RVC | 73rd WorldVision Song Contest | The Estograd, Estogium

by **Estogium** » Mon Apr 29, 2019 2:00 pm

RVC [RWHITTON VEFECOSOIN CAIRKOVOIN] PRESENTS:

WELCOME TO THE 73RD WORLDVISION SONG CONTEST
WELCOME TO THE ESTOGRAD

OFFICIAL MESSAGE FROM THE MAYOR OF ESTOGRAD

Dear WorldVision Fans

We are proud to announce that Estogium has been picked to host the 73rd edition of the WorldVision Song Contest in one of our major cities that has probably been overlooked as a potential host for a WorldVision Song Contest in Estogium. We have a lot to celebrate at the 73rd WorldVision Song Contest - from the fact that the WorldVision Song Contest is going strong to the first time that the WorldVision Song Contest is being held in our wonderful country. However, the thing that we will be celebrating the most at this edition is the fact that the 73rd WorldVision Song Contest marks the 40th anniversary since Estogium first participated at the WorldVision Song Contest (yes, we debuted at the 33rd WorldVision Song Contest in Ekoz) under our old name - North Britonisea. We are so ever proud to host the WorldVision Song Contest on our 40th anniversary and we strive to celebrate that by showing the world true Estogian culture in magnificent fashion.

We will not disappoint. We have enlisted two of the best hosts to carry you through the evening in The Estograd who will make sure that the contest runs smoothly from an entertainment point of view. I can promise you that the Estoge team will be working hard behind the scenes to make the WorldVision Song Contest in The Estograd the best contest ever from all perspectives. We will be working closely with our regional friends who have already had experience hosting the WorldVision Song Contest to make sure that what Estogium produces will definitely be good enough for all of you out there! Finally, we know for a fact that the acts that will participate in Estogium will be the true drivers to making what will be a fantastic seventy-third edition of the Multiverse's favourite television show!

I can't wait to see you all at The Crystal Ball: Estogium!

Rizo Tointon
Mayor of The Estograd

Below you can find all of the essential links to help you during your time at the WorldVision Song Contest in The Estograd, Estogium!

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

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

72nd WORLDVISION SONG CONTEST: Lipa, Besen
Do you need tips? Why not go back in time and look at the spectacular WV72 in Lipa, Besen!

THE PLAYLIST
The official playlist of the 73rd 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.

OPENING ACT // THE ENTRIES

The 73rd WorldVision Song Contest will be starting with The Parade of Nations! Check out all of the participants here!

Parade of Nations
Riko Wilson ft Elias Nordin - "Nations Walk"
Tune : Chase & Status - All Goes Wrong ft. Tom Grennan

For the Parade of Nations, Riko Wilson (who is one of the hosts for the 73rd WorldVision Song Contest) and Elias Nordin (who is representing Estogium at the 45th World Hit Festival) are opening up the show singing a new song which will form part of the WV73 album simply titled "Nations Walk". Elias won't appear on stage throughout the performance, but Riko Wilson can be seen on a desk at the back of the stage...

"Living the best day of their lives, it's Song Number 1 from Nekoni!"

"Bang Bang Bang! Watch out! It's Song Number 2 from Talvezout!"

"Gliding through the stage it's Song Number 3 from Main Nation Ministry!"

"Debuting at the 73rd WorldVision Song Contest, it's Song Number 4 from Amuaplye"

"Vote for Song Number 5 from Polkopia or you could end up in a graveyard!"

"Više, Više, Više! More, more more! It's Song Number 6 from Izmedu!"

"There's no life to live without WorldVision! It's Song Number 7 from Axuva!"

"Are you going to be tempted by Song Number 8 from Antahbrantahstan?!"

"After having endured WorldVisions without a win, Song Number 9 is Todlichebujoku is back for the win!"

"Libumelland is debuting at the 73rd WorldVision Song Contest this edition - song Number 10!"

"No, Belgaam! Please do stay with us! It's Song Number 11 and Belgaam!"

~~"Ekoz..."~~

"We have another debutant at the WorldVision Song Contest! They are Song Number 13 - Not Belgaam!"

"Hmmm yum! I am really feeling some yoghurt! It's Song 14 from New Activia!"

"The name is a bit too long for me to say, we know them by VIR! It's song Number 15!"

"Vdara debuts at the 73rd WorldVision Song Contest - they are performing 16th tonight!"

"Performing 17th is Izm-wait. Apparently not, it's Vartugia performing 17th!!"

"Everyone seems to either want to die or be killed! It's Song Number 18 from Merecendi!"

"It's Song Number 19 from Estogium - the hosts of the 73rd WorldVision Song Contest!!"

"Kishrael returns to the WorldVision Song Contest, performing in 20th position!"

Next up is Natanya returning to WorldVision Song Contest, performing in position 21!

"Missus X is performing 22nd at the 73rd WorldVision Song Contest with the song [CENSORED] oops!"

"I am sure we are all daydreaming about the boy group from Scotatrova performing 23rd tonight!"

"She is as beautiful as a butterfly, it's Song Number 24 from Besen!"

"Our neighbours to the East, Britonisea, is Song Number 25!"

"It's Song Number 26 from Llalta, welcome them onto the stage!"

"Tracy Mason returns to WorldVision! It's Song 27 from Mister X"

"And the final act of the evening, it's Song 28 from Kalosia!"

by **Estogium** » Mon Apr 29, 2019 2:10 pm

Find out the nations that will participate at the 73rd WorldVision Song Contest!

01 • Nekoni | Nekoniton
Entry | Vote | Postcard
Nekoni returns to the WorldVision Song Contest in Estogium with the song, "Best Days Of Our Lives" by Parejas Suicidas.

02 • Talvezout | Talvezoote
Entry | Vote[/url# | [url=https://i.postimg.cc/2yx7kBS7/02-Talvezout.png]Postcard
After their huge national final, Talvezout returns to WorldVision with Sunny who will "Bang Bang Bang" the stage up in The Estograd...

03 • Main Nation Ministry | Main Nation Ministry
Entry | Vote | Postcard
Main Nation Ministry will be hoping to win in Estogium as payback with their song...

04 • Amuaplye | Amuapieme
Entry | Vote | Postcard
Amuaplye debuts at the WorldVision Song Contest in The Estograd with Love and War singing "The Amuaplyean Powder Keg."

05 • Polkopia | Polkopieme
Entry | Vote | Postcard
Polkopia will return to the WorldVision Song Contest with the song "Graveyard", sung by Nikol.

06 • Izmedu | Izmedu
Entry | Vote | Postcard
Izmedu will be participating in the 73rd WorldVision Song Contest with IzaRa by "Jukim-Jugre" - They certainly aren't playing games here in The Estograd!

07 • Axuva | Axuvieme
Entry | Vote | Postcard
Axuva returns to the WorldVision Song Contest! They will be sending Cora Jeong who will be sending "No Life To Live" to WorldVision 73 in The Estograd!

08 • Antahbrantahstan | Antahbrantahston
Entry | Vote | Postcard
Antahbrantahstan will be returning to the WorldVision Song Contest with the song...

09 • Tödlichebujoku | Todlichebuton
Entry | Vote | Postcard
Can Tödlichebujoku score their sixth win in Estogium? Well, Esvieta Torres will certainly be hoping she can with the song "Kenteemsi"!

10 • Libumelland | Libumelieme
Entry | Vote | Postcard
Libemulland debuts at the 73rd WorldVision Song Contest in Estogium with "Tables Turned" by boy group Team T.I.M.E.

11 • Belgaam | Belgaam
Entry | Vote | Postcard
After a successful national final triumph, it's XALIMIÑA representing Belgaam with the tune "ÞIL'O TÁŻRNA" in The Estograd.

12 • Ekoz | Ejoka
Entry | Vote | Postcard
Ekoz will be returning to the WorldVision Song Contest in Estogium with the song "Falling" by Jorge Jonsson

13 • Not Belgaam | Na Belgaam
Entry | Vote | Postcard
Not Belgaam is making a statement in with THE PEOPLE WHO ARE SICK OF NOT BELGAAM BEING ASSUMED AS BELGAAM! who are singing "NO!"

14 • New Activia | Activia Neue
Entry | Vote | Postcard
New Activia will be participating at the 73rd WorldVision Song Contest with a song that doesn't have an artist and doesn't have a name!

15 • Venkatanaros Imharajuvaripieta Rdraskska | Vir
Entry | Vote | Postcard
Venkatanaros Imharajuvaripieta Rdraskska returns to the WorldVision Song Contest with The lovely Ms. Slaine Etritch with the song "I'm Still Here"!

16 • Vdara | Vadarieme
Entry | Vote | Postcard
Vdara participates at the 73rd WorldVision Song Contest with the song "Wanna Die" by NÅ ft. Inno¢, hoping to score victory!

17 • Vartugia | Vatugieme
Entry | Vote | Postcard
Vartugia is back at WorldVision with Däryana Sadovic ft. The Izmeduan Liberation Choir For The Movement For Däryana To Represent Her Native Izmedu with "Stripped Dreams"!

18 • Merecendi | Merchedieme
Entry | Vote | Postcard
Merecendi returns to the WorldVision Song Contest to avoid the dreaded nil points with "KILL ME NOW (Neurotic)" by GEISHA GOAL FT. JEAMS BODN caps!

19 • Estogium | Rwhitton
Entry | Vote | Postcard
Girl group, Palladium, will represent the host country, Estogium, at the WorldVision Song Contest 73 with the song "SOS"!

20 • Kishrael | Kishrael
Entry | Vote | Postcard
Kishrael participates at the 73rd WorldVision Song Contest with Sigal Barda performing the song "Ten Lo Laredet Aleykha" - can they win for the first time in 39 editions?

21 • Natanya | Natoeme
Entry | Vote | Postcard
Natanya is being represented by Zhennie with her song, "Bored of it already", but we ain't bored of her song!

22 • Missus X | Meneserex
Entry | Vote | Postcard
Missus X returns to the WorldVision Song Contest in The Estograd, Estogium. Rick Leg will be sending [CENSORED]...

23 • Scotatrova | Ecosieme
Entry | Vote | Postcard
Scotatrova will be sending an urban boyband, Daydream, with the song "What We Both Know"...

24 • Besen | Besen
Entry | Vote | Postcard
After winning her nation's national final, Leona will be representing Besen at the WV73 with "Butterfly" but will she soar above the rest?

25 • Britonisea | Brityunik
Entry | Vote | Postcard
Alyxhia Willis became the fourth winner of Vha Mehlodhivestoile, but will she also win in The Estograd? She is singing "Want You Home"

26 • Llalta | Llalta
Entry | Vote | Postcard
Llalta returns to the WorldVision Song Contest with the song "Transdimensional Meat Popsicle in A Minor" by Penny Tration & Cass Tration

27 • Mister X | Monserex
Entry | Vote | Postcard
Tracy Manson and Mister X returns to the WorldVision Song Contest! This time Tracy will be sending "Love You All" but will she gain everyone's love?

28 • Kalosia | Kalosieme
Entry | Vote | Postcard
WorldVision veterans, Kalosia, continues their long spell at the WorldVision Song Contest with G.luxx singing "Endless Summer"

WorldVision Host Interventions | RVC
Part 1 | Part 2 | 14/27 Voted
You will be able to see the host interventions by our hosts, Riko Wilson and Israael Kashtkar...

Talvezout | TRT
Part 1
We are joined by Lorenzo live at the 73rd WorldVision Song Contest in The Estograd, Estogium

Talvezout | Betting Odds
Part 1
Who is expected to win the WorldVision Song Contest in Talvezout's market?

Polkopia | Betting Odds
Part 1
PRIMEBET in Polkopia has released who they think will win the WorldVision Song Contest...is it your nation?

Britonisea | BITC
Part 1
Rigas Jengiz and Cole Heiman return to the commentator's box for Britonisea's audience over on BITC.

Polkopia | PNB
Part 1
Rebekka Yarkovskaya will be commentating by herself for her nation, Polkopia, in The Estograd on PNB.

Mister X| MRX
Part 1
Mister X provides commentary...

by **Estogium** » Mon Apr 29, 2019 2:46 pm

Opening Act
Riko Wilson ft Israael Kashtkar - "Race To The Twelve Points"
Tune : Rudenko & Aloe Blacc - Go For The Gold (Official Lyric Video)

For the 73rd WorldVision Song Contest, a more traditional opening act was going back to the screens for those watching the contest. This edition, we have the two hosts of the competition who will be the ones performing the Opening Act for the contest this year. The song was composed by Riko Wilson, an Estogian DJ and songwriter who has written some chart-toppers nationally. RVC thought that Riko would be a good choice to make a song for the 73rd WorldVision Song Contest due to him being rather popular in Estogium, The Estograd being his home and finally, a true expression of an Estogian pop song that would do well in the charts. Singing alongside him is Israael Kashtkar who had represented Estogium twice in the WorldVision Song Contest. He first represented Estogium at the 52nd WorldVision Song Contest, 21 editions ago, with the song “Akron de Harchet” in Mercedini where he placed 6th place. He then went on to return to the WorldVision Song Contest for the 54th WorldVision Song Contest in Ekoz with the song, “I Thought I Could Survive” which placed 12th place. Israael is a figure in the Estogian WorldVision Song Contest community that is known very well and him hosting the WorldVision Song Contest comes as no surprise to Estogians - who rather expected him to host…

Riko was already on the stage with the lights swirling around the arena. His name appeared on the screen with “HOST” under it. It faded away as the camera zoomed out as a voice (not Riko’s) started singing.

The news is out there,
We’re hosting WorldVision
It has been so long,
But finally you’re here.
So many countries,
So many different cultures
We can’t wait to get the show on the road

Appearing from the darkness was Israael Kashtkar. His name showed up on the screen, with “HOST” appearing over “WV52 and WV54 Estogian Representative”. Israael started to walk forward towards the middle of the stage. In the back, you could see Riko Wilson jamming on his little desk. Israael smiled as he heard the Estogian audience greeting him loudly on to the stage. The camera panned to Israael as he walked past it...

We are the judges,
The winner’s in our hands.
We could change so much,
Nothing is set in stone!
Come on now, test us
Have we got taste?
We can’t wait to get the show on the road

Israael pointed towards the camera which was sitting above the audience. He then winked as the chorus was about to start. The camera quickly zoomed out as bright colours such as royal blue and yellow filled the stage alongside the main colour of the Estogian bid - purple.

The race has started,
Who is gonna win?
Predict the future,
Go on, place a bet!
Get behind your country?
Fly your flag up higher!
It is game on, race to the twelve points.

The stage is waiting,
It is your final chance
Impress the viewers,
Give them a good show!
Don’t make them bored no,
Oh no you can’t.
Get on that stage and give your damn all!

Israael was tapping his foot along to the song, singing into the microphone at to the audience at home. He flung his head as he sang “give your damn all” before walking to the other end of the stage. The camera followed his walk over to the other side of the stage from above, slowly getting closer to him as he sang. The yellow and purple colours intensified as the blue slowly died down.

The race has started,
Who is gonna win?
Predict the future,
Go on, place a bet!
Get behind your country?
Fly your flag up higher!
It is game on, race to the twelve points.

The race has started,
Who is gonna win?
The race has started,
It is game on, yeah!

At this part, sprinklers went off in the arena. In addition to this, bubbles started to fall from the top of the arena. The Estogian audience started jumping up and down - really feeling the song that Israael was singing. The stage lights flashed on and off with the beat of the song. The arena was electric.

The race has started,
Who is gonna win?
Predict the future, boy!
Go on, place a bet!
Get behind your country and?
Fly your flag up higher!
It is game on - win WorldVision!

It is game on, race to the twelve points.
Race to the twelve points oh yeah
Race to the twelve points oh yeah
Game on oh game on oh yeah!

At the end of the song, Riko Wilson joined Israael Kashtkar who was standing at the front of the stage as the Estogian audience started to cheer loudly for the pair. They both held on to each other and bowed as the Estogian audience cheered a tiny bit louder. They both smiled as they came back up. The lights in the audience swirled around the arena and a large “woosh” sound was heard as the two men walked to the end of the stage. They held their hands out and begun to speak to the audience...

Riko Wilson: Hello everybody and welcome to the 73rd WorldVision Song Contest-

Israael Kashtkar: Which, for the first time, is being held in Estogium - in the third largest city of Estogium, The Estograd!

Riko Wilson: We are so happy to have you coming to Estogium. It has been a huge 40 editions since our nation debuted at the WorldVision Song Contest and we are glad that after all that time, we have you here.

Israael Kashtkar: Now, we have multiple different nations that are hoping to win the WorldVision Song Contest 73 title. The question is, who is going to win the 73rd edition of the WorldVision Song Contest?!

Members who were in the arena started to shout out the names of nations they thought were going to win. The men smiled and looked at each other before Riko continued...

Riko Wilson: You have seen the acts of WV73 but now, we are going listen to all of the participating acts of Estogium’s first ever WorldVision Song Contest.

Israael Kashtkar: You will have to wait until the end of the performances before you are allowed to vote for your favourite act.

Riko Wilson: And there will be a lot of choice! This edition, we have a wide range to choose from...the winner is certainly not clearly defined!

Israael Kashtkar: Tonight, things could change. I know how those who are currently backstage must be thinking. Nervously waiting for their chance to show you their performances that they’ve been working hard on.

Riko Wilson: And so, I don’t think we should keep them waiting that long to be honest.

Israael Kashtkar: You’re right! And so with that…

The men bent their knees, holding their hands out towards the audience... As they said the next line, they jumped into the air as pyros went off behind them...

BOTH: LET THE SEVENTY THIRD WORLDVISION SONG CONTEST BEGIN!

We suddenly went straight to the first act of the evening...

by **Estogium** » Mon Apr 29, 2019 2:46 pm

by **Nekoni** » Mon Apr 29, 2019 2:54 pm

Entry No.1: NEKONI
Best Days Of Our Lives
Parejas Suicidas
Based on: Drunken Lullabies by Flogging Molly

It would be fair to assume that Nekoni's finest hour was not last contest. A sub-20 position is only really that respectable when there are more than 20 entries able to receive points, but it's a nicer way of putting their performance than "fifth from bottom. marginally ahead of the countries actually taking the piss". So, as is normal when the NRT delegation needs inspiration for selections, the main boss went out to the pub on open mic night again. It worked so well last time.

The entry this time is a Celtic punk band, a genre not particularly heavily represented at the WorldVision or in fact in Nekoni itself. This may have been the band's charm. Although a seven-piece, it's clear the band (who were almost certainly going to be called Las Parejas in promotional material just in case people got iffy with the last word*) rested on the frontman. Clearly, this guy at the helm would turn heads. Of course this band's going to represent Nekoni. And if they have to be the ones to get the audience hyped up for the show, then so be it. Whether Nekoni bounces back or not, the audience is getting their money's worth.

* For those intrigued, the Pareja Suicida is a Mexican wrestling match (a shared love of the band), where the losing team must face each other with something on the line, be it their mask or hair. This is a bit of a joke on the frontman's part, who, as the only member of the band with short hair, doesn't have a lot to lose should they break up in this fashion.

The stage is decked out in the style of a New England tavern, with a nice long bar along the back (complete with bartender), a couple of wooden tables and a couple of large beer barrels. This set-up is fairly large and obscures the backing screens somewhat, therefore the screens won't be used in any distinguishable way. The lighting is natural, with a little bit of extra brightness for the bar where Johnny will be standing at the start of the song. The rest of the band are dotted around the stage as thus:

- Christophe Esteban, electic guitar:
- Niko Fonzari, upright bass: off to the left side, the bass' size renders him sadly immobile
- David "Big Dave" McKiernan, drums: off to the left side, behind the bassist, same size limitation
- Axel Mei, banjo: standing on one of the beer barrels at the front, middle of the stage
- Anais Rochelle, accordion & Francesca Kazan, violin: both at the bar, standing in front of it

They all are dressed in the standard punk rock garb: the majority of the band have jeans, T-shirts mostly in black with some form of luchador motif on them, canvas sneakers, plaid shirts over the top unbuttoned with the sleeves cut off, that sort of thing. Johnny is wearing what you can see in the picture, whilst armed with an acoustic guitar, and the two female members of the band are wearing skater dresses. The bartender is in a typical white-shirt/black-tie/waistcoat combo.

As the song begins, the camera is focused on the banjo as the intro riff is played. Suddenly, the camera shifts to the clock on the wall of the bar, as it hits five, and suddenly, the electric guitarist screams "Go!" At that note, the song REALLY starts, as the lights start to cycle between a multitude of warm, bright colours, and the band thrash on their instruments, the camera darting wildly between all seven. The verse begins with the pace finally letting up as Johnny appears stood on the bar.

Wide smiles as the clock strikes five
On the tattered barside wall
We've waited for this night all week
To wash it down with alcohol (Let's Go!)

He sings whilst playing his acoustic guitar, which, although the part is the same, his movements are a lot less amplified. As he walks down the bar, the top of the bar illuminates white as he walks, a bit Billie Jean-esque, but not quite as pronounced. The bridge commences at the point where he reaches the end of the bar.

As the street lights shine, they will lead the way
To the freedom from work and mind
As we treasure hard-earned days of rest
Assuming we don't go blind

The bridge is sung as he's standing at the end of the bar, with the entire band joining in with the two lines at the end.

Yes, we'll drink for life, we'll drink for death
Till sunlight births again
Sing the same old songs with our same old friends
In the best days of our lives

The instrumental break has Johnny jump off the bar and play his guitar around the center of the stage. The bartender looks comically-exaggerated annoyed that he's walked over his nice clean bar, and is wiping it down. The violinist and accordionist both make their way to the centre of the stage with Johnny as their parts are more accentuated through the second verse.

With bottles, shoot our worst fears down
Drown our bad memories away
You can leave your problems at the door
They can wait another day

You hear that just there? There was the violin and accordion part. Just as I told you. You never listen to me, do you? Anyway.
We continue the second verse with the three at the front of the stage, and the camera pans to the left as it moves to the right, creating a nice effect where the three are playing whilst Johnny is singing at some of the now visible front row of the audience, with some of the other band members playing in the background, the double bass player just visible at the right time to yell "No shame!"

Are we really different, you and I
When our glass is filled the same?
Outside these walls, our eyes may never meet
But tonight we have no shame (No shame!)

The camera jumps back to a standard hardcam position and the chorus commences as the last one does.

Yeah, we'll drink for life, we'll drink for death
Till sunlight births again
Sing the same old songs with our same old friends
In the best days of our lives

At this part, the banjo player has jumped off his barrel, and has made his way to the left of the stage where the bassist and drummer are. The two female musicians join him at this point, leaving Johnny on his own in the bar with the electric guitarist on the right. Through the bridge he somehow is able to move back to where the barrel was whilst making eye contact with the forward-facing camera the whole time.

From the lovesick with no-one to trust
To the gamblers who went all-in and bust
You're all welcome here, come join up, take it in
This free feeling of joy that we lust

During the middle 8 of the song, the bartender actually does his job, and begins pouring a long, smooth pint of what one would presume to be craft ale. Whether or not it is a real alcoholic beverage and not a product of Studio Magic™ is up to the imagination of the viewer and the public drinking laws of Estogium.

Rewarding our lives mundane
With pleasure without the pain
It's the same old songs with our same old friends
It's the best days of our lives

The moment he stops singing the chorus, he grabs a bodhrán from the top of the barrel that the banjo player was standing on, and thuds the drum solo out onto it, his body wildly moving, almost doing a ska skank (á la Madness) as he does it, egged on by the audience cheering and clapping to the beat. The violinist moves to his right and plays her riff, just in time for the band to scream "Go!" before a repeat of the organised chaos of the intro.

When this extended instrumental break continues, and Johnny is back on the guitar, he plays as he makes his way to the bar, right side, where the bartender has slid the pint. As expected, he stops playing guitar momentarily (the rest of the instruments are so vivid here it doesn't really make much of a difference to the sound), grabs the pint, salutes the audience, yells "This one's for you, Estograd!" for a quick cheap audience pop, and downs the thing in one smooth ten-second movement like a trooper. He tips his hat to the bartender and continues playing guitar, making his way back to the front of the stage.

The barside clock makes that awful chime
Last orders, and on we roam
The street lights are all blurry now
As they light our way home

As was the case in the second verse, the violinist and accordionist both make their way to where Johnny is, and gradually make their way to the very front of the stage again, and when it comes time for the shout before the chorus, the audience (at least, the Nekonian part of it), can be heard screaming "AGAIN!" too.

But may the Friday come round once more
And the clock strikes five once again
When the tavern opens up its doors
And we'll start it all again (Again!)

The bartender over the last verse has been getting the seven band members a round in. Throughout the last couple of minutes in the background he has been pouring five pints of beer out for the male members, and two of what appears to be cider for the women. No, before you write in, this isn't a gender stereotyping issue. They just would rather like cider. All seven glasses are ready and waiting as the song reaches its final chorus.

As the group part of the chorus vocals comes, Johnny yells "Sing!" at the audience as an attempt to get them to join it. It's minorly successful.

Yes, we'll drink for life, we'll drink for death
Till sunlight births again
Sing the same old songs with our same old friends
In the best days of our lives

The banjo player and the electric guitarist, the only remaining band mates who still physically can, join the three at the front of the stage, as they all sing the final words of the chorus again.

It's the same old songs with our same old friends
It's the best days of our lives
It's the best days of our lives

As the song hits the final note, Johnny's fist is raised in adrenaline as the crowd goes wild for the first entry. They all bow, and make off, naturally, to the bar, grabbing their drinks, and all taking a celebratory swig as the camera feed changes to the postcard for entry #2. Top that, Talvezout.

by **Talvezout** » Mon Apr 29, 2019 3:08 pm

"Bang Bang Bang" is a high-energy dance pop song about women empowerment and revenge. Sunny originally wrote the song for fellow Talvezian pop superstar Lorenzo; however, Lorenzo, after hearing the song, felt that it better felt Sunny's dance pop style and returned the song to her. Sunny included the song on her recent EP Patience; the songs she submitted for Talvezout E Mouzeh were drawn from this EP. Sunny would end up winning the Talvezout E Mouzeh contest, winning top marks from 3 of the 5 voting countries, as well as receiving a majority of the vote from the Talvezian districts.

Sunny is currently doing well in the betting odds; PNB has Talvezout listed at 3rd, and TRT odds has her at 2nd. The whole nation of Talvezout is feeling confident that Sunny will finally be the one to break the curse of not placing in the top five, and everyone is watching the contest to see her succeed.

A squadron of people of varying genders, sexualities, ethnicities, ages, and sizes would be standing onstage, in the darkness. Sunny, clad in a simple black shirt and pair of pants (everyone else would be dressed in a similar outfit, albeit in a variety of colors), would be standing in front of them. When the song started, they would all shout the first two words of the song, with everyone shouting at the top of their lungs. The stage would suddenly explode into color, with pyrotechnics going off at the beginning of the song.

BANG BANG!
Ah yeah, ay yeah!
BANG BANG!
Ah yeah, ay yeah!

Sunny, and two other women would step away from the group, as the spotlights would follow and focus on them. The two women would be holding bats with statements like "rest in power" and "fight back" in big, bold, letters. They would swing the bats around before pointing them at the camera at the end of the song, as if they were daring the viewer to take them on.

You can push me down and I’ll get up
You can try and fight me but I know that I will win
Come corner me and I’ll def’ make you back up
Bitch I’ll make you so afraid of me, I’m savage

The camera would suddenly focus on Sunny, as she would perform the rap section staring straight into the camera. Like the women before her, she would be daring the viewer to take her on, with her feeling confident she would win.

You think that you’re so hard
Well, we’re here to prove you wrong
You’re high but you can’t reach my star
You think you’re cool but you can’t do this song
You hate us, you kill us
We’ll rise up, we’ll act out
You’re only just toxic
While we're just foxy

The camera would suddenly zoom out, with Sunny being carried by the group behind her. She would be laying on her back, with her looking up into the camera. They would slowly lay her down on her feet, and they would all turn to face the camera at the end of the pre-chorus.

I’ve just been through so much shit
And yet every time I always try to rise back up
Yeah it hurts
But whatever doesn’t kill you only makes you stronger
I’ll be hurt and I’ll bleed
But the wounds will heal
I’ll come at you like a lion
Make you run home while you’re crying

The stage would explode into color once more, as everyone onstage, Sunny included, would perform a routine in tune to the rhythm of the song. The stage behind them would flash images of the group dancing together, as pyrotechnics would go off around them to the beat of the performance.

Oh wait til' I do what I do
You’ll see us go bang bang bang (Ah yeah, ay yeah!)
You’ll see us go bang bang bang (Ah yeah, ay yeah!)

The camera would suddenly zoom in and spin around Sunny as she would perform her second rap. The two women from earlier would come up and dance with her, mimicking her motions as she would do her bit. Sunny would now have a sword similar to the two weapons brandished by the other women, and she would swing it around with the other two.

You may think you’re winning now
But just wait until we come into town
You’ll see how vicious we really are
We fight for our love and for everything far
Yeah we’ve been hurt just so many times
Call us bad girls, call us naughty
But just know when you see all the signs
We’ll show you how we’ll break your haughty

Sunny would get to her knees, as the other people on stage would too. She would slowly rise up throughout the pre-chorus, standing tall by the end of the song. She would hold the sword she had right at the camera, before swinging it around to holster it on her back. She, alongside everyone else on stage, would stare straight at teh camera, before breaking apart for the chorus.

I’ve just been through so much shit
And yet every time I always try to rise back up
Yeah it hurts
But whatever doesn’t kill you only makes you stronger
I’ll be hurt and I’ll bleed
But the wounds will heal
I’ll come at you like a lion
Make you run home while you’re crying

The stage would explode into color again as everyone would perform the routine again. A curtain of sparks would start falling down behind them, as more pyrotechnics and smoke effects would go off around them. The people behind Sunny would whip out flags and banners of varying groups and statements, promoting causes like LGBT+ rights, minority rights, women's rights, etc.

Oh wait til' I do what I do
You’ll see us go bang bang bang (Ah yeah, ay yeah!)
You’ll see us go bang bang bang (Ah yeah, ay yeah!)

The explosions of color and light would stop, as a spotlight would focus on Sunny as everything else would turn dark. She would hold her hand out to the camera, seemingly bringing it with her as she would walk through the audience to a platform in the middle of the crowd.

What you gonna do when we
Come after you with that bang bang yeah
What you gonna do when we
Come after you with that bang bang oh

Sunny would finally make it to the platform, as the camera would swirl around her as she sang. The group that was with her would line up behind her, each singing along with her for the final part of the song. As Sunny would move her arms, the groups would move their arms alongside her. The smokes and sparks would come back, with a line of pyrotechnics going off at the end of the performance.

We’re so hot like we’re on fire, yeah
We’re so hot like we’re on fire, yeah

Ah yeah, ay yeah, ay yeah!

We’re so hot like we’re on fire, yeah
We’re so hot like we’re on fire, yeah

You’ll see us go bang bang bang

A giant banner saying "Fight for your rights" would be displayed onstage. Sunny, happy to given such a great performance, would wave out to the audience and thank them, before leaving.

by **Main Nation Ministry** » Mon Apr 29, 2019 3:13 pm

03. Main Nation Ministry

The Masked Singer: Shark - Gliding on Velvet Air

Tune: Bon Jovi - Livin' on a Prayer
Language: English

Pictured Above: Shark

Background: Despite a failed bid for this WV, Main Nation Ministry has still crafted a rather unique national final for WV73. Many who reviewed the bet compared it to something straight out of reality TV to which some agreed on the concept. The national final was that 3 masked singers would showcase 5 songs for people to vote for, then they are to vote for the masked singers themselves to see who would make it to the official contest. After much bewildered reaction at first, the results eventually appeared, where a mysterious man in a shark costume was deemed the winner.

Sharing some talk with Shark, he explained that this song was to describe his experiences being in the "Blackline War" that had occurred many years later, shrouded heavily in Main Nation Ministry's history, since history textbooks were extremely rare. Shark gives a bit of a musical narrative what happened and how the nation was able to win. To some surprise, the Leader will explained that he lended one of his songwriters to aid Shark, which Jessica Madden gave some criticism, since she believes that despite being a musician who can write her own songs, she doesn't get the luxury of having actual professional assistance, even if she still has listeners.

This is Gliding on Velvet Air.

Performance: After the postcard was shown, the camera had a black and white filter applied to it, as the stage had a bit of a beach side theme. The background had the image of a ocean and some portions of the stage had some mounds made to look like piles of sands. The musicians enters the stage, where they all happen to be soldiers from the military of the armed forces in Main Nation Ministry. As they get ready, Shark enters from the middle of the stage through an opening, where a soldier helps set up a microphone, since Shark doesn't technically have fingers to grip the microphone. After getting the all clear, the music starts to begin. The black and white filter transitions to color, as the guitar starts to play.

Oh. Oh. Oh. (x100) (Pretty much can be heard throughout the whole song.)

The backup singers started singing their lines, which some can tell that Shark was taking a bit of a breath to prepare to sing, if some analyze his body movement. With his real voice now being able to be heard, he states this as the song's intro.

To our boys in line, a shout out to you.

It was then the Shark started singing. To identify the voice, while it was clear that the man wasn't a singer, he was still giving it his best. The voice can be described as a male voice in his 30's, though he sounds young, possibly hinting early 30's.

The choppers descend on the grass, the line had gone black
A firestorm erupted of fear, of fear.
The ground forces share the same fate, the towns are empty
They serve as shelter of time, of time.

The Shark raises his flipper into the air, as the lights above give off a light show.

I shout, we shall drive them back before we fall
Because no one gets left behind if you care at all.
The evac is coming, but we still fight for peace
We'll answer the call!

Since Main Nation Ministry loves toying around with dangerous pyrotechnics, though there are countless safety measures implicated to make them safe, several jets of flames erupt from the stage, as Shark sings the chorus.

Oh, no time to spare
Oh, gliding on velvet air!
Here we stand with strength that we bare
Oh, gliding on velvet air!

The stage reverts to normal, as the Shark continues.

The field is at a hard front
The sides are evolving, it had become a hunt
Of luck, of luck.
The folks back home are scared for you
When the news appear that day, they all wonder
What will they do? No clue.

Cue the light show.

We shall drive them back before we fall
Because no one gets left behind if you care at all.
The evac is coming, but we still fight for peace
We'll answer the call!

And cue jets of flames again!

Oh, no time to spare
Oh, gliding on velvet air!
Here we stand with strength that we bare
Oh, gliding on velvet air!
Gliding on velvet air!

After the chorus, the main guitarist gives a guitar solo, where he runs towards the front of the stage and makes a big leap. He is revealed to be suspended in the air with a cable as he plays a solo for the people below, before he ends up back on the actual stage.

Now, We shall drive them back, no time to stall
We will win this war, even if the chance is small!

For a finale to the song, a shower of sparks in the form of a waterfall go active, as the front of the stage was full of sparks flying down, as the Shark managed to sing.

Oh, no time to spare
Oh, gliding on velvet air!
Here we stand with strength that we bare
Oh, gliding on velvet air!

Oh, no time to spare
Oh, gliding on velvet air!
Here we stand with strength that we bare
Oh, gliding on velvet air!

Oh, no time to spare
Oh, gliding on velvet air!
Here we stand with strength that we bare
Oh, gliding on velvet air!

After the song ended, Shark let the audience give their applause, as he walked to the front of the stage, planning on crowd surfing. Almost immediately, a group of soldiers from Main Nation Ministry appeared at the bottom to carry Shark, as he jumped from the stage, where the soldiers proceeded to carry him through the audience. "Thank you, Estogium!" Shark shouts to the audience, before the next performance starts.

by **Amuaplye** » Mon Apr 29, 2019 3:30 pm

Entry #4 - The Amuaplyean Powder Keg by the band Love and War (with accompaniment from the Sydney Philharmonic Orchestra)

(The lead singer and most of the band do some instrumental and spoken vocals, the rest of the band does sound effects, and the orchestra does most of the instrumentals.)

by **Polkopia** » Mon Apr 29, 2019 3:38 pm

Nikol - Graveyard
Tune: MARINA - To Be Human

Nikolett Burmskinova was born in Peeto, Polkopia, to a well-off family, and to parents who worked in the largest branch of Polkopia's only bank at the time, centered in the heart of the capital city's financial district. Nikolett grew up very reserved and seldom talked to many of her peers, as her education was received through a tutor who gave young Nikolett lessons in mathematics, grammar, and the sciences. While she excelled in most of her subjects, her parents noticed that she showed little to no interest in her studies. Throughout her years as an adolescent, Nikolett went through six different tutors and still none of them were able to spark Nikolett's interest in her schoolwork. At the age of 16, Nikolett stopped attending her lessons and instead sought to pursue a singing career, and she begun attending singing lessons at the Peeto Academy for the Arts. Unlike in her previous years, she showed an immediate attachment to her courses at the academy and she thrived in the musical environment. Her brother, Ivan, once said that the happiest he had ever seen his younger sister was during her tenure as a student at the academy. Unfortunately, Nikolett was unable to finish her first year, as the infamous Second Polkopian Revolution broke out and she was drafted in the military. Being only 16 at the time of being drafted, Nikolett was not trained to wield guns or artillery but instead served as a field medic, where she tended to those who had fallen on the field of battle. After the first year of the war, when the rebels had taken the Polkopian capital, her parents had been executed by the Republican Force and she was forced to flee to Zololivka with her elder brother, where she lived out the remainder of the war.

While in Zololivka, Nikolett and her brother were aided by family friends in the city, who kept them housed and fed while the war ravaged some of Polkopia's more urban centers. It was here where Nikolett began her career as a singer-songwriter. She began to write lyrics about her experiences throughout the war and published a video online, where it was immediately received by millions throughout the country who shared the same sentiment as her. Her first song, Pust'no (English: Empty) became one of many songs used by civilians throughout the revolution to call for peace and later grew to be the second most-played song on Polkopian radio after the war had ended. Once the war had finished, Nikolett was offered free tuition and housing from the Peeto Academy for the Arts and subsequently moved back to her home city in order to resume her studies. Graduating at the age of 22, she accepted an internship at a small Polkopian record label, while continuing to write her own songs in her free time. At the age of 24, she was officially signed by the record label where she had interned and went on to release her first EP with the stage name, "Nikol". Immensely popular throughout Polkopia, she entered the Landa vy Polkopiya with her song, Eventually, hoping to represent her home nation at the 72nd Worldvision Song Contest in Besen. Although she advanced to the Grand Final amidst fierce competition, she failed to win the contest after her and her song placed last with the international jury's votes.

Despite this setback, Nikolett's song charted in the Polkopian Top 10 for the first five months after the Landa vy Polkopiya, and became her most popular song so far. Three months after the competition Nikolett released her first album, where Eventually was the first song on her newly-released album. Her album proved to be a huge success and Nikolett's fame skyrocketed throughout Polkopia. That year, she toured the country and performed numerous concerts within Polkopia and announced future plans to tour abroad, though the countries have yet to be specified. Before the 73rd Worldvision Song Contest, many speculated that Nikolett was going to enter the upcoming Landa vy Polkopiya, and these results were confirmed by Nikolett herself on social media. When her song was initially released, Nikolett faced mixed reviews. On one hand, Nikolett's fans were happy that the artist was using elements of her early songs in this one, however others claimed that the song had no chance to win the competition. On the night of the Grand Final, however, her breathtakingly emotional performance allowed her to clinch the victory and earn the right to represent her home country in Estogium. The majority of Polkopian Worldvision fans seem to believe that Polkopia has a fair shot at a high placement at the competition, as she's proved herself to be a competent performer, combined with the fact that the song scored remarkably well with the international jury in the recent Landa vy Polkopiya.

For Nikolett though, performing Graveyard at Worldvision was much more than receiving marks on a scoreboard; it was about feeling, something she believed music had been lacking recently. Of all the topics she sings about, Nikolett feels as if though singing about war and its consequences is something she can convey on stage very well. It's a topic that, unfortunately, has an all too real feeling for her, but she's able to transfer some of that emotion on stage to her audience and deliver incredible emotions on stage as a result. Worldvision was something else though, something she felt as if though it was her greatest challenge yet. She's able to sing about war and destruction in front of a Polkopian audience, most of which have had some sort of experience with such, but the question was whether or not she'd be able to deliver the song at the same capacity on stage in front of people with thousands of different backgrounds. As an artist, this was to be her greatest challenge yet.

After a week of rehearsals on the stage, and months of discussion regarding the staging of her song with the PNB, tonight was the night Nikol was to perform in front of millions. She heard the Amuaplyean act finish their performance and she subsequently took her place on stage as the Polkopian postcard showed on various screens around the arena. The postcard was a simple design that showed the crowd that Polkopia was the next to perform, and the Estogian Worldvision crew were hard at work, cleaning the stage and adding and removing props in order to set Nikol up for her performance. Nikol heard the crowd chant "Polkopia!" over and over as she stood there, waiting for everything to be ready for her performance. For the entirety of the performance, meanwhile, she was to be completely alone; without any background singers or dancers. While there would be moments where background singers would be used, they would not be visible on stage. Nikol wore a simple white dress with a black belt and black high heels. Her iconic blonde hair was slicked back and styled in a large bun behind her head. Large teardrop-shaped white earrings with a golden rim drooped from her earlobes and dangled centimeters below her ears. Her makeup, meanwhile, was applied carefully and her face was contoured to perfection. Her lips were finely done as well, with a dark red matte lipstick, with an even darker red outline along the edge of her lips. Mascara was applied to her face, but what really brought out her eyes was the golden eyeliner with a black outline that she wore against a background of white eyeshadow. Her ice-blue eyes were brought even more to life with the stark contrast with her makeup. As the postcard began to fade away, Nikol took a deep breath as she knew that she was seconds from delivering the biggest performance of her life. She counted backward in her head... 3...2...1... before she sang the first note.

The background, meanwhile, was completely black. There were no images or animations on the massive wall of LED screens behind her, nor were there any pyrotechnics or anything of the sort. There was a single spotlight which illuminated Nikol standing center-stage in front of a microphone. Her hands were to her side, and she looked straight ahead toward the camera. The camera started out far away from Nikol, but proceeded to zoom in as she sang her verses. This was intended in order to isolate Nikol and bring an almost ominous, yet vulnerable sensation to those watching this woman on stage by herself, singing about war, death, and violence. The performance was meant to be minimal so that the audience could better focus on Nikol's emotions and the lyrics of the song itself rather than be distracted by glitter, pyros, and fireworks.

Count the headstones
By the thousands.
Generations,
Only memories.

See my father
And your best friend
Near the birch tree
Six feet under.

Leave a red rose
Or some daisies
My sweet mother
Loved the sweet peas.

Just a number
A statistic
For the ones who
Put us through this.

The background screen showed a black and white picture of bombs flying across a sky, followed by explosions in several different neighborhoods. As an added effect, the sound of whistling was very faintly heard in order to mimic the sound of a bomb falling to the earth. The camera, meanwhile, showed Nikol's face in the lower right portion of the screen while the rest was focused on the visuals playing on the LED screen.

Bombs were flying
Across the night sky
Heard the sirens
Ring all night long

The camera now focused solely on Nikol's face, whose eyes were trained downward. As she sang the last line, she looked directly into the camera and slightly moved her shoulders in an unenthusiastic shrugging motion. After she sang the last part, she gave a short defeated sigh and the camera faded to black.

All the stories
Of death and pain
But we’ll go to war again

The lights brightened and the entire stage was illuminated my a black-and-white lighting pattern. Fog crept along the floor of the stage and newspaper articles were displayed across the LED screen, with each headline highlighting one of the many deadly attacks carried out during the war. During the second half of the chorus, the camera focused on Nikol for the first two lines, before transitioning upward, where an animation of an explosion showed in the 'distance' of the LED screens, and the newspaper articles soon caught fire and disintegrated.

Oh we're living every day
But we bear these nasty scars
And we all sit down to pray
In this beautiful graveyard

Oooh, but for now we'll
run and we'll hide.
It's too dangerous
to go outside.

The charred remains of the newspaper flew across portions of the LED screen, while white ash seemed to rain from the ceiling of the stage. As it fell, the arena was filled with the aroma of burning paper and smokey air. Before long, the majority of the stage floor was covered with ash, as well as the top of Nikol's head and eyelashes, however she seemed unphased by her surroundings and maintained a stern, forward expression on her face while she returned to singing the verses of the song.

The war's over
Count our losses.
Set up headstones
Mount the crosses.

Build my village
From the ground up
No worries,
We're fine on our own

Videos of children running around a grassy field, laughing, were projected on the background screens, with a slight sepia filter added to it, making bringing about a vintage and an old-school, nostalgic feel to the animations in the background.

But everywhere you go, you'll see
People are just like you and me.
All the stories of death and pain,
Still we’ll go to war again

The camera zoomed in on Nikol's face, who held up her hand in a clenched fist inches away from her face. Her face was turned to the side, looking at her fist, which seemed to be oozing blood from her palm. In the meantime, the background showed the same grassy field as before, but after war and devastation had taken its toll on the scene, so that fire and mortar shells replaced the majority of the earth.

Oh we're living every day
But we bear these nasty scars
And we all sit down to pray
In this beautiful graveyard

Oooh, but for now we'll
run and we'll hide.
It's too dangerous
to go outside.
Of our graveyard

The camera zoomed around the perimeter of the stage, where the wind picked up and the smoke and ash were blown about the stage. Though Nikol was visible throughout the entire spectacle, the background LED screens were not. Nikol's hair, during this, flew with the wind and began to grow unruly and covered with ash.

Oh oh oh oh oh oh
oh oh
oh oh oh oh oh oh

But for now we'll run and we'll hide.
It's too dangerous to go outside.

The fog almost immediately dissipated and the LED screen showed firey rain against a cloudy nighttime sky, but the animation seemed to be moving in slow motion. Nikol was posed in a way where one of her hands was slightly outstretched and amove shoulder level, but she brought it back to her hip in slow motion. In fact, it took her the entire duration of this next verse for her to do that. At the last line of the verse though, she shot both of her hands downward, palms outstretched, and the background pattern continued at a normal pace.

I'd like to think about, living life without the thought.
Of laying awake at night, praying that we'll be alright.
The missiles and the bombs, we don't know where they come from.
But we'll say until the end, we don't wanna join our friends.
In the graveyard.

Shots of pyros and smoke went off in sequence, in seemingly random parts of the stage, imitating bomb strikes. The smoke billowed up over Nikol's head and she almost looked like a warrior standing in front of mountains of debris and smoke. The camera maintained a frontal focus on Nikol for the next part of the song.

Oh oh oh oh oh oh
oh oh
oh oh oh oh oh oh
(In the graveyard)
But for now we'll run and we'll hide.
It's too dangerous to go outside.
(In the graveyard)

The smoke seemed to dissipate and in its place stood dozens of people wearing dirty gray sleeveless shirts and black trousers. Their skin had dirt marks all over them and they seemed to be in poor health. They stood in rows, looking directly ahead without any sign of emotion. Nikol, meanwhile, moved her body around in fluid motions, singing the "ooh's" as she did so.

Oh.... oh.... oh...
(In the graveyard)
Oh... oh.... oh...
(In the graveyard)
In the graveyard
In the graveyard
In the graveyard

The camera focused in on Nikol for the final shot, and tears were forming in her eyes, but she blinked and wiped away any tears and waved to the cheering crowd. "Thank you, thank you so much! We love you!" She screamed before departing the stage with everyone else on stage.

by **Izmedu** » Mon Apr 29, 2019 4:13 pm

06. IZMEDU
IzaRa - Jukim-Jugre
Translation: Mind Games
Tune: MARUV - Siren Song

“This is a muse run amok. A song that I only wrote at first to vent out a frustration that morphed into something I could not control. It was there that I realized that this song could be more than just my rationalization of something harrowing... It had its own life and personality. In a sense it had become an entity I danced with and resisted, in a constant tension where I tried to find equilibrium. I'm not quite sure where it stands now, but the process of creating this... That's something that will not be taken away.” - IzaRa

IzaRa (full name: Iza Radic) never expected to be in a position where she'd think her music would ever catch the Izmeduan or even worldwide imagination, much less even be competitive for Izmepisma. She stood straddling the line between accessible Izmeduan-language pop and the avant-garde, toying around that uncomfortable line for the entirety of her nascent career. In many ways, IzaRa reminded people of the way a past Izmeduan contestant (VIR) would often spark the debate around genre and the 'seriousness' of Izmeduan music. If VIR did so unintentionally, then IzaRa was an artist who was well aware of such tensions and played them to her advantage. Her recent rise has only cemented her as a 'one to watch' by Izmeduan critics, a then unassuming electro-pop artist who was daring to mix pop with the avant-garde, and even borrowing production tactics and elements thought to be the purview of artists traditionally critically acclaimed.

In comparison to many Izmeduan artists who have gone on towards the WorldVision and World Hit Festival, her career is relative nascent. She may not have the newness of someone like TINA or Marina Radonic, but IzaRa carried with her that symbolism of the next step of what Izmeduan music would sound like in the future. She, in many ways, sounded like the Izmedu of the future even down to the first set of demos she released for public consumption. Of course, the road to being able to release these demos or to even discover her style was by no means a decision of simply settling into a style and working the music industry from there. Tracing what made a song like 'Jukim-jugre' possible involves not just analyzing its musical parentage/influences not just within IzaRa's discography, but also taking a look at the circumstances that caused IzaRa to turn towards such music in the first place.

In the lead up to being a musical artist, IzaRa did not have a set or defined life path. At the time of her entry towards the Izmeduan music industry, it had been a well-worn adage and mantra that choosing the life of being an artist was going to be a hard one on any music artist. Regardless of one's life disposition, of which IzaRa (before recording, IzaRa thought she had nothing to lose), transforming into an artist was acknowledged to be expensive (financially, emotionally, and perhaps even physically). For IzaRa, she saw these as necessary sacrifices to achieve a life-long dream. However, it was the oversaturation of the Izmeduan market that led her to doubt if there was even a place for her in Izmedu's industry. And she would wonder, despite the 'brand' she was beginning to develop, if she would not make it when there were many others like her actively trying and hoping for that one shot.

IzaRa's trajectory prior to becoming a music artist by no means even predicted her being a music artist. She would be working as a secretary while doing production on the side under the alias of 'Ira,' producing instrumental versions of tracks that she would go on to be singing on the regular. For most of her young adult life, she was content at leaving her dream for music as a hobby, finding a gratification at being able to produce music and share it through online platforms. However, IzaRa never really had that kind of strong fulfillment that she was doing something she was meant to be doing. The thought of taking on the Izmeduan music industry was discouraged out of her when she was in her college-aged years. By the time IzaRa was 18 years old, the music industry was filled to the brim with mostly female-led pop that had a hook, was catchy, but also intensely emotionally and honest. The kind of intensive creativity and avant-garde aesthetic that IzaRa would tend towards did not have a space, as artists like VIR and Medusa would have largely faded from public view.

Of course, the landscape that IzaRa faced when she was older became a much different one. But her entry into the industry was marked with an almost profound uncertainty. Having been born and raised primarily around a family that has made only modest careers, IzaRa was behind on both the gigging and connections front. She would only have her productions done via hobby, a singing voice that might do the trick, and the vast abyss that is the internet. Taking the plunge, she would release several demos and videos online, one track which would form the very basis of the entry she was bringing to WorldVision (Jukim-jugre). It was these steps that allowed her to gain enough notoriety and clout to be able to enter Izmepisma on her own, as well as very possibly fielding some minor label interest.

The early version of Jukim-jugre as well as the surrealism of her image (from surreal lyric videos to playing still-shots of some aesthetically pleasing but potentially unsettling images for her audio videos) caused IzaRa to be somewhat of a viral phenomena. She would polarize Izmeduans as to whether or not she was the real deal as the next big thing in Izmeduan music or simply someone that was doomed to fade into obscurity, especially since she was not backed or endorsed by a major label. Either way, IzaRa knew that she was causing a strong reaction from anyone that came across her music. She played with genre convention, being both conventional and uncomfortable all at once.

Jukim-jugre, the first product of that experimentation, was what she picked as her calling card when submissions for Izmepisma came about. She envisioned the song as the representation of a 'dark fantasy,' the subconscious uttered into conscious and creative thought. The music soundscape was one where she envisioned a heavy production, inspired in a minor way by Izmeduan traditional pop (especially with the instrumental flourish at the beginning of the song) but primarily being informed by heavy electronic production. She envision a fantasy steeped in a dangerous romance, one where both lovers would be playing each other, transfiguring their deepest and most dangerous desires but with their games clashing with each other in ways that neither could not have foreseen. It was a muse, an entry point, taken to an almost creative extreme.

From writing the song, to coming up with ideas to how it can be bought to life, and leading the small team that would help her transition the song from a demo production to an Izmepisma entry, she found the time of her life being able to help bring the song into the mainstream. What IzaRa did not expect was for the song to catch fire in Izmepisma, much less even be chosen. IzaRa figured that the professional development one gets from submitting a song to Izmepisma was experience enough. She operated under the assumption that the song would fly under the radar, but to face a further spike in popularity? Enough to buoy her to become the WorldVision entrant for Izmedu? She could barely believe being the odds-on favorite to win the national final (especially with the artists she was competing against), but her turn at the WorldVision baton had become a reality.

She had no idea what to expect now in Estogium. The performance ideas were refined, given the increased scale and scope of the WorldVision stage. However, it wasn't long ago that she felt nervous performing even at her national final. This was most definitely the largest audience of her career. She took a deep breath and walked out into the stage... Hoping for the best, and hoping this would pay off.

The stage lights billowed down to the center and pulsed with a brilliant white, casting the Crystal Ball's area interior into a total darkness at the advent of the Izmeduan entry. There was a large crowd cheer, especially form the Izmeduans who traveled all the way to Estogium that were buoyed by Izmedu's recent success in the World Hit Festival. The arena was coated in silence once the cheering subsided, and it was there that the entry formally started... It abruptly started off with IzaRa's haunting voice, her voice in a falsetto as the stage was framed with smoke and haunting red and white lights. The camera would focus on a kneeling IzaRa whose eyes were closed as her vocal marked the introduction of the song. Her position almost seemed sensual, her hands on her thighs as she would ad-lib the beginning of the song, letting her vocals soar slightly as the camera made a slow rotation around her.

Ne damno ne jamno
Ne damno ne jamno

Her body would writhe slightly as through these introductory lines. IzaRa's voice remained at a high register, as she would then frame her face by slowly touching her chin and cheeks through these two lines. Her eyes remained closed as the lights would develop around her, going from a haunting red to a mixture of red and white. The instrumentation teased the traditional-sounding instruments that would gird the song in later moments, acting almost as a moment of foreboding. As the camera circled around her, an observant viewer could notice the outlines of three other dancers that surrounded her, shrouded in darkness. These dancers were strategically lying face down, with the venue lighting up slightly to reveal their forms as the song transitioned from its introductory lines to the first verse. Now, a beat was added to the proceedings, as IzaRa finally opened her eyes for the first time this entry, and locked the camera into place with her eyes.

Ne damno, Ne jamno
Destruš la scora
Ne farno, Ne varno
Stvar ne uspija
Ne damno, Ne jamno
Sam iluzija
Ne farno, Ne varno
Stvar ne uspija

IzaRa's vocals were husky and soft, yet had a heaviness to them that sowed the seeds for a mixture of a sultry mood and madness. Her expression was fierce and yet lustful, her eyes displaying a kind of elegant derangeness that befit the soft swaying she did with her body that was timed to the beat. White lights would flash to the beat that was added, as one could see the dancers softly bump to the beat. For the first two lines of this first verse, a female dancer could be seen getting up and standing right behind the kneeling IzaRa. As IzaRa swayed her body, the dancer would then sensually start to touch IzaRa's face, shoulders, and arms, the dancer's soft hands framing the singer's face as she would sing. Both the dancer and IzaRa would continue these sensual movements throughout the verse, even as an additional layer of instrumentation was added. At that second half of the verse, the other dancers would begin to rise, themselves flanking the dancer that was getting intimate with IzaRa. By the end of the verse, IzaRa would 'take control' staring up into the dancer that was touching her with an expression of madness that fit her vocals. She was lusting for the dancer, her temptations but also her insanity provoked.

Si iskušenje
Dolatko i opasno
Jos na vidiku
Uzmi plesa conmaic?

The dancer that had closely interacted with IzaRa was now sideways of her, the lights flashing into darkness and the camera fading from frenetic view to frenetic view to hide the sudden movement. IzaRa herself had turned sideways towards that dancers, with the other two acting as disinterested on-lookers looking on from the darkness. The dancer and IzaRa would lock eyes, moving closer towards each other but their movements being similarly deflected. The dancer would sway her body in an almost routine-like fashion to sway IzaRa towards her direction, to which the singer would oblige. However, the dancer would deliberately play hard to get, only relenting at the last line when both would lock hands; with IzaRa figuratively and literally asking the question prompted on the lyric. The song's trademark moment had appeared, the 'bang.' The same word appeared on the screen with a red typeface, appearing for that one second where IzaRa would utter the word.

From there, the song's drop had finally manifested and now made apparent. The two other dancers would quickly surround IzaRa and the other main dancer. The instrumentation and drop were heavy, creating an intensity in the sultry and sensual mood of the song, as well as an urgency. IzaRa would heavily writhe her body to each beat, the camera taking on a close view as IzaRa would writhe and slink her body to each beat. The dancer would respond in kind. When an additional beat was added, the screens behind them would flash a haunting white, crafting a contrast to the haunting red that would remain a fixture on the stage. It was at this moment that IzaRa and the three other dancers would finally dance together for the first time in this entry. The choreography they did to close out the drop was intricate, almost acrobatic at parts, and ensured that IzaRa would remain the centerpiece. It was when the song would lapse into a breakneck beat was where the IzaRa and the dancers would attempt such nigh-acrobatics, resulting in the dancers on two dancers in the floor, and Izara standing in the center being a dominant force. The end of such a beat caused IzaRa to release a loud 'Ah!' into the air.

Ova vlast
Više, Više, Više, da
Ova vlast
Više, Više, Više, da

IzaRa would sensually lay her hand on the two dancers' backs, as the dancer behind her was performing some intricate choreography on her own, framing her face and also interacting with the two women on the floor. Accordingly, the two women would also be tempting IzaRa, their hands going up and down her arm as she sang and belted these lines. IzaRa's hair was now strategically covering her eyes, displaying a temptation that was fast fulfilled, and a burgeoning madness as the camera switched from frenetic close views of each dancer to views from an overhead. By the end of the long chorus, the dancers would rise up and surround IzaRa, framing and surrounding her in once more.

Si iskušenje
Dolatko i opasno

This reprise of the hook served as the transition to the latter half of the song. This was the moment where the dancers would frame IzaRa's face with their hands and their bodies, surrounding her as she momentarily was on her knees. Her vocals went from almost the siren wail-esque quality to a huskiness once more, her eyes glazing over the camera as if she was in a dream-like state. At the end of this brief intercession, the dancers would once more surround IzaRa, harkening back to the beat and the atmosphere of the earlier verse.

Ne damno, Ne jamno
Destruš la scora
Ne farno, Ne varno
Stvar ne uspija
Ne damno, Ne jamno
Sam la sirena
Ne farno, Ne jarno
Pazi maj poziv

For this second verse, the proceedings were similar yet different from the first. Instead of IzaRa and a dancer vying and resisting each other, this time, the entire group was in on it as a collective. The shots were frenetic, focusing primarily on the dancers as they would sensually touch each other. IzaRa would sing each couplet of lines to one dancer, as each would coordinate movements carefully and intricately. She would primarily direct her energies to the two dancers she hadn't much interacted with yet, cupping their faces gently one at a time per each couplet. The atmosphere was intimate, the red hue disappearing just for this one verse as the stage was coated in a total darkness except for a white light on the foursome. As each dancer toyed with and resisted IzaRa all at once, the dancers would then be seen trying to cour teach other. Sometimes, they would court as a collective or vie for a specific one. At the last couplet, she would then sing and 'address' the dancers as a collective, the red lights returning once more, and her expression striking, commanding, and haunting.

Udari me
Ju-uzvratim udarac
Si iskušenje
Dolatko i opasno
Tvaja otpora
Je maje plakar
Jos na vidiku
Uzmi plesa conmaic?

IzaRa sang this 'chorus' mostly on her own, with the rest of the dancers acting as a backdrop. However, per the camera and the staging, she would basically carry the mood and the proclamation mostly on her own. The camera would circle around her, as if she herself was addressing the viewer at home instead of the dancers. Behind her, the dancers would be making similar movements to her, almost mirroring her. She spoke these lines with an intense quality in her voice. Her voice sounded almost hushed as the camera circled around her, but when the chorus kept progressing and when the delivery began more intense... She would almost be staring the camera down, presenting her as a dominant figure to the audience at home. The chorus would then progress towards a dutch angle view of her, treating the viewing audience at home quite like the dancer she did earlier. The instrumentation would keep progressing, starting first soft as well, and then intensifying into a urgent and intense production. It would then end with a close-up view of IzaRa, singing that last line and question while nodding with a sultry look on her face. That last question then coincided with a sudden cut to a wide view of the stage and the word 'Bang' once more appearing on the screens behind her.

The fast camera cuts, timed with the intense drop of the song, allowed IzaRa and the dancers to quickly get into a line formation for the first half of the drop. They would be making suggestive moves to the camera as they were coated by the haunting red hue that dominated the stage. Each move was intricately timed to the beat, looking deceptively simple. By the second half of the drop, IzaRa and the dancers would remain in a tight formation, but instead perform a much more intricate routine. The choreography reflected a progression of the movements they made from the earlier moments of the song, satisfying yet resisting each other's desires, and transfiguring those movements towards the audience. They gave it their all to close out the drop, IzaRa capping off the drop with the loud 'Ah' and some flexible movements towards the audience.

Ova vlast
Više, Više, Više, da
Ova vlast
Više, Više, Više, da

IzaRa would sing out the song by returning to her higher register, recalling the siren-esque wails she did at the beginning of the song. She would be performing a light version of the choreography that the dancers would be surrounding her with. The dancers would then slink down to their knees, allowing IzaRa to 'dominate,' reflecting the song's lyrics. They would writhe and bump into each other, with IzaRa and the dancers occasionally grabbing each other's hands as all four would almost 'mold' into each other as a collective.

Ova vlast
Više, Više, Više, da
Ova vlast
Više, Više, Više, da

This part would be repeated one last time. The instrumentation took on a much more threatening bent, and the dancers and IzaRa would then turn their faces directly toward the camera. At each line, the foursome would directly step forward with nigh-deranged looks on their faces. They would step forward almost menacingly, causing the camera to step back bit by bit. IzaRa would reach her hands towards the camera, doing so at the last iteration of 'ova vlast.' IzaRa's face was screaming that she was out for blood, a dual madness and temptation having completely overtaken her visage. The song, quit literally, would end with a 'bang.' The lights would flash into a total darkness as the only image that remained was a red 'Bang' on the LED screens.

IzaRa breathed a sigh of relief and could barely believe that the performance was over. She was overwhelmed by the massive crowd cheer that happened and was enveloped in a brief huddle by her dancers. It would take a while for the excitement to get into her system, nor the surreal feelings currently sitting inside her.

"Hvala!" She shouted, walking backstage. Despite the intensity of the performance and the many fears that she harbored that something may have gone wrong or not worked well, she was more relieved that it was over. Her entry into WorldVision was official.

She had no idea how the results would pan out, but that feeling of participation and performance alone was something she would not forget.

by **Axuva** » Mon Apr 29, 2019 5:52 pm

CORA JEONG

https://www.youtube.com/watch?v=e4P670Jo7PA

(DISCLAIMER: JUST EXAMPLES OF WHAT IS HAPPENING AND THEY ARE NOT IN ANY TYPE OF ORDER!)

The song starts with a short piano solo, the lighting is purple on stage and as it gets closer to ending the music intensifies and the orchestra instruments echo across the room and the mood has been set for a slow paced, romantic song. Two dancers are on opposite sides of the stage and the camera pans to one male in dress attire, who is dancing to to the music that the orchestra is producing, letting the sound direct him. He continues to dance in ballet form. The look that is on his face is as if she has lost something and is looking for it. He grows sad after not being able to find it. The camera then pans onto the other dancer across the stage, he extends his arm out and the camera pans out and both dancers eyes light up, and they start spinning toward each other. He stops short of him and he catches him in his arms. He lifts him up and spins her around, and as he brings him down they stare into each others eyes. She gets down and they both separate, rolling to the floor. Then as the music intensifies, they dance as if they were fighting each other, with the look of anger in both of their faces. They then stop to have a look of realization, and as the dance solo ends, they run to each other staring, going into each others, embrace and going for a kiss as the song starts. They hold hands and begin to dance away into the darkness slowly and the staircase piece would have a spotlight and the entire arena would be dark and the LED screen would not be on. The backup dancers posed in other areas of the staircase. Cora stood in the middle of the Arena on a center stage piece and she starts to sing as the giant crystal chandelier was covering her

I love you...
I love you, I love you…

[Verse 1]
Hold me forever, take me into your arms
No one else can complete because when I look at you all I see is stars
I cant believe you’ve got me, forced into your love
I dont know how it would be if it were not for your love
I will take your hand, you will take mine
I can just survive when I know that it’s just you and me
Your love is special, you had all the world
But in this world you chose only one girl

The giant crystal chandelier would start to rise, revealing Cora to the crowd and she stood facing the crowd, with her back towards the stage. The microphone stand stood in front of her and she continued to sing.

[Chorus]
Theres no life to live without you
Do you really think
That I would be able to live a life without you in it
And theres no life to live without you
You give everything
I wonder if you feel this way

Dancers on the staircase platform danced in stop motion fashion, in balance with the song, as they were all dressed in elegant clothing to go along with the theme of the performance.

[Chorus]
Theres no life to live without you
Do you really think
That I would be able to live a life without you in it
And theres no life to live without you
You give everything
I wonder if you feel the same

The tempo of the song died down as the dancers slowly paused their dancing.

[Bridge]
When you come to my embrace
It satisfies because you make me feel so alive
You created life, strength, touch, love
I cant live

The build up of the break in the song created tension in the crowd to hear the note at the end of the bridge.

Without you……

As she hit the high note she grabbed the microphone off of the stand, facing the other side from where she was originally at, letting the sound of her voice shoot in the air.

Theres no life to live!

[Chorus]
Theres no life to live without you
Do you really think
That I would be able to live a life without you in it
And theres no life to live without you
You give everything
I stare at you and I see my everything

Theres no life to live... No life, no life without you
I can’t live without you… not without you.
Oh, not without you

Without you without you without you without you without you, without you without you, without you without you…..
Without you without you without you without you…

The lighting in the arena got a bit darker and she turned around to another side of the platform facing the other side of the crowd, and she began to sing softly. The dancers start to dance slowly again on the platform.

I can’t breathe, without thee l, you’re special, you keep me
You take me to places that I can’t describe
I can’t move on, I just can’t
Our love won’t die, it’s too perfect
It’s soothing, it touches me
You excite me, you feel me

Take on me, let’s leave our dreams about
I can’t be without thee
You like me, I’m finding our love
Is too right

La, la, la
De da da da….
La la da de da da de da da da da da da da da da da da la la la la la la la la la la la la la la la…

The dancers paused and the front stage lights were gone, and the only thing lit in the arena was the stage platform Cora was standing on by this point of the performance.

Oooooooooooooooooooooh ooooooh…….. Wooooohh ooohhh.. Oooooooooohhh…

As she ends the song she reaches in the air, letting her voice echo across the arena as she slowly pulls the microphone away from her mouth to create the effect, extending her arm out in the air.

by **Antahbrantahstan** » Mon Apr 29, 2019 9:48 pm

8. ANTAHBRANTAHSTAN

RECTOVERSO-Temptation

Tune: Blackpink-Playing With Fire (Areia Kpop Fusion remix)

m & l: Jewing Gum

RECTOVERSO is a pop duo who was formed in late 2018, consisting of Alya Suhaini Karim and Chanisa "Blair" Sanchez.

Alya, who became a hijabi after performing in WorldVision 45 (as part of FDM), was extremely unhappy with her life, although after WorldVision she finally got the fame she wanted alongside her sisters, she was saddened when she heard that her sisters doesn't share the same passion with her anymore, especially after their bottom finish in WorldVision, she tried keeping FDM together, but, to no avail, FDM disbanded not long after, with Alya, Deandra, and Cornelia each pursuing different projects.

In order to make herself busy, Alya accepted brand endorsements, and was invited as a speaker many times, both for religious and secular matters, but, she still wanted to pursue her passion: music, so, she decided to cancel several of her appointments and formed a team consisting of her old vocal coach from FDM days to scout for talented artists, other than that, she then contacted several of her old music producers to write new songs for the new group, Jewing Gum (real name Adar Bergsmann) afterwards gave the demo for "Temptation" which was originally written for Aline Lora in mind, who decided before the group got new members that it's going to be the debut song.

Not long after, Alya's vocal coach spotted Blair at a local music festival. Blair thought that she was going to get abducted by them and wanted to run away, however, after the vocal coach reassured Blair that she was just scouting her, she became calm, afterwards, after several negotiations, she was finally accepted as part of Alya's new group. To Alya's joy. Alya then asked the vocal coach not to do anymore scouting, as she felt that Blair's abilities was enough, especially her rapping skills.

The newly formed group later took part in MGP Anta, originally called "Nameless" until they won, during their preparations for WorldVision, Alya and Blair finally decided on the duo's name, which is Rectoverso.

Red: Blair
Pink: Alya

The stage is dark at first, later, the stage finally lit up, revealing that Blair is on stage, where she is wearing a colourful jacket, red t-shirt and skinny jeans. she at first sings facing the LED screen, with the cameras shooting her in close up, as she sings, she slowly turns around (facing the audience), with the camera still zooming in, after she finished singing, she forcefully turns the camera towards the right side (left from the audience's PoV)

Aku sungguh tak menyukaimu (I really don't like you)
Janganlah kamu dekati aku (Please, do not come near me)
Semua bilang hal buruk tentangmu (Everyone said bad things about you)
“Jauhi dia”, eh ("Stay away from them", eh)

It is revealed that Alya is in the right side of the stage (left from the audience's PoV), she is wearing a white shirt, white jacket, and jeans, complemented with a gray coloured hijab. She at first sang her verses sitting on the chair, but later she walks towards the center of the stage, the camera following her, at this point, the LED screen is revealed to show that it is showing a night sky, like this image. At this point several back-up dancers enters the stage, wearing simple, one-color t-shirt and jeans.

Aku tak tahan melihat wajahmu (I just can't stand looking at your face)
Semua emosiku bercampur jadi satu (All my emotions keeps mixing into one)
Meski hatiku menginginkanku (Eventhough my heart wants me)
Menjauhinya eh (To stay away from them, eh)

Afterwards, Alya, Blair and the backup dancers formed a diagonal line, with Alya in the front, they danced in accordance with the song's rhythm, with everyone changing positions each time, and near the last verses, they danced slowly, to set the stage for the next verse.

Hati, pikiranku rasanya (Now my heart and my mind keeps)
Tergila-gila (Becoming crazier)
Padahal aku masih ingat (Eventhough i still remember)
Keburukannya (All the bad things they have done)
Look at me, look at me, now
Lupakanlah semua yang dia lakukan (Forget everything that they have done before)
Jangan takut (Don't be afraid)
Just give into temptation

The "Just give into temptation" would then echo over and over throughout the arena, and at the same time, the stage would then darken, with only several spotlights shining over Alya, Blair and the backup dancers, who stand still in their position. As the beat begin to drop, the lights and the LED screen continue to flicker and "go awry", with spotlights shining in every direction they could. and as Alya finally sang, the LED screen and lights go back to normal, with the LED screen showing three pulsating hearts representing heart of stone, heartburn, and lightheart (OOC: Like this BBC Choice ident, without the BBC Logo obviously), while small pyrotechnic fires would be lit every second. Alya, Blair and the backup dancers would still continue dancing and singing.

Just give into temptation
What feels bad feels so good
Temptation
Now burn, baby burn
Temptation
So don't feel guilty, boy
Just give into temptation

Afterwards, the hearts disappear, and the LED then shows a plain, red colour. Alya and the dancers would then move towards the other side of the stage off-camera, leaving Blair who is standing near the back of the stage, she would then rap a few verses, and afterwards, after she rapped the "mana yang kupilih?" verse, she would then walk like a model into the front of the stage, with her left and right side sprouting pyrotechnic fires (thanks to Anturian equipment), creating an illusion of walking between a bridge of fires, when she nearly finished her verses, the fires would stop and she would forcefully move the camera (that is fixated towards shooting her from the front part of the stage) towards her right.

Oh no, apakah ini suatu dosa besar? (Oh no, is this a big sin?)
Semakin kupikirkan membuatku gusar (The longer i think about it, makes me more upset)
Aku terus saja begitu (I just keep doing that)
Jatuh ke jurang bernama hawa nafsu (Falling from a cliff that is named lust)
Ku berjalan di tengah garis hitam dan putih (I am walking in between a black and white line)
Ada dosa dan kasih, mana yang kupilih? (There's sin and love, what will i choose?)
That’s urusanku dengan dunia, kau jangan ikut campur (That's my business with this world, do not intervene)
Try to gamble with fate
It’s too hard, It’s a stalemate
Even if i’m walking on a high wire
The universe will conspire, Ow

As Blair needs time to move in position, the camera would shoot at Alya and the dancers for a while, with some audience shoots in between, afterwards, the camera would then shoot them normally as before.

Hati, pikiranku rasanya (Now my heart and my mind keeps)
Tergila-gila (Becoming crazier)
Padahal aku sangat ingin menganggap (Eventhough i really want to pretend)
Dia tidak ada (That they don't exist)
Look at me, look at me, now
Lupakanlah semua yang dia lakukan (Forget everything that they have done before)
Jangan takut (Don't be afraid)
Just give into temptation

The lights would dim a bit, while Alya and Blair dance slowly, afterwards, they stopped, and near the last verses, the camera would only shoot Alya in close-up, who stopped dancing, and after she sang the "Woo", she then snapped her finger.

Why don't you stay away from me?
Because looking at you makes me feel crazy
The temptation is growing
I can't stop, i want to be together with you, Woo

The LED screen would then show the pulsating hearts again, with pyrotechnics in full swing and the lights would continue to move in a coordinated motion, with Alya, Blair and the backup dancers now dancing energetically, with the audience feeling that they want to jump and burn the stage itself.

What feels bad feels so good
Temptation
Now burn, baby burn
Temptation
But don't feel guilty, boy
Woo

Alya and Blair would then stand back to back, with Alya and Blair both shushing towards the audience, and the backup dancers standing in position, the audience would then erupt into applause, with Alya and Blair shouting into their in-ear mics, "THANK YOU SO MUCH! WOO!", afterwards, they would hurriedly exit the stage with the backup dancers.

by **Todlichebujoku** » Mon Apr 29, 2019 10:11 pm

09. _Tödlichebujoku_

Tune: Molly Sandén - Phoenix

Kenteemsi
Endurance

Esvieta Torres

Esvieta Torres was no stranger to failure. A multinational lady with links to a surprisingly large number of WorldVision nations, she had attempted to represent many of them before finally scoring it big with TÖBUK. But how did this all come to pass? Born in Kaltekasai (aka Frigidekasai) to a Britonish-Lagoese father and a Polkopian-Izmeduan mother, Esvieta was the poster child for the fostering of close international relations in WorldVision. While she did grow up in the semi-autonomous province of Lagoa in Tödlichebujoku, Esvieta retained a strong understanding of her parents' cultural backgrounds, through no small effort on her parents' part. It was from this background that Esvieta began experiencing music, an intersection of the surrounding Tödlichebujoki and Lagoês pop culture mashing with the Polkopian, Izmeduan, and Britonish hits imported by her parents. Her connection to her roots came to be of vital importance growing up in Tödlichebujoku- while Kaltekasai was just about the most progressive city in the nation, those in many other parts of the nation held rather... traditional views on her parents' open sexuality. On trips out to the countryside, Esvieta acutely felt the culture clash- every sideways glance and overly affectionate endearment by the locals did not escape her notice. Luckily, the Torres family was firmly rooted in Kaltekasai, where openly hetero couples were a common sight, and no one seriously judged her parents.
In this accepting environment, Esvieta managed to integrate pretty well in school, and found herself in a very creative little music clique. When she began to experiment with creating music with her group, she realized she brought a little something different to the pop, rap, and rock that her peers were intent on replicating. Sadly her efforts ended up being primarily educational, as one by one her friends shifted away from music writing and production toward other more traditional professions. The Izmeduan part of her shone clearly, however, as Esvieta continued to chase her dreams of writing and performing music despite the loss of creative partners and financial pressures. Luckily for her, the Izmeduan in her mother did not show up as her mother was extremely supportive, even as her father was constantly away on business trips in Britonisea and the surrounding nations. With this last bastion of support, Esvieta sought to up her game and managed to slip into a a series of writing and performing bootcamps to hone her skills and make connections. One of these fateful connections led her to what would become a long and painful journey towards becoming a WorldVision entrant.

Esvieta's first appearance on the WorldVision circuit was in Landa vy Polkopiya, where she performed under a Polkopianized pseudonym. Unfortunately for the burgeoning teen singer, she failed to make an impact and placed somewhere in the middle of the pack, leaving her participation to be all but forgotten in Polkopia and the WorldVision community in general. Some time later, her growing web of connections led her to Vodiznad, where she managed to gain a place in the discussions of pre-Izmepisma RTI, and for a few weeks she was sure she would represent Izmedu on the international stage, prepping herself to pull the full Izmeduan lacrimation performance package. But it was not to be. The discussions ended in favor of another artist, and Esvieta was left once more to fend for herself. She looked to another chunk of her heritage- Britonisea. Taking the brave step of traveling to the famed nation, even applying for citizenship in the vain hope she would succeed... and it almost seemed like she could make it. BVC called her in for a meeting, and her hopes rose once more. Alas, soon after the meeting had concluded, with all seeming well, Esvieta received a politely but haughtily worded letter of rejection that noted among other things that her "facial contours" and "bodily composition" were simply "not of the correct quality to represent Britonisea". Crushed by this rejection and growing increasingly desperate, Esvieta found herself in talks with LTR, the broadcaster of a small new nation looking to debut in WorldVision, even becoming their official entrant, adopting a different pseudonym so as to not appear desperate and receiving a naturalized name in return. As befitting her luck, the broadcaster unexpectedly shut down its WorldVision operations when the nation went into an economic and political crisis from which it did not recover. This final failure, particularly as it stacked atop the others, left Esvieta broken and despondent. With nowhere else to go, she retreated home to Kaltekasai where she spent an embarrassing number of days weeping in her bed, huddled under the covers and moving only for basic bodily functions.
Only upon the urging of her sympathetic mother (remember those Izmeduan roots- her mother related to uncontrollable sobbing on a deep genetic level) did Esvieta find the energy to continue on her career. At this point she simply could not care about the international stage, and took whatever gigs came her way, whether they were relatively calm evening bar performances or low-budget wedding receptions. She performed at random school events, crafted videos on her crystallomatrix shard, and performed on the street with a hat out to collect coins and stray banknotes. Esvieta was poor and unknown but at least she was singing and writing, which was what truly mattered.

Of course, given time over the course of years, all those videos on her shard and all those performances at the grassroots level made her a bit of a household name in the city, and it took only one viral video of her keeping her composure and vocal quality as an extraordinarily drunk lady attempted to accost her during a performance on a small river cruise did record labels and TÖBUK itself take notice of the struggling starlet. The national-level broadcaster, alongside Vrayntti Records, offered Esvieta the resources she needed to write and record actual albums once again, and on top of that, the opportunity to represent the nation in WorldVision. Blindsided by the entire situation, Esvieta accepted while in a state of shock, tears rolling down her cheeks as she realized that perhaps her old dreams really could come true. Given the chance to make it big once more, she reviewed her old material and decided to revamp a song she had once hoped to perform as an international superstar, and completely reworked its theme to reflect the trials of her journey thus far. For once in her life, record companies were scrambling to sign her, a major broadcaster had expressed genuine interest in her, and she had actual devoted fans. It was so surreal she almost didn't know how to function again.

For TÖBUK, of course, the path to Esvieta and WV73 was a bit different. The broadcaster was under immense pressure by a legion composed of future-casters and betting analysts in this auspiciously numbered string of editions, and had to produce successes, avoiding the flops seen in WV64, 65, 67, and 71. VUORENPALO's 8th place finish in WV72 was a significant improvement, but that still meant that there were 7 more places to improve on. Committing to its long-held philosophy of encouraging diversity in music, TÖBUK opted to return to a style it had not sent since approximately WV57, taking a break from the recent focus on EDM and rock, which had not been particularly successful for the nation's record. A change had to be made, and that change coincided with Esvieta's rise to national recognition in a lucky stroke for both parties in a fashion judged auspicious by leading seers. Without having to organize a time-and-resource intensive edition of Sinun Valintasi, TÖBUK could focus on working closely with Esvieta to create a track and performance that would hold up to the increased quality standards. Thus TÖBUK is hoping to continue the nation's recovery in the rankings and satisfy the seething horde of future-casters, media outlets, and fastidious fan critics.

The media firestorm was brewing as the news she broke in an interview about her experience with the BVC kicked up irate protests throughout the ABEN nations. Britonish media representatives and associated celebrities declared Esvieta a Britophobic liar and discussions about Britonish selection processes and practices reached a fever pitch among the WorldVision fan community and media sphere. Sitting in a packed conference room in The Estograd, the air heavy with the breath of dozens of reporters and camera crews, the singer was determined not to back down. She knew what she knew, and the barbed questions being shouted at her could not shake her nerve. She sipped her hot brew calmly from a "BEAUTY IS ONLY SKIN DEEP" mug a fan had sent her- she was still a frugal lady, a hard habit to break from her time performing in hole-in-the-wall venues and even literally singing in the rain, an experience much less exciting and romantic than one would expect. The media circus wasn't what she was here for, however.
Staring wistfully out through a distant window, she mentally rehearsed her performance while only half-listening to yet another incensed reporter asking her about her "senseless bigotry" and "utter slander", his relentless sound waves bouncing off her tired eardrums like so many before. Thank the powers that TÖBUK had managed to secure such a nice staging budget, she honestly had no idea where RTI got the funds to do so. Maybe she'd return to Izmedu one day. Until then, she could feel the anticipation of finally making it onto the big stage after all these years, and finally living her battered dreams. Perhaps even the Britonish and Estogians could look beyond the past and judge her performance solely on its merits. Esvieta held on to her faith that humanity was intrinsically good and well-meaning, and hoped that level-headedness and love would prevail.

A faint shade of blue glimmers along the stage's surface. As the music begins, the silhouette of Esvieta becomes visible quite near the back of the stage as she is softly lit from behind. The background screen glows like a cloudy morning, with a soft white glow at the base fading to darkness as it rises. Wind blows, whipping her hair and clothes, with sparkling snow flying nearly horizontal with the wind around her. She clutches at herself, leaning forward against the blowing snow, eyes closed. The camera primarily shoots directly level in front of the stage, still and focused on Esvieta as she battles the onslaught. With each set of drumbeats, the background subtly flashes in quick succession, like distant lightning. Voice calm and focused, she begins

Snowflakes sting my sight
Wind is whipping harder still
Voices in my head
Sapping at my battered will

She steps forward, illuminated as she does so, revealing her to be wearing a cape-style leather blazer fastened with snap fasteners, with black jeans and boots. She looks up and stares straight ahead, brow furrowed in concentration, as the wind dies down and the snow begins to drift more calmly down around her. The camera pulls more dynamic angles, showing how the stage's accent lights create a rapid ripple motion outward with each drumbeat as Esvieta steps slowly forward, fists clenched in determination

Every single step
Blanking out the pain until
I pull through the blast
Rise unstoppable

Mist seethes out in a from along the stage edge, the wind at the stage floor rising to be just strong enough to push the mist in a low sheet along the floor, but then allowing it to rise as it reaches the back of the stage. The lighting grows cold, almost harsh, as the wind and snow begin to rise in intensity. Esvieta has stopped moving forward, having her feet planted firmly on the floor and braced against the wind and mist. She stares stubbornly ahead, occasionally closing her eyes and facing downwards, as if struggling against a bitterly cold wind

Má kenteetaan, má kenteetaan
I endure, I endure

Má kenteetaan, má kenteetaan
I endure, I endure

Má kenteetaan, má kenteetaan
I endure, I endure

Against the raging storm

The light softens and warms faintly as the pattern of the wind machines alters so that the mist is being formed into a vortex around Esvieta. No longer braced against the wind, she is standing straight up, fiery hair tossed about by the wind and arms crossed, grabbing her shoulders. Auxiliary spotlights rise and flash in a sequence tied to the beat as the camera begins with a close-in shot of her face from an angle and then zooms out over the audience

En voi, keryáámáán anteeksi,
I can't, beg to be forgiven

Itkeá ü-ü-üksin
Weep a-a-alone

Against the raging storm

Oh, scarred but not destroyed
Heartbeats pound, reborn
Against the raging storm

She whips her hair out of the way, her arms rising to shield her face from the vortex before falling so that she can look out toward the audience. The stage flashes briefly but brilliantly with each strong drumbeat like lightning from below, the camera close in on all the stage action, Esvieta glancing at it briefly as if hoping for it to save her from the storm

Má kenteetaan, má kenteetaan
I endure, I endure

Má kenteetaan, má kenteetaan
I endure, I endure

Má kenteetaan, má kenteetaan
I endure, I endure

Against the raging storm

With a final gust, the mist clears and wind dies down. The stage dims significantly and is immersed in a twilight-blue glow as Esvieta is lit starkly from behind, her red hair brilliant like a bonfire in a cold night. A softer light shines upon her face as she slowly and deliberately strides forward one step at a time. Her gaze is direct, steady, and unfaltering, a golden glimmer visible in her eyes, perhaps from some conveniently placed spotlight. The camera retreats as it follows Esvieta's advance, at an intimate distance from her determined visage. Faint flashes of lighting can be seen in the out-of-focus background as she continues, her voice measured and confident

Wild fireflies
Dance within my weary eyes
With the failing light
The supercell will shed its guise

She pauses in her advance, a moment of what seems to be vulnerability, but perhaps more like resignation as she looks off to one side and into the distance, as if mentally bracing herself for a renewed onslaught that is more than physical. As she does so, the stage behind her shifts from blue to a dark deep red. The camera still hovers near and around her, capturing all angles of her as she begins to let loose once more

Let the words return
Let the hate come burn
Let the fury and the madness come in its true form

The stage burns bright once more with a great flash, revealing that the mist has crept back to cover the stage floor. Silvery sparks rain down from the back of the stage in an arc, as the camera swings by in a dramatic diagonal sweep. With the wind now blowing mainly toward Esvieta's face, the camera then focuses on her top half as she sings, brilliantly lit all around by the spotlights with the pyros in the background. She sings powerfully with great energy, and it's almost as if this is the final chorus where everything is climactic

En voi, peráánnü tai luovuttaa
I can't, retreat or surrender

Táütüü seistá suorana
Must stand tall

Against the raging storm

Oh, scarred but not destroyed
Heartbeats pound, reborn
Against the raging storm
Má kenteetaan, má kenteetaan, oh
I endure, I endure

Má kenteetaan, má kenteetaan, oh
I endure, I endure

Má kenteetaan, má kenteetaan
I endure, I endure

Against the raging storm

Suddenly, the pyros, background screen, and ambient lighting cut out to black as the spotlights become a cold harsh white and flash to the recurring electronic beats. Esvieta rises into the air, her leather cape blazer snapping open and falling off to reveal a white crystal covered filigree-style top (somewhat like this but white and more densely covering the body) that shines dazzlingly with the bright spotlights roving and flashing upon it. She has her head thrown back, as if in a state of emotional release, and sings triumphantly- she has endured the worst of the storm, she has nothing to fear, and is elated to survive. The camera focuses on her as it pans past and around at a good distance above the stage, managing to avoid being hit with the stronger beams of reflected light

Aion eláá
I will live

Ya kukoistan
And thrive

Ilman sua
Without you

Ya vihasi
And your hatred

White sparks fire up in a procession along the stage edge as Esvieta flies over and about the audience, the cold white spotlights following along her path and continuing to rove and flash upon her crystal studded top. Head now facing forward, she directs her words forwards to the audience, looking off to the left and the right as if singling out specific critics and speaking to them. Granted, as an audience member, it is quite hard to look directly at Esvieta with all the dazzling light gleaming off of her crystals. However, the camera manages to avoid being over-dazzled and manages a direct forward view of the flying crystal-studded lady as it pans backwards and zooms out

Nüt en pelkáá
Now I'm not afraid

Sanoyasi
Of your words

Niin katoa
So disappear

Ya láhde! (láhde, láhde, láhde)
And leave! (leave, leave, leave)

The lights die down to a very simple and calm single beam focused on Esvieta as she floats back down to the stage, otherwise surrounded by darkness. She kneels down, allowing for the wires to be released. Her head faces downwards as a stiff breeze hit her and brings a scattering of snowflakes hitting her horizontally in the face. Esvieta visibly winces at the impacts, but manages to keep a calm voice, as the camera closes in on this calmer, more intimate moment to highlight the flying snow and her reactions to each impact. It's hard to tell with the stark lighting, but perhaps there is a tear running down from one eye

Snowflakes sting my sight
Wind is whipping harder still

The snow disappears and it begins to pour rain from above, accompanied by flashes of brilliant lighting from the sides and behind that illuminate the raindrops, so that the rainfall is like a dynamic veil of glowing glass. Dramatic camera movements sweep in from oblique angles to capture Esvieta as she blinks and raises her head, eyes burning with determination, and carefully rises to her feet, managing not to slip and fall. Even with water dripping across her face, she maintains her composure and continues to gaze directly into the audience and over to the camera as it swings by her

En voi, peráánnü tai luovuttaa
I can't, retreat or surrender

Táütüü seistá suorana
Must stand tall

Against the raging storm (the raging storm)

Oh, scarred but not destroyed
Heartbeats pound, reborn
Against the raging storm

The rain shifts to the back of the stage as mist billows out from behind, golden light radiating from the background screen and spotlights to softly illuminate the mist and make the rain look like golden pyros falling. Esvieta whips her soaked hair back, water drops visibly being flung out, and deliberately begins to step along the stage floor toward the audience. Her boots are clearly well-engineered as she doesn't slip once, and continues along the stage edge. Behind her, a brilliant light slowly begins to be visible through the mist and the rain, a hidden sun over the horizon that doesn't quite yet overpower the lights on Esvieta, who remains dazzling in her rain-soaked crystals

Má kenteetaan, má kenteetaan, oh
I endure, I endure

Má kenteetaan, má kenteetaan, oh
I endure, I endure

Má kenteetaan, má kenteetaan
I endure, I endure

The spotlights on Esvieta fade as the light behind her fully pierces through the fog and the light rain. The camera is set immediately in front of her and zooming out, leaving Esvieta standing proudly as a silhouette in front of a strengthening sun and parting mist, the last drops of rain like glowing beads of glass or drops of fire in the golden sun, which grows increasingly brilliant before all lights and effects cut to black. There is a moment of silence before the applause begins.

Soaked and taking some much needed deep breaths, Esvieta couldn't believe it. She had finally done the deed, performed in front of millions of music fans across nations. "Kiitos! Obrigado! Hvala! Thank you so much, Estograd!!" she shouted, almost unbelieving at the number of audience members before her. It didn't seem real that she had gotten this far, a dream she had once consigned to oblivion. But here she was now, heading back to sit down with the rest of the performers and watch the rest of the show, still euphoric from the high of the experience.

by **Estogium** » Mon Apr 29, 2019 10:54 pm

Riko Wilson: Hello, it's us once again! Thank you very much to Tödlichebujoku for their wonderful performance. So far we have had nine entries, but don't worry, we have some more coming your way soon!

Israael Kashtkar: Hey, Riko! I was thinking... Perhaps you could show the Multiverse some of the skills that you have...you know...show those watching WorldVision what you're about?

Riko Wilson: What are talking about? Everybody watching tonight knows exactly who I am - I am Riko Wilson, world famous musician, DJ, all round nice guy, quite se-

Israael Kashtkar: Well, please do name one of your songs that reached the Top 10 in a nation other than Estogium...?

Riko looked at Israael in shocked before the camera cut to a close-up image of Israael Kashtkar winking at the camera before we went back to a normal frame. The audience whistled and laughed at what was happening on the stage before Riko silenced them...

Riko Wilson: Alright - all you haters! Look, Israael. I might not be a two-time WorldVision flop...

Israael looked at Riko in the same expression Riko gave to Israael earlier as the insult was traded back. The camera cut closer to Riko as he winked in a similar fashion to Israael did. Israael spoke over the audience.

Israael Kashtkar: You are honestly so rude! I wouldn't call my appearances flops either. I mean sure, Estogium had a lot of hope on me but my places were very respectable and to be honest, I ain't sure you could do much better.

Riko Wilson: Hmmm, remember you said that to me, Israael. As Kelly Foster who represented Estogium at the 71st WorldVision Song Contest sung, (*sings*) Yes, anything to prove you wrong, oh, I will do. (*speaks*) Though, if you want me to show something to the audience real quick, I'm sure I could whip up something...

Two Estogian stage crew drug this contraption on the stage - which looks similar to the one that is shown in the video below. Riko took his position on the contraption and held two large sticks, pointing one of them at Israael.

Riko Wilson: Okay, well, this one is for you - Israael!

The lights in the arena darkened as the audience cheered for Riko Wilson as he prepared himself physically for the 30 seconds of EDM he was about to do. Israael joined him on the podium...

Host Intervention #1
Tune : AFISHAL - 15 EDM Drops in 30 Seconds PLAYED LIVE

00:00 - There was a camera that was positioned right above them, similarly to how it is in the video. In the shot, we could see Israael and Riko, with Riko standing in the middle of the platform. Riko started to play before dropping the drum stick on the floor. Israael put his hand to his mouth as Riko quickly picked up the sticks and looked back at Israael.

Riko Wilson: Yup, I was just warming up!

Israael Kashtkar: Okay, sure thing.

00:06 - Israael smiled as another camera zoomed into the men on the platform. The laser lights went crazy in the arena as Riko started to play his song using the contraption. The contraption had LEDs around each of the tubes that hit when it was hit against, pictures of the flags from each of the nations participating flashed up. The audience cheered as they noticed this.

00:12 - As Riko kept on hitting that tube, the camera shot cut from one side of the stage to the other side - zooming in to the faces of Riko and Israael. The lights reacted by flashing on and off. Red lights filled up the stage as the LED screens behind did a static black and white moving image behind them.

Israael Kashtkar: What does this button do?

00:29 - A camera zoomed over the audience, who were all dancing and jumping up and down to the tune that being played. Israael seemed to be enjoying himself behind Riko, with lights still responding to the music.

Israael Kashtkar: Wow, okay... well, thank you!

Riko Wilson: Maybe you can show me what you're made on, Israael, during the next intervention?

Israael Kashtkar: Sure...but first things first we need to get back to the music! Performing tenth is debutants Libumelland!

We zoomed out and went to the posrcard of Libumelland, the audience cheered happily.

by **Libumelland** » Tue Apr 30, 2019 12:01 am

The Principality of Libumelland / La Royaria de Libumélia

Channel 4 Libumelland - Reporting to you
channel4reportar.co.lib

Team T.I.M.E., famous dance-pop boy band from Libumelland was voted to compete in the 73rd WorldVision. We congratulate our representatives in making their way into the event, as it is Libumelland’s first entry into the event. Team T.I.M.E. is made up of 3 people, Jodí Acuebellias, Íra Eúro and Micél Armés. They will preform their debut into WorldVision, “Tables Turned”.

Entry 10 - Libumelland
“Tables Turned”
Team T.I.M.E.

Duration: 7:52 (It’s in two languages)
Language: in Libumelian, then in English.
Tune: Andrew Huang - ‘Night’

Libumelian / Libumélien

The hosts of WorldVision introduce The Principality of Libumelland for their turn, welcoming the three members of Team T.I.M.E. onto the stage. Team T.I.M.E., ready to start their preformance.

Íra Eúro, the front singer of the popular boy band starts off with a simple sentence;

Cuara Libumélia, for Libumelland

The show then begins, simply with classy and a rockstar-like walk on to the stage, starting of with the first verse of “Tables Turned”, the debut song for Libumelland. We start off with the official language of Libumelland, Libumelian. English comes after the Libumelian version. Íra starts off with this verse.

Yeah, Yeah, Yeah, Ohh (x4)

Enel mista coletivas risa,
Lumieres es écui-no,
Eso es uño stórmi umbra,
Coletivas usto congrato el bátalo,

The camera is spot on to Íra, zoomed, and 6 female dancers enter from the side rooms. 3 on each side of the stage, with Team T.I.M.E. In the centre of the stage.

Agueros siapar, agueros siapar,
Colectar pajor, colectar pajor,
Coletivas major, ma-a-a-jor

On comes the verse, which is sung by all three members of Team T.I.M.E., they sing together in every verse.

La-La umbra es fenómeno,
Uño umbar e rusté bátalo,
Fierso similaro to uño búfalo,
Pondar cuara vecifiar,
Las mesias esisto formadar.

Jodí and Micél sing together, taking turns with the four sentences in this next verse. The following verse here acts like a bridge verse in a regular song. Jodí for the first four sentences, and Micél gets his turn on the second ‘Jo que-desiré to travél’. The dancers are still doing well in the background. Every ten to fifteen seconds, the camera switches between Jodí and Micél.

Jo que-desiré to travél,
Que-desiré to pondar,
Que-desiré to íar,
La lumia previús mi,
Jo que-desiré to travél,
Que-desiré to pondar,
Que-desiré to íar,
La lumia previús mi,

The chorus is repeated twice and the background dancers slowly start to retreat back into the side rooms of the stage, during the choruses.

La-La umbra es fenómeno,
Uño umbar e rusté bátalo,
Fierso similaro to uño búfalo,
Pondar cuara vecifiar,
Las mesias esisto formadar.

La-La umbra es fenómeno,
Uño umbar e rusté bátalo,
Fierso similaro to uño búfalo,
Pondar cuara vecifiar,
Las mesias esisto formadar.

It ends with the final beats dropping down, ending with a

Yeah, Yeah, yeah, ohh (x4)

There is a 10-second dim down in the lights, where the English version of the song plays.

English / Ínglisien

Yeah, Yeah, Yeah, Ohh (x4)

Team T.I.M.E. gets back up on their knees and starts their song translation, which is the English version of the song that was played. Like the Libumelian version, Íra starts with the first verse.

And in the mist we stand,
Light is not here,
It is a stormy night,
We will win the battle,
Clouds form, clouds form,
Getting faster, getting faster,
We greater, gre-e-eater,

The same dancers that had appeared in the song before, now walk in.

The-The night is phenomenal,
A dark and rusty battle,
Fierce like a buffalo,
Thinking about Peace,
The tables are turned.

Jodí and Micél take turns with the four sentences. For more information on the second verse, here, see the Libumelian version description.

I want to go,
Want to think,
Want to see,
The light behind me,
I want to go,
Want to think,
Want to see,
The light behind me,

Like the aforementioned description of the repetition of the chorus, the dancers slowly make their way to the side rooms of the stage.

The-The night is phenomenal,
A dark and rusty battle,
Fierce like a buffalo,
Thinking about Peace,
The tables are turned.

The-The night is phenomenal,
A dark and rusty battle,
Fierce like a buffalo,
Thinking about Peace,
The tables are turned.

Team T.I.M.E get ready to do a pose that will finally conclude the debut...

Yeah, yeah, yeah, Ohh (x4)

Team T.I.M.E.’s ending is a form together in a dramatic friendly-group pose, where the audience all cheers and applauses for Libumelland’s debut finish. The light dims down, Team T.I.M.E. walk away in a proud state, back to the stage’s side rooms, finally finishing and bringing the judges to their words.

by **Belgaam** » Tue Apr 30, 2019 12:25 am

11 - BELGAAM

XALIMIÑA - ÞIL'O TÁŻRNA
TUNE: KIM - RHYTHM BACK TO YOU

Xalimiña is a Belgaamian-born Spanish singer who rose to fame after her viral hit in Belgaam, "I'll Never Know" which peaked at number 2 on the Belgaamian Music Charts. She then released 4 other singles, but unfortunately, they all flopped. In April 2017, Xalimiña revealed she would not make any more music for 1 year. But when she released her comeback single, "Who Do You Think You Are?", she managed to get back into the spotlight and the song got number 1 on the Belgaamian Music Charts. On April 2019, there were rumours that she would be participating in the third edition of Tariña'o Melodi. 6 days later, the rumours were confirmed. She won the 2nd semi-final with 26 points, and in the Grand Final, she won the jury vote and televote with 68 points altogether meaning that she would be the Belgaamian representative in the 73rd edition of the WorldVision Song Contest.

Her song, "Þil'o Táżrna" is in two languages, English, and Beglish. "Þil'o Táżrna", which translates into "Don't Stay" is a song about her ex who she broke up with 6 months ago. She is now ready to sing her song and and she promises her fans she won't disappoint them.

Xalimiña is holding a "STOP" sign and is standing on a red car.

Don't stay with me. I have better things... to do!
Don't stay with me. No I cannot believe that I loved you once.

She walks off the red car and flips her hair.

Now I know you were decieving me, you should be ashamed of yourself n-o-ow.
And there's one thing that I need to say...

She throws the "STOP" sign onto the back of the stage.

Þil'o táżrna sżñ a-a-a-a-a-a-æ. (x2) Þil'o táżrna sżñ æ gżi! (x2)
Don't stay with me-e-e-e-e-ee. (x2) Don't stay with me now! (x2)

She holds a heart-shaped balloon and then pops it.

Open your eyes, already told you that I'm sick of you. Stop stalking me, you are like a creep that is haunting me! Now I know you were decieving me. You should be ashamed of yourself no-o-ow! And there's one thing that I need to say...

Xalimiña is now dancing on the box.

Þil'o táżrna sżñ a-a-a-a-a-a-æ. (x2) Þil'o táżrna sżñ æ gżi! (x2)
Don't stay with me-e-e-e-e-ee. (x2) Don't stay with me now! (x2)

She now walks off the box and returns to the red car.

And there's one thing I need to say...
Don't stay with me cause you're not... Don't stay with me 'cause you're not... Don't stay with me you're not nee-ee-ee-eeded.

The dancers now flip their hair and give the "STOP" sign back to Xalimiña, and she uses it to smash the red car.

Don't stay with me you're not nee-ee-ee-eeded. Don't stay with me you're not needed! Don't stay with me you're not needed! Don't stay with me you're not needed!

Xalimiña says this to the audience, "Thank you so much! I love you all!" The next act's postcard flashed up on the screen.

by **Ekoz** » Tue Apr 30, 2019 9:15 am

by **Not Belgaam** » Tue Apr 30, 2019 10:18 am

13 - NOT BELGAAM

THE PEOPLE WHO ARE SICK OF NOT BELGAAM BEING ASSUMED AS BELGAAM! - NO!
TUNE: KE$HA - BLOW

WE WON'T ACCEPT NOT BELGAAM BEING CALLED BELGAAM. WE ARE JUST GOING TO REPEAT THE SAME WORD OVER AND OVER AGAIN.

NO! (x200)

WE ARE NOW EXITING THE STAGE. DON'T CALL US BELGAAM OR YOU'RE GOING TO GET IT!!!!!

by **New Activia** » Tue Apr 30, 2019 5:55 pm

[Chorus]
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by **Venkatanaros Imharajuvaripieta Rdraskska** » Tue Apr 30, 2019 9:31 pm

15 - VENKATANAROS IMHARAJUVARIPIETA RDRASKSKA
SLAINE ETRITCH - "I'M STILL HERE"

The lovely Ms. Slaine Etritch is a national super star in VIR. A beloved veteran of the theatrical stage, Ms. Etritch was tapped by VIRTR to perform for the nation for Worldvision 73.

VIRTR and Ms. Etritch decided to have a very simple and minimal performance. Ms. Etritch would be surrounded by a full piece orchestra on stage, and she would be in the middle, wearing a simple yet tasteful ballgown. There would be no spectacle, effects, or pyrotechnics. All there would be is a focus on the music, and the singer.

Isn’t it strange?
How I’m right here?
How so many things can change
Yet I remain without fear
Yes, I’m still here

Isn't it bliss?
Don't you approve?
I keep on tearing around
One who can't move,
Oh yes, I’m still here
Oh dear, I’m still here

Oh and I have fallen so many times before
Some feelings still raw, some feelings still sore
But I march on with just my usual flair
It’s been 80 long years
And I’m still there

Don’t you love drama?
It’s a lot, I fear
Well I have so many stories to tell
Sorry, my dear!
And through thick and through thin
I’m as certain as sin
That hey, I’m still here

Isn’t it odd?
Ain’t it surreal
Here on this stage so long in my career
But I can’t help but smile
I just laugh and sing
Hey y’all, I’m still here

by **Vdara** » Wed May 01, 2019 5:06 am

16: Vdara
NÅ ft. Inno¢ - ‘Wanna Die’

Vdara arrives for its first entry in the WSC, with famous singers NÅ and Inno¢ coming up with a song called ‘Wanna Die’. This song has caused controversy across Vdara due to its apparent message that suicide is ok. The artists have reassured the public that the song is in fact, nøt about praising suicide.

For their first entry, the public are not confident in Vdara, saying that they may not even make the top 10.

NÅ and Inno¢ enter the stage from the right. They both walk up to the centre of the stage. NÅ walks up to the mic stand. A light shines on both of them. The song begins. The 2 artists begin tapping their left feet to the beat of the song. The tapping continues until the end.

Ooh, I just wanna die, no need to intervene
No need to intervene
No need to intervene

Ooh, I just wanna die, no need to intervene
No need to intervene
No need to intervene

I wanna end my life, no need to intervene
No need to intervene
No need to intervene

I really wanna die now
There ain’t no turning back
But clorox is expensive
And I can’t tie a noose

I’m in a lot of shit now
My parents kicked me out
My education failed me
And I don’t even care

That bleach has never looked appealing
But in this state I wanna drink it
It’s time to chug, there’ll be no tomorrow
There’ll be no tomorrow
There’ll be no tomorrow

Ooh, I just wanna die, no need to intervene
No need to intervene
No need to intervene

I wanna end my life, no need to intervene
No need to intervene
No need to intervene (kill me!)

Ooh, I just wanna die, no need to intervene
No need to intervene
No need to intervene

Inno¢ obnoxiously shouts ‘Woo!’
Nobody cares.

We’re gettin’ down to business
The chugging has commenced
The bleach just tastes like burning
But soon I just won’t care

The bleach is gonna kill me
And soon I will be gone
That’s half the jug I’ve chugged now
Time for the other half

That bleach has never looked appealing
But in this state I wanna drink it
It’s time to chug, there’ll be no tomorrow
There’ll be no tomorrow
There’ll be no tomorrow

Inno¢ stops tapping his foot for a second, pulls out a bottle of bleach (filled with water, unbeknownst to the crowd) and drinks it, before throwing it into the crowd. The crowd are more shocked than anything.

Ooh, I just wanna die, no need to intervene
No need to intervene
No need to intervene

I wanna end my life, no need to intervene
No need to intervene
No need to intervene (kill me!)

Ooh, I just wanna die, no need to intervene
No need to intervene
No need to intervene

NÅ steps aside to let Inno¢ do his bit of the song.
Inno¢ then moves to where NÅ was.

Yeah, Imma die now
My life is ending and I’m boutta leave now
People saying that I look like a cow
Death is better than living in Slough
Yeah, no need to, no need to
My life’s gonna end, it needs to, it needs to
I’m boutta die and parents have no clue
My existence is pain ‘cuz I am just so blue
Fuck fuck, fuck fuck fuck fuck, fuck fuck fuck fuck, fuck fuck fuck fuck fuck
Fuck fuck fuck fuck fuck fuck fuck, it hurts me
The bleach hurts so I gotta say fuck fuck fuck fuck fuck shit
Fuck fuck fuck fuck fuck, light is revealing
Fuck fuck fuck fuck fuck fuck I don’t like this feeling
The bleach is hurting, fuck fuck fuck fuck fuck
God please come and save me it hurts so damn much

Ooh, I just wanna die, no need to intervene
No need to intervene
No need to intervene (I’ll die now)

I wanna end my life, no need to intervene
No need to intervene
No need to intervene
No need to intervene
No need to intervene
(Kill me!)

Ooh, I just wanna die, no need to intervene
No need to intervene
No need to intervene

After that surprisingly boring yet upbeat performance, both Inno¢ and NÅ simply said ‘Thank you!’ and walked off to the left of the stage. A boring exit for a boring entry.
Well, maybe not boring to some, but yeah.

The commentators on Vai 1 are reported as saying:
‘No wonder it’s our first entry, you’d think nobody bothered to choreograph the performance in any way whatsoever.’
The other responded with ‘That’s because they didn’t bother at all, really. Anyways, onto the next one.’

by **Vartugia** » Wed May 01, 2019 5:38 am

17. Vartugia

Däryana Sadovic ft. The Izmeduan Liberation Choir For The Movement For Däryana To Represent Her Native Izmedu- "Stripped Dreams”

Zeljko Joksimovic – Nije ljubav stvar

«Do you ever had a dream that has been rejected? I have and I am sick and tired of this bullshit. I am one of them, yet they reject me. Today, ill team up with Vartugia, who are known for their surreal entries, to expose the racism I experience toward me, despite I was born in Izmedu with an Izmeudan Father and a darkmanian mother. Today, ill enter the stage and ill show my motherlands that I can sing like an angel, and not like someone who is in the middle of a salad break. Today, it will change everything.”- Däryana Sadovic, an izmeduan by heart.

Däryana Sadovic has a dream. To perform at WSC or WHF for her motherland, Izmedu. She, born to a darkmanian mother and izmeduan father in Izmedu in 1998, she has been a fan of the song-contests ever since she discovered it. She has sent her song to the Izmeduan broadcaster RTI, but her song has been rejected 100% of the time. “What the f*** is this s***?” “It's bad”. After being rejected for the 21st times, she was banned for life to enter Izmepisma. Devastated by that her motherland has rejected her dream, she has no hope.

Vartugia was the many broadcasters who got the mail from her after the ban and the only one to accept the mail as a way to improve their image. As such, Däryana will be the first foreigner to perform for a country who hasn't the brightest human right track record and has a bad image at Worldvision and World Hit Festival. But she wants to expose the racism her native Izmedu has done on her. And thanks to her close izmeduan friend, she will enter the stage in hope that she can prove she can sing.

The postcard has played, and there is only a piano on the stage. There is also only one on stage (apart from a steadi-cam operator, but he is not important) and its Däryana, dressed in a pink dress and with high heels. The song starts as the camera guy slowly walks toward Däryana while she plays the piano. We also hear the sounds of someone playing the violin. Someone who is hidden backstage, not to be seen now, only later.

I am a no one at home
With no hope and no dreams
From my motherland
I feel like a joke
I had some dreams that I want to achieve
But I cannot see them anymore

The camera fades into the next shot. It's a shot that angers someone as they end us seeing the camera guy running away clearly. But it doesn't matter as its the message that the song is aiming for. With a single shot from a camera crane, Däryana looks at the camera while she plays the piano. She has a slight voice-crack at one point, but her singing is on par and not a missed note.

Stripped from my dreams
Im one of you
Yet im being blocked out
I feel useless
Stripped from my dreams
Since when do my folk strip my dreams?
I dont want to give up
I am about to have a
A new start

She loosens the microphone from the mic-stand and walks away from the piano. The Choir, all dressed in the national dress of Izmedu and playing an instrument. A steadi cam runs around as The Choir encircles Däryana, while she looks at the audience.

I have been stripped from my dreams
Im one of you
Yet im being blocked out
I feel useless
I fell like a no one
Since when do my folk strip my dreams?
I dont want to give up
To have a new start

The Chior free her and goes behind her in a line. They begin to sing along with her with only one fucked up note from a male looking izmeduan.

Kicked, bullied, mocked, banned, no hope
Weaken, but ill rise me to the top
I am a someone in Izmedu
I fell like a no one
Since when do my folk strip my dreams?
I don't want to give up
But I don't want to be stripped

The audience seems to enjoy the song as it's not the usual bullshit from Vartugia. We even hear the audience shout Däryana`s name.

"Hvala"!

The audience`s roar of cheering fills the venue as for the first time, Vartugia DID NOT send a fucked up shit song. It looks like it is a brand new start for not only Däryana, but also Vartugia to take WSC seriously for once.

by **Talvezout** » Wed May 01, 2019 9:53 am

Hello everyone, it's your favorite singer/poet/writer/correspondent/hostess with the most-ess, Lorenzo! I'm coming at you, live from the lovely, lovely, lovely city of The Estograd! This beautiful city has got beaches, museums, theaters, so it's already cultured and environmental enough to be an unofficial exclave of Talvezout. Anyway we got a great bunch of entrants for this contest, and I am excited to tackle these entries alongside all of you back home! I've got my box of pizza and other rations, alongside a healthy keg of wine, so I think I'm ready to weather the highs and lows of this contest. Now, the opening act is beginning y'all, so let's start!

OPENING ACT
We got a parade of nations! It's almost always a good sign of a good Worldvision when we got a lovely opening act like this. Sunny and her entourage all looked absolutely adorable, and Ms. Etritch of VIR looked absolutely adorable up there with all of the youngsters. Who doesn't love a cute old lady? And of course, the opening act, what a great production by RVC. Wilson and Kashtkar looked absolutely fab, and I already know I'm not gonna be able to get that song out of my head. "Race to the twelve points oh yeah..."

1 - NEKONI
I don't know about you, but I found the judicious use of Estalloviendoan throat singing to be rather lovely. Also, the death metal jazz dubstep drop at the end was pretty cool.

2 - TALVEZOUT
Here's us y'all! And what a stand-out performance from Sunny, I really think she nailed it. I'm hoping that the amount of excitement this entry is getting in the odds translates into votes, it would be very nice to land in the top 5 again. But all in all, whatever happens, I think Sunny can hold her head high and be proud of what she has done.

3 - MAIN NATION MINISTRY
I felt like doing a song on the joys of government bureaucracy was interesting. I liked the bit where they all used their staplers to do a bit from Bolero, that was neat.

4 - AMUAPLYE
This nation is the first of our many lovely debutantes this entry. And what an explosive debut! I could honestly feel all of the fire and pyrotechnic effects from here, and I'm at the back of the arena mind you. I loved how bombastic it was, I could definitely see it getting some points from our way.

5 - POLKOPIA
I didn't know I was that popular, after all Nikol sounds kinda like me. Or do I sound like Nikol?

6 - IZMEDU
I found it very interesting how this entry was a complete line by line reading of the script for Maxine Singleton's 4 hour cinematic epic, Guns of the Hood. I thought the beatboxing effects and gun shot effects were a bit much however.

7 - AXUVA
My favorite part was where they just said reserve and left the stage. I really felt that.

8 - ANTAHBRANTAHSTAN
Antahbrantahstan. Say that five times fast. An - tah - bran - tah - stan. Antahbrantahstan.

9 - TODLICHEBUJOKU
That lead singer looks a lot like one of my friends from college. Speaking of which, Miguel, if you're watching this, you still owe me the 10 tavares you borrowed from me.

10 - LIBUMELLAND
I didn't know that Libumelian had some cross-capacity with Talvezian, I was surprised I actually understand multiple parts of it. Anyway, this nation is one of our new lovely debuts here at Worldvision, and I myself quite fancy this entry. It's sleek, its modern, and it's fun.

11 - BELGAAM
Belgium.

12 - EKOZ
Ekoz seemingly has an endless supply of pretty boys, huh. I'm not into them frankly.

13 - ~~BELGAAM~~ NOT BELGAAM
B E L G I U M

14 - NEW ACTIVA
I thought sending a whole yogurt ad to Worldvision was a little audacious.

15 - VENKATANAROS IMHARAJUVARIPIETA RDRASKSKA
Aww, shes's so small I love her! I think Worldvision is immediately a little more classier because we have the lovely Ms. Etritch on stage. I remember getting tickets as a little girl to see her in La Musica de la Noche and I was absolutely entranced. I loved this simple but sweet entry, and I hope to Dios it does well great in the voting.

16 - VDARA
Holy fuck this is an extremely depressing entry. It's a good one, but a very depressing one. Is Vdara alright? They debut and they send this as their entry. Still, it's a good song, but I can see it losing voters because of its lyrical content. I'd imagine the Talvezian jury will snap this one however.

17 - VARTUGIA
dis is so saed lik if u cri evry tihme

by **Talvezout** » Wed May 01, 2019 10:15 am

I haven't the faintest clue why the got me to read it, but it's me Lorenzo, back to announce the final results of the Talvezian betting odds. It's been a horse race of what entry is gonna do well, and finally have our results. Also, please note that Merecendi- is not competing. For some reason, people still continued betting on Mercedini-, and at this point TRT just gave up. Anyway, here's the odds!

TRT ODDS

7/1 Polkopia
5/1 Talvezout
4/1 Izmedu
2/1 Kishrael
1 Todlichebujoku
2 Britonisea
3 Estogium
5 Merecendi
11 Venkatanaros Imharajuvaripieta Rdraskska
15 Scotatrova
16 Kalosia
19 Besen
20 Nekoni
22 Libumelland
25 Third Asopia
27 Teesdexxia
30 Dakmania
35 Vartugia
50 Ethane
60 Antahbrantahstan
75 Mister X
90 Axuva
95 Ekoz
100 Llata
110 Hafamarimyht
130 Proluvia
140 Main Nation Ministry
165 Vangaziland
175 Belgaam
175 Not Belgaam
190 Saviera
220 Pais Sinpesen
250 Amuaplye
300 Natanya
320 New Activia
360 Missus X
400 Merecendi-

by **Merecendi-** » Wed May 01, 2019 10:18 am

_18. MERECENDI_

Tune: Priyanka Chopra ft. Pitbull - Exotic

KILL ME NOW (Neurotic)

GEISHA GOAL FT. JEAMS BODN caps

GEISHA GOAL FT. JEAMS BODN caps are a music group, they do things. Many things. One of those things is got to the WorldVision Song Contest, so here they are now! JEAMS BODN caps's real name is Maverick Brunswick Schenectady-Manalaysay.

There are people on the stage. They sing and dance. GEISHA GOAL has light shining on her. She sings.

KILL ME NOW
I feelin' so neurotic
Kill me now
They callin' me psycho-o-tic
Not a cow
MISSED HER DIG A DEE!!!!
Baby grab the corn and let's go
Let's sing more songs by that girl K. Cole

Spicy boy

I feelin so neurotic

ldkfjslk lksdlsdghogejjlksdjgld;ajlkgjlskdlk
dsfjlsdjsdjflsdjpohwglk
ldkfjslk lksdlsdghogejjlksdjgld;ajlkgjlskdlk
dsfjlsdjsdjflsdjpohwglk

JEAMS BODN caps stands up and starts rapping. He has talent and can make sounds. The lights do something different as he walks around the stage.

I'm
like Indomei
I'm
tasty

Indoiesh k
ids
gota
tast
e
for
mylad
y

In WOrdldvision
I
gota
hava
good stage
ore lse
I get
floppy

Das why u don
see
me
topp
uva cahrts,
ALyhixia flop
onher
ASS

Dazlakhin or Brihgt
tflas
wel
a
ll bout
HATERes
-
blank

I really do hate FENTYpedes
So don link dem to me
I post so many girsl
My haricut is m world, iss my woarl
ljflsdjgljg, iss my waorl
lsdkjflsdjgl

KILL ME NOW
I feelin' so neurotic
Kill me now
They callin' me psycho-o-tic
Not a cow
Baby grab the corn and let's go
Let's sing more songs by that girl K. Cole

KILL ME NOW
I feelin' so neurotic
Kill me now
I really is ico-o-nic
Bicth jsut bow
Baby grab the corn and let's go
Let's sing more songs by that girl K. Cole

He makes motions and raps obvisoulsy

ldkfjslk lksdlsdghogejjlksdjgld;ajlkgjlskdlk
dsfjlsdjsdjflsdjpohwglk
ldkfjslk lksdlsdghogejjlksdjgld;ajlkgjlskdlk
dsfjlsdjsdjflsdjpohwglk

He does what he did last time.

My
H
airsu
ts
Fre
e
but oso
ceahep

So
i

a
heht
m
y
LIFe
it
scuask
s
so

Bow
fore
my
aggewen
BAYONC
É

I
donat
goat
mon
eys f
or
vaeghcy

I
ot
mesagel;ges by
athe
btatu
l
oad

Hate
yo
bussy
ass and
fake
o

I
an
INDOF
tbicth
uo
fake
HO

bicth
jus mMOVE
yea
you
are
Tobwo KOVE

FACFSDZXX
I AM NO
LIWEr
I a
md
TURETH
yo

Copy pastew
thsi
meme an
hiagher
*hiaghr

Chagnew
m
prog
lie
pisc
an
nciek
manen

bicthe move
u
astank
ficky

i goan'
run u
ove
r
STICKY
caps

I really hate FENTYpedes
So don link dem to me
I post so many girsl
My haricut is m world, iss my woarl
ljflsdjgljg, iss my waorl
lsdkjflsdjgl

KILL ME NOW
I feelin' so neurotic
Kill me now
They callin' me psycho-o-tic
Not a cow

Baby grab the corn and let's go
Let's sing more songs by that girl K. Cole

KILL ME NOW
I feelin' so neurotic
Kill me now
I really is ico-o-nic
Bicth jsut bow
Baby grab the corn and let's go
Let's sing more songs by that girl K. Cole

Crazy girl

I feelin so neurotic

ldkfjslk lksdlsdghogejjlksdjgld;ajlkgjlskdlk
dsfjlsdjsdjflsdjpohwglk
ldkfjslk lksdlsdghogejjlksdjgld;ajlkgjlskdlk
dsfjlsdjsdjflsdjpohwglk

Everyone sings together like they care.

KILL ME NOW
I feelin' so neurotic
Kill me now
They callin' me psycho-o-tic
Not a cow
Baby grab the corn and let's go
Let's sing more songs by that girl K. Cole

KILL ME NOW
I feelin' so neurotic
Kill me now
I really is ico-o-nic
Bicth jsut bow
Baby grab the corn and let's go
Let's sing more songs by that girl K. Cole

ldkfjslk lksdlsdghogejjlksdjgld;ajlkgjlskdlk
dsfjlsdjsdjflsdjpohwglk
ldkfjslk lksdlsdghogejjlksdjgld;ajlkgjlskdlk
dsfjlsdjsdjflsdjpohwglk

"Thank YOu!" they shout and leave.

They try to leave.

They don't.

RVC | 73rd WorldVision Song Contest | The Estograd, Estogium

RVC | 73rd WorldVision Song Contest | The Estograd, Estogium

Tonight's Participants!

The Opening Act

Let The WorldVision Song Contest BEGIN!

73rd WorldVision Song Contest | Host Intervention #1

12 | Ekoz [WIP]

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