yet foreboding tone, her eyes belying an expression of anger despite the cool expression on her face. She walked forward step by step after she sang each line fairly quickly, slithering her arms and body around slightly and almost suggestively. However, her delivery of the lyrics and body language remained dangerous rather than completely sexual, directing to the viewer a sense of threat. At the fourth line, the camera faded to a close up view of Katarina's face, her expression murderous and framed by the haunting red lights around her as she uttered the last line directly to the camera. The LED panels remained dark for this part of the verse.

Sentio sam la slatka sjeća pobjeda
Maja svrha je bio ispunjeno
Mui nisam znao da susrećem poraz
Nema odmora

The song began to build more as it was Danijela's time to shine for her solo in the first verse. The camera would switch around the girls a cinema-esque fashion, utilizing an almost dream-like fade as the viewers at home were treated to Danijela singing these lines. There was a look of fresh betrayal in her eyes, as if she had just been crossed by someone she immensely trusted. She eyed the camera with that look, her vocal contoured by that emotion as she slinked an arm towards the camera. She did that movement for the first two lines before slinking it back at the third, her eyes and face cast sideways as if recounting a tale that she'd rather not talk about. At the fourth line, a noir-esque background canvas began to slowly form on the LED screens, with three comic wedges, almost panels, appearing corresponding to the girls' positions.

Od smrta struarim
Conjedna misija
Da yostim maje grihe

Marta, the last PRIAMAIKI singer that had yet to sing, finished off the build up to the chorus with this three-line hook. There was a beat that began to be added to the production, causing the lights around the group to intensify at each beat. The camera would once again do another dynamic fade. This time, Marta had a more playful delivery in contrast to the Danijela and Katarina. She winked to the camera, edging closer and letting her body gyrate slightly. This was the note of revival, corresponding with the lights flashing at brighter colors despite the still murderous intent. At the last line of the chorus, the camera would zoom back at a rapid pace and fade to a black, going silent for only a microsecond...

Imati ću maja osveta
Imati ću maja osveta
Maja kazna, neću prestati
Do tamo je nepitan pravda
Ovo je mi otkup

The Telm Arena roared to life at the start of the chorus, an initially blinding series of reds and whites that gave way to a quick and cinematic overview of the stage from the camera before. These far views, which displayed the screen, alternated between that and close-ups of the girls. An additional camera affect was added at the beginning of the chorus, which involved the screen blurring slightly to the beat and caused deliberately slight distortions to the live TV feed. On the screens were animated drawings of the PRIAMAIKI women in noir form, each of them holding a gun and wearing detective clothing. On the stage, Katarina, Danijela, and Marta were performing somewhat considerable choreography to the song, remaining in-sync and making sure not to compromise their vocals. Their bodies and arms swayed to the beat, performing fast movements almost akin to combat, while their pose and body movements remained wave-like.

Imati ću maja osveta
Imati ću maja osveta
Maja kazna, neću prestati
Do tamo je nepitan pravda
Ovo je mi otkup
Imati ću maja osveta

For the chorus' second half, the background screens began to shift images left and right, akin to a turning page of a dramatic comic book. At each line, the audience could see a likeness of Marta blowing out the smoke from her gun, Danijela round-house kicking a group who wronged her, Katarina looking ready to seduce and trap her victim, and then various images of a combination of either three enacting vengeance on whoever they so desired. The the camera again deftly alternated between close-ups and wide views of the stage. The three women made their choreography more deliberate for this part of the chorus, keeping movments only to the end of the each line. At some parts, they would begin to reflect what was shown on the screen.

At the end of the chorus, the three women got together back to back as they belted out the song's trademark line. They were again cased in shadow as the lights quiered down, with the screen image going static with the three girls in comic form doing the same pose as their real life counterparts. The interlude to the second verse was interceded with a series of low cellos, fitting the vibe of mystery surrounding the girls. Through that short instrumental interlude, the three girls separated into a horizontal formation, with the camera fading to a close-up shot of Danijela.

Alicu smrtu con-izdaje i amar
Ju imao sam previše povjerenje
Naći bio sam jednostavno naivan
Patim u taši

Danijela would have her chance to shine in her own unique verse akin to Katarina, with the spotlight most intense on Danijela. She stared the camera down as the noir aesthetic even applied to the delivery of the verse she sang. Each step she took towards the camera was deliberate, controlled, and fierce. The instrumentaiton would quiet down as Danijela broke group formation, walking diagonally in the direction towards the camera (which itself was doing a slight worm's eye view). The background screens behind the group showed an animated Danijela being betrayed, displaying a quick narrative of being left for dead. The camera would flash between shots of the screen to Danijela's face, with the final line involving Danijela turning her face away.

Sentio sam la slatka sjeća pobjeda
Maja svrha je bio ispunjeno
Mui nisam znao da susrećem poraz
Nema odmora

For the hook, it was Katarina delivering it this time, picking up on the same emotional energies that Danijela left the verse off with. Almost as a call-back to her own unique verse, Katarina's delivery was laced with a more sexual energy than Danijela's threat or fresh-faced betrayal. Versus Katarina's more emotional straightforward walking, Katarina slinked towards the camera. She walked towards the darkened area where Danijela was at, attentive to the lyrics as the background screens showed progressing comic panels of Katarina running away from danger. At the end of this part of the hook, Katarina and Marta locked eyes, the camera visibly catching this moment as they nodded towards each other.

Od smrta struarim
Conjedna misija
Da yostim maje grihe

The camera switched to a closer view of Marta, who maintained her same playful and yet solemn delivery. The three women got into formation, with Marta leading the way initially before she would return back to her original position amongst Katarina and Danijela. At the third line, the lights briefly flickered intensely, flashing in an arc as a way to herald the multiple refrains the choruses that would lead to the ending of the song. This coincided with a brief and dynamic swoop to a bird's eye view of the three girls, with a slo-mo effect being added to the camera. The view would then fade and the lights would dim as the song quieted down for a microsecond...

Imati ću maja osveta
Imati ću maja osveta
Maja kazna, neću prestati
Do tamo je nepitan pravda
Ovo je mi otkup

The same choreography, effects (both on-stage and on-camera), and lighting were repeated from the first chorus as the Telm Arena roared to life once more for the chorus. The camera took alternating views between a wide view of the stage and close-ups of the three women, as they performed choreography that was once again reminiscent of fighting, combat, and vengeance. They once more gyrated their bodies and swung to the intense beat and pace of the song, accentuated by the on-camera blur effects that occurred at each beat of the song. The lights again pulsed with a more hopeful hue (albeit, still primarily flashing with reds and whites), even if the lyrics were once more a declaration of revenge. During this, the LED screens would present their animated comic counterparts doing the same moves, interspersed with brief action scenes of each of the three girls individually.

Imati ću maja osveta
Imati ću maja osveta
Maja kazna, neću prestati
Do tamo je nepitan pravda
Ovo je mi otkup
Imati ću maja osveta

Their choreography for the second half of the chorus was a little bit more intense. The camera focused more on close-ups of the girls, with the constantly pulsing lights presenting an air of mystery as their faces and bodies were coaked in brief flashes of light and darkness. The music maintained its intensity as the girls maintained their tight and coordinated movements, never for once compromising their vocals as they kept swaying their hips, holding out a fist outwards, and looking fierce and determined while doing so. At the final line of the chorus, the LED screen showed the three women going into a back-to-back formation as a sudden slowdown effect was applied. The three women on the stage struck a prose that then cut to a camera fade of a cinematic bird's eye view of the girls. The music was currently in its brief, but dramatic interlude. The view at home was still slowed-down, meaning those in the audience are now seeing the three women mirorring the poses on the LED screens.

Imati ću maja osveta
Imati ću maja osveta
Imati ću maja osveta

For this bridge, which were just choice refrains of the song's trademark lines, the first line of the bridge maintained the lighter instrumental where the camera would swoop over the women. After that first line, the camera faded to a close-up view of the three girls letting go of their formation. They stared straight at the audience as the three of them commanded the lights to go up, raising their hands up in the middle of the first and second lines as the full instrumentation returned. At the second line, the three women began to once more dance. As they danced, the lights were attuned to their every move, their declarations of vengeance slowly turning more and more into a reality as the comic versions of PRIAMAIKI only began to look more gruesome and tougher by the end of the bridge. The camera re-positioned itself to focus on the three girls, taking a mid-view of them versus the alternating close ups and wide shots.

Imati ću maja osveta
Imati ću maja osveta
Maja kazna, neću prestati
Do tamo je nepitan pravda
Ovo je moj otkup
Imati ću maja osveta
Imati ću maja osveta
Maja kazna, neću prestati
Do tamo je nepitan pravda
Ovo je moj otkup

For the final and triumphant reprise, the red colors had transformed into orange hues. The threatening aura was still there, but this was a clear mark of narrative victory of the three girls who looked ready to conquer who destroyed them and put their plans into action. Their movements were tighter, more coordinated, and they were all engaging in a level of united energy that was not present during their verses. During this chorus, the LED screen displayed each of the girls individually riding off into the sunset, nodding into each other as they each prepared to undertake their tale of vengenace. Each of the members had their individual time on the spotlight. At one point, Danijela can be seen doing more suggestive if fierce individualized choreography, Katarina winked at the camera, and Marta was swaying her body even more intensely than the other two. By the end of the chorus, the three women once again began to get into an even tighter triangle formation.

Imati ću maja osveta

That tight triangle formation was the genesis of the final choreographed moment of the entry. As the three of them belted out the final line in their unison, they got together in the same back-to-back pose that marked the end of the other two choruses. The women almost looked like action movie secret agents as the LED screens remained white at the song's conclusion, causing the camera to focus on the shadow that was created. Each of the girls had their hands raised upwards, looking as if they were holding guns.

After a few seconds, the stage darkened and the crowd cheered. The three girls looked to have been jumping about, hugging and huddling each other.

"Hvala!" They all said together and walking to the green room right after.

Whether or not PRIAMAIKI would succeed would now be up to the voters at home, but the three girls knew that no matter what happened, they put their group on the map once more and on their own terms. They knew they had the time of their lives on that stage. Now, it was a waiting game...

by **Ardoki** » Tue Jul 10, 2018 5:13 pm

Moriarty's Winter Palace, Ardea,
Commonwealth of Ardoki

Alistair Killian Moriarty, Chairman of the Central Executive Committee of the Ardokian Social Democratic Labour Party, sat at his desk in his main office, busy replying to a selection of fan mail. Since his resignation from the presidency, he had a lot more time to reply to his millions of fans in Ardoki. Besides, with his puppets being the public face of political power he could focus on his music career. He was a singer long before he ever became a politician; in fact, his musical skills were responsible for his quick rise to near absolute power.

Ardokians have always respected those who can break out into song with a choreographed dance sequence. That is how Ardoki was united after all, thousands of years ago, when the first emperor and his army conquered every kingdom not through bloodshed but by outsinging and outdancing all those who stood in their way. That is how Moriarty became the leader of the ASDLP, a position which grants him total control over Ardokian society. What better way to spread his music could there be.

Moriarty knew very well that there were many backwards countries in the world that did not acknowledge the magic of song and dance. He always thought the WorldVision Song Contest was better than that. Yet, they betrayed him! He came last! Somehow! Chairman Moriarty would not tolerate this! They will know the true musical talents of Ardokians! Before him, in his large office, stood a group of foreign music critics who had attacked his musical skills. What they had written was too horrible to even think about, the Chairman thought.

Chairman Moriarty stood up, the critics eyes following him. ' I am sorry you have no taste in music' the Chairman said. 'Let me remedy that' he said grinning as he picked up a sub machine gun from a drawer in his desk then proceeded to open fire at the critics until his magazine was empty.

One of the critics, barely alive, dried to crawl away on the now bloody marble floor.

'I don't think so!' said a Moriarty who looked to be enjoying this too much. He jumped over his desk and pulled out a handgun before emptying the clip into the body of the critic.

Several members of Elder Dance Crew then entered to remove the dead bodies of the critics.

'Get me the Minister of Defence.' Moriarty said. 'I have a job for her.'

9. Ardoki
Deirdre Immaculata O'Reilly — Give Us Your Twelve Points Now!
Tune: Bob Sinclair - Rock This Party

Minister of Defence, Deirdre Immaculata O'Reilly

Minister O'Reilly walked onto the stage, flanked by a complement of Social Democratic Guards (the elite paramilitary wing of the Ardokian Social Democratic Labour Party). Created through the same genetic engineering program as Elder Dance Crew; however, Social Democratic Guards focused on combat and crowd control over song and dance (though were competent in this area when required on or off the battlefield).

SDG took up positions on both wings of the stage, while the Minister placed herself in the front-centre. Heavily armed Ardokian soldiers faced the audience, faces covered and guns pointed at the crowd to deter any quarrelsome behaviour. Two main battle tanks also positioned themselves at the back of the stage. They would listen and they would love it!

The Minister then began shouting 'backflip!' as she backflipped on the spot.

Backflip, backflip, backflip, backflip
Backflip, backflip, backflip, backflip
Backflip, backflip, backflip, backflip
Backflip, backflip, backflip

The Minister then landed on the stage with barely a sound, then started to sing/rap while gesticulating wildly.

Yeah woah
Mi wanna see everybody phone out
Dance all
Minister commin' at ya
We just want all your twelve points okay
Ardoki
Make great music, dance okay
It's de wae just vote
Yeah

The Social Democratic Guards then sang their line.

Give us your twelve points now!

The Minister rapped her little part.

Let's vote
Whoo!
Let's vote
Twelve points
Come on
Let's vote
Vote, vote, say what, vote
Let's vote

The Social Democratic Guards then sang their line.

Give us your twelve points now!

The Minister got into full gear and jumped into the air with a spin, landing towards the front of the stage and punching her arm into the air to energise the audience.

Vote Ardoki
Phones out everybody
Make it twelve for Ardoki
Don't stop, vote Ardoki
Vote Ardoki
Phones out everybody
Make it twelve for Ardoki

The Social Democratic Guards then sang their line.

Give us your twelve points now!

The Minister did a spectacular sideflip to the right several metres into the air before bouncing of one of the guards and then doing another sidelfip to the left landing back where she started.

Don't know if we of one mind
This song it make a good time
Yo why you no dancin' why?
You why not try it now
You in a dancing groove
It makes you feel so good
This is just such a great tune
I am a dancing god
Gonna make you all dance with me tonight
Y'all we gonna make you vote tonight
Y'all we gonna get twelve points tonight
Y'all we gonna get our first win tonight

The Social Democratic Guards leaned in towards their microphones. With one hand on the microphone stand and the other on their hip, they swayed suggestively and sang their part.

We came to vote for Ardoki
'Cause they have the swag tonight
Minister, I'll vote for Ardoki
You've got me through the night

Oh oh, twelve points to Ardoki
Oh oh, the crowd says yes
Minister, I'll vote for Ardoki
'Cause we gonna sing and dance tonight

The Minister jumped and did the splits in mid-air. Upon landing she used the force to do a frontflip into the audience and started singing in the aisles (with support from the SDG back up on stage).

Yo yo yo yo
Let's vote
Yo yo yo yo
Whoo
Yo yo yo yo
Let's vote
Yo yo yo yo yo yo yo
[Yo yo yo yo] Vote! Vote!
[Yo yo yo yo] Now everybody vote (vote)
[Yo yo yo yo] Now everybody dab (dab)
[Yo yo yo yo] Now everybody
Give us your twelve points now!

The Minister made her way back up onto the stage, staring at the audience without blinking she began to sing her part.

You can't beat me on the dancefloor
Imma the best
You won't stand a chance
Gotta sing and dance good, yes
'Cause imma Ardokian, yes
You betta vote for Ardoki
Nothing less than twelve points
Or you'll be left regretting
That your country is invaded

The Minister leaned down a bit and moved her body and inex finger to and fro as if she were lecturing a child.

Vote for me mate, vote for me (what)
Twelve points mate, twelve points (kay)
Phones out mate, phones out (yeah)
Vote for me now (yeah)
It better be twelve!

The Social Democratic Guards leaned in towards their microphones. With one hand on the microphone stand and the other on their hip, they swayed suggestively and sang their part.

We came to vote for Ardoki
'Cause they have the swag tonight
Minister, I'll vote for Ardoki
You've got me through the night

Oh oh, twelve points to Ardoki
Oh oh, the crowd says yes
Minister, I'll vote for Ardoki
'Cause we gonna sing and dance tonight

The Minister rapped again with support from the guards.

Yo yo yo yo
Let's vote
Yo yo yo yo
Whoo
Yo yo yo yo
Let's vote
Yo yo yo yo yo yo yo
[Yo yo yo yo] Vote! Vote!
[Yo yo yo yo] Now everybody vote (vote)
[Yo yo yo yo] Now everybody dab (dab)
[Yo yo yo yo] Now everybody
Give us your twelve points now!

The Minister got into full gear and jumped into the air with a spin, landing towards the front of the stage and punching her arm into the air to energise the audience.

Vote Ardoki
Phones out everybody
Make it twelve for Ardoki
Don't stop, vote Ardoki
Vote Ardoki
Phones out everybody
Make it twelve for Ardoki
Give us your twelve points now

The Minister leaned in towards the audience and made a signal, the soldiers at the front cocked their guns and pointed them at the audience. The tanks targeted their cannons as well.

(Shhh) I have my army here (yes)
(Shhh) So you better vote for me (yes)
(Shhh) Else I order them to (yes)
(Shhh) Dance till they drop (yeah)
Why you phone no out? (why)
Why you phone no out? (why)
Get you phone out (out)
Get you phone out (out)
Vote for Ardoki (vote)
Vote for Ardoki (vote)
Give us twelve (vote)
Give us twelve (vote)
Let's vote

The Social Democratic Guards leaned in towards their microphones. With one hand on the microphone stand and the other on their hip, they swayed suggestively and sang their part.

We came to vote for Ardoki
'Cause they have the swag tonight
Minister, I'll vote for Ardoki
You've got me through the night

Oh oh, twelve points to Ardoki
Oh oh, the crowd says yes
Minister, I'll vote for Ardoki
'Cause we gonna sing and dance tonight

We came to vote for Ardoki
'Cause they have the swag tonight
Minister, I'll vote for Ardoki
You've got me through the night

Oh oh, twelve points to Ardoki
Oh oh, the crowd says yes
Minister, I'll vote for Ardoki
'Cause we gonna sing and dance tonight

The Minister then jumped into the audience and crowd-surfed.

I want all your points
All twelve points okay
Ardoki shall win tonight
Our singing and dancing is the best
As always!
As always, our skills are the best

She then began handing out free samples of Chairman Moriarty's latest album.

Let's vote
Whoo!
Let's vote
Twelve points
Come on
Let's vote
Vote, vote, say what, vote
Let's vote
Give us your twelve points now!

Let's vote
Whoo!
Let's vote
Twelve points
Come on
Let's vote
Vote, vote, say what, vote
Let's vote
Give us your twelve points now!

The soldiers then assisted in the handing out of free sample albums.

Vote! (x24)

The Minister and the Social Democratic Guards then cartwheeled off the stage. While the soldiers and main battle tanks left the stage auditorium as well.

by **Adab** » Tue Jul 10, 2018 6:05 pm

10. ADAB
Maria Zorei – "Bury"
Tune: Madonna - The Power of Good-Bye
Language: English

Promotional photo of Maria Zorei, taken by Khalwa al-Khalwaji

Background
Adab's surprise third place finish at the 65th WorldVision Song Contest, defying critics, gamblers, and betting sites alike, led to massive celebrations across the country. Riad Malek, the Adabian contestant at said contest, was paraded across the country, giving concerts along the way, and was hailed as the country's latest musical (if not national) hero. Though this was a song competition, and not a war or nuclear summit, it felt as if the country had finally affirmed its place in and made itself known to the multiverse. The Samarra Enquirer praised the rapidly developing quality of Adabian music, saying that the country's best singers are "ready for international competition" and even predicting that Adabian songs will dominate multiversal radio in the next twenty to thirty years. Minister of Foreign Affairs Inimabakesh al-Tikriti called the result a "vindication of Adabian music and culture" in an op-ed for The Adab Times in which he also praised the country's long cultural history and commended the people of Adab, including Riad, for "the work that they have done in exporting Adabian culture abroad."

But this was also a vindication for the power behind the throne: Kinan al-Salaman, who - having bowed out of the WorldVision stage - had now secured his position as the country's official WorldVision and World Hit Festival songwriter, with the freedom to choose the contestants as he liked (potential contestants are de facto required to be signed to Al-Salaman Records). This was the result of a deal that he had made, under mysterious circumstances, with Emperor Tizqar III, who previously reserved for himself the right to choose the country's representatives for both contests (although it is doubted whether the supercentenarian monarch actually had any say in the matter). A contestant chosen by al-Salaman, singing a song written by al-Salaman, had achieved third place, which actually was higher than al-Salaman's personal record of fourth place. To al-Salaman, this was a public affirmation of his choice and his songwriting, and further fueled his current passion in writing songs which would be sung by people of his choosing on the WorldVision and WHF stage. By most accounts, though he no longer graced the WorldVision stage, he was intent on continuing to exert his influence over the competition. Music was, after all, his life.

(An anonymous op-ed on The Adab Times, published a few days after al-Tikriti's, offered a more cynical perspective: al-Salaman still desired to compete on WorldVision and now the World Hit Festival, if now indirectly. Whether al-Salaman intended it or not, the actual contestants were no more than his puppets; they were signed to his label, they were chosen by him, and they sang the songs that he had written. For all intents and purposes, al-Salaman was the true contestant, even if he did not actually appear onstage, and - in the words of the anonymous writer - "the country seems unable to let go of him, or escape his ghost, and he clearly is not willing to let go, at least for now.")

If al-Salaman was unwilling to let go, then at least he was willing to collaborate with his contestants. Adab's 40th World Hit Festival song, "I'm on Your Side", performed by Shamsi Ara, was a surprisingly collaborative effort between al-Salaman and Shamsi with both men working together on the lyrics and music; Shamsi even received a songwriting credit for the song. The reason, as stated by al-Salaman, was that he was now focusing on running the Al-Salaman Group and thus did not have as much time for music as he used to; he even publicly mulled the idea of retiring from music altogether. His new-found inclination towards collaboration appeared once again ahead of the 66th WorldVision Song Contest, as he actively worked on the lyrics and music of the song with chosen contestant Maria Zorei. Zorei stated that the song, titled "Bury", was open to listeners' interpretations, although she preferred to think it was about "a suicide, or a particularly painful breakup or event where everybody comes off worse."

That Maria Zorei actually cooperated with al-Salaman, or that she actually signed with Al-Salaman Records, came as a surprise to many of her fans. Maria, 35, had been on the Adabian musical scene for years and made a name for herself as one of the country's most vital artists and a rival of al-Salaman, releasing a series of albums influenced by electronic, jazz, and classical music which touched, among others, on love, conflict, and violence. Though they publicly appeared to be rivals, they were actually good friends and Maria quickly agreed to sign with al-Salaman's label when offered the chance. One critic described Maria as having a "gentle, mesmerizing mezzo-soprano voice which she is able to control almost effortlessly even at a high pitch." She has been described by some critics as perhaps the country's finest singer alive.

The performance
The stage went dark following the previous act's exit. It remained this way for a while, leaving audience wondering what would happen next, or when the next act would actually take the stage. After a few minutes had passed, the audience began to hear from around the sound of birds flying and waves crashing against the shore. A collection of well-dressed women moved furtively onto the back of the stage with their instruments. In the darkness some in the front rows could make out their faint shadows, moving back and forth, determining their respective positions; some correctly guessed that they made up the orchestra. But the cover of darkness would soon be gone, as the LED panels at the back began to turn sea blue. The sound continued, of birds and of the waves, and it was wonderful indeed. Such was the vastness of the blue, that it began illuminating the stage in shades of said color.

The sounds of nature ceased and the panels began to part in the middle with a great noise, as faint smoke came up and gradually covered the entirety of the stage. As the stage was clothed in smoke, the electronica-flavored backing track began playing. And when the smoke began to dissipate and the panels once again closed, a woman was already in the middle of the stage, mic in hand, wearing a gothic gown as the panels behind her turned a darker blue. She was Maria Zorei.

It is not my will but I must go
Now the time has come, so I must yield
There's no point in lamenting
But something's wrong, so I let it be

It is my crossing, I will not turn
You were beside me, don't reach for me
Liberation is now upon me
Through the mist I now hear the voice
Wanna go beyond?

Maria raised her arms for a moment, but then brought them down again. One hand lightly caressed her cheek - in confusion, in consternation, one might never know - as the other held on to the mic and the audience cheered her. Some of the LED lights shone down in faint blue upon her.

It's too much to ask
It's too painful to know
It's much better for us
If we bury it all and forget

Maria was now on her knees, creeping closer to the audience at the end of the stage. The smoke had now dissipated completely and the stage turned silver, bleaker than the panels. The nature sounds, for a moment, appeared once again on the background as Maria launched into the next part of the song. Once again she raised a hand to the sky.

It is not my will but I must go
Now the time has come, so I must yield
It is my crossing, I will not turn
You were beside me

It's too much to ask
It's too painful to know
It's much better for us
If we bury it all and forget

Maria rose back to her feet as the nature sounds once again disappeared, leaving the spotlight to the backing track for a while. She produced a bundle of flowers out of her gown and threw it to the audience, resulting in a small commotion as people fought to grab the flowers.

Want to know it all
I yearn to know it all

Now the strings, which had hitherto stayed in the background, became more prominent, mashing nicely and overtaking the electronic backing track. Maria made her way around the stage, greeting and waving to her fans. "I don't have any more flowers, sorry!" she was heard saying.

It's too much to ask
And we don't want to know
It's much better for us
If we bury it all and forget

The strings receded, leaving only the backing track, inching towards its conclusion as the LED panels turned silver and then black. The lights above dimmed and the stage returned to its original color. When even the backing track was gone, Maria led the orchestra as they bowed to the audience. "Thank you very much, and good night!" she said as they exited the stage, waving one last time to the audience.

by **Nekoni** » Wed Jul 11, 2018 1:12 am

Entry No.11: NEKONI
21 Days
Luca Florén
Based on: Greetings from Space by Ola Salo

The winner of the latest season of The Journey, Nekoni's prime singing talent contest-cum-reality show, Luca Florén is 28, and spent 27 of those years wishing he could grace the stage with his voice. However, he always felt that his looks were holding him back. Such was his anxiety, he turned up to the first audition wearing a luchador mask. After some of the judges were brought to tears, they encouraged him to reveal his face and not be ashamed of who he was. The reveal seemed to spark something huge, as Luca ended up storming through the competition, winning the final duel with 63% of the vote.

Since the inevitable Christmas single, this rock and soul singer has been in the studio, and this song, chosen by internal NTR selection, is the first one taken from his new album. Explaining the raw emotion of the song, in his own words, "[he] isn't currently in this state of mind. However, I have been before. The feeling of ever-decreasing hope in reconciling with a loved one is a melancholic feeling, but it is passionate too. It's throwing everything you have at a million-to-one shot, and knowing that you'll never make the same mistakes again if you make it."

The song starts with the entire stage unlit, except for a single spotlight, illuminating Luca. He is dressed in a white suit, black shirt and an undone white bow-tie. He is sat, legs outstretched on a white chaise longue to the right of the stage, with a calendar displaying the previous day on it next to the chair on a plinth. His white electric guitar is on the floor next to him.

As he sings, he plucks a day off the calendar, to reveal the current day. He folornly looks at the calendar as he continues, then manifests enough motivation to get up off the chaise longue and picks his guitar off the floor, placing the strap over him.

Twenty-one days
Since you went off on your way
And I must take my share of the blame

Luca begins playing guitar as he slowly makes his way to the centre of the stage. The spotlight follows him as he does this.

I'm beyond deceit
The fault lies here by my feet
It's bittersweet
To be too smart for conceit

As he reaches the centre of the stage, the light surrounding the rest of the stage begins to return with a cold, blue-tinted glow. From here, we see that the entire back half of the stage has been obscured by three massive black curtains, leaving just Luca and the chaise longue setpiece in the front half. The centre of the stage contains a guitar holder just off the centre section, and a microphone on a stand in the centre.

And I could tell you
How I'm better now
And I get if you won't believe
I'll resign
You deserved more than me

As the drums build up, the curtains gradually come in to reveal the remainder of the set, and the other 12 performers on stage. The left is flanked by a string quartet, small brass section, and piano player, and on the right, a bassist, acoustic guitarist, drummer and auxillary percussionist, all of which are dressed in black suits/dresses.

The lights are no longer directed on Luca himself now, with the entire stage bathed in a sombre blue. The back LED board displays a night sky, with the French words appearing handwritten across the screen.

Mais, désolé si je vous ais cassé
(I'm sorry that I broke you)

Et je pleure, je pleure pour toi
(And I cry, I cry for you)

Et je vais revenir en arrière
(And I will turn back the clock)

S'il te plaît crois moi
(Please believe me)

Tu reviendras
(You'll come home)

The lights are slightly more restrained for the second verse, focusing a little on Luca more. He continues playing guitar, with his eyes closed, almost as if feeling every lyric pierce his heart.

Three weeks since our fight
I'm still sleeping in daylight
As in the night
Your face won't leave my sight

In the verse, the LED displays a regular summer sky in the day, however, as the verse continues, clouds begin to form, getting slightly and slightly darker as time goes on. Just before the chorus begins, he places his guitar down in a holder just off the center.

Even though I shouldn't hold out hope
For you to come back home
I feel nothing
Unless I'm in your arms

As the chorus begins, a light rain begins to fall on him as he sings. The light of the spotlights flashes white intermittently to give the impression of a thunderstorm, with the background LED screens displaying dark clouds. His free hand is formed into a closed fist, gripping his shirt where his heart lies.

Désolé si je vous ais cassé
(I'm sorry that I broke you)

Et je pleure, je pleure pour toi
(And I cry, I cry for you)

Et je vais revenir en arrière
(And I will turn back the clock)

S'il te plaît crois moi
(Please believe me)

Tu reviendras
(You'll come home)

The rain continues to a full-on downpour as the spotlights now are centred on him again. As he sings, water soaking through his clothes, he crouches, both hands on the microphone, giving each line an almost desperate urgency. It appears he is close to tears, however the rain makes it difficult to determine if that's true.

And I'll cry until the morning
Apologise for all my wrongs, yeah yeah yeah
We'll go back to when you still loved me
Please believe me
I'll find a way

As the final repeat of the refrain comes, the rain stops, and the last words are sung with the rivulets of water running from his hair down his face still. As his last line is delivered, he can't bring himself to look at the camera anymore, almost biting his lip to keep his emotions in check.

And I know you won't be coming home
You've found someone new
I'll still be waiting
Beyond day 22

As Luca finishes, and the audience cheers in support, he silently gestures to the crowd, mouths "thank you", and leaves the stage.

by **Electrum** » Wed Jul 11, 2018 2:02 am

12. ELECTRUM

Song: Summertime Blues
Artist: Sage
Tune: 'Never be like you' by Flume feat. Kai

Introduction
Sage won Electrum's Selection Contest -- the first Electrum had held for a very long time (over twenty editions ago), and she won convincingly with a self-written and self-composed song about memories. In Sage's words, the song is about trying to forget someone, and maintaining a veneer of happiness for the outside world while on the inside you feel like you don't really want to do much. Sage is very much an avant-garde artist (in the Electrum style), using a synthesiser for a large amount of sounds heard in the background overlaid on a bassline. Although Sage didn't comment whether the song was her real life experiences, it is heavily implied that it is, due to her recent break-up with her boyfriend Michael Street, the Electrumite winner of WorldVision 49, who was known for his dance music as well.

The Performer

Sage is dressed up in full make-up, and wears a rather muted, loose fitting grey dress that swishes and swirls behind her as she moves about the stage.

The Performance

Sage stands centre stage, head down. When the music starts, she slowly lifts her head, looking longingly at the camera. Behind her, the wide expanse of screens is pitch black, with a straight horizontal line going down the middle like an electrical flatline.

It’s time again to go outside and show my fake smile
Hiding the heartbreak
Want to be happy but it’s not coming
These are summertime blues

Trying to fit in with my friends, I barely manage
Amongst all the laughter
Want to be happy but it’s not coming
These are summertime blues

It is only when the beat drops that the horizontal line turns to heartbeats in tune with the song. At this point, the camera tightens closer to Sage's face -- she's smiling while she's singing, but her grey eyes tell a different story. Sage then starts to express a little bit more emotion, as the camera zooms out, and she nods disapprovingly, as if she is talking to her boyfriend about how she can't join in with everyone else in celebrating summer and the sunshine.

0:40
This is when I remember, I was, I was once at peace
I should be celebrating, can’t stand all of the smiles
If you recall, ooh, you made me broken

This is when I remember, I was, I was once at peace
I should be celebrating, can’t stand all of the smiles
If you recall, ooh, you made me broken

The lines disappear from the screens behind her, replaced by a very warm background of the sun peaking through some clouds on a beach. A lot of extras (her friends) come on stage, and try to pull her towards backstage near the screens, but she uses her hands to repulse them away. The scene then turns into the night sky -- Sage sits on the floor, looking up to the sky as she continues to sing. The camera is now up high above the ground, making her look very small next to the stars on the screens.

1:12
How can I tell the ones I love?
I rather stay at home, than to bask in the sun
Everyone’s outside and I'm suffering
These are summertime blues

I want to relive our summer nights
Though I want to forget, I can’t keep helping it
Everyone’s outside and I'm suffering
These are summertime blues

Another scene change. The screens turned to pre-recorded images of Sage smiling and having fun in the sun, but in sepia. Another figure (presumably her boyfriend) is on screen, but the entire figure is always obscured by black scribble shapes, so we never see what he actually looks like. Sage stands back up again, hands grasping at the microphone while she moves towards the front of the stage again. Meanwhile, the camera focuses on her with the screen behind her showing her past, showing how she is trying to scrub her memories.

1:43
This is when I remember, I was, I was once at peace
I should be celebrating, can’t stand all of the smiles
If you recall, ooh, you made me broken

This is when I remember, I was, I was once at peace
I should be celebrating, can’t stand all of the smiles
If you recall, ooh, you made me broken

My fading memories are seen through rose tinted glasses
I'm begging, darling, please, just leave my memories, won't you?

My fading memories are seen through rose tinted glasses
I'm begging, darling, please, just leave my memories, won't you?

For the final chorus, the heartbeat monitor comes back on the screens again, pulsating with every beat. Meanwhile, three men come on stage and start to handcuff Sage while she is still singing, and lock her in a box that is not much larger than her body size. The three men push her into the wooden box and lock her from the front. Despite this, she continues to sing and she seems unwavered by what is happening. The lights get dimmer and dimmer, and it is nearly pitch black, save for the constant flashes of light from the heartbeat on screen.

2:47
This is when I remember, I was, I was once at peace
I should be celebrating, can’t stand all of the smiles
If you recall, ooh, you made me broken

This is when I remember, I was, I was once at peace
I should be celebrating, can’t stand all of the smiles
If you recall, ooh, you made me broken

[3:35]
Free me, free me, please unchain me
Can't you leave me be
This is my last plea, ooh
These are summertime blues

When the song finishes, she climbs to the top of the box with her hands uncuffed, to the applaud of the audience. She thanks Telm City while the stage is aligned for the next Act...

by **Electrum Diplomatic Offices** » Wed Jul 11, 2018 2:02 am

13. ELECTRUM DIPLOMATIC OFFICES

Song: Devil's Number
Artist: Gertrude Pullman and the Gertrude Pullman Band feat. the Gertrude Pullman Religious Choir
Tune: 'Prisencolinensinainciusol' by Adriano Celentano

Introduction
Also returning for a one edition only appearance, Gertrude Pullman returns to her devious and crafty ways to appeal to the youth by making a satanic song. After her Gertrude Pullman's religion was shut down by tax authorities, she decided to create a new entity that was, in her words, "completely different" to the religion she formed before. By drawing up connotations to "dark stuff", she had hoped to create new connections with youth, as she knows that they are very sinful and would therefore be attracted to the concept of worshipping Gertrude and giving her all of their money. Time will tell if this is successful.

The Performer

The Performance

Gertrude comes on stage wearing a fully red devil's costume, with red paint all over her body, horns, and all of the usual accoutrements such as a pitchfork and a cape. Just behind her are her band, which helped launch her initial religion all those editions ago, and over to the side, was a choir, all of whom were hired by Gertrude to promote her religion, which would hopefully appeal to the stupid youth to make them give her some money. The song starts with Getrude looking directly at the camera with a very close-up shot.

Six hundred and sixty-six
I submit to Gertrude
Six hundred and sixty-six all right

The church of Gertrude Pullman’s back
And I am the devil reborn
Trrr – say my number just three times and
Let the good times flow oh

The camera zooms out while Gertrude bangs her staff (the pitchfork) on the floor to the beat of the song, creating thunder noises and imagery all around the stage, especially above. She moves towards the front and gyrates her hips almost hypnotically, surprising for her age and her supposed arthritic body. The choir follows her movements as well.

0:39
The church of Gertrude Pullman’s back
And I am the devil reborn
You can’t help but missing me so much
I am the lady you worship now

You all asked me to come back for real so
Now now sign up please to my new cult
And show me how much you love me so
Now now pledge your life savings to me
Oh love me

The choir rejoins singing for just a bit. When they talk about demons, a big puff of smoke appears on stage, and ghoulish demons and zombies appear out of nowhere, jumping down into the audience. When blood is mentioned, a whole vat of some blood-like substance (reportedly from goats) is dumped on the stage, drenching the stage, reaching up to the heel of Gertrude's shoe and getting into the audience.

1:19
We we love demons
But you all should love her more, aye
She’ll never leave your head
Six hundred and sixty-six all right

I I love demons
Take some blood for some rituals, aye
Six hundred and sixty-six all right

This song is the incantation
Make a ritual circle and set alight
All of your precious possessions burn
Burn all you have and join Gertrude forever

Gertrude walks around the stage, and draws a pentagram in the still-remaining blood with her staff. The camera captures her drawing the pentagram from above. She then throws some dirt onto the blood, suddenly lighting it up in the pentagram. Members of the choir go off back stage to gather tinder, and not before long, there is a large bonfire engulfing the stage.

2:08
The church of Gertrude Pullman’s back
And I am the devil reborn, aye
You submit to Gertrude
Six hundred and sixty-six all right

We all love each other
And live in my special compound oh

The church of Gertrude Pullman’s back
And she is the devil reborn
I submit to Gertrude
Six hundred and sixty-six all right

We all love each other
And live in my special compound oh

When the song is finished, the water sprinklers go off, washing the blood and bonfire away, in time for the next performance...

by **Proluvia** » Wed Jul 11, 2018 3:34 am

Entry No.14: PROLUVIA
Miracle
Ignorance & Want
Based on: Munich by The Editors

Ignorance & Want have been always there-or-thereabouts in the music industry, always threatening to break the top 10, but never quite able to thrust themselves into upper echelons of the Proluvia hit parade. Indie rock's popularity in Proluvia tends to come in waves, and I&W always seem to be either just too early or too late to catch it throughout their ten year history.

Their selection here seems to be a gamble, then. However, with Proluvia having two fairly weak results in their last two contests, the gamble seems to be fairly low-risk.

The staging is simple, with all band members level on the stage, with the drummer in the back, guitarist on the left, bassist on the right, lead singer at front. The singer's microphone is hanging from the ceiling, an old-school boxing announcer-style microphone. All of the band are wearing similar attire: faded, acid-washed band T-shirts with dark jeans and canvas sneakers. The drummer is wearing pilot goggles on his forehead to keep his long hair out of his eyes.

The song begins with the camera focused on the drummer, with erratic cuts to the guitarist and bassist throughout the intro. Throughout the instrumental opening, the lead singer's back is to the audience. As the first verse comes in, he gradually turns to the audience with mock disinterest and grabs the microphone. As the first verse takes place, spotlights in the ceiling centre on the singer.

You're searching for answers
The calm in the storm
You reach out for blind faith
Your trust in the unborn

As the chorus begins, strobe lights flood the stage. The TV camera changes to a monochrome filter, continuing the frenetic pace of the intro by cutting between the four musicians repeatedly.

People reach out too far for a miracle
Your dreams will be the death of you
Stick with the mythology and biblical
If you're afraid to face the truth

The camera focuses back on the singer as he starts the second verse. The camera colour has reverted to colour again, however the lighting is fairly subdued.

Your cup is always half full
You're willing to lie
You chase promises of nothing
I think you need to retry

The camera during the chorus focuses more on the drummer, still going full-energy. There are white LED lights implanted into each drum. Each time a particular drum is struck, the entire drum is lit up.

People reach out too far for a miracle
Your dreams will be the death of you
Stick with the mythology and biblical
If you're afraid to face the truth

During the bridge, the singer raises both his arms in a cross pose. As he does, a holographic white cross assimilates behind him, as if he is crucified. Smoke begins to gently fill the stage as this occurs, which is illuminated by the LEDs inside the drums.

Through real eyes, it's cloudy
Through your eyes, it's clear
But your eyes deceive you
You'll lose it all, I fear

The singer forcefully slams his hands downwards, and the cross is shattered like glass. The smoke dissipates from the stage throughout the final chorus.

People reach out too far for a miracle
Your dreams will be the death of you
Stick with the mythology and biblical
If you're afraid to face the truth

The strobes come back for the outro, with the camera erratic as it was in the intro/choruses. The lighting is more vivid, a slightly higher contrast than the rest of the song.

You'll believe in a miracle
Bet your life for a miracle
You'll deceive for a miracle
Sell your wife for a miracle

The song ends, and the crowd cheer. The camera cuts to the drummer, visibly caked in sweat, as you'd expect from a guy playing a 150bpm 16th-beat rhythm at full force for three minutes underneath studio lights. The singer touches knuckles with him, then the rest of the band, and they leave the stage together.

by **Darkmania** » Wed Jul 11, 2018 4:00 am

PLACEHOLDER- The Fan At The Venue

by **Indo States** » Wed Jul 11, 2018 5:15 am

INDO STATES - FATIMAVISION WORLDVISION 66

Indo States
Melissa Maria Clara Apostol - La Hypnotizir

When the Accordion is Playing the Instrumental of Hypnotized, Maria is on driver's seat of 85' Camaro Berlinetta. She Got out and Playing start of Micheal Jackson's Smooth Criminal.

After the Song, Melissa Clara is riding back to 85' Camaro Berlinetta. When Melissa Postigo is Holding an Ukraine Flag, Russya (Руся) was Came to it and Melissa Postigo throws the Ukraine Flag. He Starts finding an Russya's Album with the song "Не стiй пiд вiкном. He Found an Cover and Played on Turntable.

Melissa Postigo-Khenrkhov - Do not stand by the window (Ukrainan)
Genre: Italo-Disco, Synth Wave and New Wave

When the Next Song Comes, Leap and Sisters are Running to 85' Camaro Berlinetta, they preparing their synthesizers.

Laep Xo'ok Yim and Sisters - Xieisiror (Robloxian , Mongolian, Chinese and English)
Type: New Wave

After the Song Ends, Theme changed to Classic Style of 80s. Anjelica is Come to the Stage and Said "Who's wants an 80s Song of Disco!!!"

Melissa Anjelica Evangelista - Morett (Fatiman and Swedish)
Genre: Vaporwave, New Wave

(Note: This song too Short. It can be Repeated by 4x)

After the Song Ends, An Theme Changed to 80s Malaysian Theme. Carol is came up.

Caroline Cruz-Apostol - Si Mata Merah (Malay)
Genre: New Wave

(Repeated)

(Note: Malay (Si Mata Merah) and Ukrainian (Do not stand by the window) Lyrics are Not Allowed by WorldVision. If you want to Hear on irl. idk)

by **Britonisea** » Wed Jul 11, 2018 7:39 am

After the first few performances, both Cole and Frida were walking in the Greenroom, but stopped in front of a camera before smiling in to it. The audience’s cheer and Britonish flags which waved in the background was the whistle for the two hosts to start speaking again.

Cole Heiman Hello, we were hoping that you have enjoyed the WorldVision Song Contest so far, but we are just having a little break as we set up for the next performance.

Frida Grover: As you may or may not know, Britonisea had just celebrated its annual Britonisea Day yesterday (assuming the IC Date is 28 July 2018) - but since the festivities were on Saturday, it means that we are celebrating right through the weekend - and this most definitely adds to that.

Cole Heiman: Last night, televised live on Britonish Television was the largest concert held every year, we have the the WorldVision Song Contest this evening, and tomorrow, we are all inviting you to come down to Telm City’s The Internationale, where a large parade will take place, which will go through East Telm City, and will end by the sea in Bloomsbury, where we are located.

Frida Grover: It’ll be fantastic! We hope to see you all there. But for now, we go back to the music, it’s Song Number sixteen from Britonisea!

The camera zoomed out as we went to the postcard of the home nation.

by **Britonisea** » Wed Jul 11, 2018 7:40 am

#16 BRITONISEA
Kelsey Banques - "Run"
Tune : Molly Sanden- "Freak (Official Video)"
Music: T:Rodden, Zayn West Lyrics: Julie Smiths, James Embankment, Kelsey Banques

Kelsey Banques: She finally gets her moment on the WorldVision Stage!!

Britonisea is returning to the WorldVision Song Contest 66, to mark 35 editions since the nation’s debut to the contest - and celebrating it’s 29th entry to the competition.

Britonisea had initially entered the ABEN-wide song contest, the Cross Border Battle, which came back for the 2nd time. While Aloquirbe were the reigning champions of the national final, with the changed format of how songs are chosen, Britonisea was eager and hopeful to qualify to the WorldVision Song Contest with this method. BITC did not want to be forced not to go to the WorldVision Song Contest, and so sent Lucie Dagenham to represent Britonisea at the Cross Border Battle. She ended up doing very well at the Cross Border Battle, winning the contest with a considerable margin.

While contestants withdrawing from representing Britonisea has happened in the past, it doesn't happen very often. Lucie was one of the only participants to have bailed out on the honour - but she did it because of personal happenings in her life. Eventhough she said that she intends to represent Britonisea in the future, it's unlikely BITC would be calling her up (and so she might have to settle for the World Hit Festival). BITC had approached Kelsey Banques, knowing how much she wanted to go to WorldVision (after trying Vha Mehlodhivestoile twice and then the NF of 65), and so she was very much willing to be Britonisea's participant at the contest in what was to become a home WorldVision.

Kelsey, alongside well-known Britonish producers, made their song "Run" which hints back to the old days of when Britonisea sent ballads by women. James Embankment - who has helped with the lyrics of the song - has had some success at these international song contests. James was a lyricist last edition, where Britonisea came 9th. James also came 1st at the World Hit Festival, when Britonisea won with Dean Boyst. Though, perhaps more well known, T:Rodden was behind the WorldVision Song Contest 57 song Britonisea sent coming 2nd in Machievelihe and was on the same team as Dean Boyst's in World Hit Festival. As you can see, BITC has bought a great team to Telm City with high aspirations. They worked on the song with the weeks they had after Lucie left and came up with the song "Run" which speaks about running away from a situation you feel captive in. Essentially, it's about freedom.

Kelsey Banques had travelled from where she was located, in Alshkan - making the journey from the East of the country all the way to the West to participate in the WorldVision Song Contest. Kelsey hadn't expected to actually be in the contest, never mind a contest that was being held in the country you are from. On arrival to Telm City, she felt the immense support from all of her fellow Britons, who all greeted her when she got off the coach in The Internationale's Coach Station. Signing signatures and taking photos with eager fans, she felt ready to represent her country at The Telm Arena in Bloomsbury. She had travelled from The Internationale to Bloomsbury, seeing frequent hints that the contest was due to take place in Telm City - and she saw it more so when she arrived within miles of the arena. She had never been in a city (especially a Britonish one) when it's hosting the WorldVision Song Contest. She arrived at her lush hotel amongst the warmth and brightness of the sun - but instead of looking around Telm City, she was practising and practising. The WorldVision Song Contest draw was announced, and she was to perform 16th - ten spots ahead of where Britonisea performed in the 65th WorldVision Song Contest. The spot #16 wasn't the first time that Britonisea performed in that position, with the last time Britonisea performed then being in Kyvivre's WorldVision Song Contest 15 editions prior. There, Rigas Jengiz with her song, "I Will Be Gone" climbed up the scoreboard, but finished behind Normandy and Picardy, coming 2nd place. Kelsey is hoping to emulate Rigas' success, or even do one better. The whole of her country will be behind her, and BITC are certainly going to make the best performance possible for Kelsey.

Kelsey Banques walked on to the stage with a large cheer to greet her - the audience had finally realised that it was Britonisea next to perform. Joining her on the stage were two women who - keeping in line with the theme colours of this edition - were wearing pink tutu-like costumes. They both ended up standing on circles which were to spin around during her performance. Kelsey Banques contrasted the two women, instead wearing a glittering gold tight-fitting dress, really to mesmerise everybody in the audience with her thoughtful performance. As the postcard was near ending, Kelsey Banques fixed herself, making sure she looked presentable before the cameras entered the arena. The workmen/women ran off the stage, leaving Kelsey and her two dancers stranded in the middle of the massive world-class arena. Though, she had company, with 23,000 people about to watch the performance that she is about to give and further hundreds of millions watching their television screens. The audience cheered at the end of the postcard, Britonisea's title card showed up on the screen - that's it - it's time. The arena was dark and the audience had finally calmed down. The first camera of the whole performance was blurred; you could hardly make out what was happening. Slowly, the camera moved outwards on one of the women dressed in the pink tutu dresses, being spun slowly around. The camera faded out before Kelsey was about to sing, but right before she did, another camera faded in with her face glistened among the lights from phones in the audience.

You had made me feel as though I were safe,
I thought I found my happy ending.
For a long time I had dreamt of this moment,
Guess I was so naïve.

The one camera that was focused on Kelsey Banques slowly zoomed out on her, revealing the dress that she had on. She was standing still, she wasn't moving. She was just singing in to the microphone, feeling the lyrics through her eyes only. Nothing much happened on the LED screens behind her either, it was only glistening, slightly, the colour of silver. The backing "ahh" were coming from the two women who moved their static position on the spinning circle they stood on every so often. The build-up to this entry is very different compared to that of the 65th WorldVision Song Contest. Kelsey Banques held on to the top of the microphone (which was on a stand) as she sang the pre-chorus.

I was under your spell, I believed you –
Believed no one else.
But you showed me how you really are like,
I was so afraid.

There was a long shot of the stage, and as Kelsey Banques stood in the middle of the stage, she was surrounded in darkness. The lights that were above her created a path for her to walk down, towards the audience. This was also aided by the screen below her feet. She slowly, subtly, took the microphone off of the stand and looked forwards before walking down the path that was just created for her. A closer camera greeted her, panning from one side of her to the next side as she walked closer to the audience in her gold dress. As the camera panned, the audience at home could see the pink tutu-women still spinning around on their respective circles. The first chorus of the song was coming up, with cracks being formed amongst the glittering silver backing of the LED screen. Right before the chorus, the camera faded out again, fading in with a further away shot of Kelsey Banques walking closer and closer towards the audience.

And so I had to run.
I saw a side of you that I don’t like.
Run. That was the time I knew
That there was no chance.

During the chorus, she had finally stopped, with the wind machines delicately being blown in her face. The women who were standing at the back were holding a strong pose, which you could see as the camera slowly faded outwards. Every time that Kelsey sang the words, "Run" a flash of the lights turning on filled the stage before reverting back in to the darkness of the arena. By the end of that chorus, you could hear some members of the audience cheering on for their girl, Kelsey. At the end of the chorus, there was a wide shot at the other end of the arena, which started off slowly zooming in to Kelsey before picking up the pace in time for the next part of the song. The next verse.

D’you think I had a choice to run or not?
I could have voiced all my thoughts…
But I am telling you from what I saw,
I had just one option.

Kelsey started to walk around the stage during the verse, with each time she decided to walk one way, a path was created for her. She held her long hair, which went right past her shoulder, as she walked to one side of the arena. She stopped when the line "I had just one option", looking right in to the camera which was in front of her, holding her finger out representing that "one". She then walked to back to the middle of the stage, looking down at the arena floor before raising her head to look out at the thousands watching her. The LEDs behind her looked as though everything was being dragged out of it, with the sparkles that once littered the screen all being attracted to the middle bottom of the screen.

How my life had just turned around – surreal,
Couldn’t believe it.
But I had to think about my next step.
How to save myself.

She stayed where she was, carrying on singing. The camera had now focused on one of the women who was on the circle. The women, who was covered in pink light, moved in to different positions at every line of the song. She didn't look at the camera once though, she didn't even notice that it was there. The camera then focused on the other of the women, who looked as though she was only carrying on the movements her fellow dancer was doing. The last movement before the chorus was her raising her hands to her mouth - obviously silencing herself. The camera faded out as we went to one which was in the middle of the arena, swooping from the left of the arena to the right, with all of the flags (especially the Britonish ones) swaying in shot. Right before the chorus, the lights increased in intensity, especially the pink lights on the two women who were still doing the same movements together on the two circles.

And so I had to run.
I saw a side of you that I don’t like.
Run. That was the time I knew
That there was no chance.

With the stage more lit up than before, you could see everything that was going on. The amount of shots were picking up, coming from the left and the right, with Kelsey Banques meeting all of these shots with her eyes. Behind her, the fragments of light were being spat out from the middle-bottom of the LED to all parts of the LED, slowly filling up the screen again. The pace at which the circles were going round and round, had increased, and it looked as though the women were doing more ballerina-like movements. As the bridge section came up, and the strings instruments really took hold of the song, red started to be a more prominent colour in the lighting, with the only pink on the stage being focused on the two women. Kelsey started to walk backwards, with a look of fear on her face. She touched her face as she sang the words of her song;

It hurts,
I’m hurt.
And you caused all the pain I feel,
Run. That’s when I knew
That there was no chance.

I ran. Far away, I ran so far.
I did not care where I ended up.
As long as my mind could be at ease,
As long as I could feel safe from you.

The circles had began to rise into the air, with an aerial shot of what was happening being shown to those who were watching. At the section where Kelsey sang "I ran. Far Away, I ran so far", pyrotechnics had started to fall from the rigs at the top of the arena's roof - a mixture of pink and gold fell. Kelsey Banques had fell to the floor as the intensity of the lights suddenly increased. Straight after the aerial shot, there was a far shot of the arena and a loud applause from the Britonish audience who could be heard singing along to the some of the lyrics of the song. This large amount of light all stopped suddenly after singing "I could feel safe from you"

There was nothing but silence and darkness. A single spotlight appeared on Kelsey Banques who was sat there in the middle of the stage. There was a close-up shot of the woman with her eyes full of tears, but she looked up at the camera and slowly started to get herself up. As she did this, the camera moved out to capture all of her.

And so I had to run. (I ran)
I saw (I saw) a side of you that I don’t like.
Run. That was the time I knew
That there was no chance. (Oh yeah-ah)

The pyrotechnics had came back in full force this time when Kelsey sang "I don't like", with her kneeling over with the sheer power of how she was singing. The camera quickly zoomed out to watch the spectacular, the feast for the eyes, show that Kelsey and BITC had organised. The women who were spinning on the circles were let down from the top of the stage. As soon as they had reached the ground, the circles stopped spinning, they hopped off and joined Kelsey who was in the middle of the stage. They were of course still singing the backing of the song.

Run (it hurts)
That was (the time I knew)
That there was no chance, I had to run
And so I had to run.

At the end of the song, she had put her hands to her mouth and bowed, along with the other two who were on the stage with her. "Thank you Britonisea!" she screamed into the microphone only to be met with a roar from her people. "Thank you Telm City, enjoy your holidays!" Kelsey then ran off the stage with the two women before Raffiah's postcard was about to be shown to the arena.

by **Raffiah** » Wed Jul 11, 2018 1:44 pm

17. Raffiah
Alexandra Cohen - Dialects
Tune: Amanda Winberg - Clouds|Alternative Link

Alexandra Cohen was the 22 year old winner of the first edition of Kdam-WorldVision in Raffiah. Being the debut artist on a stage this big was a daunting task. Raffiah is a small country of just over 300,000 people, in fact, Alexandra's city of Yardion had a population less than that which could fit in the stadium! Life as a musician was barely sustainable, even for Raffiah's biggest domestic stars. The only way previously to make it big was to be a Hebrew singer in Hipasia or an Arabic singer in Onza. Now, WorldVision gave artists a chance to make it big without the help of another nation's industry. The potential long-lasting effects would be immense for the Raffian music industry and economy, and, as a result, the government had set aside sizeable funds not only for Alexandra, but also her compatriot Sasha Dina in World Hit Festival. To grow the Raffian music industry mean to grow the Raffian economy, and in any event, it was an important political statement that was being made in WorldVision. Through the budget, Alexandra had her song rejigged to fit the WorldVision stage and make it a more slick offering to the world, and it had worked. Raffiah had risen to within sight of the top 10 in a number of betting odds. While not expected to win, a good showing was desired. The stage in Telm Arena was bigger than any in Raffiah, almost triple the size of the national football stadium which had 8,500 seats. Through rehearsals the sheer scale had began to set in, and so on the night of the final she felt prepared to give the performance of a lifetime. Travelling around Telm City emphasised this. The city had more people in than the whole of Raffiah. If she were to perform well here, she could make it big across the world, and not just perform odd gigs in the bars in the old city of Karkekirim. This one performance would be a game-changer.

The stage is dark as the applause dies down for the host country Britonisea; she knows she won't be as popular in the stadium, but she doesn't mind - Raffiah will be cheering her on. The first notes of the song begin, and the stage stays black, save for the circular LED contraption pulsing with a white bright light. Slowly, the backing LED panels transfer into colour, which has a scene of soft pink and green. As soon as Alexandra starts to sing however, this back panel changes into parchment and as Alexandra sings the song, the English is written in Hebrew, Arabic and Old Raffian on the LED. Alexandra is wearing a bodysuit with tied details along the leg. As she sings the first verse she is giving you face, because she is the ooh ah ah sensation.

I had thought, that we were, two sides, same coin
You can call it whatever, we were a perfect match
Days were good, nights were great, loud love, up late
Wanting to relive our past, wanting to fight for that

As she sings the next part of the song, the camera makes a headshot. Alexandra is looking straight in the camera, and for the viewers at home, the words she sings in Hebrew come up alongside an English translation as an effect on screen. As she begins the chorus she sweeps them away and turns to look at the audience. During the chorus the camera pans across the arena, as both the backing LED and the flashlights shoot gold around the arena. The camera moves as if it were a big flying above the audience.

תרגם את המשפט הזה, וכתוב בדיו - Tirgem et hamishpat hazeh, vktov b'diyu
(Translate this sentence and write in ink)
Not yet a different prose, words that are unknown,
We’re not speaking the same language and it starts to show
Trying to keep hold, reception has gone cold
I know the words but I can’t understand you when you say
We speak different dialects

During the next verse Alexandra walks towards a camera at the side of the stage. Now she is followed by 4 backing singers who are all female, wearing a similar outfit to her, but having their hair pulled into a high and tight ponytail. At the corner of the stage, they all squat with swagger, Alexandra in the centre and most clearly visible as she sings the verse.

Faltered steps, indecision, your tongue, wrapped up
Spinning swift swirling sibilants, serpents only lie
Sipping from, your chalice, poisoned words, poisoned tongue
Now you got my heart beating fast, is your heart beating fast?

For the bridge, she moves to the centre of the stage, and opens her arms, with her instead signing into the microphone attached to a stand. Finishing the bridge the camera shoots back out as the chorus begins, with gold spark effects flying out with the camera for the benefit of the viewers at home. As she continues with the chorus she stares down the camera, with a mid distance shot. She's once again serving you face, pointing at the camera as a wind machine blows her hair back. It's fierce baby.

שים לב למה שאני אומרת עכשיו - Sim lev l'mah she'ani omeret akhshav
(Pay attention to what I say now)

Not yet a different prose, words that are unknown,
We’re not speaking the same language and it starts to show
Trying to keep hold, reception has gone cold
I know the words but I can’t understand you when you say
We speak different dialects
We speak different dialects
We are speaking different dialects

With the musical interlude Alexandra now runs on top of a podium which has been placed at the back of the stage, just in front of the LED screen. As she does this, a male backing vocalist in the shadows sings. Accompanying this is an elaborate display on the LED screen which Alexandra interacts with. She shoots her hands to the right and then to the left, both times 'sparks' from the LED flying out. Then, she raises her hands to the air, as she rises, sparks rise and form a bird shape with flapping wings, giving a fantastic display which probably cost the Raffian broadcaster way too much money, but they did it anyway. Nearing the end of the backing track interlude, Alexandra once again joins in with the singing.

אתה מבין אותי? אתה מבין? x 6 - Atah m'vin oti, atah m'vin?
אתה מבין אותי, אתה מבין
אתה מבין אותי, אתה מבין
(Do you understand me, do you understand?)

As the final chorus kicks in, she remains on the podium. Due to the neutral colour of her jumpsuit, LED projections have been used to give her a fire pattern, rising from the bottom of her leg up to her torso. The background returns to the parchment in Hebrew/Arabic/English, and is now burning as paper would burn. Alexandra looks into the camera as the wind machine blows at full force, pointing at the camera and giving a stern, kit-kitty-cat-cat-cow look the audience she sings the final chorus with aplomb and determination.

Not yet a different prose, words that are unknown,
We’re not speaking the same language and it starts to show
Trying to keep hold, reception has gone cold
I know the words but I can’t understand you when you say
We speak different dialects
We are speaking different dialects

As the music ends, the stage recedes from golden light back into darkness, until its just Alexandra on her own on the stage. The spotlight ends on her and she pumps her hand up and shouts "Thank youuuu Britonisea, thank you, thank you thank youuu!" The crowd give her medium-to-large cheers, and the camera zooms in on a contingent of about 50 Raffians who made the journey to Telm City standing in the arena, cheering the loudest and waving the colourful flag of Raffiah.

by **Mercedini** » Wed Jul 11, 2018 2:54 pm

#18 MERCEDINI
Rapidly Descending Barrier - "Loved Ones"
Tune : 5 Seconds Of Summer - "Youngblood"
Music: Rapidly Descending Barrier, Fransisco Gabrinelli • Lyrics: Rachel Nollov, Dominica Monza

Following a fifteen edition break, Mercedini return to Britonisea for the 66th edition of the WorldVision Song Contest, hoping to win their first WorldVision as the nation is quickly approaching the twenty edition mark when it comes to participations at this prestigious contest. Mercedini have come close on multiple occasions, with their closest being two points away when Alicia Mocha was pipped by Nightom to the WorldVision trophy many moons ago. They have had a series of podium finishes in recent editions with Sabastion Sabatino finishing third a couple of editions ago. Now, ENM have finally confirmed their artist and song after many months of speculation by people at home, plus international betting sites eager to get the drop on any new related to the contest.

It will be peculiarly named 'Rapidly Descending Barrier' who will be sent to Telm City to represent Mercedini at the contest with the song they co-wrote especially for the contest with a series of other highly rated song writers, clearly sending out a statement of intent to the other artists in the contest. In a rare and surpring move, RDB will be sending a politicised song to the contest, something which has been discouraged by head honchoes at ENM to try and avoid alienating viewers and potential voters. The song will centre around themes existing around the criminal justice system, with may different messages intertwined in the song (harsher male sentences, one sided trials, begging the question and supposed 'witch trials' all included). It is the first song with a really serious meaning, and one of the first songs to openly criticise Mercedinian government policy in it's lyrics. It's sure to ignite a debate within the Mercedinian public, with hope that it will make foreign viewers ask questions, making it stick in their mind. Rapidly Descending Barrier will perform 18th in the final.

The song starts with the bang arranged on the main stage with the drummer in the back, the two guitarists either side with the main vocalist standing with his guitar at the front. The manned camera begins up to the side of the main vocalist as he stares out into the crowd, not staring at the camera as the spotlight reflects of his face as his eyes glisten in the light. There is a black and white filter on the camera, filming the entirety of the opening verse in a monochrome fashion, giving the viewers as home a bleak view into the world of the song, a large deviance from the usual happy song sent by the nation looking for their first victory. The camera moves around the singer before rotating out his fellow three band members, who are tuning their instruments before adjusting their microphones, looking determined to deliver a good performance

I’ll do anything to hold you, I’ll be only asking why
The injustice all runs through us, no wonder the angels cry
Maybe, she’s the one who’s crazy, I’m not the one that you should blame
I’ll state all my evidence but you know it will all end the same

The camera angle changes to an aerial shot which swoops in towards the side of the stage, taking in the performers still in their black and white hue on stage. The camera then circles midway into the audience as many heads and flags fly by, keeping the four band members in the middle as they sing behind their microphone stands with their instruments. Freddie, the main vocalist of the band, then sings into the central camera with his hair begin to droop as the sweat mixes with his hair gel, weighing it down. With the final line before the chorus kicking in, the screen fades to black as a transition is made to the chorus.

I run, and I run but you give me away, give me away. Trustless
I toss and I turn like I do every day, do every day

The vision returns to the screen as the colour returns to the performance. Flashes of red and white emerge from the darkness of the song from the lights around the stage and around the arena, while the LED screen remains dark, keeping the performance simple yet effective as the performance directors try to keep the focus on the song and it's lyrics, rather than overwhelming the performance with light and colour. The four band members are all strumming their guitars or beating their drums to the beat of the song, with shots of the performances intertwined with close-ups of the instruments being played. The other members get their time to shine as they support Freddie with their respective backing vocals.

Loved ones
Can you call me? Can you call me? I’m out of time
And they say I’m guilty with no alibi
Can you feel it? I can feel it. I’ll fight for my life (Ooo, ooo, ooo)
Loved ones
I am falling, I am falling, out of your sight.
And I’m afraid that I won’t see morning alive
It’s egregious, It’s egregious, the law doesn’t mind (Yeah ooo, ooo, ooo)

The manned camera returns to the stage as it approaches Freddie once again. He has stopped strumming his guitar as he holds the mocrohphe on it's stand as he places his lips onto the grill and sings as the camera closes in on the vocalist. The spotlights still remain on the four band members, with Freddie's signet ring reflecting some of the light into the camera, with his hair dropped even more onto his face, a quick swipe of the fingers puts his tufts of hair back into place, before the camera retracts back into the audience and is replaced by the central camera in the arena. Freddie stares deeply into the camera, as if singing to a certain someone watching at home.

You say I should believe but, baby, all I hear is lies
They took all I have from me, ain’t that such a big surprise
I’m through with the complications. You ready for your fall from grace?
Picking on those beneath you, I’ll watch you as your name’s disgraced

The second chorus kicks in with the same pattern and design as the first chorus with the flashing light penetrating the darkness of the stage and the surrounding arena. The camera angles on stage are slightly different with glitch effects added to the footage, adding to the chaos and the uncertainty to a simple performance, fitting the theme of what the song is trying to convey to the audience. The audience is sitting admirably with flew flags flying, with the seriousness of the song making it inappropriate for the audience to do anything other than simply sit and watch. The LED screen remains dark with the exceptions of thin red lines pulsing along the screen in time with the drum beats of the song.

Loved ones
Can you call me? Can you call me? I’m out of time
And they say I’m guilty with no alibi
Can you feel it? I can feel it. I’ll fight for my life (Ooo, ooo, ooo)
Loved ones
I am falling, I am falling, out of your sight.
And I’m afraid that I won’t see morning alive
It’s egregious, It’s egregious, the law doesn’t mind (Yeah ooo, ooo, ooo)

The colours subside as the camera reverts back to the monochrome filer, white beams of light flash behind the performers in time with the guitar riffs with the camera coming circle the four band members spread out across the stage. Freddie looks down to hold his guitar in a more comfortable position to prepare and build up for the third chorus. The camera cuts to close-up of guitar strings being plucked, before reverting to an overhead shot of the four of them as they look up to meet it. Bright flashes of light and footage of drums being beaten form the transition for the next part of the song.

I run, and I run but you give me away, give me away. Trustless
I toss and I turn like I do every day, do every day
I’m living afraid that you’ll do it again, do it again to us.
Mmm, to us

The third chorus comes upon us as a series of long shots of the stage are shown one after the other, with the audience bathed in complete darkness with the bright lights of the Telm City stage flashing far in the distance, with the four band members barely visible as specs on the stage. RDB seem entranced by the music as they play their instrument and with purpose and intensity with the song quickly reaching it's climax. The thin red lines pulse across the screen in time with the synth rips which have faded into the song, adding to the intensity of the song.

Loved ones
I am falling, I am falling, out of your sight.
And I’m afraid that I won’t see morning alive
It’s egregious, It’s egregious, the law doesn’t mind (Yeah ooo, ooo, ooo)
Loved ones
I am falling, I am falling, out of your sight.
And I’m afraid that I won’t see morning alive
It’s egregious, It’s egregious, the law doesn’t mind (Yeah ooo, ooo, ooo)

Another return to the interlude of the song with the synths getting louder and louder as the song draws to it's natural close. The crowds are beginning to get onside with the tune of the song, with some flags beginning to wave with the drum beats and the guitar riffs all harmonising, something which is certainly on brand for the punk-rock band. One final part of the original chorus, with the lights flashing before coming to a halt with the final line of the song.

I run, and I run but you give me away, give me away. Trustless
I toss and I turn like I do every day, do every day

Loved ones
I am falling, I am falling, out of your sight.
And I’m afraid that I won’t see morning alive

The friendly Britonish crowd roars in applause as their friends complete their performance in their WorldVision Song Contest, with a couple of the band members pumping their fists to the crowd, only to receive an even bigger cheer as the lights come on, signalling the official end to the performance. Flags from many different nations are waving with a large group of Mercedinian fans bouncing up and down at the front of the stage, which the band acknowledge. 'Merci Britunyik, Grazij Telm City. We love youuuuuu!'. The band bows one final time before a transition is made for the postcard of the next nation.

by **Antahbrantahstan** » Wed Jul 11, 2018 5:09 pm

19. ANTAHBRANTAHSTAN

Mariska Tulang-Spice It Up

Tune: Helena Paparizou-Heroes
m: Heloisa "Coca" Fredricsson, l: Nadine Farhannisa

OOC: The lyrics on the right is the translation, the left is the original.

Mariska Tulang is an Anturian singer that hails from Bayan in the southwestern part of Antahbrantahstan, she rose to fame after winning The Voice Anta Season 5 as part of Lucedio's Team. Mariska originally hesitated to submit an entry for WorldVision because she wanted to focus on her university studies, but after graduating with a Bachelor of Design degree majoring in Graphic Design, she secretly contacted her record label (Universal) to work on an entry to submit, with Mariska wanting her entry to be a nice dance ethno-pop with a touch of schlager, at the same time, RR is also doing major restructuring after the failure of the last 2 Anturian entries by firing Sara-Lorena Huntington from her HoD position and replacing her with Darja Antonjeva, assisted by 3 Anturian WorldVision fans, Darja decided to revive SoundVision, the Anturian NF, and sifted the entries herself to pick 14 most-worthy ones, Mariska being one of them, Mariska would later win SoundVision, receiving a grand total of 18 points (6 from juries and 12 from televote), and she became the Anturian entrant in WorldVision 66.

We see the stage being dark, after that, when the beginning of the song starts, the stage begins to light up a little, showing silhouettes of several men behind ethnic tribal drums, however, there is no sign of Mariska on the stage, after the "trumpet" sound ends, the stage is now brightly-lit, the LED screen shows a beach at afternoon with a bonfire in the middle of the stage. The audience can now finally see Mariska, barefoot, singing in the back part of the stage, wearing what seemed to be black leather jacket, t-shirt and jeans. The camera would then follow Mariska as she walked into the center of the stage, in her left and right side are 2 shirtless, oiled up men wearing jeans banging ethnic drums. As Mariska sings in the center of the stage, the camera would then pan from her left side to her right side, with Mariska sometimes looking at the camera seductively.

I'm sick of, i'm tired of just black and white
I want more, i need more spice to excite
You feel the same, you think the same
Throw all of your sadness away
Forget it, hear the drumbeat

Mariska then whispers her verses, she then began to slowly remove her jacket.

Janganlah takut
Don't be afraid

Warnai hidupmu
Colour up your life

Mariska then threw her jacket into the crowd, she is now just wearing a white-colored tanktop and jeans, she then began to dance passionately in rhythm to the song. The camera would at some point in the beginning of the chorus shoot the oiled-up men before suddenly panning towards Mariska, who is now dancing wildly yet still in rhythm to the song, after that, the camera would then shoot the stage from afar, panning from the left side to the right side, before going back to shooting Mariska.

Let's spice up our lives, no matter how boring
Let's just shake it up, ah-ay-yeah, lompat
Let's just shake it up, ah-ay-yeah, jump

Let's spice up our lives, don't be basic, be daring
Babe, put your hands up, ah ay-yeah, lompat
Babe, put your hands up, ah ay-yeah, jump

Let's make it spicy

Mariska is now standing next to one of the guys, she looked at him seductively and touches his body for some seconds (OOC: no worries, he consented before) before Mariska went into the middle of the stage again, this time, two female dancers, wearing black, long sleeved top and pants standing on her right and left side, respectively. Mariska and the dancers perform choreographed dances in rhythm to the song, although not too intense as they want to save it for the chorus.

Burn it up, into the maximum heat
Move it up, loosen your stiff hands and feet
A little heat, a little spice
To rejuvenate your body
And turn that frown to a smile

Mariska whispers her verse again.

To all the people
Ayo menari
Let's dance

Mariska and the dancers then danced in rhythm into the song, with the male drummers banging the drum intensely. The camera would then shoot some of the audience who danced to the song from above before shooting Mariska again, at this point, two of the male drummers exited the stage secretly while another production crew brought two of the drums backstage, the cameras at this point didn't shoot the drummers again, focusing on Mariska and the dancers.

Let's spice up our lives, no matter how boring
Let's just shake it up, ah-ay-yeah, lompat
Babe, put your hands up, ah ay-yeah, jump

Let's spice up our lives, don't be basic, be daring
Babe, put your hands up, ah ay-yeah, lompat
Babe, put your hands up, ah ay-yeah, jump

Let's make it spicy

The stage dimmed a bit, and the camera now focuses on Mariska's face as she is whispering her verses.

Janganlah takut
Don't be afraid

Warnai hidupmu
Colour up your life

As Mariska sang the long note, the LED screen now shows a burning fire, after that pyrotechnics then created a fire curtain behind Mariska and her dancers for some seconds (thanks to the round LED screen above), after the fire curtain stops, the now three drummers join Mariska and her dancers on stage to perform choreographed dance moves in pairs, while fires from the pyrotechnics would go on and off depending on the song's rhythm (OOC: like Eleni's Eurovision performance during the final chorus), Mariska and her dancers would then dance intensely, after that, the male dancers would then position themselves behind Mariska and her female dancers, who continued dancing until the chorus ends.

Let's spice up our lives, no matter how boring
Let's just shake it up, ah-ay-yeah, lompat
Let's just shake it up, ah-ay-yeah, jump

Let's spice up our lives, don't be basic, be daring
Babe, put your hands up, ah ay-yeah, lompat
Babe, put your hands up, ah ay-yeah, jump

Let's spice up our lives, no matter how boring
Let's just shake it up, ah-ay-yeah, lompat
Let's just shake it up, ah-ay-yeah, jump

Let's spice up our lives, don't be basic, be daring
Babe, put your hands up, ah ay-yeah, lompat
Babe, put your hands up, ah ay-yeah, jump

The stage dimmed and the pyros stopped, with only the spotlights that is now shining Mariska and her dancers, they would then stop dancing, raise their right hand and point their finger into the top as Mariska sings the final verse.

Let's make it spicy

The audience erupted into thunderous applause, Mariska then thanked the audience, "Thank you! Britonisea! Thank you! Multiverse!" and then, Mariska and her dancers bowed down and walked backstage.

BITC | 66th WorldVision Song Contest | Telm City, Britonisea

BITC | 66th WorldVision Song Contest | Telm City, Britonisea

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