WorldVision 83 IC Thread - St. Christopher, Llalta

[Llalta]

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Welcome to the 83rd WorldVision!
St. Christopher, Llalta!
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OOC Thread
Host Details
WV82 - Tiferet, Ertzei Kishim
Playlist

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Only a mere WorldVision ago, upon the sunny sands of Tiferet, Ertzei Kishim, Esther Winterbourne made Llaltese history by winning the prestigious contest for the first time ever with her emotional song, "Fate", which placed 1st with 284 points. However, this edition, the tiny island nation wants to make WorldVision history once again; this time, to host, and bring the whole world together for one night with a show one will never forget.

Welcome to St. Christopher, the shining star upon the inky blue of the Atlantic Ocean and now, the host of the 83rd WorldVision! Home to 2,986 Llaltese, this port town serves as the cultural heart of Llalta, with buildings adorned with colourful murals, embraced with the beauties of nature and steeped in the distinct Llaltese culture. Each street and building painted with the community spirit the Llaltese hold so sacrosanct. For this WorldVision, Llalta brings the contest to the humble shores of St. Christopher, a town renowned for its passion of the arts, in all varieties including the medium of music. After all, in the midst of the sapphire ocean, St. Christopher remains not only a beacon for ships passing by but for the arts, with arts and culture running the through the island's veins. Since Llalta’s debut in WorldVision 65, the tiny island nation has certainly made an impact. From debuting with 4th place with Patricia’s “Just Be You!”, to Pingu representing the nation with the first song in Pinguish, “Nööt Nööt Nööt!” which placed 23rd. Whether the nation has done well, or placed low, the nation has always had fun, and represented the tiny island nation as faithfully as possible, Llalta’s spirit and heart the core of every entry. The island nation plans to put their all into providing that same heart and soul into this hosting, to bring the world together. With all the help from the community of St. Christopher, helping build the stage and accommodation, the schoolkids helping with the logo and slogan, from the grandmothers and grandfathers helping with hospitality of the huge wave of tourists and artists alike, Llalta’s dream has once again come true thanks to the community and the LBN. Even with the struggles of a small nation with little manpower, the community pulled through once again to create an amazing show. To allow Llalta to make the world's hopes and wishes come true, even if just for a night!

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[Llalta]

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19:59 GMT
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In a field upon the outskirts of St. Christopher, an ever-growing expanse of people have gathered, over 3,000 in fact. People of all different identities, religions, races and the like, gathered in a humble field of a far-off nation unheard of by many. Sat in groups of friends and families, upon spritely and colourful fold up chairs, blankets of tapestries untold from distant lands and some merely sat upon the freshest, dew dropped grasses of Llalta, like ribbons of emeralds waltzing in the summer breeze. Many talking with one another, smiles like stars amidst the canvas of night. All in the same field one reason and one reason only: the much anticipated WorldVision 83, held in St. Christopher, Llalta. As the seconds count down towards the beginning of the contest, there is a sense of excitement radiating from the field, rather infectious as it spreads like a plague of hope. Even though the night is dark, the moon comfortably nestled amongst the skies, the temperature is warm, at approximately 12°, warm by Llaltese standards, especially at night. The night sky is clear, an inky abyss with the speckles of shimmering stars in the sky, many in the audience enjoying the view. Some enjoy the views around, including the mountain scape behind the stage, scraping the heavens as they stand stoic. Some are merely enjoying the company of their friends as the clock counts down to the much-awaited event.

People at home begin settling into the sofas, grabbing the last snacks and pouring the last glasses of alcohol, rushing down from the toilet upstairs not wanting to miss the show. Backstage, the crew work tirelessly to provide a seamless opening for the show, to see their hard work finally come into fruition. To see all their months preparations blossom into a show that may even change the world. It had been especially hard given the lack of funding, lack of manpower, but in the end, they always pulled through, perseverance a Llaltese specialty. But no time to reminisce over the previous months now, a show was about to begin! No time to think of what could’ve been, time to think of the now. The final preparations begin, as people at home snuggle into friends, families, lovers and the audience brim with relentless anticipation as the final 10 seconds as the show begins…

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[Llalta]

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20:00 GMT
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WELCOME TO THE 83RD WORLDVISION SONG CONTEST!!
Live from St. Christopher!
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OPENING ACT
Official Theme of WorldVision 83
Music - Esther Winterbourne
Heartbeat - Alexis Ffrench

0:00 - At last, the WorldVision Song Contest had begun, the audience applauding loudly in the field, ready to see what Llalta has in store for this edition of the contest. People at home, cheering for the beginning of a new contest; a new story. Unlike previous editions however, the beginning of the show starts with a pitch black background, hues of navy and purple gently splashed across the canvas of black almost shifting as the camera focusses on it. However, as the music begins, there is nothing.
0:04 - As the song continues to play the first few notes, a golden star shimmers into view, twinkling upon the night sky. It glimmers alone, yet as beautiful as a star can be. For a couple moments the star shines alone, the camera beginning to zoom outwards to emphasise the loneliness of the star as it sits upon the vast abyss of night. As it grows smaller and smaller, the darkness only seems to grow. The atmosphere is that of nostalgic and sentimental, quiet and peaceful, complimented by the calming piano that plays in the background, the theme of WorldVision 83.
0:11 – However, as the camera zooms out, stars begin to appear. At first very few and one by one, small sparkles of hope lighting up the near pitch black sky. However, as the camera zooms out, more and more appear, soon gathering like fireflies, glimmering and shimmering, with the beauty of a thousand pearls. Thought the central star is still the brightest, it is far from the only star in the sky as of then. As the melody continues, the central star glimmers brighter than before, twinkling, drowning out the other stars.
0:22 – Just like the gradual reveal of the numerous stars in the sky, a shooting star flies across the screen elegantly. Though at first it is only, soon after, many more begin flying across the night sky, leaving trails of gold and white as they fly. More begin to fly in, creating a dazzling display only nature could create; a meteor shower of shooting stars. En masse they fly, painting the skies with their golden streaks of the purest starlight.
0:35 – A smooth transition leads the viewer into a close up of a child's eye, reflecting the meteor shower the child watches. Sparkling with each star that dazzles the vast inky abyss, the child's chestnut brown eyes shimmer with childhood hope. The child closes their eyes tightly, hoping to make a wish. Soon, as the camera slowly zooms out to reveal the child's face, who is presumed around 4 to 6 years of age. A wide grin is settled upon his face as he wishes as hard as he possibly can, wishing upon all the shooting stars streaking the skies. Creases of happiness etched upon his face like scars, yet do not connote nearly the pain scars do.
0:40 – Another shot is taken, this time from behind the child, who appears to be upon a balcony. However, it is hard to make out due to the whole foreground, child included, being a mere silhouette. The boy's dad lifts him up to the skies, before swinging him around joyously. Behind the enjoyment of the two, father and son, the night sky is still painted by the beauty of shooting stars, continuing to streak the skies. Creating a dynamic yet touching shot of the bond between father and son and the stars behind, allowing the boy's dream to come true no matter how naïve and childish it may be. The father swings the boy around, a smile from the boy being seen even through the darkness.
0:46 – A teenage girl sits on her dimly lit desk, littered with work, books, stationary and all the things a girl has when she is young. She stares out the window aimlessly, watching the meteor shower with much apathy and tiredness, her long brunette hair wafting in the light breeze. However, she still closes her eyes tightly to make a wish. And before she can open her eyes once again, a paper aeroplane hits her on the head, snapping her out of her dreams and fantasies. Rather annoyed, she opens the plane to find a note, telling her to go to the lighthouse in 2 minutes. Panicked she slips on her battered trainers still in pyjamas of a bright pink llama pattern and sprints to the lighthouse in the dead of night. As she runs, out of breath and dazed, the camera follows her, before moving slightly upwards to reveal the mass of shooting stars guiding her to the lighthouse. The subtle change of pace in music reflects this light chaos.
0:59 – The next camera shot shows her, dashing out the doors to the roof of the lighthouse, where she runs into a boy of her age, with shaggy brown hair wearing a simple t-shirt and jeans. They bump into each other, and the force leads them to a kiss in the lighthouse, the mass of shooting stars dazzling behind them to represent another wish come true. The camera takes a closer shot of the kiss, capturing the youthful naivety of love, the cheeks as red as roses. Their eyes once opened, glimmering with hope.
01:07 – The two step back, a little dazed, confused and rushing with all the youthful excitement of a first kiss. Look sideways awkwardly, the girl and boy eventually kiss once again, breaking the awkward moment, and the camera moves its focus to the skies, where it follows a bright shooting star, much more prominent than the rest.
1:15 – Another shot is taken, this time of the couple gazing out at the moon and the seas, to which the shooting star flashes by, a trail of golden starlight behind it. Another shot is shown, this time of the boy on his balcony, perched on his fathers shoulders, pointing at the brighter shooting star, elegant as can be. The dad and child smile joyously, the starlight shimmering in the reflection of their eyes.
1:29 – After of which, there is a montage containing the shooting star travelling over various locations of the world. For example, passing over the bustling Telm City, over the seas and lighting up the waves to the coasts of Kalosia where it dazzles the lonely Amfiteatru d'Akropoli. Then, it flies over the mountainous regions of Axuva, a single hiker glancing and watching the star on its travels over Mt.Taejka. Other geographical locations are shown also, such as Malta's Valetta, the La Palaca Advianta of Izmedu and the Tel Din of Ertzei Kishim, showcasing the world's most grand and beautiful landmarks it can offer.
1:49 – The soft yet beautiful and touching piano piece reverts back to the chorus. A different scene is played this time. Esther Winterbourne sat outside the arena, glancing at the night sky. Shooting stars scar the sky with lights, as Esther closes her eyes, her wish to win the contest. The large star the viewer has been following lights up the sky, Esther smiling softly at the sight of the hopeful omen. There is a soft and sentimental moment, as if she were thinking of home is St. Christopher. The stars would often remind her of home. She stands up gracefully and with poise before she heads back inside to perform, the night sky twinkling above the arena, the moon a beacon to all.
2:08 – The next sequence of scenes focusses on the contest itself. For example, slow motion scenes of Llaltese families watching in anticipation. One old woman with 12 cats all snuggled with her, another average family all eyes locked to the screen, one large WorldVision party with many partying and laughing regardless of the show. Upon each television screen would be Esther's final position of the Llaltese entry. A spotlight cast over her like a holy ray of light. Each viewer excited for the results and Esther's beautiful performance.
2:31 – Another montage of WorldVision watchers begin to play. First the father and son, sat indoors upon the sofa of a house with homely vibes. Sat on his fathers lap, they watch intently at the show. The couple watch on the roof of the lighthouse watching from his phone, the girl casually placing her head upon his shoulder as they sit on a cute picnic blanket. A shot of the man upon Mt.Taejka, now at the summit watching the contest on his phone, shivering in his many layers but with the excitement of WorldVision and reaching the summit, his two dreams, he doesn't care. The three who wished upon a star, their wish granted.
2:52 – The next scene shows the voting sequence, a montage of the spokespersons revealing their nations 12 points one by one. As each 12 point is revealed, a family or person from that nation is shown cheering, the shooting star blazing subtly from out their window as they cheer and celebrate together. However, as Llalta receives their first 12 points from Scotatrova, the families once shown earlier in the opening act are shown cheering and dancing in slow motion, including the woman and her cats. As more 12 points begin rolling in, a crowd of Llaltese can be seen, the star shining above them as they dance and cheer as one. With the added build up of the theme, the scene played is beautiful and touching, showing the power of wishing upon a star.
3:13 – The final scene of the voting sequence is the eventual win of Llalta. Fireworks dazzle like brilliant flowers upon the Llaltese shores, adding colour and energy to the rather emotional, subtle opening act. The father lifts his son and swings him around the apartment, laughing like they've never laughed before. The cats dance and purr around the old woman who lifts up and hugs the cats one by one. The couple upon the lighthouse roof embrace and kiss with excitement of youth, and the hiker jumps up and cheers for the Llaltese victory, the camera zooming out to display the brilliance of his feats.
3:19 – The Llaltese crowd, lit up with fireworks cheer and dance together, ecstatic for their first WorldVision win. Excitement is in the air as the footage of Esther lifting the WorldVision trophy in the dazzle of gold plays, Esther crying from the joy.
3:22 – The footage of Esther's victory blends perfectly into Esther's face looking out the window of a boat, on her way back home to Llalta to celebrate the win. As she looks upon the vast stretch of sapphire blue as it meets the horizon of night, the bright shooting star appears once again, much to the shock of Esther, who gazes at it's beauty, wide eyed. Wondering if her wish upon a star really gave her the win. The camera zooms outwards to reveal the boat as it travels, the city of St. Christopher alight with celebration, the lights of the buildings like the stars of heaven above. The boat travels closer to the docks as the peaceful shores of Llalta are shown.
3:28 – As the boat docks, many islanders of Llalta come to greet Esther with wide smiles, embroidered pearl tears of joy, to congratulate her victory. As the crowd swarms Esther, rather overwhelmed but just as excited as them. They embrace and many words of encouragement and thanks can be made out throughout the emotional return to Esther's homeland. They carry her to her house like a wave of joy.
3:34 – The camera changes this time, to a Llaltese girl, watching the return of Esther from her balcony with blissful joy. The shooting star however flies past the girl, dressed in her pyjamas of a cute star pattern, and the girl chases it in hopes of making a wish before it's too late. She dashes out her backdoor, chasing the star as it streaks the night sky, followed by other shooting stars. She runs and runs, making sure that the star stays overhead at all times, hopping over fallen trees and across the agricultural fields of Llalta, lined with plants and crops of all kinds.
3:45 – She climbs up a hill, where the star flies over, just out of view. The camera following closely behind, the girl reaches the top of the hill and gasps with happiness, her face lit up by a golden glow. The camera rises above the hill, a while behind the girl, where the WorldVision 83 venues lay, the crowd of the contest seen cheering and shouting with ecstasy, realising they are on camera. The girl still stood boldly upon the hill, waving at the crowd who are more than excited to see the show start. The camera shifts above, to the night sky, where the shooting star writes out the official logo of the contest, writing each yellow letter with a graceful swiftness. Ending with the signature swoosh which creates the exclamation mark of the logo, the logo shines for a moment, before scattering into a thousand stars into the night sky. The shooting star however, the camera now following it, flies into the air before crashing onto the stage, the LED lights of the empty stage flashing in white in an explosion of beautiful light, sending the crowd crazy with excitement. The hot air balloons can be seen also, roaming aimlessly around the stage as the audience within them screams with excitement. The stage enveloped in light, glimmers in the camera, which is at view where the whole stage can be seen, though bathed in an almost opaque flash.

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Wish Upon A Star (Our Tapestry) - Llaltese Women's Choir ft. Llatese Orchestra
Music & Lyrics - Esther Winterbourne, June Summerfields, Deban Callaghan
Transformation - Bulgarian Women's Choir

The crowd cheers, but with the start of another song it quickly dies down. The flash of white light from the stage dims to black, with only a couple floating white lights being shown on the LED screens, like stars in the night. However, the slowly shift and glimmer across the black LED screen. The new song brings a mystical atmosphere to the venue, gobos illuminating various patterns like specs upon the stage, the landscape around and the excited audience. Thus giving an almost holy, magical feel to the song. The mountain range behind is illuminated with one such gobo, lights glimmering in the camera and fog beginning to appear on the stage, further adding to the mysterious, mythical feel of the song. It feels almost cold and calm, much like the theme before, perfectly blending from one song to the next.

Onstage, a man in a silhouette beats a large drum placed on it's side, larger than the man himself striking it. Even in the dim light, a beautiful swirling pattern is seen spiralling upon the skin of the drum. The lights flash dimly to build up the song alongside the massive, low, pounding drum. The camera then shifts it's attention onto the mountains, still glowing in mysterious whites and greens from the gobos. Another man can be seen, this time standing near the summit of the mountain upon a large ledge. Dressed in a traditional Llaltese garb, of a yurt style headpiece made of straw framing his face, the top of the pointed hat extenuated with the long leaves which glow in the light as they sit upon the festival outfit. Furthermore, a cape weaved from straw and the traditional flowers of the Llaltese mountains strewn beautifully behind the man, holding an oxen's horn to his lips in order to amplify his voice, considering the mountains sit just around a mile or two behind the stage but still seen clearly. The camera zooms into the man, who performs a traditional style of Llaltese singing, alongside the thumping of the drums which build up the first verse. As a result, there is a rather mystical, traditional essence which flows through the song, which shows various Llaltese instruments and vocal stylings that are native to the tiny island. The mystery of nature breathes true within the opening of the song.

The LEDs display firefly style lights glowing in various golds and greens against the black. The lights flash dimly with each drum beat as the Llaltese Women's choir all step forward from the shadows, dressed traditional Llatese dresses, like the kind of dresses taken straight from the time of druids and gods. Consisting of a deep emerald green dress in Celtic stylings, the dress has sleeves cut off at the elbow in which they flare gracefully off, the colour shifting from emerald, to sapphire, to gold and to a deep amethyst in the light, like an aurora dancing in the night sky. The neck line is rather high and modest, embellished with flower embroidering of the same colours which shimmer upon the sleeve flair. Each dress falls to the floor, a small train of the same shimmering properties as the sleeve flair finishing the look. The choir of around 50 all have their hair braided cleanly, woven with traditional Llaltese wildflowers of the most vibrant greens, blues, golds and violets. As they step forward from the shadows and ethereal fog cloaking the back of the stage, they begin to sing, their voices brimming with all the beauty of a rough yet heartfelt ore. The camera angles are wide and slow, matching the calmness and beauty of the first section of the song. The lights dim yet glimmer into the camera like stars.

Once upon an island true
Where life paints with every hue
Strokes of morning gold
Upon Atlantic's argent blue
The shades of dawn, where the sun is born anew

As the music builds up to the first chorus, the camera zooms into yet another figure upon a mountain, playing a recorder style instrument consisting of a hollow tube of wood with patterns painted upon the surface in yellows and blues, depicting starlight and swirls. The lights upon the stage begin increasing in intensity as the music builds up to the chorus, shifting subtly to the colour scheme of the song, and moving up and down, causing lens flare in the camera every once in a while. The camera turns to the man upon the mountain who sings the note, giving it his all upon his ledge. One might notice that as the chorus is about to begin, more women from the Llaltese Women's Choir join them onstage from the sides. Furthermore, some begin to take position on the mountainside upon another ledge, lit up in yet another gobo which pushes the atmosphere. At last the chorus arrives, and with true Llaltese style, it is met with a flourish of lighting, a wave of white lights billowing out from the stage, creating the drama necessary to enhance the song. The Llaltese Orchestra, performing live as usual, are lit up, stood upon the lifted section of the stage at the back. The women's choir steps forward as the intense chorus begins, apart from the wheelchair bound woman, pushed by a friend. However, the camera takes many shots of them, showing their vocal strength and passion. The LED screen shows a beautiful. bold and vibrant tapestry being woven upon the screen with glowing threads painting the story of Llalta. Upon the LED tapestry lay many figures and symbols, gods and beasts, all faithful to traditional Llaltese beliefs. It is truly a moving moment to see so many people come together with the power of music, all enjoying cultures and traditions. On the last line, each of the women raise the hand to the air slowly, in a powerful gesture.

Weaving our tapestry
Our painting of futures unseen
Fate's threads, woven with dreams
Together, let's believe!

As they begin to sing the second verse, the lights continue beating brightly to the tribal style drums thumping in the background. The LED screen continues to paint this tapestry, woven elegantly around the stage. The women continue to sing with all their heart and soul also, their faces painted with joy. Furthermore, a wide camera shot captures each emotion, each note upon the stage, a harmony with the nature that surrounds them. The mountain side is suddenly lit up with a wash of colours: amethyst, sapphires to the inkiest of blacks and indigos. Green gasses like nebula spread across the surface like paint, the singers situated on the mountains lit up against the inky canvas, representing stars. Furthermore, surrounding fields have more images of the beautiful night sky lit upon them. The camera takes many a wide shot of the stage in order to capture the beauty and remarkability of the projections. Even for such a small island, the LBN have certainly put on a show. Throughout the verse, the choir also sings in sign, all as one, a true testimony to the unity the choir represents. On the final line however, they all look straight forward and reach forward also. Even though the routine is simple, some of the older ones struggle to keep up, rather endearing perhaps.

On the final bridge, the song builds up for the final, dramatic chorus. To enhance the already dramatic, crescendo of the song, at the beginning of each line that is sung, the lights flash a powerful gold and white. Furthermore, the camera angles change with each ring of the bell, further adding to the dramatic tension. The LED screens behind shows the shattering of the tapestry, building in intensity and size as the bridge builds up. Each crack of gold, releasing yet another shot of sparks flying from the edge of the stage. The choir on the first line, raises the right hand to the right, before switching to the left hand raised to the right on the second line. On the fine line however, the place their hands in front of them before raising them both to the sky, slower, reaching the sky as their long note precipices. On the final line, the gold and white lights billow outwards as they sing the long note, the LEDs showing the shattering of the tapestry. The sparks fly for the whole duration of the note, before pulsing outwards to the build up of the final chorus. The lights pulse brightly also, increasing in intensity as the drums do. Thus, the bridge almost moves onto the final chorus, not before some dramatic pulsing of the lights and LEDs to build up the final chorus.

Once upon an island pure
Painted seas of a pearl azure
The canvas of night
Etched with odysseys of old
Painted violet fervour
Tinted dreams of yours!

Hopes take flight
Upon
Starlight!

As the final chorus flourishes, a huge set of fireworks is set off from the stage, lighting up the sky in all kinds of various colours. Each firework billowing like growing flower, streaking the sky with shades and hues of all kinds. The true way to build up any final chorus. The Llaltese Women's Choir begin to sing with every slither of might they have remaining. They all begin to hold hands along their lines, like a plague of not so negative consequences, rather, quite the opposite. Smiles spread across the faces as they sing the melody of hopes and dreams. The LED screen behind shows a woven world, threads of gold and all bright, beautiful colours weave stories and faces upon this earth, the threads of life and fate slowly growing until the end of the song. Sparks begin to fall like stardust from the ceiling of the stage, providing a beautiful starlit curtain across the back. The fields with all the projections upon them now have stories and tales of old, written in the language of tapestry, sewn across them, including the mountains. Speaking of which, a mountain shot of each and every choir member standing proudly upon the mountainside is shown, each as proud as the last, each singing with every inch of their heart and soul. A beautiful monument in time, where everyone is brought together with the power of music. One might notice that the choir have continued to sign the lyrics of the song also, some slightly out of time. The lights are bright with warm colours which light up the venue in almost autumnal, celtic hues. A shot of the audience and all the flags waving in the foreground of the stage truly shows the unity in the venue. Another couple shots panning the choir and all the talented women who sing. Etched upon their faces are their stories, like tapestries of their own.

Weaving our tapestry
Our painting of colours afar
Fate's threads, woven with dreams
So wish, upon a star!

As the song draws to a close, the choir raise their hands as one, still holding hands with the people next to them. The drummer is shown quickly, before a wider shot is taken, the lights pulsing to the rhythm alongside the LED. Some of the choir break character before the end of the song, laughing and cheering with their friends after such a successful performance. The man on the mountain sings the final notes, stealing the spotlight as he did in the beginning of the song. A camera operated by a drone circles him from above, representing the grandeur of the mountain-scape backdrop. As a result, the ending becomes rather chaotic in a charming, loud yet extravagant way, the most important aspects of the song as of yet being shown in the final few moments: the mountain man, the choir, the choir upon the mountain etc. However the song finishes, in a bright flash of sparks and lights of the same colours. Fireworks of all colours blossom from the top of the outdoor stage, marking the official start of WorldVision 83. The crowd go wild for the beautiful performance, a true harmony between nature, woman and music.

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The opening act ends with a thunderous applause from the crowd, excited to see the show begin. As the Llaltese Woman's Choir and Orchestra make their way off, a familiar face steps forward to the front of the stage, waving and smiling with the charisma that made him so famous in the first place. Erik McGarrisson, Llalta's granddaddy and the host for tonight's show! As usual, he is met with yet another thunderous applause, mostly due to his popularity amongst WorldVision and Llaltese fans alike. Behind him upon the LED screen, the starry night sky background shifts and twinkles, the logo of this edition's contest plastered central. He gestures for the crowd to continue cheering, winking with a cheeky playfulness. After soaking in all the applause in his signature comedic and over the top ways, he finally picks up the microphone to speak, his voice aged yet with a honey-like aspect that makes him so lovable.

Erik McGarrisson: "Alright hush, hush. I know I'm fabulous but I need to at least open the show! Otherwise... otherwise... you wouldn't my wife to go a day hungry would you? Now then... Hello world and welcome to the 83rd WorldVision Song Contest! Held in my very own home, St. Christopher, Llalta! And I'm your host, Erik McGarrisson!"

The crowd cheers at his opening lines, the excitement in the air like fireworks. Erik goes to speak again, not anticipating the audience to carry on cheering as much as they do. The camera takes a wide shot of the whole audience, including those in the hot air balloons, cheering all as one. At last, they settle down, allowing Erik McGarrisson to continue.

Erik McGarrisson: "Settle down, settle down! Carrying on cheering and we'll never reach the entries, you wouldn't want that would you? Would you? But for my egos sake, could we just cheer once more! Show your love tonight! 3... 2... 1-"

He is interrupted by yet another applause, causing him jump backwards comedically, this time much louder than the last. Erik continues to gesture for the audience to continue, to which they only increase in volume. Flags and signs are waved, some thrown in the air, a representation of the pure excitement in the air tonight. Erik then raises his hands, and claps, causing the whole arena to go silent almost instantaneously. He begins bowing, in thanks.

Erik McGarrisson: "Thank you, thank you, thank you all... But the show must go on! Welcome to this edition's contest, held none other than in St. Christopher, Llalta! Coincidentally, last editions winner! Now, now, hush, hush... I know that's exciting but it's time to focus on this edition! Tonight, we shall watch the world come together through the powerful medium of music! And most importantly, we shall watch dreams come true tonight! Yes, yes, soppy but charming I know... Now, for those who have only just joined our WorldVision family, tonight, each song and entrant, each representing their nation, will compete for the glorious, show stopping, never seen before WorldVision trophy!!"

A graphic of the WorldVision trophy bathed in a gold light is shown behind Erik, met with many "oohs" and "aahs".

Erik McGarrisson: " After some of the most intense voting sequences ever known to man, the winner shall be revealed and the WorldVision cycle will be restarted once again! Get it? Got it? Good. Now who are these entrants? And which nations shall be participating?? Well..."

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[Llalta]

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PARADE OF NATIONS
Llaltese River Dance
Music - Deban Callaghan
Bill Whelan - Reel Around The Sun

Erik McGarrisson gestures behind him, guiding the viewer to the parade of nations. As the song begins to play, an ethereal atmosphere cloaks the field. The lights blacken until only dim, emerald coloured gobos paint the stage. Fog begins to pour onstage once again too, the stage becoming a sort of foggy, mysterious and mythical portal to another world almost. The LED's aren't alight, and the lights low. As the Llaltese flute style instrument begins to play, a hollow tube of wood with holes, the camera blurs it's focus, before shifting to the man upon the mountain, still dressed in traditional Llaltese festival garb. He plays the instrument, known as a Gwynfriig, his eyes closed as he plays the instrument with his soul. The camera takes some wide shots of him upon the mountain, taking in the grandeur of the scenery around them, the true height of the mountains and the vast expanse of forest around. It is quiet and powerful, calming yet filled with an unnerving intensity. As it were the song which would awaken an ancient evil from it's thousand year slumber. More shots of the Gwynfriig player upon the mountain, creating music from just a breath. A moving scene. The Gwynfriig solo lasts around a minute, which though long on paper, seems to breeze by as his playing captures the world, entranced by the beauty of the landscapes and the instrument being played. Furthermore, often camera shots of mesmerising landscapes of Llalta would be shown, a truly wonderous yet mystical island inhabited by only but the fiercest of titans. Truly oozing Llaltese heart much like the opening act.

Around the minute mark of the song, the camera slowly shifts its focus onto the stage. There, amongst the fog, a woman cloaked in a flowing white robe stands, like a goddess, her blonde hair flowing to her mid-torso. In the fog however, the details are hazy, as she slowly steps forward with queenly strides, pushing past the fog as if it didn't exist. Once out from the mass of fog, the only fog wrapped around her feet, swallowed already by her long dress of tulle and velvet. The styling is like that of the Llaltese Woman's Choir, medieval and Celtic in stylings. However, only this time the dress has many sections flowing off of it, such as wing like fabric pieces attached to her arms, flowing like ribbons in the wind. Her blonde hair is done in a braid also, and wears little make up. She begins to perform a smooth choreography, in which making use of the flow of the dress, her arms waving like the wind, the fabric flowing behind her hypnotically. In her dance, she barely moves from her position upon the stage. It's beyond mesmerising, her dress wrapping and dancing in the air like the winds themselves. Her movements, simple and made to look easy, smooth and airy, like a snowflake in the wind. Even amongst the darkness, she is lit up with a white spotlight, her dress illuminating. Throughout her piece, shifting within the winds of the onstage fog, every so often, the camera would revert back to the Gwynfriig player upon the mountain, a duet between instrument and woman, yet they are so far apart. Much like the first section of the introduction, it seems to flash by like the seasons, finishing before it could ever end. As her section begins to end, she would walk backwards, stepping back into the fog, disappearing as quick as she came.

At the 1:54 mark, the music seems to pick the pace up. The LED screen displays a Celtic pattern bathed in gold and navy, the colours of the Llaltese flag. At this time also, the fog magically shifts away, and the dancer originally dressed in white leaps back onto the stage from the back, dressed in a river dance dress in a navy velvet. She begins to river dance rhythmically to the beat, though on her own, her smile and charisma filling the stage. Her feet move magically fast, like the winds. With the disappearance of the fog, the orchestra present in the opening act appear at the back of the stage upon the lifted sections. The violin begins to play and the river dancer begins to pick up the pace even further, the crowd cheering at the sudden energy flowing through the veins of the song. The lights begin to glow a harsh gold upon the stage while lights begin to pulse to the rhythm of the song. The song begins to build up to the true start of the song, in which the camera zooms into the stars above. On the first set of claps, the camera reverts back to the stage, where two other river dancers, both male and in golden velvet suits in the river dancing styles, join the central woman and begin to copy her river dance as they perform. The dancers all clap to each clap of the song, alternating between facing left and right to each clap. The lights also flash dimly with each clap, the audience joining on the claps when they can. When the clapping speeds up, the lights flash brighter and faster also, the dancers ramping up the intensity of the routine. The dancers smile as brightly as the sun throughout, a true testament to the joy of the parade of nations. Near the end of the rapid section of clapping, four more dancers twirl onstage, and the dancers begin circling each other as they river dance, all dressed in the colours of Llalta: gold and navy, the same velvet outfits as the 3 already onstage.

As the song hits 2:34, the lights flash for the first set of nations to appear onstage for the parade of nations. First onstage is...

~✩~ 01 | PROLUVIA ~✩~
Entry

The Proluvian flag is flashed upon the LED screen, as well as being projected onto the mountain which lays behind the stage, the open aired audience cheering for the surprising spectacle. Rosa enters the stage from the back left of the stage and waves to the crowd with her two, small Proluvian flags as she smiles joyfully, ending up at the front of the stage. Then at 2:45, another entrant enters the stage...

~✩~ 02 | HIGHLY RANKED ~✩~

~✩~ 03 | BRITONISEA ~✩~
Entry

The Britonish flag, bold in all it's colours, is flashed upon the LED screens and upon the mountain again, a theme present throughout the Parade of Nations. Hailing from Britonisea, Kayley proudly enters the stage, garnering an extremely loud applause, Britonisea being Llalta's closest nation and ally. Furthermore, being the closest, also means that many Britonish lay in the audience. She waves at her many fans and supporters, radiating the typical Britonish radiance, with a smile of silver. She joins Rosa at the front of the stage, the river dancers still dancing behind them with extreme energy, infectious seeming seeing that the audience are living, dancing and clapping to the rhythm. 2:55 brings to the stage...

~✩~ 04 | SCOTATROVA ~✩~
Entry

Scotatrova's entrant! Their flag upon the LED screens and mountain much like the last. Their entrant, Lucas Arbodela walks onto the stage with much swagger, a calm, perhaps more subtle and serious air around him. However, the crowd goes wild for the nation and their entrant, perhaps helped by his looks. He waves subtly to the crowd as he walks to the front of the stage, to join his fellow artists. At 3:05 of the song, another entrant arrives...

~✩~ 05 | ZAMBOODLE ~✩~
Entry

The flag of Zamboodle shines upon the side of the mountain and upon the LED screens as the Zamboodle "Supah Soldah's" walk out onstage, excited and screaming excitedly. On the contrary, the crowd seemed rather indifferent if not perhaps disgusted by the... somethings that entered the stage. They "walked" if it could be called that to the front of the stage. Moving on! When the song hit 3:15...

~✩~ 06 | IZMEDU ~✩~
Entry

The trio from Izmedu entered the stage from the back, bathed in the colours of Izmedu that shined upon them from the LED screen. The mountain could be seen behind, alight with the flag. Being practically bloc voters with each other in contests, the two countries share many musical tastes among other cultural identities despite the many miles between them, the country received the loudest cheer so far, on par with Britonisea. Though taken aback by the sheer noise of the crowd, they soon soaked in the applause and gained a new confidence, walking together to the front of the stage, waving their small Izmeduan flags as they do. Behind, the river dancers continue to do what they do best: whatever river dancers do. With leaps and twirls, the choreography almost steals the attention of the parade of nations. Their short time in front of the camera was cut off at 3:25, when...

~✩~ 07 | ELEJAMIE ~✩~
Entry

Elejamie hit the stage, the stage alight with their flag and the mountain too as always. Jon Navarez, Lake Mizumi and Mason walk across the stage, an air of confidence surrounding them. Reaching the front of the stage they create a triangle formation, Harumi in front blowing kisses, before saying, “¡Hola, mamá! ¡Hola, papá! Te quiero!” The other two also waved, saying, “¡Hola a todos!” and “Olá Edgebaston. Estou aqui em São Cristóvão.”, although lost in the cheers of the audience and the thumping river dance music behind. Onto the next nation, revealed at 3:25...

~✩~ 08 | ERTZEI KISHIM ~✩~
Entry

Much like the past nations, the flag is imprinted upon the stage and mountain. Sand Santini from Ertzei Kishim jogging almost upon the stage with a youthful bounce. She kissed the crowd and waved with a huge smile, the crowd loving her energy, cheering loudly in response. The crowd only seemed to give her even more energy, which in turn led to her getting a bigger cheer. She bounded to the front of the stage after doing a traditional style Ertzei Kishy Washy dance or something, leading to a spike in the cheering of the crowd. She was one to look out for. 3:36 arrives, and another artist steps onto the WorldVision stage...

~✩~ 09 | CARYTON ~✩~
Entry

The labrodor upon the Caryton flag is flashed upon the LEDs and the mountain side, leading to a soft "aw" from the audience. However, that is soon replaced by cheers for the Caryton artist: Bernice, Betty and Eleanor Shirleyton, more widely known as the Shirleyton Trio! Walking with the goodness and heart of any good Christian singer, the three walk in perfect harmony, a representation of their bond. All three smile and wink into the camera, before walking to the front of the stage. One more artist before a short musical interlude of river dancing, to which another nation enters the stage. Please welcome...

~✩~ 10 | NORTH ALEZIA ~✩~
Entry

Samara and Izdar of North Alezia, walking hand in hand onto the stage. Lit up with the North Alezian flag, the camera takes a wider shot of the stage, the duo seemingly small as they walk to the front of the stage. They wave their North Alezian flags as they smile at the crowd, cheering for them. As the music build up in intensity, the lights build up also, growing more manic and harsh. The choreography of the 8 river dancers picks up the pace also, the dancers twirling and dancing with each other in sync. They reach the front of the stage, where the camera reveals the last nine nation's entrants stood in two lines, clapping to the traditional Llaltese music.

Stood in two lines, at 3:56, the music shifts to a much faster, more intense atmosphere. The lights rapidly move to light up the two lines of artists stood at the front of the stage, the professional Llaltese river dancers behind them. As the music changes, they stand straight up and poised, still as a statue. The LED screen behind changes to a deep red, like blood, fire surrounding the now rather scary looking Celtic pattern upon the screen. With each deep thump of the drum, the lights flash harshly, the artists and river dances stomping one of their feet and turning alternate directions to the beat, all in sync. With the realisation that the entrants were soon to dance the full river dance experience, the crowd cheers louder than they ever had before, excited to see such an unexpected prospect which they didn't know they needed. As the music builds up in all it's battle, war cry style dramatics, the steps of the artists from all around the world slowly ramps up in difficulty and impressiveness. Soon, they would do high kicks with each beat of the drum, rapid yet subtle foot movements in between. As the trumpet blares loudly, all the artists and dancers onstage would raise the arms up to the sky, before lowering them in front of them. The chiaroscuro lighting also allowed for some dramatic shadows to cast upon the stage, adding to the drama. As the Llaltese Gwynfriid began to play alongside the dancing with a more prominent part than before, the artists would link arms with the three nearest artists and begin to circle around each other, the lights almost drowning them out with each beat. With each beat, one of the artists or dancers in the quadruple would swap places with another from a circle next to them. Excited to see their favourites dance such an impressive routine, the audience cheered loudly, clapping to the rapid beat of the song. A rather unseen to WorldVision style parade of nations, seeing the artists dance together as one.

The section would end at 4:28, where the two rows of artists would disperse off the stage and into the wings, moving with the river dance steps. The professionals stayed on however, another seven dancers coming onto the stage to form the row behind. As the music changes back to how it was, the stage lights turn green once more, the flames and crimson removed from the Celtic pattern on the LED screen. However, this could only mean another nation upon the stage, that of...

~✩~ 11 | NEKONI ~✩~
Entry

The hosts of WorldVision 80, Nekoni, would have their flag flashed upon the LEDs and mountain, as usual. Their band, the Blue Collar Kings, would come onstage with much flair, and were met with much applause. After reaching the front of the stage, the next nation would arrive at 4:34...

~✩~ 12 | MALTA COMINO GOZO ~✩~
Entry

The next nation of which being Malta Comino Gozo, Llalta's small island relative. The LED screen displaying the small island's flag alongside the mountain. Jakob Muscat would enter the stage from the back, his confidence growing at the sight of the crowd and their cheering. After reaching the front, he would mouth, "Thank you", before bowing to the crowd who couldn't get enough of the steady stream of artists. At 4:42 however, another artist came onstage, the mere sound of the nation's name near silencing the crowd...

~✩~ 13 | SOUTH ALEZIA ~✩~
Entry

A rather new nation perhaps, the yellow flag alight upon the LED screen, projected upon the mountainside also. Given the nation's existence, it was almost an insult to have their flag projected on such a sacred mountain. Nevertheless, the "singer" entered the stage. Met with polite claps, she walked dejectedly around I guess. Onto the next nation as the song arrived to 4:50! The noise from the crowd could give whiplash they were so loud compared to the last...

~✩~ 14 | AXUVA ~✩~
Entry

AXUVAAA! The red flag was projected upon the mountainside, restoring the lost damage of the previous flag. Euna G, confident and oozing a queenly essence marched onto the stage, smiling and waving to the Llaltese crowd, who couldn't have been louder, often being Llaltese favourites when it came down to voting. She would blow a kiss to the camera, before making her way next to the last thing. The dancers behind now had ribbons, swirling them around like auroras, the ribbon of many colours, glimmering in the different lights. The song reached 4:57 and the next nation came onstage...

~✩~ 15 | THE HLHATA STATES ~✩~

~✩~ 16 | BESEN ~✩~
Entry

The Golden Besen flag was flashed across all the stage, the mountain alight with the Besenian stars. ANAIE came onto the stage, exuding the joy and excitement of the contest. As expected, the Besen delegation was met with a rather large cheer, obviously a popular contender for the crowd amongst the predominantly Llaltese audience. After waving and smiling like other delegations, she blew a kiss to the camera, before strutting the front of the stage. The dancers behind continued their river dance, some how enduring the length and breadth of the song as they continued to dance. One might think the audience's reaction to the Besenian delegation was loud, however, it was just the beginning, as the song hit the 5:03 mark...

~✩~ 17 | LLALTA ~✩~
Entry

The host country of the night! Llalta! The announcement of the tiny island nation was drowned out by the immense cheer and screams of the crowd, obviously excited to see the previous winners enter the stage, as well as the singer representing them.

At 5:12, another act followed, if not rather a disappointing one...

~✩~ 18 | THESE AMERICAN STATES ~✩~
Entry

The American flag lit up the stage as the crowd quickly silenced somehow, despite being at their loudest only a moment ago. DJ Trummmp or whoever rolled out upon the stage in a rather... beastly manner, garnering little audience attention whatsoever. Apart from a couple food projectiles being thrown at the orangutan's direction. However, the thing soon joins the rest of the artists at the front, soon to be forgotten as soon as he arrived. Anywho! 5:20 brings a new artist upon the stage, hopefully to distract from Trummmp...

~✩~ 19 | WAISNOR ~✩~
Entry

Waisnor's very own Alena Margasova enters the stage with a rather sensual air, enthralling the audience back into the WorldVision party, bathing in the flag of Waisnor imprinted upon the mountain side and the like, she comes down from the back of the stage, blowing kisses to all she sees. Certainly less well known in Llalta, yet still garnered quite the response with her stage presence alone. However, she reaches the front of the stage at 5:27, allowing the next nation to be announced onto the stage...

~✩~ 20 | BEEPEE ~✩~
Entry

As Beepee's name is called, the flag splashes across the LED screens, the artist Betty Wont entering the stage with a newly found confidence it seemed. Waving some Beepeeian flags, she is also joined by her... oddly named dancers who enter behind her in formation, stopping to bust some impressive moves. Betty joins in, the crowd living for the dance. Betty and the dances laugh it off, before joining the rest of her fellow competitors at the front of the stage, her dancers discretely going offstage to leave Betty for the dance break. Yes, yes... another one but first at 5:36...

~✩~ 21 | SOUTH BAKATO ~✩~
Entry

At 5:43, the song shifts it's main melody, the artists stood in two lines once again in order to perform their section of the river dance. Once again, the professionals stay on the back row, allowing the artists to steal the limelight.

~✩~ 22 | KALOSIA ~✩~
Entry

~✩~ 23 | ANTAHBRANTAHSTAN ~✩~
Entry

~✩~ 24 | POLKOPIA ~✩~
Entry

~✩~ 25 | SYRCHE ~✩~
Entry

~✩~ 26 | KO-OREN ~✩~
Entry

~✩~ 27 | TITANIUMLAND ~✩~
Entry

~✩~ 28 | ESTANA AND THAOS ~✩~
Entry

~✩~ 29 | ANTENOVARIA ~✩~
Entry

~✩~ 30 | P.R.O JOYEA ~✩~
Entry

~✩~ 31 | SAVIERA ~✩~
Entry

~✩~ 32 | ZEGANAS ~✩~
Entry

~✩~ 33 | EKOZ ~✩~
Entry

~✩~ 34 | ESTOGIUM ~✩~
Entry

~✩~ 35 | NORMANDY AND PICARDY ~✩~
Entry

~✩~ 36 | LA MONTEVIDEO ~✩~
Entry

~✩~ 37 | NATANYA ~✩~
Entry

~✩~ 38 | ACHAEAEN REPUBLIC ~✩~
Entry

~✩~ 39 | TALVEZOUT ~✩~
Entry

~✩~ 40 | ELECTRUM DIPLOMATIC OFFICES ~✩~
Entry

~✩~ 41 | MISTER X ~✩~
Entry

~✩~ 42 | MISSUS X ~✩~
Entry

~✩~ 43 | TODLICHEBUJOKU ~✩~
Entry

~✩~ 44 | MERECENDI ~✩~
Entry

~✩~ 45 | ETHANE ~✩~
Entry

~✩~ 46 | NAHLCOMO ~✩~
Entry

~✩~

~✩~

COMMENTARY

EVT1 (Elejamie) with Cerin Erali & Flynn Taggart

ABA (North Alezia) with Ishtar Hamaza & Lily McHammerson

TBNC (Caryton) with Carol Emerson

~✩~

[Proluvia]

Entry No.01: PROLUVIA
You're Still the One
Rosa
Based on: Hur svårt kan det va? by Linda Bengtzing

It's not been a great story for Proluvia so far. With their return to the contest in 81, they came 19th. This would be one of their best results ever, only being beaten by their sixteenth places in both WV66 and 67. Clearly, something had to give. In this instance, it would be, as where Proluvia always seem to excel, nicking from Nekoni.

Aya Rosalin, known musically as Rosa, was a pretty big light in Nekoni in the early/mid 00s, with her own brand of adorably twee pop getting a fair bit of traction in the charts. However, it's been many years, and, to Proluvia's gain, it turns out that she grew tired of the big city of Varea and fled to Proluvia to start a new life in the countryside. However, it's been a good decade since, and it seems that, now as an older and much wiser woman, she's got that spark to perform back again. Nobody saw a return quite like this, though, especially the PRO1 delegation, who genuinely still can't believe that they've been able to get someone performing for them that the staff (largely consisted of that kind of stuffy office clerk that refuses to perform karaoke on the work's night out because all of the songs are from the 2010s) actually remember.

It's a gamble, that much is true. It's a younger person's game, the WorldVision. However, maybe going against the grain like this will be enough of a difference from the crowd to stand out.

---

It's one hell of a challenge getting the crowd warmed up, even after the hosts made a fine job doing so. Being the curtain-jerker has always had an extra level of risk attached to it, and in this case, an even greater task comes in the form of Rosa's first live performance in about eleven years. Safe to say, the chips are very much against Proluvia at the moment, but...as Rosa acknlowledged, someone had to be first up. Maybe it was just fate that it was her, perhaps? Who knows. Either way, as the postcard aired on the screens and for all those watching at home, she took a quick sip of red wine for good luck, making DOUBLE sure not to spill it on her dress, before making it to the stage.

The song begins with the stage looking as if it's the scene of a wedding, with pastel pink and white ribbons abound. Continuing the theme, there's a big white arch in the centre of the stage adorned with pink and red roses, and a red carpet right down the middle. On each side of the stage, there's a huge red velvet curtain, adorned with golden embroidery in a flowery design. As Rosa appears, to the excited cheers of an audience just warming up both literally and figuratively, we see why she was extra careful drinking her wine, as indeed, she is wearing a beautiful white wedding dress with a long train. As she walks down the aisle, two performers, both men, follow her down, one on either side. They are dressed in white suit and tie, with pink shirts underneath. One of them (who will for the most part be to our left) is also wearing a black trilby with a rose-pink band.

Beyond the ring, beyond the vows
It's been so many years now
Since our wedding day
Honeymoon's over, and you're still keeping
Up the promise you made, he-ey

Rosa continues walking down, as her boys follow her. As she reaches the end of the carpet, there's a microphone stand for her to place the mic she's currently holding. The men each go to their respective curtain, at which the ends have a big, thick rope to pull. Both of them jump up high and pull down on the rope as the chorus breaks in.

And my heart, it still melts
You're like nobody else
From A to Z
What else could I say
At the end of the day
You're all I need

As the ropes are pulled, the curtain is revealed at both sides to reveal Rosa's backing band. All of them are dressed in basic white shirts or dresses, all with white instruments: on the left, we have an electric guitarist, an acoustic guitarist (the only female of that side), and a bassist, with a keyboardist taking up space at the back. On the right, a drummer is at the back, with two female backing singers in front, both additionally wielding tambourines. Whilst they don't have an official name, the internet will almost certainly call them The Rosettes.

I was in darkness, then you let the light in
There's not a day I don't wanna feel the sun on me (You have it all)
To hold me, kiss me, love me
It's all that I want

As Rosa sings in the middle, both of the men who escorted her pirouette into the middle of the stage in sync and, with her arms outstretched and the microphone safely in the stand, tear her dress open to reveal that she's wearing a floor length black cocktail dress. This costume change additionally reveals that she's wearing white heels and delicate white satin gloves.

Even an argument can't change the weather
End of the night, there's nowhere else I'd rather be (You have it all)
'Cause even after so long
Oh, you're still the one

The second verse comes in quickly, and both the dancers rush to her side, and outstretch their arms, Rosa leaning on them as if it's a window sill. She places her arms on them, rests her head to one side, and bobs it to the other, chin still resting, in time. When she snaps her fingers at the correct line, she stands up immediately straighter as the men perform simultaneous cartwheels forwards.

Cold winter mornings through hot summer nights
I feel so stronger inside
It's incredible (It's so incredible)
And when I feel weak, one snap of your fingers
And you brighten my day, he-ey

They continue with an acrobatic dance routine in front of her, as she eventually walks forward to join them. When she gets there, they are both standing, facing herin the center. They lean into her shoulders as she smiles at her favourite one (the one on our right, don't ask why), the cue for him to twirl her round and lean her back, her final line of the verse coming as she's leant with her upper back almost perpendicular to the floor, with him supporting her by holding her back with his arm.

There were times when I cried
But with you by my side
I will not fall
What else could I say
At the end of the day
Still got it all

During the chorus she's able to get upright again, as she twirls round the man on the right once more, directly into the arms of the man on her left, ending in what appears to be the start of a tango dance position. However, this is a ruse, as Rosa takes his hat from him and puts it on her head instead!

I was in darkness, then you let the light in
There's not a day I don't wanna feel the sun on me (You have it all)
To hold me, kiss me, love me
It's all that I want

She is spun by him back into the center and walks forward, as the boys continue another gymnast-esque routine behind her. Despite what's going on behind her, she's still putting emotion into her lyrics which you can see by her overly gesticular movements around her microphone. Even though it's her first go in a decade she still doesn't forget who the show's supposed to be about.

Even an argument can't change the weather
End of the night, there's nowhere else I'd rather be (You have it all)
'Cause even after so long
Oh, you're still the one

The mandatory schlager bridge is next, and the boys behind her have moved their routine to right next to her, leading to both of them grabbing a tag each on either side of her dress. No, we're not still in 1981.

And there's not a cloud in the sky for you and me
Nothing in our way
There's nothing but calm horizons on these seas (Calm on these seas)
I'm so happy, oh
'Cause even after so long
Oh, you're still the one

Key change! Down your drinks! The exact moment she hits the high note to let it in, the performers pull apart Rosa's dress to reveal ANOTHER costume change; a skater dress in hot pink. This is accentuated by the stage raining with white rose petals. Did we mention her stage name's Italian for rose? We feel like without mentioning that, the aesthetic might be lost on the viewer. Just a little. Anyway, as this is going on, the camera does a lovely 180-degree pan showing the entire stage off.

(I was in darkness, then you let the light in)
(There's not a day I don't wanna feel the sun on me) (You have it all)
To hold me, kiss me, love me
It's all that I want

At the end of the final chorus, both of the dancers hoist Rosa onto their shoulders, human pyramid-style. With one hand on the mic, she hits the final note, raised in the air, her other gloved arm outstretched, as a big blast of pyro accentuates the end of the song.

Even an argument can't change the weather
End of the night, there's nowhere else I'd rather be (You have it all)
'Cause even after so long
Oh, you're still the one

And so, that's Proluvia finished for another contest, with Rosa standing tall for the first time in over a decade. Was it cheesy? Good Lord, yes, but with a song that warm-feeling, they feel that they might have cracked it - they can be sure that it's not for everyone, but those that like it will probably like it a lot.

[Amuaplye]

DISREGARD

[Highly Ranked]

2. HIGHLY RANKED

[Britonisea]

#03 BRITONISEA
KAYLEY - "Beautiful"
Tune : Marina - "True"
Music: Xavier Boal, Reece Young Lyrics: James Embankment, Tisha Fiona

KAYLEY gets her chance of the WorldVision Stage: Vha Mehlodhivestoile 2018 runner-up and 2020 3rd place, KAYLEY, will finally get her chance at WorldVision Song Contest with her VM2020 submission, "Beautiful"

Britonisea sends Britonish popstar, KAYLEY for what will be the nation's 40th entry to the WorldVision Song Contest. KAYLEY will be performing 3rd in the Grand Final, with her Vha Mehlodhivestoile hit song, "Beautiful".

The 82nd WorldVision Song Contest was a rather successful one for the nation. It was the first time that Britonisea placed inside the top 3 with a song that didn't come from Vha Mehlodhivestoile since the 67th WorldVision Song Contest, a grand total of 16 editions ago. Last edition, it was decided that the Jury and Televote would be split up into the two different segments which saw huge point totals. For the Jury section of the competition, Britonisea came second with a total of 129 points. Had this been the result for Britonisea in the end, it would've been Britonisea's joint seventh best result with Kelsey Banques' "Run" which placed 2nd back at the 66th WorldVision Song Contest. Though the story wasn't unfinished here and we were put through an emotional, exciting but detrimental televoting sequence for the nation. While the Britonish song was a hit with televoters, they ranked Britonisea 3rd with 126 points, and with Izmedu receiving enough points from the televote to take the second spot from Britonisea, the nation didn't leave with their seventh second-place but going home with the country's first-ever third placement at the WorldVision Song Contest. The nation was happy for the winning nation, Llalta, as Esther Winterbourne, a student from the University of Telm in Britonisea took top spot. Llalta would later bid to host the next contest and host in St Christopher.

The hype surrounding the last couple of editions had exhausted the broadcaster who pledged only three editions ago that Britonisea is back "for good". With BITC accessing whether it is feasible to remain in the WorldVision Song Contest, they were still receiving criticism for bidding for the 81st WorldVision Song Contest at the height of the pandemic. The broadcaster still receives stick for the treatment of Eleanora Buckingham, too. But the facts don't lie. For BITC, the contest was a good bit of cheap (not when hosting) entertainment which receives a considerable amount of views. 8.31 million watched the 82nd WorldVision Song Contest - or the 23rd most-watched Grand Final of the WorldVision Song Contest and while the figures aren't as high as they once were, WorldVision usually wins the night of the Grand Final. For BITC it was crucial that Britonisea kept participating. While they did have an act lined up to represent Britonisea, due to the coronavirus pandemic, they decided to pull out leaving the team at BITC in need for an act that they wouldn't need to go through the whole 'building up your confidence phase' with. Thus, they decided to go for a Vha Mehlodhivestoile runner-up, KAYLEY. Tobias Noah has said that he didn't want to perform his song competitively, with BVC giving him an opportunity to have his voice heard, if there are Semi-Finals.

This was written about KAYLEY for her Vha Mehlodhivestoile post;

KAYLEY, 35, is the penultimate act of the evening. KAYLEY has had a lot of experience when it comes to performing on the big stage. Of course, this is KAYLEY's third experience at Vha Mehlodhivestoile 2020 and so she is familiar with the processes of the contest. This will be her seventh performance on the stage of Vha Mehlodhivestoile and so she's got a wealth of experience. Not only that, by she also performed at the 39th World Hit Festival which took place in Darkmania. Amongst a field of 24 nations, Britonisea came 6th with the song, "Junterapten" which became a hit in many nations. To this day, it remains as one of the most memorable Britonish entries ever sent to the World Hit Festival. For this upcoming performance, she will be sending the song "Beautiful", hoping that she will go to the WorldVision Song Contes this time...and she could do it. On her team are Xavier Boal, Reece Young, Tishka Fiona - who have all sent songs to Vha Mehlodhivestoile 2020 but also James Embankment. James is one of the most successful Britonish songwriters in international competitions. James won the most recent edition of the World Hit Festival as a part of Meghan Jorgensen's team, and also the 73rd WorldVision Song Contest as a part of Alyxhia's winning Vha Mehlodhivestoile team. In addition to this, James has also placed 2nd at the WorldVision Song Contest twice and with his writing skills and KAYLEY's talent, they're hoping that "Beautiful" can go above and beyond expectations. KAYLEY received 12 points from Besen in the 1st Semi-Final. Will KAYLEY receive more in the Grand Final?

And well, in the Grand Final, KAYLEY received a total of 81 points in the Grand Final from the International Juries of 17 nations, which might tell us how she will do here in Llalta. She did finish a long way off from eventual winner Kelsey Banques, who scored 151 points from the International Juries which cemented her win. In the Britonish Televote, she received 76 points, or 4th place which gave her an overall total of 157 points. She drew with Tobias Noah, but was ultimately put down to fourth place due to the Britonish vote overruling the juries. She says that she is not worried about how her song is going to be received in Llalta, she just wants to get her music out there.

Britonisea didn't have a far trip to go to Llalta. Delegations were told to go through Britonisea on the way to Llalta, which seemed like a perfect route for the Britonish Delegation. With our delegation probably being the one that spent the least on travel, we're hoping that the extra money saved was well spent on the performance...

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Duration: 03:24
Main Vocalist: KAYLEY
Female Vocalist 1: Mello Cinde
Female Vocalist 2: Perri-Anne Drews
Female Dancer 1/Vocalist 3: Louisa Johnson-Paul
Female Dancer 2/Vocalist 4: Pauliana Shrewburry

KAYLEY walked onto the happy and relieved. It was finally her moment to shine on the stage. For Britonisea, the nation wasn't expected to perform this early in the competition, with BITC's aim usually to go for the second half during odd editions. Though, BITC wanted to change things up and thought that song number 3 would be the perfect position for KAYLEY to perform in. KAYLEY performed 8th and 11th while at Vha Mehlodhivestoile and so the delegation felt as though KAYLEY deserved to perform earlier so she can watch the show in peace. The show was a long one, with over 35 acts and so her performing this early may be risky but she felt much better about it. KAYLEY was wearing a pure white dress embezzled with diamonds. On her haid she wore a diamond crown made with the shape of leaves around it. She sat in what could only be described as a large clam like you see in the movies. She didn't sit there alone, sitting with two other female dancers on either side of her. She sat with her legs to the side, slightly leaning on one of her hands as she got comfortable. The postcard of the Britonish entry had finished, with a large applause from the audience, some of whom were Britonish. As the audience died down, soft white lights were shone on the setting as the song started to play;

Trapped; I know the feeling, I can't breathe, breathe, breathe.
Society telling me what to believe.
When will I ever feel like I am free, free, free? Oo-oo-oh!
Take a step back and look at the whole picture,
You know you're worth more than what he thinks, thinks, thinks
Unleash the beauty that you have deep within Oo-oo-oh!

At the start, the camera every three seconds or so focused on one member on the stage before fading to black, then the next, before focusing on KAYLEY and then the whole stage, with the beautiful night sky. During this time, the three women stood still, not looking at the camera, statued - as though they were Athenian Goddesses. As KAYLEY started singing, she held the microphone up with her head looking up facing the lighting rigs. Her face was bathed in white light as the camera had an effect to make the scene look softer and more beautiful that in normally would. During the first verse, the camera bounced from each of the women as they made slow movements each time the camera was positioned on them.

Hide no longer in the shadow,
Don't cry my dear, it's not worth tears,
Stand strong, be brave,
The world's waiting...
So shine bright like the star you star

As the pre-chorus played, along with the instrumentals which sounded like stars twinking, rather fitting with the theme of the evening, strobe lights, raised from the stage out to the audience watching out in the open. KAYLEY let out a slight smile as she sang the words, "Stand strong, be brave" with the shot cutting to a close up of KAYLEY as she reached her hand out towards it. Some effects were done to the camera in order to make it seem more dreamlike. As she sang the lyrics, "So shine bright like the star you are", you could hear the audience cheering with the song almost acting like an ode to the 83rd WorldVision Song Contest. As we moved to the first chorus, the fog started to build up which was being blown towards the three women as the fans were also turned on. The camera moved outwards as lights at the top of the LED stage twinkled on and off and as the camera moved, for those watching at home, they could see the sheer beauty of the stage; simple but elegant was the focus on KAYLEY's delegation here at the WorldVision Song Contest in Llalta.

Calling every woman on Earth,
We're all beautiful, we're so beautiful.
Please remember, this is a fact.
Don't let no one try tear you down.

Every woman, hear my voice now
We’re all beautiful, all so beautiful
Just as long as you know this fact.
Deep in your hear you are a star

At the end of the first chorus, there was a moderately paced track of the camera out over the audience away from the stage with the strobe lights decreasing in intensity in the meantime. The pure whiteness of the stage was almost sucked out in those few seconds as KAYLEY stood up ready for the next shot that she was going to get. There was a light focused on her, with the LEDs behind her showing twinkling white stars, making the scenery behind her look as vast as ever. The next shot that was on the television was a shot to her right which she started to sing towards. The shot became slightly canted as she continued to sing, with the shots cutting back to the two dancers at the sound of the clap. As KAYLEY was singing, she slowly moved her hand up the side of her body. She looked innocent as she was singing, a force from above only spreading love and hapiness to the audience. The performance was very different from her song "Junterapten" that she sent to the 39th World Hit Festival and so she felt as though she needed to really be in touch with the character she wanted to portray on the stage for this song.

Prim and proper, ladylike, doesn't exist
Be the person who you were born to be, be, be
Don't even try to make any exceptions, oh oh oh!

Hide no longer in the shadow,
Don't cry my dear, it's not worth tears,
Stand strong, be brave,
The world's waiting...
So shine bright like the star you star

Similarly to the first time that we heard this part of the song, the stars there were in the background in the other shot were twinkling once again, with members of the audience also now being told to put their phones up. There was a shot of KAYLEY on the stage alone surrounded completely by a sea of stars, glowing in white and a rim of gold directly around her; she was the only thing those watching on the television were watching, truly standing out and creating an unforgettable moment on the stage. As we move into the second chorus, lights started circling around the stage creating a much more mysterious look that the scene before. As we built up for the second chorus, there was an extreme close up of KAYLEY with her microphone before the camera quickly moved outwards.

Calling every woman on Earth,
We're all beautiful, we're so beautiful.
Please remember, this is a fact.
Don't let no one try tear you down.

I know how hard it can be to
Believe that you’re not, you’re not beautiful
Just know deep down, you are a star
Nobody can top your beauty...

As both the dancers and women backstage start to sing together (02:29), the lights in the arena starting twinkling with a lot of, with flashing from the front being rather intense, similar to what happens here for a few seconds but for a longer amount of time. There was a wide shot as we saw the whole of the arena watching the beautiful masterpiece take place on the WorldVision stage. During this time, KAYLEY was waving her arms about, looking out to the night sky, wishing upon a star that she would do well at the WorldVIsion Song Contest, not only making her country and team proud, but making herself proud. She smiled as she made a wish, staying still before blowing a kiss out to the night. You could hear the audience shouting once again as KAYLEY turned around to meet a beckoning camera. She sung the line "You are all beautiful" towards it...

(Ahhhhh Ah Ah oh Ah oh Ah oh Ahhhhhh)
(Ahhhhh Ah Ah oh Ah oh Ah oh Ahhhhhh)
You are all beautiful

As we moved into the final chorus, as standard for a performance such as this, there was a shower of pyrotechnics which fell behind her as the fog on the stage grew much thicker. The cameras complimented her performance as it showed shots from all corners of the stage; from behind KAYLEY, in front of her, rising from the above the smoke etc. The whiteness of the stage increased along with gold which was a colour mainly used during Kelsey Banques' WorldVision Song Contest performance which went on to win. KAYLEY was having her moment as she continued singing and didn't stop. She was doing whatever came naturally to her; englongating certain notes that she felt comfortable to elongated and ornamenting wherever she could. She was happy to be on the stage and whilst she knew her time was up in twenty seconds, she didn't want this to be the last time she performed on this magnificent WorldVision stage.

Every woman, hear my voice now
We’re all beautiful, all so beautiful
Just as long as,
You know this fact.
Deep in your heart,
You are a star

I know how hard it can be to
Believe that you’re not, you’re not beautiful
Just know deep down,
You are a star
Nobody can
Top your beauty...

(Ahhhhh Ah Ah oh Ah oh Ah oh Ahhhhhh)
(Ahhhhh Ah Ah oh Ah oh Ah oh Ahhhhhh)[/i]

KAYLEY lowered her head as the song finished. The audience came in with massive applause for the singer. KAYLEY looked up and blew a kiss out to the audience. It was now time for the final one of the potentials...

[Scotatrova]

4. Scotatrova
Lucas Arboleda
Gemaix Te Pardonere
Tune: Mahmood - Rapide

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With the conclusion of yet another WordVision, Scotatrova had landed just short of the top 10 at 11th place. This wasn't seen as too big of a loss with the broadcaster, but it prompted a new idea. Scotatrova's national final, Ll'acteade Scotatrofina eu Cançis, has been well received for the editions its been used. The broadcaster, SSTR, has decided that it will select an entrant internally for WV83, following its pattern of inconsistency with the national final between editions. But the broadcaster will be carefully watching the entrant, and based on how well the Scotatrovian entrant does, will decide on how to continue with Scotatrova's participation in future WV editions. Should their entrant do remarkably well, then they may continue doing internal selections. Should the entrant do rather poorly, the broadcaster will resume Ll'acteade Scotatrofina eu Cançis for some editions. However the broadcaster could always change its mind and decide against both of its ideas, and go for a more freelance approach as it has been doing ever since Scotatrova's debut. So with the announcement of its confirmation, Lucas Arboleda was chosen as Scotatrova's representative for WorldVision 83. Lucas had previously served as the Scotatrovian spokeperson in the Britonish national final, Vha Mehlodhivestoile.

Before he had appeared representing Scotatrova though, he was just your average music star in Scotatrova. His start was somewhat untraditional however, as he gained his popularity after he debuted in the fourth season of "Superstar: Scotatrófidna". He was the fan favorite to win, which he did, and gained immense national popularity. Shortly after winning the show, he signed on with Xunara Music Entertainment. Together, they worked on developing Lucas's debut single, which was released on all streaming platforms just 3 months after his win on Superstar: Scotatrófidna. Over time, he then released 4 more singles before dropping his debut album a full 7 months after he won the show. His album quickly topped the Scotatrovian music charts, and was number one on Scotatrova's very own MAMS chart. Lucas also quickly became a sensation throughout the rest of the Scotatrovian world, especially in Hescettgovian America. Ever since then, he's released several successful singles and collaborations while also hinting on the prospect of a second album in the works. Shortly after WorldVision 82's conclusion, Lucas was approached by SSTR. As a result of many discussions with the broadcaster, Lucas agreed to represent his country. Just a week before his announcement as Scotatrova's candidate, he released a message on social media that would tease at this appearance with "Have big news to share with the world very soon." And there it was, his confirmation as Scotatrova's next representative.

The song was developed over the course of a few weeks, mainly with Lucas taking a lot of creative freedom with SSTR's oversight. He had based it on a bad experience with a past toxic relationship that had started out smooth. In an interview about the entry, Lucas said "The song chronicles the deterioration of a relationship and analyzes the reasons piece by piece. There's betrayal, there's mistrust, but most important of all, there's guilt. There's regret. There's hurt. To truly understand that is to truly experience the pain that is conveyed throughout the song. Of course, most people are only going to remember the tune, but I hope that the lyrics can resonate with people that have gone through something similar before. It is hard, but eventually you'll move past it and be stronger than you were at the beginning."

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After the postcard, Lucas and the the stage become visible with a wide camera angle. It is thinly lit in a hue of green lights, and the floor is completely covered in a thin layer of fog, perfectly setting the tone for the entry. Lucas is standing near the front of the stage with a microhphone in hand, looking down at the camera just below him. Not too far behind him, towards the back of the stage, a man sitting at a piano is also present. He puts his hands on the keys as he and Lucas are given the indication that the song is about to start. The song commences as the keys of a piano start to chime. The camera is placed just at the edge of the stage, with an angle that's looking up directly at Lucas. He stands close enough so that he fits into view of the camera, but not too close to where his image is overbearing. As he begins to sing, he lifts the microphone up to his mouth while taking a subtle, deep breath.

Le sond perthze significadí entrende lí luixos se estingue
Soltad lúo que tonu ei saba, ía duloze
Mur diage nel te axabere

Time loses meaning while lights go out
Letting go of what we had is hard, and it hurts
But I won’t answer you anymore

Lucas closes his eyes as he begins the first verse. As he does so, he slightly moves his head back and forth while he sings. His eyes slightly squint, as if he's remembering something he would rather forget. He keeps that same expression as he continues on with the rest of the first verse. There's a quick look over at the pianist, who is playing as the stagelight to the right of him completely illumantes his entire right side. On his opposite end, the fog permeates around the legs of the piano while his left side is lit up in the green glow of the main lights scattered throughout the stage.

I’etang que laxar atres lí muldes béna avisas eu nuose
Devote siophdú que alco retum mal, mur nel siophte
Sempri penset que er míe culbe

Me thate utheres
Nel poix criar que te criet tue menxores
Comon nel vethte?
Qüenia retif favelad par telefone
Te prequite güe er ía comon
Deçís que er nelune me deci toth

I have to leave behind all the good memories of us
I should have known that something was wrong, but I didn’t
I always thought it was my fault

You gave me excuses
I can’t believe I believed your lies
How did I not see it?
When you were talking on the phone
I asked you who it was and how
You said nobody told me everything

With the start of the second verse, we get a front angle of Lucas who opens his eyes and looks directly to the camera. As he begins to sing the line "Devote siophdú", his view changes as he looks out towards the audience, with the camera holding its position in front of him. While singing to the audience, he does it in a way that makes it apparent that while singing for them, he's singing to someone specific in mind. As the song changes tempo and speeds up a little, Lucas's expression changes with it as a result. Opposed to the look he gave out to the audience, he glares back at the camera with a hard, focused gaze, not breaking focus as he speeds through the verse.

Thate toth ía gemaix er vastante
Te pardonere? Vethziro comon va
Ie t’emet, Ie t’emet, m’emate, Ie t’emet
Ía ie nel sioph

Te deçi que nel qüeret perthrete, enthoç
Me garthet ía deçís ‘gemaix me tiosa’
Ie perthte, me xocate ía ganate
Ía gemaix te pardonere

I gave everything and never was it enough
Will I forgive you? We will see how it goes
I loved you, I loved you, you loved me, I loved you
And I don’t know

I told you that I didn’t want to lose you, then
You looked at me and said ‘you never had me’
I lost, you played me and won
And I’ll never forgive you

At the start of the chorus, Lucas reverts back to the same expression he held while singing the opening verse. The camera angle is positioned about 10 feet in front of him, showing him from the waist up. As the camera moves back ever so slightly, we get an expanding angle of Lucas. He sings with his head down, looking down at the floor of the stage while he sings. While he does so, the lights around the stage begin to flash in a symphony of green, and the amount of light covering the stage also gives the fog around the stage a pale green hue. When he begins to sing "Ie t’emet," he looks up towards the sky. As he continues with the line, the hurt that Lucas feels becomes apparent. He continues singing with what appears to be as if he's asking a question, but accepting the fact that he's going to get an answer he isn't going to like. Just before the he gets to the last line of the verse, there's another quick look back over at the pianist. His eyes are closed while he runs his fingers through the keys with little effort. The camera quickly cuts back to Lucas who finishes the verse as he gives the camera a sad, but scorned look, expressing the pain he's in.

Rett clare que guarthate muldes sires par thé
Sempri curís qüenia te inavanti par axo
O me culbate
Me foie sendire le pehior

Me deçiro que te garthíon
Gomió, comon me vas a deçir
Que sol ei ñ’emige qüenia axte
Nel ei le primero buele
Que occur entres tú ía íl?
Ah, par quoth nel resu morxavad?

Its clear that you kept many secrets to yourself
You would always run when I confronted you about that
Or you blamed me
It made me feel the worst

They told me they saw you
With him, how are you going to tell me
That he’s just a friend when this
Isn’t the first time
That this has happened between you and him?
Ah, why am I not surprised?

Lucas drops the microphone down to his side for a quick second, before brining it back up to continue on with the song. Like before, he slightly rocks his head back and forth as he sings. This time around, the energy he's expressing is an improvement to what it was just a few seconds ago. He retains a small grin as he sings and lets his free arm swing freely while lightly dancing in place, as if he's amused. He leans his head back and once again is singing to the sky. A right side view of the stage can be seen while he's doing so, and the camera starts slowly panning to the left to eventually stop while its in front of him. The stage lights continue to flash in all their verdant glory while the fog begins to slowly amp up in intensity, now starting to float off the edges of the stage.

Thate toth ía gemaix er vastante
Te pardonere? Vethziro comon va
Ie t’emet, Ie t’emet, m’emate, Ie t’emet
Ía ie nel sioph

Te deçi que nel qüeret perthrete, enthoç
Me garthet ía deçís ‘gemaix me tiosa’
Ie perthte, me xocate ía ganate
Ía gemaix te pardonere

I gave everything and never was it enough
Will I forgive you? We will see how it goes
I loved you, I loved you, you loved me, I loved you
And I don’t know

I told you that I didn’t want to lose you, then
You looked at me and said ‘you never had me’
I lost, you played me and won
And I’ll never forgive you

The playful, happy expressions are immediately lost while he begins the second chorus. Now his expression becomes one of what can only be described as a sad rage. Lucas delivers the line "Me garthet..." with such resentment in his voice, its clear that there's something that is still bothering him, despite already thinking he's moved past it. His emotions almost become too much to bear with as he comes close to finishing the verse. The camera captures a front facing angle of Lucas who seems like he's about to breakdown while a tear begins to well in his left eye. Instead of losing it right there on the stage, he sucks it up and displays his emotions in his singing.

Si me vo athór, nel intentás segiarme
Eras toth que teon ía zen thé, resu perthdí
Güale er ll’aqute eu toth?
Nel poíx menxorarme
Aprente eu míes erores

Intrate ai míe cabetha ía me fiuse
Saquar misemo par lí cosas que fiuse
Nel pioxe firete axo
Claremende nel pensate ai mía

If I leave now, don’t try to follow me
You were all I had and without you, I’m lost
What was the point of it all?
You can’t lie to me
I’ve learned from my mistakes

You got in my head and made me
Doubt myself for the things you did
I could not do that you
You clearly didn’t think the same about me

This time we get another view of the pianist. Different with the first split view we got of him with the spotlight and the stagelights, now all that is shown is the silhouette. The camera is capturing his playing from his left side, while his entire body is just enveloped in the stagelight. Specks of dust can be seen floating across the image, and with the intensity of the fog growing, it begins to encroach on the lower edges of the camera view. The pianist keeps his calm composure, which serves to contrast with Lucas's more fickle, changing attitude. The attention is brought back to Lucas who sings the verse with a calmer, more collected tone than he did in the previous verse. However with the emotional weight of his lyrics, he is prone to sliding back and forth between emotions. While toning back on the emotional weight of his performance, he in turn shifts it to his voice.

Thate toth ía gemaix er vastante
Te pardonere? Vethziro comon va
Ie t’emet, Ie t’emet, m’emate, Ie t’emet
Ía ie nel sioph

Te deçi que nel qüeret perthrete, enthoç
Me garthet ía deçís ‘gemaix me tiosa’
Ie perthte, me xocate ía ganate
Ía gemaix te pardonere
Ía gemaix te pardonere

I gave everything and never was it enough
Will I forgive you? We will see how it goes
I loved you, I loved you, you loved me, I loved you
And I don’t know

I told you that I didn’t want to lose you, then
You looked at me and said ‘you never had me’
I lost, you played me and won
And I’ll never forgive you
And I’ll never forgive you

While concluding the second to last verse, Lucas goes down to his knees. A front facing angle of him from the front of the stage is shown. He sings with his head down, holding the microphone with both of his hands and his eyes closed. Lucas keeps the microphone close to his chest, and holds on tight, indicating that he doesn't want to lose it. The fog begins to slowly entwine his legs and his lower body as its spread throughout the stage has greatly increased compared to the earlier verses. The stagelights have calmed to a more steady strobe, with two lights in the back of the stage focusing their beams on Lucas. The light combines with the surrounding fog and the camera catches this, displaying Lucas center-stage as he's embraced by the green vapor. As he sings the final line of the chorus, his voice has become more fragile, and less powerful. Its the voice of a man who's finally accepted his situation, and begins the process of acceptance. The song concludes with one final shot of both Lucas and the pianist, who plays the final note as the lights on the stage slowly fade out. As they come back on, Lucas stands back up and waves at the crowd. "Thank you so much St. Christopher! T'emá!"

[Zamboodle]

5. ZAMBOODLE SUPAH SOLDAHS
CORONAVIRUS (SHEET BLOOD OUT DAE BUTT!)

The stage opened to reveal the whites on the stage be replaced with brown and red swirls. The screens portray the COVID-19 cells floating under the same red and brown filter. At the center stage, on top of a makeshift lion king-type mountain, a Zamboodlean man stands proudly in oddly stained clothes, a prop AK47 in his hand, stereotypically gold plated. The flag of Zamboodle floats on the "mountain", actually just colored in with markers and flying from a meterstick. Around him are the bloody and feces-covered corpses of all his villagers.

“My whole veelage has dae Corona!
(Dirty pond sacred water! Sacred water-)
My whole veelage has dae sheet-blood!
(Which come out dae butt! It come out dae butt, come out dae butt!)"

The corpses began to harmonize with him, raising from their dead positions, the african villagers drenched in an unknown brown and red substance, holding their arms out like zombies. Upon mentioning sheet blood, the singer clutches his stomach, pained. He begins a choreography of stomach cramps, shaking his body from left to right as the corpses finally reach standing position.

"Sheet blood come out dae butt-sheet-ah blood-ah!
Sheet blood come out dae butt-sheet-ah blood-ah!
Sheet blood come out dae butt-sheet-ah blood-ah!
Sheet blood come out dae butt-sheet-ah blood-ah!
Sheet blood come out dae butt-sheet-ah blood-ah!
Sheet blood come out dae butt-sheet-ah blood-ah!
Sheet blood come out dae butt-sheet-ah blood-ah!
Sheet blood come out dae butt-sheet-ah blood-ah!
Sheet blood come out dae butt-sheet-ah blood-ah!"

The introductory singer runs down the mountain to join his comrades, which began to harmonize to the tune. The villagers stomp rhythmically, engaging in a cultural dance of swivelling their bodies, prancing around a fake pond of brown water. The mountain scene is replaced with a burning village. A majority of the corpse-like villagers are armed to the teeth, from machetes to straight up gatling guns. A few additional extras prance on from the sides of the stage, looking like distressed and ill civilians, surrounded by a warlord and his militia intimidating them, providing a background to the choreographed foreground.

"From dae day we arrived at dae veelage…
Dae warlord cut our man sausages off!
I can now see that there’s blood when I pee-
And I think that’s because of a STD!"

A young and beautiful looking short haired Zamboodlean man noticeably cleaner and unarmed began to descend towards the stage, hanging only from a single rotten rope. The flag of Zamboodle is wrapped around him. His entrancing citrine eyes sparkle, and he winks at some of the girls (and boys) in the crowd. If he hadn't been trapped in Zamboodle, this man would have had a career in pop music, definitely. He was dressed in a traditional orange and red robe close to the theme of the song. By the time he hits the stage, hands off the flag, unties himself, and transitions microphones, the next stanza begins. The two scenes control.

"Now a bat virus grip dae world heuh.
Because some tourist got on dae fuckin plane!
Coughed in my mom’s eye, now my whole family die!
And dae lions are now appetized!"

The fake pond is rolled off stage, and the villagers at the foreground begin coughing like those on the background while the background warlords harmonized. He obviously engages in social distancing. When the "coughed in my mom's eye..." line hits, those immediately around him dramatically collapse and "die". A local furry, coerced into a lion fursuit, prowls on stage and drags one of the corpses backstage while stock audio of lions roaring plays.

"It’s dae Coronavirus! (Nineteen!)
And it cross dae world! (Sheet blood come out dae butt-sheet-ah blood-ah!)
We think Dysen-cary was bad! (Sheet blood come out dae butt-sheet-ah blood-ah!)
We were fuckin’ wrong, oh! (Sheet blood come out dae butt-sheet-ah blood-ah!)"

When he finishes the first line, the corpses around him rise up to boom "nineteen!". A new man skips onto the stage, holding fake bats hanging from a noose. He hands them to the villagers on the foreground, who begin to thrust while spinning the "corpses" above their heads like a helicopter. A few villagers grab props like ladles and pots, very obviously eating "bat soup". The villagers in the background begin a dancing routine of "sheet blood" upon the mentioning of dysen-cary, drinking dirty water and sheeting out red and brown tassles, and repeating the process through dance. The warlords look unamused and stab the air with their bayonets.

"It don’t just infect dae gay! (Like... AIDS...) [Sheet blood come out dae butt-sheet-ah blood-ah! x2]
To dae remote veelage has found a way! (Gay… AIDS…) [Sheet blood come out dae butt-sheet-ah blood-ah! x2]
I have Corona… [Sheet blood come out dae butt-sheet-ah blood-ah! x2]
Dae Coronavirus!"

This is where the layered harmony begins. While the soloist runs across the stage, dramatically making contact with the audience at the front, the villagers at the foreground sway like a gospel choir, extending their hands out as they bunch up in formation and sing the () parts. Meanwhile, the background villagers continue the atrocious sheet-blood dance routine while they continue the sheet blood chant as the village roasts behind them. The bat nooses are laid down and forgotten about for a while as spotlights shine sporadically on nothing in particular.

[INSTRUMENTAL WITH "SHEET BLOOD COME OUT DAE BUTT..." SIMILE]

This instrumental is tamer, with the background villagers and their warlords continuing their sheet blood harmonies and dance as the instrumental takes over. A girl has a spotlight shone on her as she begins her pan flute solo. Scenes of illness and death permeate the front villagers as the soloist spends his time dancing with the audience. "Come on, sing along my frends!" He repeats as a man behind him holds up a raggedy piece of word with the "Sheet blood come out dae butt-sheet-ah blood-ah!" background harmony. Eventually, the audience is participating in the singing as well. As the scenes transition, he moonwalks back to center stage. The lion and his victim prances out to join in the dancing once more. As the next stanza begins, all the corpses raise up once more.

"It’s dae Coronavirus (Nineteen!)
And it cross dae world! (Sheet blood come out dae butt-sheet-ah blood-ah!)
We think Dysen-cary was bad! (Sheet blood come out dae butt-sheet-ah blood-ah!)
We were fuckin’ wrong! (Sheet blood come out dae butt-sheet-ah blood-ah!)"

The soloist and his immediate comrades turn over and begin twerking as red and brown tassels fly around, representing sheet-blood confetti. The harmonies enthusiastically return, with the audience participating. The man still holds the sheet blood lyrics sign, enthusiastically turning from left to right, making the audiences' arms go from left to right.

"It don’t just infect dae gay! (Like... AIDS...) [Sheet blood come out dae butt-sheet-ah blood-ah! x2]
To dae remote veelage has found a way! (Gay… AIDS…) [Sheet blood come out dae butt-sheet-ah blood-ah! x2]
I have Corona… [Sheet blood come out dae butt-sheet-ah blood-ah! x2]
Dae Coronavirus! (Nine...teen!) [Which come out dae-butt-ah sheet-ah-blood-ah! It come out!]”"

The layered chorus reaches its intensity here, the villagers begin to spin the bat nooses above their head once more, thrusting or twerking as the sheet blood confetti rains down with high intensity, fog and fireworks beginning to crackle. The soloist is depicted having sex with the lion furry while a warlord forces a CDC representative in a hazmat suit to the front stage and beheads him through a box using convincing head props, a foam ax, and just the right angles. At the final note, the villagers at the foreground slam their prop bats into the soup pots, making a loud drum echo symbolizing bat soup. In the background, the warlords fire blanks, executing the infected as the villages' flames die down. The stage goes dark as the clusterfuck of silhouettes hold position before running off stage enthusiastically.

[Izmedu]

06. IZMEDU
Grupa Pisma-Ptisera - A Wild Heart Runs Free
Tune: KEiiNO - Dancing in the Smoke

From left to right: Damir, Lara, Hrvoje

Established specifically to compete in Izmepisma, Grupa Pisma-Ptisera is composed of three members. Lara Rados, Damir Igrec, and Hrvoje Grabovac. They prefer to keep their personal lives a secret, so not much is known about them publicly. However, what is known is that they are a group whose music styles meld together to create a wild and exciting soundscape that's already proven to alight the Izmeduan public and local music charts. They mix together pop with an electronic flair as well as a fondness for utilizing wilderness motifs.

"A Wild Heart Runs Free" represents the first song they are releasing from their first project, an EP titled "Welcome to Nova Terra." Their WorldVision entry is the first step in building their music careers alongside the establishment of a still inchoate but developing lore that chronicles their fantasy adventures in another world. Ultimately, their goal is to build towards a narratively-driven concept album that pulls off being a strong collection of no-frills pop songs that tell a gripping story.

With Izmedu's public support on their corner, WorldVision presents their next possibility... A worldwide launch.

---

The stage set-up being outdoors proved to be a staging and thematic boon. Grupa Pisma-Ptisera were in position as the Izmeduan postcard concluded, all of them taking deep breaths and mentally preparing for the 3 minutes to come. Stage lights would billow down from above, the light rig creating a brilliant flash of white that would soon darken just mere moments before the entry was due to begin.

Lara, Damir, and Hrvoje were situated upon a circular platform that would rotate, large enough that it could safely carry all 3 at the same time. Just a fraction of a second after the lights darkened, purple and green hues would begin to mark the outdoor stage, with holograms of plants tinged with blue beginning to dot the stage as the instrumental playback began. The introduction to the song would see Hrvoje sing with his trademark vocal style. His vocals were put through a filter, resonating like echoes in the wilderness. A soft spotlight would shine upon him for that brief vocal, the camera engaging in wider shots to keep the viewers guessing of where the source of the voice could be. As soon as his part was finished, a soft ‘bang’ would see the Llaltese stage light up in full. Brief, almost surreal outlines of an otherworldly image would appear on the screens.

New world, new age
Pulsing with endless rays of life
No rules, just freedom
Freedom

The circular platform would rotate slightly to bring Lara into the audience's view. She would sing this verse on her lonesome, gazing at the camera with a look of wonderment. Around her, the ‘world’ would begin to develop. Lara’s eyes would gaze at the holograms of fauna tinted with a surreal blue. Behind the group, the LED strips would begin to images of wildlife and a landscape glowing with the sign of a new dawn. Lara’s vocals carried ease and grace, a sign she and her group were holding back their full energy. The camera remained close to the group, with a view change on each line that provided the audience an able view of what was going on around them.

I see in my eyes the endless stretch of blue land
I see what could be paradise
There are no rules, just freedom
Freedom

The platform kept rotating slightly as the first verse’s continuation. Lara’s eyes expertly kept track of the camera, gazing into it as appropriate but keeping her attention to a wider view of the stage and audience. For this part, Damir’s voice could be heard supporting Lara in the background. The camera views would begin to take wider views of the stage, teasing of grander things to come.

We dance with an endless energy
We are wild hearts that run free
Together we sing: this is our synergy
We are wild hearts, we are wild hearts that run free
We are wild hearts that run free
We are wild hearts, we are wild hearts that run free

The camera cut to a close view of the trio once the chorus began. The lights flashed a bright baby blue, coating the outdoor venue in that haunting light and causing the group to appear as silhouettes for a second. The platform stopped rotating as the camera made a slow revolution around them throughout this chorus, showing that all three were singing along to the chorus. As the chorus progressed to its second half, the stage would begin to light up in activity and the cameras would begin to change views at each line. It would catch the holographic plants beginning to grow and the landscapes in the screen showing a dramatic ‘run’ through a forest. The music was building towards something… but what?

When the chorus ended, Hrvoje would take control as he belted out his trademark wordless vocal alongside the dance break. The camera view was staring right into Hrvoje as he began, and that view started a surreal, augmented reality effect that would last through the end of the instrumental break. Hrvoje would ‘dissolve’ into a mass of blue particles, one where those particles made up of his face would ‘sing’ along to his live vocals. The almost otherworldly effects being played to home audiences would also see snippets of animals also represented as blue particles. Outlines of animals that resembled wolves and deer would appear behind Hrvoje’s abstracted appearance. By the end, the particles would then combine together to ‘reconstruct’ the camera view where it left off, back to the real Hrvoje himself.

Skies like sapphire
Rivers snaking through the wilds
Oceans shining
Shining

The second verse saw the group step off from the platform, exploring the world around that was manifested via holograms of blue flowers and fauna. Damir and Lara would sing this verse together, but it was clear that Damir was in the vocal lead. The camera would focus on close shots of the group as they would gaze and explore the virtual fauna surrounding the stage. Additional holograms of a flowing river were added near the flowers, with the LED strips also beginning to display images of an ocean shining against a gleaming moonlight.

I see in my eyes the endless stretch of blue land
I see what could be paradise
Oceans shining like jewels
Shining

The camera views were wide and yet somewhat low. The intent was to frame the stage as a dramatic landscape of a river flowing through land, represented through surreal holograms that stood in for practical props. Even more hologram technology was deployed, a blue outline of a herd of deer manifesting at the very edges of the Llaltese stage. Each view meant to capture these and the singers in one fell swoop. By the end of this verse, the trio would go into a horizontal formation in preparation for the chorus.

We dance with an endless energy
We are wild hearts that run free
Together we sing: this is our synergy
We are wild hearts, we are wild hearts that run free
We are wild hearts that run free
We are wild hearts, we are wild hearts that run free

With the chorus now here, the stage once more flashed with an array of blue and purple lights. This chorus would focus more on the interplay between the three members, performing under the backdrop of an oceanic coastline against a night-filled sky. The trio performed with a coordinated coherence, a comfort and poise in each movement and interaction with each other. The camera would focus on each member for at least one line, before ending right at Hrvoje himself at the end of the chorus.

The camera would slowly zoom out as Hrvoje was now in the center of the group, ensuring that all three members would now be in full view. The same camera and augmented reality effects were once more repeated. This time, the entire group would be transformed into outlines of blue particles as the entire stage set-up would disappear around them. The particle effects were stronger and pulsed to the dance beat throughout the break. Hrvoje once more kept leading, passionately singing his part. Around the group, more animals would begin to appear. A wolf behind Damir, a fox behind Lara, and a deer behind Hrvoje. As the break ended, the view back to ‘reality’ would see the group in their same positions. Their animal motifs, in a more solid form, would appear on the LED strips that corresponded to each member’s position.

I, I push beyond our limits
To the unknown
I, I push beyond our limits
Push beyond our limits

This bridge would see the group hold position and sing more slowly, the camera taking advantage of the fact that they were singing with their animal motifs right behind them. Appropriately so, this was the calm before the song’s rousing conclusion. At the end of this bridge, each member would glance at each other with anticipatory looks.

We dance with an endless energy
We are wild hearts that run free
Together we sing: this is our synergy
We are wild hearts, we are wild hearts that run free
We are wild hearts that run free
We are wild hearts, we are wild hearts that run free
We are wild hearts that run free
We are wild hearts, we are wild hearts that run free

This final chorus deviated from its past iterations. Instead of the holograms intensifying, they would disappear from the stage. The trio would instead walk forward to the stage wedge that jutted out toward the audience. They would split off from their formation and instead pump up the crowd, wanting them to share and bask in the energy of the song. They maintained their vocals as Damir and Lara especially directly engaged with the crowds, sometimes kneeling down slightly to get their hands close. Wider views of the stage were emphasized for this final chorus, especially as the song transitioned to its final instrumental break. There were no augmented reality and complex stage effects as the focus was all on the trio and their boundless energy. The song would calm as its approached the very end, its final refrain ended by Lara herself.

The energy was high. The crowd were cheering loudly against the Llaltese air. Grupa Pisma-Ptisera would huddle together in an embrace, one of the most integral parts to any WorldVision entry was now complete.

“Hvala” Lara shouted on behalf of the group.

Their job was done. They walked away from the stage, feeling an acute sense of relief.

[Elejamie]

07- Elejamie

Jon Navarez (feat. Lake Mizumi and Mason) - 2AM

Tune: Kavinsky ft Lovefoxxx - Nightcall

Jon Navarez, as seen at his last concert (in the Discoteca Alcazaba in Playa de Rocas, NUPA on February 15th, 2020) before the nation entered lockdown.

Jonathan Armando Andrés Navarez Velasco, or simply just Jon Navarez, was born on July 3rd, 1993, in Rosa Aldige, NUPA. Born into a musical family, his mother Isabel Velasco was one of the first female recording engineers in Elejamie, best known for her work on a number of best selling albums in the 80s, most notably Combinación Secreta (a 1989 debut album by the band of the same name which became the first alterlatino album to go double platinum in the country). His father, Renato “Renny” Navarez, on the other hand, was (and occasionally still is) a roadie for a number of rock bands back in the 80s, 90s and early 2000s. He was best known for his work with legendary rock en español band Acorazado, where he was not only friends with the band (and received a special thanks in the band’s liner notes for every album) but also served as a pall-bearer at original frontman Jano García’s funeral in 1994. Indeed, young Jon had aspirations of going into rock music much like his parents did, eventually getting a keyboard at the age of 11 because it was the easiest instrument to learn, at least according to his parents.

However, in his teens something had changed. While he did still have an interest in rock music, he’d start to develop an interest in electronic music. While he wouldn’t give up his dream of going into music, he did however decide to concentrate on getting a proper job just so he’d end up having some way of supporting himself if his dream doesn’t pan out and without relying on his parents. However, he would go on to make his first album in 2010, titled Nueva Era/新時代, although it wouldn’t see release for a long time due to a hard drive failure; while he was savvy enough to save the songs onto a memory stick as back up he ended up losing it somehow. While it was far from the synthwave stuff he’d be known for when he’s much older, with it sounding more like vaporwave but with entirely original music, there were still signs of his trademark style: slow, driving synths coupled with hard, reverbing drums and an atmosphere that regularly crossed the line between chill and downbeat. As a result of this, he took a long hiatus from music and started to apply for jobs in the local area, eventually snagging a job on the production line at a power tools manufacturing factory a few months after his 20th birthday.

A couple of years after netting that job, he ended up being transferred over to another one of their plants in Edgebaston, MDLN. There, he’d end up meeting a man called Ricardo Bittencourt who worked as a technician there and the two would end up quickly bonding over their shared music tastes. Indeed, it would be Bittencourt who’d end up introducing Navarez to synthwave, though the reverse would happen when it came to suggesting they form a music career. In fact, Navarez would sometimes lend Bittencourt his keyboard just so he’d have something to record his music with. They’d also use these sessions to refine their styles and make them more what they had in mind for their styles. Eventually, after coming into contact with someone from the alternative dance label Super Saturday and, after he submitted a couple of compositions he had made (plus a song from Nueva Era/新時代 that he was able to recover) and Bittencourt submitted some tracks of his own, the two were signed to the label in late December 2016 (in between Christmas and New Year) and they eventually got to work on their debut albums.

In between the recording of his debut album Night Rider, which was also his stage name during the recording of the album before he decided to go by his real name due to him finding the usual synthwave names “too cheesy” for what he wanted to do, he would end up moving back to his birth town of Rosa Aldige, citing homesickness as a reason. Fortunately, it didn’t delay things by too much as the album would end up being released in April 2017 to a good amount of positive reviews and a decent amount of sales and one of the songs (Radical Jet Romantic) hitting #1 in the indie charts. Eventually, both he and Bittencourt would end up taking part in the Super SaTourDay, which is essentially a label-wide and nationwide version of Lollapalooza; although Bittencourt would end up leaving the tour part-way through due to a mental breakdown, Navarez would still continue on with the tour, although he made sure to regularly contact his friend just to make sure he was coping OK. He would also use his time in the tour to make a couple of new songs, both of which would be released as part of a compilation album.

Shortly after the tour came to an end, as well as spending some time with Bittencourt (who started to call himself Mason after his debut album), he would then get to work on his second album. While it carried on being more of his usual style, he started to incorporate his own vocals into it instead of relying purely on instrumentals or samples. Although he did have to scrap quite a few vocal recordings due to him being unsatisfied with the end results, the remaining tracks would either be used sparingly or have an effect on them just so they wouldn’t overshadow the actual music. The album, titled Neon, would be released in March that year and, again, was a critical and underground hit, with the occasional prod to the mainstream. Shortly before he was to go onto the 2018 Super SaTourDay, he found an old memory stick that ended up containing the original songs for Nueva Era/新時代 and, when he wasn’t performing or getting ready to get up on stage, he would rework and remaster them. The album would then be released at the end of the tour, along with a couple of notes explaining the history of the songs (as well as how he considers it to be his third album despite being the first he ever made) and that it’s not going to be the start of a complete change in style. His fourth album, VHS, added some of those vaporwave touches present in the aforementioned third album but still remained largely synthwave.

In 2020 he announced that there wouldn’t be an album that year but instead a few smaller projects he’d be working from at home, primarily because he wanted to stay and look after his kid for a change. Aided by the fact that the Super SaTourDay that was supposed to be happening that year was cancelled due to the coronavirus pandemic, he instead released two EPs with a further two planned for much later in the year. The first was Un Mejor Mañana, which not only saw him re-record vocals for a few of his songs but entirely in Spanish but was also released for free on his website in February as he didn’t want people charging money for something that doesn’t have that much of a difference. The second was a collaboration EP with Mason, titled Toureiro, which not only saw release in June 2020 but also saw one of the songs (2AM) being used as the Elejamian entry for the 83rd WorldVision Song Contest. The third will be a remix EP, though he hasn’t stated if he’ll be remixing his labelmates’ tunes or vice versa. And he hasn’t given out any information on the fourth other than an expected release date of 30th December.

As for some unrelated and possibly uninteresting facts from him? He is currently married and has a daughter, although due to him keeping his life outside of music private he hasn’t really gone into any detail about anything. He often makes his own props and sometimes instruments, including a payphone he modified to work as a microphone (which’ll see action at the contest), not only to carry on with the retro aesthetic that he brings to his performance but also sometimes to help with a song. And his first name is pronounced in the traditional English-speaking way, where the J has a “dʒ” sound instead of a Y or H sound, simply because his parents liked that name and the way it sounded.

The last contest over in Tiferet, Ertzei Kishim, not only saw the voting from the juries and televotes split for the contest only but also saw the entire country (or more accurately the portion that actually watches WorldVision) start to worry about their future in the contest. Following their disappointing performance in Boschke, which saw Elejamie finish outside of the top ten for the first time since WV74, ETV wanted to pull out all the stops and make sure that their next entry would actually get some votes. For a start, they added a national final of sorts (the first one since WV37), although it was online only and was open only to Elejamian citizens. The artist (Aurora Cassidy) was pre-selected but the tunes weren’t, with people literally voting in an online poll for their favourite. The winning tune was Since I Lost him, a song that harkened back to the old 80s city pop scene. While there were concerns about the song, namely how outdated it sounded compared to the more modern songs and how it included both an orchestra and a conductor (Chris Basset, who also helped compose the song itself) on a stage with a lack of a pit for either, Aurora was still confident she could put out a good enough tune for them to get back into the top ten again.

Indeed, things went a lot smoother than expected when Elejamie managed to get a brilliant lead from the juries, kicking off with twelve points from North Alezia and racking up a decent amount of points right from the get-go. However, the points stream would sadly dry up quicker than expected and they were eventually overtaken not just by a couple of the usual suspects but also surprisingly Llalta. By half-time it was revealed that they dropped down to fifth place with 59 points. Although they’d receive a second set of twelve points much later in the contest, this time from Nekoni, it wasn’t enough to regain their lead. At the end of the jury votes, Elejamie was in 5th place with 115 points and was hoping the televote would be what it’d take to seal them the win. Sadly that was not to happen; while they were able to retain the fifth place finish, they would only receive 112 points to end the contest with 227 points in total; Llalta, however, were the shock winners with 280 points, being a hit with both the juries and the viewing public in their houses. While Chris Basset’s next shot at WorldVision didn’t go as smoothly, with his wife Andrea Garcia’s duet with Amina Pickle of Beepee (and him accompanying them on violin) seeing the Beepee/Elejamian team dead last at WorldVision: The Teams with 39 points, he has stated he will happily compete again at the competition should his services be required.

Still pleased that the poll experiment was a massive success, as well as any fears of a repeat of Boschke ended up being dismissed, ETV announced that a second one will be in place for the 83rd WorldVision Song Contest, with synthwave musician Jon Navarez being pre-selected and three of his songs competing to represent the nation in St. Christopher, Llalta. However, the main difference between the last poll they did was that this one was now open to international audiences, with people from nations all over the multiverse able to pick which entry took their liking. While there were a few security concerns, namely about people potentially voting more than once (a problem also shared by the first poll), they were still able to find. They also announced that a proper national final will be in place for the 84th WorldVision Song Contest but, due to lingering concerns about coronavirus (while infection rates have slowed down to the point where new daily cases are in the single digits, if anything, the death toll has since risen to 395 and there are still a couple thousand cases that are still up in the air), it will take place behind closed doors.

A week after the poll was put up, the winning entry was revealed. The winning song was 2AM, a song from Navarez’s upcoming collaboration EP with fellow synthwave musician Mason (who’s coming back after a self-induced break from music just to let any fame he got from competing disappear) that also features guest vocals from Harumi Nakajima Hibino-Sáenz, a singer who’s best known for her solo project Lake Mizumi (which she formed so she can “do the songs [she] want[ed] to do”). While the song itself received only two points in total from a domestic audience, as well as tepid reactions worth only one point from WorldVision fans in Polkopia and the Achaean Republic, it received a good amount of support from fans in Besen, Ertzei Kishim, Kalosia and Izmedu (and thus three points from those nations) and moderate enough results from everywhere else to make it the winning song. It probably helps that, according to Navarez, it was the song that would work best with a 360° stage since the other two songs required an animated backdrop to make the performance interesting enough to keep the audience’s attention, given that a number of host bids for the competition featured one although the winning bid didn’t. Link to NF results for a much less complicated explanation or to satisfy your curiosity.

Not even Navarez himself has any idea of what the song was about, though he did give a brief summary as best as he could according to an interview with TVNP, the Spanish-speaking wing of national broadcaster ETV. «I don’t really remember where I got the idea for this song, exactly. Not 100%. I know it came from a dream but the only parts I really remember were how I was incredibly bloodied, I was making a phone call to my wife and I woke up randomly at around 2am, which is where the song title comes from. I couldn’t remember what led up to that situation exactly but I still wrote as much as I could remember down before going back to sleep. I felt that what I had was interesting enough and decided to just wait until the morning before I started to work on it. Not the first time that’s happened to me but definitely the strangest dream that got turned into a song.»

Further explaining how the song was made, he then added «Anyway, after I told Mason about that dream I had, he helped me flesh my ideas out a bit more and turned the whole song into a scene from a movie. Sure I wrote all of the lyrics myself but he and I bounced so many ideas off of each other that I gave him co-credit for it. The female vocals were a bit of an afterthought, as I was playing a bit of it to my wife and she felt it was a bit lacking. She suggested adding a female singer for the other end of the line and, immediately, my mind went straight to Harumi from Lake Mizumi, mostly because she owed me a favour after I remixed one of her songs but also because I thought her voice would probably be a good match for a song like this. She was on board, she sent me her vocals, she did a good job and that was that. Not the best song I’ve made but I’m still proud of what I’ve made.»

However, the trip to Llalta was much easier said than done. To start off with, all three members had to be tested for COVID just to make sure they wouldn’t be able to spread the virus abroad. Fortunately, all three did test negative, though they still had to enter a quarantine period just to be safe. Secondly, their destination didn’t have an airport which, given the distance between the two nations (with Elejamie being a Pacific island nation and Llalta an Atlantic one), would normally pose a serious problem. The good news, however, was that they were able to get a flight to a neighbouring country and, from that point onwards, all they had to do was take a small ferry for the rest of the trip. Fortunately for them, the waters were calm enough to not trigger any seasickness or anything like that, the small crew that was able to take them over were healthy enough to not unintentionally infect anyone with anything and the weather was nice enough for them to get some good photos for their trip and to post it on the various social messaging services. There was also a lack of cars in Llalta itself, which made getting around the place a bit of a pain, but fortunately they were able to make it from place to place without too much hassle. Especially when the country’s small enough that it can be traversed on foot or horse and cart with little difficulty. On the upside, the warm hospitality from the locals and the picturesque scenery made things outside the competition something they’ll remember for a long time, regardless of the final result.

With all of that out of the way, they were all ready to perform. They’ve rehearsed to the best of their abilities, they’ve memorised their lines, they received a warm welcome from the audience during the Parade of Nations and they’re as calm as they can be when they’re on a stage and being watched by millions of people. The televoting system that was used in the last competition was not only refined but also made a permanent feature, for better or for worse, which also put a small amount of pressure on everyone. All that’s left are simply questions. Will they end up restarting the nation’s top ten streak that was broken in Boschke? Will they fall short once again? And are any of you actually reading this or are you just skimming it? We’ll have to wait and see but, for now, the entry. Take it away, Jon and co.

---

Parade of Nations

But before we get to the actual song itself, let’s get to this thing. Being the seventh nation to perform, they were up fairly early which meant they could. The only downside? They were sandwiched in between Izmedu and Ertzei Kishim, both potential favourites for the competition, which could run the risk of their entry being completely overshadowed. Granted Mason did manage to grab a very respectable fourth place for them back in Marina Point, only missing out on a podium spot due to tiebreakers, but that was with a different song and under different circumstances. Here, he was with a friend and a label-mate performing an entirely different song. Anything could happen. Just as long as they were calm, confident and were still able to put on a brilliant show coupled with a song that stood out then they’d hopefully avoid a repeat of Boschke.

But none of those fears and worries mattered now. The only thing that mattered was making a good first impression, not just to the audience there at the stadium but to the world as well. Sure, they didn’t have much time to discuss what they were going to do but, in all fairness, they’d be appearing for a handful of seconds so there was no need to do anything majorly complicated. Just a smile, wave, show some love for the folks back home, all that jazz. Doesn’t sound too complicated. But then it was just a question of whether or not they should do anything else or say anything. And a question of how the audience would react to their presence. And, since the contest would be taking place outside for the first time since Phoda, Talvezout hosted it four contests ago, what the weather would be like. Time was running out but fortunately they managed to get an idea of what to do in the right amount of it.

Their number was called, as Grupa Pisma-Ptisera had came, went and did their introduction, so it was time for Jon and co to do the same. They appeared on the stage where they received a warm enough response from the audience, with plenty of cheering and support for the trio. Some from the slightly more than last time number of Elejamians who made the trip but also from the locals who showed up and the fans from other nations who were there in attendance. The three of them were all dressed in the outfits that they’ll be wearing for their performance much later on in the show, albeit with a few differences given that it wasn’t their turn to perform just yet. Mason had his hair flowing freely instead and Jon didn’t have any makeup, contacts or anything else in or applied just yet, just simply the outfit he’s about to wear. Harumi, on the other hand, was just dressed in the outfit she’ll be wearing with her face and hair made up in the way she’ll be having it when they perform. They were a fair distance apart from each other, with Harumi right in front and Jon and Mason right behind her, the three of them forming a triangle where each side was 1m long. Once she reached the end, Harumi stood in front of a camera and blew kisses into it with both of her hands, before she waved into it and said “¡Hola, mamá! ¡Hola, papá! Te quiero!”* Jon and Mason appeared in the shot towards the end and also waved, with the former saying “¡Hola a todos!”** and the latter chiming in with a “Olá Edgebaston. Estou aqui em São Cristóvão.”***

Simple enough. They then walked back off stage and, catching a quick glimpse, saw they received a good amount of love from the audience. They also saw the contestant who was after them, Sandy Santini. While she probably didn’t see it or hear it that well, they gave her a wave and said “Good luck.” to her. Not to distract her or anything but rather to genuinely wish her luck in the contest. Once that was out of the way, they went to where they needed to go, which was simply Jon getting some more makeup applied to him and Mason and Harumi waiting at their table for him to come back and them to get ready to perform. This will probably be a fun night. It’s just a question of how forgiving the juries and viewing public will be.

*”Hi, mom! Hi, dad! I love you!”
** “Hello, everyone!”
*** “Hello Edgebaston. I’m here in St. Christopher.”

---

Apologies for the single cover art not being as good as the Since I Lost Him one.

Red - Jon Navarez
White/Black - Mason
Blue - Lake Mizumi / Harumi
Green - Offstage backing singer

After the postcard, we cut to an overhead shot of the audience as the camera slowly moved its way towards the stage, zooming in a little bit once it made it there. There, we can see three figures, two on one side of the stage and a single person on the other. One of the people was sitting down while the other two were simply standing. As the camera tilted down, the lights away from the stage began to fade before the ones around the stage did the same, albeit to half-visibility, as the performers got ready for what they were about to do next. Who are they? They are the people performing the song: Mason, Harumi and the man of the hour, Jon Navarez.

And then we get to the song itself. Or, more accurately, the intro. The camera fades out and the shot goes into a letterbox widescreen as it slowly pans to the left to reveal a massive payphone sitting out of the middle of nowhere, along with a hand sticking some change into it. The payphone itself was like an old public payphone, with the box itself being blue with “PHONE” written on either side in white writing, the actual telephone itself being black and the case and the stand attached to the box both being a dull metallic grey, though the buttons to actually dial people with were much lighter; it has been stripped of most of the stickers and the ones that remained were either faded or mostly scratched in a failed attempt to get them off. The LED wall off to his side was hard to make out if you were watching it at home but, as those who were there would be able to tell you if they were real, it was actually an empty desert road at night, angled in such a way that it’d look like it was on the . As the hand started to dial some numbers, thankfully obscured by the side of the box even though the phone wasn’t even connected, the camera continued to pan left until the viewers at home saw the person actually making the call. It was Jon himself, his face made up to look a bit metallic and bloody. Once the backing track makes it seem like he managed to get connected to a number, he moves his hand away from the phone and down to his side before he tilts his head slightly, as if he was leaning disinterestedly into the phone, his gaze uncaring as he waited for the imaginary person on the other end of the line to pick up.

Now it’s time for the song. The camera slowly moved down-and-left, not just to change the LED backdrop a bit more cleanly for the folks back home but also to introduce the actual song itself. The camera briefly made its way past Mason and Harumi before it carried on making its way over to Jon to fully reveal what he was wearing. He was wearing a white T-shirt (albeit one with grey and red marks on it for obvious reasons), a pair of plain blue jeans and a pair of black and white trainers. After a few seconds, presumably so the audience could note what he was wearing, we then cut to Mason and Harumi, with him behind the bar and her sitting down on one of the stools there, namely. He was wearing a baby blue shirt, a darker blue tie and a black apron, as well as a pair of black trousers and dress shoes that we couldn’t really see due to where he was standing, his hair slicked back and tied into a ponytail to make it look neat and orderly and a headset microphone on his head due to him having his hands busy throughout the performance but still wishing to sing his lines. Harumi was wearing a black leather half-jacket, a plain green casual minidress and a matching pair of green flats, with her long chestnut brown hair brushed back and a small spattering of makeup (mainly just mascara and lip gloss). She was hunched forward, the side of her head buried in her hand and her elbow on the countertop, whereas he was just simply standing up straight, cleaning a glass with a plain white rag. And the new backdrop behind them? A bar after hours, where all the lights are on and the curtains are open but the chairs (that weren’t pews) were upside down on the tables and the stools were upside down on the other bar in the background. While it didn’t really fit the tone of the song, it was more to fit the actual stage performance, which was the reason why they chose it.

Finally, it was time for Jon himself to sing. He lifted his head slightly and began to sing into the mouthpiece of the microphone, albeit with a metallic effect on his voice. The camera also pivoted a little bit to get a better angle of him singing and, in doing so, also revealed that he was also wearing a red contact lens in his right eye, keeping with the theme he had in mind for the song. While the camera was busy concentrating on Jon in that position and in that pose for most of the verse, they did cut to different shots, mostly just Mason looking down at the glass he’s cleaning and Harumi just staring morosely at the bar in front of her. They were also a couple of crowd shots too, to add a bit of variety.

I am sorry for calling you up so late tonight
(I just called you up to say)
Do not be alarmed by my voice, I’m alright
(I’m really far from OK)
But I’m afraid my time here is far too short
(I don’t know what happened to me)
Remember that I’ll be there, only in thought
(But I’ll have to wait and see)

Just before it was Harumi’s turn to sing, the camera then cut away to the stage, with Mason putting down the glass he was cleaning and reaching underneath the bar. There, he pulled out a microphone and rested it on the countertop. Harumi picked it up, turned it on and began to sing her verse. She even went as far as to lift herself up a little bit to make it more comfortable for her when she sang, though she still kept a bit of a slump. She remained like that for the entirety of the verse, barely moving for there was no real need to move anything else.

I’ve gotten your message
I hear you OK
I know I should do but I
Don’t know what to say
I don’t know what’s happened
It seems like you’ve died
But something inside me says
That this ain’t goodbye

After her verse was over, she turned the microphone off and rested it back onto the countertop before the camera cut over to Jon. Well-timed too because it was his turn to sing. The camera slowly moved around to get a frontal shot of him before it cut over to a shot of Mason pouring two bottles of a clear liquid into a cocktail shaker at the same time before dumping a couple of ice cubes into it. While Jon carried on singing off-camera, Mason leaned back a little bit and vigorously shook the shaker before he pulled out a glass from behind the bar and poured the liquid into it. Fortunately for the viewers back home, both bottles were full of water so nothing iffy’s going on here. Shortly after Mason pushed the glass over to Harumi, she picked it up and took a sip before we cut back over to Jon, who was resting his arm on top of the box as he carried on his call. Towards the end of his verse, he looked down at the floor and shook his head a little bit before he raised it and carried on looking straight ahead.

I’ll have to make my phone call short because there’s no time
(Though I might see you later)
Don’t worry about me because I’ll be fine
(But you don’t have to wait there)
For me as I’ll now have to say my last goodbye
(Don’t know how long I’ll be gone)
As I now travel further into the deep, dark night
(It goes on and on and on)

And now it’s Harumi’s turn to sing again. She sat right up and turned around slightly, now looking over at Jon. He still had his back to her, as he was busy concentrating on his call, with the camera even doing that thing where it focused on him in the background before it focused on her in the foreground. After we then cut from a side shot to a full frontal one, Harumi sat up in her seat with the camera looking directly at her. However, she wasn’t looking at it but, rather, still at Jon as she moved her feet away from the stool she was sitting on. As the music faded to the background around the last line, still audible but a bit distorted, Harumi started to get up as she carried on singing.

I’ve gotten your message
I hear you OK
I know I should do but I
Don’t know what to say
I don’t know what’s happened
It seems like you’ve died
But something inside me says
That this ain’t goodbye

Finally, we get to the outro, which is simply the last four lines of the chorus but with an off-stage backing singer joining in. At that point, Harumi started to slowly walk towards Jon as she kept singing the verse. She didn’t want to move too quickly as she would’ve been able to make it over to him before she was meant to and she didn’t want to move too slowly, so she was able to keep a happy medium between the two speeds. Halfway through the third line, she finally stood right next to Jon and looked up at him, with him returning the favour and looking down at her, with the camera perched only a hair away from his shoulder. This wasn’t really for any dramatic effect or anything like that but rather so they’d actually be able to look at each other, as she’s 5’1” and he’s 6’3. She carried on singing until the final line, when she lowered the microphone but kept staring up at him, a neutral expression on her face that somehow managed to display both fear and affection.

I don’t know what’s happened (I don’t know what’s happened)
It seems like you’ve died (it seems like you’ve died)
But something inside me says (but something inside me says)
That this ain’t goodbye

Once that was over and we get the off-stage backing singer singing “Hey” every few seconds, the camera concentrated on Jon and Harumi just standing there for a couple of seconds before he hung up the phone. He then stuck his hand out and Harumi placed her microphone in it. He then turned it off and placed it right on top of the pay phone, trying to make sure it doesn’t roll away like it kept doing during the rehearsals. The two of them then walked to the middle of the stage and placed their hands on each others’ hips and started to slow dance in time to the music. Not really the best thing to do but, fortunately, they have taken a number of precautions in the run-up to the contest so it’s not all bad. There was a brief cut to Mason midway through it, who stared at the couple while he was busy cleaning a pint glass with his rag before the camera slowly planned back to them, with Harumi then leaning onto Jon for a sort of hug before the lights started to dim around them as the music faded out. A number of seconds later the stage itself was pitch black, other than the odd spattering of natural lights and flashes from a number of sources. End of song.

A couple of seconds after the song was officially over, the lights came back on and the audience started to applaud. We then cut to a small group of Elejamian fans waving their flags and even a few signs before we cut back to the stage, with Jon and Harumi bowing and waving to the audience. Holding his microphone up and getting ready to subvert any expectations the audience might have, Jon then simply said “Go seichō arigatō gozaimashita, Ryaruta. Thank you.”

“Muchas gracias, San Cristóbal.” Harumi then added as she also helped Jon switch things around. “Thank you, have a nice evening.”

Mason, however, didn’t say anything. It was his best friend’s moment, after all. And he was just a guest backing singer, so he didn’t really want to come across as a massive egotist. Not to mention the cameras weren’t focused on him anyway, though towards the end he joined Jon and Harumi in their waving towards the audience. Afterwards, they would head right off the stage to the cheers from the crowd and, as the postcard for the next entry played, the stage was cleared and everyone was ready for the next entry, performed by the lovely Sandy Santini from Ertzei Kishim. Take it away, Sandra Sandi.

[Ertzei Kishim]

. : 08 - Ertzei Kishim - أراضي الكيش - ארצי כישים : .
Sandi Santini - Khashmal! (Electricity!)
ساندي سانتيني - كهرباء | סנדי סנטיני - חשמל
Language: English, Hebrew
Lyrics & Composition: Heytham Diab, Haddas Bergouti, Gal Ohayon
To the Tune Of - Ella Lee - Zot Ani

Sandi Santini is the stage name of Arab-Circassian-Jewish singer Sandi Shouman. In some ways she is a pure representative of the flavour of Ertzei Kishim, her father, an Arab-Circassian and her mother a Jew, she grew up in Rakaphy in one of the most central, cosmopolitan neighbourhoods in the city. Such areas were the main breeding ground for the peaceful socialist revolution which occurred last year. Sandi, who previously had been something of an Instagram/Tik-Tok influencer within Ertzei Kishim (15k followers, a bit of a small time thing). Nevertheless, she was galvanized by the social movement, and as a result her popularity within Ertzei Kishim exploded as one of the glamorous faces of the movement. Whether she fully understands the implications of the protests she was a part of is another matter, but Sandi had effectively been shot into the limelight as a "famous for being famous" kind of person. Some media deals came with her new heightened social media influencer status, but with the flexible world that came with it, she decided to enter a song into Kdam-WorldVision, because, well why not? Teaming up with (read, paying for) a slick dancey beat and experienced writing team, the group came up with a fun, modern song for Sandi to enter Kdam with. Her song was received rather well by the international juries, receiving top marks from Achaean Republic, Beepee and North Alezia, all of whom were solid WorldVision countries. Equally however, Sandi had received just one point from both Elejamie and Izmedu, receiving two sets of 1 point had never happened to a winner of Kdam before. Normally that would not raise any particular concerns, because of course you cannot vote against a song per se, but given the new televote, songs that were heavily controversial could find their placings affected. This was coupled with an influx of countries, both old and new returning or debuting at the contest, with the provisional list exceeding 50 nations. This made the field saturated and more diverse, meaning it was harder to stand out on a night where audiences at home may have to listen to over 40 songs. Nevertheless, the team at HARESHET were confident and determined to make a success of the song, and they found Sandi remarkably easy to work with, despite what many had imagined her persona to be. Ultimately, she was a total newbie to the industry, and so was very happy to follow creative direction when it was clear it superseded her own expertise. What this led to was a very clear, sleek and effective staging package which was to elevate the song to new levels.

"Khashmal!" Album Artwork

Llalta being chosen a host was something of a novelty in WorldVision. Continuing the trend of last edition's winner hosting the following the contest, the small nation had won the rights after a saturated field of bids. The novelty of Llalta is of course its very rural, depopulated landscape. Indeed, many would comment on Llalta's small size, but in all honesty, Llalta is not THAT small, and we had been to a smaller country before, the ill-fated edition for Ertzei Kishim in Malta Comino Gozo. The difference of course is that Malta Comino Gozo is a much more built up environment, whereas Llalta is much more serene, quiet and rustic. The experience of being in Llalta was certainly different for the Kishraeli delegation. One had grown accustomed the glitz and glamour of a WorldVision hosting, but this one was different. For starters, the only way to get to Llalta was by boat, and the only official chartered boats to Llalta were from Britonisea. Thus, the delegation forked out much more on travel than usual, but the boat ride to Llalta was in fact very relaxing, and had given Sandi the time to relax, gather her mind and focus before the whirlwind of the WorldVision. Upon their arrival they were whisked to a modest 3* star hotel - which seemed like more of an inn rather than a hotel, but was certainly one of the best on the island, and in the week prior to the contest preparations, Sandi and her team took the time to explore what Llalta had to offer. Of course, if one rushed this could all be done in a single day, but they had time to KILL, and so in between bouts of playing on her Nintendo Switch, Sandi would venture out. She realised that Llalta's scenic nature actually allowed for some exciting shots for her instagram, and ones which were particularly popular were her journey to the abandoned mines in Llalta, where the walls glistened with crystallized salts and metals, and her horse riding trip around the countryside.

Sandi's song mainly focused on the excitement of being young and finding out things through making mistakes. The principle idea centred on various outrageous things that could/would happen in the life of a young popstar, and the quest for something new and stable. To a degree Sandi could relate to this, as she had been lifted to the limelight almost unwittingly, but this was perhaps something more suited to a slightly more established singer. But of course, if Cher Lloyd can legitimately claim people are "jagging her swag" on her debut single, then it is more than realistic that Sandi had joined the mile-high club at some point in her teens. To accompany the fun song, she was to also have a fabulously playful stage theme. Sandi had been travelling around a lot on roller skates while in Llalta, even if some of the rural roads made it difficult for her to establish a grip, and this was going to be a big part of her staging.

The contest this year was being held outdoors, what a nice surprise. The stage and general scale of the contest was smaller than in Ertzei Kishim, but that just meant the space had to be used more intelligently. As the audience cheers died down for Elejamie, Sandi and her team took their place on the stage. The audience was going to be in for some musical whiplash, given the stark contrasts of the previous song to this. Taking her position right at the back, on the raised level of the stage, Sandi stood with her two hands on her hips looking up. She could see for a moment all the ceiling rafters and their intricate markings. Only for a moment however, as white spotlights fell down all around her, creating a caged look around her. She was lit from behind so that she formed only a shadow on the stage. She was wearing a puffy cropped jacket with red pants and a white crop top. On her feet she wore bejwelled roller skates, which would take her across the stage. With her cue counted in her ear, she began singing the first part of the song which was in Hebrew. A deep breath... and then... go!

Mekhapeset mashehu shoneh lekhalutin yo

מחפשת משהו שונה לחלוטין יו

Mekhapeset mashehu shoneh az

מחפשת משהו שונה אז

Mekhapeset mashehu shoneh az

מחפשת משהו שונה אז

Looking for something totally different yo,
Looking for something different so...
Looking for something different so...

The musical breakdown linking the intro to the first verse began, and the lights that previously formed the "cage" began swirling in all direction. Alongside this, some minor strobing effects began on the backing screen. Otherwise however the stage remained quite dark, and only Sandi's silhouette was visible to the cameras and audience. The camera shots in this part of the song were energetic and wild, zooming erratically from the either side of her, before finishing on a frontal angle. From this frontal angle one could also see that Sandi was also joined by four dancers who were performing a simple dance step from one side to the other and moving their arms, as was Sandi. They were located on the lower part of the platform. As the musical interlude came to a close, the Sandi is lit with a spotlight and the camera zooms in close to her face.

Ducky, ducky, goosey, a love full of uncertainty*
Flying me around the world get my hit of vitamin D
He keeps me unknowing as we step into that Boeing
And sparks fly in the sky that’s called international hoeing

*Reference to the game "Duck, Duck, Goose", and the uncertainty of being chosen in said game.

As the next part begins, Sandy jumps forward off the raised platform. The effect is pretty dramatic, and she lands heavy on the lower level with her legs crouched and her hands on the floor. Did she make a mistake and trip? A camera shot from straight ahead however allays all concerns, as Sandy lifts her head up and has an almost bemused expression, as if she doesn't know why anybody was cheering. She gets up and begins singing in Hebrew. The backing dancers who are also wearing roller skates began to swirl around her. They then stop at the same time at regular intervals around her. They then begin to do the more simple one step on either side, with Sandy as well also doing this in time with them. As she sings the last part of the verse, the camera zooms in on her face, and she does a cheeky wink and smile before spinning around on her skates and beginning the chorus.

Ani khufshit, ani tza'irah

אני חופשית, אני צעירה

V'ani tokefet et had'galim ha'adumim kadimah

ואני תוקפת את הדגלים האדומים קדימה

Ani yoda'at shezeh lo b'seder

אני יודעת שזה לא בסדר

Akh lo y'kholah l'hafsik

אך לא יכולה להפסיק

I'm young and I'm free
And I'm charging towards these red flags straight ahead
I know that it's wrong
But I just can't seem to stop

For the "Lo" part, Sandy and the dancers all jump up, with the dancers bouncing back and convulsing as if they had been shocked with electricity. On the backing screens blue electric current ran through the LED's, and a pink circle in the centre, also made of electric-style graphics was pumping in time with the beat. The dancers formed behind Sandy, in something of a conga line. Bracing her body for skating, she then started leading them around the stage, snaking in and out of the various platforms and levels. This was captured from a camera focusing and following Sandy from the front. As she reached the "Az ten li kamah khasmal" part, she stopped and stood up straight again. Turning around she dictated with her finger, swiping this way and that in time with her singing the words "khasmal-mal-mal". At each finger swipe, the dancer at the back of the conga line would spin off from the line and strike a different pose. When each dancer had spun off, they all then marched together almost comically to the side of the stage, where Sandy would continue with the verse.

Lo mistabekhet

לא מסתבכת

Im atah medamyyen, mekhapesest zikuk (mekhapest zikuk)

אם אתה מדמיין – מחפשת זיקוק (מחפשת זיקוק)

Lo mitzta'eret

לא מצטערת

B'rekhavei ha'olam rotzah likhvot hakol

ברחבי העולם רוצה לחוות הכל

Az ten li kamah khasmal-mal-mal, khasmal

אז תן לי כמה חשמל-מל-מל חשמל

Az ten li kamah khasmal-mal-mal, khasmal

אז תן לי כמה חשמל-מל-מל חשמל

Khashmal-Khasmal

חשמל-חשמל

Ani tzrikha makat khasmal-mal-mal

אני צריכה מכת חשמל-מל מל

I'm not getting in a twist
If you're wondering, I'm looking for sparks (looking for sparks)
I'm not sorry
All over the world, I want to experience it all
So give me some electricity
So give me some electricity
Electricity, Electricity
I need a hit of electricity

As she begun the next part which was in a rap style. She squatted down at the side of the stage and looked at the camera with the same bemused look as before. The dancers all crowded around her, feigning interest in what she was singing and acting real cute. As she began to "crank it faster", Sandy began rising to her feet almost mechanically and her dancers similarly rise with her. As she sings "shake up the volcano", her dancers begin to feign being electrocuted, and start jumping backwards into the centre of the stage, posing once again. Sandy sings the last line and winks at the camera again, licking her teeth before jumping back and moving to the centre of the stage to continue singing.

Wait, hold up
I always eat my carbs
Break in the game like penne-tration
Okay now let’s crank it faster
Bursting like a natural disaster
Shake up the volcano make the mountain pop
I got that smooth Kishi rhythm, miss me with that glottal stop*

*In Kishraeli Arabic and Hebrew, the glottal stops are elided when talking, making the speech "smoother"

Sandy gets back to the centre of the stage, and stands directly in the middle. Behind her, her backing dancers are moving in structured figures of eight as she stands still. The backing LED is pulsing in wards before occasionally shooting outwards as Sandy sings. The camera has a wider shot so all of this can be seen clearly, before zooming in closer to Sandy, who acts like she has a degree of swagger, letting her jacket hang off one of her shoulders before doing a spin on her skates. As she sings "mufarim" she does a high kick forward and smiles, doing an exaggerated bite of her lip.

Ba lekha likhyot kamoni?

בא לך לחיות כמוני?

Yesh li et ha'kol, ela gam shum davar b'oto zman

יש לי את הכל אלא גם שום דבר באותו זמן

Ratza el tokh laylot levanim

רצה אל תוך לילות לבנים

Hakhukim kvar mufarim

החוקים כבר מופרים

You want to live like me?
I have everything yet nothing at all
Running into the white nights
The rules are already broken

For the chorus, Sandy disappears for a moment, and instead we are treated to some rollerskating finesse from the professional dancers. The camera takes an angle around 45 degrees towards the stage, meaning most of the stage's width can be seen. The backing dancers are doing side slalom freestyling like so. The camera focuses on the legs of all the skaters who are moving exactly in time with each other, but as the final skater moves across the screen, the camera lifts up and she blows a kiss to the audience at home and smiles. The camera then does a 360 spin and cleverly (and seamlessly) cuts to Sandy at the top of the stage. She was singing with one arm held high, pointing to the sky. Because she wasn't moving she was able to focus on her vocals which were markedly more clear than when she was dancing (yet as the song was not so vocally challenging, it ultimately didn't matter).

Lo mistabekhet

לא מסתבכת

Im atah medamyyen, mekhapesest zikuk (mekhapest zikuk)

אם אתה מדמיין – מחפשת זיקוק (מחפשת זיקוק)

Lo mitzta'eret

לא מצטערת

B'rekhavei ha'olam rotzah likhvot hakol

ברחבי העולם רוצה לחוות הכל

Az ten li kamah khasmal-mal-mal, khasmal

אז תן לי כמה חשמל-מל-מל חשמל

Az ten li kamah khasmal-mal-mal, khasmal

אז תן לי כמה חשמל-מל-מל חשמל

Khashmal-Khasmal

חשמל-חשמל

Ani tzrikha makat khasmal-mal-mal

אני צריכה מכת חשמל-מל מל

I'm not getting in a twist
If you're wondering, I'm looking for sparks (looking for sparks)
I'm not sorry
All over the world, I want to experience it all
So give me some electricity
So give me some electricity
Electricity, Electricity
I need a hit of electricity

As the song slows for its final verse, Sandy drops to her knees at the top of the stage. The lights on the stage go dark and a white spotlight shines directly above her. Small dust particles swirl around her giving depth to the visual. She sings with a deeper expression in her face, not necessarily sad, as this was not a sad song, but rather with more emotional weight then how she had been portraying the song before. As she sings the final line of the verse, she begins to stand up. The camera shows a wider angle and we can see the backing dancers have joined her at the top of the stage in a line.

I couldn't say I love it if I wanted
Even if it drew the light to my eyes
I'd still want something
Bigger than, deeper then, stronger than this
Draw the light into my eyes

Now she has risen, she begins to sing the small bridge to the final chorus. Each time she sings a "mal-mal", her and her dancers move their body in unison, popping up-left, up-right, down-left and down-right. Alongside this, she is now ad-libing, giving some vocal flair to the performance and demonstrating that behind all this energy is in fact a good vocalist. As the chorus is about to start, the dancers and Sandy all rush down to the main stage to finish the performance. At this point a wide shot of the stage is shown with blue electric colours flashing through it (disguising the hurriedness of the rush to the bottom).

Ani tzrikha makat khasmal-mal-mal

אני צריכה מכת חשמל-מל מל

Ani tzrikha makat khasmal-mal-mal

אני צריכה מכת חשמל-מל מל

Ani tzrikha makat khasmal-mal-mal

אני צריכה מכת חשמל-מל מל

Ani tzrikha makat khasmal-mal-mal

אני צריכה מכת חשמל-מל מל

I need a hit of electricity
I need a hit of electricity
I need a hit of electricity
I need a hit of electricity

At the bottom, they form up in the conga line again but this time slalom skate in a line before breaking away to individual positions on the stage with a twirl. Sandy leads them to one end of the stage and then back to the middle where she stops, and her dancers respace themselves individually at regular intervals. As she begins to sing "Khashmal-mal-mal", they begin performing their two steps again, but this time it involves more exaggerated arm movements. Sandy and her dancers have a huge smile on their faces while they're doing this. The very final line finishes with a frontal shot of Sandy, who when finished singing high kicks forward again, with the camera showing a fake cracking effect on screen. She picks it up and "kisses" it before the performance truly ends.

Lo mistabekhet

לא מסתבכת

Im atah medamyyen, mekhapesest zikuk (mekhapest zikuk)

אם אתה מדמיין – מחפשת זיקוק (מחפשת זיקוק)

Lo mitzta'eret

לא מצטערת

B'rekhavei ha'olam rotzah likhvot hakol

ברחבי העולם רוצה לחוות הכל

Az ten li kamah khasmal-mal-mal, khasmal

אז תן לי כמה חשמל-מל-מל חשמל

Az ten li kamah khasmal-mal-mal, khasmal

אז תן לי כמה חשמל-מל-מל חשמל

Khashmal-Khasmal

חשמל-חשמל

Ani tzrikha makat khasmal-mal-mal

אני צריכה מכת חשמל-מל מל

I'm not getting in a twist
If you're wondering, I'm looking for sparks (looking for sparks)
I'm not sorry
All over the world, I want to experience it all
So give me some electricity
So give me some electricity
Electricity, Electricity
I need a hit of electricity

And with that, the performance was done! Even though she wanted to jump for joy, she couldn't lest she fall over and embarrass herself. She smiled and waved, shouting "Thank you Llalta, thank you so much!" Her dancers all crowd around her and hug her for the good performance she had just put in. They skate away off the stage, waving as they go as the crewmen prepare for the next act from Caryton.

[Spiritual Republic of Caryton]

9 - Spiritual Republic of Caryton
The Shirleyton Trio - "Stormy Days Pass By"

The Shirleyton Trio is a family band specializing in 60s-era christian retro pop. The group is comprised of the family of Dorothy Shirleyton, although the Leading Reverend herself is too old to perform. The vocalists are Bernice, Betty, and Eleanor Shirleyton with Todd and Heidi Shirleyton on muted brass, and their spouses on strings. Adam Shirleyton plays the synthesizer and his wife on percussion. Their music is a tribute and a time capsule, for in other countries, it is a homage to when music was vintage and christlike, but paradoxically this is the only genre of pop in the SRC, not considering contemporary gospel. The SRC is an anomaly, a 80s-90s tech country with 50s-60s moral values surrounded by the modern nuances of 2020.

The vocalists, from left to right: Bernice, Betty, Eleanor

---

Upon them entering the stage, there wasn't any use of pyrotechnics, LED's, or fancy lighting. The trio wore matching lime green blazers with modest cream dresses that went down to the calves. Unlike some of the others in attendance, they did not show cleavage or anything but professionalism and modesty. The background instrumentalists sat down, the women in only the cream dresses and the men in only matching cream suits. It seemed that the blazers gave the vocalists distinction. It was obvious that the performers didn't fit the futuristic stage, and only simple stage lighting and spotlights shone down on them as they began.

tune

Eleanor:
"We are those reaching heaven-
We have joined hands with the Son!
And if the enemy blocks the Kingdom-
Stormy days pass by, we’ll press on!"

Eleanor's free-flowing mezzo-soprano greeted the audience, her microphone sparkling like her diamond lapel. She stepped forward, extending her free hand towards the audience as if re-assuring them. When her moment ended, she returned into the shoulder-to-shoulder line with her sisters.

Bernice:
"We are those (we're those!) reaching heaven (to heaven!)-
We have joined hands with the Son! (we've joined... with the son)
And if the enemy blocks the Kingdom (we're those of the kingdom)-
Stormy days pass by, we’ll press on! (stormy days pass by... we'll press on)"

Bernice stepped forward, her sisters harmonizing behind her in line, swaying their bodies gently to the beat. The stage turned a lovely shade of amber, contrasting the green blazers like the autumnal colors meeting the fresh spring grass for the first time.

Betty:
"He has blessed, he has sacrificed!.
He turned water to wine!
He was born, and he died!
Stormy days pass by, we’ll press on!"

Betty stepped forward from the far-left of the line, her sisters continuing to sway behind her. The rest of the instrumentalists played happily, the spirit of the Lord filling their bodies. Upon mentioning Christ, the spotlights intensified, making sequins twinkle and eyes glaze in beautiful adoration.

Unison:
"We have memories of his teachings-
We have understood his life.
We have partaken of his sacrament-
Stormy days pass by, we’ll press on!"

The line stepped forward in unison as the muted brass joined in, giving a natural orchrestral grace to the artificial synth. They stopped mid-way down the stages extension to the audience, the dimly lit classical-type stage lighting following the trio. The Carytonic audience mysteriously disappeared, a small swath of seats empty.

Eleanor:
"We have partaken of his sacrament-
We have partaken of his love!
To repent is to change to be like him-
To have a soul pure like a dove!"

As the middle child moved out of line, the song slowed down to a ballad-like moment to accompany her. She smiled with impossibly pearly whites towards the audience, pulling them in as she got back in line.

Unison:
"You can’t be lonely when you’re with him-
You can’t be pained when you see the cross!
You can’t be sad when he smiles for you-
You shall soar with him, you shall soar!"

The group began some light choreography, enthusiastically swaying and occasionally twisting around in a slow spin, rocking their supine arms back and forth like a boat. It was almost like a waltz but with no partners and a more folk-type spirit.

Unison:
"We shall reign with him forever-
You’ll have no burden, so shed your sin!
All those angels shall play their trumpets-
To God and Cary, to Jesus!"

The group reached their max volume, encouraging the emphasis that this was the climax of the son. They continued their gospel-type swing as they swayed their arms towards the sky. In the background, a clap began echoing throughout the backstage. The instrumentals picked up, beaming smiles across the faces of the performers.

Unison:
"We are those reaching heaven-
We have joined hands with the Son!
And if the enemy blocks the Kingdom-
Stormy days pass by, we’ll press on!

Stormy days pass by, we’ll press on!"

By the time the brass did the repeated sevenths, signalling a final repeat of the verse, a block of people ran on stage, with matching cream dresses and suits to the instrumentalists. It was the entire Carytonic audience. The trio backed up, swaying their arms with the crowd. Among the crowd were high level clergy, Dorothy Shirleyton, and Cary in a cream-colored robe with golden embroidery and a gold laurel across her fluffy canine head. Several of the audience waved white handkerchiefs as a goodbye and goodwill symbol, others waved massive flags of Caryton, and others waved massive flags of the universial Christian banner. When the trio sang their last line, they waved as the stage fell dark and the song ended.

[North Alezia]

10
NORTH ALEZIA/L'UNI ALEZIE DU NORD
Samara and Izdar
"My Life Falls Apart Before Me"

BACKGROUND
North Alezia is a fairly young country in Worldvision's history. Only debuting last edition with Imara Syafani's "You Are". Things are doing a bit well but not majorly satisfactory earning the country 17th place with many countries voting for the country and 12 points only from the host, Ertzei Kishim. After Worldvision 82 concluded, Imara wasn't sulking. Instead she start giving advice to the ABA, one of which is creating a national final with international juries to know what the international stage really-really-REALLLY want. Thus, the Festival of Songs that was national bound was killed and reborn as Alezimania as a national final for both WV AND WHF. As a result, the first edition's winner which is Samara and Izdar's "Life Falls Apart Before Me" (Note, there was a grammatical error back in Alezimania. Luckily, this has been changed.) earning the top after having a huge vote fight with A. Robi I.N. Which was favorited to win in North Alezia, only to have Alezian bookies shouting in surprise. The voting resulted in both 1st and 2nd earning 4 12 pointers. The difference is, Izdar received 1 national douze, and 3 international douzes from Ertzei Kishim, Beepee, and Polkopia. Meanwhile Robi received 3 National douze and 1 international douze from Waisnor. The point margin between them is soo near, it might trigger a tiebreaker if one region or one nation vote more or less for Robi or Izdar-Samara. Everyone except for Lady Alyoub accepted the result fair and square. Lady ends up destroying the venue and earned herself a lot of controversy and lawsuits which results in her being arrested and serving jail time.

ARTIST INFO NO. 1 (IZDAR BIN HARUN)

Izdar bin Harun is a North Alezian singer who was born in 14th of February 1987, which means that he's 33. When he's not singing, he works as an animator at ARICOANIMATIA studio in Zafizamarrah, with his abilities on animation bringing the North Alezian public cartoons such as "That Is SO IT!" and "Lam Da Di Ra Dam" both are good shows that still air until now. When he's not singing or animating, he enjoys napping and sleeping. He enjoys it so much that people start worrying about him getting too much sleep. He finished tertiary education with a degree of Modern Arts and Implementations at the University of Culture in Basna, North Alezia. Izdar has a lot of dreams to share, even weird ones and sometimes scary, frightening, yet meaningful ones including the one that Izdar turn into a song.

Izdar bin Harun is known for his connection with artists around the country. Once, he was seen going to a coffee shop with Andi Robi Idris Novogrody. Triggering rumors that they're having a collaboration, or more T_T.... But all rumours are shot down by both parties by announcing that they both are going to participate in the "Aliziyyat Drag Race" (DRAG RACE AS IN CARS!, where random Alezians representing their constituency for a car drag race. Then, the best of the west and east will have a 3 race duel to find the winner) and that coffee shop meeting is for only small talk about car configurations and track conditions. Izdar represents Raka'ah,ZF, while Robi represents She'anikov-Yeshim,TH. The two end up in a duel for winner, with Izdar ending up winning against Robi by a small margin of 1 point after winning the Zafizamarrah Cup of 2018

He's married with Sakhalin Yekaterinova without any children, although they do plan to have one. They lives in Raka'ah, a town few kilometers away from Zafizamarrah Metropolitan City. His singing career starts when Izdar won Alezian Idol 2006 when he was 19. The youngest to ever won since the contest's inception in 2000 and still is the holder of the youngest-winner ever. After that, Izdar signed a contract with SOPPY Records Zafizamarrah, creating once-hit "Pat Yourself on The Back" on 2009.

Izdar's favorite food is the famous Baklava, his favorite drink is Ice Tea, and he loves to sleep (obviously), play video games and watch cartoons. It was rumored that Izdar owns a big room filled with cartoons and video games that costs a lot of money. When he was critisized for being childish, Izdar always respond with "I love looking at fluid movements and what making kids smile. Any problem with that?" Izdar's phrase become famous and become the must-spoken phrase for cartoon-lovers out there.

ARTIST INFO NO.2 (SAMARA ISRAN BINTI HARUN)

Samara Isran binti Harun is also a North Alezian singer who was born in 26th of June 1991, which means that she's 29. She also has a side job other than singing, which is managing her self-owned business called "SAMARANEES". She is also known as a sleepyhead, although not as severe as Izdar's sleeping habits. She's also the social butterfly. Having connections with Andi Robi Idris Novogrody, Rahmat Zahulafi-Yamaqzul, and Imara Syafani. Those four still talk to each other to this day, usually to just goof around and talk about any collaborations between each other, sometimes including Izdar in. The five rarely made any music, but everytime they do, it surely will be a hit. There's some insane speculation that these 5 will be put together in a funny light-hearted act. She completed her degree of Clothing Designing at the Garment Institute of Alezia in Bristol.

Samara enjoyed her musical career later than Izdar does. Samara only earned traction after participating and earning 3rd in Alezian Idol 2012 and having a duet with Izdar in a song called "Open Your Eyes" back in 2014. Currently, they both are under the same record after Samara quits her previous contract with FELIPE RECORDS, which is SOPPY's bitter rival. Currently, Samara hasn't married yet but still enjoying her life in Zafizamarrah City. Within SOPPY, she has released songs such as "Patented Love" in 2017 and "Rival On Blood" in 2018. She's currently writing songs, even had plans on either writing a Worldvision entry for another singer, or bringing herself to represent North Alezia.

Samara's favorite food is Caesar Salad, her favorite drink is Orange Juice, and her hobby is baking (Samara's the usual girl that Imara call to make a birthday cake for Imara's birthday (Imara paid Samara in full everytime, don't worry.) and designing clothes (Samara usually went to Imara's house to discuss clothing design). She also loves to travel and currently doing personal research on sleeping habits around the world.

Other than singing, Samara is also pretty well known for hosting the short-lived although popular TV show "Say The Vowels" that was broadcasted on ABA CH 2 from April 2019 until being discontinued on July 2019. Other than that, Samara doesn't appear on TV that much. She only gained super-major-delicious traction now after winning Alezimania together with Izdar.

ARTIST DETAILS ON BOTH
Due to the far distance of the siblings, they rarely met in person. However, they do talk to each other weekly online. In the music industry of North Alezia, we can say that "Samara and Izdar" shaped "Sibling Bands" industry. They released songs such as "Open You Eyes", "Makeshift", "I Don't Care, You?" and another hit "Dance Till You're Dead". The siblings are happy that they created a trend, but with trends, come misuse. Some twins are made just so they can make a sibling band out of them. The sibling has openly criticised this action saying "Making twins just so you can cashcow them? Pathetic. I know some people that are in a twin sibling relationship, and they want to have a chat with you. Seriously, stop thinking about money in music making. It's all about love that are made in music making." They also made songs that fights for further woman and child rights.

They also made music together with the big wigs of 2020. (Andi Robi Idris Novogrody, Imara Syafani, Rahmat Zahulafi-Yamaqzul, Andi Ainii Irqimaza Novogrody) These 6 created a group called "Never Even Met", which made silly funny joke songs and created one album called "Edutainment" which contains hits such as "Okay", "I'm Burnin' Caramel!", "Time for Another Drag Race!" before separating again. There are talks about making a new album which might be called "1,2,4,1,1", but they want to keep their single careers and don't want to enter Alezimania, as it was deemed as unfair to other singers who want to make it through, and it would create accusation of bribing and vote-buying.

SONG DETAILS!
Life Falls Apart Before Me is all about Izdar and Samara's dream about falling and dying. It's strange that two people far away can dream about the same thing at the same time. The difference is only that Izdar was a king in the dream, and Samara was a queen. Both dreamt the same way. Both were awake in darkness, seeing their kingdom zooming out and away, until both fell and lost everything, including senses. Both felt hopeless in their dreams, and both hopes that they can help each other out through their dreams.

PRE CONTEST RP PART 1 (Before Alezimania)

*RING RING*
Izdar: Hello, with Izdar bin Harun here.
Samara: Hi, Izdar. So... are you free? I want to discuss something with you.
Izdar: I'm free as heck. What do you need to discuss about?
Samara: It's... ABA opened up a contest called ALEZIMANIA
Izdar: Yeah, I know. It's a contiunation of the now defunct Festival of Songs. What about it?
Samara: I was guessing... Can we enter a song there?
Izdar: Hm... sure! The winner will go to Worldvision, as well! It would be a good thing. Plus, don't you know that our record director suggest that we represent North Alezia in WV?
Samara: I don't know that! So, we're in?
Izdar: We're in, sis. Meet me in my house and we'll talk about our song for Alezimania. Bring your mask and hand sanitizer. I'll clean around.

(Samara rode her car to Izdar's house. His wife is not there at the moment.)

Samara: Assalamualaikum, Izdar! Please open!
Izdar: *opens door* Waalaikumsalam, Samara. Glad you can come. Come on, we have a big discussion to discuss.

(Samara enters Izdar's house, taking off her shoes showing her socks)

Izdar: Okay. So, we're entering Alezimania. Do you have any ideas in mind?
Samara: Well, I have a dream, where I'm a monarch, and I fell-
Izdar: Fell down, lost all your senses and stuck in darkness?
Samara: Wait, how do you know any of that?
Izdar: Duh, I had the same dream! Strange...
Samara: Is this a sign?....
Izdar: Only God knows that... But it sure will make a good song.
Samara: Exactly. Lets do it. Izdar, get out your piano, and I'll take out my notebook.
Izdar: My keyboard's back there *pointing at a Yamaha keyboard*. Let's do it.

(The progress took them days, to weeks, back and forth, sometimes doing it online. They then rehearsed a lot. until one day)

(in Messages)
Samara: Okay, I got the lyrics here (sending a word document with lyrics inside)
Izdar: And, I got the music (sending versions of the music for the song)
Samara: We're all set. All we gotta do is to send these to the ABA's website........... Sent.
Izdar: I can't wait!

days later

(RING RING)
Izdar: Hi, with Izdar bin Harun here.
Samara: Hi, Izdar. It's Samara.
Izdar: Ah, how's our entry?
Samara: I want to tell you something serious. And that is.......
Izdar: Oh no.
Samara: OUR SONG MADE IT TO THE FINALIST LIST!
Izdar: What?! You're serious? THIS IS TOP-DAWG GOOD NEWS!
Samara: And, after we're done with WV82, the next day we must go to ABA HQ Theatre at full haste.
Izdar: Got it. Meet you around.... 8 PM. The event starts at 9 PM, right?
Samara: We're told that we must be there 30 minutes before the event. So, 8 PM is fine because we must prepare.

PRE CONTEST RP PART 2 (ALEZIMANIA!)
(Both waits at the green room)

Samara: Izdar, I'm nervous.
Izdar: So as I! But look, our friend Robi's there HEY ROB!
(Robi noticed and wave back at them)
Samara: But still, Robi is the favorite to win!
Izdar: Ah, shucks. We can do it! We have it unique! And plus, if you need to calm down, look at that cat! look, look! (points at Luna the Cat)
Samara: Aww... she's cute. I feel better now-
(Suddenly Lady Alyoub passed her)
Lady: You ain't winning gurl. You ain't got that Gucci Supreme Gold... hehe
Izdar: Madam, watch your words and please compete nicely.
Lady: WHAT-EVAAAH
Izdar:(Holding Samara's hand while looking sharply at Lady showing "If this is country is an anarchy you're my first in my list to target. Watch where the f*** you step.) (Izdar's eyes are now to his sister) You're beautiful, girl. Don't worry.
(Robi walks to the seat for Izdar and Samara)
Robi: Dude, sorry that has to happen to you. Really sorry. Lady can be a little.... b***hy, y'know? Anyway, good luck with the contest! And, actually, people are starting to support you, even almost surpassing me on the last polls! See ya! (Robi walks into the seat assigned to him at the front of the stage)
Izdar: See? We have the big sexy boy Robi with us! Don't worry... We can do this, okay?
Samara: Yes. Wait, did you just call him the big sexy boy? What the- (Samara laughs a bit) Izdar....
Izdar: Yup. He's one big sexy boi there (IN MIND (Samara laughs! That should made her calmer ) )
Robi: Wait, what did you just call me?
Izdar: No, nothing!
Robi: (Crossing his hands like a big sexy boi he is) Thank you for calling me a big sexy boi, Izdar. I heard you saying that. (Robi laughs a little)
Izdar: Ooooh yeah, you're welcome.
(The Code, Luna, and Lady walks and sits at their respective chairs)
Izdar: Oh, the event is starting, we should go and sit there as well.
Samara: Sure, I can't wait!

(Alezimania ensues. Everyone performs really well. Luna The Cat's catfood, Lady Alyoub's deadly amount of glitter, Robi's vest and detective hat, The Code's machine....)

Izdar: Okay we're onstage. Ready?
Samara: More than ready, lets do it.

(Izdar starts playing the piano. and Samara sings beautifully)
(All acts are sung, then the voting commenced)

Izdar: We're doing real well with the nationals there!
Samara: But Robi and Luna are tied! How can we get there?
Izdar: Don't worry sis, I predicted that we'll do good in Internationals.

(the international voting commenced, and...)

Izdar and Samara: Holy..... WE WON! WE'RE GOING TO WV!

(confetti starts to fall down from the sky, the siblings start to hug each other. Both grabs the trophy and raised it together. However...)

Lady: I got last?! Oh HELL NO! I'm the holy queen and you can't let anyone get last. How did that cat do better than me?! I hate you all! I'm going to destroy this place! And you better not run like babies and face my wrath! (Lady bashed her handbag like Thor holds his hammer, destroying the venue and almost hurting everyone) I should be the one out there!!! RAAAAAAAAAAHHHh!!!
Izdar: Oh no. RUN! (Everyone except Robi ran away, due to him evacuating everyone out, forgetting himself. his collar being pulled by Lady. Lady starts to punch Robi and saying "HOW DARE YOU HOW DARE YOU HOW DARE YOU!" Robi tased Lady with his trustworthy taser that he use for Self-Defense. Usually, Robi isn't allowed to use the taser, but this is serious so he has to do it)

(outside the venue)

Izdar: Okay, phew everyone's safe. And we're safe! Too bad we have to leave the trophy inside
Samara: I'm worried about Robi, tho. He's getting beaten up by Lady.
Izdar: Nah, he won't. Robi's good at defending himself. We're friends for so long I know him a lot.
Samara: Cool.
Izdar: Don't worry.

(suddenly, a figure comes out that shouted "IZDAR AND SAMARA, GET YOUR TROPHY HERE!")

Robi: Here you go! I'll call the police in (Robi has affiliations with the police. The good kind and Robi is SERIOUSLY AGAINST POLICE BRUTALITY, MIND YOU.) while you guys stay out.
Izdar: Thank you, and damn you're so beaten up. Go to hospital, may you? Your nose is wrecked!
Robi: Thanks for that advice bro, I have to get my checkups in. Luckily I don't broke any bones. Oh, the Popo's here. Take her in (pats the back of the police car)
Izdar: Lucky that has been dealt with... And we got the trophy and we're going to WV!
Samara: Yeah! You're right! Let's celebrate!!

PRE CONTEST RP PART 4 (Before Worldvision, 3 weeks before (y'know North Alezian still quarantines)

Izdar: Okay, we had rehearsals, we went to ABA a lot, and we can go to St. Christopher now!
Samara: Oh right, Zafi lost the bid. We have to go to Llalta, then! Pack your bags, kiss your wife, WE'RE GOING TO LLALTA!

(In Izdar's house, Izdar's packing and his wife helps him.)

Wife: Hubbs. you're going to Llalta! I can't wait to see you on live TV!
Izdar: But, won't you be alone without me?
Wife: Izdar, Izdar, Izdar. I know that this song is important to *boop wife touched Izdar's nose* you! I can't go with you because I have work as a psychologist, and you have to work as a singer. Okay?
Izdar: Hmm. I got it.
Wife: You can bring a gift for me!
Izdar: What do you want from Llalta?
Wife: Hmmm... A BIG HORSE!
Izdar: That's expensive! I can't buy that!
Wife: Hehe, just kidding. Buy me anything you want to give me, and bring us that good results.
Izdar: I will. I love you (Izdar kissed his wife, sharing that moment together, bringing hope)
Wife: That's the best kiss we had for years. Well, you have to depart now. SHA-MAL (clap clap clap) SHA-MAL (clap clap clap)
Izdar: Okay, I'm off! See you on TV!

(In Samara's apartement, it's less than amour and more on chores)

Samara: Okay, keys here, bills paid because it'll be long, I asked my next door neighbours to help me protect the house, and they're so suportive that they are now waiting for me outside with the sign that says "Good Luck Izdar and Samara". Cat is on the cat hotel (which is everywhere), everything's charged, I exchanged enough money to Llalta's currency just in case y know.

(Both starts from their own homes to MKN Intl. On the road, the people who stayed inside their apartement windows waved the North Alezian flag and some even do a make-shift billboard hoping for the team's good luck. At airport)

HoD: Well, you guys arrived early! Good for you! (HoD= Mr. Azmi Raz Muhilah)
Izdar: Well, what are you doing here earlier than us, sir?
HoD: I forgot to mention that we should have a meeting with ABA's executives before we depart, but sure, we can have our meeting while we have the classic North Alezian quarantina time!
Samara: But actually it was said here that we have to fly to Britonisea first, and then catch a ferry to Llalta. Which would take us, a day.
HoD: Great! Well, we'll count, Me, Samara, Backers, Izdar, and we have our equipments. Okay we're all set and I think that's our flight. Let's catch them because we still have quarantine to do!

(The team raced again into the plane, flew to Britonisea, and book it out to their famous port to finally get into a ferry. The ferry brought them to Llalta, finally (OOC: Honestly Llalta, this might be against your principles, but get an airport, please)... When they arrive, they go straight to their hotel to finally do some la quarantina. Usually you must stay in your hotel room at all times. But, because of time restraints, the team have to break a few rules just to rehearse. They rehearse (one time Izdar coughed a lot because of the fog), and went back to the hotel room.
(In quarantine)

Samara: Izdar, I'm bored...
Izdar: Me too. We can watch cartoons!
Samara: C'mon you brought the same series every day!
Izdar: It's my solid episode favorite... Let's watch it... Episode 420 of Go Dug Down!
Samara: No.
Izdar: Pleaaaaseee sisssss...
Samara: fine. Let's watch 'em.
Izdar: That's the spirit! And don't spoil them for me.
Samara: Do you know that Duggy will fall from the core of the earth?
Izdar: Noooooooo.... Don't spoil it... We never even watched the episode yet.., How did you know?
Samara: I don't know... The fact that Lawrence Gowness has psychic powers and can bend minds?
Izdar: What?! You spoiled the entire episode...
Samara: Heh. You should've noticed that I watched the episode you want to watch last night while you still asleep like you normally do.
Izdar: I hate you.
Samara: I love you too... (And they continue to watch cartoons because of boredom and Izdar's insanity)

(Days later)

Izdar: O yea! We'd done our quarantine, and it's time to go on an adventure! AAAADDVEENTUURE TIIIME!
Samara: Oh, brother. You and your cartoons.
(hours later)
Izdar: Well, here we are! Skiing time, gurl!
Samara: Skiing? I LOVE SKIING! the mountains, the trails, the people who fell and suffer....
Izdar: I'm truly scared of you.
Samara: Lol XD Come on, Izdy! Let's ski down! Wheeee!!!
Izdar: Wait, watch out where you're going! Ooof. Told you... Be careful!
Samara: Hehe, I'm fine, Izdar. Don't worry about me! Kinda sad we didn't live in Pyaliva, tho.
(They enjoyed the skiing experience. Did that for a few hours, and immediately went back to their hotel)

(Few hours before contest night came.The team prepares on their hotel rooms. But only bringing stuff, though! Because make-ups wore off quickly, so we'll just apply make-ups in venue)

Samara: (preparing makeup to bring to venue) I can't wait to sing in front of millions!
Izdar: It's really exciting to participate against soo many countries.
Samara: I'm a bit worried. How if we flop?
Izdar: Listen, sis. Winning doesn't matter. We're here to bring North Alezian musical capabilities to test. And plus, cheer up! We're one of the favorites to win! Take a deep breath, hug me. I'm warm enough to be a proper heat therapy.
Samara: (hugs her brother) You're right. By the way, Imara contacted me. She said good luck on WV and she'll watch us from her house in Zafi.
Izdar: Thank you. Okay then, let's go to the venue!

CONTEST RP
(In make up room...)

Samara: Wow, this stage is huuugee!
Izdar: We've been here before, Samara. You should've knew by now.
Samara: I focused on rehearsing too much, Izdar. I don't have time to look around back then.
Izdar: Well, dayum you're beautiful, Sis.
Samara: Aww. shucks. Thank you! I got this dress from Imara, tho
Izdar: Well, she sure is talented. I mean, where did she get stuff for your dress?
Samara: Imara's a pro. She can make stuff up.
Izdar: Ah. Well, it was rumored that Imara wore sneakers last edition. You?
Samara: High heels to the win, baby. I'm not moving too much, so lets gamble with 12 inches.
Izdar: I'm truly against that. Last time you wore that, you fell down like 1..2...3.... 16 times!
Samara: That was years ago! And I practiced walking back home. And I don't have any wounds whatsoever.
Izdar: Oh heck no, remember that after we enter the stage in the parade, we have to do somewhat a Llaltese dance.
Samara: No matter how easy the dance was, I'll flop with high heels. Give me the low heels instead.
Izdar: Okay, glad you made a good choice. I'm going to keep it safe with perfume? hm.....
Samara: This one. This is the least sharp fragrant around.
Izdar: Thank you. Well, we should go out to the waiting room! (green room?)

PARADE OF NATIONS
Izdar and Samara enters the stage holding hands and waving North Alezian flags hugging each other for a short second before walking again to meet the other artist and did a small "dance" Izdar and Samara really played it on the beat and luckily Samara's decision to not use 12 inches is perhaps one of her best decision ever. If she fell it must be embarassing...

Before their performance

Samara: Well, that was beautiful!
Izdar: Yup, but we can do better!
Samara: Well, we're called in. Ready, Izdar?
Izdar: Ready since weeks ago. Let's go up there. (Samara, Izdar, the backings did one final chant. *SHAMAL* clap-clap-clap *SHAMAL* clap-clap-clap *SHAMAL* clap-clap-clap)
Samara: Okay, let's go up there!

(the duo on stage, the backings are behind.)
Izdar: Sis, this is it. You're ready?
Samara: Let's do this.

My Life Falls Apart Before Me
Singer 1 + Pianist: Izdar bin Harun
Singer 2: Samara Isran binti Harun
Backing Singers :
1. Ahqat Dashriq
2. Nazmal Ibrahim
3. Hana Shimirsvana
4. Elis Marhabani
Music: Izdar bin Harun
Lyrics: Izdar bin Harun, Samara Isran binti Harun

Blue : IZDAR
Pink : SAMARA
Red : BOTH

TUNE: Indila- Tourner Dans Le Vide ( I know, there's no male voice in the tune, but just imagine how a male sung this, okay?)

Izdar and Samara walked to the stage, and prepared with the help of the crew. Izdar sat in his piano seat, while Samara stands beautifully behind the microphone used for the contest. The stage were dark, and foggy because of the fog machine used. Only giving the spotlight to Izdar who starts to play his piano. The camera view closed-up to Izdar's face who's still serious playing the piano, slowly but surely, the audience got to see Samara in her white dress. The camera view changed to Samara, which gave the audience the view of Samara's dress. The camera pointed up, and up, and up, until Samara's face is entirely visible on camera.

A dream abode,
Turned to a nightmare
Where no one can hear me
and no one can see me

I am confused in the paradox of time,
Of the lying past, and of scary futures
I don't know what's the price...
Is it life to say goodbye;

To freedom, to my kingdom,
I gave myself a search
And I saw, a big breach

The backing screen show shadows of a man and a woman (persumably Izdar and Samara). The shadows on screen face against each other, running infinitely with no end, and no start. It stays like that, just like how they feel that they can't escape from this. Even if they try to look at the other side, it's just a barrier. There's nothing beyond that.

And I don't know,
Do you even know?
If this is one I should know,
Please tell me, Let me know, so

Can I escape?
From this big charade?
The ones full with tragedy,
and melancholy

That my life,

The camera's now show both performers far away on stage. The screen changes to the shadows breaking apart like a broken glass, piece by piece, until they fell down to their knees

My life falls apart before me
My life falls apart before me
My life falls apart
And I don't know why, and

Help me, Help me, Help me, oh
My life falls apart
How could I ever leave this
World of tragedy!

Izdar continues to play his piano, Samara spread her hands like the wings of a bird flying to sky, the backing singers starts to sing. Each time "hayati tanhar" were sung, the camera's prespective changed between Izdar who played his piano and Samara who spreads her arms. The camera spins around them until the last "hayati tanhar" in which the camera blurs out back to close-up view of Samara.

BACKING: (hayati tanhar= my life falls apart)
حياتي تنهار (hayati tanhar)
حياتي تنهار (hayati tanhar)
حياتي تنهار (hayati tanhar)
حياتي تنهار (hayati tanhar)

حياتي تنهار (hayati tanhar)
حياتي تنهار (hayati tanhar)
حياتي تنهار (hayati tanhar)

The screen now changed the scene to our fallen heroes, trying to not cry while putting their shards back together, only for it to broke apart again. Eventually both shed a tear

Laying in my bed,
All senses gone away,
With me going mad
And me being spirited away

I know that all of life,
On the earth is limited
But, one big small question;
Does it have to be this way?

I know that I cannot;
Live until forever,
I can't run, and I can't hide,
It's all already destined,
And the clock will tick on,

The camera changed its view to Izdar again. Izdar is now singing in Arabic, a somewhat a tradition since North Alezians mostly use Arabic for almost everything, including governmental affairs. Fog starts to get thicker... Izdar lets out a tear and continues to play his set of piano tunes.

The screens now show the shadows drowning and lie down in their deep fears

هل سأكون نفس الشيء؟ (hal sa'akun nfs alshay'a?) (Will I be the same?)
هل سأكون بأمان؟ (hal sa'akun bi'amanan?) (Will I be safe?)
الأسئلة مستمرة (al'asyilat mustamira) (The questions continues)
قد يكون كذلك لانهائي (qad yakun kdhlk lianhayiy) (It might as well be infinite)

لا يمكن للغات أن تهزم (la yumkin lilghat 'an tahzim) (No languages can beat)
لا يمكن للكلمات أن تهزم (la yumkin lilkalimat 'an tahzim) (No words can beat)
لا شيء يمكن أن يهزم (la shay' ymkn 'an yahzim) (Nothing can beat)
الحقيقة ، (alhaqiqat ,) (The fact that)
تلك حياتي (tilk hayati) (My life is)

My life falls apart before me
My life falls apart before me
My life falls apart
And I don't know why, and

Help me, Help me, Help me, oh
My life falls apart
How could I ever leave this
World of tragedy!

حياتي تنهار (hayati tanhar)
حياتي تنهار (hayati tanhar)
حياتي تنهار (hayati tanhar)
حياتي تنهار (hayati tanhar)

حياتي تنهار (hayati tanhar)
حياتي تنهار (hayati tanhar)
حياتي تنهار (hayati tanhar)

The view is now changed to the overhead view. Showing Samara spreading her arms engulfed in fog. The backing screen shows them eventually waking up and finally able to look at each other. Both swam to be near the other shadow, hoping for help.

And I say,
My life falls apart,
My life falls apart,
My life falls apart and I can't seem to wake myself up

The view change again to the overhead view, but now the camera moves to over Izdar. We can see the overhead view of Izdar playing his piano

My life falls apart,
My life falls apart,
Help me, I want to wake up from this nightmare...

There are now two views divided with a split-screen. Izdar in the left, and Samara in the right. Both camera spins while the two performers bathe themselves in thick thick thicc fog. The barrier that split them finally opens up, and the shadows in screen hold their hands resulted in a white glow, meaning that they're together now. Nothing can destroy them.

My life falls apart

Izdar and Samara faced each other. Izdar stopped playing his piano, stands up and walks to the center, both holding each others hands facing eachother. The music stops, and finally both said "Syuukran Kasiira, Thank you!" Both hug eachother before they went out from the stage.

AFTER CONTEST RP

Samara: OH MY GOD THAT WAS BEAUTIFUL!
Izdar: I'm glad that we did well out there. Now we'll just have to wait, and pray for the best. And thank you to you all, backings!
Hana: You're welcome. Glad we can help another entry for Worldvision.

[Nekoni]

SONG 11: NEKONI

---

Better Than Nothing - Blue Collar Kings

---

Based on Couch Potato by Jakübi

Nekoni are always one to snatch defeat from the jaws of victory. If one counts the number of times that a second-half voting crash utterly kills a contest run, you'd need a second hand, and possibly your feet after that. Look no further than last contest, where a promising ninth in the new jury vote absolutely crumbled when a shock low televote dragged them out of a top ten finish. Still, onwards and upwards, the delegation always believes. They've had worse forms than this. They came second immediately before, for Christ's sake.

The talk of the town in the contest is of course this new voting system. Whilst Nekoni felt the full-effect of the televote smacking them in the face last time, there'd of course be no guarantee that it would happen all the time. So, the question was put into place: how do we stop that from happening again? The answer was rather simple. Their belief is that whilst the jury vote feels more of a true songwriter's contest, that's only half the story, and the televote is more of a barometer of social opinion, where something more in-line with popular taste would usually hold out. If one were to win, they would have to do both.

Now, the NTR could have gone the whole hog and done a public selection, and properly asked the nation for their opinion, but that costs money, so internal selection it was. However, they took a spin and attempted to go down an avenue that they had never done before: the hip-hop scene. One could be forgiven for thinking that finding the hip-hop scene in Nekoni's a bit like finding the actual bit of a prawn cracker with the taste of prawn. However, you'd be wrong. Enter stage left: the Blue Collar Kings. A quartet originally from the mining town of Derneo in the south of the country, their mix of live instrumentation, funky basslines and often politically-charged lyrics means they've notched up a respectable following in their eight years together. It's a bit of a leap for them to compete with vintage-tinged R&B alongside some of the slickest pop acts in the world in the contest, but maybe this change in styles for the country might work wonders. It would be the people that would decide.

From left:
Carlo Fazenda - Keys
Angel Veron - Drums
Mikey Diaz - Vocals
Richie Sammartino - Bass Guitar

---

As the audience quietens down from the postcard reveal fading out, we see that the cold night air of Llalta is warmed with a bright sepia tone warming the stage. The setup of the stage at the start uses the back half: with the band taking up the left flank, and the singer on the right. The band set-up has the drums in the center of the area, a mini-grand piano to its right, and the bassist, flanked either side by a session guitarist. All are dressed pretty much as they are in the picture.

With Mikey, our lead, he sits in what appears to be at an old-style school desk. The LED panels all give the appearance of a classroom from the 90s, still in a light sepia shade. As the verse starts, he kicks back on his chair, and places his feet on the desk, leaning back nice and long in a way that any teacher watching would have war flashbacks over. Upon the last line, a nice big "F" stamp adorns the centre circular screen.

Now let me tell you a tale 'bout this child's situation
It's 1998 and he's got dreams above his station
His verbal creations, classed outside the Man's fixation
Labelled 'underachiever' by the school administration

Still leaning back hard, Mikey kicks back one last time and gravity sends him back to a seated position (thankfully not flying backward arse-first). He opens the desk and pulls out what appears to be a bottle of cheap beer. Thankfully, it's empty. He has a chuckle when he finds it in there.

They were saying that he'll never be nothing
Just another broken link on a chain gang
They didn't wanna lay another hand on him
So they sent him on his way, now
On his way with nothing

Mikey stands up now, and walks to the front, then sits on, the desk he was at, bringing up his right leg on the desk as well. He's still holding the bottle with his left hand, bottom of it still on the table, with his right arm draped around his elevated leg. He looks at the bottle, head down and to the side, flicking his wrist as he does, as if he was swirling the liquid around inside it if there was any. He shakes his head, turns it back to the audience, and, on the word "blunt", he smashes the (sugar-glass) bottle into the desk. He immediately swipes his left arm across in reflex, a point to the centerstage to accentuate where "home" is.

But they didn't know
That this kid kinda likes it when the Vegas odds are low
And he don't need the bottle or the blunt to make it home
Only thing he need's his lyrics to keep the bailiffs from the door

The singer gets up now, and makes his way to the front section of the stage where he was pointing at a second ago. As he walks, the camera follows him down the right flank. We can see that in the second half of this, the circular main panel shows an old, black and white photograph of a man holding his newborn child, wrapped in a blanket. The child is Mikey, and the man cradling him is his father, beaming with the immense pride of having his own son. As the image appears, Mikey, reciprocating the smile back, bumps his chest with his right fist and raises it at the photograph, a single solemn nod as he does.

Now he's going on his way to be something
And you know he'll never ever stop running
Remembering what his daddy always told him
When he said "You gotta go, son
Go be better than nothing"

The stage erupts in a huge mass of navy/deep purple light, as Mikey has hit the front and center of the stage. There are brief flashes of white to simulate a thunderstorm, in a manner they TOTALLY didn't steal from that time Nekoni came second. The screens behind him show the wireframe of what appears to be a globe spinning, because you can't spell Nekoni without literal staging.

The world never bet on him
But he's gonna prove the world wrong
And everytime it knocks him down
He'll get back up for more
The world, it gave him nothing
And he won't give up the fight
'Til it's got nothing on him, no oh oh

Now he's at the front, we're right into verse 3. The background gives the impression of a smoky backroom of a bar in one of Nekoni's cities, of course, dating back from when you could actually smoke in pubs. Through the camera lens, there's the mild impression that there's misty smoke around the stage, but this is all post-production. They didn't see fit to use the smoke machine just this once. Once the verse is done, we move to the alley out back.

Brought his stories from the backstreets to the studios
Now they're starting coming to his shows
Puts food on the table with his cautionary tales
And everybody's watching while he spits out gold

A wind from the side of the stage blows, in addition to some autumn leaves and assorted trash (a couple of plastic bags and the like), a couple of pages from a newspaper. Mikey reaches down, grabs the paper when it's close to him and opens it up as if to read it, just for the camera to pick up the front headline of the paper: "'A SEMINAL RAGS TO RICHES STORY - A FIVE-STAR TOUR DE FORCE". He nods his head approvingly as if he's reading it, and, when we get to the end of the line, he casually closes it, and tosses it over his shoulder.

They're saying that this kid has got something
A damn poet for the era we're caught in
They know that he won't ever stop running
Sky's the limit now,
Ain't nothing gonna stop him

There's now a cameraman on the stage itself, and he walks around him in a sweeping oval motion; far from him for the side shot with the band in the background, then close at the front, and far with him against the crowd dancing away in the background. Mikey is facing the camera the entire time, and finishes the verse with his back to the audience, gesturing with his arms out wide, showing all the doubters exactly what he's capable of.

The world never bet on him
But he's gonna prove the world wrong
And everything that comes to him
Ain't nothing but his own
Everyone who gave him nothing
They're in the rear-view as
He hits the sky
And does more than they can dream

Mikey immediately turns to the front as he sings the start of the bridge. The camera cuts between him singing and the rest of the band's response, spotlights accentuating the correct people when it's their turn. As the band responds, a nice big "HELL NO" appears on all of the background screens at the same time.

Is he ever gonna stop?
(Hell no)
I said, is he gonna stop, no
(Hell no)
Not until he reach the top
(Hell no)
No he's never gonna stop
(Hell no)

The audience at this point has totally got the message behind all of the screens behind them, and are audibly chanting "Hell no" back at them with the band. During the second part of the bridge, those that can move (the three guitarists), make their way to the front of the stage where Mikey is. As the drums build up, the lighting pulses gold, increasing with intensity each time it does. Upon the final hit, there's a lovely quick burst of pyro all along the front line of the stage.

They said he's gonna be nothing
(Hell no)
Now, is he worth nothing?
(Hell no)
Was he ever worth nothing?
(Hell no)
Is this what you call nothing?
Nothing, hell no

During the final chorus, the three guitarists in the centre are very much into the rhythm, with them in a diamond formation behind Mikey jamming away. The stage continues its golden spotlights, but the backing LED boards are darkened to provide a tidy-looking contrast.

The world never bet on him
But he went and proved the world wrong
And everytime he spins the wheel
It always comes up gold

The end part of the chorus comes with Mikey gaining a bit more fire in his heart, as he stands further to the front, and puts all the energy he can in the final line, pointing to his chest forcefully as he does. It's not mean to appear in a boastful way, it's all about pride in himself. About how he managed to make something from nothing.

And I ain't being bitter 'bout nothing
No, I ain't being bitter about what that kid did
'Cause that fucking kid was ME!

During the instrumental breakdown, one of the guitarists breaks out into a solo with a voicebox (which, incidentally, were probably last used in an unironic purpose in about 1982). Mikey is now at the front of the stage, and he looks out to the crowd and, in spoken word, ad-libs almost a pep talk to the audience, presumably in an attempt to make the song appear a lot less boastful. Whilst the critics in Nekoni had their doubts that this might not work, the audience are eating it up. He finishes it just in time to sing the last line properly.

Trust me
I'm not special, I didn't have no rich family or silver spoon in my ass
I'm just a man, at the end of it all, yeah?
If I got to this stage with my own hands, there ain't nothin' stopping you
All you need to do is keep running, don't let 'em knock you down

I'm just better than nothing, better than nothing

At the moment the last line is hit, all the lights go out. Whilst they're out, the Angel and Carlo (drummer and pianist respectively) rush to the front of the stage where the rest of the band are. No idea how they don't trip over, but somehow they don't. Studio magic. When they arrive, a single spotlight illuminates all six of them, as they have discarded their instruments, and are now vocalising to the surprise of the audience. Mikey is front middle, with the other five behind him, roughly in a pyramid. All of them are firmly in the moment, their heads and shoulders all nodding to the beat in synchronicity.

Instead of where it fades out on the album version (OOC: the given link), the outro continues at the same volume with the final note giving way to a slowdown and an extended final chord.

A 1, 2, a 1, 2, 3
Oh hey y'all
It's the end of the tale, oh
Though it's easy to say so, you
You can be that change
Yeah, you can be that change, yeah
You can make that change, yeah
Yeah, You can make the change, yeah
You just follow my plan
'Cause I know that you can

As the final note is hit, the lights come up, and the crowd goes wild again. All six of them call out the usual thank yous to audience, give each other back slaps and head off into the green room together. Judging from the reaction of the crowd, this certainly ticked the boxes of audience-pleasing that Nekoni were going for. However, it's not just them they had to please. Would those watching on the other side of the screen share the same view?

[Malta Comino Gozo]

12.Malta Comino Gozo

Nation Name: Malta Comino Gozo
Official Broadcaster: MCG 1
Tune: (Ben Platt -Rain)
Song Title: Blame
Artist(s) Name(s): Jakob Muscat
Lyrics & Music: Jakob Muscat

Jakob Muscat

---

Background

With a successful 6th place under their belt again, the islands second sixth place since their debut, Worldvision was once again on the top of everyone's agenda, not that the ratings were slipping, but public opinion was becoming somewhat "frustrated"at how close they kept getting to a number one spot. Kartha and Glen stunned the Worldvision multiverse with their incredible staging and song. Receiving two sets of 12 points from the juries from Zeganas and Beepee. Press and reports were blown away by the innovative production the team had displayed. The nation placed Sixth in both the Jury and Public votes respectfully. Kartha and Glen returned home to a heroes welcome with thousands of people turning out to greet them at Malta Comino Gozo International Airport. With he country being declared Coronavirus free, measures were still in place to keep the returning artists and public a safe distance apart. The delegation were periodically tested to confirm they were healthy.

With this successful result under their belt, MCG 1 wanted to turn their attention to a new artist, someone unknown to the rest of the world, a "baby" as it were, step forward the MCG1-WV83 artist Jakob Muscat. Jakob was born in 1989 in Iz-Bugga, Malta Comino Gozo. He is the third of seven siblings. Muscat started his musical career by studying the piano and drums at the age of 7, while simultaneously developing his singing skills with the Malta Comino Gozo Children's Choir. In his youth Muscat was also deeply influenced by Christian youth organisations which he still frequents on a regular basis, especially the Youth Fellowship, where religious musical activities and celebrations are held. He is married to Ann Muscat and he has 2 children. He is a high school history teacher but in his spare time, can be found at open mic nights across the country, his love for music and singing being his number one priority outside of the classroom, that being said he is known to recite the incredibly complex 600 year old history of the Malta Comino Gozoan Royal Family, in song form (that lasts a good 7 minutes) to his students.They won't be forgetting that in a hurry.

Jakob had previously written and released only 3 songs before between the ages of 18 and 20. One of which "Length" debuted at the top of the MCG 1 chats for a solid 3 weeks. MCG1 left the song writing and music in Jakob's hands and 3 weeks later Jakob had a song ready that the delegation fell in love with. "Blame" instantly became a hit across the Island and has already been Number 1 in the MCG charts for 2 weeks with over 370,000 downloads nationwide. Over the next few weeks Jakob and his team would work on their staging. A simple staging, but enough to capture the hearts and minds of all the viewers there and at home. Being a famous name back home, Jakob was virtually unheard of outside his native islands. This was his opportunity to shine and grow as an artist. The 31-year-old’s knack for writing gut-wrenching lyrics combined with his honesty and heartfelt vocals makes for a gripping listen. As he proves in his song Blame. The stand-alone single, finds Jakob dabbling in dance-pop. Blame is drenched in a cheerful sense of optimism, that's its overall strength. Following a standout, radio-dominating hook, Muscat makes it clear on the chorus that mending a broken heart can never happen if one allows the past to keep tormenting them. Instead of dwelling on the pain of a failed relationship, the artist encourages listeners to find excitement and healing in what could be. In an interview to local media Jakob said "This song is a tale of heartbreak, a tale through the sorrows of a man who has found out his partner is seeing someone else. He feels weak, wounded and hurt but has to convince himself that he isn't to blame for the break up no matter what his anxious thoughts say to him, it is his girlfriend's fault. The relationships fallen apart but the man still loves her deep down. It is a message that should resonate with a lot of people everywhere, and I hope it will appeal to the Worldvision audience". Jakob will incorporate his wild, energetic style and dance into his performance. He describes it as being under the influence of his song where he can't help himself but dance and freestyle often improvising his set routines.

Blame Photo Shoot

---

Journey to Llalta

Jakob and the delegation flew on one of MCG 1's private jets, on the 3 hour flight from Malta Comino Gozo International airport to Telm International in Britonisea. The private jet needed special clearance to land at this huge magnificent airport. Landing in really gave a sense of scale. This huge modern airport with its 3 massive runways which looked like they stretched for miles, really put his home airport into perspective. This airport was probably bigger than the island of Gozo back home! The team landed and immediately, whey there were escorted to their private seaplane which would take them on the 4 1/2 hour flight to St Christoper in Llalta. Llalta didn't have any airports so the team would fly in by sea plane. From the window of the plane the wing engine is semi illuminated, the lower half shining around the rim, the upper half several shades darker. As the plane dips to land the line between shadow and light moves, and all the while Jakob listens to the hum of the rotors. Upon arriving Jakob could see the island approaching into view. A rush of excitement and comfort set in, it reminded him of landing back home in MCG. The rolling hills ,and houses coming into view. The sea plane touched down softly in the calm water of the harbour just before dusk. Jakob did not know much about this little remote island nation. He was very eager to learn more coming from a remote island country himself. Jakob got out the seaplane and walked up the historic harbour steps. The evening sun illuminating the water, brilliant white over dark blue. Every moment is rich, from the way the wind moves his loose hair to the crunch of pebbles underfoot - every one of them unique. The sky is a new painting from moment to moment. Every passer by is a person, fully human, capable of laughter and joy. Yet somehow everyone is distracted, hurrying, eyes cast down, as if they had been beamed into paradise but didn't have the time to notice. The twinkling lights from the sea front buildings twinkled in the calm waters of the harbour. It was all very quiet and surreal, as if he had gone back in time. It was a picture-postcard of a place with the brightly painted buildings along the main street, to the fishing pier and the high woodland-fringed hills surrounded the bay. The harbour behind was full of fishing boats, and yachts. The houses were identical in shape and size but no two were the same shade. They were yellow, white, blue, red, orange and every shade in between.It reminded him of the many pretty fishing villages back home. Jakob knew he was going to like it here. Jakob and the team travelled by electric car, past many horse drawn carts to their lovely hotel overlooking the town ready for a busy few weeks ahead. The hotel had a beautiful view of the capital.

---

In Llalta

The next morning, Jakob awoke early just after sun rise and stepped out onto his balcony and breathed in the crisp sea air. It was a very chill morning. No higher than 3C. The cold that had seemed soothing at first now numbed his face and extremities. What residual heat he had absorbed in the hotel was gone, he shivered, wearing only his pyjamas top and shorts, but the burning sun rising high took the edge off. The view was calm, nostalgic and stunning as he looked out across the cities harbour and the glistening frosted rooftops in the morning sunshine. A flock of seabirds flew squawking over, the breeze playing with his hair. The boats were scattered over the harbour like leaves in a pond. The colours were beautiful, random, bringing forth echoing memories from his childhood spent on the shore. He rocked back on his bare feet, hands deep in his shorts as he cast weary eyes into the wintry onshore breeze. The boats bobbed on the waves, turning a little as they did in their chaotic dance. The fishermen were getting ready to leave. He needed to get dressed and ready but he wasn't ready to cast this scene to memory just yet. He wanted it to be his present for a while longer. The cold air brought salt to his lips, the cry of the gulls that wheeled overhead in their lazy arcs filled his ears.No music could be finer for Jakob, the symphony of colour, taste and sound could not be replicated on a CD or in a photograph. How similar was this country to Malta Comino Gozo. Yes, Llalta was much colder and its architecture was very much different but it still had charm,with its boats floating peacefully in the harbour and lack of traffic, much like the towns and villages back home which apart from electricity, internet and running water remained basically untouched by the modern world, there was a sense of home about this town.

Jakob and the team ventured out into St Christoper The people were so welcoming and friendly! Again much like the people back home! Everybody had time for you! He was rather overwhelmed with the choices of food and all the local attractions to visit, Such as the cute ruins of the Abbey of St. Esther and Museum of Natural History and the various activities from Paragliding off the beautiful snow topped peaks to dolphin spotting in the harbour. He was shocked at amount to see and do it was so exciting! As the days went by, Jakob grew to love the capital city and it's surrounding area more and more. He felt at home here, he loved the historic culture, the people, the beauty. Every street in the city, every house, shop ,business just oozed familiarity. People were crammed into narrow streets, buildings three and four stories high, bicycles chained up in rows, buskers with open guitar cases for spare change, large open air market places with stall holders hollering out prices, narrow cobbled side streets, coffee shops, antique shops, Jakob would definitely take his family here. It was far too big and entertaining to be explored in the little time he had here.

That evening Jakob ventured off by himself and found a local wooden Inn called the Gatekeeper. He opened the creaky wooden door and ducked slightly to enter the door. A fire was lit in the corner crackling away and old beams propped up the ceiling. The Inn was lit by the fire and various oil lamps. The bar was busy but not crowded. It was a rather chilly night, and he was glad he had worn a sweater. He approached the bar. Jacob would often find it very difficult back home to get served in the local bars (in his local town his often boyish good looks often got the attention of the late night drunk girls visiting from abroad, who saw his cute boyish face, mistaking him for a lost child wondering the neon lit streets of Santa Lucija. He didn't mind the attention.Pinching his chubby cheeks and kissing him playfully only stopping when Jakob showed them his wedding ring and his Instagram page did they realise that 1 he was a married man with 2 kids and 2 he was actually a famous local singer. Jakob would never let his wife down,and his wife was used to this kind of reaction to her husband and was often at the receiving end of many lighthearted "Married to a kid" jokes, which she has become used too thankfully. This time around the bartender, a stocky middle aged man with a huge brown beard and grey sheep knitted jumper, made locally obviously, saw Jakob and spoke " What can I get for ya lad?" His deep manly voice booming. Jakob, who had started to pull his ID out his wallet slowly slid it back. Jakob had not done his gastronomy homework something he regretted as food was something he loved! " What would you recommend for a first time visitor?" he replied anxiously. The barman poured a fresh Llalti Blonde Beer from the tap. "This is our favourite beer" he replied while pouring a large pint. The beer had a coppery, golden colour. Jakob took a sip. It had a smooth texture and tantalising, bitter taste from the roasted malt. He laughed as he realised he had foam in his boyish barely manly moustache and laughed as he wiped it off with his hands. This beer was beautiful. The beer was on the house as the barman, one of the only few thousand Llaltese people living here knew exactly who he was due to ongoing coverage the contest had over here. Jakob leaned back onto the stool, gazing at the fire and watched the world go by for about two hours.

Jakob and his team would spend many days in around St Christopher participating in various activities to make the whole experience worthwhile. Jakob and the delegation spent half a day riding a Llaltese Llama through the many rolling green fields with large areas of woodlands and valleys of Llalta, exploring the un-spoilt countryside. The countryside stretched before him like a great quilt of golden, brown and green squares held together by the thick green stitching of the hedgerows. It rose and fell like giant waves on a gentle ocean and was dotted with many wild animals. Occasionally there was a thick coniferous wood that separated the fields, or farmers farmhouse. Jakob was shocked at how big the island was. After an hour or so of riding Jakob had lost sight of the ocean, something which was virtually impossible to do back home. Later on, the locals back home at the ranch put on a spread of beautiful and delicious wild pig pork joint with locally sourced berries, swede, carrots and potatoes, whilst filling Jakob in with interesting information and cool facts about Llalta, the Llaltese poeple and St Christopher. After a few days of exploring it was time for the contest preparations. They would all travel by bus to the venue of this WorldVision which was a couple miles from the town itself. The venue was in a lush alpine like field. Whilst here he would run through his rehearsals daily with his delegation and answer many interviews,the odd press conference and tons of fan questions.

---

Parade of Nations

Before Jakob had even reached the stage, he could hear the wild cheering of the audience from backstage. He took a deep breath and found his focus, he knew Worldvision was a gigantic production but this was something else. His previous rehearsals did not prepare him for the sheer magnitude of the crowd. He was wearing the same outfit he would be performing in, his hair in a quiff. Underneath his perfect smile, with glistening white teeth, this facade was merely a mask for what he was feeling. All the reasons not to do this come flooding in. He felt a feeling of soft panic. A muscle twitched involuntarily at the corner of his right eye, his mouth formed a rigid grimace. He flapped his hands nervously to calm himself down. It was now time. He drew another deep breath, and with a "lets do this" attitude he stepped out onstage into the nighttime sky as the hosts called his countries name, the loud, energetic music beating in his ears, the crowd that was cheering enthusiastically. His panic faded and was overcome with joy and confidence. He smiled showing of his gorgeous smile and teeth, and waved to the crowds. His Malta Comino Gozo flag waving spectacularly on the LED screens behind him as the stage was bathed in red grey and white. He felt so humbled and proud. The whole world was watching him and he was representing his country, he felt like he was walking out at the Olympics ceremony, only this time instead of a team behind him, he was alone. He soaked up the cheers like a sponge, they were cheering for him and him only at this moment in time and it filled him with emotion and pride to the point his eyes started to fill with water, he bowed and mouthed the words "Thank you" and headed off stage with a new found sense of confidence his heart beating against his ribs the adrenaline starting to kick in. He could do this!

---

Performance

WIP

Key:
Jakob sings in red, backing singers when not singing alongside Jakob black

Then came his turn, as the audience came in with a loud cheer, after the Nekonian performance, the stage was then filled with red, grey and white while the postcard played, before fading into black. It was a cool evening for most people, but warm for Llalta, but Jakob was feeling temperate and raring to perform.The stage is pitch black as the final preparations for the song are made. Jakob is shaking slightly with nerves, but is also ready to sing and show the multiverse he means business. As the instrumental part at the beginning of the song begins, a faint red light shines on the stage, showing Jakob wearing a simple black leather jacket and plain white t-shirt, with white canvas shoes kind of like (this,) his feet are surrounded by a layer of white fog like smoke, the lights are reflecting of its fluffy surface. The smoke moving around him as he walks.His wrists are tied together with dark blue fabric, symbolic of the man blaming himself for the break up of the relationship. He remains trapped in a cycle of anxiety and despair.The LED background remains dark. He looks up and faces the camera, with a melancholy face. He begins to walk forwards like a criminal, being walked to trial, the smoke moving and floating around him as he walks with determination directly forward, the camera panning around him as he does so until he gets up to the microphone stand at the front of the stage, the camera now situated behind him as he looks out into the crowd. The camera fades to black and switches to a close up shot as the stage begins to beat with white lights, as the beat kicks in and shows us Jakob's sad woeful face close up, and begins to zoom out as he sings. Jakob slowly raises his head perfectly in time so he is facing the camera the second he needs to begin singing the first line. The LED background behind Jakob now is portraying words in huge white capital letters, which stay until the flash before cutting to black. The words were projections of text, of words in English and Maltese. "Woeful, Dejected, Solitarju, Despair, Heartbroken and Dwejjaq.

His eyes then shifted to the side again as if he cannot bare to look into the camera for the fear of being seen like this, his eyes are glazed with a glassy layer of tears. As he blinked, they dripped from his eyelids and slid down his cheeks.With the fourth line he sings, he tries to reach out desperately to the camera just above him, pleading for help, but his bound wrists stop him and as he does a flash of white appears on the LED background. He drops his arms and head back down to his side. He looks broken. As he sings the last line of the first verse ("It would have been kinder to kill me") Jakob stares into the camera lense, a sorrowful, heartbroken look etched across his face, his eyes still watery, his lip quivering every so slightly, showing how hard the breakup has hit home. He was putting all his emotion into his performance. Also the lights become more intense, changing to a cold blue, lighting up the stage and its sea of smoke more, including the backing singers, of which there are 2 men and 1 woman from the MCG African community choir, they are dressed in black shirts and black jeans, some what drab to blend into the back, situated towards the back of the stage, on Jakob's left side. Their voices passionate and powerful and add a beautiful backdrop to Jakob's vocals. The lights adding a chilling vibe before transitioning into something slightly more colourful for the pre chorus.

You said you loved me and I took your word
You said I was your soul mate
And over the years you became a part of the bedrock
Of my weak personality.
Then one, sunny day, under a cloudless sky, you announced you were in love with somebody else.
It would have been kinder to kill me.

Jakobs facial expression was one of confidence and torture. The camera zooms out and shows Jakob hang his head down sideways briefly towards his left shoulder as the lights behind him cut into black, leaving the stage dark and bleak, his hands limp by his sides, before becoming re-energised and looking straight into the camera ready for the pre chorus. He slowly starts to lift his arms up to the microphone. The lights suddenly glow a cold yellow and intensify per line he sings throughout the whole pre chorus before reaching their peak before he sings "Hey!"

But her confession, confession, confession, confession
Was was was out of the question, the question, the question, the question
Now, now she has left me, left me, left me, and left me
Mortally, wounded, wounded, wounded, wounded, wounded so much pain

The camera cuts to a confident Jakob as he sings the first "Hey". The LED's are lit white.The stage freezes and is lit up in a dazzling light blue. It was the blue of forget-me-nots, that bright and bold yet ever so delicate burst of optimism that such tiny flowers are. Jakob wanted his song, even with its heartbreaking lyrics to still have a upbeat feel to show that the man was finally coming to terms with what had happened and that he wasn't to blame, the colourful lighting representing a turning point. The spotlight spheres across the stage emit a clean crisp white. The lights shoot out in all directions remaining static and piercing through the darkness. The camera swings out diagonally upwards from the stage into the air showing a breathtaking view of the beautiful stage. As Jakob sings the second "Hey!" The camera cuts to a extreme frontal shot of Jakob singing. He is almost begging with the audience back home. His right hand outstretched. His eyes watery, his face full of pain. The lights begin to fade into a neon pink in colour. Lights at the back of the stage pulsate with white light.

Hey!
I know we've both gone our separate ways
Just don't forget what we had together please
But who here is to blame,to blame,to blame
Hey!
Who would've thought it would end this way
Stepping on hearts and throwing our love away
I'm not the one to blame, to blame,to blame
I'm not the one to blame

The camera pans out and the neon lights fade out and the stage is lit in natural yellowish light matching the once again more melancholic segment of the song. The song then takes a turn and starts to become more upbeat as more drums kick in. The smoke has now cleared from the stage. The camera cuts to a stage camera as Jakob breaks his "chains" apart as he sings freeing himself from the torment of this break up, coming to his senses and realising he in fact wasn't to blame.He had spent all this time, blaming himself, his mind spiralling out of control before realising. With his right hand on the mic his free hand curls into a fist briefly. The camera cuts to his fist as he does. His fist curled tightly. Before fading back into a body shot. The LED background now showing a sequence of neon buildings and lights. (like this https://i.imgur.com/xoC4k4h.gif ) He grasps the mic with both hands in a new found sense of confidence. His lips curling into a sort of smile that grows, filling himself with confidence, his eyebrows raising ever so slightly.

The guilt sat not on her chest, but inside her brain
What she had done she could not un-do,
Our love was fuelled by compassion and flame

The lights around the stage twinkle a subtle neon blue and pink. Thousands of mobile phone spotlights are scattered across the field in a beautiful array of choreographed light, swinging in unison with each other. We can hear the 3 backing singers supporting Jakob. His voice is fierce. As part of his choreography Jakob performs a few moves while he sings, he also extends his arms upwards like this..https://i.imgur.com/Yx1DXGz.gif As he sings "Mortally wounded..." the lights behind him flash suddenly as his body shakes and twitches as if he were being struck by bullets.Bullets of his past relationship suddenly flooding in penetrating his skin, tearing through his heart. His face sombre. Suddenly, he stands tall and firm, like a majestic King, that had been through war and come out the other side alive and unscathed, his bulletproofed armour was his new frame of mind.

But her confession, confession, confession, confession
Was was was out of the question, the question, the question, the question
Now, now she has left me, left me, left me, and left me
Mortally wounded, wounded, wounded, wounded, wounded so much pain

For the chorus as he sings "Hey" the LED background flashes a blinding white, as the crowd cheers, before changing back to the LED background of neon buildings and lights. The impressive stage is filled with white light as spotlights spread out across the area and stage from the spotlight spheres, each light emitting a soft yellowish light gently flowing across the field and the crowd like search lights flaring in the lens of the camera, as the camera pans the excited audience from afar. The camera then transitions to close up of Jakob on stage. He remains animated, bopping along ever so slightly, his feet moving his head nodding excitedly, before he crosses his arms across his chest in a "X" shape before breaking the "X" dramatically and then he places his left hand on his heart before gently shaking his right fist 3 times in-front of him, each time he sings "to blame" for the last lines. The backing singers sway gently. As the chorus finishes one could spot tears building up again inside Jakob's eyes. Was this part of the song, or his raw emotion of singing at this unbelievable contest.

Hey!
I know we've both gone our separate ways
Just don't forget what we had together babe
But who here is to blame,to blame,to blame
Hey!
Who would've thought it would end this way
Stepping on hearts and throwing our love away
I'm not the one to blame, to blame,to blame
I'm not the one to blame!

The LED changes to black. Jakob takes the mic out of stand. The three backing now sing the prechorus in the background to Jakobs lines.(The lines in black) The camera transitions to them bathed in soft white spotlights as they gently swing, as they raise their hands up, their palms facing up in true gospel choir fashion. The camera fades and cuts to Jakob as he falls dramatically to his knees, for the last line of the verse. He his bathed in a milk white spotlight. He reaches out upwards with one hand for the camera above him as it distances itself away from him, capturing a visual encapsulation of the dedication and agony in his voice as he belts out "Ahhhhhhhhhhh OhhhOhhhhhhhhhhh!"

(But her confession, her confession, her confession, her confession
Was was was out of the question, the question, the question, the question
Now now she has left me, left me, left me, and left me
Mortally wounded, wounded, wounded, wounded, wounded so much pain)

But who here is to blame?
But who here is to blame?
Ahhhhhhhhhhh Ohhhhh Ohhhhhhhhhh!

The camera cuts from the top angle to a view of a camera head on pulling out slowly from the stage like a airplane taking off capturing the whole view of the stage, the background is now neon buildings again, and the bubbly spectators at the front, waving their phone flash lights and flags. The stage lights shine down and are now red and white lights, half red, half white, and change colour respectfully every few seconds. He jumps back to his feet as he sings the first line, as two fireworks shoot magnificently into the air from the sides of the stage, illuminating the surroundings in a warm yellow glow, and starts to jump enthusiastically, turning his back to the crowds and jumping with happiness in his step towards the backing singers his backing singers doing the same, jumping on the spot they raise their arms and gesture as they sing like this. https://i.imgur.com/tFgTW8A.gifThere is a sense of excitement and joy as everyone on stage jumps along. Jakob reaches the backing singers and stands by the side of them the camera panning along as he does before marching enthusiastically outwards onto the catwalk and down the steps at the front of the stage into the audience for the last half of the chorus, the camera circling him once as he does before panning outwards over the cheering spectators. The screaming crowd bounces along to the beat and thankfully keep their hands to themselves, not bothering Jakob as he walks out into the audience to sing.The camera switches to a frontal shot of him in the crowds, with the amazing stage visible still and as he sings the "Ooooh" he does some excited leg movements as if walking in an exuberant and happy stride in the same spot, totally not rehearsed. The camera is a shot of his legs and feet as he does.It then cuts back to a frontal shot.The backing singers then repeat the pre chorus in the background again,their voices in prefect harmony, before he proudly raises his arm up like he was thanking God to end the song.The red and white lights beating for the last line before glowing white illuminating the entire stage. The camera begins to blur as it zooms nearer to a close up. Jakob finishes his song surrounded by the bustling dancing crowds. He is bathed in the light from the stage.

Hey!
I know we've both gone our separate ways
But just don't forget what we had together girl
But who here is to blame,to blame,to blame

(But her confession, her confession, her confession, her confession
Was was was out of the question, the question, the question, the question
Now now she has left me, left me, left me, and left me
Mortally wounded, wounded, wounded, wounded, wounded so much pain)

Oooooh!
Who would've thought it would end this way
Stepping on hearts and throwing our love away
I'm not the one to blame, to blame,to blame
I'm not the one to blame!

The camera unblurs and is a close facial shot of an exhausted but very pleased Jakob.The arena erupts massively.He wipes sweat from his forehead. He puts his arms to his chest. Jakob shouts passionately into the mic as he is moved to tears his voice becoming more unstable as he shouts "Grazzi! Grazzi!". The camera pans out across the excited fans and hundreds of flags, many of which are on huge thin plastic masts to soar above the crowds, before cutting back to Jakob bowing. He is humbled at the response, something he had never recieved before on this scale. He is in tears, happy tears, his backup singers have walked forward to the centre of the stage in celebration. The team leave the stage and Jakob, off camera leaves the crowds to head backstage to loud cheers as they make way for the next act to perform.

[South Alezia]

13. SOUTH ALEZIA

Kay Wattefs-Let Me Win or Stuff
Tune: Keke Bukan Boneka- Kekeyi



(So basically in this stage the crew threw a barbie doll in kay. Okay. All lights and I mean ALL lights points at her facing down)

Oh sh*t is this the stage so big I'm here, let me win or stuff
I'm too, too good for this bullcrap
Vote for me
Vote 12 points for this thicc butt
I'm too, sexy to be in here

So what's wrong with in you
Take all of your phones
And vote, vote for me only
Screw others and especially the bad bad North
They can't buy, their own baby doll

So thus so, let me win or stuff,
Cuz my butt deserves dat win
Give me that sexy big trophy

So thus so, let me win or stuff
So that I can get contracts
I'll be filthy rich enrich myself in gold!

So thus let me win or stuff,
Let me win
Let me win

So thus let me win or stuff,
Let me win,
Let me win

My voice is spot on and
My lyrics are sexy
And I am
So f***ing hot

Every other ones
Suck really badly
Especially
North Alezia!

So thus so, let me win or stuff,
Cuz my butt deserves dat win
Give me that sexy big trophy

So thus so, let me win or stuff
So that I can get contracts
I'll be filthy rich enrich myself in gold!

So thus so, let me win or stuff,
Cuz my butt deserves dat win
Give me that sexy big trophy

So thus so, let me win or stuff
So that I can get contracts
I'll be filthy rich enrich myself in- F**K!!

(The audience booed South Alezia real bad that you might be as well sure someone in the Llaltese Audience threw tomatoes to Kay. Kay say "YOU ALL SUX I WIN LOL" before being pulled back into stage by the crew.)

[Axuva]

#14 AXUVA
Euna G - "Revival"
Tune:Eden Alene - Savior In The Sound

Before the song starts, Euna walks on stage after getting set up with microphone equipment and waits til the song starts, as the lighting would be all dark and she holds her head down with a microphone in her right hand, and as the song starts a spotlight would be on her and she would lift her head.

[Verse 1]
Searching around for a new life
Sometimes feelin’ stuck, heartbroken and
Theres somethin controlling me
Something’s really got a hold of me
People don’t even understand what's going on
Feelings of regret, time is ticking now
I need relief from some things
Some things that I do
Rushing winds gonna blow through

Euna walks forward as the lighting changes and the spotlight disappears and a visual would come on the LED screens that had blue smoke visuals on them and the camera would circle around her body slowly, moving from her face, to her back & the audience, then back to her face

[Pre-Chorus]
Keep on fighting til’ the end comes
Even if I don’t know how
Pushing down, pushing down all the things
That try to put me down

She steps up forward slightly on the stage towards the audience as her outfit train trails behind her. There would be one male dancer dancing slowly behind her in freeform wearing all white moving to the rhytmn of the song and Euna's voice and doing matching actions that correlated with the following lyrics.

[Chorus]
It’s like everything is pulling me down
Nowhere to go, no even one knows
Feeling disconnected
If I even try to fit in
Fighting my own battles
Gotta feel it still
I need to grow, searching for a new soul
부활 시키자 (Buhwal sikija)

The dancer would dissapear off the stage and only Euna would be shown, but it would briefly show her 3 times at once on the screen in different areas of the screen.

[Verse 2]
Things from the past, are getting old
Looking to the future, fighting for my mind
Leaving all the stormy days, and going back home
All the rain will turn into snow

The dancer disappears off stage, and only Euna would be shown, and Euna would walk backwards to a LED prop that previously wasn’t on stage and smoke would fill the stage to give the illusion that the prop was floating. She walks backwards and as she stepped on it, the LED strips would turn blue and white and she kept walking backwards.

[Pre-Chorus]
Keep on fighting til’ the end comes
Even if I don’t know how
Pushing down, pushing down all the things
That try to put me down

Euna would pause in the middle of the prop for the chorus, extending her hands wide, using as much as emotion as she could as she flawlessly sang the lyrics fully live to the audience.

[Chorus]
It’s like everything is pulling me down
Nowhere to go, no even one knows
Feeling disconnected
If I even try to fit in
Fighting my own battles
Gotta feel it still
I need to grow, searching for a new soul
부활 시키자 (Buhwal sikija)

Euna would start to walk forward and a camera would be in front of her as she was at the back of the prop, now moving to exit the prop and the camera would be focused on her totally and as she walked past each LED strip they would light up in a bright white, the same color as her outfit.

[Bridge]
No more fights, No more time
No more time to think
Gotta get very far,
And start believing
A new heart, and a new mind
Look to tomorrow, tomorrow, tomorrow, and fly

As she ended the bridge, she walked out of the prop and the camera would once again go around her from her face, then to her back, showing the audience and then back to showing her face and returning to normal angles. Sparks would be flowing down behind the prop on stage and she sang with all her strength.

[Outro]
Take me high, high
I need to grow, searching for a new soul
부활 시키자 (Buhwal sikija)

Euna would end the performance after saying "I am Euna G, thank you WorldVision!" and smiling and bowing.

[The Hlhata States]

15 dancing queen

[Llalta]

host intervention LADS

[Besen]

16
BESEN
ANAIE - "Spericolata"
Music - Idoho Jaks
Lyrics - Anna Sirini
Tune

BSB had been in charge of Besenian business at the Worldvision Song Contest for a very long time by the time that Mimi Lamire had been selected internally to represent Besen at the 82nd edition. They had in mind three main things that would secure either the win or a respectable result: star power, a winning song and a stage show that would captivate the minds of viewers all over the world. The latter did not occur, with many commentators wishing that there had been something more than the stripped back performance that had taken place in Tifferet. Over at BSB, it was seen as a massive embarrassment to finish a mere 15th place, coming 13th in the jury and then 14th in the brand new televote section, which had meant Mimi was not even going to appear amongst the top 10 of the night. This stirred hysteria throughout the staff and especially up in the high offices of the broadcaster’s head officials, who felt that this was not going to be allowed to happen again. A crazy amount of social media outrage at the mishandling of the performance, and many resignations including the previous head of delegation had basically secured the fate of BSB as the broadcaster that would continue leading Besen into any further contests.

This is where BAEN stepped up to the plate, being Besen’s publicly owned broadcaster and the one that had the most financial security. Knowing the popularity of the contest in the nation, and the ideas that they had had for a while, they bidded for the rights to broadcast the contest, and gained these rights quickly. Since it was going to be their first venture into the Worldvision world they had decided it would be good to gather a sense of what would go down well in 83, and brought together a group of jurors from both Besen and internationally that could vote on a selection of songs that had been submitted throughout June, and the winner was ANAIE, without a doubt. She received a landslide support from these music professionals, who felt that Besen had no choice but to go with her song, “Spericolata” - meaning “Reckless” in Italian. The smooth, sensual dark pop sound had captured the hearts of many even before it was released to the public or announced.

ANAIE had wrote the song on her own, and had left the production to Idoho Jaks, who is known as a sort of outside-of-the-box thinker when it comes to how he puts his instrumentals together. The song talks about the utter domination of a woman in a relationship, when it comes to the bedroom, and also the dynamics of who wears the shoes, or the boots, when it comes to her performance. It was crafted to be a opposite representation of how many men in the music industry present their love life through their music, meant to show that a woman could be sexy, be in charge, and be a baller just like a man can, and does.

Prior to the contest, BAEN had spent a lot of money and time on the promotion of the track, and building hype around who was about to launch Besen into St. Christopher. Three videos - “Are You Ready…”, “I’m Ready.” and “It’s Here.” - appeared with great reception from the other delegations and fans, who were happy to see a big effort being put into the selection of their act. After the latter video was released, it became known that ANAIE would indeed be the one flying the Besenian flag, and Spericolata launched into the charts the following week, at #8, the highest for a Worldvision artist prior to the grand final. All was going well for BAEN, and they were very happy with how the reveal was going. And now, it was preparing for St. Christopher in Llalta, after they had just won the crowded bidding vote to host. They had gone back to the drawing board many times on how to stage the song, but what they finally settled on was universally approved by the artist and the BAEN Worldvision team, who had promised a lot of money to back her in her journey.

ANAIE arrived from her flight from Milano Int. Airport, directly into Boschke, where her and her team soon ventured off on a boat heading for St. Christopher. Although she hasn’t previously enjoyed the feeling of being in such a small place, let alone one of the tiniest nations in the world, she had the company of the Axuvian entrant, Euna G, who had previously contacted her, offering to share a home-for-hire out on the lovely coast of the city, where they would stay for most of their visit, until rehearsals would begin, and they would be out exploring the city, or practising their queues and camera angles at the outside arena in the city, in the big stretch of green across from the main sights of the capital city of Llalta.

There was a lot of pressure building up to her jury performance, especially since there was a lot lying on her shoulders after Tifferet. It went well for her, and she received a good amount of praise from the pundits, and fans alike, who were just as anxious as her, leading up to her televised debut of Spericolata at the live Grand Finale of the 83rd Worldvision Song Contest. She felt excitement more than anything in those final few hours before the show would begin, and she would take the stage, performing in the 16th position, after the Hlhata States, and before the host entry of Llalta. At the parade of nations, she came out to the announcement of “BESEN!”, in a softly coloured pink turtleneck dress, that loosely wrapped around her figure. She waved to fans, and blew a kiss to the camera, and quickly rushed off to join the other entrants, and began to prepare for the big moment. 9 million viewers in Besen and hundreds of millions of people across the world are now waiting for her - she has to give it her all.

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As the cheers of the international crowd, sprawled across the stretch of grass that had been set out for the stage, quieted down at the end of the Besenian postcard, ANAIE took the stage in a tight black leather dress, which is short at the bottom, and looks almost like a pair of shorts, seperated by a couple of chains wrapped around her body. Straps keep her dress up around the upper part of her body, it's utterly sexual, but remains elegant and stunning under the natural night lighting of the Llaltese sundown, and the bright lights showering down from the top of the constructed stage. She first appears at the very back of the stage, and is fairly concealed by the darker areas of the large surface floor of the stage, coming out at the sides with giant sides of speakers and lighting stations.

The music starts with the siren-like calling of the instrumental, increasing in intensity, and booming with every kick of the beat through the speakers, causing the audience in their hundreds to scream in excitement. Smoke pours out of the sides of the stage and builds so that the floor is basically hidden and ANAIE's tall jet black boots can be seen as they meet just below her knees, and are shining in competition with the swerving lights. She sings, "Yes", and her voice comes out like honey, soothing in contrast to the electronic drive of the music all around her. With every word that she enunciates, she spreads out her body across the stage ever so slightly, showing off the curves and perfections of her body. She grins as she utters, "Don't you know I own you?", and the crowd responds with a loud cheer, which is revealed as the camera swerves around to display the lines upon lines of people in attendance.

Yes, I am a witch
I am a bitch
Melodrama phantom
Me, you, and my toys
You act so coy
Don’t you know I own you?

She walks towards the front of the stage, over to the left, and the camera follows her on it's stand, over to the left side in the same way. She points into the audience, interacting with her facial expressions, looking elated but at the same time giving off that sexual energy that fills up the space with sensuality. She kneels down, leaning into the audience and then getting back up onto her feet, and strolls back into the centre of the stage, so that she is aligned with the camera which has now moved to match this.

Come, into my arms
Into my lungs
I’ll breathe you in then spit you
Out, just like I’m sick
Just like I’m rich
Can’t you see, I'm the boss, baby?

As two female dancers and two male dancers come out of the sides of the stage to join her, they all dance like this and swing their hips in unison to every other beat of the pre-chorus, building the tension of the song, followed by a drastic increase in the smoke, which ANAIE glides her feet through with every move. The smaller lights flash in a dark purple shade, as the main lights swing like a spotlight around in the middle just like in the beginning of the performance. The camera joins in unity with the dancing, and at each swing, changes position so that the crowd, the main stage, and the angles of both the left and right side from a distance are displayed. As the last "Spericolata" is sung, the instrumentals switch and the beat drops, so that ANAIE now spins around and falls onto the floor gently. She crawls down in the smoke, ending up near the front of the stage again, she pulses her body in time with the beat, and this is replicated by the women dancers. The two men stand strongly with their arms crossed behind their back like a triangle.

Spericolata, speri-spericolata-ta
Spericolata, speri-spericolata
Spericolata, speri-spericolata-ta
Spericolata, speri-spericolata
Spericolata, speri-spericolata-ta
Spericolata, speri-spericolata
Spericolata, speri-spericolata-ta
Spericolata, speri-spericolata

She twirls around the floor, and ends up rolling onto her feet, this time, the smoke has decreased, so that every single one of her movements is visible. She begins to sing in Italian and the audience applauds, as she is able to use her voice better with her native tongue. The four spotlights around her spin onto the dancers behind her. The male dancers each have a red shade over them and the females, who are in a M-F-M-F formation, are in a familiarly purple light. They begin to turn and walk around the men, as the spotlights follow them slowly. ANAIE guides herself into this quadruple routine, and grabs one of the men by the face, with her microphone close to her mouth at the same time. She pushes him away from her, and he falls out of the spotlight, as planned he tumbles into the windy pool of greyness on the floor, performing an acrobatic number, swishing through the smoke with power. While this happens, the female dancer, paired with the remaining guy, have been performing a similar routine, and it's only ANAIE and the other two remaining. They embrace each other one at a time, as ANAIE sings with the microphone over their shoulders.

Quindi, ti tengo vicino
Mio demone
Mi piace giocare con te ragazzo
Ti piace lento
Ti piace morbido
Io farò il contrario

So, I keep you close
My own demon
I like to play with you boy
You like it slow
You like it soft
I'm gonna do the opposite

They fall into the same rhythm as before, but this time, the women and ANAIE swish their hips with further intensity, and weave in between each other, with elegance inside of their movements. Around them, the lights have transformed and display a solely purple glow, and the spotlights follow suit in this same colour, shown here. The men around them continue to spin and jump in their acrobatic ways, but tone it down so that they aren't that visible to the camera angles that now are to the forefront, as to not take away from the main situation at the centre back of the stage.

Spericolata, speri-spericolata-ta
Spericolata, speri-spericolata
Spericolata, speri-spericolata-ta
Spericolata, speri-spericolata
Spericolata, speri-spericolata-ta
Spericolata, speri-spericolata
Spericolata, speri-spericolata-ta
Spericolata, speri-spericolata

The purple is dragged out of the lighting scheme and is basically not replaced, as the main lighting has decreased dramatically and the main source of vision is the lightly projected little white lights that are placed on either side of the stage, and surround ANAIE and the other members of her performance. As the tone of the music shifts, and the lyrics turn into some what of a direct question to the audience, she turns and faces into this time the right side of the audience who receive her with great applause and interaction. She sings directly to them, pointing her finger and asking them, "Are you in it for the love or fame", the camera swooshing across the crowd and then having a quick cut so that the behind of ANAIE is seen and she turns back around and walks rapidly towards the camera which is now moving slowly backwards to it's limits at the very far end of the stage's reach.

The lights flash in red and in purple as the kicks of the beat increase and the final end of the song approaches with intensity and speed. It's all or nothing in these final moments, as ANAIE grabs the camera and shouts, "IT'S A GAME!", and breaks out into an enormously visual dance piece that demonstrates the sensuality and passion of the song. Around her the lights are now illuminating in a heavily red line in many different areas of the floor and up towards the distant ends of the audience.

Are you in it for love or fame?
For the love or fame, in this game
How’s it feel to go so insane?
You’re going insane, so insane
Are you in it for love or fame?
For the love or fame, in this game
I’m so reckless, you want this lace
You want my fame, it’s a game

The camera finalises itself so that the last few shots begin to lose the quick pace of the song and instead follow the movements of ANAIE and the now apparent disappearance of her dancers around her, which allows room for a sharp explosion of the pyrotechnic machines to the left and right, which go off once, and the once again at the very last few seconds of the track. She swings her body around, and sings directly into the camera this time, as she had just done in the previous bridge, "Are you in this?!" She tugs at her chains across her body. And at the very last shot of the entire performance, one final spin of the camera in a direct 360° angle all around the stage and settles in front of ANAIE's face as a close up shot. Her heavy breaths are illustrated as she sings her final line. She composes herself for a moment, and then bursts out into excitement, jumping all across the stage. "Thank you so much, St. Christopher!", she screams in her heavy Besenian accent.

Are you in this? Are you in this?
Are you in this, in this, in this?
Do you want it? Do you want it?
Do you want it, want it, want it?

The end was now, and half of her excitement was actually relief that she had actually now gone and done what she was so nervous to do, and now it was time for pride, and a drink in the backstage area, where the artists who had already performed were gathered, to celebrate what was already a fantastic evening of music and friendship. As the camera shifted away and into the crowd a little more, the following graphics appeared, and 17 jumped up onto screens across the world. The Llatese postcard began to play.

[Llalta]

LLALTA || 17
"The Dreaming"
yva
Music - Yvonne Guardenia
Lyrics - Yvonne Guardenia

Björk - The Gate (Shortened)

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ENTRY BACKGROUND

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The album cover for yva's upcoming album, "the dreaming", set to release Summer 2021. The title song is also the Llaltese entry set to performing on home grounds.

Finally. Ever since their debut in WorldVision 65, the tiny island had never particularly stood out, the entries quirky and Llaltese yet never managed to break through to the top 3. Though the nation had been close before, particularly upon their debut in WorldVision 65, with "Just Be You!" by Llaltese drag queen Patricia. Another success story was "Like Memories" by Esther Winterbourne, which placed 5th in WorldVision 69. However, the nation had never been considered a WorldVision great. And yet. Who knew that they could achieve all their dreams at once only in the edition priot. Set the stage. WorldVision 82, in Tiferet upon the sands of Ertzei Kishim. Stakes were extremely high, with the new televoting being introduced as well as over 30 amazing entries. The contest was certainly going to be tough. The LBN that edition decided to send the powerful ballad "Fate", sung and composed by the WorldVision and World Hit Festival star Esther Winterbourne. Though the LBN expected at least top 10 with such a beautiful ballad, none could've ever predicted what happened. By the end of the jury voting, it was revealed that Llalta was in first, causing many to get extremely excited as they huddled round the television. Never before had Llalta been so successful, garnering the most points they had ever gotten before in the prestigious contest with 144, appearing to be favoured by the juries. However, though the thought of winning was close, the imminent televoting had the possibility to change such exciting and promising results. It had the power to change everything. Even Esther Winterbourne, who had sat through many a voting sequence, was beyond nervous, as stated in an after show interview. And yet, it was just around the corner, with the power to make or break Esther's chances at the contest.

As the points were revealed upon the screen, one by one, from least amount of points to highest amount of points, the tension rose steadily. With each announcement of points, each singer would think: 'what if I'm revealed next?' An absolutely terrifying prospect. And yet, with each fear, there was also a light at the end of the tunnel. The televotes reached the top 10, to which Llalta was a part of. Could they have really won? Too many thoughts flurried their minds. Finally, the votes reached the top 3: Izmedu, Britonisea and Llalta, 3rd, 2nd and 1st in the jury voting respectively. No matter the result of the televote now, Llalta would at least be top 3, which for Llalta would be most excited for. Furthermore, being a small, rather irrelevant nation with a song that may not relate or cater to the worldwide stage, the Llaltese were not expecting as much as 3rd. However, as 3rd place in the televoting was announced, the Llaltese and Esther Winterbourne were more than stunned. It was revealed to be WorldVision heavyweight Britonisea. To beat Britonisea was one thing, but never did they think they would place above Izmedu. Time almost seemed to slow as the final two televotes. Whether out of sheer excitement, shock or terror, it was as if time broke. Llalta was revealed as the winner. Was this a dream? Did they mess up the results? They couldn't believe such a prospect. Not only the people of Llalta, but Esther herself. The girl who had only ever placed 2nd or 3rd basically, had won the crown for her and her country. She didn't know what to think or what was going on. It was a blur to her. As she made her way to the stage. As she sang the song once more for the winner's reprise. It was truly a moment in time. The time the tiny island nation would show all it's true colours. Colours like that of an aurora dancing with the night.

The following weeks after the eventful win, there was a rather jovial atmosphere in the air. The island nation celebrated, Esther Winterbourne becoming one of the biggest stars in Llalta, even bigger than before. Furthermore, the LBN were looking to the future. What could they do to further push themselves beyond the limit? What would their next step be. Such questions often thrown around to no avail. Many would rather soak in the victory. However, soon, the new found confidence pushed them to work harder, and to do even better, however that may be achieved by. Inspiration flooded the island like a tsunami of stars, many people, LBN workers and public alike thinking of ideas to push themselves. The biggest idea was to host. However, the LBN were rather against such an idea, given the miniscule man size, lack of budget, and a previous failure of a host. For example, the first and last time Llalta hosted was after their first victory in Kyvivre, Britonisea in the World Hit Festival 47. Chiara Albanthia with her dramatic symphony, "Timeless", one after an arduous voting procedure in which she won with 30 points. The LBN then took the rights to host, starting of strong with a beautiful logo and slogan, being "Take Flight!" Unfortunately however, the contest became unpolished and unfinished, not up to Llaltese standards of any time. It was rather embarrassing truth be told. And yet, many islanders saw it differently, as an opportunity to fix all the mistakes made in WHF48. A chance to show the world that the tiny island nation CAN host, against the odds. Thus, a host bid was formed soon after, a community project in order to get the best host bid possible. From children creating and designing the logo and slogan, to many of the bakers and cooks on the island showing off their best dishes in order to entice the WorldVision crowd to vote for their bid.

The bid was finished and displayed just a few moments before the closing date of the host bid entry. Against 6 other amazing bids ranging from the beauty and simplicity of Ekoz to the heart and soul from North Alezia. Fortunately, the results ended up in first place, a draw between North Alezia and Llalta, Llalta winning the hearts of the committee votes. Therefore, Llalta was to host the 83rd WorldVision Song Contest, which was to be held in the heart of the island: St. Christopher. As a result, the island became very busy, all the islanders doing their bit in order to make the dreams of the hosting become reality. From all the fathers helping build the stage, to the Llaltese women's choir, pitching in with the idea to do an opening act. The cooks and bakers making sure that the audience and delegations have the best food possible, with the people coming in to do odd bits and bobs. Furthermore, Llaltese children helped design posters to advertise the contest, as well as many of Llalta's top musicians creating music to create an atmosphere of both mystery and wonder. The contest itself was a result of all the hard work of the community, in order to make the best show possible, to run smoothly but with all the heart and soul the island could offer in order to make such an amazing show. Something you could only experience in Llalta!

However, whilst the host planning and building was continuing, the search for Llalta's next entry also began. With many of the musicians of Llalta having been working hard on the host, the LBN thought they might have to resort to international artists once again. While, not such a bad idea, it would ruin the Llaltese streak of using only Llaltese artists in order to represent them, though very few. However, with all gone or busy, an international artist was necessary. The LBN contacted many international artists but with no avail. Things were looking rather tough. Fortunately, it turned out the LBN would have to look a little closer to home, to which Llaltese singer-songwriter, yva, stepped up to the plate. Though a rather unorthodox idea, the LBN out of desperation asked her to create a song for the contest, something never seen before. Something truly Llaltese, original to yva and her island nation. Luckily, she was midway through her comeback album, "the dreaming", set to release Summer 2021. The title song was reworked for the WorldVision stage, perfected with the help of the LBN.

The Llaltese entry to the 83rd WorldVision is, "the dreaming", an ambient, electronica song describing the "dreaming". Written, produced and sung by yva, the song is an ambient, never seen before musical experience, guiding the listener with electronic synths and flourishes, something Llalta has never really explored in WorldVision or the World hit Festival. Furthermore, this atmosphere of mystery and magic is further complimented by the lyrics, describing a Llaltese belief and tradition known as "the dreaming". Much like the aborigine beliefs, in Llalta it is said to be the event before time, where man created colour through words and song, a poem of life and death, of light and dark. However, after they created the Earth and all that lived within it, it was said the men of the dreaming fell into a deep slumber, becoming rocks, trees and animals alike, becoming one with the colours they created. It is also said that, they are not dead, they are merely resting, restoring the colours of the world. Furthermore, myths also say that in order to see the world in all it's blossom, one must tap into the rivers of the dreaming, and somehow enter a state of dreaming. Though the island is majority Protestant, the belief of the dreaming is still a ubiquitous prospect amongst islanders. Through the lyrics styled in that of prophecy, it details the awakening of the dreaming, perhaps hinting to the rebirth of colour in the world that has drifted so far from it's roots. However, the artist, yva, much like her music is enveloped with mystery and ambiguity, not allowing any interviews, leaving many of her songs in the dark. "The interpretation is part of the experience." a quote which she has uttered many times in the face of the media. Even in the mystery and darkness of the song, it has received high praise by many, noting it's beautiful composition, unheard of before, seeming with flourishes and power with every moment. It has peaked on Llaltese charts, finally topping Esther Winterbourne's "Fate", which had been #1 since it's release. The staging is also noted to match the ambience and magic of the song, enhance the world of past yva introduces us to.

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ABOUT THE ARTIST

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The Llaltese entrant for WorldVision 83, held in St. Christopher, Llalta, yva.

Hailing from Lilliannes, Llalta, yva (real name being Yvonne Guardenia) is a Llaltese singer-songwriter who is most famous for her ambient, electronica music, much like her WorldVision entry, "the dreaming". After a normal Llaltese childhood, at 16, she travelled to Britonisea to study music at degree level during the 1970s. Even at such a young age, her abstract yet strangely beautiful sounds created from mostly synths among other cold, less conventional instruments garnered much attention, allowing her to drop out of university in order to focus on her music. Her debut album, "Untitled" hit the charts, gaining many weeks near the top of the ever competitive Britonish charts. Despite this, back home her music was less well appreciated, yet still enjoyed some success in the classical Llalta. Soon after her debut album, her music began to gain traction, praised by critics and listeners alike who enjoyed her unique sounds and ambience. As she grew, a persona also formed around her, being a mystical, quiet yet artistic and eccentric singer. She was also often outspoken about the quality of pop music and music that appeared on the charts, citing them as "unoriginal" and "meaningless", and of "untrue personas". She'd often try to stay out of the eye of the media, not answering interviews or not leaving her house often. However, with her newfound fame, her actions would have to change. This almost backfired as a result when her own music began hitting the charts, as well as the growth of her persona, rather untrue from her shy, normal and down to earth self. As a result of her outspoken nature and this new found success, she began to grow a rather large following of critics and haters, who were disapproving of her attitude as well as her music, seen as pretentious and lacking musicality. This growth of tension eventually exploded in 1991, where in the public eye she was shot by an extreme critic of hers during a red carpet event. The attempted assassin was an extreme super fan of yva's who, enraged by the idea that she was becoming mainstream and losing what was special, shot her. Fortunately, she was only injured but the mental implications were beyond horrendous, creating numerous mental issues.

As a result of the event, yva removed herself from the public eye at all costs, moving back to Lilliannes with her family in secret as she recovered from the wound. Luckily, she was only shot in her calf, which recovered fully over the course of a couple years in Llalta. Out of the Britonish eye completely, leaving them in the dark, she lived the rest of her days in utter silence, ushered not to leave Llalta in fears of another attack. Yva changed her name from Yvonne Guardenia to be known as yva, and wore a mask if she ever left the house. She was left utterly ruined, her career gone, scared of leaving her house and shattered. Her only escape was music, which she couldn't release in fears of being found. As a result, she became stuck upon Llalta, helping with the local agriculture and living her best life in Llalta. From 1991 - 2018, she lived in complete silence. However, she soon became accustomed into her old ways of life, even stating that she enjoyed the later years of her life in Llalta. In 2018, the LBN offered to help yva to go back to the things she loved, making music. She declined, still scarred but the LBN proposed another idea: a detailed documentary to show her life now, how she felt, and all the things she'd never opened up for before. Though a scary concept to yva, who previously remained completely private about her life when she was famous even against the will of the media, would now have a chance at redemption, a chance to retake her life from the scarring one before of lies and violence she lead during her time in the spotlight. She didn't have to appear as that ominous figure anymore. Yva in the end decided to partake in a film surrounding her life rather than a documentary. The film would be directed and written by her, to which she had experience with as seen in her music videos.

Released in January 21st 2020, the film, called "yva" was an abstract, artistic film which featured many complex scenes and symbolism, like a puzzle to piece together. Throughout, she also wore a white mask, a powerful and iconic symbol she now is characterised with. Overall, it was a critical success, many praising the unique, beautiful yet truly heartfelt film. With the film a success, yva also began making music for another album, a comeback album set to be named "the dreaming". It is truly representative of her new persona, in which she makes the calls and she chooses her destiny, not confined by the media. A new start. Where she controls what the media sees. Yva now resides in Lilliannes, making music as she had always wanted.

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PARADE OF NATIONS

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Though it was her home nation, she still felt extremely scared to go onstage, even for her bold maturity. Last time she went out in public in changed her world. However, she knew she had to. She hadn't learnt the river dance for nothing, and besides, she had fans to please and to show that she was a changed woman. She had to prove it somehow and that time was now. Performing in her own nation was a lot of pressure. More disappointment if and when you mess up. She took a deep breath. In. Out.

The crowd were wild for the Llaltese superstar. Though she had her trials and tribulations, they were still proud of her. To them she was a show of resilience and Llaltese strength. Yva walked out onstage, the energy filling her veins with the excitement that she felt when she was starting out her long drawn career. She felt new again, a testament to what many years rest can do, and the power of music and joy. It made her all the more desperate and excited to show and perform her song to the world. She smiled modestly and waved, before reaching the end of the stage. She felt bad, considering her applause was the loudest of them all but there wasn't much she could do to tame the loud and proud population of her island nation. Although scared and nervous at first, the parade of nations only seemed to fill her up with the strength to perform. Yva couldn't wait to get out there and perform like she used to. Especially her song, so representative of her and her style in so many subtle ways. Rejuvenated with the passion to perform and sing, she left the stage after the tricky river dance.

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THE PERFORMANCE

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This was her time to make a comeback.

The postcard ends, and the crowd screams loudly for their Llaltese star. The rebirth of a star was about to appear on this very stage. After a long while of cheering, of the Llaltese people proud of yva, the stage finally turns to black, plunging the fields in the blanket of night. Even then, the crowd couldn't stop. Luckily they did. As much as they loved their star, they couldn't ruin the immersion of the entry. The music begins, flowing through the black evanescence like a stream, a stream of the dreaming. However, the beautiful synths soon stopped, leading to the introduction of the two electronic horn like noises, pulsing through the field with the majestic power of a fog horn. With each pulse of the instrument, two spotlights pulse dimly also, painting the stage in a dim sapphire hue. The beginning of the song is quiet with diegetic sounds flooding the outdoors with tension and a strange beauty. In the darkness, the screen is pitch black, like the silence itself an empty nothingness. However, with each pulse of the instrument a random piece of the stage appears on screen before fading away, such as the harsh gaze of the spotlight and mystical blue of the fog, billowing upwards. The high pitch noise is paired with the light, slowly harshening as the noise gets more intense. Overall, the intended is effect is that to build intrigue and mystery, to create a diegetic soundscape like that of another planet. Another three sounds played from the low, echoing instrument is played, mysterious yet artistic shots of the lights and fog appearing on screen, each image in the same deep blue hue, to create a flow to the staging. On the last note, two eyes open up wide, the purest white, in amidst the darkness, slow not to shock and take away from the beauty of the soundscape. However, it certainly is placed to give the impression of uncomfortability and intrigue.

The camera zooms out from the eyes and it is revealed to be yva's eyes as she begins singing the first verse. Each word is sung out like a prophecy, an important message passed down from myth and legend. As she sings, a pale blue spotlight shines down upon her, bathing her attire in a sea blue. Onstage, she wears a delicate white lace mask, adding to her ambiguity and the mystery of the entry. It wraps around her face, spiralling off elegantly like roots in the shape and style of a masquerade mask, her mouth left open and free to allow her to sing with no restrictions. Even in her age, though unknown, she appears youthful and elegant, timeless even, like a goddess of the stars. Her eyes are a pale blue much like the spotlight shining upon her. She wears an elegant white dress, rather alien in the way it wraps around her, a complex silhouette leaving much to be asked. For example, it's almost in the style of a modern toga, however, the fabric often at times drifts off her like an aurora, an iridescent shimmer upon the ends of the fabrics like an ombre. Furthermore, her hair is done up in a messy bun, framing her mask and beautiful eyes, shimmering in the dim, magical lights. Upon the centre of her dress, around her stomach area, lays a jewel, many pieces of fabric, flowing off from the point. Two pieces of iridescent fabric are attached from her wrists to her back, flowing like wings behind her as well as two iridescent shoulder pieces giving the appearance of a majestic bird of white, of heaven and angels. With the spotlight and the fog, it's as if an angel had come down from the heavens, her voice and song the blessings.

The camera angles are mostly close ups of her face, not to ruin the immersion and atmosphere so delicately created. The LED screens remain off for this reason also. Yva's voice is raw like a geode, full of soul, emotion and meaning, singing each word with full knowledge of their importance. It's quiet onstage, unlike the song prior, rather calming. Her voice is like the ebb of a drop of water in a cave, echoing ambiently. Like a single a star in the inky abyss of night. She is alone onstage throughout the whole performance, her body moving to the words as if dancing every emotion. She'd often sway or use her hands, like an intricate improvisation, a true performance of her emotions. Perhaps to some the silence is mere silence, but even in the pitch black of sound lays a flow of music, a flow of souls. The camera follows her hands as she raises it to the sky, before she pulls it down shakily. Her words are laced with a sombre tone which carries each word, each meaning like a leaf upon a summer breeze. On the last line of the song, she places her hand on the large jewel upon her stomach, jewel creating a flare of light as the spotlight shimmers upon it's iridescent surface. She then looks up from her jewel, the camera taking a close up of her face, pain and sorrow etched upon her face like scars, the shadows of guilt casted like splashes of paint in the dramatic chiaroscuro lighting.

The dreaming starts
Tapestries of gone
Woven from roots of man
Forgotten, forlorn
Who birthed

The chorus begins, and the first major wide shot of the stage is shown, matching the subtle flourish in the music. The camera pans slowly, yva singing her soul into the flowing melody of the song. To match the flourish of the song, twinkling lights of blue, lilac, and argent billow outwards and around, the lights twinkling in the camera like magic dust of some sorts. Even upon the LED screen a subtle iridescent gradient forms at the bottom of the stage, shifting to black as it reaches the top. At this point, yva begins singing more raw than ever, singing the first line into the skies, as if calling for the return of the dreaming. One hand on the microphone, the other strays in the air in a show of desperation. Another shot captures her call to the sky from below, yva glowing on the background of the night sky. At this point, the composition of the staging can be clearly defined, yva stood in front of the raised sections of the stage, but not upon the front catwalk. As soon as she sings the first line of the chorus however, the vivid silence returns, the last echoes of music drifting into the abyss of quiet. The camera fades to black before alighting to colour as the second line is sung, like a single drop of rain falling upon the sea. The lights billow outwards once again with a twinkle, matching the softness of the flourish. This time however, the camera angle is taken from the front of the stage, more close up. Her eyes are shattered from up close. Though pretty and blue at first glance, one might notice the shards of pain, the cracks of life wearing upon the smooth surface of eyes. In her movements, the fog seems to bend around her, swirling and twirling like auroras, almost an extension to her already flowing outfit. Yet again, the camera fades to black as her rough voice fades into the past also. The same staging of the billowing of the lights with each flourish of song, before fading into black is repeated for the last two lines, creating an ambient staging of both light and dark, the light however often drifting into darkness. In the field one could almost feel the flow of each melodic flourish emanate from the stage, feel it entering and soothing their soul, like a magic breeze. Yva no doubt has the stage presence also, though masked successfully conveys every intricate emotion, even the words we can't name as she stands onstage, like a puppet of the music, going with the flow. It is beyond music, rather an experience. A work of art.

The dreaming, the dreaming
Rouse the dreaming, the dreaming
The dreaming, the dreaming
Rouse the dreaming, the dreaming

The second verse begins and the silence and diegetic noises from the previous verse return as she begins to sing the words. As the high pitch noise crescendos, a spotlight behind yva shines brighter and brighter, eventually cloaking her in a bright flare of pale blue light before fading away. The silence returns however, the camera to black, matching the rise and fall of music within the black of quiet. The ebb and flow of sound. Upon the next line, yva twirls her arms around elegantly, her voice barely wavering as she ends her short blossom of movement, facing to the right, fog parted like the red sea. By the end of the line, she moves her hand across her mouth gracefully, her fingers subtly flowing. Her voice is quiet once again, like the silence in which bathes her. The diegetic sounds which ominously play as yva sings, are often paired with pulses of a single light somewhere upon the stage, emphasising each noise as if it were a featured instrument. Like the beauty of each raindrop upon a lake, each creating an ebb and flow of life. Much like the concept of dreaming, surreal and mystical. Unexplained by nature. On the final line. The camera takes a close up shot of her face. As fragile as the lace upon her mask, she looks saddened, weak perhaps. Showing her more vulnerable side as she calls the viewer into her world of magic, dreams and the past. Her ode to the dreaming, as silent as their everlasting sleep. Even amongst the silence, tension seems to grow as the verse nears it's end. Something will awaken, as yva's voice yearns for the dreams, to see the colours unseen.

Winds of yonder, breaths of past
Men who roamed, who spoke in colours
Through dreams they sing

The final chorus is met with a flourish of sound, the beautiful upward spiral of music coursing through the veins of yva as she sings. Furthermore, the lights also billow outwards, harsher and with colours unseen before, twinkling in the lens of the camera. A beautiful constellation. Often, rings of fragmented light in all the colours of the rainbow flash on screen, adding to the ambience and magic of the entry. The silence arrives and the camera fades to black once more. However, on the third line, the flourishes of music become more powerful, each collective of sound embracing the ears of all. As yva desperately attempts to wake the dreaming with her song, her voice becomes strained with desperation, no longer a subtle pain lacing her raw, rather unique voice. The staging is mystical, the lights softly twinkling, ebbing and flowing. The LED screen a soft pale blue into black gradient. Furthermore, the lights banded across the stage glow a soft blue beneath her feet, enveloping her in a holy light from all directions. The overall essence seems with the aesthetic of a modern angel, life at her fingertips as the stage seems to shimmer different colours with each different camera angle, like an aurora. She emanates passion as the lighting slowly but surely grows more harsh and beautiful, more fantastical as the chorus builds. The camera angles grow wider too, to showcase the ever-growing beauty and radiance of the stage. Even with the simplicity of the stage and choreography, it doesn't need to be over the top. Sometimes, silence itself is beautiful. Even so, as the song builds up, the places in the chorus in which there was silence before is now filled with backing singers and more flourishes of sound and song, becoming more eclectic and anarchic with each passing moment. Yva thought to herself: this was the final moment. This is how you're going to be remembered.

Most spectacular of all, on the final three lines, stood in front of the LED screen, the jewel upon her stomach begins to glow white, shifting evanescently like an unstable star, it flows with energy of the music, the dreaming of life. As the chorus begins, the white light shone upon the jewel flows up, a light projection upon yva showing strands and flowing ribbons of lights emanating from the central point as the lights course through her body. Painted with light, yva stands sideways, before tilting her head up to sing. With the power and control of the best singers, she sings the lyrics, the white iridescent ribbons of lighting appearing on the LED screen behind her, flowing and dancing, spiralling in a beautiful animated sequence. Each spiral of aurora like lights upon the black abyss, soon fade into nothing, and yet dazzle with lace like swirls, creatures of light sometimes twirling into life before shimmering into dust, like the words of the dreaming. Creating life, a beautiful thing yet so fragile. Tainted by soul. The camera shots throughout the climax of the song are rather surreal and fragmented, often shots of the beautifully detailed paintings by the LED screen, to yva, who as she sings, stands in front of the LED paintings, bathed in the beauty of light. Furthermore, with each flourish of sound, like the spirals of beauty, upon the clouds above, large projections of the strands of light emanating from the stage glow upon the few clouds upon the sky. However, the camera angles allow the clouds to appear larger, the projections upon them more dramatic and grand. Upon the mountain side also, projections of the lacing and flow of light appear, a spectacle for all in the precipice of the song. All angles that the eye could see would be painted in these projections of light, a dazzling display, truly taking advantage of the dramatic surroundings, easily projected upon clearly. The projections fade with each moment of silence however, only to be relight with the bursts of iridescent light with each flourish of music, the song beginning to flow with anarchy. Onstage, yva is giving it her all, her body moving to the many different complex layers of sound that can be heard. Her dress flows magically, almost fantastical, unreal, flowing in ways not seen before. Much like the projections of light, all her soul is sung out, flowing with the winds of song. It's a truly magical moment, carried by yva's soul. Not only that, but the music and staging, like watching magic in real life. Like that of a fantasy film, the way the projections of light flow through the air almost like real life strands of magic.

Awaken the dreaming, the dreaming
Awaken the dreaming, the dreaming
The dreaming, the dreaming
Awaken the dreaming, the dreaming

Rouse the dreaming, the dreaming
Rouse the dreaming, the dreaming
The dormant, the dreaming

The final dreaming is sung in a moment of near silence after the very last crescendo of song. The camera angle is of below yva, shaking from the energy of singing as her hand is raised to the sky, a call to the dormant, the dreaming. A final projection of light flashes beautifully across the cloud as the final moments of the song begin to play, the final ambient noises of the dreaming. The final ambient, abstract noises play, yva against the LED screen, a near black silhouette as a couple projects of her fading light, pulsing to the sounds of the song. They eventually fade into darkness, flickering like dying fireflies upon her dress, leaving her silhouette alone upon the pitch black stage. Her outline lit up in a soft pale, iridescent blue, the silhouette of her garment shimmering. It was over. The surreal experience of yva's song was over. Like sand sieved through your fingers, or a dream. It was over. <3

The Llaltese crowd cheered they loudest that night, excited and proud of their delegation and most importantly yva, for putting on a show never really seen before and represented. Most importantly, yva was proud to. No matter the result, she'd worked so hard to recover from her past, and it all paid off. She walked shakily to the very front of the stage and embraced many of the Llaltese and other audience members in the crowd, before standing up once again with a mature yet clearly excited and impressed tone: "Thank you, oh thank you!! Love you Llalta, love you world!" She walked offstage waving to the over excited crowd, cheering as if it were life or death. She felt like a star again. Not like before. A star free to fly, free to do what she wanted.

[These American States]

18. These American States

W.I.P.

Two Hours Before Showtime:

Don JJ Trummmp III sat in his hotel room in St. Christopher, Llalta, scouring at his Iphone. His main adversary in the upcoming election had just run a new ad, and several of his own cabinet members had endorsed him based on the Presidents recent handling of events in These American States. "Enough is Enough!" ran the ad, "We've watched as the current administration bobbed and weaved through the presidency as if every substantive issue that has come up was the setup for some kind of sick joke; like some kind of reality show. Is this real enough for ya Don???" - A shot of the smoldering remains of the former Presidential Residence -I'm Joe King, and I endorse this message!"

Just then someone burst through the door of the presidents hotel room. He looked up, shocked, to see his girlfriend, Monica Lapinsky.

Monica:(with a southern accent) Oh Thank God i Found YOU!

Don JJ Trummmp Kisses Monica for a moment.

DJT3: (somber) I'm sorry, really sorry. I had to go, black people with torches were chasing me. Ungrateful. They don't know how much i've done for them!
Monica: ANTIFA burned down the White House!!!! What are we going to do???

DJT3: It's not a big deal we-
Monica: We couldn't save anything! We even lost the Nixon Portrait!
DJT3: Shame! What Shame! Nixon was my favorite!

*The Alarm on the Presidents Phone all of a sudden went off.*

DJT3: Oh shit, i have to go.... Big Show tonight.... Monica.... Don't you worry... Once i win this song contest, These American Statists will be back on our side... We'll win in a landslide. .
Monica: Hey, Don...
DJT3: It's not Don anymore..... It's DJ Trummmp....

---

DJ Trummmp
Driving Through The Night
Tune: The Weeknd - Blinding Lights (Donald Trump Cover)

I hop into a car
down a bit of vodka, good to drive
screech the tires, peel out of the drive,
OH YEAH

I'm going through my phone
looking for my friends i cannot find
it's clear that i am higher than kite
OH YEAH

i look around...
black people always hate me
jealous of cheetoh physyque
but they don't know that i'm the man

i say WOOHOOO
I'M cruising through the night
i cannot see you, i have no headlights
said wooo hooo
i wear my shades at night
if i hit you, it's okay, right ?
hate, hate hate...

Dj Trummmp does "The Hustle" for the entire interlude

Isn't it a crime?
can't you tell it's deffo party time?
no ones party parties hard as mine
OH YEAH

POOR people always hate me
they don't like me cause i'm me
but they don't know what they don't know

i say WOOHOOO
I'M SPEEDING through the night
i can't see you cause of no headlights
said wooo hooo
sunglasses on at night
if i hit you, it's cause i have the right
hate hate

it's almost 85 but calls for snow
almost dropped my heart right up my nose
don't know if my eyes open or closed
OOOOOOOOOH YEEAAAAH!!!!

i say WOOHOOO
I'M SPEEDING through the night
i can't see you, ya know... no headlights
spread hate, hate

said wooo hooo
i'm speeding through my life...
but it's okay, nobody died....right?

[Waisnor]

19

WAISNOR

---

Alena Margasova - I mne vso ravno/Tune: Whigfield - Think Of You

---

Alena Margasova began her song career in 2014 and immediately gained popularity in the country. It was her popularity that served as the reason for sending the singer to WorldVision.

She went on stage in the same outfit as in the photograph.

The number began with the fact that Alena entered the stage on the left side. She had a tablet in her hands, and in the center of the stage was a chair on which the singer sat down. The camera pulled into the back and it became clear that Margasova was looking at profiles on a dating site on a tablet. A slightly cloudy sky appeared in the background.

All this time, music played, but Alena has not yet sung. Only now the song begins for real.

Жить без мужчин, поверьте, мне скучно

Living without men, believe me, is boring

Нужна мне любовь, и возможностей куча

I need love, and there is a lot of opportunities

Чтобы я нашла хорошего парня себе

So I find a good guy myself

After that, four men in exactly the same tuxedos came from both sides. Two on the left began to click with the left hand, two on the right - with the right. Slowly, the men began to approach Alena.

Но так вот случилось, что мне не везёт

But so it happened that I was not lucky

То один, то другой до слёз меня доведёт

But so it happened that I was not lucky

Но я не сдаюсь, найду всё же мужа себе

But I do not give up, I still find a husband for myself

Meanwhile, the men had already approached her. Alena turned to them and the men took her in their arms, after which the camera, which was located on the ceiling, began to take pictures. Men began to rotate Alena while she sang the chorus.

И мне всё равно, богат или беден

And I don't care, rich or poor

И мне всё равно, он тих иль заметен

And I do not care, he is quiet or noticeable

И мне всё равно, ведь главное, чтобы любил

And I don’t care, because the main thing is to love

After the refrain, the men lowered Margasova to the stage and began to flirt with her, approaching one at a time. While she sang, Alena after flirting pushed one man after one. The men, after being denied, left somewhat depressed.

Проблема вот в чём: они просто жадны

The problem is this: they are just greedy

До денег моих, иногда и развратны

To my money, sometimes depraved

Ну в общем кошмар, ведь просто хотят обмануть

Well, in general, a nightmare, because they just want to cheat

Four women came out on the right side of the stage, but in different dresses. Of the four men, three went to women. This should show that those who left did not like Alyona, but the one who stayed really loved her. A woman left without a man left upset. The remaining man and Alena began to slowly approach each other.

Но есть в мире парень, который не промах,

But there’s a guy in the world who’s not a miss,

Он сильный и смелый, в словах очень ёмок

He is strong and courageous, in words very capacious

Поможет по дому: он где-то, осталось чуть-чуть

Will help around the house: he is somewhere, just a little left

When Margasova began to sing the refrain for the second time, the guy and Alena began to dance the waltz. The camera closely watched as they danced, following them.

И мне всё равно, богат или беден

And I don't care, rich or poor

И мне всё равно, он тих иль заметен

And I do not care, he is quiet or noticeable

И мне всё равно, ведь главное, чтобы любил

And I don’t care, because the main thing is to love

After the song was sung, the guy and Alena kissed passionately. The camera at the time of the kiss was close to the faces and the kiss was visible very clearly. After the kiss, Alena sent kisses to those in the audience and said, "Thank you all!"