WorldVision Song Contest 86 IC - Oreo City, Antahbrantahstan

by **Elejamie** » Wed Nov 11, 2020 10:40 am

ETV1 presents WorldVision 86 - English language commentary by Cerin Erali and Flynn Taggart

CE: Welcome to WorldVision 86! Bienvenido a WorldVision 86! Yalcom WorldVision 86! Live from Oreo City, a name that always makes me hungry for some reason. I'm Cerin Erali...
FT: ... And I'm Flynn Taggart.
CE: And we are your English language commentators for this evening. For a Spanish commentary, Iyilim language commentary or to sing-along to each entry, please press the red button. Thank you. Para Español, Iyilim o karaoke, pulse botón rojo por favor. Gracias. Aspenol, Iyilim o cereoc - Ancelis o Aspenol, ne Iyilim - plaes toc rad boton. Fenci.
FT: Televoting works the same way it always does. You can call the number, you can send a text message to that number, you can use the app. They all end up getting added together and presented as our results for each of the different nations.
CE: And where are we performing, Fleen?
FT: Number thirteen.
CE: Unlucky thirteen! Take that as a hint, viewers at home in Elejamie, don't vote for unlucky thirteen.
FT: I think they know.
CE: I know but it's best to make sure just in case we're part of a foreign broadcast pack thingy.
FT: I doubt we are but we'll take your word for it.
CE: Now let's get on with the show!

by **Spiritual Republic of Caryton** » Wed Nov 11, 2020 11:46 am

insert stuck up carol emerson commentary

by **Achaean Republic** » Wed Nov 11, 2020 3:55 pm

24| Achaean Republic
Vania Fernández-“El Árbol” (The Tree)
Tune: Gloria Trevi - Demasiado Frágiles
Music & Lyrics: Fausto Hernández, Carlos Mayoral

Vania Fernández Salcedo was a shoo-in to win Miss Acaya 1984. The beautiful corolense from the city of La Cañada was named by many fashion and entertainment magazine called the Miss Corola as Most Beautiful Legs, Miss Talent and Most Likely to Become President. The twenty-year-old topped all talent, swimsuit, evening gown and interview portions of the competition, tearing through the contest with the confidence that she could win the coveted national pageant—and perhaps win Miss Universe after all. She had the perfect 90-60-90 measurements. She spoke Spanish, English and French, having studied at one of Corola’s most prestigious (and expensive) private schools on a scholarship. She was in choir, volleyball, and debate—and once represented the Achaean Republic on the North American Debate Championship. Above all, she was beautiful, strong-willed and opinionated.

And then came the final night. She wore a beautiful velvet red dress with sparking crystals and a beautiful coiffed natural hair with minimal makeup, against the grain of the caked-on, excessively bejeweled dresses in blues and whites with killer shoulder pads and coiffed makeup. She plastered on her natural smile, a delicate hair flip and displayed the confidence of a woman marching towards a certain victory, being called first in the top 10, having the best swimsuit, nightgown and interview scores on the final night.

But then, it happened. Vania Fernández, the woman born to become Miss Acaya 1984…became the first runner-up. The actual winner, Lesbia Pagán, was the second cousin, twice removed of Zacatecas Governor Lorenzo José Pagán, who was rumored to use the Miss Acaya 1984 pageant—held in his home state—as a money laundering scheme to wash off the embezzlement in federal funds for the glitzy three-hour spectacle, among other funny business. (He resigned in 1985 when it was discovered that some of the money he embezzled went to purchase a condo in Miami Beach that may or may not have been financed by illegal drug cartels. He was never tired for those crimes.) While the winner retired herself from the spotlight and, shortly thereafter, received an invitation from regional channel TVS to host a late-night show, she still felt the traumatic sting of losing something she was sure of to be solely hers. That was her crown, her glory, her moment to shine! Even if she won fame, fortune and prestige with one of the most talked-about late-night shows on national television, she still felt famished and unfulfilled, as if there was something in her life yet to be realized.

It then took a few years of fame and fortune, two unsuccessful marriages, three children, numerous TV, radio, and Internet commercials—along a successful stint as one of the three hostesses for the 54th World Hit Festival in her hometown of La Cañada—Vania finally discovered the root of her trauma: [b]arrogance[/i]. She was so confident in her own strengths that she can win on her own strength, her own beauty, her own sass. She hyped herself into a victory that never happened, and life came crashing down on her so-called dreams whenever she aimed for victory. And when she remembered the loss, she kept suffering in the past, reliving the trauma as if she was the eternal victim. Yes, Vania Fernández always polled as the number-one “Would-Be Miss Acaya” for three years running, but she treated these quirky polls as an attack on her personhood instead of a silly quiz.

Which is why, when he heard the first strings of “El Árbol,” the most recent song written for the WorldVision Song Contest, she could not stop crying. The song served as reminder of her misplaced pride, her feeling of victimhood, her lack of responsibility for feeling the arrogance of victory. While she was not the first expected recipient of the song, she was the one to wholeheartedly embrace the meaning and feeling behind the song. She made it her own, and that became a remarkable difference for the Achaean delegation into sending a ballad for the first time in twelve editions.

The stage in Oreo City presented so many advantages, yet also offered a unique set of challenges for the Achaean delegation. While previous performances hinged on activity, explosion, histrionics and a purely busy sense of fun, the minimalistic performance—only Vania singing on a large stage—forced them to uncharted territory so as to avoid having the stage swallow her whole in the sea of floor LEDs and smoke and lighting. But the risk of sending a ballad in a contest guaranteed a moment of reflection in said contest, more so during the times the world was living. This was the goal in mind for AS1 when they traveled to Oreo City.

Once the postcard was complete, the cameras returned to the Mountbatten Arena with flashing camera lights, mask-wearing crowd shouting their country’s names over their masks while using hand sanitizer, and flag-wavers proudly whistling the next tune. The stage lights surrounding the stage flickered in a circle, joining together to the front. The front camera captured the motions, more so when all the beams of light gather in the center circle, where Vania was standing.

She was barefoot, wearing a long white beach dress embroidered with intricate details accented with lace. She also dyed her hair black, a stronger tincture that highlighted her wavy and voluminous curls, the ones she showed on the most recent World Hit Festival in her hometown of La Cañada. Eagle-eyed viewers, however, could notice a small tattoo on her calf, which had a small tribal heart topped by a flame—she did that when she divorced her second husband and was really trying to reassert her independence as a free woman. And yet her presence looked faint and quaint due to the immense surrounding her, a sea of lights and computer nodes. How can this possibly resemble a tree, leafy and gorgeous, without losing herself in the process?

Then she remembered the story:

There was once a powerful king named Nebuchadnezzar who was deeply troubled by a dream that nobody in the land—no wizard, no magician, no astrologer, no enchanter—could understand. But then came Daniel, whose name was Belteshazzar, who once defied the king’s own bounty so as to keep himself free of any worldly contamination, would dare to interpret…a tree. It was a beautiful tree in the midst of the earth, covered with rich leaves and fruit and animals resting on its branches. Everybody who wanted to feed from the tree could be satiated. Everybody who wanted to hide from the Sun could take refuge under its shade.

The outer concentric circle began showing images of greenery and shrubs, of rivers and dirt paths slowly sketching their way towards the center. The lights atop also followed, turning themselves into green and red and blue (as if the trees never turned color in the Achaean Republic), with frogs and a small pond with fishes and animals. The lights around them turned into light-branches, and roots also followed on the LED surface. In the inner concentric circle, a little nest formed, with Vania at the center clutching her microphone and softly clutching at the camera.

Éramos un árbol entre aquella nada
We were a tree in the midst of nothing

Cuya altura grande y frondosa estaba
With enormous height and was very leafy

Era hermosa
It was so beautiful

Tan hermosa como yo
So beautiful like me

Tenía tanto fruto en plena abundancia
It had fruit in such abundance

Y todos en su seno se alimenta
And all were fed from its breast

Y las bestias
And the beasts

Del campo su morador
Of the land its dwellers

But then, a holy messenger came down from heaven with a trumpet and a scroll from above and shouted orders to cut down the tree and break its branches, to strip the leaves and scatter the fruit. The beasts of the land would run away. The birds were flying away from the tree, and the ponds near the tree were drying out by the hot sun. The tree was being cut open by the forces of the wind, each direction slowly breaking the integrity of the tree. The long, voluminous, abundant and fruitful tree was no more—only a shell of itself, a broken stump, a portrait of its former glory turned into misery. And yet the stump was left intact.

Looking at the cameras, Vania walked towards the outer concentric circles as the LED floor before her turned to softly manicured dirt and gravel. Walking clockwise to the camera, the audience behind her became part of the performance, joining in with camera or phone lights and belting out the song—or humming, or whistling, or mouthing the words in faux-Spanish—alongside her. A quick glance of the cameras showed some audience members—mostly Achaeans—trying to wave and grab the attention for a few fleeting seconds until they could break away. At the same time, Vania looked beautiful, ethereal, almost delicate and contemplative, the complete opposite of her bubbly personality.

Y entonces fue cortada todas sus ramas
And all of its branches were cut off

Quitaran todo su follaje y su fruto más
They took its foilage and its fruit even more

Las bestias se murieron, no han de quedar
The beasts died, none have been left

Quien habitará en sus raíces sin poder obrar
Who will live in its roots without working?

Once the chorus began, the eagle’s eye view cameras began showing Vania walking towards around the large circle, barefoot, the greenery she stepped behind her turning to mushy dirt and the one in front of her growing more abundant and fragrant on the screens. It was an interesting contradiction to observe, for the roots behind her were also diminishing its strength. Her pace was somewhat agitated as she needed to walk towards some part of the circle for the performance to make any kind of logistical sense—at the very least, she needed to walk half of it, if only to provide the optional contrast symbolic to the performance.

Her tone was swift and heavy, though hopeful yet remorseful. She needed to be contemplative, contrite, but also exhibit the contradictions inherent in human beings. The chorus invited the people to reflect on the fragility of humankind, the pride and arrogance that oftentimes envelops us, the attitudes and choices that lead us to improve or, in the worst cases, recede to our impulses. There is still a chance to shake our indifference off our broken knees and look towarda the future—but we needed to admit we were wrong first.

Queríamos ser tan felices
We wanted to be so happy

Aparentemente horribles
Apparently we were horrible

Pero fuimos frágiles
But we were so fragile

Vanos y tran frágiles
So vain and so fragile

Corazones invisibles
Invisible hearts

Y los tiempos se repiten
And the times keep repeating

Pero fuimos frágiles
But we were so fragile

Vanos y tran frágiles
So vain and so fragile

Walking towards the front-facing cameras surrounding her on the circle, she stopped and sang. Behind her, the waving cellphone lights captured the moment, swaying to and fro with the beat of the music. Perhaps they were reflecting towards their own limits. Perhaps they were considering their projections. Something must have done for quite a moment that, if only an instant, the arena went quiet. Those were brief moments to savor in a normally rambunctious crowd like the one in Oreo City—not because they hated the song; if not, they would have booed her long ago. Even the Achaeans, normally the loudest ones, kept quiet.

The LED below Vania turned to heavy metals, iron and bronze. The projections made it look as if she were stuck on the floor, trying to get out but failing to for quite some time. She tried to reach out to the air in vain to see if that could help her get unstick, but nothing happened—all her pleas were in vain. One of the cameras above her followed the crown of her head, slowly distancing itself from the now-wooden stage she circled and sang. She was rueful, hopeless, melancholic—everything you wouldn’t expect coming from a full-of-life Achaean. But she kept her composure. Or at least she tried to for the cameras.

La encina y el roble, el tronco quedaba
The ilex and the oak, its stump was left over

Que para madera su raíz cortada
That for wood its roots were cut off

¿Quién las usa?
Who uses them?

¿Cómo vamos a vivir?
How will we live now?

Hierro y bronce atados a mis pies salían
Iron and bronze tied to my feet came out

Hasta que el rocío nos vuelva a la vida
Until the dew returns us to life

Para honrar a los hombres
To honor all men

Con tantas heridas
With so many wounds

Once again, Vania walked towards the outer concentric circles as the LED floor before her turned to softly manicured dirt and gravel. Walking clockwise to the camera, the audience behind her became part of the performance, joining in with camera or phone lights and belting out the song—or humming, or whistling, or mouthing the words in faux-Spanish—alongside her. A quick glance of the cameras showed some audience members—mostly Achaeans—trying to wave and grab the attention for a few fleeting seconds until they could break away. At the same time, Vania looked beautiful, ethereal, almost delicate and contemplative, the complete opposite of her bubbly personality.

Y entonces fue cortada todas sus ramas
And all of its branches were cut off

Quitaran todo su follaje y su fruto más
They took its foilage and its fruit even more

Las bestias se murieron, no han de quedar
The beasts died, none have been left

Quien habitará en sus raíces sin poder obrar
Who will live in its roots without working?

The cameras surrounding her captured the grandiosity of the moment: The waving crowds, the lit-up phones, the emotive crowd, the singer’s own reflections. As she kept walking around, she glanced every once in a while, to the LED water puddles formed beneath her feet. Each puddle shown below the roots of the tree reflected an emotion back: anger, envy, fear, frustration, misery. The pains of the world were reflected in each puddle as it flooded every branch of the now-broken stump that transformed the stage’s concentric circles. The once-green tree, reflected on the fading green lights atop of the stage, were now turning brown and gray and pale and broken. The roots, once sturdy and strong, were wilting and losing its fortitude. It was breaking the human countenance, its resilience.

Queríamos ser tan felices
We wanted to be so happy

Aparentemente horribles
Apparently we were horrible

Pero fuimos frágiles
But we were so fragile

Vanos y tran frágiles
So vain and so fragile

Corazones invisibles
Invisible hearts

Y los tiempos se repiten
And the times keep repeating

Pero fuimos frágiles
But we were so fragile

Vanos y tran frágiles
So vain and so fragile

Vanos y tran frágiles
So vain and so fragile

But there was something in her performance that was starting to bubble up in the lights, in the screens, and in the hearts of the people around Vania: hope. This has been a tough year for everybody in the planet. The world was forced into a standstill, finally being confronted over its own mistakes. The lights around the stage turned into dark greens and light greens, reds and oranges and browns—the colors of a fall and an impending winter. The stage below her feet had its puddles dried up, its branches wilting away, the “ground” turning brown and the sky becoming grey and filled with hail (not snow, this is Achaea after all).

There was a brief, augmented-reality imagery of animals frolicking around the base of the stage-cum-metaphorical tree. Snakes, horses, coquíes, pigs, and parrots (the Achaean Republic’s colorful national animal). Where they were once frolicking peacefully below the tree they rested, they were leaving through the front tree. Even Vania as she performed across the stage couldn’t touch them, even if she tried. It was a sad picture to see so many animals run away, but that was the nature of things—however, there was still a chance to get them back on the tree. And acknowledgment was the first step.

In a few seconds’ notice, Vania walked backwards toward the central concentric circle where she began her performance. The front camera followed and circled around her before she knelt on the now-darkened LED floor and sang. The camera lights behind her were shutting down and cellphones put down, with only a few stray lights remaining. She turned her head and the camera slowly drifted away until the audience at home could only see the full stage, turned into a stump brimming with a little bit of life.

Majestad irreprensible
Blameless majesty

Pero así tan infelices
And we were so unahppy

Vanos y tran frágiles
So vain and so fragile

After the song ends, Vania quickly got up the floor and started waving and blowing air kisses to the crowd. "Thank you! Gracias! Thank you so much!," she said. The wide pan cameras noted how she was alone on the stage, now empty and silent, with all the lights shining above it. It felt like a furnace for Vania, more so with the caked-on makeup she had to build through her face to make it look flawless. But once she quickly left the stage before the next act, she knew it was all worth it.

by **South Alezia** » Wed Nov 11, 2020 7:27 pm

25 | South Alezia
Juicy Orange - TRIO ORANGE

Tune: Mermaid Sisters - F***ING BULLS*** SONG
(Tune contains many bad words. SO MANY bad words, the entire song is filled with swears. Viewers discretion advised.)

(The stage was pitch black. Suddenly, an announcer (probably one of the oranges) shouts to the audience)
.....LADIES AND GENTLEMEN, WE PRESENT TO YOU.....
The juicy, the beauty, the harmony!

TRIO ORANGES!

(There's just nothing. Nothing. Three oranges, lying on the stage floor. What a waste of money XD)

Daradada daradada....

Juicy orange,
Tasty orange,
Pulpy orange,
We're not associated with that brand

Juicy orange,
Tasty orange,
Pulpy orange,
No one drinks us
What the hell.

Doo-roo-doo-roo-doo

For god's sakes please don't let us rot just drink us please (drink us please)
Or you can just eat us don't forget to peel us first (oh peel us first)

Just don't let us rot oh just please
Please don't, please (please don't)

We don't want to end up like those; Cra-yons

Daradada daradada....

Juicy orange,
Tasty orange,
Pulpy orange,
We're not associated with that brand

Juicy orange,
Tasty orange,
Pulpy orange,
No one drinks us
What the hell.

Daradada daradada....

For god's sakes please don't let us rot just drink us please (drink us please)
Or you can just eat us don't forget to peel us first (oh peel us first)

Just don't let us rot oh just please
Please don't, please don't please (please don't)

We don't want to end up like those; Cra-yons

For god's sakes please don't let us rot just drink us please (drink us please)
Or you can just eat us don't forget to peel us first (oh peel us first)

Just don't let us rot oh just please
Please don't, please (oh just please don't)

We don't want to end up like those, Cra-yons
We don't want to end up like those, Cra-yons

Daradada daradada....

Please just drink us, please just eat us, turn us to candy, oh yeah

Doot-doot-doot-doot

(Suddenly, a random guy just put a blender next to them which signals them to sung the last word to sing)

F**K

(A catchy tune met with much better reception than previous South Alezian tunes. The random guy bows while the orange follows the guy backstage)

by **Antahbrantahstan** » Wed Nov 11, 2020 7:34 pm

26. ANTAHBRANTAHSTAN | إانتهبرنتهستن

Tike Prihastiwi - Phenomenon
Tune: IZA - Esse Brilho É Meu
m & l: Daniel Acevedo, Morris de Oliveira, Thainara Fernandes, Tike Prihastiwi

The stage goes dark, awash with white lights and dim blacks after South Alezia's strange, vitamin C packed performance ended. The stage then lights up in a soft pink color, with Tike nowhere to be seen, instead, the audience, both in the arena and through the television, watches a plethora of dancers, wearing hot pink outfits, standing in the satellite stage, emotionless like a statue, however, as Tike starts singing, the dancers moves away as if opening a gate to reveal the central act, revealing Tike, singing in the center stage above a life-sized martini glass, with water and fruit props inside them, with the top part covered, seemingly inviting the audience into the fun, night-time experience that she will show for the next three-and-a-half minutes. Tike hides her nervousness behind a bubbly and charming, yet strong on-stage persona, dancing around above the martini glass, with the dancers on the satellite stage imitating her movements with much sass, drag-queen like fierceness.

Tike then sits down above the martini glass, letting the chandelier LED screens and spotlights, which is now showing a bright image of a pink feathery surface, complemented with soft pink colours emanating from the spotlights envelop her like the true queen she is, however, Tike realizes that even though she wants to be fierce as much as she dreamed, there is still this feeling in her heart that confuses her, she has no idea how to deal with someone who's in love with her, and thus, with the camera shooting her and the dancers having fun, it seems like Tike still have some feeling of anxiety and nervousness that shows in her expressions and movements, with the dancers, seemingly unnoticing, continues to imitate her hip shake and is trying to have fun on their own.

Ai-ai-ai-ai-ai
Ai-ai-ai-ai, ai-ai, ai-ai
Yeah, it's a phenomenon
Months of endless summer that i just keep counting on
I never thought that we'll make a good connection
But i'm too scared to call it what it is
Lo-o-ove

Yeah, it's a phenomenon
Months of endless summer that i just keep counting on
I never thought that we'll make a good connection
But i'm too scared to call it what it is
Lo-o-ove

Afterwards, the stage then dimmed, and now we are seeing Tike, lying down above the covered martini glass, surrounded with pink cherry blossom petals, she seems to tell the story about how she met her lover, the dreamy landscape on the stage complements her story, as if signifying that love is not all about sunshine and rainbows, however, she deep down realizes that love might not be a mystical affair as she originally thought, so, she decides to stand up and sit on the glass, contemplating if her feelings toward her lover is real or just happened on a whim, as if the cameraman understood her problems, the camera captures the action with much precise and angle, interpolated with a panoramic shot of the gigantic stage which is awash in pink colours, and shots from the audience.

Semua berawal dari kata "halo"
Dilanjutkan dengan rasa malu-malu
Tentu saja tidak mulus, ada pertengkaran di antara kita
Pelukan bagai pohon dan benalu
Mencari sinyal untuk berbagi galau
Perlu waktu yang lama, perlakuan ramah, dan sedikit dusta
Everything started from a single "hello"
Followed by some degree of shyness between us
Of course, it is not always smooth, there are some fights happening between us
Hugging together like trees and parasite plants
Searching for signals just to share our sadness together
It takes a very long time, a sense of politeness, and little bit of lies

Suddenly, a projection of a small, beating heart shape appears on Tike's chest, with Tike seemingly acknowledging its existence, slowly, she then stands up, with the bright, pastel pink scenery around her now replaced with dim, fiery, pink-tinted fires, Selina's expression then brightens, seemingly realizing that love is actually not as bad and strange as what people talked about, and she then embraces the feeling of immense love by slowly dancing as she then sings the final part of the prechorus.

Tidak kusangka-sangka
Hari, bulan, terlewatkan
Tak dapat dihitung
Oh, fenomenal!
Oh, i can't believe it
Days and month just passed by
It's uncountable
Oh, phenomenal!

The pink fires that the audience saw is suddenly gone, replaced with the same feathery pastel scenery that was introduced in the beginning, Tike, now embracing the sunshine-and-rainbows nature of love, sings and dances her heart out in rhythm with the song, complemented by the dancers who are doing intricate steps in the satellite stage, and during the "lo-o-ove" part, she then shook her hips without much difficulty, signifying that she has gained the confidence about being in love, with the dancers happily imitating and dancing her, as if celebrating their queen's return to her rightful throne.

Yeah, it's a phenomenon
Months of endless summer that i just keep counting on
I never thought that we'll make a good connection
But i'm too scared to call it what it is
Lo-o-ove

Yeah, it's a phenomenon
Months of endless summer that i just keep counting on
I never thought that we'll make a good connection
But i'm too scared to call it what it is
Lo-o-ove

Without introduction, three backup dancers, all women, wearing either pink or mauve croptops and trousers, then appeared on the center stage, standing atop the giant martini glass, as Tike continues to sing her heart out to the elation of the audience, the dancers complemented Tike's singing by dancing to the rhythm of the music, albeit with a more casual choreography, without much intricacies that the backup dancers inn the satellite stage have shown. Tike also notices the dancers surrounding her and sometimes imitates their movements, much to the dancer's joy. However, during the pre-chorus, the lights dimmed, purposefully obstructing the backup dancers from view and putting the entire spotlight on Tike, who is singing the prechorus with much glee.

Semua berawal dari kata "halo"
Dilanjutkan dengan rasa malu-malu
Tentu saja tidak mulus, ada pertengkaran di antara kita
Pelukan bagai pohon dan benalu
Mencari sinyal untuk berbagi galau
Perlu waktu yang lama, perlakuan ramah, dan sedikit dusta
Everything started from a single "hello"
Followed by some degree of shyness between us
Of course, it is not always smooth, there are some fights happening between us
Hugging together like trees and parasite plants
Searching for signals just to share our sadness together
It takes a very long time, a sense of politeness, and little bit of lies

Tidak kusangka-sangka
Hari, bulan, terlewatkan
Tak dapat dihitung
Oh, fenomenal!
Oh, i can't believe it
Days and month just passed by
It's uncountable
Oh, phenomenal!

Suddenly, the chandelier lights atop the stage now goes down, enveloping the stage like a semi-transparent dome constructed of LED and lights, which is now showing pink, abstract painting in the making, The stage are now also shown in a zoom-out angle, focusing on the panorama of the gigantic dome and the circular stage, with some shots of Selina and her dancers interpolating in between.

Yeah, it's a phenomenon
Months of endless summer that i just keep counting on
I never thought that we'll make a good connection
But i'm too scared to call it what it is
Lo-o-ove

Yeah, it's a phenomenon
Months of endless summer that i just keep counting on
I never thought that we'll make a good connection
But i'm too scared to call it what it is
Lo-o-ove

Suddenly, an attractive man (use this guy as an approximation) appears on the center stage, standing above the giant martini glass, wearing a white shirt and trousers, trying to seduce Tike, however, Tike seems to be unfazed, yet the backup dancers seem to swoon over him (acting like that, of course), as the man seemingly caresses Tike's cheek, she stares in disgust over him, yet, she then smirks, having made a plan in her head to do something to him, while all of this is happening, the camera now shoots the entire debacle, keeping a close eye on Tike and the dancers, acting as if it was a Big Brother-style drama, albeit with less scripted affairs and temper tantrums.

Love is very surreal, yet, everybody want some taste
Only to show off, faking, doing it with haste
Don't come to me if it fails sooner or later, soon, later, soon, later (Before you get your own lesson)
Take your time to play, just do your own thing baby
Having colours in your life, don't need boyfriend or girlfriend
You and your angels, walking the path, make a phenomenon, yeah

Tike then seemingly instructs the man to do a dance off with him, with the backup dancers as a judge, as Selina moves her hips in rhythm of the song, accompanied with the backup dancers cheering on her, the man does not want to admit his defeat, he then takes off his shirt (much to the swoon of girls, gays, and grandmas across the venue and throughout the multiverse), and tries to imitate her movement, failing miserably, before inviting Tike to a Spanish-style dance with him, dancing with her romantically and seductively, with the camera keeping a close eye, however, as the song slowly builds up upon the electronica beat, the lights and the LED chandeliers begin to go haywire, showcasing a dizzying ray of blinding white lights and pink lights, before the chandelier moves up, floating in the air like a kinetic sculpture.

Tike and the man is on a verge of a kiss, however, to the audience's surprise, she then throws the man off into the edge of the martini glass, with the covering, now acting as a trapdoor, now entraps the man in the water inside the Martini glass, with Tike and the backup dancers laughing, singing, and dancing around with much glee, ignoring the poor man who is now all soaking wet because he fell towards Tike's love trap. Slowly, yet surely, as the song begins to end, the lights begin to dim, now showing a vivid, hot pink shade that engulfs Tike, while obscuring the glass and the dancers off the view, and she sings the last "ai-ai" vocalizations, the stage darkens.

Yeah, it's a phenomenon
Months of endless summer that i just keep counting on
I never thought that we'll make a good connection
But i'm too scared to call it what it is
Lo-o-ove

Yeah, it's a phenomenon
Months of endless summer that i just keep counting on
I never thought that we'll make a good connection
But i'm too scared to call it what it is
Lo-o-ove
Ai-ai, ai-ai, ai-ai, ai-ai
Ai-ai, ai-ai, ai-ai
Ai-ai, ai-ai, ai-ai, ai-ai
Ai-ai, ai-ai, ai-ai, ai-ai

The audience then erupted in a thunderous applause, with Selina and the dancers helping the poor man out of the martini glass before saying "Thank You! Terima Kasih Antahbrantahstan!" Before slowly walking their way backstage, in order to prepare for the next performance from Tödlichebujoku.

by **Silvedania** » Thu Nov 12, 2020 5:44 am

Elejamie wrote:
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ETV1 presents WorldVision 86 - English language commentary by Cerin Erali and Flynn Taggart

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CE: Welcome to WorldVision 86! Bienvenido a WorldVision 86! Yalcom WorldVision 86! Live from Oreo City. I'm Cerin Erali...
FT: ... And I'm Flynn Taggart.
CE: And we're another commentary reservation post. Elejamie may be swamped with a ton of work, like this and both the Rugby World Cup and the World Cup of Hockey, but I'm sure he'll be able to pull through and get this done too!
FT: If not then he can probably do his commentary after the contest's over.
CE: He really needs to stop doing so many reservation posts, though.
FT: Agreed. The lazy cu-*broadcast immediately cuts out*

Another reporter appears. "And we're back today with more coverage of WorldVision 86. Yesterday we had stunning performances from Idresh Noam-Khaled and Evangeline Venrahma. Two days ago, a flawless first act performed by KRESNADEWI, Selina Lawson & Mahakarya Orchestra. That was followed by a highly criticized performance by Dixie Normous. Today we are expecting the musicians from South Alezia to play, as well as the native Antahbrantahstanian delegate musician to perform. I'm Jaren Houlin for IBTVNC, we'll be right back!"

by **Todlichebujoku** » Fri Nov 13, 2020 4:43 pm

27. _Tödlichebujoku_

COWARD

Miilimasis Toivonen
Tune: Ruben - "Power"

Opoyárvi, Keski-Tasangot, Tödlichebujoku - One year ago

Fish darted back and forth in the flashing waters around the pier. Miilimasis gazed into the depths, leaning on the weathered wood railing. A warm waft of mud smell drifted over from the shore, lingering for just a few seconds, before the lake breeze cleared the air once more. It was a fair bit warmer than usual today- he probably shouldn't have come out in the middle of the day but, well, he took what he could get. The peace and the quiet... it was what he needed. And it was too long since he last found tranquility.

A vibration broke his reverie as his crystal came to life. Ugh, it was Taivo again. Miilimasis knew the type- back when he was working as an assistant thaumaturge, one of his co-workers was constantly on his ass about every single miniscule misstep. 1 minute late? A lecture. Took too long to run safety checks? A lecture. Took an extra bathroom break? A lecture from outside the toilet stall. The man managed to avoid breaking any rules while doing this, so when Miilimasis brought the matter up to his superior, he was met with a shrug. But what annoyed him the most was when that man would make his own mistakes of similar magnitude and brush them off as nothing major. It was a nasty time, and Miilimasis was glad to have moved on from that. However, even now in the entertainment industry, he found it difficult to escape such people. His producer Taivo was one such person, and Miilimasis knew that he couldn't continue on like this, sneaking off to the lake during the rare times he could escape from his work, and weathering Taivo's insufferable storms whenever the most minor of things went wrong. Sure, there were some good times, a laugh shared at the dinner table, a joke or two shared between them, and sometimes Miilimasis really felt things had settled down and there was no need to leave, especially as Taivo was a decently good producer who did solid work. But in his gut he knew that he could do better. His fellow artist friends didn't seem to have the same issues with their own producers, and their surprise and concern whenever he spoke of Taivo told him that this was not a normal relationship.

He sighed. Taivo could wait. The contract was going to be over soon, and for now, the weary singer could stand to rest among the waves and dragonflies for another hour yet. The sky was still clear thanks to the heat wave, and the hot sun shining down on Miilimasis's skin was a welcome change from the weeks spent in studios and various transportation cabins. A flutter on his forearm attracted his attention. A late mayfly rested on his arm, gleaming in the light, and ceased to make further movement. Before too long, a daring dragonfly dove in front of the contemplative man, and snatched the mayfly away, but fumbled and dropped it onto the water's surface, where a sharp-eyed fish quickly gulped it down and swam away.

Sterblichengokai, Tödlichebujoku - Recently

The past few editions of WorldVision were a bit rocky for TÖBUK. While Cauniścasis Mieras provided the best result of the last 3 editions, the placings down in the teens were not to the broadcaster's liking, and the director of the WorldVision board opted to push harder to find a stronger entry, someone with a style that would have the maximum appeal among the international audience. 86 was determined as an auspicious number by the in-house farseers, and so the board mad an especially dedicated effort to find a fresh breath of air, something that would punch beyond the past few acts, and of course make preparations to stage such an act. There was a lot on TÖBUK's table, especially after Estegoa100's unexpected win in the World Hit Festival, and the steps being made to launch the second edition of their Starfall national final collaboration. Amidst the hustle and bustle of the myriad plans and contacts, one artist managed to rise with his powerful style and song that felt like exactly what the board had been searching for. While Miilimasis himself may not have known exactly what the TÖBUK board was looking for, it seems that the fates had aligned for him, but will he really live up to the hopes that he rides upon?

- - -

A number of dim blue spotlights surround Miilimasis, shining down on the stage floor around him. The man himself is not yet lit, until he begins to sing. A soft spotlight lights him from behind, relative to the camera, backlighting the folds of his loose gray tunic, as the dim blue spotlights flicker red on occasion, and deep darkness throughout the arena beyond the stage. The camera view stays mainly distant, capturing the whole of the dimly lit stage amidst a sea of darkness

I've got a moment of anger
You speak your piece as a liar
Some fall for it, hook, line, and sinker, yeah

The soft lighting shifts forward to illuminate his face, revealing a weary man with tired eyes, and the colored spotlights fade into a soft white glow. It's clearer now that he is standing on a raised platform composed of concentric rings, but otherwise the staging is simple, only the faintest of breezes to toss a stray hair or fold of cloth. His breath seems a bit ragged, but his voice is steady and strong

My heart grows weary and tired
So hard to climb out this mire
What use is there to deny your, lies

There is a pause for a brief moment as he hangs his head, eyes closed. The lighting ramps up into a stronger intensity, clearly illuminating Miilimasis as he straightens his posture and looks daringly into the camera above him, conviction entwined with desperation in his voice as he rides into the chorus

Call me a coward if you please
Torn between the pulls of honor and of ease
Go make a coward out of me
Can't find strength to fight the madness you believe

The spotlights form a cylinder of red light around him, three of them blinking out in a rapid rotation around him. The platform begins to glow with gleams of red and orange, each of its rings gleaming in the opposite direction of its neighbors. The center of the platform with Miilimasis is also slowly turning, the camera orbiting along with him from above.

A coward
Coward
Coward
A fight I need to leave

A coward
Coward
Coward
Escape your gravity

The staging returns to how it was previously- still and calm, with soft lighting. The outermost ring of the platform rises up to form a barrier around the platform, an animation of a silvery fluid along its outside, as Miilimasis sits down cross-legged, gazing wistfully into the distance, eyes unfocused, the camera coasting over the barrier and coming in close to him for an intimate shot. After the first stanza, he turns his attention downward, and traces glowing patterns on the platform surface as the camera view shifts to a top-down perspective

I pray for strength in a potion
I beg for rest from emotion
Lay me down for a moment, yeah

I'm over dealing with madness
Don't need to bend to your malice
I won't be facing the masses, no

The outer barrier sinks back down to become level with the rest of the platform, as Miilimasis rises to his feet, once more illuminated by a number of spotlights. A column of white spotlights surrounds him, twisting in one direction and then to the opposite, with the beat. These lights are joined by an outer ring of vertical spotlights that shine down on a ring of violinists seated around the platform, facing the audience. The camera swoops in after orbiting the scene, passing past a violinist, through the twisting lights, and having a close-in of Miilimasis as he pours strength into his voice, turning ever so slightly to acknowledge the camera next to him

Call me a coward if you please
Torn between the pulls of honor and of ease
Go make a coward out of me
Can't find strength to fight the madness you believe

The center circle of the platform rises a bit as the twisting cylinder of light swings outward over the audience, and continues to do so. Multiple spotlights combine and flash upon the violinists at each instrumental bit, as mist begins to seep in from the edges of the stage, and figures wrapped head to toe in black begin writhe and slowly creep in toward the center. Miilimasis pays them no mind, never once looking to them, and instead focuses on the audience and the camera view whenever it passes near him

A coward
Coward
Coward
A fight I need to leave

A coward
Coward
Coward
Escape your gravity

Suddenly, the lighting converges on Miilimasis and dims, with darkness surrounding. Mist laps up against the edge of the raised section of the platform, where he falls to his hands and knees, his head down, and eyes closed at first, the camera coming in close for this moment of frailty and intimacy. With the second stanza, he opens his eyes and raises his head, then begins to rise back up, with a building sense of determination

Suffocated
By your hatred
So hard not to, fall in deep

So I'm turning
Not gonna give in
Deny the fury, that you seek

The lights on Miilimasis flash back on to full intensity and sweep outwards from center stage, as the rest of his platform begins to rise from the mist, into a dome shape, the sides of which are lit up in animation of red-hot cracks amongst a dark surface. Once again, the center-most circle with Miilimasis is slowly rotating as he belts out the final chorus. The dancers in all black are now near the base of the platform/dome, but are being thrown back by the light, and convulse away from it, as if being burned by radiant heat from the glowing cracks

A coward
Torn between the pulls of honor and of ease
Go make a coward out of me
Light me up and shout for all the world to see

A coward
Coward
Coward
There's nothing left for me

A coward
Coward
Coward
Too long on my knees

As the song ends, the platform dome's red cracks wash out into a brilliant white, as the spotlights blitz about the stage, focusing on the violinists, before finally centering on Miilimasis, and leaving a single spotlight upon him as he freezes, reaching out as if climbing out of an abyss. The light then slowly fades into darkness

"Kiitos, Oreo City, thank you," he breathes into the microphone as the lights come back on. His blood pulsed hot after the performance, and it was hard to believe that it was over and finished. He dropped a quick nod, before stepping away from the spotlights and retreating backstage, where he could finally relax a bit, and calm his nerves in relative privacy with his friends. He was glad to have made it this far.

by **Amuaplye** » Fri Nov 13, 2020 11:15 pm

28. AMUAPLYE

BLEEDING HEART - CABARET

LYRICS: N. Dawson, vocalist, N. Morales, manager

INSTRUMENTAL: J. Fischer, guitarist & backup vocals, K. Edwards, drummer, F. Jacobsen, bassist (Extra musicians include G. Jackson, saxophonist & trumpeter, and C. Randolph, keyboardist & pianist)

TUNE: I DON'T KNOW HOW BUT THEY FOUND ME - Lights Go Down

Bleeding Heart is an Amuaplyean indie band, currently signed to Liberty Records. The band was founded in 2015, playing a few gigs & mostly practicing in the main singer's mom's garage.

After the amicable breakup of the political rock band Love and War (everyone just wanted to do their own thing, especially Morales, the lead singer, who wanted to pursue a solo career), lead singer Nicholas Morales decided to take a few months off from touring to form his own record label, Liberty Records, and "roam around Amuaplye trying to find the best of all bands". Once he reached Adelaide, he seemed to have found what he was looking for, in the band Bleeding Heart.

After a few negotiations, a few papers that needed to be signed, and a lot of time and patience, Morales was able to take them under their wing, promising full unbridled creativity, as long as he was able to edit a song lyric or two on a B-side.

And now, through the massive amount of power Morales had in the music industry, he was able to get ATV to give this band playing out of their parents' garages a one-way ticket to international stardom. The problem is, how will everyone else receive them?

For the first few seconds, the keyboardist is the only person seemingly on stage. The lights on the stage light up with a different pastel color with each note, going from pink to cyan to yellow and so on and so forth. On the video screen, a bunch of different shapes start flying into view. The other musicians walk up onto the stage. When the lights shine on them, it's revealed that they are all wearing the exact same suit and tie.

Once the drummer begins playing at the 8 second mark, the lights switch from displaying pastel colors to just a plain white. The singer then begins to slowly walk up to the microphone while the other members scramble to their instruments and begin to play. Once he grabs the mic, he begins to sing.

Good day
You've tacked yourself onto my wall of shame
But not every person
Is evil as you are
But I guess that's your aim

At the 3rd line, immediately after he said evil, the lights suddenly tinted red, before tinting back to white. On the screen behind them, the white background is replaced by a red that quickly trickles down, almost like blood.

Oh my
Looks like you got found out
Burn all of your bridges
Destroy your relations
And watch

Dawson pauses, staring at the audience, a scowl on his face. Of course, this was all for show. He was having the time of his life! He was on stage, in front of millions of people, when 2 weeks ago, he was simply distributing CDs out of his mom's garage. But, the song was angry, so he had to look angry.

The cabaret fade out
The cabaret fade out
The cabaret fade out
The cabaret fade out
The cabaret fade out

After that first line, the other members (at least, the ones whose hands weren't busy at the time) began to clap their hands to the beat, a second microphone being turned on in order to make the drums sound louder. The lights flash to the beats, shutting off and then turning off. Incredibly simple.

You say
That you were honest and that I lie?
Their minds corrupted
Went uninterrupted
Time to put the brakes on this one

The lyrics begin to flash on screen, yellow text on a black background. The lights alternated from black to yellow. Other than that, very little actually happened, or will happen for that matter.

But yet
Once the cabaret fades
You're left all alone
There's nowhere to atone
And you'll be thrown away
Like ev'ryone when the cabaret fades

When the cabaret fades
When the cabaret fades

There's nowhere to hide
You'll face all your actions

Jackson marches across the stage, playing his saxophone. The lights & screen turn a bright gold. Jackson makes several laps around the stage, before going back to his original position.

"Oh God!"
You will cry out
I laugh
Let it all out
Your sins shall come to mind and will haunt again
So halt

Dawson grabs his microphone and walks backwards over to Fischer, as the both sing the entire verse. Dawson sings first, Fischer "echoing" what he says.

As the cabaret fades
As the cabaret fades
As the cabaret fades
As the cabaret fades
As the cabaret fades

The band begins to do what they did earlier, and clap to the beat. The lights turn off and on to the beat as well, going from black to white to black again, ending on white. Fischer and Dawson stay where they are, and don't clap along.

"Oh God!", you will cry out (As the cabaret fades)
I laugh, let it all out (As the cabaret fades)
Your sins shall come to mind and will haunt again
And halt
As the cabaret fades!

Dawson sings the verse, while Fischer sings the parts in parentheses, before singing the next 2 lines, ending with Dawson singing the final line. Everyone on stage freezes where they were, save for Randolph, who plays the synth solo at the very end as the lights fade.

"This is Amuaplye! Love you all!" Dawson cried out, before walking off of the stage.

by **Silvedania** » Sat Nov 14, 2020 5:29 am

"And that was Bleeding Heart, by Cabaret from Amuaplye. It is the 4th day of the WorldVision, here in Oreo City."

by **Llalta** » Sat Nov 14, 2020 6:44 am

桜流し - 宇多田ヒカル

~☆~ BACKGROUND ~☆~

After a 2 edition break, the tiny island nation finally decided to participate in the world renowned contest of WorldVision. Due to the miniscule budget of the LBN (Llaltese Broadcasting Network) Llaltese participation in both WorldVision and the World hit Festival had been mostly inconsistent. However, with one win under their belt (WorldVision 82 in Tiferet, Ertzei Kishim - Esther Winterbourne's "Fate") and 2 other top 5 finishes in WorldVision 65 and 69 in 9 participations, the country has gained quite the reputation. Furthermore, a mostly successful hosting in WorldVision 83 and many iconic entries have further cemented Llalta's place in WorldVision history books. Yet, inconsistent participations has always been a problem for not only Llalta, who often has little in the way of momentum in entries but also for the many fans worldwide, who only often get to see the nation participate once in a blue moon. Even with a population of less than 4,000, Llalta has managed to make it's mark on the world, being the smallest nation (population wise) to both win and host, all through the power of community and the LBN, Llalta's only broadcasting network. With an average placing of 10th, it's no wonder that such a small nation has garnered such attention. Even so, results aren't always important; rather, having fun! Whether participating or not, WorldVision is a very important night in St. Christopher, Llalta's capital, where large parties are held to witness the world sing and come together. Ranging from small family gatherings to car cinema style watchings with hundreds of people, Llalta cares much for the contest, dancing the night away to even the lamest of entries. No wonder that every edition Llalta does not participate in, there is always a petition to enter anyway! As said in a statement from LBN chair, Erik McGarrisson: "Well... It's about spreading the joy of song, is it not?! Oh, and to allow us to spread Llaltese cultures and talents as well as appreciate the cultures and talents of those across the multiverse... in the end it's just a bit of fun!"

However, since the hosting of the contest in WorldVision 83, funds have largely dried out, causing Llalta's short break. WorldVision 83 was largely a success, and even with Yva's "the dreaming" finishing outside of the top 10, it was still regarded as one of the best hostings Llalta has produced. And after a 4th in the World Hit Festival 53, held in Britonisea, the most recent participations had been, for the most part, one of Llalta's highlights in recent years. Yet, success came at a cost. Monetarily fatigued, the LBN ended up having a couple months break from it all. After a couple months of WorldVision silence by the broadcaster, finally, in late October, the LBN confirmed participation at the soon to be newest WorldVision; WorldVision 86, held in Oreo City, Antahbrantahstan. On a tweet made by the LBN, "Llalta is to participate once again in #WorldVision86 !!! Details about the entry coming soon!" As a result, many Llaltese islanders grew excited at the prospect of participating in the contest that had brought so much joy once again, even to the point of holding a large party to celebrate the news. Despite this, there was discontent growing amongst the islanders as the deadline grew worryingly closer without an artist or song being revealed. Furthermore, there was only radio silence emanating from the LBN headquarters as no official statements were made to answer the questions that many Llaltese fans burned for. Was Llalta to eventually sit out yet another edition? After all, it had been a while since it had participated and long breaks were not uncommon for the cold island community. Especially, given the unpredictability and general endearing yet most of the time troubling disorganisation of the LBN. All was resolved in the end, as Llaltese music juggernaut, Himiko Arden, was revealed as the official artist for Llalta, released in tweet from only a week before the contest. Her song was to be "To Live". Despite this, the song was only actually released a day later. With it's release, it already topped the charts, beating out recent World Hit Festival entrant Rivera Lewis' "Ramene Moi", and has been praised by fans and music critics alike. Being a piano ballad, it has been cited as very much in the style of Llaltese entries before it, yet still managing to deviate and expand upon the ballad genre, focussing more on the pains of life than fantasy and hope like many Llaltese ballads before.

~☆~ THE ARTIST ~☆~

Himiko Arden, Llaltese - Japanese singer songwriter and Llaltese representative for the 86th WorldVision Song Contest, held in Oreo City, Antahbrantahstan.

Himiko Arden (born 23rd December, 1984) is a 35-year-old half Japanese, half Llaltese singer-songwriter, who, despite now residing in Telm City, will represent Llalta at the upcoming WorldVision 86 in Oreo City, Antahbrantahstan. Born in Tokyo, Himiko grew up with her Llaltese mum and Japanese father, and an older brother. Her father a rich business man, who owned many a company and a result often never saw Himiko as she grew. Instead, she was almost entirely raised by her mother, who was a housewife, with a secret passion for singing, and often sang with Himiko. As a result, Himiko often dreamed of becoming a singer, yet due to societal expectations and her father's words, she was to become a housewife much like her mother. Her brother was to be the heir of her dad's business, meaning she only truly grew close with her mum. At school, she was rather smart, and had enough friends to satisfy her much lonelier home life. When Himiko turned 12, her dad committed suicide, leaving Himiko to just her and her mother, her brother now moving out and inheriting the family business. As a result, Himiko and her mother left Japan for her mother's native Llalta, where she stayed until she was 18. With her broken English, she often struggled to communicate and grow bonds with the other Llaltese islanders, leaving her well and truly alone, with only her mum. She notes that this was the darkest part of her life. Often people see Llalta as liberating, where nature and people harmonise, and yet Himiko felt as if she couldn't escape. Trapped on an island with no one to talk to. Of course Llaltese islanders tried to help but it was hard for Himiko to communicate her feelings.

During this period, Himiko may have had depression, however it was undiagnosed as she never did seek help. Not until the very end. She spent her days in her bed, often crying but yet she never truly knew why. Her mum was the only reason she stayed alive. She lacked motivation and struggled to even do activities she enjoyed, such as singing. In the end, she really just couldn't be bothered. It only got worse as her mother was diagnosed with breast cancer, and Himiko's mental health spiralled. While her mum slowly withered away in hospital, Himiko started self harming and having suicidal thoughts, yet always smiled and sang for her mum. She dared not show her true pain, she wanted to be strong for her mum. The world was oblivious, and even herself, to the pain that was welling deep inside her. It only spiralled and spiralled. In the end, she cracked. Her mother died when Himiko was 16, and Himiko cried for three days straight afterwards, tearing her home apart in distress and anger. She wanted nothing more than to die and yet in the end collapsed from exhaustion. She fell into a deep sleep for a week. She would later wake up in hospital, where a couple worried islanders met her face, bursting into tears as her eyes fluttered open. Himiko never truly felt better however. It was only until a girl from school arrived at her bed with a music box and some paper. The girl didn't say much but told her to, "sing out her feelings", leaving after an awkward eye exchange and a flush of pink across her face of nervousness. In her bed, Himiko didn't know what to think, but began to sing anyway. It had been a while but, she still sang. And yet nothing happened. She felt no better. But a glimmer of hope shone in her heart.

After being admitted from hospital she joined school again, hoping to improve her English in order to communicate her feelings better, and joined the music club. It wasn't much but it was enough. At 17, almost two years after, she felt as if she had begun to heal at last. The sores began to close. The scars began to fade. It might be ok. A quote flickered alive from the dead of her memory. Her mum's final words. "Don't worry my dear; it'll be ok in the end." Words she holds close to her heart even now. Later that year, she released her first song, "No Worries, No Cares" in late 2001. It was an electronic, RMB song which hit number 1 almost instantly in Llalta. As she grew older she began to release more, each single hitting number 1 in Llalta. It wasn't much, as it was only Llalta after all, but it was enough for Himiko. She often collaborated with now long time friend June Summerfields, who often helped Himiko get into the spirit and back into form. With each step of life, no matter how challenging, she would always keep her mother's words in mind.

Some may tell pity me for my painful life but, I believe that is the wrong way of seeing it all. I find as much beauty in my tears as in the happy memories of fireworks and such. It is not living if we are on a constant high. To live is to experience it all: happiness, sadness. We must endure even the greatest of fears if it means we are to experience life. After all, in the end, it will always be ok. In the end, we we all be ok.

Her debut album, "Smile" released in 2005, was a huge hit in Llalta and also managed to gain the attention, though little, from overseas. It remains a titled "underrated gem" to this day. Releasing 3 albums since, "Wish" (2008), "Arden" (2012) and most recently "Mesatropia" (2016) have each garnered international success in Himiko's genre of RMB and more recently pop in many places around the world. Each most often noted for haunting compositions with harsh, truthful yet beautiful lyrics that present life in all it's forms. Since "Mesatropia" and the birth of her first child Lynn, she has since taken a hiatus in order to focus on life and her child, and has moved to Britonisea in order to increase opportunities for her child, as well as go somewhere new. Himiko Arden is most well known for her RMB hits of the early 2000s - 2010s to more recently electronic songs that push the boundaries of art and music. She is known for her shy eccentricity also, being quiet yet coming out with ideas unheard of. Her influences includes the Evergreens, yva as well as many more abstract singers and artists. With 2 major awards at international music awards, she continues to inspire others to this day. However, she has broken this hiatus with the release of "To Live" and an upcoming album of the same name set to release 2022.

~☆~ THE ENTRY ~☆~

Both covers for Himiko Ardon's "To Live".

"To Live" is a sentimental yet painful reflection on Himiko Arden's life and the hopes for the future, and what to live for. At 4:41 minutes long, it is a piano driven ballad which also utilises the use of violins and drums in order to create a tragically stunning song which presents the tribulations of life. Yet, at the same time showing the audience the beauties that we should all strive and live for, and the beauty that lays within pain and tears. Life isn't life without pain and happiness. In the end, that's what creates a beautiful life. It also recounts many painful memories from Himiko's life, the most painful experiences of them all. And yet even after all, she knows it will be ok. Using a progressive song structure, the song, as sentimental, touching and fragile as it is eventually precipices in the final minute, where Himiko sings of hope alongside a volley of violins and the steady beat of the drum. It has been described by Himiko as being:

I suppose it serves as a celebration of my life, both good and bad, really. A poem of the beautiful burden of life that I have carried for my whole life. More than that perhaps, rather my reason to live. What it means to be alive. What it means to live.

~☆~ THE PERFORMANCE ~☆~

Himiko Arden in the performence.

The postcard for the 10th Llaltese entry finally drew to a close, the arena darkening as the crowd cheered for the tiny island nation. A single Llaltese flag could be made out in the bunting of flags, a vivid flurry of pride. However, the cheers of the crowd died down too, until silence deafened the large hall. For Himiko, time seemed to slow as the entry was to begin. She was nervous, alone on such a huge stage, and even in all her years of singing and experience her own self doubt and insecurities haunted her like demons before any performance. And yet, at the bottom of her heart she knew it would be ok. Everything would be ok. Acceptance of the inevitable may be the most challenging thing to do, but she was to perform her story to the world in only a couple moments. Her life. Even so, the silence seemed to penetrate her, sending her thoughts ablaze and anxieties a slew. And then, the soft piano began to play, the beginning of the song. And like that, all her panic and thoughts were washed away by an ocean of sound. Like a soft lap of the waves upon warm sands, washing away a sand castle much to a child's dismay. Her mind became silent at last. As the melody of the piano began to fill the arena, a single warm yet dim spotlight shone from the ceiling, softly illuminating the central stage. And upon the stage was Himiko Arden, enveloped in the soft, almost angelic light. In amidst the music, her eyes were closed, resting. She stood there, her body subtly flowing to the breeze of song, taking in each note of the piano. The spotlight cast many a shadow upon her face, though not concealing her; rather highlighting each muscle and movement of her still face. The peace that lay upon her face. From the audience's perspective, one might wonder what she was thinking, past the blank, reclusive look that guarded her true feelings. And yet, she wasn't thinking much at all. Merely embracing the ever delicate sound of the piano. Readying herself to sing her story. Even after all, it was to be ok.

In the dim spotlight, she wore a simple black dress with elbow length sleeves that flowed elegantly to just above her ankles. A squared neckline framed her face, a simple necklace with a glimmering jewel embroidering her neck. Her hair, black as night, was cut in bob and fringe, her make up simple and naturalistic. Finally, black pumps tied the simple outfit together, with the only notable decoration being a black bow at the back. As a whole, it looked rather like funeral attire, a mature, sad reflection on the truths of her life presented in her song. It matched the pitch black that painted the arena, in camera shots often 'fading away' into the void. The first couple of camera angles are slow and meticulous. For example, as the song begins, the camera zooms into the darkness, before the spotlight appears and illuminates Himiko, zooming slowly and steadily in. Other camera angles highlight the empty canvas of the arena, Himiko a mere star in the black of the night sky. Circling her from a distance, before cutting to shots from behind, each almost showcasing the true loneliness of life. Though we constantly try to run from loneliness, it will always be there. We are forever alone, but not as if being alone is always bad. During the opening instrumental, soft, echoed synths play, each one filling the arena, echoing, further showcasing the emptiness of the arena. Beautiful yet haunting noises that fade away like stars in the sky. With each note, the camera would take a wide shot of the arena, showcasing how alone Himiko is. And yet, she doesn't seem to notice the emptiness at all, standing, flowing with the music. The crowd blanketed in darkness it was as if there was only Himiko there at all. Finally, the screen fades to black as the music stops, just for a moment at least.

After the short instrumental, Himiko begins to sing, her soft and fragile voice fluttering like butterflies upon the breeze. At first, the camera merely zooms in on her like the beginning of the song. Eyes shut calmly, she holds the microphone stand with one of her hands, the other clutching the mic, sometimes leaving it's surface for a moment to gesture. In her voice lays a deep, rooted pain, subtle yet still hinting each note with the thorns of pain. The lighting stays the same throughout the first verse, the spotlight fixated on her on the central stage. As a result, the performance began as somewhat intimate yet so distant all at once. On the second line, the camera zoomed in on her free hand, which left the mic and began moving downwards. The camera then took a view from behind, her figure placed far off to the right in the corner, showing the size of the stage compared to her. However, the camera soon returned to more intimate, close up shots, each crease upon her face and shadow that danced captured in the cameras. Only a few flags that waved in the crowd could be seen, even then, with difficulty. As the verse continued, Himiko's pained lyrics filled the arena, her story being conveyed to the world. Normally, she would be unduly adamant in not telling her story. A closed book. Trapped in a shell. And yet, her story was being told like that, drifting from her lips upon the winds of song. Escaping her usually pursed lips as if it were nothing. Himiko was still slightly nervous as the song began, but she persevered anyway. As more and more weight would be lifted off her shoulders, by the end she might even forget that she were onstage singing. The stanza ended with the camera shot being a close up of her warm hazel eyes, almost shifting colours in the light. An eye that had experienced many things. An eye that had shattered, and yet still shimmered like a shard of amber in the sunlight. Her final words fading into the arena almost as soon as they were sung.

The second stanza of the verse began, the camera trailing from eyes, following the contours of her face, painted with shadows. It fell to her lips, singing each word close to the mic. As the next line was sung, Himiko softly clutches the side of her face, almost as if these memories were too painful to recall. Her hands were shaky, further highlighted as the camera took close ups of it, her skin pale against the black of the arena. A single ring could be seen upon her slim fingers, a thin silver band with a diamond in the centre, the sparkles flaring in the lens of the camera. The camera zooms out a little, taking a full body shot of Himiko from the front, who's glimmering eyes gaze thoughtfully into the camera, swaying a little as her voice loudens, matching the more painful lyrics. Even so, her voice remains as delicate as ever. Haunting and wispy yet warm. Even through the harsh truth and pain of the lyrics, she somehow still sounds mature and calm, almost reassuring in nature. Almost as if she it were a bedtime story, one to drive the fears away. But rather, to herself. As she continues the second stanza, despite the fear of the unknown, she smiles a little as if she had already accepted that she would never know. A nod of the head and grimaced smile were enough to indicate such acceptance. As her head shook subtly, a small shadow danced upon her face, obscuring her once glimmering eyes with the blanket of night. For once, she may be ok with not knowing. The camera circled her slowly from behind, the shot from far off so that Himiko faded into the background, and Himiko ended the stanza by glancing off into the distance, as if wondering, thinking, remembering.

The final two lines of the verse began and Himiko wrapped her free arm around her self, like the "arms of night" which she describes. Looking down, her face engulfed in shadows, her voice becomes a little shaky as she recalls the painful memory. However, the camera takes a shot from almost below, the spotlight that illuminates her flaring in the lens, obscuring Himiko's face in light as she looks up wistfully and longingly upwards, her arm leaves her body and gravitates back to the mic stand, however, never really holding it in the end. Another camera angle depicts her eyes, widening as it gazes off into the distance. Too pained to blink, her face looks a little fearful as she sings the final lines of the verse. Less shaky than a moment ago but tinted with the burdens of life that bleeds upon her normally clear and soft voice. She raises her arm and hand just a little, reaching upwards as if trying to grasp for something, a flash of disappointment upon her face raises the possibility of never finding what she wanted, her hand falling from grace slowly yet gracefully, steadily yet shakily, returning to the mic stand, clutching the thin metal pole a little tighter than before. The camera finally ends the verse with the camera facing Himiko as she sings the lyric "tight", her eyes shutting tightly. The shadows formed by the creases that etched upon her face cast her in an ominous black.

Watching the stars
Slip through my palms
A blackened night
A vivid blur

Pearls down my cheek
My shattered shadow tearing my world apart and I
I ask why I cry
But it's simple, I don't know why

In the arms of night I
I called for the end to hold me tight

As the song built up, so did Himiko's energy, as she sang with more power than the previous verse, matching the more desperate lyrics. Her pained call for the end. Her gestures became more emotional, erratic, releasing each painful emotion that still burdened her blood. Her eyes, shimmering, her face contorted in a mask of subtle sorrow. The camera angles too followed such a trend; unorthodox camera angles from slightly beneath her to of behind, each done by a steadicam so that subtle shakes of the camera further matching the build up of the bridge. Even so, the lighting and staging stayed the same, not to detract from the music or Himiko's story. As she sang, her voice tinged with the sombre tones of regret, her free hand almost out as if to beg for something lost, her body swaying side to side to the beat of her heart. By the third line however, she raised her hands to the sky, caressing the air as the spotlight shone between her fingers, scattering the rays of light. Eyes fixed upon her fingers, her eyes glimmered in the amber light. Perhaps the effects of staring into such harsh light but one may notice tears forming, iridescent pearls upon her eyes. Shimmering, reflecting the stars. And yet, one my fruitlessly wonder whether they were tears of sadness or happiness. Even beyond the sombre tone and lyrics, and pain etched upon her face, beneath lay a light. A hope, smirks at the ends of her frown, even as subtle as the lifting of her eyebrows, no longer furrowed in fear. There is happiness found everywhere, even in the darkest of pains. Even for a little while. Maybe she finally saw the small star that shone in the inky pool of sombre sloes. By the fourth line, a small reflective smile formed on her face, her eyes glittering in the light of acceptance. She lowered her hand to her chest, clenching it into a weakened fist, and her gaze wilted to a spot on the stage in front of her, far enough however that her face was no longer cloaked in shadows. She looked some what vulnerable for a mere moment, shaking her head slightly. Accepting the pain of the past. Finally, as the bridge drew to a close, her hand reached up slightly, her soft glance at her hand leading to a more upwards gaze, a gaze of a more hopeful predicament. Despite such tragic imagery, she could smile, even just a little, captured by a close up shot from the camera directly at her face.

I called and called again
Yet it was merely me, me alone
Not even the stars
Graced my pitiful, bleeding soul

The first section of the song climaxes with the final four lines, Himiko sings "I'll forever smile" effortlessly, eyes shut as she conveys her message with everything she has, clutching the mic and stand tightly. The camera zooms in slowly, from the front, before shifting angles to circle the entire stage. After her last note fades away into history, her final tremble of the voice echoing in the large arena, the violins begin to play, elegant as a flock of swans upon the evening sky, burnished in bronze. As the violins fill the arena, Himiko looks up to the ceiling thoughtfully, hands drawn together upon the mic stands mid section, the small instrumental a time to reflect. And yet, would it be worth smiling if there was only pain in the end? Was it worth living at all? To create beautiful melodies and moments such as this; beautiful memories, maybe life lies in the stars that shine in the night. Furthermore, though unnoticeable at first due to the darkness, the LED strips that hung from above are positioned with the innermost limbs slanted downwards, going upwards as one goes further out of he rings. They slowly brighten as the flourish of violins enter the beautiful composition. The lights, the same tinted gold and rather dim, hazy spotlights attached to the LED strips raise upwards as they shine brighter before fading to black as Himiko softly sings the next line. Not to mention that as the lights billow upwards, the camera zooms out from the front of Himiko, allowing the audience at home to experience the grandeur of the lights billowing to the melody of strings, often flaring in the camera, obscuring Himiko with flashes of light. Moreover, the spotlights that surround the outer and central stages shine too, in the same soft gold, billowing outwards from the centre like the ripple upon a lake. The ebb and flow off life. However, the arena still remains mostly dark, the spotlights much like fireflies, fluttering in night's cruel grasp. As the camera ends the shot with a zoomed out shot of the stage, the lights now slowly fading away into black, only the spotlight above Himiko still illuminated. The camera then takes a birds eye view of the central stage, Himiko off centred in the shot.

Himiko's fragile voice softly sings the second "I'll forever smile", yet more confident than the one before. A small hint of a smile sparked across her face for a moment as she sang, for life may be just for moments such as this. Surrounding her, enveloping her in an almost holy light, the lights of the LED strips and stage all burst into the soft gold colours once again, flourishing outwards into the arena. Blossoming in a nostalgic hazy white-gold. This time, the camera angles circled the spectacle from a lower down perspective, the beautiful tangle of lights finally blistering through the pitch black of the arena. However, as she finished her note, as delicate as the strings of the violins which its beautifully tragic melody enveloped her in song, like a warm yet bitter wind. As she began to sing "'Till the end", the camera steadily zoomed into Himiko. However as the camera slowly zooms into her now sombre face, now guarded with the façade of hope, the lights slow fade away, much like the instrumental. And then, it is merely her voice upon the symphony of silence. Her body upon the canvas of black. Her breath upon the void of nothing. The arena turns an eerie silence as she finishes the line, breath wavering, and the camera zooms into her face before passing by and fading to black. Her face, as it passes by, is casted with shadows. And then, a brief moment of blackness. A chance for Himiko to take a breath. For her, it had felt like a lifetime; her lifetime. And yet, there was still the rest of the song to go. But Himiko could do it. After all, she had gone through her entire life, this was only a delicate flower of vibrant colours upon her tree of life. And then, the camera turned on as well as the spotlight illuminating the central stage once again, a sombre Himiko gazing deeply into the lens. Hands by her side and not on the mic or mic stand. Her cheeks tinged a rose colour, her lips flushed pink. Stoic as a statue. Her pale skin, shimmering like pearls. A small glimmer of light that sparkled upon her amber eyes. One might wonder what lay behind such smooth skin and perfect eyes. Perhaps a thorn; like that of a rose.

The piano played softly in the background once more, and the camera circled the central stage from afar, steadily. A few flags of nations would sometimes be seen from the crowd, like paintbrushes upon the canvas of black. However, as quickly as they could be seen, they would vanish into the abyss. For a moment, Himiko steps away from the mic stand. After looking at her feet for a moment, she softly sings the second "'Till the end", head tilting as she does. Her voice wavering just a little. She shuts her eyes for a moment as she stands up straight, and the lights upon the LED screen softly glow on and off at different times, shimmering in the camera for moments before vanishing. Like stars, flickering in the sky. Then, as the violins join the soundscape once more, the lights begin lighting up more intensely and brighter, billowing outwards all at different times to match the build up created by the violins. The camera circles the stage at large, capturing the subtle spectacle. Himiko in the centre, stepping back from the mic stand once again, letting the lights and violins enthral the audience. A camera shot of her, blinding lights often obscuring the view, as she looks off to the side before planting her eyes to the floor. She shifts on her two legs, and begins moving her body to the winds of song. As the instrumental draws to a close, the instruments grow slightly louder, the lights shining brighter to reflect the musical change. Then, all at once, billow upwards and outwards softly, marking the start of a new verse. The camera captures this moment, zooming slowly in Himiko from a long distance away, and as the music quietens zooming in so that only one half of Himiko's face can be seen in the shot. Eyes shut calmly, face cast in shadows towards the floor. Still but yet not quite a statue. Lines of light bordering her silhouette. The camera then fades to black as the music silences.

I'll forever smile
I'll forever smile
'Till the end
'Till the end

The second verse begins and the lighting returns to before: a single gold tinted spotlight that illuminates Himiko from directly above. Himiko once again using her left hand to clutch the mic stand, holding the mic in her right. As the verse continues, her movement slowly increases also, matching the rising pain of the lyrics. At the start of the verse, she merely stands there, voice fragile as ever, eyes closed to begin with but slowly opening them as she continues. On the second line, she raises her left hand, holding up as if to block out the sun; and yet, her hands are splayed, her eyes peering through the gaps of her fingers. The camera takes advantage of her movements, taking lots of intimate shots, focussing on her and her alone. From there, she lowers her hand, and brings it up to the mic, grasping the mic, veins casting shadows upon her thin, pale hands. Clutching the machinery as if it was the last thing that mattered to her. Despite hands so tense, her face remained calm, only a few creases of distress across her ageless face. Her voice, rising with sadness, yet still sounded like the voice of the night. Warm yet, filled with regrets untapped. Cheeks not yet sodden. As she sings, "my shattered mirage of dreams" her left hand once clutching the mic now thrown to the side, where Himiko gradually drew her hands back to the mic stand, gesturing painfully, palms spread wide. As the final line is sung, her voice now slowed and gentler, almost fatigued, she stands up straight and reaches her left hand forward, the camera zooming in slowly into her, before pulling back to her heart. She scrunches up the dress fabric around her heart, fist clenched before dropping her hand to the side of her face. She shakes her head slightly, her face in an empty frown. Her shaky silhouette outlined in the soft white-gold of the spotlight. With each word, did a little of her heart pour out, the painful thorns of the past bleeding her soul as it escaped her blushing lips. But a little more free did she feel also. As if the chains trapping her in spikes of steel were being lifted, broken. Her wings were battered, weak and torn sure. She was less afraid to fly it seemed. As the second verse ended, her eyes shone with the light of hope, cheeks rosy with the red of passion. She would still need to heal. But at least she wasn't dead.

Night turns to day
It's too hard to face
And yet I do it anyway
My shattered mirage of dreams
I keep bleeding, but I, I'll wait

The instrumental of the bridge was simpler than the previous verse, being only a piano playing. The camera shots reflected that, a close up of Himiko starting the stanza of the song, her eyes glancing, glassed over, just beyond the camera. Her eyes flicked around a little, though largely unnoticeable, and her voice wavered just a little. A wider shot of the central stage saw Himiko was merely not looking at anything at all, staring deep into the past. During the first line, she remains almost completely still, both hands upon the mic stand. However, as the second line began, her body began to become more restless moving side to side steadily, flowing to the melodies. Her voice, more passionate, and her cheeks a little more flushed. Raising one hand from the mic stand, she begins to let the quiet melodies consume her, hand gestures delicately twirling and flicking. The camera focussing on the choreography of her wrists, the waltz of her fingers, like a ballerina; a dancer of her own design. As she sings, "And I'm still breathing, crying as if" a moment of distress rises in her voice, taking deep breaths and looking around a little more erratically than before, though still stoic and calm. However, the tango between her fingers increased in rigor also, matching the fear of a revelation shown in the lyrics. A glimmer in her eye, an embroidered pearl. She truly was still breathing, living. Had life really changed? Perhaps, before, such doubts would plague her frail mind, tearing her world apart before her very eyes. And yet on this stage, in front of this audience, she felt only the warm ray of hope upon her skin. Only the flourish of hope that courses through one's blood when the end is near, or the day is done. Even through the lyrics of blood, she managed a small flash of a smile, of reassurance. Her eyes aglow with hope. Though many may not notice such details as the stars that light inside, it was definitely there for Himiko. The beauty of her life no matter how tragic. To have known the length of breadth of living, it was truly an honour for her. The life that she paints onto the memories of those in the crowd. As it ends, the smiles fades, but the light inside shines bright. She stays still as the last words escape her lips, frail and as dazzling as ice. Posture, stoic as a crane upon a rooftop. Calm as the morning dew. Her last words, like the leaves in autumn, waltzing with the wind, simple and pure. Too painful to recall and yet she sang it as if it were easy. As all her life, the burdens of pain and joy; flying free amongst the winds of song. Reminding her of when she first sang, in the hospital bed. Though it was nothing at first, a small blossom upon the tree of her past floated upon the breeze, a tiny weight, too small to notice had fallen. A sign of things to come.

I'll wait a little while
But the world keeps turning, turning
And I'm still breathing, crying as if
Nothing's changed at all

After the final bridge, the song's instrumental begins to build up once more. At first, only the violins duet the piano melody that rings out like ripples in the arena. At this points, the spotlights attached to the LED strips, as well as the spotlights surrounding both stages, begin to illuminate and fade away softly in the same soft gold as that of the spotlight above Himiko. They glow and fade, almost ethereal in atmosphere, often flaring in the camera as they shine and shimmer like the wings of an angel. Like fireflies in the night. As the music prepares for it's precipice, Himiko takes a step back from the mic stand for a moment, head bowed down, face masked with shadows once more. Shutting her eyes closed, she begins to sway to the beat of the music, cleansing her mind woth the warm waters of song. Preparing for the final chorus, for the peak. Readying herself to pour every inch of her soul into this song, every past experience and her life, all at once released in her voice. The camera takes a wide shot of the arena, the glowing lights looking especially fantastical from afar, Himiko a lost soul amongst the light. The violins at first are light and magical, accompanying the ever building piano which together form a chrysalis of new beginnings, ready to flourish into a beautiful flock of butterflies, cold and true. The camera then circles the stage as a whole from afar, Himiko surrounded by the lights, which even all their beauty, still fail to light the mask of black that hides Himiko's face. And yet, she continues to lose herself in the blooming melodies, her body loose, moving to the beat of her heart and soul. Her hands steadily begin to clasp each other, her hands held in front of her heart, in prayer perhaps or as if to give thanks to something or someone. Clasped tightly, shaking ever so slightly. The fragile nature of one's soul. She eventually raises her head up, her timeless face engulfed by the glowing lights that illuminate all around her. The creases of stress upon her face eventually fading away, not to mention each shadow of a doubt that once plagued her, fleeing from the light. The light that shines above her. Or perhaps the light of hope. The camera took a shot from below Himiko, who now faced forward boldly, her face sometimes obscured by the hazy lights that glimmer around her. A scene which darkness only aids to highlight the beauty of light, Himiko's face shifting in the different hues of light and dark.

As the instrumental progresses, drums join the fray of song, the lights now flashing and billowing outwards and upwards to each beat of the drum, the lights rippling outwards like the ebb and flow of a tear drop. At first, shots from afar are taken, highlighting the spectacle of lights that uniformly yet boldly lights up the arena. Even so, the light only seems to fight the darkness briefly. After all, the use of darkness is important in the visual aspect of this entry. The instrumental continues to build up, the cameras now focussing on Himiko, who closes her eyes again, swaying to the heavy beat of the song. Forgetting it all on the tides of sound. Her dress, rippling to and fro as she feels her song for everything it is. Each note, instrument and lyric to come, coursing through her body like rivers upon the roughed surface of land. Her song had almost ended, despite how long the journey of her life felt, it was nearly over. Soon it would all be over. It was her last chance to give it everything she has to give. Each scar, tear and scream. She felt complete, having spread the message of the beauty of life, and having reconciled with herself, and everything she had gone through. For now, she would just lose herself to the song. A smile of a thousand suns grew from ear to ear upon her face, lighting the darkest corners of her mind, her eyes closed in joy. Tears began streaming down her face as everything fell into place. Tears glimmering like drops of starlight upon her blushing cheeks. The importance of breaking was already shown to her once before. She thought she may had healed but at once she fell apart. And yet, she didn't mind. The beauty of life had painted starlight in the skies. She knew at once why she lived. Why she must always live. Though when writing and performing her song before tonight, she thought she understood what it was to be happy, to heal. What it was to be alive, breathing, living. And yet, only now did she break. Upon the stage, engulfed in the billowing blossoms of light, tears ablaze with gold, shimmering in the lights. And she smiled. The camera zoomed in on her face, moving in and out of shot in an artistic, abstract yet visually appealing way. The beautiful flurry of lights setting the stars ablaze as they shone. Then, the angle shifted, to behind Himiko where the lights illuminated her and the stage with soft, nostalgic yet harsh lights. And finally a zoomed in shot of her, tears alight with starlight, her smile fading as she prepared to sing once more.

Himiko stepped forward somewhat shyly back to the mic stand, holding the mic with her right hand and the stand with her left hand, and looked down at the floor for brief moment preparing to sing once again. Whilst the lights continued to dance behind her, she sang once again. Her voice, embroidered with the thorns of optimism, rang out across the arena. Capturing each essence of emotion, the camera steadily zooms into her as she belts out the lyrics, leaving her lips as if barbed with thorns. She winces as she sings the note, tilting her body downwards as she sings, her hands tightly clutching the mic stand. Her delicate voice however delivers the painful acceptance of sorrow with everything she has to give, as if her life depended on it. Veins upon her hands burst as she tensed. As the instrumental was added on by the electric guitar, the three notes duetting a more harsh billow of lights, which slowly splay across the camera shot, the angle being head on with Himiko yet taken from afar. The lights flash as their beams of gold hit the lens of the camera, cloaking Himiko in light as she declares her oath to life. Even a few flags in the crowd could finally be seen, even if only a few. She finally sings, "'Till the end", shaking her head softly. The camera then gradually zooms into Himiko's face, eyes now shimmering in the ripples of light, like the lights of the tunnel passing by in a car. Shadows upon her face shifting and dancing, twisting into creatures of yonder and far. Twisting and vanishing yet being reborn once more upon the soft creases of Himiko's face.

I'll
I'll forever smile
'Till the end

The final section of the song begins, Himiko giving it her all. As the chorus begins, every single light billows upwards and outwards, flaring in the camera which takes a wide shot of the stage, allowing the audience at home to absorb the beautiful spectacle of light that illuminates the arena. After engulfing her in light, the camera then focusses on Himiko, eyes alight with the burning flames of passion, flickering and dancing like the licking of a flame. Taking the microphone off of the stand at last, she steps forward, beyond the stand and begins to sing the song, each word laced with all the sorrows and joys that she has faced. Every word intertwined with her soul. Moving her body to accommodate each word and note, swaying to the rhythm wildly, wiping the tears from her eyes. Her voice remains delicate yet filled with the power of passion, her voice projected across the arena, conveying her story with every breath. Even the slightest of movements represents an aspect of her life, from the loose swaying to the tapping of her heart by her hands. At the beginning of the chorus, she raises her free hand to the sky, before dragging it to her chest. The lights around her only grow more wild and bright, the lights flourishing with every beat of the drum, splaying outwards all at different times to match the peak of the song. Upon the LED strips and stage, sparkling streamers like that of golden sparks begin flying elegantly across their surfaces, painting the stage with light from every which way. Chaotic yet so simple all at once. Lights overlapping and waltzing as one, much like the music that plays. In between it all stands Himiko, who's own fragile yet emotional voice manages to still outshine even the dazzling lightshow that surrounds her, engulfs her in stars. On the second line, the camera zooms into her amongst the light, where she gazes into the lens, eyes alight with dreams and reaches desperately forward, as if trying to grasp every sliver of her past as close to her heart as possible. The nostalgia of memories, both good and bad. Wrapped in lights, her face is fully shown for once, each wince, each moment of a smile captured in amongst it all. As she sang the final two lines, her face contorted as every memory filled her fragile mind, her struggle glimmering behind the stoic mask she wore.

To fall or to fly, I don't care anymore
For smiles that glow between forlorn reigns
Happy days, sad days they are the same to me
Happy days, sad days all beautiful memories

The song only further builds up, the introduction of backup singers and synths adding to the composition as the song finally hits it's long awaited precipice. As a result, the lights billow outwards once more, dazzling the camera in light, obscuring the view of Himiko as it zooms in to the experienced singer, who has now slipped her microphone back into the stand, grasping the stand with all the might she has left. Moreover, Himiko begins to sing once again, accompanied by almost angelic sounding back up singers, all harmonising to create the haunting melody that fills the final act of the song. The camera somewhat quickly zooms into Himiko, who reaches out towards it with both hands, skin shifting in all the hues produced by the dazzling dance of lights. The LED panels further build up, depicting both bursts of sparks as well as golden fireworks like blooming flowers, petals of light branching out across the night sky. The staging as a whole is captured when a camera circles both central and outer stages, before moving outwards to see it all in perspective, as a collective. A chaotic yet truly beautiful set of imagery, the camera work taking shots which prioritise the abstract ways light and shadow can be used to create dynamic compositions. For example, Himiko's silhouette against a flashing of a light which soon fades, no longer obscuring her in a blanket of night. On the second line, she shakes her head confidently, eyes gazing with the light of stars, shimmering, shifting, a kaleidoscope of colours. Her entire story, splayed out in the soft browns and ambers that the spotlight paint. She clenches the fabric that lays above her heart, scrunching it with all the energy she has left, and fiercely yet with grace and frailty sings the lyrics that have inspired her to live on, no matter the fear. The lyrics that have shown her all the beauty that lays in a life that she once considered so tragic and painful. The shifting hues of a teardrop that can light your cheeks ablaze with fire. Himiko had never felt more alive than at this moment in time, singing her story upon a stage. Singing her life. Singing her troubles away, even if just for 5 minutes. Singing for her mum, who's words had painted her the true beauty of life. The words that paint her way even when eyes fail to see and ears fail to hear.

As she sings the third line, she clutches her arms, her poems of pain, and her face contorts into one of pain and sorrow. Yet even there does hope sew the seeds of smiles, her voice though sorrowful, tinted with the hopes and dreams of tomorrows set to come. However, as she sings, "I'll smile because I'll be ok in the end" after, she begins to smile a little, eyes glowing like when one remembers a happy memory. The steadicam twirls around Himiko whom of which stands there stoic, not noticing or at least paying attention to it, gazing to the front, off into the distance. Off where the sun never shines. Her cheeks tint like roses, pinkish as she continues to sing her ballad of dried sodden cheeks and bleeding hearts. Unlike before however, her face no longer resides a mask that hides the pain, each crease, each glance lays on full display as her heart is torn, erupting each painful and happy memory hand in hand into the arena. Yet, she doesn't mind at all. A hopeful smile bursts like fireworks upon her face, strokes of paint colouring her paled face, like the reddening of one's nose at the sniff of a flower. After the camera takes a close up of her face, each hue and smile on full display, the camera then circles her once again, embracing the dynamic lighting sequence which emphasises the beauty of the symphony. The final stanza begins also, Himiko spreading her arms out to the side, before pulling them in steadily and bringing them to the centre to hold the mic stand. Her voice of the stars sang the line, "As long as stars paint the sky I'll never fall" shifting slightly in tone as she sings with more confidence than before, her voice no longer wavering with the grace of living. She then reaches up steadily, hands even shaking despite her soul running through her veins, delicately splaying her hands out, lights beaming in rays through her elegant fingers, shining brightly in Himiko's eyes yet she refuses to look away. She would never look away again it seemed. And yet, in the light her eyes shimmered a burnished bronze, like the rust of a well-used metal. And beyond the shattered glass that held her eyes laid the eyes that had seen it all, the world for all it was. The brightest of smiles and darkest of nights, all painted in her eyes and upon her skin. She drew her arm back down to her chest, where it laid for a moment, her heart beating quickly.

Finally, as the final chorus drew to a close, Himiko sang the final two lines, and in her eyes the most important lines. Whilst the lights continued to shimmer and shine, a soft golden like the colours of dreams, Himiko remained upon the central stage. Surrounded by the blizzard of dazzling lights she was alone yet so filled with colour. This was living. With the final stream of soul left to give, she calmly sang the the penultimate line, voice wavering with emotion. The camera angles for once in a while were close up, every emotion caught within the glass lens, from the shimmering a dew dropped eye to the creases of a childlike smile. And yet Himiko could convey her emotions just fine with her voice, now shaky with the burden of truth. She began to smile however, stretching from ear to ear. Because as her mother once said, even after all it would be ok. She couldn't be happier that she got to experience each face of life at all, from the days she'd smile from sun to set from the memories that hurt even just to remember: they were all as important to her in the journey and story of living. Hand upon her shattered heart, she softly sang the final line of the song, the camera slowly zooming into her face. The lights billowed out for the last time as she sung the lyrics with a smile, her voice delicate and true, seeping with the stars of smiles to come. The bright lens flare obscuring her for a moment, she shut her eyes as the last words left her soft lips, mic close to her mouth, and echoed in the Anturian arena like a soft summer breeze that you'd reminisce about on a winter's day. The final shot of the final chorus of her soft, innocent smile and closed eyes that radiate the warmth of hope. A hug from a long lost friend.

Even through tears, I'll live to the end
No matter the fear, I'll never let life go
Even through scars, etchings of pain
I'll smile because I'll be ok in the end

Even through it all, I don't regret a thing
As long as stars paint the sky I'll never fall
I don't mind the end because I'll be happy
Happy that I got to live at all.

The song finishes with the soft melody of the piano, fading away into the silence. The once dramatic lighting too faded to black, the LEDs turning black as well as all the other spotlights turning off. Only Himiko's final breath upon an autumn breeze and the single soft spotlight that illuminated her throughout remained. The tinkling of the piano which would gradually slow down, eventually into nothing. Himiko too, arms by her side, staring at her feet. Breathing. The single spotlight above her fading into black and ending with Himiko, a silhouette bordered with gold, breathing heavily after the feat of singing with everything one has to offer. And yet she wanted to do it again, and again. To sing away the fears that once controlled her, ruled her and nearly killed her. To share the beauty of life with the world; there was nothing more that brought Himiko more joy. And yet, that was that. It felt like a lifetime yet, by the end, it seemed to have passed by in a mere moment. Just like life itself. Filled with tribulations and smiles equally as important as the other. Reality caught up with her. The lights turned on, the crowd cheering at the truly emotional entry delivered by Llalta, and most notably, Himiko Arden. She couldn't believe the applause and it all felt like a dream to her. After all, she had never performed to such a big audience and with such positive reception, it was beyond reality. However, she chose to soak it all in, as, after all, she was smiling. Considering her anxiety before the performance, the relief of success made her realise that, it would always be ok in the end. "Thank you Oreo City! Thank you world!" she shouted, tears streaming from her face without her even noticing, her cheeks numb from excitement. She bowed and bowed again, eyes aglow with the flare of life. She was proud of herself for the first time in her life, and, for once it wouldn't be the last. She had finally seen life for everything it was.

~☆~ Because, after all, it would be ok in the end. ~☆~

by **Britonisea** » Sat Nov 14, 2020 7:31 am

#30 BRITONISEA
Taron Woods, Lamar K Notes - "Answer my Prayers"
Tune : Sigma ft Labrinth- "Higher"
Music: Lamar K Notes, Taron Woods Lyrics: Lamar K Notes, Taron Woods

Alternative Link, Sigma - Higher

Winner of the 64th WorldVision Song Contest: Taron Woods returns to add another trophy to his selection. He's up against more nations here in Antahbrantahstan for the 86th WorldVision Song Contest...

Britonisea returns and so does Taron Woods, winner of the 64th WorldVision Song Contest. Can he answer the prayers of the Britons and strike lucky in Oreo City?

Britonisea returns to the WorldVision Song Contest for the 42nd time after taking a one-edition hiatus from the competition. The nation seems to like having breaks very often, with some insiders saying that this is because of the very short WorldVision contracts that the Britonish Television Board, which means that broadcasters submit their proposals later than the short gap to show interest. Some others argue that BITC takes breaks to not overload the Britonish public with the WorldVision Song Contest which is fair enough - the competition happens every six weeks, that’s 8-10 editions per year and sometimes it can get a bit much for a broadcaster. While broadcasting the WorldVision Song Contest, the more than three and a half hour event is cheap to BITC - especially compared to some of their other television shows that they commission - they don’t want the contest to become stale. The viewing figures for the WorldVision Song Contest have been, since the hosting of the 81st WorldVision Song Contest, not been great when thinking about the times Britonisea would have over 10 million watching every edition consecutively. At the 83rd WorldVision Song Contest, held in Llalta, just over 7.3 million tuned in (the 35th most watched WorldVision in Britonisea) with 7.7 million (the 31st most watched WorldVision in Britonisea) tuning in for the edition after which was held in Besen. The broadcaster didn’t participate at the 85th WorldVision Song Contest, but still was able to broadcast the contest on their secondary channel with 2.92 million tuning in, making it the least watched WorldVision Song Contest event. BITC said that they would be returning to the WorldVision Song Contest. The broadcaster is responsible for leading Britonisea to four out of its six victories all happening between the 63rd and 81st WorldVision Song Contest but as more nations join the contest and Britonisea continues to participate infrequently, many fans fear that Britonish presence at the WorldVision Song Contest will become less important as it was once upon a time.

There was an analysis on the performance of Britonisea over the course of the past 56 editions - that’s the amount of WorldVision Song Contests that Britonisea has been broadcasting. As the nation approaches it’s 55th anniversary, it is rather interesting to see how the nation has performed over the past few years. Taking away whether an edition was bigger or not (obviously if you’re in an edition with 17 participants, it is easier to place in the top ten compared to an edition with 40 participants), Britonisea’s last 22 entries placed in the top ten which is a fantastic achievement - especially for BITC who contributed to the last 17 of them. With Britonisea mostly staying above the nation’s overall average placement (Britonisea has scored above the nation’s overall average placement since the 46th WorldVision Song Contest when the country placed 17th despite having an average placement at the time of 15th place), the nation’s average has always been on the up with Britonisea breaking an average of 10th at the 65th WorldVision Song Contest. After the triumphant 60s edition, the 70s proved to hurt the record of the Britonish with the 10th placement at the 76th WorldVision Song Contest being the first time the nation placed lower than the average (Britonisea placed 10th but had an average of 8.7). For the first time ever, the average placement had stalled only helped slightly by the win of the country at the 81st WorldVision Song Contest. Though at the 83rd WorldVision Song Contest, Britonisea once again came 10th - below the average, which meant that for the first time the average started to dip which most certainly wasn’t helped by the nation’s 84th WorldVision efforts which was the first time the country sent two entries below the national placement average since the very start - the 31st and 32nd WorldVision Song Contests. BITC, are determined to keep on hanging on to the contest, hoping that by the end of this decade, the country can break past an average of 8th place into the 7s. BITC have thought about how they are going to do that and while there’s no solid, clear cut way to win the WorldVision Song Contest time and time again, BITC are hoping to restore the faith of the Britonish public in the WorldVision Song Contest.

Vote for Taron: There is a promotional compaign going around, appearing in adverts and all sorts!

Last edition during the hiatus, Nightom was the only ABEN nation to participate with the country coming 6th place with 187 points - a joint total with Malta Comino Gozo who received 5th place. Nightom’s high placement was their second best ever and since the introduction of the Jury:Televote division, it was the second highest total scored by an ABEN nation, second to Britonisea’s 82nd WorldVision Song Contest entry - with that entry scoring 255 points. With a reputation now to meet, BITC officials used Nightom’s very good placement as a benchmark to hit at the upcoming WorldVision Song Contest but in order to do so, they thought that Britonisea would have to send something rather impactful to make their way up that scoreboard. Similarly to every single edition, the BITC officials look at their back catalogue of songs that have been sent for the sole purpose of representing Britonisea at the Contest. While some of the songs were of good enough standard to represent Britonisea, the officials thought that these songs just weren't what they were looking for. When they were looking back on entries they have done over the past 25 editions, they thought that the songs that they most enjoyed staging were the ones that were high impact. In some cases, like the 64th and 74th WorldVision Song Contest, these types of entries were viewed very favourably with those voting for it with both entries receiving over 100 points under the old system. They thought that for the upcoming WorldVision Song Contest they could go for something like that. BITC officials themselves decided to go out and find people who would want to write a song for the WorldVision Song Contest, primarily targeting those who have written multiple Vha Mehlodhivestoile entries with those writers obviously showing that they are more keen to have their materials sent to the contest. In the meantime, the officials wanted to find a good singer - whether that be a singer that had previously submitted a song to the Britonish selection, one that has participated in a National Final or one that has already participated in the WorldVision Song Contest - with the latter seeming to be the option that BITC went for.

Britonisea is bursting with talent when it comes to the writers. The nation has penned 13 winning songs across the two song contests as well as contributing to the making of songs abroad for their WorldVision Song Contest entries. The broadcaster could have asked and gone for a composer who had already won the WorldVision Song Contest such as James Embankment or Guy Autriche, though we think that Guy is a bit busy overseeing the World Hit Festival. It had been decided pretty early on that the person that Britonisea would be acquiring the services of would be Lamar K. Notes who has had a long history with the nation and the WorldVision Song Contest, and not quite making it, which makes him the perfect candidate, giving him the leverage above some of the other writers when deciding who will be involved.

THE COMPOSER

Lamar K Notes has been on the WorldVision scene since BITC first participated properly at the WorldVision Song Contest. If we go back to the 61st WorldVision Song Contest which was held in Togonistan, Lamar was one of the composers who worked on the Britonish entry, “The Pink Mist” which was sung by Mathias Bexley-Durand. Lamar worked alongside many different artists that edition, including Zubion Jayce, James Smith and the singer of the song, Mathias himself. The song was a male ballad which spoke about the war, with likely hints towards the wars Britonisea once participated in many, many years ago when the country wasn’t as pacifist as it is now. Lamar and his team went onto place 9th place in Togonistan, which after a four edition break from the contest (which at the time was Britonisea’s longest time away), it was a respectable score. Now that Lamar has had that experience of being at the WorldVision Song Contest, he felt as though he could create something that the public would like even more than “The Pink Mist”.

Lamar, who can sing himself, was interested in representing Britonisea at the WorldVision Song Contest himself. He was entered into a competition with Sadegh Prazeres, who later went on to win and represent Britonisea at the 65th WorldVision Song Contest and Kelsey Banques, who represented Britonisea at the 66th WorldVision Song Contest and more recently at the 81st edition where she clenched the victory. While the man didn’t get what he wanted, it didn’t stop him from trying again but this time he decided to stay solely as a composer. Lamar is a multifaceted composer and so he decided to go for something different with his Vha Mehlodhivestoile 2019 submission. He wrote the song “Teiston Auremenne” (You Are Golden) along with other great Britonish songwriters, with the song being sung by George Alleyne. George came 2nd in Semi-Final 3 of Vha Mehlodhivestoile, winning the Britonish vote with 73 points - which is a huge total, scoring 19 points more than the song that placed 2nd in the Britonish vote. In the Grand Final, “Teiston Auremenne” placed 5th in a field of 10 - with him receiving top points from Northern Britonisea and West & Central. If you know Lamar, its likely that you know him from his Vha Mehlodhivestoile entries with David Kiser who he worked with twice at the national final. During the Second Semi-Final of the 2018 edition of Vha Mehlodhivestoile (which was Lamar’s first ever VM), he and David Kiser was put in a Semi with Taron Woods - which is when the pair established contact with one another. Taron Woods and David Kiser (with the song by Lamar) ended up scoring a total of 32 points each by the international jury, drawing a tie for 3rd place which didn’t change much with the Britonish votes. David Kiser didn’t make it further than the Battle Stage round, whereas Taron went on to win. Lamar kept in close contact with Taron throughout the years, knowing that one day, the pair would be working very closely with one another...

THE ARTIST

The now 36 year old Quickenden-born singer, Taron Woods made a huge - unexpected explosion onto the Britonish music scene early 2018 which has led to him having much success over the past two and a half years. Taron himself is a talented singer but he also is a great songwriter which makes the fusion between Taron and Lamar one that could only produce something great in the end. Taron, since 2018, has created a lot of music including his debut album titled “CY ECOUTO TEUTEN VOKSE”, which of course takes the title from his Vha Mehlodhivestoile song. He also released another album at the start of the year (2020) with it being a success in Britonisea, with a couple of his songs making the Britonish Top 10 for more than 5 weeks. The fact is that the Britons are in love with Taron Woods, with the man also having won Best Newcomer at the Britonish Music Awards at the end of 2018 (with the awards happening early 2019), including Best Album. He is expected to be nominated and go on to win the 2020 award in early 2021 for best album. Taron has also won the 2019 Britonish Male Role Model Award - which is an annual male and female competition which lists 20 of the most influential men and women of the year, ranking them based on what they have done to inspire those who look up to him. It was a big win for the music industry, with Taron becoming the first male musician to win that award for over two decades.

But while Taron is a national success and well international (we will come to this later), he remains as humble as possible. He said in an interview after winning the 2018 Vha Mehlodhivestoile, “I am truly grateful that I have my name out there, you know? But I won’t forget where I came from - the streets of Quickenden mean a whole load to me and I’ll be taking all my friends and family along with me for this journey.” Taron entered the national final as the sole composer of the song. Never did anyone believe that a song with only one composer would win the national final with other songs written by the creme de la creme of the music industry. While Taron wasn’t a professional music composer, Taron was more than familiar with how the music industry worked and he was very confident in his ability to produce some fantastic music. BVC, the broadcasters of the national final, were initially worried about Taron being alone during the live shows and thought it was odd that he was by himself but it all seemed to work out in the end. Taron did have a hiccup though, going to the Battle Stage where the Togonistanian Jurors voted for him to go to the Grand Final. He remains the only Vha Mehlodhivestoile winner to have not gone directly to the Final. He performed 5th in Nekoni, who hosted the 64th WorldVision Song Contest and went on to win Britonisea’s fourth WorldVision title. Taron was at the time, and still is, the only Britonish male to have won the contest. The song “Cy Ecouto Teuten Vokse” was the second Britonish-language song to win the contest after the first the edition before and while his 86th WorldVision Song Contest entry won’t have any Britonish in it, he says he feels sure about the upcoming WorldVision Song Contest and feels as though he could make his country very proud.

At the 86th WorldVision Song Contest, Taron won’t be performing as early as he did over two years ago. This time Taron will be performing in position 30 - which is the latest the nation has ever performed. Taron was silently whisked away to Oreo City for the upcoming contest as BITC didn’t update everyone with what was happening in terms of the Britonish entry. There was deja vu when it was announced that Oreo City would host the WorldVision Song Contest, with many people thinking about the 46th WorldVision Song Contest - 40 editions ago - when Antahbrantahstan hosted that contest. Britonisea’s performance, whilst it was hyped up internationally, the country failed to perform very well - coming 17th place. Britonisea hasn’t performed as badly as 17th since the 46th WorldVision Song Contest and it is BITC’s goal to cover up such a bad dip in the history of Britonisea’s performances by going all out here in Antahbrantahstan.

Taron Woods was back in the arena setting and it was making him feel rather nervous. He remembered being in the overly huge arena that Nekoni hosted the contest in and thought about all of the memories that he had during that live broadcast. At the time, due to the fact that he was the only composer, he only had the head of delegation and his media representative on the couch with him in the Greenroom. While he was fine with that, he was friends with the pair of them, the sofa looked rather sparse. Already there was a huge difference between the 64th and the 86th WorldVision Song Contest. He had a huge team with him this time, with the Britonish WorldVision team trying to cram as many as they can into the budget. He had three male vocalists and two female vocalists with him, all of whom were sitting on the Greenroom seats with him. They were all watching the performance before them from Todlichebujoku, enjoying the music and artistry there. Though as that performance ended and the next nation performed, they knew that it was there time to get onto the stage. With the Antahbrantahstan officials scurrying the Britonish delegation to the back so they could have a quick warmup before they get onto the stage, Taron took a deep breath, listening to the beat in the songs of Amuaplye and Llalta to make sure that by the time it was his performance he was chilled and out and ready to do what he did 22 editions before.

After the two performances before him finished, there was a graphic which showed that it was Britonisea next to perform on the stage. Taron remembered this feeling - rushing to the stage in the fourty or so seconds during the postcard. Antahbrantahstan’s stage personnel had quite a bit to do. The Britonish didn’t complain about the lack of backing stage LED like other delegations may have, but instead used this as an added challenge to create the best performance using other things. The stage personnel had four objects that they had to put up, similar to this, which when they were erected, would be made to look as though they were in a circular prison cell. The colours in that picture don't align with the theme that Taron wanted on the stage, with the colours that Taron wanted being darker colours - with hints of gold throughout the stage which would be highlighted in certain verses or choruses. Lamar watched as Taron went off onto the stage, hoping and praying that Taron does an even better job than he did in all of those rehearsals. Taron wasn’t wearing anything too extraordinary, opting for what he wore on his album cover for this song, a white t-shirt with chinos and trainers. He never was one to dress to the nines when performing live in front of people - though he said that due to his songs mostly being rather upbeat, he couldn’t wear anything more than what he was wearing here at the WorldVision Song Contest.

At the end of the postcard, in came a huge cheer for Taron’s second appearance at the WorldVision Song Contest. There was some time between the start of the performance and the start of the song with the audience slowly coming to a silence right as the first sounds on the stage could be heard. What was heard first? The powerful tenor and bass vocals of the men involved in this performance; Nathan, Jayden and Jordan who were providing the backing vocals. There was a single piano note being played during the start of the song, which slowly progressed to another note or two as Taron came in, ad-libing at the start of the song. The bars which were around Taron were highlighted in a deep yellow colour against a black backdrop with only the audience, who were plunged in darkness, visible around Taron. Taron faced whatever was front with a camera focusing on the whole scenery. The backing vocalists were on the platforms which came from the centre of the stage, holding these huge drums on them which would be confused a bit later during the performance.

Searching high and searching low,
Looking for a miracle.
Reached rock-bottom, I'm alone.
Get me out of this hellhole -
God, answer my prayers,
Oh no, no what have I done to deserve this?

Eventually, Taron started singing the song properly, with the drums suddenly becoming louder. The bars around the stage changed colours slightly, becoming darker with a light not focusing on the handsome figure looking towards the camera which focused on him. He sang outwards, with the camera slowly zooming in on his face hidden partially by the bars in front of him. Said bars were causing a shadow on his face, with his eyes still being visible. The beautiful chandelier which was constructed by the Anturian delegation was something that the Britonish most definitely needed to use, with the lights bathing Taron in a crisp red light as he reached the line, “Get me out of this hellhole”. The shot then faded to black very quickly, with an aerial shot of him singing out from above him being the next for the audience at home to see when the shot faded in. We then were joined with another camera front-on as he asked the question to all those watching at home.

Between the verse above and the next verse, there were a few sections where you could hear the deep notes of the violin trilling in excitement and tension. As the violins did this, there was a shot from the furthest point in the arena as the chandelier, flashed gold sparks randomly as it moved out over the audience, exposing the bars more, now lit in a dark grey colour. Taron stood dead centre on the stage as the lights went into a frenzy for a few seconds. You could hear the Anturian audience applauding in the back, only slightly, before Taron went onto the next part of the song.

Never have I ever sinned,
No, I wouldn't hurt no fly.
And I'm a man of my word,
Couldn't let nobody down.
I'd move Heaven and Earth,
Yes, I would!
Anything to help a man,
Help a man
Help a man,
A man in need…

As Taron continued singing the first line of the song, you could see that he lowered his eyebrows, with his voice slightly getting raspy as protested that he had “ever sinned”, tensing his free hands as he sang this. There was a camera shot of him clenched fist, with the camera moving up alongside the vein which snaked up his toned arm before reaching his eyes. You couldn’t help but believe the innocence of Taron as he lists what is so good about his character, with the lights bathing the man in light which made his skin glow - he looked like a true angel there up on the stage. The instrumentation of the song slightly changed with more gospel elements now being introduced to the song, which gave Taron a bit more drive in this verse and also spiced the song up a tad. As Taron argued that he’d “move Heaven and Earth”, there was a shot further away, with holographic and VR effects being used, making it seem as though Taron was in space - before it cut to a close up once again of his face as he repeated the words, “help a man”.

As he repeated these terms, behind him you could see plumes of fire shoot into the air along with the increasing beat of the song. Right before he went into the chorus, there was a few camera shots that the programme was flickering between - all from different angles in the arena. As he belted out, “and yet I’m here”, there was a shot far enough to see geysers shoot in the air, along with the flickering of different colour lights from the chandelier, both on the stage and the audience.

Why am I here? (Answer!)
On my knees, in the pouring rain.
Can you hear me? (Answer!) Because I am screaming-
Oh, I'm shouting at the top of my lungs,
Please tell me what I have done wrong?
Don't ignore this, (oh don't!) I've suffered from this pain for way too long!

(Answer, answer, my prayers)
Help me understand...
(Answer, answer, my prayers)
It only takes a few words.
(Answer, answer, my prayers)
God, I'm desperate,
(Answer, answer, my prayers)
I am begging for mercy

During the chorus, you could hear the Britonish male and female vocalists singing at full power, with their voices jelling very well with that of Taron’s. The male backing vocalists, who had time to get close to one another whilst the camera’s were away from each other, were joined by the two female ones - Jeanette and Abi, who were all standing with one another, swaying from one side to the other. They were lit only from the top, with their legs being plunged into darkness. Britonisea wanted to still create the gospel feel despite the song also having many other elements too and this was how they would create it. Throughout the explosive chorus, while the pyrotechnics didn’t last too long - with BITC opting to save those until later. The high energy song was helped with the use of the cameras and lighting for the first verse with each camera shot not lasting not longer than 8 beats each, with the camera zooming in, zooming out - up and down, all sorts! Though, at the end of the chorus, as the flickering lights camera to a stop, as did the motion of the cameras with a single camera focusing on him say the line, “God I’m asking for mercy” before the shot faded to black once again.

At the sounds of the drums, there was a steadicam which appeared behind Taron. He continued singing out towards the audience ignoring them as he sang. Eventually, the steadicam made its way around to the front of him, with Taron meeting his eyes with the camera lens. As he sang “close to my chest”, he placed his hand on his heart, singing down into the camera that was slightly on a lower level compared to him. He smiled at the camera as he sang at the next line, showing his pearly whites to the audience watching him at home. He moved his free index finger to the side of his head before, moving his finger down his neck to the middle of his chest, tapping it as he sang “deep in me” with the steadicam slowly moving away from him - he turned his body slightly to keep his eyes on the camera but never moved his feet which remained firmly stuck on the ground. There was then a shot further away as we saw the view of chandeliers moving in an octopus-motion as described by the Anturian broadcaster.

I get in nobody's way,
Hold my cards close to my chest.
I'll address you with a smile,
Keep my real thoughts deep within.
I'd move Heaven and Earth, yes, I would!
Anything to help a man, help a man
Help a man, so Lord, tell me!

The song was quickly going by, with us already over two minutes into the performance (more than ⅔ of the way through). As Taron sang the lyrics, “Heaven and Earth”, there was a shot of the camera which went along the circumference of the main stage, making its way around with Taron following this with his eyes once again grunting as he sang “Yes, I would!”, clenching his fists and bending his knees slightly though this time with a small smirk on his face. He continued singing the lead up to the chorus, “help a man”, walking up to the bars that were all around of him, now holding onto the bar as people behind him (the backing singers who magically now appeared on the other side of him so they could join him for this part of the performance) started flooding the stage. Taron gave off a look to the camera right as the explosive chorus once again hit, with plumes of fires shooting metres into the air once again.

He shouted (in tune, please) the lyric “And yet I’m here”, with the cameras starting to be as frantic as they were before, though this time it seemed to be more in time with the pacing of the song with there being some shots that were zooming dramatically (in true Nordic fashion) into the singers behind. While the chandelier was lowered slightly in order for the flickering lights to all be focused on the main stage, there was a shot of the whole stage too - with the audience plunged into the darkness as the stage looked like a real beacon of light, fun and excitement.

Why am I here? (Answer!)
On my knees, in the pouring rain.
Can you hear me? (Answer!) Because I am screaming-
Oh, I'm shouting at the top of my lungs,
Please tell me what I have done wrong?
Don't ignore this, (oh don't!) I've suffered from this pain for way too long!

(Answer, answer, my prayers)
Help me understand...
(Answer, answer, my prayers)
It only takes a few words.
(Answer, answer, my prayers)
God, I'm desperate,
(Answer, answer, my prayers)
I'm begging for mercy

During the final chorus of the song, Taron swayed along with the backing vocalists that were behind him especially during the second half of the song as the lights still continued being crazy to suit the electronic beat which added to the texture of the song. During the final chorus, there was also some haze which only added to the scenery, especially along with the laser-lights that were used during the final chorus in accordance with the regular strobe lights. The final note came with Taron ending with a little ad-lib before the audience coming in with a huge cheer for the man. The backing vocalists all jumped in the air with glee as Taron took a huge sigh of relief. “Thank you all so very much! I love you all” he said before walking off the stage.

by **Antenovaria** » Sat Nov 14, 2020 5:08 pm

31 WIP
https://www.youtube.com/watch?v=essike_sirI

Do you know, that time is moving faster
Do you know, that you are my desire?
Lets just go, on the dancefloor together
And get this real feeling
Lets live our lives cause we all must die

Doing just what we want (Ashé)
Yes it’s you I adore (Ashé)
When you came through the door (Ashé)
I wanted you even more (Ashé)
Doing just what we want (Ashé)
Yes it’s you I adore (Ashé)
When you came through the door (Ashé)
I wanted you even more (Ashé)

Baby just you and me it is us all alone
Time is moving fast so we cant go slow
But if you tell me to stay, you'll never be on your own
So baby, don't wait too long

Do you know, that time is moving faster
Do you know, that you are my desire?
Lets just go, on the dancefloor together
And get this real feeling
Lets live our lives cause we all must die

Doing just what we want (Ashé)
Yes it’s you I adore (Ashé)
When you came through the door (Ashé)
I wanted you even more (Ashé)
Doing just what we want (Ashé)
Yes it’s you I adore (Ashé)
When you came through the door (Ashé)
I wanted you even more (Ashé)

Hearing this groove makes me dance all night
It’s something about you, no I cannot deny
Lets dance together for the rest of our lives, oh
The rest of our lives, oh

Do you know, that time is moving faster
Do you know, that you are my desire?
Lets just go, on the dancefloor together
And get this real feeling
Lets live our lives cause we all must die

Doing just what we want (Ashé)
Yes it’s you I adore (Ashé)
When you came through the door (Ashé)
I wanted you even more (Ashé)
Doing just what we want (Ashé)
Yes it’s you I adore (Ashé)
When you came through the door (Ashé)
I wanted you even more (Ashé)

[Chorus: Pharrell Williams & Beyoncé]
Do you know, that time is moving faster
Do you know, that you are my desire?
Lets just go, on the dancefloor together
And get this real feeling
Lets live our lives cause we all must die

by **Beepee** » Tue Nov 17, 2020 11:28 pm

WORLDVISION 86
Beepeean Televisual Commentary

Intro and Opening Act

Welcome to the musical extravaganza, the denizen of high taste....The WorldVision Song Contest. I am Beepeean televisual royalty, Hugh Jakeman, coming to you live from Mountbatten Arena in Oreo City, Antahbrantahstan.

Tonight, nations from all over the multiverse gather in a musical and visual feast, possibly a family sized bucket or a happy meal...

Now I've had a lovely couple of weeks here in Oreo City, and our hosts tonight will put on quite a show. They call this place the jewel of the tropics and I must say the food has been first class... but you can't find a drop of liquor to wet your tonsils.

The Beepeean entry this year is Birthe Right she'll be performing 18th tonight, thats about 17 hours in to this event. Birthe will be looking to follow the footsteps of Claude Bols who shocked everyone last cycle and win this thing.

There's stiff competition for Birthe this cycle, powerhouses Polkopia, Ertzei Kishim and Kalosia will be looking for revenge, having been pipped at the post by us last time, and Britonisea have returned after a brief absence. Perennial underachievers Nekoni have performed very well in rehearsal this week and naturally you can never discount the Malta-Comino-Gozo-ese entrant.

But keep an eye out for the newer nations who always bring fun and frolicks and, this cycle, and are presenting some of the most daring and competitive entries we've seen for a while.

Our host tonight is Margaret Rumkorem, she's a comic and a presenter, or at least so it says on the prepared notes, and I'm sure, by the end of the night, you will be smitten with her. That, on your screens, isn't her... that is Selina who, unfortunately, is the opening act.

Here, we get a little cultural expose of Oreo City, and she'll be signing "Helpless" which is an apt description for many of the entrants tonight. The lyrics, "trying to escape this hell" are hopefully not foreshadowing this event...

You'll be pleased to hear the this opening act is almost over and the competition is about to begin. I'm not sure exactly what is happening on stage right now, Selina may have been possessed, but im sure it'll turn out all right in the end.

Highly Ranked

Opening the show tonight is Highly Ranked. They'll be represented by Dixie Normous, with the song "Third Time's a Charm". It's a love it or hate it entry, and now may well be the time to put your pets in another room.

---

Well that was Dixie Normous for Highly Ranked. I think possibly she missed a couple of notes but who am I to judge.... I just hope the hosts have some makeup remover handy. Some of the more conservative nations may well take exception to that one, but it'll likely score well with the great unwashed. I'm not sure how you follow that...

Talvezout

But here comes Talvezout. They've hosted this competition 5 times, will this be the first time they win it?

Lady Kim is singing with "Until the End". The lyrics go "No matter what happens in the end, you’ll always be my friend", its the antithesis of what came before. There's also a crowd pleasing mention of the host city. I'm not saying pandering, but here in Beepee we love pandas.

---

Now we know the Talvezians had a break last cycle, as felt they underperformed at WV84, and no-one's ever won from second in the running order, but I think that's got a chance of a top half finish.

Scotatrova

Chimney, no seriously, thats her name, is singing "Distractions" for Scotatrova. This is the unlucky 13th entry for Scotatrova, and I suspect the Scotatrovian songwriters association will be having a conniption as the word 'la' is sung 120 times in this song, and the first time I heard this I thought Ximena had forgotten the lyrics...

---

Well I think that was very good and is bound to get a few points from the international juries. Is it one to watch?

Pemecutan

Up next its Pemecutan.... This is their third entry and clearly they're getting much more comfortable in WorldVision.

Now im sure you'll excuse me but im not even going to try the native pronunciation of this.
Ayu and Gading are performing "Let it Go". ''A sparkling night, it does not lighten up my soul'... so not many laughs, but this is a grand performance with strong staging....

---

The Pemecutan entry there. They seem to be pleased with that performance and rightly so. And its receiving perhaps the warmest applause from the audience so far tonight.

Kyritakia

Song 5 is from Kyritakia, and normally this is where I would start drinking, but as I alluded to earlier the taps are dry Antahbrantahstan much like this entry.

Rhim Flavezztowland

Now, this is Rhim Flavezztowland, a new face on the WorldVision stage with their debut entry "Temptation". Leon Powell kicks off what is sure to be fruitful WorldVision story for Rhim. Apparently Leon is a big deal in his home country and I'm sure he'll win a few more international fans here tonight.

---

Apparently, that song was inspired by an painter. I'm not sure what kind of art they paint but im imagining sweeping landscapes and perhaps a horse... speaking of horses...

Placely Placington

Dave the Living DJ Booth is performing "I Am In Extreme Horrible Agony Please End My Suffering". Dave appears to be a sentient DJ booth and he's following in the well worn footsteps of other Placely entrants. Wait does Dave have feet... I dont know if that's inappropriate.

---

Well that was certainly something! I suspect televisual viewers around the multiverse will connect strongly with those lyrics. Possibly some electro-shock therapy would also help.

Malta Comino Gozo

Last years hosts Malta CG are back again. A strong recent track record winning in 84 and 5th place last time round. Malta are clearly in a golden age. Paloma Fennech sings 'Hero' and she'll be joined on stage with the African Women's Choir.

This entry has a little bit of everything, pyrotechnics, hand clapping and if I'm not mistaken a live human sacrifice. OK i made that last bit up... or did I? Hero for Malta.

---

Well what went big in the hall! And actually showed off the lovely Mountbatten Arena.

The Maltese take this contest very seriously, and I can see that performance gaining points from wide and far. Will Malta win again?

Polkopia

The Polkopians are next up and they're singing in their native language. A bold choice some might say. Rena Lorak has the difficult task of both moving and singing in this performance of 'Dickhaze'. Keep an eye out for the three blouson in the background who are clearly trying to outperform Rena here.

---

I have to say the staging there was very good and we do know the televisual audiences love some glitz.

That gyroscope was also particularly hypnotic. Another strong performance there from the Polkopians who have won this contest more than any other nation with 9 wins.

Ertzei Kishim

Now I don't want to get your hopes up here, but we're already at song 10... Why it has fairly flown by!

Powerhouse extraordinaire Ertzei Kishim are up next. This will be their 32nd performance at Worldvision and have taken home the grand prix on 5 occasions, most recently at WV80, and their certainly trying hard again this cycle.

They finished 3rd overall last cycle and this time they've chosen ISRAA to preform the song "Neon Tigers". Again the lyrics are dark and brooding "Hear the roar inside of my brain, In the jungle monsters are lurking, Don’t let me die alone". Perhaps the WorldVision Songwriters Association should seek professional help.

Anyway here she comes, Xena Warrior Princess for Ertzei Kishim.

---

A strong and passionate performance there from the Kishimi's. And bound to get some points from the whips and chains brigade and a few other nations as well.

Hafämarimët

Hafämarimët are back for their first contest since 82. This year's firebugs are Kolektïv Idïš. They're potentially on some government watch list so I've been careful to avoid them this week.

They're singing "Burn It Down" and it appears to be some form of statement, which as you know always goes down well at WorldVision.

Our little anarchists do perform this very well I think and, well see what you think....
---

Well.... did you like that one? It was visually... intense. Who knows how that will go in the voting. The totalitarian regimes may not go for that one, but it may surprise us.

Crustyland

Newcomers Crustyland are up next. Colin featuring The Urinary Tract & The Yeast Infection are singing this one and I believe the present Mrs Jakeman has a cream for that.

Malta CG's recently discovered little neighbour have obviously been encouraged by their big neighbours success. They're performing "The Seal Song". No not "Kiss From A Rose".

And in a pique of irony they're wheeling out a live bull elephant seal on stage. It's bold but it's not necessarily good, and I suspect PETA will be having a word

---

Apparently, bull elephant seals don't have ears, and I'm willing to bet many of this audience wish they were bull elephant seals right now too.

Actually, this audience applauded that... perhaps out of politeness or perhaps they've just lost the will to live.

Elejamie

Ah it's one of Beepeean's favourite nations Elejamie. The Eljamian entry is "Calling Me Home", because I've a bottle of red waiting for me there. You know you can't get a drop in Antahbrantahstan. And like a good red this song has the kind of warm uplifting lyrics that should see it rise to the top of the Beepeean vote.

---

The lights went out in the middle of that performance and I thought for a second the hosts had forgot to pay the electric bill.

A strong showing there from the Elejamian, they'll no doubt be hoping for a strong showing with the entry.

Saviera
"I Manifest" by Malvina is the Saviera. And I wish I could manifest a bottle of red right now. I'm basically an arid desert right now.

This song goes "be the best you can be", its an uplifting sentiment thats sure to score well with the international juries. I'm not sure about the Angelica Houston moment at the start, but its artistic.

---

That was sparkly. I could almost see the sparkles as she sand each line.

Axuva

Songwriters entering WorldVision, I feel, always need to be careful when choosing a title for their song. Axuva's songwriters have gone with "Are you listening?", which leads to the obvious reply.

Miras Abdullayev is performing for Axuva and this is a sweeping visual melodrama.

---

Well I'm proud to announce that was return of the Mongolian noseflute. Ahhh, its been too long. We love a traditional music instrument in Worldvision and that performance hit all the right notes. Axuva haven't won in 13 previous attempts but I have a sneaking suspicion about that entry.

Waisnor

Steppen is singing 'Navazhdeniye' for plucky Waisnor. The song is about a man who sees a girl and fantasies about her for the rest of his poor pitiful life.

It goes "In dishevelled clothes and with an unwashed head, in general I was clearly not from paradise" its a feeling anyone surviving the CoVID pandemic can clearly attest to.

---
That was a little bleak... but Steppen will step his way into a few votes im sure.

I dont know if you noticed in that performance a park bench featured rather prominently. I'm pretty sure they just stole that from the street.

North Alezia

This is song 17, which means after this it's us. Prepare yourself boys...

But first North Alezia. The Alezian entry last year sank to 14th and they're determined to bounce back with Idresh Noam-Khaled singing "Bevakasha" Idresh is an interwebs socials star, which i dont pretend to know much about.

---
Well that was the North Alezian entry, "You Are Welcome".

I suspect Idresh Noam-Khaled set a few hearts a fluttering there... but I'm sorry to say, ladies and gents, he's a happily married man.

Beepee

Now it's us. Little ole Beepee. Can you believe we won last time round....no, neither can I and I dont expect we'll be anywhere near the top this time, but Birthe Right is back for us and she's a vision of loveliness in mustard.

Now this song is a typical worldvision song… there's a little walking, plenty of elbows and, if I'm not mistaken, an eejit pretending to play the trumpet.

Let's cheer her on in word and gesture.

---

Well, so far it's been a wonderful, wonderful evening. I mean, not musically of course, but in terms of spectacle, and really that's what we're here for isn't it.

Kalosia

Next up its a powerhouse of the WorldVision, Kalosia, with the song "The World Is Dancing".

I won't be dancing to this, I've thrown my back out in a fit over exuberance with the present Mrs Jakeman.... but enjoy.

---

The Kalosians are a proud nation and that entry is their 61st in this competition, but they've only won three times. They did however finish runner up last year... which is why the Beepeean trophy says "I beat Kal".

The lyrics included "I make myself a sweetened espresso", and I'd kill for an espresso martini right about now.

I think that's a strong entry for Kalosia but I've never been good at picking winners.

Carrelie

Our third debutant tonight is Carrelie, and its always nice to see a new nation reach for the stars. Marien Lochnette is singing "Venture".

Now I've pulled this song in the BONC sweepstakes so naturally there's two bob and a Mars bar from the hotel minibar on the line if Carrelie win.

---

Im not sure if that was the lyrics or she forgot the words about three quarters of the way through that performance.

As a debutant, Carrelie might struggle in the jury voting, but its a strong entry and sure to pick up some votes

Mercedini

Mercedini are back after an extended break from WorldVision. The last time they performed was WorldVision 77, and I think this is a very strong entry.

Evangeline Venrahma is singing "The Places We Missed" which is clearly a topical song of the ongoing CoVID crisis. Evangeline is probably one of the best singers in this contest with a strong voice and she belts out the second half of this song.

---

Again I have to commend the staging for this years show, and the Mercedini flags waving proudly.

The audience clearly enjoyed that performance, as did I.

Nekoni

The perennial underperformers Nekoni are up next. I suspect they'll finish 14th. Indeed I'd bet a bottle of red on it.

Now Sámi is singing the Nekenese entry, she's a handsome woman and I think boys you'll be pleasantly pleased. She does appear however to have a bout of weak knee syndrome about half way through this performance. But fear not she'll be alright in the way.

---

I dont know how the Nekenese feel about this entry but I enjoyed that immensely. Nekenese entrants consistently score with the Beepeean juries and this may well extend that scoring streak.

Spiritual Republic of Caryton

Up next is Caryton. They're a sober nation. I haven't been sober in about 26 years.... but tonight might change all that. As usual the Spiritual Republic are saving our souls, one of these we're going to have to be saved as thats a lot of heavy lifting they're doing.

---

Latanya there for Caryton.. I feel cleansed after that. And suddenly very patriotic toward Caryton, praise Jesus.

Achaean Republic

Vania Fernández, former beauty queen, is singing about Trees. I mean there are worse things to sign about.

This performance has strong religious undertones and as a result there's a lot of symbolism in the staging and I'm not quite sure what it's all about... but we are 24 songs in and normally by this point im a wash with wine.

---

The Achaean Republic there with "The Tree", now im not saying Vania's vain but the lyrics went "We were a tree in the midst of nothing, with enormous height and very leafy. It was so beautiful; So beautiful like me."

Now the Achaean Republic have never won WorldVision after 21 attempts... Will this be lucky number 22.

South Alezia

North Alezia's dirty little secret; South Alezia is up next. This cycle a trio of oranges are singing for the South. Not sure what kind, possibly Naval. I dont think they're satsuma, clementines or mandarins....

"Juicy orange,Tasty orange,Pulpy orange,
No one drinks us,What the hell?"

In rehearsal, there was nasty incident at the end and I hope the oranges don't meet the same fate tonight.

---

Oh the humanity!

Antahbrantahstan

Now we move onto the host's entry.... Tike is singing "Phenomenon" and I'm sure the hosts are targeting just me as there's a oversized martini glass ons stage. I hope all the viewers at home are comfortably into their third glass by now.

---

I did worry that song was going to go after the opening couple of lines. But Tike performed that very well. Host nations always provide something special and Antahbrantahstan are no different this cycle.

Tödlichebujoku

Miilimasis Toivonen performs "Coward". Its another dark and brooding song with intensely moving lyrics. "I've got a moment of anger, You speak your piece as a liar
Some fall for it, hook, line, and sinker."

Now Miilimasis, and I dont want to worry you, but in rehearsals he didn't look well rested. It may be because he's been watching this show.

---

The Tödlichebujoku entry there. Trong staging again from that entry and that'll pick up some votes.

Amuaplye
Bleeding Heart are the name of this band. And there's a lot of hair on display here. I was in makeup at the same time as these lads and I do worry there may be a small hole in the ozone layer somewhere around dressing room 4.

Their song is Cabaret, but I don't see Liza Minnelli anywhere and this is more Bob Downe than Bob Fosse. But its still highly enjoyable.

---

Oh isn't that nice... these boys used to play band in their mums garage, and I met one of their mothers the other night... dont tell the present Mrs Jakeman.

Llalta

Llalta won back in WorldVision 82 and they're back this year with "Wish". The performer here is Himiko Arden.

We find ourself without many upbeat moments again this time as Himiko sings "In the arms of night, I screamed for the end to hold me tight, I screamed and screamed again." I find half a bottle of red usually stops the night terrors for me...

So, not a barrel of laughs there but things are looking up for Himiko by the end of this.

---

A good solid effort there from Llalta, which may pick up a number of points from the international juries.

Britonisea

Britonisea return after a one cycle break with their 42nd entry. Taron Woods asks us to "Answer My Prayers". Now Taron is no stranger to the WorldVision stage, he's already won the thing all the way back at 64. And if he does win tonight he'll be the first artist to win twice.

The Britonish delegation have shipped over a massive stage set which really sets of their performance, but im not totally sure how that got through customs.

---

Britonisea have won six times previously and this may be their seventh. It certainly has a good shot in my opinion.

Antenovaria

We're almost done boys... Song 31 is the Antenovaria entry. Its a wip wip wip, but there's not a drip drip drip of red here yet...

Natanya

32 songs in and by now i normally can't see much as I'm on my third bottle. But, I'm sober and I still can't see anything.

Nightom

Nightoms up next and Charlie Brookes is singing "In or Out", its a question often asked of fans of WorldVision. Its a romantic song between Charlie and the backing dancer and who wafts around him.

---

There was a lot of touching of heads in that song. And I do hope there's not a lice infestation in Nightom as a result. Nightomese entry is bound to score well with that performance.

Mr. X

Mister X is up next. Lauren doesnt look like your regular singer, she looks like a mathematical genius to me. This entry has a some exciting choreography and if there not careful they could do themselves a nasty injury. I hope workplace health and safety have approved this.

The song itself is an upbeat bop with camp undertones.

---

A strong outing from the maths teacher Lauren there. And I must commend her on her salsa technique, all it was missing was a cheesy nacho and it would have been perfect.

Ethane

Catherine Larsson is singing crying for Ethane. And the girl could use some waterproof mascara. There's a powerful message behind this song and lots of strong visuals with tears falling from the heavens throughout the performance. Catherine herself is a pert lovely, who does a strip tease half way through this performance. Keep an eye out lads.

---

Ethane there with Crying. The audience gives that polite applause.

Mrs. X

Missus X is next, I know, I know... I've been waiting for it all night too. Rick Leg is back with Unscoop my Poop. We're all aflush for this performance. Rick will be joined onstage by a giant toilet bowl. Honestly, you can't make this stuff up.

Now in rehearsal, Rick's pixelationwasnt quite long enough, so I hope the Antahbrantahstani director has sorted that one out.

Just let this one wash over you.

---

They say accidents happen. And that's a happy accident there.

by **North Alezia** » Fri Nov 20, 2020 12:18 am

IH: And hello ladies and gentlemen, welcome to once again, another edition of the Worldvision Song Contest. Last time we tried we got 14th. But we have the classic North Alezian spirit of crying first, fighting later! Ha.

LM: True true, I believe this time we actually had a chance of atleast doing better than 17th or 14th. I'm feeling optimistic lately.

OPENING ACT

IH: I like this. This song won few editions ago, right?

LM: Yeah. They won when we got second back in the 83rd edition.

IH: For some reason, I still felt bitter that we didn't win.

LM: At least we're runner-ups. That's already marvelous!

IH: Actually, yeah, you're right.

LM: Ahh... The classic Indonesian taste. I love songs like these as well.

1. HIGHLY RANKED

IH: *facepalm* You got to be kidding me.

LM: Why do we start with this. I'm currently starting to lose hope in world peace.

IH: We should've censored this whole thing, I mean, excuse me?! Uh....... Yeah. No. This is not going to win.

LM: I want to cry... There's some effort I would say.

2. TALVEZOUT
wip since Talvezout has not give me a tune to comment on

3. SCOTATROVA

LM: A good song from Scotatrova that can obviously get some Middle Eastern votes here in North Alezia!

IH: I agree. I won't mind this winning. But there's something bothering me. And it's that I feel that this might feel a little bit monotone and boring. And protip, North Alezians love screamy quality songs, just don't go Highly Ranked on us, please.

4. PEMECUTAN

IH: A good song from Pemecutan! I am impressed. Really impressed. Their voices also blend well!

LM: This might push Pemecutan to a fairly good position. Good job! I hope I can listen to more of their songs!

5. KYRITAKIA
wip as I said in Among Us sessions, not enough evidence to comment on.

6. RHIM FLAVEZZTOWLAND

LM: I don't know... The reff fails to hit me strongly especially considering that this type of songs usually brought me to good mood. But this one just... Hard to chew for some reason.

IH: But I can expect this to grow on some people. That's what I'm most optimistic about with this song. Good effort, but it has not hit well with us commentators.

7. PLACELY PLACINGTON

LM: Definitely South Pleaser. And some North pleaser as well! For some reason I like the tune, except for that sudden piano drop tho, but anything else, it's fine.

IH: And we got a falsetto. And there's a lot of abrupt strange surprises but this might do well, even with serious contest standards. The lyrics tho. Still an "ugghhh". And South's gonna claim that Placely Placington copied them or something.

8. MALTA COMINO GOZO

LM: Great lyrics! Beautiful. The music is beautiful as well, I thought that it was lame at the start, but then it climbs up the ladder! Beautiful.

IH: And North Alezians love choirs! GREAT HARMONY! This can get a lot of votes tonight, ladies and gentleman!

9. POLKOPIA

IH: Definitely feels like what Polkopians would send. Really lovely. It might get boring on some parts, but you gotta love the upbeat feel of this song!

LM: The lyrics is very nicely written, as well.

10. ERTZEI KISHIM

LM: I personally love this song. Major levels of quality are shown on this song. It feels dance-y and I love it.

IH: I agree with you, Lil. Only a pinch bit monotonous, Massive amounts of fun and quality time with your friends and family!

11. HAFAMARIMET

IH: Time for the first country that our keyboards can't type, and that's Hafamarimet! I like the fact that there's some Middle Eastern flair to it, but I don't know, it's just not executed very well.

LM: Sadly I have to agree with you. The singer's voice is pretty great, by the way. But sadly this feels like it might be another mediocre result for Hafamarimet. But who knows? Anything can happen.

12. CRUSTYLAND

IH: Crustyland is probably the best comedian out of all comedic countries this edition. They send annoying humour but yet still get a good main singer.

LM: Now that's commitment, and who don't like seals? I'm really asking. I want to visit Crustyland just to see the seals there. The seal noise is pretty annoying but who am I to judge?

13. ELEJAMIE

LM: Great lyrics. Superb writing, and it got the element of surprise!

IH: And it got that classic feel, although I expect more from a country like Elejamie, but this is lovely anyway. However, I kinda fear that this song might be left out by potential voters.

14. SAVIERA
IH: Definitely upbeat. However, I don't know how this will fare. I like the music, but will it be drowned out?

LM: I don't know myself. But good effort from Saviera yet I myself don't know if this has a chance to win.

15. AXUVA

LM: Damn his voice. It's SPECTACULAR. And it would probably get a lot of votes here, especially from Pyalivan voters.

IH: The song may be too slow for some of you. HOWEVER, this is prepared and presented in such an ethnic and beautiful way. And when you get to the end, you get this dramatic finale, which I personally love! Good job, Axuva.

16. WAISNOR

IH: Waisnor shows that it can do songs that people will love.

LM: I agree. I like it, although the rap part kinda turn me off, but it only turn me off just a little bit. Overall, this is what I expected when I heard "Modern Music" and "Waisnor" joined together. Great composition.

17. NORTH ALEZIA

IH: Thank God, Idresh performed well tonight. Such an impressive voice. I like his way of expressing it as well

LM: He is hot, not gonna lie. But I fear that Idresh is going to be drowned out of the competition by the other participants. But we'll see, and we'll pray for the best for him. Thank you, Idresh. You made us proud tonight.

18. BEEPEE

LM: I like this. But I like her entry back in Tiferet better. Maybe it's due to me never listening any song of these kinds before.

IH: Yeah, a small downgrade from 82, but still lovely.

19. KALOSIA
IH: Dayum. Very nice of Kalosia to bring ethnic to the contest! Such variety... And Kalosian sounds sweet in my ears.

LM: I agree, another top 10 content from Kalosia, which is if I'm going to coin the term, one of the big 5 of Worldvision or something.

20. CARRELIE
LM: Great entry from a debuting country! They really know what they're doing, and I'm also a bit confident that they'll get a great start maybe even with a top 10.

IH: Carrelie has a great potential, potentially more than us here. Great song, I hope to get more quality from them.

21. MERCEDINI
IH: Often got confused with Merecendi by North Alezians, here's Mercedini! Love the upbeat aspect here, and great voice!

LM: This song interests me into it. I like the song, but I fear that it might be drowned out, ah never mind.

22. NEKONI
still on la wip

23. CARYTON
LM: Now this is what I think of Caryton! Finally! This is one of the better tries of Caryton. Great voice, and great music. The lyrics are classic Caryton.

IH: This will get a lot of voters in Bristol. And I agree, this is a great song. Very beautiful. And the singer is also pretty beautiful. Might bring the best result for them.

24. ACHAEAN REPUBLIC
IH: I'm reading the lyrics... And this got the enviromental message. I thought it was going to be boring. But obviously-

LM: Achaeans love to surprise us. They won World Hit Festival with a song like this. This might do extremely well, ladies and gentlemen.

25. SOUTH ALEZIA
LM: For international viewers who got into our feed and asking "Why and How South Alezia did that", honestly we from the North Alezian Government don't know as well.

IH: But this song is pretty catchy, it might as well bring South to do well in their standards. But this obviously won't win, except if for some reason that happens.

26. ANTAHBRANTAHSTAN
IH: The host country shows the world how to sing hot. Well now they're the professor in that class.

LM: I agree so much. This is quite modern and quite what I would expect from Antahbrantahstan.

27. TODLICHEBUJOKU
IH: Definitely something that a lot of people can love. There's some screaming here and there, although I don't feel like I insanely like it, unlike previous editions.

LM: I agree. The lyrics are pretty well written, actually. And it's definitely served with love.

28. AMUAPLYE
LM: I personally like how it touched the previous eras, but that's just it. On other aspects, in my opinion this is rather too strange or something.

IH: This is where I disagree with you, Lily. This song is just simply a fusion, nothing is wrong with it. But I do agree that Amuaplye can do a lot better with selecting their songs next time. Some people will eventually like it, but it takes a long time to grow, in my opinion.

29. LLALTA
IH: You really need extreme patience with this one. You get to the good stuff in the end. The start is a bit boring...

LM: This is art, but this art still feels a little bit slow to enjoy. Good effort.

30. BRITONISEA
LM: I like his voice, really attractive as well. And I almost wanted to say that this song is boring, but look at me now feeling dumb realizing that the song's reff is upbeat.

IH: I think every single song here needs patience to be understood. Including our song. The good stuff is on the middle. And after the reff, this song continues to keep the tempo. Great job for a prestigious country like Britonisea.

31. ANTENOVARIA

IH: That's all for now folks! Until Lez has listened to all songs, we can accompany you here with a wip dance!

both: wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip wip

by **Natanya** » Sat Nov 21, 2020 3:15 pm

fat wip and nae nae

by **Nightom** » Sun Nov 22, 2020 7:21 am

#33 NIGHTOM
Charlie Brookes - "In or Out"
Tune : Darin- "Astronaut"
Music: Zade Wilkenbothle, Jordan Pickleheart, Zeke Osterike // Lyrics: Charlie Brookes

It was time for Nightom's golden star to perform on the stage. On the stage, though, he wanted to created a dreamy, almost ethereal ambiance on the stage, which suits the instrumentation pretty well. With the audience clapping as the postcard ended, Charlie Brookes finally got himself into position; one side of the stage - which was smaller than usual Britonish standard. Though, this didn't stop the Nightomese delegation from wanting to go for it stagingwise. As he had begun singing, the camera slowly moved out from his face and as he sang the words, "I noticed you", he pointed his hand towards the camera. During the song, Charlie gently swayed his head from side to side, closing his eyes sometimes to try to find, deep down, the emotions he had once felt that inspired the lyrics in this song.

Remember the first time -
That you noticed me and I noticed you and
Oh time stopped between us, no, never had I felt that before
I wasn't sure that your...feelings were mutual, but there was
A sign that made me know that you were mine

(Are you) in with me or are you out?
(Join me) 'Cuz I want you here, no doubt

There was another close-up shot of him as he sang the lyrics "that you were mine", with him placing his hand on his chest, cheekily smiling as he said these lyrics. As we moved onto the pre-chorus of the song, the camera quickly cut to the dancer as the backing singers could be heard for the first time. I would cut back to a now walking Charlie who went to the centre of the main stage, with a moving shot capturing this. The shot to a close up of Charlie, trailing up the side of his body for the same time as the shot on the dancer, as the backing singers came in.

Charlie, with his free arm, widened it out as he said the first two lines in the same position. The dancer slightly lifted up the back of his foot, still acting shy at Charlie serenading him. As he sang the words, "I pull you in", he did a gestured with his hand (kind of like grabbing his shirt) with the two of them moving closer together suddenly, though as Charlie sang "then you push out", both him and the dancer pivoted, now facing between us. There was a shot that joined Charlie from the position that he was, now facing back-to-back with the dancer on the line "There's one question that I have to ask".

You’re close to me yet you’re so far,
Why can’t I close the space between us?
I pull you in, then you push out,
There’s one question that I have to ask,
Boy, are you in or out?
Boy, are you in or out?
Boy, are you in or out?

As he sang the first of the line which makes up the name of the song, the brightness of the lights behind him started to dim, and the dancer walked off into the distance with the audience being able to see this out of focus over Charlie's shoulder, unbeknownst to him. He continued singing "Boy, are you in or out?" the few times that he did, with him now swaying with a bit more vigour towards the camera. Charlie looked as though he was slightly getting happy before he turned around, probably expecting for the dancer to still be behind him. But during the small interlude into the next verse of the song, Charlie turned around to see Kai, the dancer, now walking off into the distance down one side of the catwalk which went out into the audience.

During the quiet second, you could hear the audience slightly cheer for Charlie, with some members even "awing" for him as a disappointed expression on his face grew. Though as the music of the second verse continued, Charlie placed the microphone back up to his mouth before beginning to walk in the same direction as Kai, with the camera around the circumference of the stage following his movement across.

Tell me the problem,
One minute you are hot, then you're cold
Do you want me? 'Cuz it's no from what I can see.
Give me a reason so I can put my mind at ease,
Should we move slower? I'll do anything you want.

(Are you) in with me or are you out?
(Join me) 'Cuz I want you here, no doubt

The backing singers came in once again, but this time Charlie sang his part with a bit much gusto, perhaps a bit more desperately than he did the first time, hoping that he would receive a much more positive response from the dancer than he did before. As the chorus came back in once again, the blue/orange colour themes slowly went away, with the whole stage now turning into a dark, sunset colour with the stars now reappearing on the holograms behind him. As he sang the lyrics, "You're close to me yet you're so far", Charlie slowly pulled spun the dancer around, before the two were now circling one another, never losing eye contact with one another, making what was happening on the stage look like a realistic 'argument' between a couple. The pair did the same movements as they did the first time around when Charlie sang the line, "I pull you in, then you push out", but instead of walking away at the end of the chorus, the two walked towards each other, laying their foreheads against each other, with an extreme close up of their lips touching either of the microphone as Charlie sang the refrain.

You’re close to me yet you’re so far,
Why can’t I close the space between us?
I pull you in, then you push out,
There’s one question that I have to ask,
Boy, are you in or out?
Boy, are you in or out?
Boy, are you in or out?
Boy, are you in or out?
Boy, are you in or out?

There was a wide shot of the whole of the arena, with the stage glistening in the back and the pair being lit up in spotlights in front of the setting sun behind them. As Charlie continued to repeat the lyrics that he was singing, the pair started to now move further and further away, though never losing eye contact with one another until the bridge section.

Got my head spinning, I can’t think straight,
And I hate the man I’ve become,
I’m on eggshells with the one I love.
Tell me now, dear, am I wasting time?
Or am I just blind to the signs?
I’ll let you go if you don’t want me...

During the final chorus of the song, it had now reached 'night-time' on the stage, with loads of different colour lasers from random sections of the stage now pointing out over the audience.

You’re close to me yet you’re so far,
Why can’t I close the space between us?
I pull you in, then you push out,
There’s one question that I have to ask,
So are you in or out?
So are you in or out?
So are you in or out?
So are you in or out?

For the final "So are in you in or out", there was a shot which was focused on Charlie looking at the camera. Charlie thanked the audience and left the stage.

by **Britonisea** » Sun Nov 22, 2020 9:14 am

BITC Presents;
Live Coverage of the 86th Edition of the WorldVision Song Contest in Oreo City, Antahbrantahstan
Your commentators for the evening are Rigas Jengiz and Cole Heiman.
Broadcast started 19:58 GMT.

Rigas Jengiz: Hello everybody and welcome to the live broadcast of the 86th WorldVision Song Contest!
Cole Heiman: Indeed welcome back! We had a one-edition break from the main BITC channel but finally we are here and Britonisea is actually participating!
Rigas Jengiz: Some very interesting acts this time around so I'm looking forward to getting stuck right in and going through all the acts.
Cole Heiman: We've got quite a few acts tonight, over thirty! I think WorldVision is definitely in a comfortable state these days, gone are the days of only 17 nations participating.
Rigas Jengiz: Yeah that's always good to see - it makes our job a lot harder though, especially with the fairly recent introduction of the televote and jury split.
Cole Heiman: Hmm, it has given us some different results we're not quite used to! On the ABEN end, since it's introduction, we have sent seven songs and only one has reached the top 5 which is a lot lower than in other decades.
Rigas Jengiz: Well, some WorldVision fans have noticed a shift at the contest in terms of which types of songs are popular - what nations do well? What do you think about this theory?
Cole Heiman: I'm not too sure, I think some of the big hitters recently haven't been doing as well as they are expected to but I feel as though that's because of the huge amount of pressure they have. Some of them are doing just fine. It's good to see different nations doing well, I suppose, but I know what the Britonish public are like.
Rigas Jengiz: Indeed. This edition we have Taron Woods representing us - he is of course the winner of the 64th WorldVision Song Contest so it will be interesting to see how he does with the voting this edition.
Cole Heiman: I hope he takes us back right to the top! WorldVision 81 seems like a lifetime away. Anywho the show is getting started...

00. Intro & Opening Act
Rigas Jengiz: Now after this intro we are heading to an orchestral version of the winner of song that won...two years ago! I think so because didn't Beepee win the edition before?
Cole Heiman: I don't remember, I was put on furlough last edition so I didn't watch the contest but I do think Antahbrantahstan won before then. I think they received an ABEN twelve points - it's a fantastic song to be honest.
Rigas Jengiz: It's so dramatic, this song.
Cole Heiman: It is, but I quite like it. This of course isn't the first time that Antahbrantahstan hosted the WorldVision Song Contest - they last hosted 40 editions ago during the 46th WorldVision Song Contest.
Rigas Jengiz: Quite a cursed edition in the eyes of the Britonish but we're hoping we do much better here.
Cole Heiman: After this chat, it's time for the first nation of the evening Highly Ranked.

01. Highly Ranked
Cole Heiman: Well that was an utter waste of our times. Seriously though, why do WorldVision still allow songs like this?
Rigas Jengiz: It isn't even a song, like it's some random talking. I don't think this is worth anybody's points.
Cole Heiman: But you know, this is WorldVision so they will be getting at least 20-30 points somehow.
Rigas Jengiz: There are some unserious voters here at the WorldVision Song Contest, we know.
Cole Heiman: And if you're one of those unserious voters, you can vote for Highly Ranked via the app or 0123 4567 8901.
Rigas Jengiz: I love the number you call to vote for your favourite act - it's so easy to remember!
Cole Heiman: Me too, next up is Scotatrova.

03. Scotatrova
Rigas Jengiz: I like Scotatrova at the WorldVision Song Contest but they've got a dilemma that they have got to sort out.
Cole Heiman: And what is that dilemma?
Rigas Jengiz: I think that they're very true to their music style, which is always a good thing - that's what the WorldVision Song Contest is all about!
Cole Heiman: However...
Rigas Jengiz: However the songs that they send that is true to their music style are quite safe, respectable and middle of the road.
Cole Heiman: Right....
Rigas Jengiz: Songs that are divisive will get points, songs that are favoured my many will get points but if a song is alright then it'll just stay mid-table. I feel like thats worse than flopping magnificently or doing very well. Scotatrova can be compared to Estogium in this regard.
Cole Heiman: So what do you suggest?
Rigas Jengiz: I suggest a complete change of tactics. This song is okay as well, maybe this is their way of changing up the game but I'm not too sure how much this will translate into more points. But as I said I do like Scotatrova at the contest, and if you do too call 0123 4567 8903.
Cole Heiman: Next up is....Pemecutan!

04. Pemecutan
Cole Heiman: This sounds like that one song out of Estogium a few editions ago and that came top 10! I think. I don't think we were participating then...
Rigas Jengiz: What do you think about this song?
Cole Heiman: It's okay. It's a bit sad but sometimes we need a sad song or two. I think this is very much Pemecutan's style at the WorldVision Song Contest - to be honest, let's extend that to all song contests.
Rigas Jengiz: Do you think they'll do good this edition?
Cole Heiman: Well, they can't do much worse than they did last edition so I think they'll do just fine this edition. I think they fit the mould of the World Hit Festival more than WorldVision but similar to Scotatrova, at least they're sticking to their style of music.
Rigas Jengiz: Yes, I feel that. If you'd like to vote for Pemecutan, it's 0123 4567 8904.
Cole Heiman: Righ up next is Rhiz...Rhim Flavour town!
Rigas Jengiz: Rhim Flavezz-tow-land, they're new.
Cole Heiman: I see, I see...

05. Talvezout

06. Rhim Flavezztowland
Rigas Jengiz: This is fun, isn't it? Out of the songs that we've heard so far, I think that this is the best one, what do you say??
Cole Heiman: Well their song might be brill but if nothing is happening on the stage that makes the performance a tad boring, no?
Rigas Jengiz: I suppose so, it's about finding that perfect balance, isn't it?
Cole Heiman: But of course, I must admit that I did dance a tiny bit to this song so that's always a good thing. It wakes the audience up a bit after the past few songs which is lovely.
Rigas Jengiz: I hope they improve on the staging in the future as I believe that this nation is one to look out for...maybe in the 90s if they are still around.
Cole Heiman: Give them a reason to stay Britonisea, call 0123 4567 8906 if you wanna vote for them or vote via the app.
Rigas Jengiz: Up next is Placey Placington.

07. Placey Placington
Cole Heiman: I think some people find this sort of humour pretty funny, which I suppose is why Placey Placington is still participating in the contest.
Rigas Jengiz: It certainly has been a very interesting start to the WorldVision Song Contest - I would definitely question the quality of some of these songs so far.
Cole Heiman: I don't really have much else to say about this song in all honesty. I doubt that it will be getting any points from us, but I'm sure certain nations will be voting for them.
Rigas Jengiz: Oh tell me who?
Cole Heiman: Oh I couldn't possibly say live on television, I might get reprimanded. A strike.
Rigas Jengiz: The rules are so very strict. If you'd like to vote for Placey Placington, call 0123 4567 8907 or don't.
Cole Heiman: Up next is Malta Comino Gozo - they've won fairly recently.

08. Malta Comino Gozo
Cole Heiman: Well this woman has already represented Malta Comino Gozo a few editions ago where she came 5th place - do you think she will do better here in Antahbrantahstan?
Rigas Jengiz: It's a good song - I prefer this to a few songs that they've sent in the past, I can definitely say that.
Cole Heiman: Yes, I think it is a bit better than some of their past entries. I wish this song had a bit more behind it, though.
Rigas Jengiz: How do you mean?
Cole Heiman: Just in terms of instrumentation, I think it needs more of an oomph.
Rigas Jengiz: I love how it has a choir feel to it at the end - I think that's the oomph, this will definitely go head to head with Britonisea who has that in their song.
Cole Heiman: If you'd like to vote for Malta Comino Gozo, call 0123 4567 8908.
Rigas Jengiz: Time for the powerhouses, it's now time for Polkopia!

09. Polkopia
Rigas Jengiz: This sounds like something that Polkopia would send and I think it's alright. I think their national final had some other songs that I preferred. Yes, I actually decided to watch Polkopian television!
Cole Heiman: Mmmmm good for you! Maybe I should give it a try next edition. Yeah, this song - compared to their last - is just okay, you know? It will give them another respectable score but I'm still raving about their past song.
Rigas Jengiz: I thought you didn't watch the contest last edition?
Cole Heiman: Well that's the thing, I didn't but Polkopia's song still made it's way to me and I really liked it.
Rigas Jengiz: Saucy! Well, good on Polkopia. I wish them good luck. If you'd like to vote for Polkopia, please call 0123 4567 8909. It is now time for Ertzei Kishim.

10. Ertzei Kishim
Cole Heiman: This sounded rather similar to the Polkopian entry. I think it'll be a matter of choosing which out of the two you prefer more. Eventhough I know you can vote more than once, these two songs sounded like one.
Rigas Jengiz: However this song is a lot faster and dancy! I really like the Ertzei Kishim efforts this edition and it's the first song to have me properly dancing since Rhim Flavezztowland.
Cole Heiman: I suppose so, I think the choruses are what makes the song real good! The lyrics are pretty good too, so all is looking well for Ertzei Kishim in my opinion!
Rigas Jengiz: If you'd like to vote for Ertzei Kishim, please call 0123 4567 8910 or you can vote via the app.
Cole Heiman: Right, next up is Hafämarimët - I don't know how to pronounce that but...I assume I pronounced that right.

11. Hafämarimët
Rigas Jengiz: The start of the song really, really scared me - I didn't really like that.
Cole Heiman: Though, I actually liked the song. It had a bit of an oldtimers feel about it, sure, but it was pretty good.
Rigas Jengiz: I am so sorry Cole, but I found it a bit repetitive - I dunno.
Cole Heiman: The staging and all of the craziness of the dancing was something I actually particularly enjoyed watching though.
Rigas Jengiz: If anything it was kinda funny. Call 0123 4567 8910 if you'd like to vote for this country!
Cole Heiman: Up next is some country called Crustyland!

12. Crustyland
Cole Heiman: Why do I bother? That song was just...no.
Rigas Jengiz: Oh, I didn't know seals were just that ugly! I really hate seals the hell. I think Crustyland has an animal welfare issue to be honest.
Cole Heiman: Please don't let me call the RSPCA to get them off the stage with immediate effect!
Rigas Jengiz: I am not sure Crustyland will be receiving any of our points, but I don't think this was the worst entry of the evening so far so I doubt they will finish last.
Cole Heiman: That's so unfortunate. Call 0123 4567 8911 for Crustyland. Up next is Elejamie.

13 Elejamie
Rigas Jengiz: Oh this was a good one, what do you think?
Cole Heiman: Well it's nice to hear something that sounds modern from them. They might even get some points from us this time around.
Rigas Jengiz: Mm, the Elejamie efforts aren't usually songs we appreciate, are they?
Cole Heiman: Nope! Maybe it was their national final that made them see the light. I know Britonisea voted in that.
Rigas Jengiz: Oh did they? Interesting.
Cole Heiman: Indeed. I think this song placed first in the Britonish Jury...maybe it didn't, I don't remember to be honest but at least they sent something likeable this time.
Rigas Jengiz: At least they did. Call 0123 4567 8912 for Elejamie or vote via the app.

14. Saviera
Cole Heiman: Aw this song was cute, wasn't it with some interesting staging.
Rigas Jengiz: At least they're trying this time around, it's not as if we get that energy from Saviera all the time, innit?
Cole Heiman: I do think the song plods on a bit, like...
Rigas Jengiz: Yeah, after a while you're a bit like...okay I'm ready for the next song haha. But that doesn't mean this song isn't one of the better ones. Saviera should do well.
Cole Heiman: Yeah, indeed. 0123 4567 8914 if you want to vote for them. Right up next is Axuva - they're returning!

15. Axuva
Cole Heiman: I think that this is one of Axuva's better songs to the WorldVision Song Contest but...but...I am not sure whether I like it particularly.
Rigas Jengiz: Without a doubt this is one of Axuva's better songs and if they receive the same results as they once did then that's a travesty! Why aren't you a fan of this - too ballady?
Cole Heiman: Yes, it's a bit too ballady for me, I suppose. I like his voice and how dramatic the song is but it's a bit too thin in texture for me. I want more, more!
Rigas Jengiz: Nations like Pemecutan might like this so I think they've got support. Not sure whether ABEN will vote for them but we will have to find out.
Cole Heiman: Boy am I looking forward to the voting segment. If you would like to vote Axuva, please call 0123 4567 8915.
Rigas Jengiz: It is Waisnor next!

16. Waisnor
Rigas Jengiz: Waisnor is going for something different this edition, perhaps going for something that would get them some more points.
Cole Heiman: I felt like in the past, Waisnor wasn't sending the right kind of songs to the contest that would get them anywhere but it seems as though they've learnt from their mistakes.
Rigas Jengiz: Yes they have! I would pick up my phone to vote for these lot. Well done to them.
Cole Heiman: Don't get me wrong, Waisnor still has some way to go before they're getting many 12-10 points in one edition, but they're slowly getting there.
Rigas Jengiz: Yah! If you'd like to vote for Waisnor, please pick up the phone and dial 0123 4567 8916.

17. North Alezia
Cole Heiman: Now, this song wasn't expected to win their National Final, I think. Though, Britonisea sent a jury to their National Final and suddenly, the fact that they really liked this entry helped propel it straight to number one.
Rigas Jengiz: Well good because I really like this song, actually. It's simple but definitely better than some of their past entries - I could get really behind this.
Cole Heiman: He's also really handsome, bless him. Yeah, I am sure he will do much better this edition than how North Alezia done last edition.
Rigas Jengiz: You would hope so.
Cole Heiman: If you'd like to vote for North Alezia, please call 0123 4567 8917.
Rigas Jengiz: Up next is Beepee sending some middle aged woman, though knowing people from Beepee, she's probably only 21.

18. Beepee
Rigas Jengiz: Now...when Beepee do send songs that are up to date and poppy, Britonisea will lap it up.
Cole Heiman: But this isn't it, is it? I feel like this reminds me of their past WorldVision song - which ended up winning. It's not really the style of Britonisea or the rest of the ABEN bloc really so I'm not sure this will do very well on our end.
Rigas Jengiz: Which is unfortunate because we love Beepee in Britonisea, don't we?
Cole Heiman: Oh we absolutely do!
Rigas Jengiz: If you'd like to vote for Beepee regardless, call 0123 4567 8918 my lovelies.
Cole Heiman: We're nearly in the 20s wow! Up next is Kalosia - they nearly won last edition but were stopped by Beepee!
Rigas Jengiz: And they're performing next to each other here? Lol how funny.

19. Kalosia
Cole Heiman: So they had a national final, a fairly large national final, to decide that this would represent them here.
Rigas Jengiz: It seems so. This song is alright, to be honest. The "hoj" parts make me feel a tad uncomfortable, I cannot lie to you.
Cole Heiman: I do wonder who will be voting for this entry, I think Britonisea actually might hand Kalosia some points this edition, I dunno.
Rigas Jengiz: Well Britonisea usually does so I wouldn't be surprised. The song isn't really for me personally but I can understand why peolpe might like it.
Cole Heiman: Sure, yeah. If you'd like to vote for Kalosia, please call 0123 4567 8919! You can vote on the app too.
Rigas Jengiz: Yep, you can. Next on the stage is Carrelie - a new nation!

20. Carrelie
Cole Heiman: Aw this was a nice song, but I repeat the sentiments I made about the Savieran entry, it does plod on a bit you know. It's one of the pleasant entries of the song contest.
Rigas Jengiz: Oh yes, I can see the similarities with Saviera and this song, to be honest. This is definitely pleasant, dare I say middle of the road. It's alright, I'm sure it'll get a fair few points and for a first effort, it's pretty good.
Cole Heiman: It's true, it's much better than our first go. I like the bridge section, that was real good.
Rigas Jengiz: If you'd like to vote for Carrelie, please call 0123 4567 8920 or vote via the app.
Cole Heiman: Yes! Our southern friends are back - it's Mercedini!

21. Mercedini
Rigas Jengiz: Ahhh, I like this! This is very Mercedini, isn't it? I've missed them at the contest, always sending good entries.
Cole Heiman: Yes, this was good, wasn't it? Compared to the songs that we have heard this edition, I think that this has a real shot of doing really well, what do you think?
Rigas Jengiz: Left handside, yes. Top 10, perhaps. I think this is a good entry to return with.
Cole Heiman: No doubt this will get some points from Britonisea or Nightom. Very good.
Rigas Jengiz: And if you want to contribute to that, call 0123 4567 8921.
Cole Heiman: Next up is Nekoni!

22. Nekoni

23. Caryton

24. Achaean Republic
Cole Heiman: Well this is different from Achaean Republic isn't it? It's slower..... I'm not sure what to think about it.
Rigas Jengiz: I love a good ballad, it's not something I would expect from Achaean Republic...at the WorldVision Song Contest. I hope they have success with this song, though.
Cole Heiman: I hope so too. I've made my mind up, it's a good song - it's sweet. I really like it. Yes.
Rigas Jengiz: The staging for Achaean Republic is as good as ever which is great. I'm interested in finding out where they place in the end.
Cole Heiman: If you'd like to vote for Achaean Republic, please call 0123 4567 8924.

25. South Alezia
Cole Heiman: So you're probably wondering how oranges can sing? Well don't ask me!
Rigas Jengiz: South Alezia is probably the weirdest nation to participate at the WorldVision Song Contest.
Cole Heiman: The way this song isn't even bad, like...wew.
Rigas Jengiz: That's the thing, I actually enjoyed it! Haha. Call 0123 4567 8925 to vote for South Alezia.
Cole Heiman: Following them is Antahbrantahstan - that can't be good for South Alezia!

26. Antahbrantahstan

27. Todlichebujoku

28. Amuaplye
Rigas Jengiz: Well this wasn't too bad, was it? It wasn't really my type of music but I can see the appeal - this would be a favourite in some nations, I think.
Cole Heiman: Yeah, I can't say that it'll go down a storm here in Britonisea but it should do pretty well tonight.
Rigas Jengiz: I don't know what else to say so if you at home would like to vote for Amuaplye, call 0123 4567 8928.
Cole Heiman: Who knows, they might actually sneak into our top 10. You can also vote via the app.
Rigas Jengiz: up next is.........Llalta!

29. Llalta

30. Britonisea
Cole Heiman: This is the longest we have ever waited for Britonisea to perform - they've never performed later than position 27. What do you think of the entry, Rigas?
Rigas Jengiz: Classic Taron Woods, it's a great song and it definitely reminds me of his 64th WorldVision entry - which by the way he wrote himself at the time. I think that this song is something that us Britons can be really proud of.
Cole Heiman: This is also pretty similar to the song that Britonisea sent before they took a break last edition and they did get top 10 so I'm hoping that that is nothing but good news for us. I think Taron will make us really proud in the scoring.
Rigas Jengiz: He is also so hot, isn't he?
Cole Heiman: Oh we love Taron haha.

31. Antenovaria

32. Natanya

33. Nightom
Cole Heiman: Well this song represented them at the World Hit Festival and they qualified from their semi of what, 15 or 16 and came 4th in that Semi. Though, in the Grand Final they came 15th...16th...something not too great.
Rigas Jengiz: Nightom has a habit of sending their World Hit songs to the WorldVision Song Contest as they believe something went wrong in the scoring at the Festival...In this case, it did! Nightom deserved a lot more.
Cole Heiman: Yes they did. Nightom did very well last edition in WorldVision - they came 6th place like wow!
Rigas Jengiz: I know, I would associate Nightom with such good results.

by **Mister X** » Mon Nov 23, 2020 6:10 am

34 MISTER X

Lauren - "Forevermore"
Tune: Kylie Minogue - "Better The Devil You Know"

Lauren is making her return to the WorldVision Song Contest. She's a little bit older than she tries to pass herself off as, although she is still stunningly sexy and gorgeous. As a result, she has come out tonight in a two-piece neo-bikini, with lots of fringing and in very bright colours. She's had her hair trimmed back into a pixie cut, and wears a headset microphone. She is joined on stage by gorgeous, topless (or open-shirted) men. This song is a return to basics for MRX Television, by which they mean it's camp as Christmas and is disco.

In the introductory bars, everyone stands dead still as the lights slowly fade in half-light.

Together forevermore...
Together forevermore...
(Ohhhhhh....)

And as the beat kicks in they all start salsa dancing, and the lights start being gloriously old-fashioned, moving around in circles and in very bright colours - orange, blue, yellow - with overenthusiastic camera angles that are slightly too fast to actually understand what's going on with random crash zooms and things. It's gloriously old-fashioned. Lauren, front and centre, is being very sexy, and pawing all over some of her dancers.

Together forevermore...
Together forevermore...

As the verse begins, the cameras become slightly more sensible, but Lauren continues to be sexy and seductive in the middle of the stage, but now with her attentions focused on the camera, singing into it, almost inviting you into her domain.

(Ohhhhhh....)
I wanna show you my love
All day and all night long
So if you love me, then please
Believe me when I say
I'm doing it my own way...

All the dancers jump up on the word "stay" and the camera and lighting return to their over-the-top fake enthusiasms. The dancing continues with Lauren being increasingly seductive, but in a sexy rather than a weird way.

If you stay, if you go
There is one thing you should know
And wherever you go
We're together forevermore (together forevermore)

Back to the verse now and Lauren is less forceful this time, catching the camera's eye and beckoning it towards her. A man with a handheld camera comes onto the stage and shoots everyone with far too much movement and from far too low an angle. Like the early 2000s, almost.

(Ohhhhhh....)
My baby, I am your destiny
It's like that film I've seen
We're meant to be, you and me
Baby, can't you see
It is just you and me...

On the chorus, the dancing is choreographed like an action set piece, with all of the dancers spread equidistantly and all in perfect synchronisation with each other, with Lauren included. Spins, tricks, flicks, the full shebang.

If you stay, if you go
There is one thing you should know
And wherever you go
We're together forevermore (together forevermore)
If you stay, if you go
There is one thing you should know
And wherever you go
We're together forevermore (together forevermore)

For the bridge section, everything calms down a little bit. Lauren, whilst singing, dances the salsa with Jason, one of the dancers. It's very seductive, but all the correct salsa techniques are used.

(Ohhhhhh....)
All day and night
All day and all night long
All day and night
All day and all night long
I wanna show you my love
All day and all night long
So if you love me, then please
Believe me when I say
I'm doing it my own way

For the final chorus, Lauren is lifted high in the air and passed around like a parcel between the dancers, being put down and doing a salsa move with each one. She's very light so this isn't difficult.

If you stay, if you go
There is one thing you should know
And wherever you go
We're together forevermore (together forevermore)
If you stay, if you go
There is one thing you should know
And wherever you go
We're together forevermore (together forevermore)
If you stay, if you go
There is one thing you should know
And wherever you go
We're together forevermore (together forevermore)

Unfortunately everyone gets slightly carried away and the music, camera, and lights fade out before the audience at home can get bored.

by **Ethane** » Mon Nov 23, 2020 6:54 am

Ethane | C2H6 | Crying by Catherine Larsson

To the tune of Bishop Briggs - Higher.

An image of Catherine Larsson once she has had the makeup and crying effects smeared on to her face by the backing singers.

Background

Catherine Larsson is an up-and-coming pop artist in Ethane and other areas within Esportiva and the surrounding regions. Inspired by her childhood and previous relationships, Catherine has a heart-felt desire to be an inspirational and motivational figure within the pop world. She is one of those artists who is looking to 'break the mould' of classic pop stereotypes, setting out to be a new kind of 'pop artist' and almost revolutionise the genre. To the extent that she has succeeded at that or will succeed at that isn't a source of concern. Whatever she does in that regard, she has developed into a mature, popular artist who has taken the next step and is now representing Ethane at the WorldVision Song Contest - one of the multiverse's most popular song competitions, and a great way to make herself known multiversally.

This song is quite close to her because she has a brother who she really struggles to communicate with and chat with because he just refuses to open up to her and express his emotions to her. She's always wanted to be there for him, a confidante of sorts, but they just don't seem to have that relationship, and she feels bad because of it. There is a lot of stigma around men and mental health, about men being open and honest about their emotions. A lot of that is to do with the expectations of masculinity that are placed on men and boys from a young age - the idea that men have to be strong, tough, and never show emotions. That context makes it difficult for men to show emotions. Catherine sees that in her brother, and also in the culture around her - the way her parents treated her and her brother differently when it came to handling their emotions and feelings. Catherine saw the retreat from emotions that her brother underwent as he entered mainstream society, hiding them away because that was what was normal to do, and the best way of getting ahead in the modern world. Emotions just held you back.

Catherine also recognises that she builds into that culture with the way she approaches the world. But she wants that to change. In this song, reflecting upon the expression of emotions, particularly surrounding crying, Catherine is trying to get the message out to everyone - both women and men - that it is okay to be emotional, it is okay to feel sad and happy, it is okay to be open and honest to other people about these emotions because that's what friends and family are for - to be there for you and support you, no matter what you are going through and no matter what you are feeling. It's a message to wider society that toxic masculinity is not okay and needs to be dismantled. The idea that we shouldn't be emotional, that we should keep our emotions and feelings hidden, is harmful. But it's also a message directed straight at her brother: That I'm here for you, that you can talk to me about anything, not to keep your feelings hidden away from me. The message to her brother is: it is okay to cry.

The Performance

The stage is set. White lights shone in clusters around the stage. There were three backing singers, all together in a row, slightly angled from the audience. They were each wearing different clothes. The female on the left was wearing an all-black outfit, with a flowing black dress, long black socks, and a black jacket. The essence of the clothing was the same for all three, but the middle backing singer had grey clothing, and the backing singer on the right had all-white clothing. There was a spotlight shining on each of them, as well as two white lights that crossed over in front of them. They were slightly raised up on a pedestal. Catherine, the main performer, was stood centre-stage, on a slightly raised platform, microphone in her right hand. She was wearing a plain white shirt, and a plain black pair of trousers. But the clothing was clearly baggy – she was undoubtedly wearing something underneath that would be revealed later in the performance.

At the start of the performance, the white lights projecting up at the ceiling dip down, pointing towards the stage. Spotlights and beams of white light are dotted all over the stage. A screen at the back of the stage lights up, showing computer-generated face – emotionlessly looking out across the stage and across the audience. As Catherine starts singing, a spotlight beams down straight onto her, lighting her up even more beyond the lighting the ambient stage lights provided. She looks straight out at the audience as the camera swivels round to her face from her left side.

Crying, the sound of pain and joy,
Of Helen and of Troy,
Crying, crying.

Catherine steps forward off the platform towards the front of the stage and the audience. The camera backs up a bit as she moves forward, following her gaze as she scans the crowd. She moves in such a way as if to be trying to hide from something. She sometimes covers her face, sometimes turns away from the audience briefly. She reaches the front of the stage and stretches her hand out towards the audience, before spinning so her back is towards the audience. She looks up towards the screen, which the emotionless face is projected on to. It looks like the ai-generated face is trying to hold in emotions but doing it badly. It wants to cry, but it is bottling it in. The backing singers are swaying side to side and gently dancing in a rhythmic pattern, while trying to keep attention deflected from themselves. The camera initially follows Catherine before switching to a view of the whole stage, showing Catherine’s back turned to the camera and the face on the screen at the back of the stage. When the backing singers briefly intervene, the camera quickly cuts to them before cutting back again.

The way that I try to escape
the emotions that life throws my way,
It causes too much pain (it does).
My happiness, I hate to smile,
All things start to hurt after a while,
There is no paradise.

Catherine turns back towards the audience and points out across them as she sings the pre-chorus, a certain level of energy reinvested into her performance that appeared to be slightly lacking in the verse. She starts moving about, slightly jumping up and down while shifting left to right, as if she is hyping herself up for the chorus. As she comes to the end of the pre-chorus, she crouches down and turns towards the backing singers who have cleared some space between the microphones so that there is nothing between them. One of them appears to have something on their fingers, but it is not clear what it is. The face on the screen at the back of the stage is now showing some tears streaming down, but only very mildly. The camera switches from the stage view to a view of the audience briefly engaging with the song, before switching back to Catherine as she shifts around and then crouches down, when the camera shifts to a view of her looking over towards the backing singers.

Yet so I’m told,
That feelings are what make us human.
Make you feel young.
And lose control,
Even though you’ll reach your highs and lows,
You’ll feel like dying, and feel like flying.

The staging erupts with a mixture of yellow and blue lights, reflecting the oppositional dynamics of the two projected emotions in this song. At the same time, the face on the screen at the back appears to start full-on crying, with it appearing at times if it is crying out of sadness, and at times seeming as if it is crying out of joy – it keeps erratically changing between the two. The rest of the screen not covered by the face projects a mixture of blue and yellow teardrops, which are flowing down the screen, appearing at the top of the screen, and disappearing at the bottom, like a flow of tears. As Catherine starts singing, she briefly turns to look at the audience in her crouching position before she leaps up and runs at the backing singers. She jumps into their arms, and they catch her in a trust-fall kind of situation, and she is completely hidden from view briefly in amongst the backing singers. When she gets up again a couple of seconds later, she has black smears down her face as if she has been crying and her makeup has run or something. The camera homes in on this with a close-up of her face, which has fake teardrops on it and her eyes glistening as she sings. She walks back towards the front of the stage and looks out towards the audience again.

Crying, the sound of pain and joy,
Of Helen and of Troy,
Crying, crying.
Crying, emotional reprieve,
At birth and when I grieve,
Crying, crying, ooh.

Crying, crying, ooh.
Crying, crying, ooh.

The blue and yellow lights dim but do not completely turn off, maintaining a light ambience like that of the chorus, but without the same intensity. The backing dancers get back into their original positions behind the microphones, with the camera occasionally cutting to them when they sing. The face on the screen at the back is still crying lightly with a mixture of yellow and blue tears, but the other yellow and blue tears that were dripping down the rest of the screen have faded away. Catherine sits down at the edge of the stage, in the centre. She seems to have lost a lot of her energy and intensity again and is singing personally with the chorus. The camera reflects this personal level of performance by closing in on a shot of her face, with her eventually singing directly into it.

With diamond wings I start to fall,
Too heavy, I can’t control them all,
My feelings are too overwhelming (they are).
And when my burden is light,
I want to turn around and fight,
Gun to the head, all my joy dead.

As Catherine starts to sing the second pre-chorus, she stands up and turns 90 degrees to face towards the left side of the stage, with the audience to her right. They get a side-on view of her face, and the camera does as well – it maintains this position for a couple of seconds before spinning around the back of her to capture the left side of her face, without showing her whole face in one shot. She walks forward slightly as she comes towards the end of the chorus, standing on a circular area just to the left of centre on the stage. The backing singers pick up their microphones and stand on three smaller circular areas on the stage, in a similar position to where she is but mirrored on the other side of the stage. The spotlights follow them. These circular areas have white lights around the outline of them.

Yet so I’m told,
I need to work on my self-control,
Keep myself whole.
But you lose control,
Even though you reach your highs and lows,
You’ll feel like dying, and feel like flying.

The tears on the screen at the back of the stage return at full intensity both on the moving ai-generated face, and on the rest of the screen. At the same time, the yellow and blue lights also return at the chorus-level of intensity. Catherine turns back towards the audience and starts to shift around again. The platforms, towards the end of the chorus, slowly begin to rise from the main stage level, with the backing singers occupying a platform each close to each other, and Catherine having her own, larger platform. The camera initially focuses on Catherine before switching to the backing singers, then it shows both platforms raising up and it slowly raises up with them.

Crying, the sound of pain and joy,
Of Helen and of Troy,
Crying, crying.
Crying, emotional reprieve,
At birth and when I grieve,
Crying, crying, ooh.

Crying, crying, ooh.
Crying, crying, ooh.

Catherine rips off her plain clothing to reveal some more plain clothing underneath. Instead of wearing a white shirt and black trousers, she is now wearing a grey shirt and grey trousers, symbolising a blending of the colours, and an experience of emotions. But the clothes also reflect an electronic device, and the clothes begin to rotate around a series of colours whenever she engages in a drastic movement, such as stamping, or jumping etc. As she sings each line in the bridge, she stamps her foot and punches her left fist into the air, while holding the microphone to her mouth with her right hand. The ai-generated face and tears briefly pulse off with each stamp, as does the general stage lighting, other than the general ambient white lighting.

I’m feeling love and hate,
I am calm and irate.
And I won’t hesitate,
To say I feel today.
I’m feeling joy and pain,
I feel that loss and gain,
And I won’t hesitate,
To say I’ll cry today.

She briefly freezes, and all colour disappears from the stage – everything is briefly in white or black, including her clothes which are showing those colours. Everything else is in darkness or still. A little bit of mist releases, creating a mysterious ambient feeling on the stage. She is singing towards the audience without moving the rest of her body, and the camera tracks this lack of movement.

Crying, the sound of pain and joy,
Of Helen and of Troy,
Crying, crying.

Suddenly, everything comes bursting back in full intensity – the projections on the screen, the lighting and colours, her colour-switching clothing, and the movement and singing of the backing singers. She is clearly hyped up, moving around a lot on the top of her platform, jumping and dancing as she sings out towards the audience. The camera is keenly focused on all her movements, with the occasional cut to the backing singers or the audience. The stage is now full of mist most of the way up the platforms, but the screen and the performers can clearly still be seen.

Crying, the sound of pain and joy, (of pain and joy)
Of Helen and of Troy,
Crying, crying.
Crying, emotional reprieve,
At birth and when I grieve,
Crying, crying, ooh.

The staging returns to that of the bridge, with the occasional flashes of darkness aligned with Catherine’s stamps. This pattern continues right to the end of the song, where as she finishes singing the last line, and stamps and punches her left fist into the air for the final time, everything flashes off but doesn’t turn back on again. The platforms lower, and the general ambient lighting turns back on with Catherine and her backing singers back down on the main stage level, looking out across the audience with massive smiles beaming across their face.

I’m feeling love and hate,
I am calm and irate.
And I won’t hesitate,
To say I feel today.
I’m feeling joy and pain,
I feel that loss and gain,
And I won’t hesitate,
To say I’ll cry today.

“Thank you so much. It was an absolute pleasure to be able to perform for all of you today. Thank you, Oreo City, thank you Antahbrantahstan. You always do a great job with the World Vision song contest, and this edition – this stage – appears to be no different. Good luck to everyone else, I hope you’ve enjoyed the performances so far, and enjoy the rest of your night!”

by **Missus X** » Mon Nov 23, 2020 12:04 pm

36 Missus X

Rick Leg - "Unscoop My Poop"
Tune: Toni Braxton - "Unbreak My Fart"

Rick is joined on stage by a giant toilet bowl and a ladder. He walks onto the stage, legs crossed, wearing only a dressing gown.

There’s something inside of me
It’s longing to be set free
Baby I really need to know
Will you give me a hand and help me to go
And though I am clenching my ring
I’m going to expel everything
And when it drops down with a big splash then I will need you to

The lights go up as Rick continues to walk, very slowly, towards the toilet bowl.

Unscoop my poop
Flush it all away
Unwipe my arse every day
Wafting this smell away
And just leave it, my dear
Unscoop my poop
And leave it in the loo
Unscoop my poop
My poop

He keeps walking, now starting to circling the loo.

And though it’s not a good sight
The toilet needs me on it tonight
Thank god we stocked up on paper
Even though it’s still here
Oh bloody hell, I’m noticing now
A worrying smell
There is a fire deep within my hole, got to sit on the bowl

Rick walks around the loo until he gets to the ladder.

Unscoop my poop
Flush it all away
Unwipe my arse every day
Wafting this smell away
And just leave it, my dear
Unscoop my poop
And leave it in the loo
Unscoop my poop

Aaaaaaaargh....

Rick takes off his dressing gown (with his private parts pixelated), starts climbing the ladder, and "sits down"...

What do you mean there’s no paper
Thought that stockpiling was safer
I can’t hold on much longer as my poo grows stronger

Rick completes the song on the loo, with the lack of paper being a problem.

Unscoop my poop
Flush it all away
Unwipe my arse every day
Wafting this smell away
And just leave it, my dear
Unscoop my poop
And leave it in the loo
Unscoop my...

The poo is getting a bit more painful and constipated.

Unscoop my poop, diarrhoea
I think it’s going everywhere
Unscoop my poop, wet faeces
Why can’t it just be big, thick, and long

Rick continues to push it out painfully as the camera fades away.

(Big, thick, and long, big thick, and long, not diarrhoea, unscoop my...)
Unscoop my poop! (Big, thick, and long, big thick, and long, not diarrhoea, unscoop my...)
(Big, thick, and long, big thick, and long, not diarrhoea, unscoop my...)
(Big, thick, and long, big thick, and long, not diarrhoea...)

by **Elejamie** » Mon Nov 23, 2020 6:02 pm

ETV1 presents WorldVision 86 - English language commentary by Cerin Erali and Flynn Taggart

by **Antahbrantahstan** » Mon Nov 23, 2020 10:09 pm

Reserved for interval act xixixi

by **Crustyland** » Tue Nov 24, 2020 8:35 am

"Hello Antabranflakes!"

"Hello Worldivision! This is Rank, Crustyland calling! We are so happy to finally enter!"

(Leon Fishwilly)

"We had such a great time thank you!"

"Here are our points from Crustyland"

7 Rhim Flavezztowland
6 Carrelie
5 Malta Comino Gozo
4 Kalosia
3 Beepee
2 Hafämarimët
1 Mercedini

How fun!

(A seal can be seen behind him on the videocall)

8 points go to South Alezia droool!

10 points go to the Placely Placington!

and finally our 12 points goes...

GOES TO YOU!! 12 Antanbranflakestan!!!!

"Thank you."
(The seal can be seen crushing a car on the streets behind him)

by **Carrelie** » Tue Nov 24, 2020 10:21 am

The Carrelian Votes
Presented by Spokesperson Lavina Loisenne

"Hello? Is this thing on? Can you hear me?"
"Ah, good. Gúsier-devre, Oreo City, this is Densmouth calling, with the votes of the Carrelian jury."
"Yes, we've had a wonderful time tonight. So much creativity on display by so many nations! We here in Carrelie are truly grateful to participate in this wonderful competition!"

"Medenie, en piete. That's Mercedini, one point."
"Çéritempre, de pietien. That's Caryton, two points."
"Vêïsner, tier pietien. That's Waisnor, three points."
"Ieverre, quie pietien. That's Saviera, four points."
"Álésie-Ve-Nemoir, evoir pietien. That's Alesia-Norden...sorry, North Alezia, five points."
"Ietéie, sien pietien. That's Llatla, six points."
"Corèvie, suít pietien. That's Scotatrova, seven points."
"Bêpê, weit pietien. That's Beepee, eight points."

"Péecutie, deize pietien. That's Pemecutan, ten points."

"And, finally..."

"Malétie Iomeniette-Guessania, de-dieze pietien. That's Malta Comino Gozo, twelve points!"

"Iedanie-vite, Iedanie-vite mochéant, that concludes the votes of the Carrelian jury. Gúsier-notte, Oreo City!"

by **Hafamarimyht** » Tue Nov 24, 2020 10:45 am

Presenter: Bïdnel Halnetka

Kdajah ksüh everyone, good evening Antahbrantahstan, this is Sučavjë calling! Thank you for putting on a fantastic show! So, here are the first results of the Hafämari jury.

7 - Mercedini
6 - Nekoni
5 - Llalta
4 - Elejamie
3 - Axuva
2 - Kalosia
1 - Achaean Republic

And don't worry, if you don't see your country there and if you don't get these top three, there's still the televote! Hafämari voted in large numbers tonight, so there's lots of points to go around! Anyway, the jury top three. It was close this time, but I'm happy to say that Scotatrova got our 8 points!

We gave 10 points to... Polkopia! Tvoy dikhaže...

And finally. Hafämari jury gave 12 points... to... Waisnor! Congratulations!

Thank you again everyone, and have a good night!

WorldVision Song Contest 86 IC - Oreo City, Antahbrantahstan

30 | Britonisea | Taron Woods, LK Notes - Answer my Prayers

33 | Nightom | Charlie Brookes - In or Out

Commentary by BITC

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