BITC | 107th WorldVision Song Contest | Entries Thread [IC]

by **Britonisea** » Tue May 16, 2023 2:00 pm

Contest Link

A Britonish International Television Company (BITC) Production

WELCOME TO THE 107th WORLDVISION SONG CONTEST.
WELCOME TO DOPORTEDAS

Britonisea is set to host the WorldVision Song Contest for the sixth time in its history - drawing a tie with Polkopia as the nation with the most hostings. The nation continues the trend of hosting in completely new cities for each WorldVision as for the first time ever, the capital city will be hosting the competition. Doportedas is the most populated city in Britonisea, with over 6 million people living within city limits. While the city is large, it doesn’t mean that the WorldVision fever won’t be felt throughout every single street in the Dopor Authority. The 107th WorldVision Song Contest marks a momentous 60 editions since Vha Mehlodhivestoile was first introduced to the Multiverse, with Mini Surrey North winning VM2016 and giving Britonisea its second victory ever. The nation hosted the contest 50 editions ago in Machievelihe. The 87th WorldVision Song Contest saw Britonisea win their seventh title at the competition - 20 editions ago. Britonisea hasn’t hosted in 26 editions - the longest time period the nation has waited to host the competition (the previous record was a 15-edition wait between 66 and 81). Britonisea is one of the nations that takes the competition very seriously, racking up 44 top-ten placements - including 8 wins and now six hostings. We are more than happy to welcome WorldVision home and we hope that we can show you the best of Britonish television craft and music. Below are the representatives who are in charge of putting on what is expected to be an exceptional edition of the WorldVision Song Contest.

Doportedas is a world class city and the people of our great city and excited that finally, 76 editions after Britonisea’s debut at the WorldVision Song Contest, Doportedas will be hosting the WorldVision Song Contest. Doportedas has been home to some of the best events within the International Broadcasting Alliance, including the World Hit Festival, IBA Gymnastics Championships - which was coincidentally hosted in the same arena we will be heading to for WorldVision 107, The Britonish Open at Barlinedon Tennis Complex, the World Cup of Association Football and Ice Hockey Championships and also our very own hit show Vha Mehlodhivestoile. We’ve shown time and time again that Doportedas has the capacity to host amazing events and we want to show that once again as we head to Doportedas for WorldVision.

Doportedas will be putting on a large number of events to accommodate the expected 350,000 people who will travel to the city during WorldVision week. Alongside the three shows that will have an audience, the whole of West Doportedas will go WorldVision mad. We will be able to accommodate up to 30,000 people per day at Park Bromedine’s WorldVision Village - including 20,000 tickets available for the WorldVision Song Contest Grand Final screening. Mountbatten Square will also be transformed into a smaller WorldVision Village where 5,000 people will be able to watch the Grand Final on the doorstep of the arena where the points will be announced live.The West of the city will also have Westonber Beach showing a screening while other screenings that will happen around the city include at the Olympic Park and Mayfair in the North. You will also be able to watch the Red Carpet from Saintlake in the Central West of the city, with stunning views of Barlinedon Tennis Complex and Doportedas’ unforgettable city skyline.

While in Doportedas, there are also many non-WorldVision related events to do too! Why don’t you take a hot-air balloon ride across the city and have a look at the skyscrapers up close and personal? Take the monorail along the canal and visit the Garden of Eden structure. Perhaps you can also indulge in a bit of sport at the Olympic Park or at one of Doportedas’ many sports venues. Doportedas is a land full of opportunities and we can’t wait for each of the delegations, fans and tourists to discover the best city in our country.

- Mayor of Doportedas

I am ecstatic to be back! It was exciting to learn that Britonisea would once again host the WorldVision Song Contest - a dream that many Britons had for a very long time. 26 editions is a very long time. In the 26 editions since our last hosting, we’ve seen the WorldVision Song Contest evolve in ways that we may not have envisaged back in Boschke. We’ve introduced a televote and jury split which has seen some very interesting results over the years. We’ve seen semi-finals, where our very own Josh Morris managed to place second out of tens and tens of entrants. We’ve seen new powerhouses emerge; with Malta Comino Gozo winning seven trophies since our last hosting - Scotatrova, Beepee, Carrelie, Alezian Union, Achaean Republic, Llalta, Antahbrantahstan and our regionmates, Aenglide winning their first trophies (and second in some cases). Who is going to take it all at the 107th WorldVision Song Contest? Only time will tell!

What I do know is that the WorldVision Song Contest in Doportedas will be the Contest’s most technically advanced competition. There is a wide range of possibilities including augmented reality and holographic effects that each delegation will be able to use, a huge number of moving heads strobe lights that WorldVision hasn’t ever seen before, light pads attached to the seats so delegations can turn the whole arena into their own personal stage. As seen at Vha Mehlodhivestoile, our hosts - Matt Evans, Alyxhia Willis and Xavier Benchek - will bring the best of Britonish humour and excellence as three of our most confident and vibrant hosts. The broadcast will be one to die for and I am proud that this will be my final programme that I will executive produce for before my retirement. I will be working with some fantastic up and coming producers who, one day, will take my place and deliver even better WorldVisions than the one Doportedas will put on today. But for now, we’re prepared to give it all we’ve got and make this the most memorable edition of WorldVision to date!

- Executive Producer of WorldVision Song Contest 107
Former Executive Producer of Vha Mehlodhivestoile

This edition, the WorldVision Village is bigger and better than ever. For the first time ever we’re inviting people not only from the WorldVision bubble, but from outside to come and join us in Park Bromedine for the seven days that the Village is open. The WorldVision Village, situated at Park Bromedine, is the perfect backdrop for this momentous occasion. From the Park, you’re able to see the towering buildings of the city centre but where the park is located means that the area is green and lush - you’ll certainly feel comfortable at the WorldVision Village. The WorldVision Village is only a stone’s throw away from the arena as well, a couple of stops on the Doportedas Metro meaning that we’re expecting a huge footfall and we have enough space to accommodate!

Some of the multiverse’s biggest stars will take the stage in Doportedas’ WorldVision Village, including Britonish stars that are known through our hit show Vha Mehlodhivestoile, WorldVision Song Contest, World Hit Festival and perhaps some stars that aren’t known in the community. We simply cannot wait to show you the best of Britonish culture! At the Village, don’t forget, we will be selling official merchandise within the compound that you won’t be able to find elsewhere. Along the route from Bromedine Station to Park Bromedine, you will also find the Official WorldVision Shop that will sell tickets to the Grand Final screening. There will also be food stalls where you can try Britonish food, but also food from countries participating in WorldVision - fancy a bit of Waisnorian grub? Perhaps you want a little bit of Achaean spice? Maybe you’d prefer a healthy Kalosian salad? We’ve got you covered!

So head on down to WorldVision Village and enjoy the best bits of Doportedas!

- Lead Event Organiser of WorldVision Village 107

by **Britonisea** » Tue May 16, 2023 2:04 pm

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

THE WORLDVISION VILLAGE 107
Would you like your artist to perform at the WorldVision Village? Perhaps you'd like to do a pre-contest RP? Sign them up with a timeslot!

THE HOST BID
Here, you can find the successful Britonish bid.

106th WORLDVISION SONG CONTEST: Buaka, South Batoko
Did you know Buaka and Doportedas is around an hour apart by aeroplane? Have a cheeky look at SB's hosting last edition!

THE PLAYLIST
The official playlist of the 107th WorldVision Song Contest can be found here!.

OPENING ACT // THE ENTRIES

More pictures of WorldVision 107 Stage

This edition, we wanted to maximise what each delegation can do on the stage and so we have decided to go for a rather simplistic design but its very vast. Let's talk through it. The stage features a huge LED background which is over 10 metres tall. The LED background is split into 11 rotating panels which can also move forwards by three metres - this means that you can have the background LED staggered or you can have it flat. Behind the large LED background, there is a huge light fixture (a la Liverpool 2023) with state of the art strobe and laser powerful LED lightings to create striking displays. With beautiful deep colours, WorldVision will never have looked this good. Paired with the latest LED technology, WorldVision 107 will be beautiful and memorable, bringing the best colour to each WorldVision delegation that takes part at the contest. The LED panels can turn mid-performance or a delegation can decide to use one wall or the other....The LED strobe lights expand beyond the LED screen strips so a delegation can use the best of both worlds. Over 1750 metres squared of lights. More than 2,000 moving heads. On the topic of lights, as you will see on the link, some of the rigs come down and can point towards the rest of the arena or towards the performance. You better go crazy with them! 1000 tiles of LED floor will also be placed on the stage, most of which is set aside for the main stage which is slightly elevated above the rest of the stage. There main stage is surrounded by more LED flooring which is slightly lower down but you most definitely can use it during your performance. There are also LED strips which go along the outside of the stage all the way to the Greenroom where there is a satellite stage - feel free to use that also! The Greenroom chairs also have LED strips which you can integrate into your performance.

Next to every seat there will be LED boards featuring 9 bright lights and when you zoom far enough with the camera, you will be able to see a spectacular display around the stage in the audience. Delegations are free to use this feature whether that's just for adding extra colour to the arena and displaying pictures. Before each performance, the name of the country performing with be shown on the audience, similar to this so delegations are free to add this into their roleplays[/url].

LED floors. LED rotating walls . LED strips. LED strobes... oh yeah, we're going crazy! As with any WorldVision, the stage comes equipped with pyrotechnic features, holograms and the latest augmented reality.

In addition to the cameras above, there are three steadicams that can be used on the stage.

1: Pedestal Camera (Zooms towards/away from the centre of the stage - eye-level)
2: Pedestal Camera (Pans from the left side of the arena to the stage, zooming towards/away)
3: Pedestal Camera (Pans from the right side of the arena to the stage, zooming towards/away)
4: Jitacam (Crane camera attached to the rig due to restricted space on the ground, great for swooping shots over audience to stage)
5: Railcam (Camera on a track going from one side of the stage to the other, can also do still shots and go up and down about 2m)
6: Railcam (Similar to above but on smaller track, closer to the stage)
7: Pedestal Camera (Zooms towards/away from centre of the stage from the stage's left handside)
8: Pedestal Camera (Similar to above with audience in shot)
9: Pedestal Camera (Similar to above but on the other side)
10: Railcam (Similar to Cameras 5 and 6 but behind the Greenroom seats, short track)
11: Pedestal Camera (Similar to Camera 1, but from Stage Left - directly behind two rows of pyrotechnics)
12: Remote Head (Aerial. Camera facing directly down towards the stage - think Mae Muller during the bridge or Belgium 2017 during the on screen graphics at the start)
13: Pedestal Camera (Similar to Camera 11, but from Stage Right)
14: Pedestal Camera (Similar to Camera 13, but on higher level looking down on stage, upstage)
15: Pedestal Camera (Similar to Camera 14, much higher level on steeper second tier. Great for fast zooming shots towards main event - midstage)
16: Pedestal Camera (not shown, Similar to 15's position but on the other side)
17: Pedestal Camera (Far away shot of whole arena)
18: Aerial Railcam (Railcam attached to ceiling, crabbing left and right on smooth rail - might be useful for Zooms)
19: Aerial Railcam (Longest rail in arena going from left to right at super fast speed)
20: Spidercam (Usually SP1 during Britonish productions, for shots going towards the stage from further away - height can change)
21: Hidden Railcam (Rail underneath the stage that can come out mid performance for shots of the audience from artist perspective - can crab from left to right)
22: Pedestal Camera (Random camera in the middle of Tier 1)

If there are any other camera requests, please let us know as soon as possible.

POSTCARDS

This edition, the WorldVision Song Contest postcards will be about finding places within the participants home city and a Britonish city where they feel most comfortable to raise their voices! Whether that be in a recording studio, their local park, a museum, in the middle of a carnival or at the top of a mountain - its truly up to the participant (and whatever can be done within the budget constraints of BITC). The broadcaster paid for the participant(s) and a couple members of their delegation to come along for the postcard section that is filmed in Britonisea.

Essentially the first 20 seconds is in their home nation, looking around the place the feel most inspired by/comfortable to sing before the camera tilts upwards as they sing a note from their song, before the camera pans downwards and they're in a Britonish location that is similar to the one they were in back at home (similar to the ESC2023 postcards). As we we're in the Britonish location (if outside) they run out to meet 100 Britonish dancers who dance around them as the participants sing their song (we can't hear them singing their song as the postcard music is over it but...yeah! If they do a certain dance in their WV performance this would be featured) before they all hold up LED panels to the sky. An aerial shot of the flag of the nation is shown, with this being superimposed onto the screen for the on-screen graphics before each entry.

Below is a list of Britonish cities attached to nations. These cities are the ones the participants had to travel to (either during the pre-party season or right before rehearsals) in order to film their postcards.

If you would like exact locations for RP purposes or would like to know the motorway road number from your film location to Doportedas, please DM/telegram me and we can talk about it!

Map of Britonisea (blue lines represent motorways)

Doportedas (East - CAPITAL) - Axuva, Waisnor, The Hlhata States
Doportedas (North - CAPITAL) - Robloxian Robloxia, Kalosia, Terra Zealandia
Bovingdon - Achaean Republic, Missus X
St Kings Bay - ~~Plangainer~~, Caryton
Telm City (East of Britonisea) - StrayaRoos, Polkopia, Scotatrova, Llalta
Junterapten (SE of Britonisea) - Tummylandia and Susistan, Besen
Boschke (North East of Britonisea) - Alezian Union
Quickenden (SE of Britonisea) - Carrelie, Erie-Aracadia
Aronyk (South of Britonisea) - Ertzei Kishim, Alinghi Federal-Democratic Republic
Alshkan (West of Britonisea) - Illdonya, Lagoa
Loueske (North of Britonisea) - Ugunnustan, Aenglide
Eaux City (North of Britonisea) - Fatiman Federation
Arçonne (North of Britonisea) - Crustyland, Britonisea, Aicrowian Canada
Machievelihe (Central Britonisea) - Placely Placington
Tonesk (Central Britonisea) - ~~Banou, Pemecutan~~
Bayisone (Central Britonisea) - Malta Comino Gozo
Military City (Central Britonisea) - Beepee, Natanya, Todlichebujoku
Aloquirbe - South Batoko, Lochario, Vartugia
Luton & Sports City - Ethane

by **Britonisea** » Tue May 16, 2023 2:16 pm

The moment that a lot of Britonish people have been waiting for had finally arrived. Britonisea was hosting the WorldVision Song Contest for the first time in what seemed like forever - it's been 26 editions. There are some nations out there who have hosted three times since the last Britonish hosting and the broadcaster thought that it was ready for the nation to welcome the world back to Britonisea - this time to its capital city, Doportedas! Doportedas is home to over six million people making it the most populous Britonish city and also the most populous throughout the whole of the ABEN Union - making it a little larger than Darlington - the capital of Estogium. Doportedas is an economical powerhouse, with it having two financial districts - Mayfair in the North and also the Mile (as they colloquially call it) which is in the centre of the city. When it comes to WorldVision, the broadcasters preferred picking smaller Britonish cities to host, such as Kyvivre and Machievelihe, after there was a fear that the bigger cities would mean that the WorldVision fever wouldn't be contained. However Telm City (which has 5 million people in it and is the largest city by size) proved that was only just a myth, only to be confirmed by Boschke (the fifth biggest city in Britonisea after Junterapten and Quickenden - home to two million people) so Doportedas was chosen for both the 100th and 107th WorldVision Song Contest bids. Beating off bidders from Alezian Union and StrayaRoos, Doportedas reigned supreme and for the first time ever - we're headed to Arena de Banques - a former IBA Gymnastics Championships host arena - for an amazing WorldVision Song Contest. Get ready, everyone - we're in for a ride!

VT: WELCOME TO DOPORTEDAS
Tune: Shandr - Fever (01:10 - 02:53)
An introductory clip welcoming viewers to different sights within the capital city of Britonisea, Doportedas...

00:00 - The VT started with a group 20 Britonish people laying down in a very neat line on a beach. The producers wanted to make a point of the fact that this was the first ever Britonish hosting by the beach. All Britonish cities that have previously hosted is by the water (some dispute this for Quickenden as its city limits actually isn't by the shore but it does have city public transport that goes to its beach which is around 30 minutes away from its city limits so people consider it to be part of Quickenden), but none of them have a beach like Doportedas does. Suddenly all of the people laying down put up their sun reflectors, before doing synchronised movements with one another to the beat of the music. At the end of their section, they all lifted up their sunglasses before giving a cheeky wink to the camera - the camera panned up and all you could see was WorldVision Song Contest 107 branding sprawled along the beachfront.

00:30 - You could hear someone shout "OUT!" before the camera changed from sand to grass. The next location that we head to is the Barlinedon Tennis Complex (which has been recently renamed to the National Tennis Complex). Tennis is the biggest sport in Britonisea, with the nation annually hosting the The Britonish Open and now the Barlinedon Championships too. During this section of the video, you could see some people batting balls around on the lush green courts. The sides of the courts also had WV107 branding on them with a camera zooming along the courts. Abruptly all of the tennis players broke out into a dance, with an aerial shot showing this. As they threw tennis balls up into the air, the camera tilted up towards the sky, before we tilted back down and...

01:00 - For the next section of the opening VT we were in the central district where you could see a load of business men and women walking up and down and seemingly ignoring what was going on around them. There was an establishing shot of the large tall buildings - many of which were taller than 300 metres in the air. We zoomed into a large square from an aerial view where a lot of professionally dressed people seemed to be congregating. They all then randomly started dancing with one another, with different camera angles showing what seemed like ballroom dancing between everyone in the square. Again, WorldVision Song Contest 107 branding was shown throughout the square. The camera once again tilted up as the leading partner lifted who they were with into the air.

01:30 - The final section of the VT saw us head to the location outside the arena. Most of these locations were focused on the west and centre of the city which is mostly where the buzz currently is. While all of Doportedas would feel the WorldVision fever, the producers did want it to be localised too. The locations shown were some of the areas that were Worldvisionfied with other locations being shown throughout the show. Outside the arena, we could see another dance troop dancing around the arena with lots of lovely drone shots and whatnot showing whats going on around the arena. You could see the BITC WorldVision branding all around the local Mountbatten area. As the VT drew the close, the logo for the contest popped up on the screen and you could hear the roar of the 18,000 strong audience in the Arena de Banques...

Tune: PALAYE ROYALE - You'll Be Fine

Usually, during Britonish-hosted WorldVision Song Contests, a Britonish act would be chosen to open the show. However, due to what is planned for the Interval Act - where there will be a load of Britonish performers including two of the hosts themselves - a last-minute decision was made to have last edition's winning act open the show instead of performing in the interval (which is what usually happens when we host). Last edition, Malta Comino Gozo's Fakawi won the contest. The average Briton might not be aware of the song due to the fact that the nation didn't compete at the contest last edition, but I suppose for them they will get a chance to see what has been going on in the world of WorldVision since they last competed.

The camera view is from the very back right corner of the arena (Camera 17). The flicker of an old movie-like credit scene completely overlaps the entire stage's LED screens accompanied by the sound. The fast-moving crisp white lights flickered and just briefly illuminated the crowd. The camera cuts away to black. The quite light-hearted beat kicks in. The camera is suspended above the stage looking downwards. A dirty white lonely spotlight appears and reveals Franġisku lying on the stage floor. Apart from that everything else is in darkness. Cocooned he is sealed in tight a straight jacket, his arms tucked up inside. Scribbled all over it were the words "Patient X" and "I am floating in and out of totally fine and dysfunctional".With a dazed and broad grin, he grins menacingly up at the camera and squirms. His hair is ruffled and gelled into spikes. His rosy red eye shadow glowed against his pale skin and drew the viewers into his earthy brown eyes. In those earthy hues was his soul, not in the way of those cheesy romance novels, so obsessed with lust, but with the kind of beauty that expands a moment into a personal eternity, a heaven you wish to be a part of.

Quite the sticky situation he has got himself into... but how did he get here? He frighteningly rolls his head trying to crack his neck before he begins to sing. Still grinning, finding the whole thing rather amusing, he rolls his eyes and begins to sing his story. He was quite the actor and totally in character portraying those movies of a "crazy person" locked up in some dingy asylum. The camera drops nearer slowly but surely. He shifts his body. His bare feet poked out the straight jacket rubbing against the floor of the stage. Whilst singing the last line he frantically tries to break free.

Do you try to navigate?
Well let's get something straight
You're adrift from yourself and you just can't seem to clear your mind
Tensions will escalate
And you cannot tolerate
This corruption has decided to make a home in your hollow mind

The suspended camera lowers even more so we have an upper body half view of Franġisku and repeatedly draws ever nearer for each "Oh no no no" His devilish smile is still on show for the viewers. His glance, watched the camera the way a tiger watched its prey. He rolls his body side to side, struggling desperately trying to escape, his legs kicking, his head thrashing. Shuffling around for the last line, he winks to a camera positioned on the floor to his right. The camera suddenly cuts to black for the drumroll.

Oh no no no
In your corrupted mind
Out of time
In your corrupted mind
Oh no no no
Oh no no no

We up the tempo as the chorus begins. A straight-on-camera angle of the entire stage now reveals Franġisku off the floor with his arms free from his straight jacket prison. He's now at the centre edge of the stage gripping a vintage microphone with all his strength. Poignant neon blue lights light up the floor of the stage which is beginning to be flush with dry ice whilst the rest of the stage remains black. Our only glimpses of the rest of the band are their podiums lit with neon blue which lit them in a dull glow and the odd swirl of the strobe lights. Although mostly dark their suited-up figures were visible. Apart from Alwiġi who played the drums with vigour, the rest of the band on electric guitars stood there motionless. Their confident posture was almost menacing amongst the chaos of the lights that swirled around the stage and arena. On our left in the background was Louis in a dappled grey suit with a silky pink neckerchief loose around his tattoed neck. A scruffy strawberry blonde goatee adorned his mouth. Centre back was Alwiġi on drums dressed in a white suit and black formal shirt. With his sleeves rolled up, his half-sleeved tattooed and olive-skinned arms thrashed away at the drums. His wrists adorned with bracelets quivered and danced with each drum hit and on our back right was Andrew also on an electric guitar. His head and ears were hugged by a bushy and messy man bob which aligned with his chin. He is wearing a light grey suit with a white formal shirt. Dark grey eye shadow hid his eyes making his eyes look much larger and scarier amongst the shadows of the stage.

Each LED screen displays a glitching corrupted video file. The camera straight on bursts inward with some force spinning anticlockwise like a rollercoaster through a helix towards the stage for the last line "Close your mind, look away and carry on". He carried on singing with vigour and confidence.

Corruption is the total sign
A sign of the destruction of your lives
Don't act indestructible
Close your mind, look away and carry on

A golden flash and a quick drum roll introduce the next part of the chorus before the neon blue lights return. The camera is now close up to Franġisku giving us an upper body shot as the cameraman rushes left to right in front of him like an annoying wasp. He sang with grit and passion. It was raspy and pained but remained charming. As the camera swings to our right the brightness increases, and as it swings to our left it decreases showcasing the balance between sane and insane. With a crazed expression he watches the camera float around him whilst seizing the microphone and leaning forward, his left leg in front for balance. His beady eyes penetrated the camera lens.

I am floating in and out
Of totally fine and dysfunctional
My minds let loose now

Now floating on the periphery of his left, (our right) with the brightness just off two figures dressed all in black robes their faces masked in black too, grab Franġisku from behind as he finishes the line, locking his arms behind his back swinging him around to the right and the camera fades to black. Another "Just carry on" echoes out into the arena.

So close your mind, look away and carry on
Just carry on

The camera fades back in and Franġisku bent forward is sat in a wooden chair centre stage, still in his straight jacket. The tempo fades down again. The camera stays at an angle just off to his left side so we can see him all in the frame. Twisting and turning around his legs a grey ghostly fog dances. Although it looked ethereal and fragile, it packed a punch far above its weightlessness. It writhed and coiled with delight, its ghostly scarves wrapping the chair in a maze of mist. Disorientated and with a whispering tone he began to sing. Disorientation was part of the magic, part of the fascination of the new and interesting. When all this becomes normal, remember this moment and feel blessed. His head twitched ever so slightly like a malfunctioning robot which resonated well with the lyrics but robots were not what the band was referencing although it seemed like they were. Trapped in his corner the man's spark, despite the insanity inside him, still shines. Almost begging the camera now at this point with a dismal expression he explains he is just like the rest of "I am shiny just like you". The pressure in him builds.

Underneath, this metal skin
Not as tight - as this corner
That I - painted myself in,
I am shiny just like you

He rolls his head backwards and then back to normal. The drums build and the lights begin to flash. With no response and no one to set him free, he begins to get angry. The rational Franġisku was offline and the primitive Franġisku was emerging again. Suddenly his liberal opinions were gone, his ability for nuance and emotional generosity were gone too. He begins to wriggle about in his chair. The camera cuts to a shot of his hand tied behind his back as his hands curled into fists. As the verse progresses the drums build more and the lights begin to flash even more erratically. His sexy tone became more angry and raspy. The last line echoes out into the audience as we have a close-up shot of Alwiġi but only his arms and hands dramatically building up the chorus, which cuts away to Franġisku bursting free again, and back and forth very rapidly between Alwiġi and himself in time with the drum beat. As it does the camera fades into a slight sepia tone.

Just like you
Just like you
Just like you
Yeah
I'm just like you
I am like you
Just like you
Yeah...

We have a strobe of violent dazzling white spotlights whirl around the arena as we have a quick shot from the back of the arena. THE LED screens remain black. The stage lit in a furious golden glow enriched by the sepia effect. The band members sway behind Franġisku as he clunches the microphone whilst jumping up and down. Franġisku does a phenomenal job of amplifying the emotions being conveyed by the lyrics. His beady eyes stared into the cameras and erratic movements and finger-pointing at his head helped add to the vibe. At times his eyes were shut as he screamed the lyrics. The camera work becomes intensely chaotic as it clips from stage shots of the rest of the band and Franġisku interacting with them on their podiums before racing out from the stage over the crowd to shots of the eager crowd jumping, their arms waving above them. We clip between various shots of the crowd and to a shot of Louis from his right, who is now at the front of the stage. He takes no interest in the camera as he concentrates solely on his electric guitar.

Corruption is the total sign
A sign and destruction of your lives
Don't act indestructible
Close your mind, look away and carry on

More shots of the screaming crowd cut back to Franġisku as we have a jumble of shots from behind him, his side and then a close-up as he leans into the camera positioned in the audience right below him at the edge of the stage. The whole time he sang menacingly, almost possessed, his immaculate vocals soared.

I am floating in and out
Of totally fine and dysfunctional!

The camera cuts away to Alwiġi on drums as he plays with abandon before it cuts back to a close-up of Franġisku as he actresses the mic seductively his head tilted back, as the fog floats around him eerily. He clasps at his hair while singing "Close your mind". The whole time the lights around him shimmer slowly between off and on while a moody white spotlight remains on him.

My minds let loose now
So close your mind, look away and carry on

The lights flash menacingly like lightning as the two hooded and cloaked figures emerge from behind Franġisku again yanking him into the darkness. The beat fades into an explosion of an awesome drum solo from Alwiġi, merged into an electric guitar solo from Andrew which invoked cheers from the crowd. The camera buzzes around him like a bee as he has his moment in the spotlight. An eery and haunting La la la la la la echoes out into the arena. Franġisku's hysterical smiling face in a straight jacket appears on the back LED screen. We have various quick chaotic shots of each band member playing their instruments seriously with none of them looking at the camera floating around them. Franġisku's spoken vocals ring out as the camera cuts to a shot from the back of the hall showing the entire stage amongst the chaos. The lights rush around like helicopter searchlights searching for a criminal. The message was powerful and profound. The figure on the screen struggles and shuffles and finally breaks free of his straight jacket prison as the lights plunge to black.

I am a corrupt transmission
Just a load of damaged information
A slave living under this error

The camera reconvenes as we see Franġisku has reappeared in the middle of the arena in a parting created by the audience, to loud cheers. Franġisku was reckless and always tested the limits with his live performances. A lot of rehearsals had gone into making sure this was timed perfectly. Illuminated in a white spotlight he grins to the camera in front. Out of his straight jacket, we can see he's wearing a formal black and white horizontal-striped suit. His vocals are calm as he gulps for breaths after each line, preparing his vocal cords for the last chorus and run. He takes a few tender steps forward.

Try to think however hard you do
This false information begins to screw you
We won't be held responsible for what happens to your kind

The camera amongst the erratic swirling spotlights carries on panning out and up at an angle as he sprints towards the stage. We cut to a shot just below the edge of the stage as he vaults onto the stage to join the rest for the second line. He spins to face the audience. His sensual vocals soared as he gave it his all. The effort he gave was phenomenal, especially after running to the stage. The LED screens violently strobe an off-white. Then came the wind machine with some force which blew against him as he lunged forward. Accompanied by various head bangs he thrashed and wandered around the stage and engaged the audience. For the last line, we switch between him and a frontal shot of Alwiġi on drums rapidly as we build into the next verse.

Corruption is the total sign
A sign and destruction of your lives
Don't act indestructible
Close your mind, look away and carry on!

He crumples to his knees as the close-up camera switched to a ghostly black and white. The lights flash violently around him giving him an excessively spooky and frightening appearance, his eyes cast in shadow barely visible, his speaking white teeth shimmering. His head bangs violently again. He jolts back up to his feet and drills his left index finger into the side of his head. With an evil smug smirk, you know, that creepy sinister kinda smile that makes a person look deranged, he glared into the oncoming camera but behind that icy stare was a mountain of pain as he sang from deep within.

I am floating in and out
Of totally fine and dysfunctional!

The strobe lighting is blinding to the point the entire arena pulses with brilliant and flashing lights. The rest of the band plays their instruments to the extreme. The camera cuts to the middle of the arena and pans forward back to Franġisku whose clutching the vintage microphone violently as he leans it forward. His eyes were ablaze and his face pained as he belched out the last lines. The spotlights convene on him as he sways the microphone stand one last time before a shot of Pyros shoots into the air with a bang, ending the song.

Don't act indestructible
So close your mind, look away and carry on

courtesy of Malta Comino Gozo

At the end of the performance, the audience cheers and we could hear a voiceover:

"Everyone, welcome to the 107th WorldVision Song Contest - it's now time to welcome...the stars of our show!"

Tune: Prezioso x Harris & Ford feat. Shibui - Halo

01 • StrayaRoos | Strauarus
Entry | Postcard
Appropriately named "Welcome To The Show" will be opening the night of competitive entries, as Kitta & Ali represent StrayaRoos at WV107...

02 • Crustyland | Crustyland
Entry | Postcard
Duo, Atle Axness and Jørn Vea, ask "Where all them Seals at?" as they bring Crustyland back to the WorldVision Song Contest...

03 • Carrelie | Carrelieme
Entry | Postcard
The Carrelian Confederation sends Nocta with pop banger, "Interconnextion" with the hope of the nation's third WorldVision win...

04 • Polkopia | Polkopieme
Entry | Postcard
The most successful nation in WorldVision returns seeking another win with Galiya Nott's "Sparks Are Gone"...

05 • Aenglide | Aenglieme
Entry | Postcard
A short trip for Aenglide sees them participate at their first Britonish hosting of WorldVision - they're hoping Lynna Fynsberg Víkja's "Melody" is triumphant...

06 • Ertzei Kishim | Ertzei Kishim
Entry | Postcard
Sandy Santini "Targets" Ertzei Kishim's eighth win in Doportedas - which will make the nation the joint-second most successful at the Contest...

07 • Robloxian Robloxia | Robloxian Robloxia
Entry | Postcard
Robloxian Robloxia appears in Doportedas for the 107th WorldVision Song Contest with their song, "Ummylandia Et Usistan" - Douze points from...[REDACTED]!

08 • Axuva | Axuvieme
Entry | Postcard
Roman Kwon represents Axuva in Doportedas' hosting of WorldVision Song Contest - he will be singing the song, "냉철한" which means 'sober'.

09 • Illdonya | Illdonieme
Entry | Postcard
ERROR 404: NO ARTIST/ENTRY INFORMATION

10 • Scotatrova | Ecosieme
Entry | Postcard
Scotatrova's Biedro Cavasa is definitely making me go "Insane"! He's hoping to win what would be the nation's second WorldVision victory...

11 • Tummylandia and Susistan| Tummylandia and Susistan
Entry | Postcard
Tummylandia and Susistan is represented by Bowen Panadero who will be singing the song "Vasconia Express" - choo choo all aboard!

12 • Ugunnustan | Yugoniston
Entry | Postcard
Welcome Ugunnustan to the WorldVision Song Contest! Ilyza dons her "High Heels" on the shatterproof LED floor BITC has installed for WV107...

13 • Waisnor | Waisieme
Entry | Postcard
ERROR 404: NO ARTIST/ENTRY INFORMATION

14 • Beepee | Bepieme
Entry | Postcard
Isaac Dixon represents Beepee at WorldVision Song Contest 107 with his song "Monsters", with the intention of winning the nation's second WV trophy!

15 • These American States| Vhes'Etais d'Americon
Entry | Postcard
THESE American States. Real deal coming soon! They probably won’t disappoint!

16 • South Batoko | Batoque Surd
Entry | Postcard
ERROR 404: NO ARTIST/ENTRY INFORMATION

17 • Natanya | Natoeme
Entry | Postcard
ERROR 405: CHA CHA CHA

18 • Authoritarian Rep. of Lochario | Lokhariton
Entry | Postcard
Long-time participants, Lochario, sends Johnny O'Flannagan to the WorldVision Song Contest alongside SHEPHARDLAND with their song "Blicker in the Sky"

19 • Malta Comino Gozo | Malta Comino Gozo
Entry | Postcard
Reigning champions, Malta Comino Gozo are looking for the double as Prilla Grixti invites you to "Feel My Rhythm" on the Doportedas stage...

20 • Placely Placington | Placely Placington
Entry | Postcard
Placely Placington is hoping you'll be melty for their entry, "Melty is my name" sung by Melty!

21 • Besen | Besen
Entry | Postcard
Besen has never won the WorldVision Song Contest but could this finally be their time to shine with the song, "Glitch"?

22 • Alezian Union | Unionee'Alezieme
Entry | Postcard
Alezian Union will be sending the winner of their national final, Immanuel in the hope to continue the Union's streak of great placements at the Contest...

~~DNF • Fatiman Federation | Etais D'Indieme~~
Entry | Postcard
Fatiman Federation is looking to "Briller" bright in Doportedas as Stephan Chémard looks to bring home the federation's first WorldVision victory...

24 • Alinghi Federal-Democratic Republic | Rexublique Federal-Democratique Alinghieme
Entry | Postcard
Blast from the past Alinghi Federal-Democratic Republic returns to the international stage...

~~DNF • Banou | Banuton~~
Entry | Postcard
Elise Sheppard represents Banou as the nation debuts at the WorldVision Song Contest here in Doportedas. Elise will be singing, "Padeg Viską (Burn It All)"...

26 • Achaean Republic | Rexublique Acaieme
Entry | Postcard
Achaean Republic were so close to winning WV106 and they're trying again - they're represented by The Absolutionists who will sing the song "Kachat"...

~~DNF • Pemecutan | Pemecuton~~
Entry | Postcard
Pemecutan returns to the WorldVision Song Contest with Yudaswara who will sing the song, "Hanya Sahabat" which translates to 'Just Friend' in English...

28 • Tödlichebujoku | Todlichebuton
Entry | Postcard
Todlichebujoku returns to the Contest as Áno, Nevis Barbo represents the country in the hope of a ninth victory - "Zini Co Darít", boys!

29 • Britonisea | Brityunik
Entry | Postcard
Hosts, Britonisea, ends its hiatus at the Contest with Vha Mehlodhivestoile champion, Ella Lockwood who will sing the song, "Hypnotised" on home soil...

~~DNF • Plangainer | Plangieme~~
Entry | Postcard
ERROR 404: NO ARTIST/ENTRY INFORMATION

~~DNF • Erie-Arcadia | Arcadieme~~
Entry | Postcard
Erie-Arcadia is represented by Us Together who will sing the song "Safe Heaven" - singing about Doportedas, of course! (joking)

32 • Terra Zealandia | Terra Zealania
Entry | Postcard
ERROR 404: NO ARTIST/ENTRY INFORMATION

33 • Vartugia | Vartugieme
Entry | Postcard
Who will perform thirty third?

34 • Missus X | Missus X
Entry | Postcard
Who will perform thirty fourth?

35 • Estogium | Rwhitton
Entry | Postcard
Taylor Siregar brings Britonisea's neighbours, Estogium, back to the WorldVision Song Contest with his song "Heartbroken"...

36 • Caryton | Rexublique Spiratique Caritieme
Entry | Postcard
Who will perform thirty third?

37• The Hlhata States | V'Etais Hlhata
[url]Entry[/url] | Postcard
Who will perform thirty fourth?

38 • Flusia | Flushieme
Entry | Postcard
Who will perform thirty third?

39 • Llalta | Llalta
Entry | Postcard
Who will perform thirty fourth?

BITC | Britonisea International Television Company
Host Interventions
Part One: Let the WorldVision Song Contest begin!
Part Two: Highest Scoring Winners Pre-82
Part Three: When The Jury & Televote Doesn't Agree
Part Four: TBA
Part Five: Let the Voting Begin!
Hosts; Matt Evans, Alyxhia Willis and Xavier Benchek host the 107th WorldVision Song Contest live from Arena de Banques in Doportedas...

PNB | Polkopian National Broadcaster
Part One
Rebekka Yarkovskaya brings her sarky commentary live from the Polkopian commentary box - in English!

by **Britonisea** » Tue May 16, 2023 2:23 pm

Live Coverage of the 107th WorldVision Song Contest hosted by Matt Evans, Alyxhia Willis and Xavier Benchek

After the fantastic opening act and Flag Parade, it was time for the three hosts of the competition to make their way onto the stage. The three of them slowly walked from the revolving doors with Matt Evans on the right, wearing a velvet black morning suit which glistened in the light. Alyxhia Willis was wearing a lovely vibrant orange dress obviously highlighting the official colours used in the WorldVision logo for this edition. Finally, it was Xavier Benchek, standing on the left, wearing a blue suit. All three hosts were looking rather dashing in their WorldVision attire and all seemed ready to host the 107th WorldVision Song Contest. All three hosts have hosted before together at Vha Mehlodhivestoile and so the banter and vibes between the three of them certainly are there, though, for the WorldVision community, some of the squabblings that the boys would do during Vha Mehlodhivestoile wasn't seen as appropriate for WorldVision Song Contest that would inevitably be broadcast to a lot more people than Vha Mehlodhivestoile. All three hosts are well-seasoned, especially Matt Evans who has now hosted three editions of Vha Mehlodhivestoile and appeared as the spokesperson for both WorldVision and World Hit Festival. Of those who aren't a singer (as his main career), he is most definitely the most known Briton and probably the favourite to be picked to be the host of this upcoming WorldVision. As soon as he finished off in Burgendore for the Grand
Final of VM, he was sent straight to Doportedas where he met with Alyxhia and Xavier (who was also on the same flight going back) and began rehearsals.

"Please welcome the hosts of the 107th WorldVision Song Contest: Xavier Benchek, Alyxhia Willis and Matt Evans!"

Alyxhia Willis: Hello and welcome, everyone, to the 107th WorldVision Song Contest live from the capital city of Britonisea - Doportedas!

There was a lot of applause in the Arena de Banqués tonight as a wide shot of the 18,000 people in the hall was shown. The LED pads lit up too with waves of lights lighting the whole venue up. After a while, the audience died down and we got a close-up of Matt Evans.

Matt Evans: After twenty-six editions since our last hosting and three previous failed bid attempts by Doportedas, we're finally back and for the first time ever in Doportedas!

There was another loud cheer from the audience who agreed with that statement. Doportedas is one of those cities that love to be in the limelight but Britonisea does have a thing about spreading out opportunities amongst the whole of the country hence why the likes of Doportedas and other major cities such as Junterapten hasn't yet hosted the Contest yet when Machievelihe and Kyvivre have.

Xavier Benchek: It's strange to think that Doportedas hasn't ever hosted the WorldVision Song Contest, isn't it?

Alyxhia Willis: Honestly, yes! Britonisea has hosted five times before - they've hosted in Quickenden for the 41st WorldVision Song Contest, Kyvivre for the 51st WorldVision Song Contest, Machievelihe for 57th WorldVision Song Contest-

Xavier Benchek: MACHIEVELIHE?

Alyxhia Willis: Well, yes Xavier, that is exactly what I just said - Machievelihe was picked to host the 57th WorldVision Song Contest!

There was a round of laughter at Xavier's shocked expression as we learnt that Machievelihe was picked as a former WorldVision host over the likes of Junterapten and Doportedas. Machievelihe is Britonisea's eighth biggest city while Kyvivre is the 10th.

Xavier Benchek: And well, who's decision was that?

Matt Evans: Now, now Xavier! Machievelihe is a wonderful place! There's some very fantastic people that have come out of Machievelihe.

Xavier Benchek: Such as?

Matt Evans: Justs Prazeres! And his brother…Sadegh.

There were more heckles coming from the audience as Sadegh was mentioned. Now 24, Sadegh represented Britonisea at the 65th WorldVision Song Contest with his song "Make Your History". The song was the one that followed the back-to-back wins by Britonisea at the 63rd and 64th contest (which was helped by a second place at the 62nd contest). The bookies had Britonisea at #1 until this song was revealed and the odds saw Britonisea drop out of the top and no longer became a favourite. In the end, Britonisea placed 9th and so while the placement was good it was seen as a flop in the eyes of Britonish people. His brother, Justs, represented Britonisea at the 49th WorldVision Song Contest where he placed 6th and became the highest placing male act for Britonisea until he was overtaken by Taron Woods who won in WorldVision Song Contest 63.

Xavier Benchek: Oh come on now?

Alyxhia Willis: Boys! I know the pair of you do like a good squabble but this is the World….Vision Song Contest! We've got to be on our best behaviour! As I was saying! Telm City hosted the 66th WorldVision Song Contest before Boschke hosted our final contest for the 81st Contest.

Matt Evans: And now here we are, breathing in the wonderful Doportedas air!

Xavier Benchek: Mmmm the beautiful smell of coffee, croissants…and asphalt road tar!

Alyxhia Willis: Mind you, I love that smell!

As Alyxhia joked about this, a screen showing all the participants of the 107th WorldVision Song Contest was shown on the screen. One of these nations will become the winner of the 107th WorldVision Song Contest but who will it be? Only time will tell!

Alyxhia Willis: A grand total of 30 nations will be competing at the 107th WorldVision Song Contest tonight. Once all acts have performed, you will be able to vote!

Matt Evans: Après le dernier acte de ce soir, le vote s'ouvrira pour tous le monde… Ouais! Mais n'oublie pas que vous ne pouvez voter pour votre propre pays!

Alyxhia Willis: Ooo J'adore le français!

After the French was spoken, there was another applause in the arena - the audience certainly enjoyed that especially as the nation has over 5 million french speakers in it, making it the third more spoken language natively. It was a great nod to them but none of these hosts were going to attempt saying anything other than 'Vha Mehlodhivestoile' in Britonish.

Xavier Benchek: Who doesn't?!

Matt Evans: I think it's time for the first act of the night, don't you think?

Xavier Benchek: That honour has been given to…StrayaRoos!

Matt Evans: Lucky you, don't mess it up!

Alyxhia Willis: Well, there's only one thing left to say…

ALL HOSTS: LET THE 107TH WORLDVISION SONG CONTEST…BEGIN!

At the end of the chat, it was time to head to the first postcard of the 107th WorldVision Song Contest - how exciting is that!

by **StrayaRoos** » Tue May 16, 2023 3:48 pm

Teya & Salena - Who the hell is Edgar?
Music & Lyrics: Kitta Svárdiga, Aliyana Kjaka

Background
19th wasn't the best firestorm could've done. The song was (as always) let down by a poor staging, and the World's boredom of seeing the same 3 artists participate every single Worldvision for StrayaRoos, over and over, so rtvS went back to their easiest formula, go across the internet to find an artist who can potentially win, like how they got to 9th place in WV105, with LAURA's song Go Insane, which was found on YouTube, so they found Kitta and Ali through similar methods.

The Artists

Kitta (right) & Ali (left) in a promo shoot for welcome to the show

Kitta
Kitta Svárdinga is an up-and-coming Aenglish singer-songwriter, who's selection for StrayaRoos turned quite a few heads, considering that she's the first person without any sort of Roosian citizenship to represent the country, and also the selection of her with Ali, as the two are essentially polar opposites in terms of genres that they focus in, with Kitta being more in the ballad and light pop area usually, while Ali regularly produces techno and metal.
Ali
Ali, full name Aliyana Kjaka, is StrayaRoos' other WV108 representative, who's definitely not that much of a star back home, with only a very small fanbase, and majority of her gigs go very much unnoticed anywhere, so the selection of her as the representative made majority of the nation scratch their head and ask "Who the hell is Ali?"

The Song

Welcome to the Show is probably one of the more unique Roosian entries. Being a departure from the usual 'Strong female vocalist performs a relatively boring and repetative track' that is most often seen from the land of the emus and eshays.
The track explores more of a 'krazeh päärti' style over a more generic elegant style that rtvS often employs.
The song was penned by both Kitta and Ali at a songwriting camp in Alezia in February 2023, with the song being about being the life of the party.

The Village
The WV Village in the week leading up to the Grand Final was easily described as a massive party for the entire world and the performances lived up to that, except for Robloxia sending the infamous Draca from WV105. Kitta & Ali’s performances were not that bad, with them performing Welcome to the Show, as well as covering Way of Life, Aenglide’s winning entry in WV98 and Higher, StrayaRoos entry on home soil in WV103.
The Postcard
Theme: Bridges
StrayaRoos location:Ulladulla bridge
Britonish location:Strata Bridge, Telm
The postcard starts in StrayaRoos, under the Ulladulla bridge, with a few boats and people underneath it, and the camera then pans around, before zooming out, then heading to the Strata bridge in Britonisea, where we see Kitta & Ali on it, just generally seeing the few decent sights around it, before they move away, and are met by the choir, before the postcard ends, and then we see the stage ready animation.

The Performance

The stage is lit up with spotlights all over, the focus being on Kitta and Ali, who are standing next to each other.

oh my god, you know how to start a party!
Yeah, that was us, Kitta and Ali!
Welcome to the show!

As the song starts, the LED at the back of the stage lights up with their names and the song title on it (similar to Austria's London Eurovison party performance this year)
As the first actual verse of the song is performed, all the lights on the stage focus on Ali, who starts the song

The spotlight's on my body, and it's giving me a hit
It's time to give them a show that nobody can resist
Time to go hard and fast (now)
Dunno how I got here, but it's great that I did
The music's pumping through me, and it's driving me wild
I'll give it all I've got
Woah-oh-oh

After the girls sing the final line of the verse together, they start the hook, with the LED screen pumping in a way, with red bars bouncimg up and down the screen

Show-show-show-show-show
Show-show-show-show-show
Show-show-show-show-show
Welcome to the-Welcome to the
Show-show-show-show-show
Show-show-show-show-show
Show-show-show
Welcome to the Show

They move to face each other for the next verse, and for the final line, they slur their voices a bit, so it comes out sounding more autotuned than natural

Baby, I should show you the way to this
Maybe I could show you the tricks to this so you can get a shot
How’ll you try to show them your art
This is your chance to become a star

the LED screen at the back of the stage turns into more of a red wave, and the lights turn to a flashy combination of green, pink, blue and orange.

Show-show-show-show-show
Show-show-show-show-show
Show-show-show-show-show
Welcome to the-Welcome to the
Show-show-show-show-show
Show-show-show-show-show
Show-show-show
Welcome to the
Welcome to the Show

Oh my god
The spotlight’s on my body
Oh my god
The spotlight’s on my body

The beat slows down, and the song becomes slightly more acapella, with the two of them singing in a harmony, and the lights hit the stage, to focus solely on them, and during this verse, the lyrics are on the screen, as they move forward towards the edge of the stage.

Come and start the show
The lights are flashing and the drinks are on me
Come on girlies, let’s give them something to see
You can never pay to be lonely
Come and, and start, the show, the show
Come and, and start, the show, the show
Come and, and show, the show, the show baby
The greatest show that the world’s ever seen (yeah)

The song kicks into its final stage, with Kitta being the focus, and Ali attenpting to hype up the crowd while performing backing vocals

Oh my god
The spotlight’s on my body (show-show-show-show)
Oh my god
The spotlight’s on my body (Welcome to the, welcome to the show)
Oh my god
The spotlight’s on my body (show-show-show-show)
Oh my god
The spotlight’s on my body (show-show-show-show)
Oh my god, The spotlight’s on my body

Kitta folows up the last verse with the final line

Welcome to the show

after the final line of the song, Ali yells to the crowd "World, welcome to the fucking show!", in an move that, to be honest, she'd probably end up regretting later, but who cares? That was their chance to show the world who they were, and they did just that. poe poe poe poe edgar allan edgar allan

by **Crustyland** » Tue May 16, 2023 4:01 pm

Song Where all them Seals at?

Singers| Atle Axness and Jørn Vea
Lyrics and Music| Atle Axness and Jørn Vea

Atle Axness and Jørn Vea are an impressive musical duo. These two talented individuals have seamlessly combined pop and rap to produce their unique and captivating sound. Atle aged 26 and Jørn 28, have been creating music together since their college days, displaying a strong bond and a remarkable level of musical chemistry.

The duo hails from Tarleigh, a charming and picturesque town tucked away in the northwest region of Crustyland. Thankfully the town enjoyed some respite from the hundreds of thousands of sea mammals that plagued the rest of the nation Despite being relatively unknown on a global scale, Atle and Jørn have already made a name for themselves on the local music charts, achieving a commendable level of success. Their passion for music and their unwavering drive to succeed is obvious in their upbeat performances, and their growing fan base is a testament to their talent and hard work.

Atle Axness and Jørn Vea

The last edition hadn't been great for Crustyland, but it could have been much worse. They finished 21st out of 25 with 50 points, 35 points ahead of Vartugia in 22nd place. This meant they had placed in the bottom five twice in a row. CRAP was well known for its various stages of having loads to spend or very little to spend, often bankrupting their country to send something quite good to the WorldVision stage before tanking the edition due to having no funds.

This edition saw CRAP's budget filling back up again with what critics were calling "a commendable entry" . Yes, it was full of sea mammal references AGAIN, but there was also something fun, catchy, and rather alluring around their entry in this edition. The two singers were good-looking, fit and knew how to work the camera in their favour, when not singing the two guys were also male models! PLUS, they had good vocals despite the questionable lyrics.

Key
Atle Jørn Choir

Crustyland were second to perform, and Atle Axness and Jørn Vea made their way onto the stage. Calm and confident, they got ready to sing as the postcard ended. Genuine applause filled the hall for Crustyland, something that was often lacking. Perhaps hey were on track to bagging a decent result for their homeland. The two singers would be accompanied by a female backing choir at the back of the stage.

The beat dropped almost right away, and the crowd cheered again. The camera was high above the audience and approached the stage. The stage lights flashed white as black, blue and white squares flashed on the main LED screen and floor. Atle Axness and Jørn Vea were centre stage, twisted into a human pretzel shape. They would be wearing the same outfits as above. Their bodies rubbed up against one another. They slowly parted and faced one another, bending down and mirroring each other's movements. Their dancing was almost quite sensual.

Atle's synthesizer-influenced and distorted vocals began as he was supported Jørn. He leaned down, legs spread towards the railcam peering up at them. The two men's movements were sexual and sensual as they toyed with the camera often winking and sticking out their tongues. The lights continued to strobe white. They spread their arms outwards as they sang "spread their wings" before dropping them to their sides.

Where all them seals at?
Yeah!
It's been a long, long time since I've seen those crazy seas
Yeah!
Seen all of them seagulls spread their wings
Yeah!
And now there's a new plague on these streets
Yeah!
And while we're preaching up a war!

The onstage Steadicam floated across the two singers as they played with the camera. Atle, with a subtle gesture, slowly ran his hands down his legs as he gracefully bent down, showcasing his fluid movements. Meanwhile, Jørn stood firmly with his arms folded and a cool, tilted head, exuding an air of confidence and control. The performance oozed chemistry between the two singers, and the audience were loving it. Both guys waggled their index fingers, signifying the lyrics towards the camera as Atle sang, "Cause they won't count you out, no..." The LED behind them shifts into a stunning portrayal of an icy ocean, combining rich shades of dark blue and light blue to create a vivid image.

You better watch out...
Uh-huh!
'Cause they won't count you out, no...
Uh-huh!
Keep on rising higher above the clouds...
Uh-huh!
These sea mammals seem so far away!

The Steadicam focused on Jørn as he sprang forward in front of Atle to sing "Look out for the Walrus!" We cut to a spidercam that raced outwards as the entire arena sang it simultaneously as a huge image of a Walrus flashed briefly on the screen behind them. Atle quickly cowered down behind him shielding his face.

Uh huh!
Look out for the Walrus!

The crowd roared as the chorus began and the two performers in the spotlight rapped and sang. They swayed to the rhythm of the song, their energy infectious. When they reached the line "Hunks at the speed of light," they tore open their shirts, revealing their amazing abs and outstanding chests. The audience cheered as the duo continued to sing with wide grins. Meanwhile, one of the female backup singers, clad in black shorts and a white tank top, stepped onto the centre stage and performed a seductive dance routine. Jørn and Atle, captivated by the performance, remained lively and in sync with the music their voices and movements oozed sex appeal. Throughout the chorus, we could hear the backing singers supporting them. As we reach "And everywhere there are people" the female dancer stops dancing as Atle and Jørn put their arms around her shoulders. The steadicam crept up behind them as they turned to face the main LED. Atle points towards the screen as a scene of seal infested promenade plays out. in the video, two guys are comforting woman so she can walk safely past the seal mammals. They turn back to face the audience and finish singing. The woman gleaming with a huge smile knows they have her back. She joyfully runs off stage as the chorus ends.

But somehow
Their numbers keep on rising higher
Hunks at the speed of light
And as the world keeps growing
And goes round n round
Chicks run and people shout
For the moon
To come to light
On the clouds with golden rays
Of light
And everywhere there's people
Feeling bad
I know you all want to know
Yes there are people saying let go
I don't wanna walk alone
I want to walk alone
Where the eagles dare not creep
I got no one left
To lose along the way
There's so many people saying let go
Come here girl
Seals on the streets
Come here girl
Just ignore them all
Walk past them now
Come here girl
Take in the sights
Come here girl
Sounds of the city
Come here girl
Watch your step

The lights go off briefly as the stage almost resets ready for the next verse. Atle is still centre stage, and next to him is someone dressed in a seal costume. He places his arm around the guy, complimenting him while he is singing, pointing at his tusks, stroking his face, etc. The seal claps his hands happily.

Where all them seals at?
Yeah!
The king of the tundra and ruler of the ice
Yeah!
With tusks like spears and a roar that's nice
Yeah!
Hunt in the water and hunt on the land
Yeah!
Walrus, baby in demand

Seals and walruses,
Uh-huh!
They rule all of the seas
Uh-huh!
Riding the waves so wild and free
Uh-huh!
Their tusks are sharp,
And their teeth strong
Uh-huh!
Look out for the Walrus!

As the chorus played, the arena filled with captivating white spotlights, which floated around. The LED background was an eye-catching blend of blues and greens, complementing the chorus perfectly. We could hear some of the audience singing along, adding to the electric atmosphere. The singers had an incredible rapport, walking across the front of the stage and engaging the crowd. From the railcam view, we could see the audience jumping and waving their flags in unison. The singers' chemistry was flawless, and they performed animatedly, gesturing with their hands. The person in the seal costume was also present, clapping along at the periphery of the stage. The camera cut to various shots of the stage from different angles, providing a fantastic view of the performance.

But somehow
Their numbers keep on rising higher
Hunks at the speed of light
And as the world keeps growing
And goes round n round
Chicks run and people shout
For the moon
To come to light
On the clouds with golden rays
Of light
And everywhere, there's people
Feeling bad
I know you all want to know
Yes there are people saying let go
I don't wanna walk alone
I want to walk alone
Where the eagles dare not creep
I got no one left
to lose along the way
There's so many people saying let go
Come here, girl
Seals on the streets
Come here, girl
Just ignore them all
Walk past them now
Come here girl
Take in the sights
Come here girl
Sounds of the city
Come here girl
Watch your step

The sound of an acoustic guitar filled the arena as the choir hyped up the crowd. The lyrics flashed up on the screen as the camera panned across the crowd with lots of various flags waving.

The masters
Of the ocean,
All day long!
Uh yes!

For the next verse, the back LED turns off and the two singers are lit with white spotlights. The LED floor turned into an icy landscape. The two singers remained cool and full of swag as they stood centre stage. The camera focuses on Atle as we have a close-up shot for the first line before we cut away to Jørn on his right side. The whole time they sang with a charming smiles. As they sang, they mimicked the sea mammals by puffing out their cheeks and putting their fists on their sides to look big and round.

Where all them walrus's at?
Yeah!
King of the ice, with tusks that'll slice
Yeah!
Blubber's so thick, they'll survive any fight.
Yeah!
You might think their slow, but they'll catch you off guard
Yeah!
Look out for the Walrus!

As the chorus played, the arena filled with captivating white spotlights, which floated around. The LED background was an eye-catching blend of blues and greens, complementing the chorus perfectly. The blend of vocals from the singers and choir was perfect. We could hear some of the audience singing along, adding to the electric atmosphere. Standing confidently centre stage Atle and Jørn sang in front of the guy in the seal costume who danced in the background behind them. As Jørn rapped his lines, he would often grab the onstage camera singing directly into the camera lens as the camera did a 360 loop around them. We cut to a railcam view and saw the audience jumping and waving their flags in unison. The singers' chemistry was flawless; they performed animatedly, gesturing with their hands. The person in the seal costume was also present, clapping along at the periphery of the stage. The camera cut to various stage shots from different angles, providing a fantastic view of the performance.

But somehow
Their numbers keep on rising higher
Hunks at the speed of light
And as the world keeps growing
And goes round n round
Chicks run and people shout
For the moon
To come to light
On the clouds with golden rays
Of light
And everywhere, there's people
Feeling bad
I know you all want to know
Yes there are people saying let go
I don't wanna walk alone
I want to walk alone
Where the eagles dare not creep
I got no one left
to lose along the way
There's so many people saying let go
Come here, girl
Seals on the streets
Come here, girl
Just ignore them all
Walk past them now
Come here girl
Take in the sights
Come here girl
Sounds of the city
Come here girl
Watch your step

The energy in the room was electric as Atle and Jørn finished singing and completely ripped off their shirts to show off their street dance skills. The crowd went wild as the two men ripped off their tops. The audience erupted into cheers as they spun, twisted, and popped to the beat of the music. The steadicam captured every moment up close. The whole time the choir continued singing in the background. Clearly, these two were not just talented singers but also incredible dancers. Everyone in the arena was captivated by their moves, and it was impossible not to be swept up in the excitement.

You ready? Yes
You ready? Yes
Yes

As the song faded, the two performers took a bow, beaming with pride at the incredible response they had received. The arena was filled with deafening cheers. We have a shot as they hug one another! "Thank you!" They shout!

by **Carrelie** » Tue May 16, 2023 4:24 pm

Nocta - "Interconnexion"
Tune: BESS - "Ram pam pam"
Lyrics by Éloise Massiens, Julie Sarrente, Louis J. Érreude
Music by Annemarie Königsmann, Julie Sarrente)

Overcoming Adversity

The STC was understandably riding high after they achieved a second win in a row in WorldVision 105. The public broadcaster had internally selected the Uthossian-Carrelian Marje Eenpalu to represent the reigning champion at the 106th contest - the excitement was overflowing as people rallied behind her, threw celebrations in her name, prematurely declared her the victor...

And then she came 6th. Sure, it wasn't a bad place by any means, it was a good place in fact, but the STC didn't know how to treat it. After 2 editions they'd gotten used to winning everything, so they weren't sure how the public would react. Naturally, Marje still returned home a Carrelian icon with a bright future ahead, celebrated by people across the Confederation - but the STC felt it had to step up its game. They decided to collaborate with record label Windmaker Music to select an up-and-coming artist to represent Carrelie on the world stage. They deliberated over artists over a short while, before finding the perfect fit.

Nocta

---

This fresh star is a new face on the Carrelian pop scene. Her unique electro-pop style has become wildly popular with people half her age on platforms such as TikTok and Conversate, where her musical experiments have gone viral. With her large following behind her, Amélie Nevailles, going by the stage name of NOCTA. Since dropping her first single, "Salut/Salut", back in April 2022, she's gained traction like no over and has toured all over Carrelie - and now, the world!

Born in 1993, Amélie Nevailles has led a relatively normal life. She did alright in school, made a cabal of friends, and eventually went off into society a well-adjusted woman. Nowadays she lives with her husband Henri and her tuxedo cat Coco, but, growing up in the 90s and early 2000s, she also experienced the wonders of the early internet. Her childhood home in Serratiens wasn't well-connected at all, but her parents managed to get a personal computer for their family thanks to their relatively well paying jobs. With her mother a teacher and her father a lawyer, Amélie found herself alone in her house on occasion, and so surfing the web soon became one of her favourite hobbies, before it was cool. Whenever there was something cool to be seen on the net, she was almost guaranteed to have seen it.

Amélie was around 13 when MySpace was really coming into its own, and she became dead-set on signing up. Her parents were at first resistant, having been warned by another parent of the internet's dangers, and didn't budge. They did, however, let her have access to Facebook as a compromise, where the two thought she would be safe and secure. However, Amélie was desparate. She decided to do something that she'd never dreamed of doing before - going behind her parents' backs. She signed up under the display name Xx_NoxAmi_xX and began to engage with the website's growing musical scene, where she developed a style completely different to her current one. Clips of amateurish pop français in the vain of "Je veux te voir" by Yelle were uploaded in masses to her page, but people clearly began to take a liking to them. From there, she amassed a whole host of friends online and continued to put out music, but soon took a hiatus. It's only been recently that Nocta, a stage name adapted from her display name, has begun to make music again, and she's seen a greater success than she could've ever dreamed of.

Performance

Nocta's staging plan was elaborate and complicated. At the beginning the neither the audience in the arena or that at home, who were peering through camera 10, could see her at all, for she was blocked behind a structure with some sort of Yerevan Cascade-esque design in two halves and three tiers. After the end of the postcard, which featured Nocta in two lovely little internet cafés in Serratiens and Quickenden, the audience at home's perspective was changed to camera 21, which trucked its way left and right across a small black box as the first verse was sung. At the end of the verse, she turns her back on the camera.

Cœur, bat à tout rompre
Quand je me connecte à l'internet
C’est vous, lui et tout le monde
Au bout de mes doigts, j'utilise le gadget

Changing to camera 5, the audience at home once again sees the staircase-ish structure, which has some quite thick sides. Out of doors in the side of the massive prop come two backing dancers, which begin to pace across to the other side (at "Branché sur vous...", reaching the other side at "...veux me détacher"),entering another door in the other side. This repeats with progressively more dancers until there are 5 seen by the audience (at "À chaque fois"). Throughout, they throw projectiles at one another in an effort to knock eachother off stage as if competing for a trophy or high score, though to no avail. At the end of the chorus they are sealed again inside the prop. Nocta is unable to be seen at this point, though the screens behind show a beating heart embedded in what looks to be a motherboard.

Je ne sais pas ce que tu ressens à mon égard
Je veux t'atteindre mais tu es loin de moi

Branché sur vous, je ne peux pas m'en passer
Mais de toi je veux me détacher
J'ai besoin de toi maintenant et pour toujours
Je peux me connecter pour dire bonjour
Mon cœur va «ra-pa-pa-pa-pa-pa, pow»
Qui va «ra-pa-pa-pa-pa, pow»
À chaque fois
Je sens l'interconnexion
Et je ressens ton émotion

The view once again changes to camera 21, though Nocta looks significantly different. While before she was dressed in a black dress with gold highlights and a starry headband, she's now in a black and red jumpsuit with a head-mounted display covering her eye. She wears red gloves and red boots to complete the look. As she sings, she is dropped and then promptly discards a prop Nokia 3310 (at "la technologie"), followed by a flip phone and a smart phone. She remains in the box for the entire verse.

Oh, la technologie
Cela me rapproche de toi maintenant
Je pense à la dimension humaine
Nous gardant à l'intérieur maintenant

While the chorus begins progressing the same as the first, there's a cataclysmic change halfway through (at "Mon cœur va..."), when the two sides of the staircase come apart. They reveal an elaborate mech-like structure to which Nocta is "plugged in", which is slowly wheeled to the front of the stage. While the backing dancers try to jump across the divide, it soon becomes too much and as they all traverse the lower level (at "Je sens l'interconnexion) they fall to the ground.

Je ne sais pas ce que tu ressens à mon égard
Je veux t'atteindre mais tu es loin de moi

Branché sur vous, je ne peux pas m'en passer
Mais de toi je veux me détacher
J'ai besoin de toi maintenant et pour toujours
Je peux me connecter pour dire bonjour
Mon cœur va «ra-pa-pa-pa-pa-pa, pow»
Qui va «ra-pa-pa-pa-pa, pow»
À chaque fois
Je sens l'interconnexion
Et je ressens ton émotion

For the bridge, the camera view shifts to inside the mech-like structure as the backing singers come up from behind. They begin to pull the "wires" out of Nocta (think Samo si me spava, only in reverse) as she progressively becomes more wild and alive. Suddenly (at "Je veux que tu...") she snaps to face the camera and the audience, and ejects herself from her vehicle of sorts.

Ce soir j'attendais que tu viennes en ligne, je te veux
Ce soir j'attendais que tu m'aimes plus, je te veux
Tu m'écrases jusqu'à ce qu'il ne reste plus rien
Je veux que tu m'excites sur l'internet

For the final two choruses, Nocta traverses to the outer stage, to be closer to the audience. Camera 20 zooms in on her as she is accompanied by the 5 backing singers, all forming a line beside her (at "...pour dire bonjour"). All five begin to punch the air in time with the music (at «ra-pa-pa-pa-pa-pa, pow») and then make the motion of their hearts beating (at «ra-pa-pa-pa-pa, pow») towards one another. For the final part, Nocta is lifted up by three of the dancers and the camera looks down on them as she is spun around for all the world to see.

Branché sur vous, je ne peux pas m'en passer
Mais de toi je veux me détacher
J'ai besoin de toi maintenant et pour toujours
Je peux me connecter pour dire bonjour
Mon cœur va «ra-pa-pa-pa-pa-pa, pow»
Qui va «ra-pa-pa-pa-pa, pow»
À chaque fois
Je sens l'interconnexion
Et je ressens ton émotion

J'ai besoin de toi maintenant et pour toujours
Je peux me connecter pour dire bonjour
Mon cœur va «ra-pa-pa-pa-pa-pa, pow»
Qui va «ra-pa-pa-pa-pa, pow»
À chaque fois
Je sens l'interconnexion
Et je ressens ton émotion

Finally, it comes to an end. After Nocta is put down there's only a short instrumental before she raises her microphone high in the air to a grand applause. She's become the 19th person (or so, she lost count at 10) to represent Carrelie at WorldVision, and received the applause, and certainly the admiration back home, she thought was perhaps worthy of a winner. In the short moment, she felt like a queen. With tears about to form in her eyes, she shouted with all her heart...

«MERCI, BRITONISIE! MERCI À TOUS!»

Her staging was then promptly led off stage along with herself, leaving it clear for Mme Nott as the Polkopian postcard began to play.

by **Polkopia** » Tue May 16, 2023 4:24 pm

Tune: Ava Max - Dancing’s Done

Galiya Nott lived a relatively simple life in Polkopia. She grew up in an unassuming neighborhood along the outskirts of Peeto, attended primary and secondary school, and attended the Peeto Academy for the Arts, where she studied songwriting. Growing up with seven siblings, Galiya was always the quietest of the bunch, and even throughout her studies she had always seen herself writing songs for someone else. Of course, as with any student studying songwriting at this particular institution, she was required to attend several courses on vocal training and techniques, public speaking, and performing. It was here where her peers realized that she had a natural talent for performing, even though she never fully believed it herself. She knew she was a capable songwriter and had a decent enough voice, but the very thought of performing in front of a large audience had always terrified her. Her instructors pushed her, however, and Galiya reluctantly agreed to begin performing her original songs at her institution. Although the audience rarely exceeded that of a few hundred people, the extra stress forced Galiya to begin taking medication to combat her anxiety. This significantly improved her mental state and allowed her to perform more frequently. It was her final project where Sparks Are Gone was first written. After graduation, her former peers urged her to submit the song to Symfonik. At first, she refused, however months and months of freelancing proved to be unsustainable for living, and she sought to build a stable career for herself. Eventually, she decided that the easiest option was to try her luck with Symfonik, and the rest is history.

Preparations for Britonisea were strenuous to say the least. Between rehearsing choreography, interviewing, promoting her song, and traveling, Galiya found 100% of her time dedicated to Worldvision. During this time, she learned more about what a life of a "famous" singer was like, and although it was overwhelming and stressful at times, there was always something new to learn and Galiya worked hard to be the best she could be. She found comfort in her ambition and willingness to learn from others, and the opportunities that arose from Worldvision would have never have even been imaginable had she not taken up this opportunity.

The most unpleasant part about her experience was actually in Britonisea. BITC had selected Galiya to film her postcard in Telm City, one of the most dangerous and underdeveloped metropolitan areas in Britonisea. Was it sabotage? Possibly - the PNB certainly thought so! Shortly after landing in what could best be described as an airstrip, the Polkopian delegation dodged gunfire, barely making it to the "airport" alive, where they planned the logistics of traveling to Courtland Bridge. Thankfully, BITC had already planned the travel logistics, so all Galiya and the Polkopian team had to do was hop in the car, show up to film, and head back home. Unfortunately, their ride would not show up for another hour, so the team had to make themselves comfortable in the airport for that amount of time. In most situations, this wouldn't be so hard - there are usually plenty of things to do at an airport to pass the time, however the restaurants and shops in the Telm City airport had all shut their doors long ago for fear of their employees' safety. The only thing the team could do was sit near one of the gates (after laying down some tarp on the seats, of course), remain vigilant, and anxiously wait for their ride to show up. The ride to Courtland Bridge was relatively painless, save for all of the potholes, but the team was already prepared for this during their travel advisory presentation with the Polkopian Travel Advisory Board before their trip. When the team arrived, the bridge seemed stable enough to hold a few cars - so that's a plus, however the river below was a suspicious dark green color and a putrid stench emanated from the "water." While filming the postcard, Galiya and her team had to request oxygen masks to alleviate themselves of the putrid smell, however the postcard was finally filmed without incident.

While staging a Worldvision entry had always been something that the Polkopian delegation excelled in, it was always a challenge to create an original concept that stood out to viewers and captured the essence of the song in some capacity. What proved to be especially difficult with Sparks Are Gone was incorporating somber themes, as told by the lyrics, in an up-tempo, dance-friendly track. How does one incorporate these elements into an act, while ensuring that the artist can still deliver a vocally flawless (or near flawless) performance? That was exactly the dilemma that the Polkopian creative team faced once initial plans began. Weeks turned into months and the team was at a loss with how to stage Polkopia's "big return" to the contest. In Symfonik, Galiya's winning performance remained relatively simple. Although she won, she received a bit of backlash from the general public, who criticized her simple staging for coming off as underwhelming or even lazy at times. In a national competition, Galiya could get away with it, but on an international stage the stakes were much, much higher, and her team had to essentially start from scratch if they wanted a truly memorable performance.

So, where to start? Typically, step one involves devising a color scheme for the performance and building upon that. Previous Polkopian entries typically incorporated either golden hues in the performance, or deep, dark red shades. The creative team behind Polkopia's staging this edition are all taking on this project as their first ever Worldvision staging project, and have all agreed to take Polkopia's future Worldvision entries' staging concepts a step further than in previous editions. When it came to colors and lights, it was fine to repeat previous patterns every once in a while, but the team wanted this edition to be completely different, so no red lights, and no gold lights. After that came the concept, which proved to be the most difficult aspect of inventing a stage performance. Was this performance going to be low-key and focus on the lyrics of the song? Or more dance-friendly with choreography, lights, and a big budget? Neither option really stuck out as a clear winner by themselves, but a blending of the two would have to be arranged. It took months of preparation, but eventually the team had a foundation on which to build further ideas upon and eventually have a fully-fleshed out staging concept that would (hopefully) be well-received by the public.

Now was the time to put all of those ideas to the test. After rehearsing the technical aspects of the staging over the course of the last week, the Polkopian entry was ready to be performed. The stage was set up so that the center of the stage was raised about three meters high. On the pedestal was a bed with ivory sheets draped around the mattress with lengths of the fabric dangling off the edge of the pedestal. Galiya was began the performance laying in bed, the blanket draped across her chest and legs in a way that made it appear as if she was fully nude under the blanket. The opening shot was from the aerial camera (camera angle 12), which slowly zoomed in on her as it rotated around itself. Galiya had her eyes shut as the backup singers sang the opening notes. Once it as Galiya's turn to sing, she opened her eyes, looked directly into the camera, and began singing.

Midnight in bed and I am paralyzed
Like every night
Kept thinking ‘bout the sadness in your eyes
Gets me every time

Galiya sat up in bed, holding the blanket across her chest as she did so to cover herself. The camera switched to another view (Camera 3), capturing the entire stage in the shot. From here, the audience at home could see just how dramatic the bedsheets looked as they hung off the already massive pedestal. The camera panned toward the right of the stage for half of this verse. Meanwhile, the lights were relatively non-existent, save for a spotlight illuminating Galiya and others showing the bedsheets hanging off the pedestal. The background singers were positioned in the very back of the stage, out of view from the audience. The next shot showed a close-up of Galiya as she sang the third line as she caressed her cheek with her eyes closed. As she sang the final line of the bridge, Galiya's eyes flew open, she hugged herself, and threw the blanket off of her as she sang the last word. All four corners of the massive blanket were hanging off the side of the pedestal now, and Galiya was revealed to have been wearing a black top that was cut off at her lower chest and adorned with thousands of small silver rhinestones. She wore black asymmetrical tights in the same style as her top. As soon as this happened, the background LED screen exploded into a pattern showing pink glitter "raining" from the ceiling, resulting in a massive cheer from the audience.

If we don’t know what we’re doing
There’s nothing left to say
I wanna keep you close
But you’re not there.

As Galiya sang the chorus, the pedestal began lowering itself to ground-level. Galiya, meanwhile, stood on top of the bed moving her hips to either side in-sync with the beat of the song. She let one of her hands grace her exposed thigh and moved it to hug her abdomen. By the time the first half of the chorus ended, the pedestal was now level with the stage floor and Galiya stepped off, taking each step in tune with the beat and maintaining a sassy disposition the entire time. The camera transitioned between views showing different sides of the stage and Galiya whipped her head around to sing directly into the camera each time. During the instrumental break, the camera showed members of the audience jumping and waving their flags before transitioning to another view showing the entire stage. Four background dancers stomped to the front of the stage to meet Galiya as soon as the next verse began.

What can I do to reignite that fire?
And keep the flame burning all night long, ooh
They say that true love, it goes on and on,
But what do we do w-when the spark is gone?

I wanna dive into that deep sensation
And kiss your lips until we both go numb, oh
Hold you tight like you’re the only one
But what do we do w-when the spark is gone?

By the time the next verse began, the four dancers positioned themselves at the four corners of the blanket that was now clumsily strewn about the middle of the stage now that the pedestal was lowered. The camera followed Galiya as she approached one of the dancers, placed her head on her shoulders, and closed her eyes. The dancer, meanwhile faced the middle of the stage and gripped the blanket. After Galiya sang the second line, the dancer fluffed the blanket, completely disregarding Galiya. Galiya then approached another dancer and hugged him from behind, however the dancer repeated the same behavior as the previous dancer.

Sometimes you have to know when to walk away
Yeah walk away
But that don’t make it easier for me
No not for me

Galiya frantically looked at the dancers before retreating back to the pedestal. The dancers all began fluffing the blanket simultaneously while Galiya stood on top of the bed and looked up at the ceiling, arms outstretched. As she sang the last line, she swung her right arm over her left shoulder, then her left arm over her right shoulder, and the swung her arms to either side. As soon as she did this, the pedestal started rising once more as the chorus began.

If we don’t know what we’re doing
How can I make you stay?
I wanna keep you close
But you’re not there.

The pedestal continued to rise, however the corners of the blanket started to rise up above the platform too. This is because below the platform, there was a wind machine installed at the base which was intended to blow the corners of the blanket high above the pedestal. This worked as intended as the pedestal continued to rise at the same height as before. Once the pedestal stopped rising, the blanket now fully obstructed Galiya from view. Right before she was blocked, Galiya extended one hand into the air as she sang the first line of the chorus. Once she was blocked from view, a projection was shown on the blanket, showing a woman with similar proportions as Galiya, holding her hand up in the air like she had done before she was covered. A pink heart was projected at the edge of the corners and fluttered down to the silhouette of "Galiya," who grabbed it, clutched it, before the silhouette disintegrated into a million pink pieces. At this point, Galiya was singing the "Oo-oh's" in the chorus, and the wing machine was dialed down, letting the edges of the blanket slowly dangle off the pedestal again. Galiya was nowhere to be seen, though she could still be heard singing the final notes of the chorus.

What can I do to reignite that fire?
And keep the flame burning all night long, ooh
They say that true love, it goes on and on,
But what do we do w-when the spark is gone?

I wanna dive into that deep sensation
And kiss your lips until we both go numb, oh
Hold you tight like you’re the only one
But what do we do w-when the spark is gone?
Oo-oh oo-oh oo-oh oo-ohhhh… woah

(When the spark is gone)

When the spark is gone

The lights returned to normal and Galiya popped back into view on top of the pedestal where she raised her hand into the air and blew a kiss with her other hand. "Thank you! Thank you so much!" She screamed before the camera transitioned to a group of Polkopian Worldvision fans waving the Polkopian flag and cheering on Galiya.

by **Aenglide** » Tue May 16, 2023 4:31 pm

Country Name: Aenglide
Artist Name: Lynna Fynsberg Víkja
Song Title: Melody
Languages: English

Music: Lynna Fynsberg Víkja, Jakis Mikovik, Jan Kémurik, Ynnen Kirkes
Lyrics: Lynna Fynsberg Víkja
Tune: Nightcall & Satellite Empire - Finding You

The 106th Worldvision Song Contest in Buaka, South Batoko saw Aenglide’s fifteenth participating entry in the contest, with Knalheim-born indie singer and songwriter Regine, and her electro/dream-pop fantasy song entitled “Weave”. At the end of Worldvision, Aenglide ended up at a decent ninth place out of 25 participating entries, grabbing a total of 153 points. While not incredible, it could have been a worse placing, and Regine was proud of herself, regardless of her performance. The Aenglish public found it a little surprising and saddening to see as zero sets of 12 points came in from the juries - the best only being a 10 from Malta Comino Gozo and a couple of 8 points from StrayaRoos and Millenhaal. With 77 points, Regine ended up seventh in the juries, but as the televotes were revealed and Aenglide was shown receiving one point off a repeated score with 76 televote points, it was less hope for Regine. Ending up at ninth in the televoting, the two placements did not average out and Aenglide still placed at ninth in the total scores. However, it was fine for her and her delegation team.

The Aenglish public were slightly upset though. The song was fairly appreciated by Worldvision fans, and it wasn’t as powerful of a song as Worldvision 105’s entry which was second-timers The Mercantiles, and their heavy rock song “Raging Wildfire”, which took the Malta Comino Gozoan night out in fifth place. However, Regine’s performance was still respectable in it’s own way. From that point onwards, it was up to ÆTV to show the world another song that’s suitable for another podium finish, and it was a bit of a journey for them to land their decision now. Originally, ÆTV decided that they were going to send a returning artist for the second time in Aenglide’s Worldvision history with three-girl folkpop group Jetlelvolka, who previously represented Aenglide in the centennial contest, qualifying for the grand final in that edition and ending up with a relatively amazing 13th place. However, because they happened to be on a global tour (including a performance in our wonderful host city Doportedas, Britonisea which will be mentioned later), they were unable to participate, so it was decided that a completely new artist would be representing Aenglide, by the name of Lynna Fynsberg Víkja.

Lynna Fynsberg Víkja at a promotional photoshoot for Worldvision 107

Lynna Fynsberg Víkja (born August 10th 2001, age 21) is an indie pop and orchestra singer born and raised in Ánojby, the largest town on Hvarisey Island, but is now based in Keterig, Aenglide. She is the first person from the Southern Islands (or De Söröyjen) to represent Aenglide in the Worldvision Song Contest. She grew up with a musical background, learning to play piano from the age of five. Taking regular music and singing lessons to pursue a career as an artist, she went on the sixth season of Aenglide’s Got Talent, taking the runners-up placement in the season. Afterwards, she was enrolled with a full scholarship to Aenglide School Of Music in Keterig, where a few other Aenglish Worldvision alumni went for their studies. She now lives in and is based in Keterig, although stays very true to her Hvariseyer roots.

Now, she has collaborated with Aenglish producers to release a few Number 1 hits on the Aenglish Music Charts, and is the lead vocals of many pop songs, and a few melodic dubstep songs, like Melody. Growing up, she was a major fan of the Worldvision Song Contest and would watch it in amazement of the many countries and entries that would participate over the years and many editions. Once selected to represent Aenglide, she stated in an interview that she is “very excited to be selected” and that “after years of watching it closely with family and friends it will be an amazing experience for [her]”. The 2023 single, entitled “Melody” was her song, selected to represent Aenglide in the country’s sixteenth participation in the Worldvision Song Contest.

Cover for the 2023 single “Melody”

Melody is the 2023 single by Lynna Fynsberg Víkja, selected by ÆTV as Aenglide’s song for the 107th Worldvision Song Contest. In collaboration with music producers Jakis Mikovik, Jan “Jannix” Kémurik and Ynnen Kirkes, it is a melodic dubstep which combines amazing sweet but powerful symphonic instruments, and the power of Lynna’s lovely and strong vocals. Because of these characcteristics, Aenglish Worldvision fans are ecstatic about the song, and already has made it onto the Aenglish Music Charts peaking at number one within days of the song’s release.

Barely anything negative has been said at all about the song by the Aenglish public, and some have compared the song to Aenglide’s first and only winner of Worldvision - Worldvision 98’s Jannix & Eva Kújlora and their song “Way Of Life”, with it’s similar genres and extremely beautiful lyrics and vocals. And they are very right to do so - because the music production was also helped with by Jannix himself, but has stated that unlike his and Eva’s performance back in Keterig, that “some artists just need the stage by themselves - because sometimes that simplicity can paint a thousand more pictures than if a DJ was on stage too. Don’t get me wrong, I am also proud of my winning performance of course, but sometimes solo artists have a larger effect on the Worldvision stage.” However, the running order was later announced by the Britonish Worldvision team - and Aenglide was placed in the fifth spot, which has left Aenglish fans somewhat concerned, being sandwiched between two major Worldvision powerhouses; ten-time winners Polkopia and returning favourites Ertzei Kishim, but they hope they can manage to stand out in the crowd.

Lynna landed in Doportedas, the capital of Britonisea with the delegation team multiple days before Worldvision came around. Because Britonisea is just a short skip away in the Novapax region, over the Occidentalian Ocean, it was an easy trip over to the city of six million people. Another easy trip after the even shorter jog over for Regine to Buaka, South Batoko for the 106th Worldvision Song Contest. It fascinated Lynna that in one city, that there’s roughly 1 million more people in the city of Doportedas than in the whole of Aenglide, making the city feel very big! Doportedas is an international class city, with the best of transportation being offered here. When arriving at the airport named “Aeroporte”, the team took the Metro Doportedas train from there into the central city, where they would be staying. Once they arrived at their hotel the sun was setting, and the delegation team were not at all tired from all the travelling that day, so they went out to the streets at night. The night life in Doporteda’s Centralis is amazing, and she was getting recognised by a handful of people, as the Worldvision fans were all in the city. The next day she decided to soak up the sun at Doporteda’s well known Westonber beach before going to the busy shopping district in Doportedas to go and buy out the entire stores. Lynna has said that she never knows what to wear in any occasion, and spends lots of time deciding her outfit! That night, Lynna and the delegation team visited one of Doportedas’ four michelin star restaurants. The culinary arts and cuisine in Britonisea is top notch, and the team was impressed with the food!

It was off to the real world of Worldvision. Before all the rehearsals, performances and everything else - Lynna and the delegation team were up to the north of the country to Loueske as, along with Ugunnustan’s artist Ilyza, is the site of where our postcard for the contest is. Our postcard shows Lynna, who is standing in the Aenglish city of Ljænborg in a fairly chilly spring morning, standing in the city’s lakefront on Insok Ljæn with the historic and old buildings facing out to the cold water. With the romantic old lampposts, the sun just rising over the mountains, and the fog it creates a cozy and lovely scene. Lynna smiles at the camera, before a drone camera rushes towards the fog in the background. From there, it transition to Loueske and we see Lynna, coated up again standing on Loueske’s lakefront. Lynna blows a kiss to the camera and waves, as the postcard fades away and ends. After the filming of the postcard finishes, and the team stay in Loueske for a night, before heading back south to Doportedas for a rehearsal on Day One of Worldvision, and then a pre-performance at the city’s Worldvision Village in Doportedas’ Park Bromedine. Lynna was performing on the second day at 21:55 at night. She would be joined with five other artists that night, as well as other Aenglish acts The Mercantiles and Jetlelvolka who would be performing on Day Four at night and Day Seven in the Afternoon respectively.

After the aforementioned postcard comes to an end by dimming the lights in the whole Arena de Banques, Aenglide’s entry is introduced to the world. Lynna is called up on stage, and she walks to the centre-front of the stage to start her performance. As soon as she is given the ‘go ahead’ by the Britonish stage technicians and Worldvision team, the Aenglish entry is revealed and announced, and the music begins. A dimmed white spotlight points on her, and as soon as she is revealed on stage, wearing a black dress with crystal patterns on it, she gets a loud audible cheer from the audience. To begin the song is a solo piano, to begin the melancholic performance. Roughly 20 seconds into the performance, she begins to sing the first verse, where the screen at the back shows a dark sky with rain.

Still, I hear the sound
Sweet, and calming me
It heals inside
A meditative feeling
Peaceful and enticing
Pure bliss to my ears
A joy in every moment

A flickering drum sound joins the instrumental, and the strobe lights on either sides of the main screen flash to the beat. During this verse, Lynna walks to the right side of the stage and smiles at the audience, with a single camera shot of the stage, across and over to the audience, showing many colours of flags and people cheering as they watch on.

But the sound, calls me back
The sound’s enough to have me searching
For the love that I was missing
Touched by a flame
Before it’s out and the noise goes away

After these few lines are sung with grand passion, the song reaches a large instrumental part. Lynna returns to the centre of the stages and then she begins to do a choreographed contemporary dance to the flicker of the beats leading up to the large drop. The lights are dimming closer and closer to darkness until the drop. When the huge drop happens, the audience can be heard cheering incredibly loudly, and the LED lights on the sides strobe towards the audience and shine brightly from the darkness, adding to the powerful effect that Lynna’s dramatic vocals already give. Immediately after the drop, Lynna begins singing the chorus to end of the song.

Oh, you’re here for me
My sweet melody
Can’t live without you by my side

Lynna begins running to the left side of the stage, where she smiles at people while she sings. A following camera walks by her and another camera facing the audience points to the people at the front of the stage that Lynna was smiling at. This generates a bit of fan reaction from the Britonish crowd.

Oh, please never leave me
My sweet melody
Let me hear the noise sing

The song returns to contemporary dancing while Lynna dances her way back to the centre of the stage. The dancing continues along with the 8-bit dubstep beat, until the lights dim back down as the song returns to a piano-only part, only revealing a spotlight on Lynna, where it shows Lynna kneeling and singing the last three lines of the song profoundly, almost causing her to tear up from the emotion. It truly does feel like WV98’s winning performance.

Please never leave me
My sweet melody
My sweet melody

As the lights come back on as the song ends, Lynna stands back up and shouts “THANK YOU BRITONISEA! I LOVE YOU!” from her heart. The lights in the arena return to black as a camera shot changes to an Aenglish Worldvision fan in the audience, waving around a large Aenglish flag. Lynna exits off the stage and the stage is cleared out to welcome Ertzei Kishim’s performer for their entry.

by **Ertzei Kishim** » Tue May 16, 2023 5:34 pm

06. Ertzei Kishim | ארצי כישים
Sandy Santini - Targets
Composition and Lyrics: Khouri Hopat, Doron Hadkeren
To the tune of: RAYE - Escapism

Background

The waves crashed against the rocky shores of the Sahil district in Tiferet, the sunny capital of Ertzei Kishim. The din of distant shipping horns, seagull calls, and the bustle of humanity decorated the soundscape on the front, and as the sun shone oppressively on the large paved slabs of the boulevard, nearby decisions were being made in the head offices of HARESHET, the long private, now public broadcaster in Ertzei Kishim. Long enjoyed as a sunny Mediterranean destination, in efforts to boost cultural output, the Kishraeli government had made several grants available for, according to them, ‘the global promotion of authentic Kishraeli culture’. HARESHET had applied and indeed were awarded one such grant for the promotion of the domestic music scene and it was on that sunny day that the HARESHET board considered that an entry into the 107th WorldVision Song Contest may well pique the cultural interest of the world, and indeed feed into some considerable returns for Kishraeli cultural capital. Ertzei Kishim had not participated for several editions, HARESHET believing that Malaakh Dayan's victory serving as an appropriate curtain call on Kishraeli participation, the cost of which had been steadily increasing year upon year. While some countries had sought to offset this cost with private sponsors, Kishraeli laws did not allow for such an arrangement, and so HARESHET considered bowing out gracefully after topping the scoreboard in Besen with their seventh win. In the meantime between the six editions of Kishraeli absence, significant political changes within Ertzei Kishim had considerably altered the landscape within which HARESHET, and the wider cultural scene, operated. Most notably, reaching a compromise with right wing parties, Riva Galon, Shofet (Prime Minister) and leader of Mapam (Mifleget Poalim Meuhadim - United Worker's Party), had allowed for the changing of the Kishraeli flag to one which was 'more inclusive of the diversity of opinions and peoples across Ertzei Kishim'. Alongside this, she also committed to a change in voting system, from a country-wide party list system, to a multi-member constituency system, strengthening local councils in the process. The transformation of power centralisation had ushered in a new era of openness in Kishraeli society, and with this, a once-closed debate regarding WorldVision had reemerged.

WorldVision had long been popular with young people in Ertzei Kishim, owing to the very specific type of music, but all the source of positive national pride the contest inspired within people. Coming close to elections, HARESHET, which, despite increased societal openness, was still largely aligned with the ruling Mapam, considered a sure vote-winner to announce a return to the contest close to the elections. The grant from the Ministry of Culture was a shoe-in, and, totalling some USD 1.3 million, provided ample space to launch an exciting foray back into WorldVision. Fiscal responsibility was emphasised however, with previous participations having overspent significantly, potentially contributing to HARESHET's withdrawal. HARESHET had several ideas of who to call, delegation head, Martin Zahavi, wanted to create buzz both within Ertzei Kishim and abroad, by inviting a former participant back. The name? Sandy Santini. Santini would be the fifth returning Kishraeli artist, significantly higher than many other prominent WorldVision nations who seemingly had endless pools of attractive talent with good voices. Sandy Santini had first participated in WorldVision 83 with her song "Hashmal" or "Electricity" in English. A pre-contest favourite, her song, which ended up being somewhat divisive in some more boring countries, led to her finishing a disappointing 9th. Nevertheless Sandy, with her playful lyrics and fun demeanour and entrenched herself as a WorldVision favourite. Her participation in World Hit Festival with the song "Meow :3" cemented her within the fandom, and also earned her an impressive second-place result, narrowly missing out on victory to Normandy & Picardy. Domestically too, Sandy had capitalised on her social media fame to become as close to an influencer as one could be in Ertzei Kishim, having also served as a 'mental health ambassador' for the Kishraeli government. Sandy did not have to think twice about accepting the offer - to get back to the stage now that she had honed her craft was something she was eager to do.

The cover art for Sandy Santini's song "Targets"

Thus far, Sandy had been known only for fun silly songs, sometimes with more serious meanings, but generally she kept it light. She was determined however to ensure that HARESHET respected her wish to publish something which she wanted to do. Luckily, her close relationship with Martin Zahavi allowed her creative direction to be respected. When the HARESHET bosses sat down around the table to listen to the song, many were speechless, all were shocked - this was Sandy Santini? Gone was the cutesy bubblegum pop of her previous songs; "Targets" was a grown up insight into the world of fame, mental health, and the pressures of being in the public eye. For some in the recording industry it was a difficult listen, holding a mirror up to accepted behaviours and practices in quite an uncomfortable way, but in its boldness it was successful. In Sandy's own words she said "I wanted to write a song that I could put my heart and soul into - talk about my fears, the issues I have being myself and open to public scrutiny. People think being famous is all good - and while I love my life, I cannot pretend that everything is perfect". Explaining the name of the song, she continued "So you will probably notice that the word 'Targets' does not feature in the song at all. It's more about summarising how I feel about my situation in one word, like a target. When you get constant criticism it can really wear you down and feel like everybody is taking shots at you". Indeed, viewers may see the lyrics gradually intensify throughout the song, likely representing how intrusive thoughts about minor issues can spiral out of control if left unchecked and insufficient support is offered. Like most WorldVision songs, it was a commercial hit within Ertzei Kishim. Initially a slow climb over three weeks to the top spot, since its release the song held an iron grip on the summit, outperforming its nearest competitors with 50% more streams on a weekly basis. While domestic reception from an audience much more used to Santini was welcome, questions remained over how the international community would receive the song. Even if it became a commercial success, would this translate to the stage, was this even a song which could be staged well at all?

Doportedas, Britonisea

Sandy and a small team had landed in Britonisea several weeks before the contest to film her part of the postcard in Aronyk on Britonisea's southern coast. The industrial city, which in fact played host to the 60th edition of the World Hit Festival, was more known for its shipping and freight industry than for any particularly interesting cultural experience, but it was likely chosen due to its coastal location, similar to the majority of Kishraeli cities. The Kishraeli portion of the postcard had been filmed in Rakaphy's Grand Rafaa Port, slightly to the north of the city. This area served as Ertzei Kishim's largest industrial port, with its natural harbour having being built upon overtime to provide a critical route for international produce to arrive, and domestic production to be exported. Following a more muted approach to the Kishrael side of the postcard, which just had Sandy walking around shipping containers and looking up at cranes, the Britonish directors wanted a bit more va va voom from their side. Subsequently, Sandy was asked to stand on a moving shipping container, as a crane hauled it from one place to the other. While some shots of Sandy focusing on balancing and laughing made the final postcard cut, some very professional shots of Sandy singing her song, still emoting deeply, while on this moving container, were also included in the postcard. It ultimately worked out nicely and, even if it wasn't the prettiest of postcards, both HARESHET and BITC ensured it was memorable.

The team landed in Doportedas a few days before rehearsals, giving them a little time to explore the city and finalise staging preparations. To save costs, HARESHET had sourced staging materials from local suppliers, and so it was the first time for many of the delegation to see what they had ordered close up. Luckily, much of the produce was good quality, and so the team could relax (slightly) and explore the city. As something of an influencer, Sandy had arranged several sponsorship details with international brands beforehand, which, while illegal within Ertzei Kishim, was perfectly permissible outside. Between promoting Britonish brands and posing with fans for photos, Sandy regularly uploaded to social media the interesting things she was seeing in Britonisea. Doportedas gave Elephant and Castle vibes, maybe like Gotham, but with a beach. Sure, there were homeless people babbling nonsense and spitting at people who didn't give them money, but there was also something equally as impressive in the high-rise metropolis vibes that the city exuded. Not one to waste an opportunity to access elite brands unavailable in Ertzei Kishim, Sandy hauled bags upon bags with her across Doportedas, before the delegation told her to stop because she was kind of looking tacky, and that the local press were likely to pick up on it. Ironically, the coverage could lead to the exact situation described in the song.

Sandy had been booked to do the media rounds, but some fans were confused as to why she was not on the list to perform at the WorldVision Village. Of course, not every artists had signed up to perform at the village, but given she was something of a fan favourite with a small cult following in WorldVision, many were disappointed at her non-appearance. The reason was that HARESHET and Sandy's team both thought it better to focus on perfecting the rehearsals, which also began the week of the WorldVision Village, and preserve her voice for the live shows. With that said, Sandy did make an appearance at the village on day two to greet fans, sign memorabilia, and take photos. Another part of the show which acts were obliged to attend was the titian carpet. As you can imagine, nobody knew what colour titian was, but apparently its ginger - not sure why BITC couldn't just say orange but that's life. Sadly, Sandy had decided to wear a soft blue dress which, while still fitting her form beautifully, looked a bit shit against the deep orange floor. A replacement was quickly sourced from Doportedas, and thankfully, a vibrant hot pink dress (with pockets!!) was found for her to wear. Many journalists asked if her showing lots of skin on the carpet was a reference to being worried about it in her song, the answer? "No, it's just a song lyric".

Performance

On the night of the final Ertzei Kishim had been drawn to perform sixth - probably not a winning spot but still a good result was possible. Following a strong act from Aenglide, Sandy readied herself for the stage. The return of Ertzei Kishim was greeted with applause and cheers throughout the arena with many having missed the country's presence in the contest. Tens of production staff swarmed around the stage getting Sandy and her performance team ready. The change of pace for the Kishraeli entry had necessitated a change in approach for staging. Usually Kishraeli entries were fast-paced and incorporated pinks blues and blacks - this would be a little different. The new stage director had had a positive influence in channelling the positive energy of the delegation into salient and interesting ideas. And now it was time to put it to the test.

The whirry music of the opening began, and the first camera shot was a steady cam zoomed into Sandy's face. The screen had a black and white filter over it, and Sandy's eyes were closed. As soon as the singing began, the screen burst into colour, with Sandy's red lipstick, and the deep reds and maroons of the background LED highlighted by the sudden change. A second shot using camera 1 gradually moving backwards was adopted as Sandy began singing the first verse. At this point in the song she was offering a confident vibe, gesticulating with her characteristic energy and charm, making a connection with the camera with her various facial emotions.

I don’t really know if I should stop or not
If it is better that I get on top or not
Should my staging director get the chop or not
And is this heartfelt song gonna’ flop or not

As the bridge to the chorus began, again, an on-stage steady cam captured Sandy slightly from a left angle, but slightly further out. Revealing a long flowing red gown as her stage outfit. Her hair was pinned up and her makeup, with a smokey eye and deep red lips, completed the look. The LED on the back screen was more visible now and the reds and maroons began to be mixed with a grey-ish smokey effect, adding an additional layer of texture to the visuals. Sandy did not move from her position, but did turn to face the camera, using her hands to emphasise her lyrics, for example mimicking a 'crazy' hand sign upon 'insane', running her hand over her exposed decolletage when talking about skin, and mimicking a slash across her face on singing about cutting a smile into her face. If you didn't know any better, I could be describing a sign-language performance, but I'm not, it's just Sandy baby.

Can’t say that I’m sure that I’m changing the game
Or if the pressure will make me go insane
Does my producer have my best interests at heart,
Will revealing too much skin bring my family shame
I’ve heard that taking pills have worked for some
Twenty hours awake but at least my pain is numb
Cut a smile in my face so I don’t look so glum
Or are these intrusive thoughts just the price of stardom

As the chorus began, small red spotlights from the bottom of the stage shot up, creating an almost cage like feeling across the stage, either side and behind Sandy in the centre. Simultaneously, red spotlights from above shot down on four backing singers who were stood in a slight semi circle at the back of the stage. Their faces were obscured but one could make out their long hair and silhouettes - most were dressed in long red dresses that sparkled in the light. From camera angle 20 moving forward slowly, one could see that Sandy's red dress was actually quite sexy, again showing a lot of skin. This angle also allowed viewers to see that she was on a slightly raised podium, emphasising her stature to the viewers at home. Upon the start of the line 'love bites', Sandy shot a look to the left to be met with a steady cam, and then at 'dark nights' shot a look to the left, again captured by another steady cam, before camera 20 again captured her from the front, increasingly emoting with a pained look and gesticulating more grandly with her hands.

When it flips that switch, a demon, unhinged
Is living freely in the depths of my mind
There is so much I wish I could change
Scrambling my thoughts in my happiest times
Love bites, dark nights, respite, hard fights
Gilded chains when it imprisons me in its spellbind
I’ve got nothing left to give, nowhere to turn
Won’t someone please tell me it is gonna’ be alright

As the post chorus bridge begins the small red spotlights spin round, plunging the stage into darkness, both around Sandy and also again hiding her backing singers. The background LED adopts a minimalistic dark black, with the grey smoke effects, and a white spotlight shining on Sandy serves as the only illumination on the stage. Once again camera 1 slowly focuses on Sandy from the front. For the second portion of this part of the song, camera 12 was used, gradually spinning over Sandy and revealing the audience, with their phone torchlights high in the air, creating a sea of light. Upon closing this part, the audience cheered as a brief silence set over the arena before the next part.

You’ve stripped me down, and I’m naked now
Want to move forward, but I don’t know how
Wake up, wake up, don’t let them see
Wake up, wake up, my vulnerability
Before they realise
Playing silent witness to my own demise

The panned angle had given Sandy time to unsheathe (is that the correct word, lol?) the microphone and move around, standing off the podium. Back to the rhythmic verse, the stage lights moved in a circular rotation and flashed red (thinking like an X-Factor elimination moment), while the backing LED returned to the maroon-red with smokey effect. The floor, textured with reds, maroons, and a glitter effect, began pulsing to the beat of the song. The backing singers again were illuminated, but their faces were still obscured by the way the lights fell. A steady cam shot Sandy from the front, as she slowly made her way to one side of the stage, swaggering as she sung. She had at this point stopped the over emoting, as the lyrics began dealing with more serious matters, but she stilled played up to the crowd who were closest to her in the standing area.

Am I really as special as they keep telling me
When I feel like an industry commodity
All I want is to feel a bit more seen
But it's been made clear to me that it's not a possibility

For the bridge, Sandy returned to the podium and the microphone stand, with camera 12 used to pan round to her face, before a steady cam followed slightly further out so her hand gestures could be captured. When she sings about butterflies fluttering, Sandy acts almost shocked, and grabs her stomach, before a spotlight shines down for just one second, and then a second shot, a close up of her face, appears for when she sings about choking on her words and stuttering, as she simultaneously puts her hands around her neck. For the last time she unsheathes the microphone and begins stepping forward seductively, all of which is captured on camera 1.

I step on the stage and the audience roars,
My head is spinning, butterflies begin to flutter
Spotlight heat leaves my mouth bone dry
I choke on my words and my voice starts to stutter,
Scrutinised, analysed, but at this point not surprised
When I'm dragged from the story as my alarm begins to ring
Guess I was just dreaming again, lucky me…
Next time might be the real thing

Back to the chorus, and Sandy returns to serving attitude on a stick, or a plate - other utensils too perhaps. The small red spotlights returns, but this time Sandy decides to walk through them, breaking the 'cage' effect, but also swarming her body with piercing lights from above and below. Sandy turns to camera 4 as she moves to one side of the stage, at times feigning a stumble as if the lights are stabbing her. She does a 180 turn, revealing her back to the camera before making her way to the podium that she was previously standing on.

When it flips that switch, a demon, unhinged
Is living freely in the depths of my mind
There is so much I wish I could change
Scrambling my thoughts in my happiest times
Love bites, dark nights, respite, hard fights
Gilded chains when it imprisons me in its spellbind
I’ve got nothing left to give, nowhere to turn
Won’t someone please tell me it is gonna’ be alright

For the now extended slower part - Sandy slumps down on the side of the podium, resting her back on the structure which was about 90 cm tall. The lights again on the stage became dark as before, but this time the lighting was more intimate, rather than a glaring white spotlight, it was a softer gold colour, and the LEDs underneath Sandy shimmered a soft gold also. Sandy allowed the backing vocalists to take the reins for this part, as she focused on delivering the spoken word part with clarity. Camera 1 slowly zoomed in on her hunched by the podium, before a steady cam adopted a closer shot from the front. Towards the end of the spoken word part, Sandy began crawling forward on her hands and knees, looking directly in the camera almost menacingly. The cameraman slowly moved back in time so it did not appear that Sandy was gaining on the viewer.

You’ve stripped me down, and I’m naked now
Want to move forward, but I don’t know how
Wake up, wake up, don’t let them see
Wake up, wake up, my vulnerability
Before they realise
Playing silent witness to my own demise

Playing silent witness to my own demise
Playing silent witness to my own demise
There's a choice here to make
Through a bullet in the hands that I've been made to shake
Can't breathe, can't see, don't know what they're doing to me
All eyes, on me, I'm becoming my own worst enemy
I won't, give up, without a fight
So many wrongs to make right

Now required to vocalise, Sandy quickly stood up and rushed forward to the edge of the stage (kind of like Safura - Drip Drop where she is running while singing 'hold on hold on') - not looking at the crowd, but instead to the side of the stage as a wind machine began sweeping her hair back. This was also, once again, captured by my favourite camera 1. The song then slowed itself down again as the stage went dark, allowing Sandy to rush back to the podium in darkness. Camera 17 provided an overview of the stage as the crowd cheered, with the lighting changing to white and gold electric flourishes on a black background.

You’ve stripped me down, and I’m naked now, I'm naked now
Want to move forward, but I don’t know how
Wake up, wake up, don’t let them see
Wake up, wake up, my vulnerability
A bullet from the hands, that I've been made to shake
Playing silent witness to my own demise
A bullet from the hands, that I've been made to shake
Dan dan dan dan dan*

*Dan is the Kishraeli equivalent of 'bang', ie. gunshot noises

As the beat kicked in, the electric flourishes started kicking to the sound of the beat too, pulsing across the stage, through the floor and around the arena. Various wide shots, from 17, 22, and 15, quickly flashed on the stage before a steady cam captured Sandy from the front. She was still obscured by the darkness, until she began singing the final part of the song, once again on the podium. As she carried on through the final part, almost in a spoken word style, the electric pulses got smaller, as was captured on various shots, mainly from camera 7 and 5. Slowly the lights trickled around Sandy, forming a small ball of light around captured by an overhead cam. The final lines of 'the sinking feeling' ended up being solely of Sandy's face, looking sincerely into the camera. As she sung the last words, the stage went completely dark, before appearing on the screens at home (and on the LED) "Fin.".

The things we do to ourselves when we’re in pain
When there’s nothing left to lose and even less left to gain
Pour gasoline on the drama, the fire I can’t seem to quit
Baby hurt me harder

So I wake up for the same sort of day
The sadness in my eyes the only thing to betray
The sinking feeling that I’m still so afraid
Preparing to face the challenges that fame has laid

The lights returned and Sandy and her team seemed ecstatic - the backing singers dashed from the back, finally we were able to see their faces to run and hug Sandy, who was beaming. "Thank you Britonisea, Todah Rabah, I love you world!". They made their way off the stage for the following joke act, which would give plenty of people in the arena a toilet break after Sandy's captivating performance.

From participating broadcaster HARESHET

by **Robloxian Robloxia** » Tue May 16, 2023 5:39 pm

7. Robloxian Robloxia

Kooky Lyricist
"Ummylandia Et Usistan"
Chumbala Cachumbala - Pinkfong
Also feel free to abbr. us as R. Robloxia

Kooky Lyricist, AKA John McJonson, is a 69 year old guy who makes song whose lyrics make no sense at all. This time, Robloxian Robloxia's broadcaster, rrrW, had to edit the lyrics so it wouldn't be Georgia in Eurovision 2023. Kooky Lyricist was born in Meep City, R. Robloxia to rich parents. He supposedly blew all his parents money and now has to become a music artist. He was selected by rrrW to represent Robloxian Robloxia because his song references Tummylandia and Susistan, which their culture is very popular in Robloxian Robloxia. Many people has stopped eating bread for this reason.

This song is an ode to Tummylandia and Susistan. This song originally was gonna be called "Thing is known" but was changed by Kooky Lyricist himself. This song was released as part of Kooky Lyricist's album, "Days in a row, I'm thinking, I know". Kooky Lyricist calls himself the best musician in the world, despite not knowing how to read sheet music. He made this chant like song because he cannot make any sort of instrumentals.

As Kooky Lyricist sees Sandy Santini leave, he quickly jumps on stage as the postcard starts playing. He twerks while the postcard is playing and the crowd goes wild. I'm not sure if they happy about that. Kooky sings the first lyrics. It sounds bad because he put a kid voice filter on it but it just sounds like a dying whale because his voice just doesn't work with the filter.

I am just so crazy?
My lyrics don't make any sense
Just so that I know
and I am dumb
I really feel stupid
but there is some
Ummylandia, Ummylandia
Et Usistan
Ummylandia, Ummylandia
Et Usistan

Kooky is wearing a shirt with a Tummylandia and Susistan coat of arms. Kooky is also wearing earmuffs. He takes the earmuff off and waves it around. He does jumping jacks while spinning the earmuff around

We love this nation
and its called this:
Tummylandia
And Susistan, Yis!
Ummylandia, Ummylandia
Et Usistan
Ummylandia, Ummylandia
Et Usistan

The camera zooms in on the earmuffs for a quick sec. When it zooms out, there is a giant pair of earmuffs on the stage. Many commentators say that this staging is so random.

They mentioned us
Yes, it was us
In last time's song
We're like a bus
Ummylandia, Ummylandia
Et Usistan
Ummylandia, Ummylandia
Et Usistan

Kooky climbs on the giant earmuffs. He pulls out a toy bus from his pocket. The camera zooms on the toy bus. He throws the toy bus into the crowd and a spoiled, bully girl snatches it.

What is the meaning
Of my lyrics
Except for that nation
Not a gear fix
Ummylandia, Ummylandia
Et Usistan
Ummylandia, Ummylandia
Et Usistan

While staying on the giant earmuffs. The camera pans left and right constantly. Kooky takes off his shoes and holds them to his face, he then takes off his socks and puts them on his ears. He puts one of his pink shoes on his head.

Guess who will probably,
give points to
You guessed it
Now please don't sue.
Ummylandia, Ummylandia
Et Usistan
Ummylandia, Ummylandia
Et Usistan

Kooky sings while staring at the camera. The camera doesn't move. Nothing weird happens yet.

I don't have any ideas
Please give me one
I'm just so stupid
Poo-poo fun!
Ummylandia, Ummylandia
Et Usistan
Ummylandia, Ummylandia
Et Usistan

The camera pans around the giant earmuffs and Kooky who is standing on them.

I just want to say
UwU
but then I'm a furry
One two two!
Ummylandia, Ummylandia
Et Usistan
Ummylandia, Ummylandia
Et Usistan

Kooky twerks for a hot second. The camera zooms in and out, left and right.

What is life
To say yellow
I just want to be
super mellow
Ummylandia, Ummylandia
Et Usistan
Ummylandia, Ummylandia
Et Usistan

Kooky stares at the crowd and the camera zooms around. The viewers get a headache from how much the camera is moving around. They keep switching the camera. Some viewers at home vomit.

This song is quite long
I know I'm right
You just keep talking
For the night!
Ummylandia, Ummylandia
Et Usistan
Ummylandia, Ummylandia
Et Usistan

Kooky sits down. The camera zooms in on a booger on his nose. How gross!

What the heck
W. T. F.
Lets say hi!
To our friend Jeff!
Ummylandia, Ummylandia
Et Usistan
Ummylandia, Ummylandia
Et Usistan

The audience cringes. Now Kooky has become h*rny. His lyrics are quite unsettling.

Oops get harder
like a log
Sexualize me
Like a dog!
Ummylandia, Ummylandia
Et Usistan
Ummylandia, Ummylandia
Et Usistan

He's suddenly no longer h*rny. He grabs a moldy strawberry from his pocket and the camera zooms in on it. He quickly throws it away. Kooky does one single jumping jack on the earmuff.

I am no drunk
but this is fun
almost as fun as
saying a pun!
Ummylandia, Ummylandia
Et Usistan
Ummylandia, Ummylandia
Et Usistan

Kooky stops jumping and looks creepily at the camera.The camera switches to the one on the left which pans up and down

Oh no wait
This song is almost done!
Please give me more time
This was so fun!
Ummylandia, Ummylandia
Et Usistan
Ummylandia, Ummylandia
Et Usistan

Kooky sing the last verse and the audience sigh.

Ummylandia, Ummylandia
Et Usistan
Ummylandia, Ummylandia
Et Usistan

Only a few screams are heard when he finishes. He runs offstage.

by **Axuva** » Tue May 16, 2023 6:44 pm

#8 Axuva
Roman Kwon - "냉철한 <SOBER>
Music: EXpirium Lyrics: Roman Kwon, William Morozov

Tune: KAI - Rover

‎‎

Roman Kwon is an Axuvian solo artist who made his debut in 2019, who was discovered by OHOUSE Entertainment in 2016 after catching the attention of CEO Kang-Dae Ok with his exceptional vocal abilities and stage presence. Originally, Roman was intended to be a member of the boy group VX, but Kang-Dae Ok recognized his star quality and convinced him to embark on a solo career.
Roman Kwon, born on January 15, 2000, born to a South African mother and a Axuvian father, found himself immersed in the world of dance but had a surprising revelation about his vocal talent during his early childhood in the mid-sized city of Jekku, Axuva. While Roman was primarily focused on his passion for dancing, it was his chorus teacher who played a pivotal role in uncovering his hidden singing abilities.
As a dedicated dancer, Roman immersed himself in various dance styles, devoting his time and energy to perfecting his skills. However, it was during a routine chorus class that his teacher noticed something extraordinary in his voice. Roman's chorus teacher recognized the potential in his vocal tone and encouraged him on his abilities. Roman later opted up to go on the hit Axuvian talent show ”I’M THE NEXT 2015” just to test his luck on how he could fare as a singer and dancer, where he was discovered by Kang-Dae Ok, CEO of OHOUSE.

Under the guidance of Kang-Dae Ok, Roman's image was initially envisioned as a revival of the 90s R&B sound. However, as Roman developed and grew as an artist, his musical horizons expanded naturally, allowing him to explore various genres and styles. This artistic evolution contributed to his unique musical identity and set him apart as a versatile and captivating performer.
Roman's journey began during the Axuvian singing talent show "I'M THE NEXT 2015," where he participated as a contestant. Although he faced disqualification during the 4th round of the competition, Kang-Dae Ok, who was one of the judges, recognized Roman's immense talent and potential. Consequently, Kang-Dae Ok made the decision to pull Roman Kwon from the show and sign him to OHOUSE Entertainment.
After being initially selected to be part of the lineup for the boy group VX, Roman Kwon underwent intensive training to further enhance his skills in both dancing and singing. The rigorous training program aimed to strengthen his abilities and ensure that he would be a well-rounded performer. Although he was eventually removed from the group's lineup, the training experience played a crucial role in shaping Roman's talent and laying the foundation for his future endeavors as a solo artist.

Since his solo debut in 2019, Roman Kwon has experienced a remarkable journey of growth and success in the music industry. With his unique blend of captivating vocals, dynamic performances, and innovative musicality, Roman has left a great impression for the future of the Axuvian music industry.
In 2019, Roman released his debut album titled "Unveil Love" which instantly captivated listeners with its soulful melodies and introspective lyrics. The album received critical acclaim and garnered significant attention, establishing Roman as a new rising star in the industry.
As the years progressed, Roman's artistic growth continued to flourish. In 2022, he released his highly anticipated second album, "그래요 Forever (I Am Forever)," which showcased his evolution as a versatile artist. The album effortlessly blended various genres, pushing creative boundaries and receiving accolades for its innovative sound, which ultimately gave Roman a bloom of attention and increased his cult following and gave him his first mainstream hit with his single entitled “Never Again”.

"Roman Kwon is a true rising star in the music industry. From the moment I first discovered him during the 'I'M THE NEXT 2015' talent show, I knew he possessed a pristine talent and star quality. As his mentor and CEO of OHOUSE Entertainment, I made the decision to guide him on the path of becoming solo artist, believing in his ability to shine as an individual. Roman's dedication, passion, and versatility have been remarkable to witness. He has grown from a promising young artist into a multifaceted performer, captivating audiences with his unique charm and undeniable talent. I am proud to have him as a part of the OHOUSE family, and I have no doubt that his journey will continue to amaze and inspire music lovers in Axuva and around the world."

After years of being a rising performer and shaping his image, Roman Kwon is now ready to take on the worldvision.. Having gone through the ups and downs of his journey, from being trained with the boy group VX to discovering his own unique style as a solo artist, Roman has emerged as a powerhouse performer. With his captivating vocals, impressive dance moves, and undeniable stage presence, he is set to represent Axuva in the prestigious Worldvision Song Contest in Doportedas. As he prepares to showcase his talents on an international platform, fans and music enthusiasts eagerly anticipate Roman's peformance.

"SOBER" is a dynamic and energetic up-tempo pop song that showcases Roman Kwon's versatility as an artist. With its heavy basslines and reggaeton influence, the track exudes a vibrant and infectious energy that immediately captures the listeners' attention.

The production of "SOBER" is characterized by its dynamic instrumentation, featuring pulsating basslines, rhythmic percussion, and vibrant synths. The seamless blend of these elements creates a rich and textured sound that enhances the song's infectious energy. The incorporation of reggaeton influences adds depth and adds an extra layer of excitement to the overall composition.
Overall, "SOBER" is a captivating and high-energy pop track that showcases Roman Kwon's talent and ability to deliver a memorable performance. With its infectious melodies, catchy hooks, and reggaeton-inspired rhythms, the song is bound to make a lasting impression on listeners and leave them craving for more of Roman's vibrant and charismatic musical style.

"We had an incredible experience producing 'SOBER' for Roman Kwon. The song allowed us to explore a fusion of up-tempo pop, heavy bass, and reggaeton influences, creating a dynamic sound which can last for years and decades to come in the heads of people. Roman's energy made him flow flawlessly during the recording process and his vocal delivery perfectly complemented this particular beat. We aimed to create a track that would captivate listeners from the very first note and keep them dancing throughout. 'SOBER' is a testament to Roman's versatility as an artist and our commitment to pushing the boundaries of pop music. We are proud to have been a part of this project and can't wait for the world to experience the electrifying performance of 'SOBER'."

- EXperium

Roman Kwon's performance will be an electrifying spectacle that will keep the audience on their feet! With a team of eight talented dancers, four female and four male, they created a visually captivating display of synchronized movements and precise choreography. The stage is transformed into a barber shop-themed set, adorned with the word "SOBER" plastered on the wall, setting the atmosphere for the energetic performance.
Roman's wardrobe was carefully chosen to convey his modern, feminine side while still exuding masculinity and comfort in his own sexuality. He confidently rocked a crop top and jean pants, showcasing his unique style and embracing his individuality.

"I am so excited for people to experience my performance, This has been a tough journey especially after being approached with the opportunity due to unfortunate circumstances but we took a long time to properly get this performance together and the entire production from the energetic choreography, the vibrant visuals, and I just hope to create a unique experience. I've poured my soul into every aspect of this performance and I hope that it resonates with the audience after I perform."

- Roman Kwon

Roman and the dancers rush to their memorized and marked positions from the rehearsals after the set is rushed on stage, and they stand in their spots waiting for the song to start playing and the postcard to end. As the postcard ends, the LED bars hanging from the top of the arena which were lowered down to be seen as apart of the performance, shined down on the dancers and Roman and started to rotate, and as the beat starts, the lights on the Barbershop style set would light up and all the necessary stage lights which were above the stage lit up. Roman stands in the middle of the set, moving forward as the dancers stand aside him, and he moves forward slowly as he starts to sing then drops to the ground, and the camera angle is focused on the dancers and him, but Roman gets closer to the camera, making seductive moves as all of the dancers mimic each other in their dance moves.

[Verse 1]
Yeah, mm
What do you want from me
No I’m not perfect at all
So go ahead and let it be
Just call me nappeun sonyeon
naneun nappeun pyeongpan-eul eod-eossda
No, no
Don’t wanna break your heart mulleona da
Cause once you're wrapped around my finger, I’ve gotcha
So i’m warning you baby just back off, oh yeah

As the beat fully kicks in, the female dancers transition off the stage but the transition goes notice with the work of camera angles and Rman and the male backup dancers start to do the same fast paced choreography, mimicking eachother. And as Roman reaches the pre-chorus the female dancers appear back into the frame behind Roman

[Pre-Chorus]
Neon nal wonhaji
But baby just go, be free
Let it be, eul wihan your sanity

As Roman seductively enters the pre-chorus, the female dancers align themselves with Roman as they prepare to enter the chorus choreography. The male dancers disappear off the stage and Roman is pushed back into center position by the female dancers as the Male dancers re appear and the female dancers align with the male dancers. As they take a pause and Roman poses, the stage would turn dark lit in a blue hue from the blue LED strips above, and as the spotlights flash above and the stage lights turn back on, the entire crew starts to energetically dance to the SOBER chorus choreography, which comes out perfectly timed and they dance with ultimate synchronization in a V formation. The camera switches from different wide and close up angles as the chorus continues, The lights above the set would perform alongside, flashing to the beat as would the lights that were placed on the set.

[Chorus]
Stop, you cant have me
I ain’t sober, sober, sober
Cant be ya, lover, lover, lover
No I ain’t sober, sober, sober
Can’t be ya lover
You can’t have me I ain-
Baby I wish that you could just know
Cause the potion takes all my control
Sober, sober, sober
Can’t be ya lover, lover, lover

As they reach the pre-chorus, they switch up the choreography from a hard hitting forceful choreography into a mid-tempo paced flowy choreography then as they begin to approach the second verse, the male dancers would disappear off stage again, and the female dancers would be focused into the frame along with Roman, as Roman sang in seductive fashion.

[verse 2] Ayy, I put you down in a trance
I could show you what I got, yeah
Gwaenhan ohaedeureun naeryeonwa, uh
We don't need to be a chatterbox

As Roman ended the 2nd verse, leading into the pre-chorus once again, the camera zooms out, focusing on the entire stage as the male dancers walk back in and slide to the beat as the female dancers get out of the frame.

[Pre-Chorus]
Neon nal wonhaji
But baby just go, be free
Let it be, eul wihan your sanity

This time, the chorus is performed with all of the male dancers and Roman himself, and as the chorus ends, the female dancers come back around

[Chorus]
Stop, you cant have me
I ain’t sober, sober, sober
Cant be ya, lover, lover, lover
No I ain’t sober, sober, sober
Can’t be ya lover
You can’t have me I ain-
Baby I wish that you could just know
Siseoneun neomgyeo ganeun daero
Sober, sober, sober
Can’t be ya lover, lover, lover

As they reach the bridge, the female dancers and male dancers would all be together on the stage circling around Roman, dancing to the beat and preparing to dance together for the last chorus of the song.

[Bridge]
Don’t know where I’m goin but
You should run away, real far
And the truth is that I ain’t no good for you
If I had you you would not let me go
But all I like to do is lose control
No this ain’t your chance, no I ain’t your man

As they reach the chorus, Roman hits the high note holding it for atleast 5 seconds as the dancers continue to dance around him, and fire would shoot out of the stage.

[Chorus]
Stop, you cant have me
I ain’t sober, sober, sober
Cant be ya, lover, lover, lover
No I ain’t sober, sober, sober
Can’t be ya lover
You can’t have me I ain-
Baby I wish that you could just know
Cause the potion takes all my control
Sober, sober, sober
Can’t be ya lover, lover, lover

They would dance seductively to the Lutron portion of the song as Roman stood up, facing the audience confidently and the dancers kneeled to the ground, doing synchronized dances

[Outro]
Seems like I got you all in a trance, yeah
dangsin-eun regret everything, yeah
domangchida
I am not your man
You can’t have me
I ain’t sober, sober, sober
Cant be ya, lover, lover, lover
No I ain’t sober, sober, sober
You can’t have me I ain’t sober

They do dances from the chorus for the final time of the song, dancing with the rest of their power that they have left as the performance sets to end. As the song ends, they pose next to Roman and the camera zooms into Roman, holding out his arms and ending with a bow. “Yeah, thank you World!” Throughout the performance, Roman's flawless dance moves and powerful stage presence captivated the viewers. His seamless execution of each step, coupled with the synchronized performance of the dancers, created a harmonious blend of music and movement. The energy was infectious, and the audience couldn't help but be drawn into the performance.
Overall, Roman Kwon's performance was a memorable display of talent, creativity, and self-expression. It showcased his ability to command the stage, leaving a lasting impression on everyone who witnessed his remarkable performance.

by **Britonisea** » Tue May 16, 2023 7:01 pm

Live Coverage of the 107th WorldVision Song Contest hosted by Matt Evans, Alyxhia Willis and Xavier Benchek

From left to right: Xavier Benchek, Alyxhia Willis, Matt Evans

After the exciting performance that Axuva put on, it was time for the Host Intervention. The theme for this year's host interventions is centered around what has happened at the WorldVision Song Contest in the 26 editions since Britonisea last hosted the competition. At the end of the day, 26 editions is quite a long time and the landscape of the contest has changed quite a lot as the hosts will explain. We go live to the Greenroom where the boys are standing in and amongst the WorldVision participants. In the back you could see some of the acts who will be performing in the next little section including Scotatrova's Biedro Cavasa, Ugunnustan's Ilyza and Lochario's Johnny O'Flannagan. The duo started speaking;

Xavier Benchek: Thank you to Roman Kwon representing Axuva for closing the first part of the show! So far, we've had some fantastic entries and we've got plenty more coming up.

Matt Evans: WorldVision fans don't forget that you're not able to vote for your favourite song until all acts have performed - do you hear me? We've got quite a lot of entries to get through as well so I hope that before song number nine, you take a shot!

Xavier Benchek: Hmmm, Matt - I wonder where Alyxhia is?

Alyxhia Willis: (Off camera) Yoo hoo, boys! Over here!

The camera switches to Alyxhia who is on the B-stage with a big blackboard that is cleverly blocking the stage. Axuva decided to bring a huge set on the stage with them that took an extra two minutes to get off ready for Illdonya's performance and the international audience needn't see the Britons struggle to get that mammoth structure off the stage. Alyxhia Willis was still wearing a dress, but it seemed to be more in the style of a school teacher. The B-stage had a table with an apple on it and stuck in her hair was a huge pencil.

Alyxhia Willis: Well you boys are novices at the WorldVision Song Contest but I've been around since the 67th WorldVision Song Contest - did you guys know that?

Xavier Benchek: Wow! You're so ol-

Alyxhia Willis: Watch it! Anywho, I'm probably one of the best people to give you a little insight on WorldVision history - after all, I did come second at WorldVision Song Contest 67 and then won WorldVision Song Contest 73...

Alyxhia flicks her hair as a gentle breeze from the wind turbines turns on. The camera comically zooms into her as a spotlight shines on her. She is met with laughter from the Britonish audience.

Alyxhia Willis: Now, did you know that Britonisea's hosting in Boschke was the last time that the WorldVision Song Contest had a joint jury and televote system? Yes! This edition marks the 26th time that the exciting televote reveal is being used, but back in Boschke - when we last hosted - it wasn't there!

Matt Evans: (camera switches to greenroom) That's so crazy to think, the televote has become such a huge part of WorldVision - I couldn't imagine the contest without it!

Xavier Benchek: Say, Alyxhia - do you think you would've won WorldVision under the televote system?!

Alyxhia Willis: Well, of course I would've won WorldVision 67 as well, I mea-

Xavier Benchek: No! I was talking about WorldVision 73 - because, to be honest, I've listened to that Izmeduan girl -IzaRa her song was hot! If I was around back then, I would've voted for her! That performance was on fire!

Alyxhia Willis: Mmmm, well thank you for your input Xavier! Why don't you go and take a cold shower! Anywho! Prior to WorldVision Song Contest 82, the highest score ever at the contest was won by Polkopia at the 39th WorldVision Song Contest in Nolimit, Titaniumland where they scored 187 points! Performing in eighth, Victoria Magdalena's "Galobaya Ceri" gobbled up so many points it was an unbeatable record in the many, many editions that followed!

Matt Evans: And to think Polkopia won the other day with 196 points in the current system!

Alyxhia Willis: Well, exactly! We won't talk about that one but it should tell you the power of "Galobaya Ceri"! Here's a little look at the top 5 highest scoring winners pre-WV82!

As Alyxhia smiles at the camera, the five winning entries with the highest scores at the WorldVision Song Contest before WorldVision Song Contest 82 played:

VT: WORLDVISION'S TOP POINT SCORERS (PRE-82)
A clip narrated by Mateus Breton, host of WorldVision Song Contest 81 about WorldVision's highest point-scorers during the old voting system...

Short 20 second clips of each of the following entries were shown:
5th: Oda - Symphonia, 161 points, (CHK, WV21 Madrin)
4th: Kate Lena Foine - Your Heart is Mine, 163 points (MER, WV14, Rivrea)
3rd: Veli Pinheiro - Cyanide Eyes 165 points (TBJ, WV32 Gronbis)[/url]
2nd: Ebba - Porcelain, 176 points (CHK, WV19 Avenion)
1st: Victoria Magdalena - Galobaya Ceri, 187 points (PLK, WV39 Nolimit)

There was a huge applause in the audience as the hosts were all back together on the B-stage ready to introduce the next act...

Matt Evans: That was such a great watch - look how far the WorldVision Song Contest has come!

Alyxhia Willis: Also a special shout-out to Svea Valdnieks from Todlichebujoku who just missed out on 6th but she won with 160 points when we hosted in Telm City! The highest Britonish scorer is Kelsey Banques who is 10th on the highest scorers winners list pre-82!

Xavier Benchek: And that beautiful voiceover from Mateus Breton - one of Britonisea's biggest stars!

Matt Evans: Marvellous! Well, it's time for some more music. It's song number 9 - we're heading to Illdonya! Let's go!

The audience cheered once again at the Illdonya representative was shown on the screen alongside the name of their nation...

by **Illdonya** » Tue May 16, 2023 7:39 pm

Lola - Temperatura

IGBA controversy:
IGBA was in a rush. They had 10 minutes to put together some nice staging. But IGBA didn't care about the looming threat of a disqualification. They were rebels. They'll continue developing their staging until disqualification. Until, the WorldVision Committee pitied many stressed delegations, and postponed the deadline. Since IGBA signed Illdonya up for the WorldVision song contest 107, Illdonya was already behind. IGBA was struggling to find an artist with a viable tune to enter into the contest. They signed up for the 9th spot on the running order, but failed to find an entry until May 20th, the 2nd latest song announcement by anyone (only beaten by Ethane). IGBA, scrambling ran into Dara Seop and asked her to join. Funnily, IGBA spent all their time preparing for the WorldVision Village rather than their own entry. Because of the upcoming deadlines, IGBA has been slightly concerned with the WorldVision Committee and is no longer has a completely positive view on the Committee. Sadly their relations started to deteriorate. On exactly Thursday, April 27, 2023 a Malta Comino Goan representative said that their delegation might withdraw. However this was completely set up and faked by an Aenglish's AETV. This was actually not a root cause for IGBA's deteriorating relationship with the committee. IGBA and AETV has great relations and so does Illdonya and Aenglide. IGBA accepted AETV's apology and shrugged it off. Then on Tuesday, May 2nd, 2023, another apology was release but this time by rtvS, the Roosian broadcaster. For this incident, IGBA was not fully aware of especially since the death of their queen, president and VP. Nation who were affected accepted rtvS's apology and so did IGBA. Similar to the AETV issue, IGBA maintains good relations with StrayaRoos and it is understandable that both broadcasters initiated these actions without fully thinking through and then later realized what they did wrong. IGBA applaud's their apologies and accepts both of them as these mistakes do not represent their organization as a whole and clearly were just mishaps. Unfortunately, what really set the bomb with the WorldVision was when IGBA checked when staging and entries were due. 23:59 BST is what was given. But of course, Illdonya read it as 23:59 UTC as that was what was used before the time change. Silly IGBA thinking that UTC and BST were the same thing. IGBA did not like this at all and found it very confusing even though the WorldVision Committee has done this literally every single year. That was the bomb. The change between timezones angered IGBA. Especially since the death of the Queen, the nation has been quite hostile and unstable. IGBA lashed out on the WorldVision Committee wasting all their time on this instead of their entry. Anger filled the air in the IGBA headquarters. They still hated the committee. Not the people themselves who are on the committee but how the committee works. A few people are given immense power when choosing whether or not an entry is legal or not, many nations have face more "unfair" disqualifications and changes made by the committee are swift and quiet. IGBA calls for more transparency within the committee and explain why certain countries were given the "good to go" and others weren't. For example, in WorldVision 103, Nativist Australia and Spring Ukraine were deemed "unfinished" but Jencilland and Feudal Italia were given the heads up. All 4 entries were very similar, lacking staging and Jencilland didn't even include translation for their lyrics. Feudal Italia didn't even vote. This seems almost random as Jencilland and Feudal Italia were given the heads up and Nativist Australia and Spring Ukraine were turned down. This enraged IGBA as those nations literally had no staging. To continue with the lack of transparency, the WorldVision Committee tends to communicate on a separate communication website which some broadcasters cannot reach out to due to firewall (OOC: China and maybe Russia) while others experience technical problems. IGBA does receive technical problems and sometimes misses on important information. Because of mainly the lack of transparency, IGBA is increasingly discontent with the WorldVision Committee.

(OOC: I'm just venting stress caused by irl, the wvc, aenglide and strayaroos don't deserve any hate and their mistakes do not represent them as a whole. They've all apologized and they are amazing people. this was mostly a joke)

IGBA was too busy angrily stating their discontent with the committee, when the Malta Comino Goan committee member stated that the deadline was moved a WHOLE 12 HOURS. IGBA's relations with the WVC improved (mainly with the individual committee members), but they still hate their lack of transparency. This allowed IGBA to develop their staging more, and actually talk about who Dara Seop, the mysterious performer, actually is.

Dara Seop is a 23 year old performer who originally was a trained dancer. She started dancing at the young age of 3 and quickly was deemed a prodigy. She was born in Santa Paloma, one of the few cities that still maintain their Spanish culture. Seop grew up speaking Spanish but learned English in school. Her parents moved from Spain before her birth, although her mom was pregnant with her. She was a talented dancer and quickly began advancing in her dancing classes. In middle school, Seop started singing as a hobby. When she was 13, one of her friends heard her sing and sent a video to the director of the dancing school. He was quite amazed and directed her towards trying to do both. With the help of some music producers after the director pulled a few strings, she produced her first song: Amable. It became a huge hit in Illdonya and she started to become famous. She quickly worked on her 2nd song, Voy a Respirar. Many of the music producers sent it to their music savvy friends and they all recommended her to submit the song for Illdonyafest 3. Illdonyafest 3 was the pre-selection process for WorldVision 100, one of the few contests Illdonya withdrew from. Unfortunately for Dara Seop, she tied for last in Illdonyafest with only 26 points. Dara Seop, shrugged the loss off, and so did her friends, after all she was only 16 when she performed in Illdonyafest. They urged her to submit again next time. That time didn't come until WorldVision 102. But, when IGBA released the pre-selection, Illdonyafest 4, Dara signed right up. This time Dara sent a new song, "Know by Now", but she was a little worried because the crowd for Illdonyafest has gotten bigger. She manage to achieve bronze in Illdonyafest but she started to aspire that she would represent Illdonya in the WorldVision Song Contest. And next edition, she went all in. She manage to find herself friends with an Illdonyan Superstar, Queen Izzo. She sent her new song "Double O" to IGBA and was called back saying that she will represent Illdonya for WorldVision 103. Unfortunately, IGBA decided to deprive her entry with absolutely NO STAGING, forcing her and Queen Izzo to fend for themselves. They placed 19th, which isn't terrible, but was only had a 5 point lead above Jencilland, another country that starved their performers with absolutely no staging. Dara Seop, decided to take a break from WorldVision and jumpstart her carrier. She was, in fact, quite successful, especially at a young age. So finally, she decided to give WorldVision one more shot.

IGBA did in fact reach out to her because IGBA was running out of performers that could actually take the stage. IGBA's money ran dry and the political state of Illdonya was fragile. This means, no Illdonyafest. Dara Seop happily accepted and submitted her newest song, a song that originally was going to be release just as a single and wasn't intentionally for WorldVision. When the deadline for staging decisions came up, Dara grew extremely worried. IGBA hadn't done anything with staging and she was worried that she'll have to fend for herself again. She was relieved when the WorldVision Committee decided to extend the deadline for staging. She was excited that she'll finally have a proper entry.

Album cover

Her song, Adrenalina (meaning Adrenaline in Spanish) is a song about two people in a very erotic relationship and how her relationship came to be. Some of the lyrics may seem random and don't make sense with the rest of the song, but in fact, there is an actual meaning to the madness. In an interview, Dara Seop gave a rundown of the story, here is a quick summary. The first stanza is mainly about how the two people's love came to be. The woman (which is the POV of the song) is watching her boyfriend "fight" implying that the boyfriend is a boxer. The boyfriend hasn't actually chosen his girlfriend yet, hence the "deciding" but then falls in love with our main character, the girlfriend. She is nervous the first time and feels "it". "It" is adrenaline which surges up her body and she confesses her love. In the second verse, the pre-chorus, the main character continues confessing her love and how that she wants him "perfectly". Then she relates the feeling to dopamine, another neurotransmitter that causes intense feeling of joy (can be when someone is having sex or eating or addicted to harmful drugs etc). Then on the verse, Seop talks about a little girl or "La chiquitita" which her name is "Rita". This is the main character's roleplay name when it comes to intercourse or erotic love. The "It makes me crazy" part is the girlfriend addressing her boyfriend in a lovingly way, saying that the love makes her crazy in her neuron. This signifies she's getting a lot of sensation when in love, like adrenaline and dopamine. The "It" referred to in the next line is adrenaline, as it is creeping up. According to Seop, the next few lines are essentially the two character's making love. The next stanza brings them back in time again, back to when the two characters met. The girl is afraid of approaching the boy because she tries to say hi but it goes badly. She calls him sweet and compares him to Mocha or Coke. The boyfriend says that it was artificial in a reference to the love making but the girlfriend disagrees and calls it amazing. Then the pre-chorus and chorus are sung. Then in the next verse, The couple are making out in a bar in Illdonya, while the girl explains that she's not rich. However, the girl says that she's skilled (and one can assume it she's skilled at this one thing...). And another erotic roleplay name shows up, "Mi mama". The next stanza seems to make little sense, but there some meaning to it and to Seop's story. The girl wants so much of her boyfriend, while he puts his hand on her. She seems to want more time with him as he must be busy with his boxing career. She says that "it isn't early" to tell her boyfriend that it's still late at night and he doesn't need to leave her to go train. She also says she wants more than just the summer, as that is the only time they can be together. The girlfriend also explains that she originally love the boyfriend a little but now she truly loves him. Then the pre-chorus and chorus plays. Dara Seop explains that this story came into her head one day, but she said that is brings odd feelings of deja vu when thinking about the story.

Performance

Dara Seop walks on stage waving her hands at the audience. The postcard plays and the audience gets all hyped up. She gets ready to perform, it's her time on stage now. The spotlights fade to black. As the first words are played in the background, the audience at home can see Dara Seop posing with her dancers as the spotlights don't shine so it's only possible to see their silhouettes. Dara and here dancers are wearing a deep red, the exact same color as Mimicat's performance in 2023, skirt with string of cloth shimmying down the arms kind of like Salome's clothing when she performed back in 1968 but it's red and the lines of cloth are only on the arms. Dara is posing carrying the microphone down above her face while looking up. The dancers have striked a pose with their hands on their hips. The LED screen behind here shows a faint red.

(in the background:)
I like to see you when you're fighting
You can't make up your mind d'cideing
Yet, when you call me then I just feel it
Surging up my body, and then I just admit

When Dara starts singing, the spotlight is shown on herself and her dancers. And Dara brings her hands down as she sings. Slowly spiraling her non-mic hand down twisting her wrist and spinning her hand. The dancers do something similar. Then then suddenly bring their hands down as Dara sings the last two words of the line. They swipe their hands down then immediately bring it up. Dara does this with there non-mic hand while the dancers do it with both hands. Then dancers make quick bird like movements just for a quick second as Dara moves her non-mic hand up. When she says the last word of the stanza and it is echoed in the recording, the camera quickly shifts left (camera 4) then right (camera 7).

Ya te quiero más que la gente
And I want you, perfectamente
Es como la dopamina

In the next stanza, Dara is seen bringing her hand down then swiping left and right while the dancers pump their chests back and forth. The dancers squat and then quickly hop back up as Dara squats and goes down. The camera however cuts to a higher one while quickly cuts to a lower one. The back LED lights constantly flash red and purple colors along with the rapid beats. Dara and her dancers proceed to move their bend their legs while moving each knee towards the center and moving it back all in one rapid motion. They do this knee moving motion to each of their knees along to the intense beat. The camera switches to the right side and pans while Dara and her dancers do the leg motion.

La chiquitita
Se llama Rita
Me vuelve loca
En mi neurona
It's creeping up, yeah yeah
Cuando me toca'
I just want to feel
Some more beautiful boca

Dara then flicks her hand left and right but more in a diagonal position. The dancers lean back, also flicking their hand the same way Dara is. The purple and red LED lights start to flash brighter and the LED screen starts to show a mix between red and purple. The camera moves back and forth constantly cutting between different views of the performance. Dara quickly raises her non mic hand with an open palm and pushes upward as the camera cuts and focuses on her face. The camera then zooms out shere you can see all the dancers and Dara. The dancers are pushing their hands on the ground while moving their body up and down with the beat.

Queiro decir hola
Pero fue loca
Eres dulce
dulce como la moca
y la Coca
"Fue artificiosa"
Dice su voz
Pero fue asombrosa

The pre-chorus starts to play and Dara walk up towards the front of the stage. Her dancers quickly follow behind her. Dara holds the mic close to her mouth and then uses her non mic hand and spreads that arm out and makes a circle with her arm. The dancers do something similar but with both arms. Dara and her dancers move their hips to the right as the back LED screen starts flashing red and purple as well as the LED lights in the background. The camera moves to a closer view of the performers, just enough to see their dance moves. The camera spins and does a 180 degree rotation and now it looks like the entire performance is upside down.

I like to see you when you're fighting
You can't make up your mind d'cideing
Yet, when you call me then I just feel it
Surging up my body, and then I just admit

The second part of the pre-chorus plays. The camera keeps spinning until it completes a rotation. Dara and her dancers move their elbows up and down along with the pre-chorus and the music seems to tense up. The LED screen behind them starts showing the lyrics to the song. The LED lights behind then start flashing more and the spotlights turn off every other flash to give the effect of the silhouette for short amounts of time. Her dancers move their arms in a symmetric way like their waving their hand symmetrically, while Dara does this kind of half-squat. The same kind of half-squat that Chanel does int SloMo. The camera is constantly switching positions and there are extra effects to make it seem kind of glitch like.

Ya te quiero más que la gente
And I want you, perfectamente
Es como la dopamina
'stas lista? 'stas lista?

The chorus plays and Dara is moving her arm left and right to the beat. She and her dancers are facing the left while looking out directly at the camera. The dancers and Dara are in a single file line and are all doing the same arm movements. The audience goes wild as the camera pans left and right before cutting behind them, showing their backs while they face the audience. The LED screen still shows the lyrics as the audience sings along. The camera switches to the left side and right side as Dara and her dancers start busting our very complicated dance moves that are all somewhat repetitive. This was the biggest venue Dara has ever performed at and she seems to be enjoying it while it lasts.

Adrenalina
li-li-li-li-li-li-li-lina
Adrena-li-li-li-li-li-li-li-lina (Sí, quiero)
li-li-li-li-li-li-li-lina
Adrena-li-li-li-li-li-li-li-lina

Now it is the next verse. Dara walks back to the center of the stage while pointing at the camera. All the LED and LCD tone down a little bit. The purple and red theme continues going and the light flash and give a more vibrate-like feel. The camera is constantly switching especially since this part of the song is quite chaotic. Dara and her dancers do one squat but each move down goes a long with the beat. Kind of like getting down low but with the beat. Dara turns her body and nods then places her hand on another dancer and starts moving her hips side to side. She then puts her hand on her dead as the other dancers move back and fore with their various choreography.

I wanna feel ya
To be onto ya
While we drink in Illdonya
Just do it, call me niña
No soy rica
pero experta
You gotta call me
the pretty name, "Mi mama"

Dara brings her mouth closer to the mic as the camera shakes on purpose. Then the audience at home will see some glitch effects that were meant for the performance. Her dancers nod as Dara kicks her leg slights. The camera is constantly cutting from one end of the stage to the other. Every so often it cuts to shows the audience screaming in the air. Dara makes a turn and her curly hair is thrown in the air as she makes the turn. The dancer bring their shoulders out while doing this boxing like punch and then they all roll their necks as Dara gets back into her position. They all do this semi bow and look up while Dara and her dancers steps to the right and then to the left.

Quiero tanto
Y pones tu mano
Necesito más contigo
no es temprano
A veces quiero más que en el verano
Te amaba un poquito
Pero ahora te amo

Now Dara is starting to get tired, as it is very hard to sing and dance at the same time. Dara walks in front of her dancers and does this half squat while putting her hand on her thigh. She semi-squats for a moment while Dara moves her hips back and forth as she lets is sway. The LED screen show the lyrics again and the audience wild. Many of the intensity shows up again. On the stage floor these circles alternating purple and red show from the bottom and seem to go along with the beat. These circles are kind of like the circles on Blanca Paloma's performance.

I like to see you when you're fighting
You can't make up your mind d'cideing
Yet, when you call me then I just feel it
Surging up my body, and then I just admit

Everything contintues and the audience get extremely riled up. Dara moves her leg forward and her other leg backward while the dancers do a repeat of the routine they did before. The camera switches sides and does a quick zoom in on Dara before quickly zooming out. Dara and her dancers pat each side of the hip as they move their hip side to side to go along with the beat. The LED screens are still showing the lyrics as the audience continues to sing to the song.

Ya te quiero más que la gente
And I want you, perfectamente
Es como la dopamina
'stas lista? 'stas lista?

The chorus come again. At this point of the song Dara is extremely exhausted even though she's practice this so many times. She stretches her legs apart and then bends down quickly all within less than a second. Then her and her dancers assemble the same line as before doing the same arm movements. This time Dara screams "Britonisea, make some noise!" out to the crown inbetween the various "Adrenalina"s. Dara is shaking her hip left to right while the dancers are too but are also using their arms to express their choreography. Another thing that only people will notice now is Dara's shoes. They are bright red slipper like shows and they glistened int he spotlight.

Adrenalina
li-li-li-li-li-li-li-lina
Adrena-li-li-li-li-li-li-li-lina (Sí, quiero)
li-li-li-li-li-li-li-lina
Adrena-li-li-li-li-li-li-li-lina

It was now time for the bridge. The audience screams really loud. And Dara does some pretty cool dance moves, she moves her hips left and right to the beat while she brings her non mice hand down like its going through different levels before it can reach the bottom level. There are pyro effects that show up for a good time and the orange flare matches the purple and red theme that has been going in the song. The camera zooms out again and then quickly cuts to the left side of the stage and the cuts to the right side.

li-li-li-li-li-li-li-li-na-na
li-li-li-li-li-li-li-li-na-na
li-li-li-li-li-li-li-li-na-na

The prechorus is stated again. The lyrics showed up on the LED screen and the audience is still going wild. Dara and her dances are doing really complicated dances, so much so that you can hear her breathing out of exhaustion. They repeat the same choreography as before. Dara Seop started moving her body a ton an she and her dancers started dancing all around the stage before returning back to the middle of the stage.

Ya te quiero más que la gente
And I want you, perfectamente
Es como la dopamina
'stas lista? 'stas lista?

Everything is toned down just a tad bit. The lights are slightly dimmer and the flashing and chaoticness comes to an end. Dara and her dancers to some last minute dance moves as the song comes to an end they bring their arms out and continue with the cool line. Dara is extremely exhausted and so are her dancers. She repeats the choreography to the chorus that was earlier and then strikes a pose at the end.

Adrenalina
li-li-li-li-li-li-li-lina
Adrena-li-li-li-li-li-li-li-lina (Sí, quiero)
li-li-li-li-li-li-li-lina
Adrena-li-li-li-li-li-li-li-lina

Finally it was over. "Thank you Britonisea" Dara yelled as she marched off stage. It will soon be the hardest part of them yet. The voting.

by **Scotatrova** » Tue May 16, 2023 9:12 pm

10. Scotatrova
Biedro Cavasa
Insane
Tune: Alex Aiono - Big Mistake

With the conclusion of the 100th edition of the WorldVision Song Contest, it had seemed that SSTR was at the end of its rope. The high financial costs responsible for sending acts, consistent underwhelming results and a growing wave of disinterest from the public prompted the broadcaster not to confirm its return to the following contest. Indeed, it went several editions without a participation for the first time since the 87th edition. It wasn't long before the WorldVision Song Contest was wiped from the viewings entirely, with the broadcaster choosing to focus on more homegrown entertainment and sports coverage. The lead up to the 2022 presidential election in September also dominated the airwaves in the later half of the year. Still, the WorldVision Song Contest found moderate viewership through various online outlets and was followed consistently by local fans. Instead it was found that interest started to shift toward the World Hit Festival, as broadcaster TAS had picked up the contest and aired it on various media platforms. It wouldn't be until the 107th contest that whispers started swirling at SSTR of a potential return to the WorldVision Song Contest. These rumors soon came to fruition after SSTR confirmed that it would be returning to the contest, this time being held in Britonisea. Biedro Cavasa was chosen internally as the nation's representative this time around, having done performances for SSTR on previous occasions, including the 2023 New Years Eve show. There was no mention made of this being a definite return or just temporary, but only time will tell.

With the end of Ildonya's performance, it was now time for Biedro's performance. He stands on stage in a white, bedazzled straight jacket. Belts line up and down both of his arms, and several around his waist and back. His stood alongside four backup dancers, two males directly behind him and two females standing in front of him. They themselves are all wearing similar bedazzled outfits, however each of them are not as restrained as Biedro finds himself to be. As the song begins, an angle of the stage from Camera 7 comes into view. Biedro and his backup dancers stand on stage, but each of them bent over or contorted in different shapes. Biedro himself has his knees bent inward and is hanging over to his left. He stands up straight just before he begins the first verse.

I don't really think about it anymore
Is it better to break than bend again?
Is that a problem or something to ignore
Always hurt by the thought that I've put in

What do you want from me?
What do you need from me?
You’re telling me one thing, but showing something else
I feel I’ve lost my edge
Did I ever have it?
I gave it my all and it came crashing down

Still left feeling like I don’t know what to do
Haven’t I figured it out?
It’s making me go insane
Really needing another breakthrough
Haven’t I figured it out?
It’s making me go, me go insane

While singing the first verse, Camera 6 does a slow zoom in toward Biedro and his dancers. He stands in place as he sings the verse, maintaining eye contact with the camera. The two female dancers begin to walk slow circles around Biedro, keeping their eyes on him the entire time, as if they were carefully observing him. The two male dancers on the other hand stand still behind Biedro, their eyes fixated on him the entire time as well. As he sings "Is it better to break than bend again?" he slightly leans to his right, and then shoots back up quickly and thrashes around in the straight jacket. He two female dancers step back and start performing choreography around Biedro while the male dancers are shown to pick up two leather ropes, each of them holding one. These ropes are tied to the belts that find themselves wrapped around Biedro, and any time he attempts to thrash or move too far out of place, they can be seen tugging on them, keeping him in place and in check. While Biedro continues on with the verse, he makes eye contact with the camera and has this unhinged look in his eyes.

Making me, making me, making me go insane
Making me, making me, making me go insane
Making me, making me, making me go insane
Making me, making me, making me go insane

Started on the right track but we got a bit lost
All these indecisive feelings of enjoyment
Working on myself to do better, at what cost?
But hold that thought, I think I just need a moment

What do you want from me?
What do you need from me?
You’re telling me one thing, but showing something else
I feel I’ve lost my edge
Did I ever have it?
I gave it my all and it came crashing down

The two female dancers end up standing on both sides of Biedro as the chorus begins, and all three of them start dancing. The stage is then drowned in an array of strobing blue lights. Beams of light bounce off the seemingly endless array of outfits embroidered into all the outfits, and that light itself dances all around and off the stage. All that the audience can see is the silhouettes of Biedro and his dancers being bathed in a dazzling array of light. Despite being restrained in the upper half of his body, he has quite the mobility with his legs and feet as he dances in place along with the female dancers. The two male dancers to the same, although they do so in a more reserved manner, with the bulk of their focus being to keep Biedro restrained. Biedro can be seen swinging his head side to side, and attempting to move his arm but to no avail. As the chorus ends and the following verse begins, the two female dancers each place a hand on both of Biedro's shoulders and force him down to his knees. They each walk around him slowly, Biedro singing up at them while they do so. The two male dancers step closer so that they are directly behind him. One of the female dancers puts her finger to Biedro's chin, motioning him to stand. The male dancers can be seen giving a slight tug on the ropes and he raises to his feet.

Still left feeling like I don’t know what to do
Haven’t I figured it out?
It’s making me go insane
Really needing another breakthrough
Haven’t I figured it out?
It’s making me go, me go insane

Making me, making me, making me go insane
Making me, making me, making me go insane
Making me, making me, making me go insane
Making me, making me, making me go insane

As he gets back onto his feet, the prechorus begins. The male dancers drop their restraints and begin to slowly undo the belts that find themselves on the back of Biedro's straight jacket, while the female dancers undo the ones found on his arms. While they're occupied with that, Biedro sings to the camera yet again. The look in his eyes is one of eagerness and anticipation. He is slowly moving back and forth, just waiting to be unbinded. As the last belt becomes undone, Biedro frees his arms and tears the jacket from himself, tossing it to the side. He throws his arms up and starts to walk forward toward the front of the stage. The dancers walk in stride alongside him, each of them keeping in pace with him and to the beat of the song. Now no longer confined to the smothering straight jacket, Biedro and his dancers begin to dance an array of break dance moves. The lights around the stage go back to strobing as the chorus ramps back up, and again only their silhouettes are visible. Those in the very front of the audience are bathed in twinkling light thrown off of the jewels.

Now it’s time to step up
Time to bring the best that I can, yeah
Move on or just own up?
Maybe I just need a change of plan
It’s making me go-

Still left feeling like I don’t know what to do
Haven’t I figured it out?
It’s making me go insane
Really needing another breakthrough
Haven’t I figured it out?
It’s making me go, me go insane

Making me, making me, making me go insane
Making me, making me, making me go insane
Making me, making me, making me go insane
Making me, making me, making me go insane

This continues on throughout the remainder of the song with little change. Biedro has now been able to showcase his performing ability now having complete freedom of movement. He slowly takes one of the female dancers by the arm and does a quick exchange with her before alternating with the other. He lets them go as they mingle and dance with the male performers. Finally, with the end of the final line in the song the entire stage goes dark for a split second before the lights come back on. Biedro and the dancers give a quick wave out to the audience. "Thank you, thank you all so much!" He kisses his hands and throws it out to the audience as he and his performers make their way off stage, smiling and waving out to the audience.

by **Tummylandia and Susistan** » Tue May 16, 2023 10:15 pm

Tune: Martin Nievera - Please Don't Throw My Love Away
Music and Lyrics by Bowen Panadero

Background

Tummylandia and Susistan used to send in joke entries because the people that decided the songs for Worldvision were probably mentally insane. Due to that, a lot of entries were ear grating. Then it all changed when they did the shocking new thing known as a "national final" which is a thing that literally everyone did. The reason you never heard about it is because it's only watched by Tummylandians.

Anyways Bowen Panadero won.

The Artist

Bowen Elizondo Panadero, known simply as Bowen Panadero is a Tummylandian composer, producer, comedian, and singer-songwriter. Born in the town of Bidarte, Vasconia along with his twin sister Daphne in October 1989. He grew up in a Basque-Tummylandian family to anarchist pediatrician Javier Elizondo and baker Maria Teresa Panadero. Bowen Panadero is a transgender man and is autistic. His music career began when he was 14 when he joined a band known as "Nor Zara?"

After he graduated high school, he entered the University of Tummylandia in Tummytown earning a BA in Music Production, just before the onset of the Tummylandian Civil War. He served as a guerilla fighter, fighting FFF troops in Vasconia, with him working with his sister to liberate towns across Tummylandia from the rule of the FFF dictatorship. He was later tried for war crimes in the Hague but was found not guilty on all charges. After the civil war, he became a composer for TV shows, films, and video games.

The Performance

Bowen Panadero got on stage after the Scotatrovan entry, wearing a simple attire consisting of a white polo shirt and black pants. The Tummylandians and Susistanis in the crowd watching cheered loudly, with some fans flying the Tummylandian flag. He walked onto the stage as the mostly instrumental song played, as the crowd cheered.

You and me are meant to be,
remember that time in San Aroztegi?
We danced and had a night
It was a wonderful evening, no doubt to me

After that we went to the station
grabbed a shawarma and boarded the train
Vasconia Express to Puerto Vasquez
being in love like no-one else with you
Made me believe in you
being with you, daydreaming all about you

Let's go on the Vasconia Express
from Bidarte to Puerto Vasquez
Would it be okay if I slept on your shoulder on the ride
as the night set in over the fields
Oh, Let's go on the Vasconia Express
from Bidarte to Puerto Vasquez
What if I slept on your shoulder on the ride
as the night set in over the fields

You and me not long ago
were boyfriends on a roll
We lit that quisling's house on fire
and then shot them soldiers and
laughed as they cried out in pain

Then I went on a date with you
ate lunch with you,
watched old movies with youuuuuu,

Let's go on the Vasconia Express
from Bidarte to Puerto Vasquez
Would it be okay if I slept on your shoulder on the ride
as the night set in over the fields
Oh, Let's go on the Vasconia Express
from Bidarte to Puerto Vasquez
What if I slept on your shoulder on the ride
as the night set in over the fields

Afterwards, the last one minute was instrumental. After Bowen Panadero's performance, the Tummylandians in the crowd cheered, before he walked off the stage.

by **Ugunnustan** » Tue May 16, 2023 11:23 pm

[url]Postcard[/url] I Tune

High Heels - Ilyza

Music by - Pyotr Uivov Ilyza turvov

Lyrics by - Millie Scentrstrova Luke porpov Ilyza turvov

Ilyza is a young and aspiring popstar from Ŏüs, Akhtir. She has talked about how she always had a love for music, a distinct memory being competing in her schools talent show and winning, she says this would eventually lead to her Starting her career at age 19 by posting her songs on soundcloud, and shortly gained a small but loyal following on the site after positing multiple songs ' Crossing the line' and 'Bi’aqüm' Standing out as some of her most popular songs. After the viral success of her song Bi’aqüm on the video sharing app tiktok she managed to get a record deal with Behali records based in Alecstana and so, at the age of 20: moved out to the city, just her and her family. Alecstana is a much larger city than Ŏüs, and at the start was quite intimidating. Her first song under her new label talks about the stresses of living in a much larger town that she is used to.

The idea for her Worldvision entry High heels first came around during a party she was at. She was out celebrating her friends 21st birthday.
‘I wanted to make a song about feeling confident in your own skin, people are talking about me, but only saying good things you know?’
She told YUS High heels is a up tempo pop-song about feeling confident and being the life of the party, people are looking and that is ok, because they are looking at you.

The song was part of an internal selection in Ugunnustan, while exact percentages were withheld. Leaks state that it was a very close margin between 1st and second place, with it being rumoured that High heels gained 33%of the vote, and second place medal gained 29%.

Ilyza is excited to be in britonisea and excited to be performing.

We start our Journey In Quïḿhoek International Airport, It is 2 am Ugunnustan local time. We see Ilyza through an Instagram story, She has lots of makeup on, and is smiling brightly, (Although the circles from her being awake so early are Visable) A cup of Iced coffee clinks in the background. 'Hey everyone, Ilyza here! I'm Here in the airport, About to fly to Doportedas.' She flashes a smile, and brings her cup of coffee up to her mouth, She gestures for someone off screen to come into the frame, Wich they inveitbly do, They are tall and blonde, they also look quite tired, they are wearing bright colours. 'This is my main man Pytor, He will be supporting me backstage alogn with all my crew!' She pans the camera around to a group of 5 backup dancers, 3 wave at the camera, the other two too engrossed by the light of their phones to notice.

'Boarding for Gate 5 Now open booms a robotic voice above'

'Gotta go, See you in doportedas!'

The video fades and a voice is heard quietly in the background 'Get some sleep on the plane yeah Ilyza?'

We next see Ilyza once again on her Instagram, This time on an Instagram live. Her and an interview are seen sitting in a hotel room, There is one Double bed, with plain white sheets, and Blue walls, They are sitting at a table in the corner of the room, with orange curtains draped over a large window. The sun blares through the window , Illuminating both of their faces, Ilyza is wearing the same outfit from the airport, although it can now be easier seen. She is wearing a colourful jumper and a pair of light blue jeans, her makeup is the same as in the airport too, although it is slightly more smudged than before.
'Hey guys! Im here with Ian and YUG and We are going to do an interview with fan questions, are we ready?'
'We are.' The interview would pull out their phone, and scroll a little, before taking a breath and asking their first question.
'First question, How would you describe the writing of High heels, was it difficult?'
'I'd say kind of, It took many re-writes of the song to get to where we are today, competing for Ugunnustan!' With this last line she'd smile and turn back to the interviewer, she'd quickly glance over the comments, The interviewer would follow her gaze onto the comments section and eventually say:
'One commenter asks, do you think you could give us an example of one of those rewrites?' Ilyza would turn back to the interview, She would push out her chair, and this would be met with a light chuckle from the interviewer:
'Singing are we?'
'Well of course, So in my first draft of the song, The chorus was very diffirent, I had more Ugunnustani lyrics for example:
I look best when I've got Highs on (on)
Oh Ez'chi Yugram (Yugram)
Ez'chi Behue saf
Qilsipya'na
I look best when I've got Highs on (on)' The Interview would give a short clap, Ilyza would sit back down.
'I really liked the idea of having it all in Ugunnustani, But I wanted it to appeal more to an International audience, My father, for example, Who lives in Canada, and only speaks French wouldn't know what I'm singing, Just like you from the bewildered look on your face.'
This would earn a short chuckle from the interviewer, who would continue on from her last point:
'You mentioned your father living in Canada, Was it difficult growing up with parents in Diffirent places?'
Ilyza would shift around a little in her chair, she'd look slightly uncomfortable:
'Yeah I guess so. My Dad is Canadian, and grew up in Montreal, He moved to Ugunnustan In his early twenties where he met my mother, They traveled around a bit before having me, but at the age of 3, my Dad wanted to mvoe back to canada, adn my mum wanted to stay In ugunnustan so, well' She'd let out a heavy sigh and continue ' My Mum is an amazing woman, and I'm so very impressed with her, and all that she has done. The interviewer would wait for a moment, He'd put a comforting hand on Ilyza's and continue.
'Very Brave of you to talk about that, Now; in order to not end on such a negative note, Are you excited for this years Worldvision?'
Ilyza's signiture smile would be back, she would look quite excited at the question:
'Well of course, Being Ugunnustans Debut entry into the contest is honestly a great honour, And I'm so very glad that I got the chance to perform in Worldvision, I grew up watchign people perform on the TV, and I always wished I could do that, Acctually, a few years before our ascent to worldvision was there was the inter-country competition the USC, I did try out, however I kinda flopped' She'd laugh 'Wonder if the people who rejected me can see me now!'
The interviewer would laugh along with her
'Well I should probably be letting you go now hey? It was an absoltue pleasure talking to you, and good luck for the competiton!'
The video would begin to fade out, Ilyza turns to the camera and smiles and waves at the camera, The interviewer can be heard rustling around in the background, Preparing to get all of their stuff and leave, The video ends.

The Postcard starts with a distant view of Ilyza on the shore of the Türkmenbaşy Bay, You can see the city of Ŏüs behind her, She is wearing a Blue one piece Bikini and a Black cropped fluffy jacket, she stands at the edge, she throws her jacket to the side before diving into the water, as Ilyza dives in she sings the falsetto at the end of the chorus, She smiles and beckons for the camera man to follow her into the lake; which he does. She splashes about in the water for a bit and then the camera is dipped under the water.

This transitions into loueske, The camera is lifted back out of the water to show the city skyline can be seen in the background, Ilyza is wearing the same outfit as she did in Ugunnustan, She smiles at the camera, which switches to a drone camera, which shows the whole lake in Loueske, and then zooms into Ilyza and her 4 dancers all dancing on the lakeside quay. Suddenly, all the 100 britonish dancers all run down from opposing sides of the quay, she dances with them and sings the chorus of her song, she then leans and Ilyza Blows a kiss at the camera, it fades and the Ugunnustani flag is shown...

The stage is dark, except a light crimson light at the bottom of the stage, illuminating the smoke along the floor, The music starts and the lights begin to go up; Ilyza is wearing all red, with an Off the shoulder red Puffer jacket, and a Short mini dress, She has matching Thigh High boots that glint in the lights, a loud, but trembling voice can be heard from the back.

ARE WE READY TO DANCE NATIONSTATES?

Ilyza steps towards the front of the stage, her 4 dancers step either side of her. They are dressed in a pale shade of pink, with small ruffles and Black jeans. she leans in slightly,snaps her fingers, and begins to sing. The dancers surrounding her lean in with her, and then lean back out. She blows kisses towards the camera , and lipstick stains appear on the back Led screens, which the camera (20) zooms into, and then zooms back out to show the whole stage Everyone begins to move backwards ready for the next part.

Step out of the car, alxär
And I know your starin'
Eyes on me, Can't you see?
Look at what i'm wearin'

Ilyza struts across the stage from side to side. She flicks her long blonde hair as she walks, She winks at the audience. She holds the microphone close to her mouth as she sings the pre-chorus, the dancers follow her across the stage, and eventually end up in a diamond shape at the front of the stage, with Ilyza in the centre, ready for the chorus.

Imitations flattery
Copying like abc's
Ill tell you what, Here's the tea

The Camera (1) zooms into Ilyza for the first line, before switching to a camera racing past the stage (5), showing the whole thing, The Floor Led’s have the lyrics projected across the them while Ilyza sings, and the orange and red ombre lights on the back Led screens bounce to the bass of the music. Ilyza Mimes breaking a heart with her hand while singing, The camera (1) zooms into this, before zooming back to its original camera angle.

I look best when i've got high heels on (on)
Break your heart for fun (fun)
Tell the others guys
Al'ie nīmé Uh

During the second part of the chorus, the words ‘High heels’ appears on the back Led screen, along with the pink clouds seen in the album cover, The Camera (17) zooms out to show the arena, Where the seat lighting has been used to change the seats the colours of the Ugunnustani flag, Yellow White and blue.

I look best when i've got high heels on (on)
One misstep your gone (gone)
Your not worth my time
Al'ie nīmé Uh
I look best when I've got High heels on

The camera comes back in and Ilyza mimes pulling in the camera, before telling the camera to follow with her finger, She sings as the camera follows her to the back of the stage (Camera man on stage) , The Led walls behind her rotate and move, she poses at the back, hand on hip, leg out, as the next verse starts. During the verse, the dancers are at the side, Left hand up, right up, down

Watch me Walking through the door
Wantin' more
'cos your boring
Dont check the price
'cos your right
and ya' starin'

The camera pans out (1), and the lights begin to pick up as the pre-chorus goes on , There are strobes following the beat of the music, and the Led panels at the back are also pulsing with the beat of the music, Ilyza mimes drinking a cup of tea and struts into the centre of the stage for the final chorus.

Don't want to have Apathy
yet you make it so easy
I'll tell you what, heres the tea

All of the strobe lights across the stage begin to flash as the camera zooms out (7), The lights the Led strips in the green room, and the lighting next to the seats all also glow a deep crimson and bounce along with the beat as Ilyza sings, The 4 dancers walk confidently across the front of the stage and Ilyza stands in the middle, she gives it her all ; Hands up, kicking, it is intense but she is enjoying herself, The dancers are also copying her, they seem to be enjoying themselves too. The lyrics cross the whole stage, They roll up the Led back panels and along the floor.

I look best when i've got high heels on (on)
Break your heart for fun (fun)
Tell the others guys
Al'ie nīmé Uh

Now we see the camera from above (12), The dancers are circling around Ilyza, and the floor shows a deep orange spiral that she is standing in the centre of, The camera heads back to the rail camera (5) and flys past the stage, as the pyro effects kick in, Multiple tall columns of sparks light up the sides of the stage to distract from Ilyza making her way to the back of the stage.

I look best when i've got high heels on (on)
One misstep your gone (gone)
Your not worth my time
Al'ie nīmé Uh

All of the lights and effects go back down, only the smoke and crimson lighting before, a bright spotlight is shone on the back of the stage, Where we see the silhouette of Ilyza, She flicks her hair back and holds the microphone up high, Belting the last line of the song, The belt eventually fades into the na na na’s of the outro of the song.

I look best when I've got High heels on

The lights come back, With just the smoke from before, Ilyza flips her hair from side to side as she makes her way to the front of the stage, where on the last line, she slut drops, She stays there and gives the audience a sassy look.

on, on, na , na , na , na , na ,na
I look best when, I look best when.
na , na , na , na , na
I Look best when I've got high heels on

Having finished she stands back up, and with a massive smile on her face screams out to the audience her thank yous, and the camera pans to Ugunnustani worldvision fans, waving the flag.

RHAN EZ, RHAN EZ, THANK YOU I LOVE YOU

by **Waisnor** » Wed May 17, 2023 12:48 am

13

WAISNOR

DZUCA - Pad kalinaj/Tune: Iva Sativa - Kosa

DZUCA, or Jana Yurkevich, is one of the newer stars of Waisnorian music scene, with one of the main things about her being dedication to fully Waisnorian culture, especially things which take their roots in the Kievan Rus and could be considered strictly Waisnorian (they will be featured in the performance). And so, her songs are always featuring at least some Belarusian in their lyrics. And that isn't an exception for this time - this will be the first time in history of WorldVision when Belarusian will be involved.

And now we-ll start with our performance. DZUCA appeared on the scene in the traditional Waisnorian dress with elaborate patterns sewn on it and some colourful ribbons tied up to her hands. Alongside her there were dancers in other dresses, which were still traditional, but no less beautiful. They were lined up in a single line, in a pattern which many Waisnorian will recognise. And after first lines of the song were sung, they started dancing (that will be explained soon).

Я пад калінай на кветцы варажыла
I was fortune-telling under a viburnum on a flower

Я пад калінай на кветцы варажыла
I was fortune telling under a viburnum on a flower (x2)

Дай мне увидеть свою судьбу
Let me see my fate

Дай мне прорваться сквозь эту гурьбу
Let me break through this crowd

Ты неспакойная, як ураган
You are restless like a hurricane

Ты мяне вабіш, нібы дурман
You lure me like a drug

As the lyrics were sung, DZUCA remained almost on place, performing some dance moves like spinning in place or flailing arms, while the dancers were busting out the main moves in form of šerahovka - traditional Waisnorian dances, which involve dancers line up in rows (2, 3 or even more) and dance first with their closest partners, and then with members of other rows. Serahovka's main part is the aforementioned interaction of different rows of dancers between each other and how people can switch between different rows. This dance is one of the first things which could be attributed to Waisnorian people only and remains a big part of Waisnorian traditional culture, which influences modern culture to this day. In fact, šerahovka was included in UNESCO Intangible Cultural Heritage List and is one of 3 Waisnorian items in it. One of them is also going to be featured here.

Чувствую, что иду я во тьму
I feel that I am walking in the dark

Что же мне делать, я не пойму
What should I do, I don't understand

Мне остаётся только гадать
I can only guess

Для ворожбы цветы собирать
And collect flowers for divination

Я пад калінай на кветцы варажыла
I was fortune-telling under a viburnum on a flower

Я пад калінай на кветцы варажыла
I was fortune-telling under a viburnum on a flower (x2)

While the song was being sung, the dancers had already completed the first stage of šerahovka and finished dancing with their partners in a row, moving on to dancing with other rows. The cameras that were on stage showed this dance in full, with the accompaniment of DZUCA, who was ahead of the dancers on stage and was already preparing for the chorus.

Я пад калінай на кветцы варажыла
I was fortune-telling under a viburnum on a flower

З рамонкаў на лузе я вянок пашыла
I sewed a wreath from daisies on the meadow

Я пад калінай на кветцы варажыла
I was fortune-telling under a viburnum on a flower

З рамонкаў на лузе я вянок пашыла
I sewed a wreath from daisies on the meadow

After the chorus was sung, the dancers and the singer switched and began to dance dances that were more reminiscent of modern ones. However, they still felt something traditional, as if they were dancing during mysterious rites, about which DZUCA sings. Meanwhile, drawings of a round dance around the fire appeared in the background, which were made using traditional Waisnorian patterns.

Я пад калінай на кветках варажыла
I was fortune-telling under the viburnum on the flowers

Пялёсткі рамонкаў ля ракі лічыла
I counted the petals of daisies by the river

Чтобы увидеть, что меня ждёт
To see what awaits me

Что я потеряю, что ко мне придёт
What will I lose, what will come to me

And now šerahovka is back, now with DZUCA also dancing with them. And while the dancers took the singer in, now we can tell about the source of the patterns that have now filled the entire screen - the wood carving traditions, which are dating back hundreds of years. This carving most often includes exquisite patterns, images of nature, human life or any historical events, and different schools of carving include different patterns. In addition, Weisnor woodcarving has a separate feature - they often use the bark of a tree, which is used as a frame and an additional touch for important parts. The tradition of carving can be seen in many household items - sugar bowls, cabinets, shelves and more can be done in this style. And also, this is another Waisnorian tradition which is in UNESCO Intangible Cultural Heritage List now.

Я здзяйсняю гэты абрад
I perform this rite

Толькі пры святле зорных плеяд
Only in the light of the starry constellations

Я зноў іду на той бераг ракі
I'm going to the other side of the river again

Дзе зноў збіраю сабе васількі
Where I gather my cornflowers again

The next couple of verses were molded from the lines from the previous verses, and while they were singing, DZUCA continued to dance, šerahovka was placed at the very center of the performance. However, before it was necessary to sing the chorus for the last time, Yana again came to the fore.

Я пад калінай на кветцы варажыла
I was fortune-telling under a viburnum on a flower

З рамонкаў на лузе я вянок пашыла
I sewed a wreath from daisies on the meadow

Я пад калінай на кветцы варажыла
I was fortune-telling under a viburnum on a flower

З рамонкаў на лузе я вянок пашыла
I sewed a wreath from daisies on the meadow

And as the dances came to an end, along with the performance and song, DZUCA bowed to an audience and said: "Dziakuj vam usim! Pieradajom vam pryvitannie!", which means "Thank you all! And hello, everybody!"

by **Beepee** » Wed May 17, 2023 1:42 am

14.

"Monsters"
Performed by
Isaac Dixon

Tune: Benjamin -"Minä-Minä-Maa"

Isaac Dixon is an singer-songwriter hailing from Golden Wattle Bay, Beepee. Growing up in a musically inclined family, playing several instruments, Isaac discovered his love for singing and performing at a young age.

Isaac cites Mike Oxlong and Esther Winterbourne as those who have greatly influenced his musical style. Drawing inspiration from legendary Britonish contemporary trailblazers, such as Josh Morris and Kelsey Banques, Isaac has developed a unique sound.

Aside from music, Isaac also enjoys fitness and fashion.

Isaac will make his grand entrance onto the international stage as Beepee's representative in the 107th WorldVision Song Contest. With his debut single, "Monsters," he captured the hearts of Beepeeans everywhere. The song's evocative portrayal of personal struggles and triumphs struck a chord, earning Isaac widespread acclaim and establishing him as a rising star in the music industry.

"Monsters" is a pop-song written by Issac Dixon. The song itself delves into the mysterious realm of the night and personal insecurity.

With a banging beat, the song invites listeners on a captivating journey through the shadows of one's own imagination.

In describing his song, Isaac says:

"The song is about facing our inner fears and struggles, those "monsters" that haunt us in our lives. It's about finding the strength within ourselves to overcome our fears and move forward."

"I believe that many people can relate to the theme of the song, as we all have our own personal battles to face."

The postcard opens with an aerial view of the Beepee coastline, with waves crashing against golden shores. As the camera zooms in, we find ourselves in Golden Wattle Bay, zooming in further to the Beepeean Natural History Museum.

Isaac Dixon, Beepee's artist, is seen entering the museum, accompanied by two backing dancers (dressed in their performance costumes).

Inside, they explore the museum's fascinating exhibits, showcasing the rich biodiversity of Beepee. Isaac and his dancers marvel at the dinosaur fossils, unique flora, and indigenous artifacts, immersing themselves in the nation's natural and historical wonders (for a whole 10 seconds). Inspired by the displays Isaac sings a note and we transition to the host nation, and the postcard then takes us to Military City in Britonisea.

Isaac and his dancers arrive at the impressive National Military Museum, adorned with relics of Britonish military prowess.

Inside the museum, Isaac and his dancers witness the impressive displays of military equipment, from ancient armaments to modern technology.

Isaac and his dancers make their way outside the front of the imposing museum where they are welcomed by 100 Britonish servicemen, in their traditional military attire, they march in time, creating a rectangular formation around Issac and his dancers.

As the postcard nears its end, Isaac, his dancers, and the Britonish servicemen hold up LED Screens and where the Beepeean flag and comes on screen together with the ident.

As the Waisnorian entrant leaves the stage, the stage is set for the Beepeean entry.

Center stage is an oversized bed, tilted slightly so the audience in the magnificent Arena de Banqués can have a full view. The bed is covered in plain white bedding.

From the audience's perspective, left of the bed is a white window frame, being dangled from the ceiling of the Arena by invisible wire. To the right of the bed is a white door in a door frame set on the stage.

Isaac will be wearing a white sleeveless t-shirt/vest and white underwear (boxer shorts and socks).

Isaac lies on the bed, holding the microphone in his left hand.

The LED screens to the rear of the stage are set to the colours of a sunset, and the floor LED screens are set to black.

The postcard comes to an end, and the amazing 18,000-strong crowd of the Arena de Banqués begins to settle.

The performance begins briefly in silence, and the camera (number 13) focuses on the window with the sun setting and the LED colours changing from oranges and reds through purple to deep aubergine.

The director then cuts to the Remote Head camera (number 12), which looks directly down on Isaac staring back up at it. He begins to sing the intro "All night long"....

As he sings, the camera slowly pans in on him and he reaches towards the camera with his free hand.

All night long
They freak me
All night long
They seek me
All night long
They freak me
All night long

The Remote Head camera continues to pan down on Isaac as he sings the first stanza. As he sings, he gently writhes on the bed, showing he's uncomfortable at the night ahead. As he sings, "circle all around my head," he grabs at his tousled hair.

Late at night, when I'm alone in my bed
I hear them arise. They circle all around my head

The overhead remote head camera (camera 12) zooms out slightly as Isaac gets to his knees and kneels on the bed, looking up. As the next stanza is sung, Isaac moves around the bed, and on the floor LED's cartoon drawings of monster tentacles, eyes on stalks, and claws appear. The tentacles reach for Isaac, and he swings to the other side of the bed. Then a claw grabs for him, and he rushes to the foot of the bed. The design and movement add a sense of anxiety to the performance, which fits with the overall theme.

They're coming to get me
And they just won't let up
When I turn the lights off
I've got to nowhere to go
They're so loud
And they know where I can be found

The camera changes to the central pedestal camera (camera 1) as Isaac jumps to the floor in front of the bed. Meanwhile, from under the bed, two backing dancers dressed in monster outfits climb out and over the raised side of the bed to join Isaac as he sings...

I keep trying to hide, all of my feelings
But the fear keeps on creeping, In to my very being, oh!

The backing dancers ominously make their way towards Isaac, dancing as he sings the chorus. Their movements are choreographed to appear frightening, but not overly scary to the viewers, with broad shoulders and a lumbering gait. The camera angle switches to railcam (camera 5), gliding across the stage to enhance the movement and dynamism of the performance.

As they reach Isaac, the camera cuts back to pedestal camera 1. He completes the first stanza of the chorus while they reach for him, tugging at his vest-shirt, arms, and legs. He pulls away each time they touch him, dramatically attempting to escape. As the chorus continues, the three of them dance in harmony.

The monsters are under my bed
They tell me that they want to be friends
But when the morning comes
They'll all be gone
They're illusions
That come to me at night

They only want to come around
Whenever the sun goes down
And when the morning comes
They'll all be gone
They're illusions
That come to me at night

When the morning comes
They'll all be gone
They're illusions
That come to me at night

As the second verse begins, Isaac and his backing monsters dance together. However, a light smoke starts to fill the stage, creating an eerie atmosphere. The floor LEDs emit a fluorescent green light, adding to the haunting glow of the stage. The camera then cuts to the spider cam, flying from the back of the auditorium to the stage, capturing the aerial perspective of the performance.

I toss and turn, I can't find any rest
I wake up, and my body's covered in sweat

As the flying shot from the spider cam comes to an end, the camera angle changes to Pedestal Camera 3, focusing on the door on the right-hand side of the stage. The white door is closed within its frame. The lighting shifts to an ultraviolet light, casting an eerie glow over the stage. As the lighting changes, the door slowly opens, revealing long tentacles that reach out and wave slowly up and down. The camera focuses on the tentacles and the door, while Isaac makes his way back onto the bed.

Coming out of the closet
Is a monster so toxic
Its tentacles reach to me
I feel it coming near me

The camera switches back to Pedestal Camera 1, focusing on Isaac on the bed. The ultraviolet light reveals various fluorescent colors smeared across his body from the "attackers," his backing monsters. As he sings the next stanza, Isaac pulls the cover over his head like a hood. At the same time, the backing monsters, who were temporarily out of the frame, come back into the shot and head towards him.

I throw the covers over my head, I wish it was a dream
But for some reason I just can't scream

As the second chorus begins, Isaac gets off the bed and is joined by his backing monsters, now totaling three, including the dancer who was waving the tentacles behind the door. They perform their choreographed routine, adding continuity and repetition to drive home their message. The monsters, glowing under the ultraviolet light, smear more colors over Isaac's body. The rail cam (camera 5) glides across the stage, adding variation and interest to the performance.

They only come around
When the evening sun goes down
And when the morning comes
They'll all be gone
They're illusions
That come to me at night

There's no place where I can run
and there's no good place for me to hide
When the morning comes
They'll all be gone
They're illusions
That come to me at night

When the morning comes
They'll all be gone
They're illusions
That come to me at night

As Isaac sings the bridge, the backing monsters leave him alone on stage, creating the impression that Isaac is alone and vulnerable. Camera 1 captures a tight view of Isaac. The exertion of the performance so far has resulted in beads of perspiration clinging to him, adding to the intensity of the moment. These beads of sweat seem to echo the lyrics of the song. Unseen by the viewing audience, the ultraviolet light turns off, causing the colored smears on Isaac to vanish from view. As Isaac screams, Camera 1 zooms in tightly on his face, emphasizing his emotional expression.

I keep waking up in a fever with a cold sweat
Shivering hard even in the summers hottest heat
Someone come around and save me
I wish it was a dream
But for some reason I just can't scream
Aaaahhhhh

The camera shots cut between cameras 8 and 9 and show the audience in the Arena mesmerised by the performance so far. The song is reaching its end, and now there is only the final chorus to go. The camera cuts to a wide shot of the stage (Camera 1). Isaac is alone on stage. The rear LED screens are beginning to slowly show colours of a sunrise begin to creep into the bottom of the screens and, slowly, the indication of a new day begins to rise on the screens behind.

Isaac, meanwhile, finds his way back to the bed and climbs back in as the chorus comes to an end he fulls the cover over himself.

When the morning comes
They'll all be gone
They're illusions
That come to me at night

The monsters are under my bed
They tell me that they want to be friends
But when the morning comes
They'll all be gone
They're illusions
That come to me at night

As the song comes to an end, the camera changes to pedestal camera 2, focusing through the window on the left side of the stage. The LED screens are still getting brighter behind.

And with that the song ends. From the bed, Isaac yells "Thank you Doportedas, we love you."

The stage briefly goes black as the Isaac is wheeled off stage, which is reset for These American States.

by **These American States** » Wed May 17, 2023 6:31 am

15

These

American

States

Automatic Weapons - I Know You Know
Tune

Automatic Weapons consists of Shotgun Kenny and his drummer, Kevin Baker.

The Stage is dark for a moment as Automatic weapons take the stage.
The music begins....
as the guitar riff plays in the intro, the background LED PANELS quickly brighten,
depicting a GIGANTIC smiling sun moving diagonally up the wall.

as the VOCALS begin, the sun disappears above the panels, showing now a scene of a bright green meadow, lush with leaves after a spring rain.

let shine the sun
spring has sprung
i'm postive
i'm having fun

All i want
is to see your face
my happiness is your embrace

as Shotgun Kenny sings the chorus, he stares off in trance, almost as if he's not entirely there.

i know you know me well enough
to know you don't know what is up
ya know, i know, you know we kno
ya know, i know, you know we kno

As he sings the Chorus, Shotgun Kelly becomes extremely animated, and theatrically smiles and dances around the stage like this.

When it's Bright out
I'm less Angry
some even claim
that i'm Happy
less frustrated
less constipated
oh well you know
Yeah, You know...

California
Carolina
Halleleujah
wicked cool yuh

Hey, Hey

This Cat Pops Up on the LED Wall during the interlude.

I focus on
what i do best
Go out
for more than cigarettes
I excercise
look masculine
in turn it gives me
confidence

The sun starts to rise on the panels again as the chorus starts.
The OVERHEAD lights TURN OFF completely however, so the background is a beatiful sunny day in spring, but the stage and performers are silhouettes.

i know you know me well enough
to know you don't know what is up
ya know, i know, you know we kno
ya know, i know, you know we kno

FULL BRIGHT OVERHEADS!
The stage is awash with colour!

More smiling and dancing on this chorus....

When it's Bright out
I'm less Angry
serotonin
makes me Happy
less frustrated
I'm Elated
oh well you know
Yeah, You know...

Mississippi
Alabama
how bout Utah?
Pennsylvanaia?

YAY
YAY

During the Instrumental, The sun, still in the top corner of the middle wall panel, begins to groove along with the track.
The sun grooves off of the screen, and the scene becomes more somber, as grey clouds and rain temper the tone.

And i am not too
ashamed to say
sometimes the rain can make me smile

Prior to the show, Shotgun Kenny had rigged up a device to make it actually rain on him during his performance.
He Knew the Britonish folks running the show and the WorldVision organizers wouldn't be too kean on him soaking the stage in wet, so he just did it in secret without telling anyone. besides, it was set to be a light mist. What would it hurt, right?

The LED panels are showing a straight up full on rain storm at this point,
Shotgun Kenny gets this constipated look on his face
as the rig that Shotgun Kenny had put up earlier before the show came into play, it begins misting lightly over the stage.

well but um its like haaaaaarrd to define
give me lemons, i make sunshine

i know you know me well enough
to know you don't know what is up
ya know, i know, you know

The mist is beginning to accumulate, running down the stage in streams. The heat of the venue and the continuous mist is beginning to create a fog.

When it's Bright out
I'm less Angry
and im sangin
cause i'm Happy
less frustrated
less constipated
oh well you know
Yeah, You know...

People have begun to evacuate the first few rows due to the runoff of water from the stage.

Indiana
Massachussetts
Minnesota
Texas Roadhouse ! Yeah
New York City
Windy City ;
Emerald city
Detroit's Chitty

The entire stage is covered in a half inch of water, when the rigging finally gives out, bursting a shower of water onto the stage, it gushes off the stage in a torrent. A lady in the front row takes a stream of water directly to the face, falls to the ground taking out six other people with her.

what do i know
what do you know
what did you say
what do i know
what do i know?

Shotgun Kenny looks off at the Audience, Soaked, Bewildered. He takes the microphone in his hand.

"Hey guys... Thanks for sticking with me.... through the rain... "

Automatic Weapons leave the stage, dripping.

by **South Batoko** » Wed May 17, 2023 6:42 am

16. SOUTH BATOKO
Les Puyeurs - Les arcs-en-ciel
Title translation: The Rainbows
Lyrics: Martin Arrouet, Emmanuel Audureau
Music: Jérôme Aśtarda, Anton Balduc
The Altogether - Jubal & I (feat. Brian David Gilbert)

NOTE: This song is written in the Faren dialect of the French language. Any perceived mistakes are intentional features of that dialect.

ARTIST
Les Puyeurs (translated: The Highlanders) is a South Batoki band based in Faren, Aftwick. They are one of the biggest French-language acts in the country, all members also being part of the Francophone minority in the Faren area. The members are:
• Martin Arrouet (Мартин Арруўет): 25 years old, lead vocalist
• Jérôme Aśtarda (Жером Аштарда): 27 years old, guitarist
• Anton Balduc (Антон Балдүк): 25 years old, guitarist
• Emmanuel Audureau (Емманүўел Одүро): 28 years old, backing vocalist and percussionist

IN DOPORTEDAS
After a very short flight over to Doportedas, Les Puyeurs finally arrived in Britonisea. There was a slight issue though: Emmanuel's luggage had accidentally been placed on another plane for Doportedas, which by the time they arrived, wouldn't take off for another three hours. Hoping it could get sorted, they quickly hopped onto a train to the city centre. After checking in at the hotel and getting to their room, they quickly got into their pyjamas and crashed on their beds.

The next day, the boys woke up at around 10:30 am. After getting ready, they headed out, but not before noticing a little surprise at the hotel door: Emmanuel's luggage had been retrieved! While they were going through the lobby, he noticed the receptionist had the same name as the one written on the letter that came with the luggage. Emmanuel promptly thanked her and tipped her £20. They first went to the central shopping district, where they bought some souvenirs, new video games and new clothes, some of which you'll see on stage! After that, they made a short stop back at the hotel, so they didn't have to carry everything around all the time at their next stop, the theme park. They went on some rides, culminating in them going on the highest one in the park. The view over the city was amazing. Finally, they went to a Britonish restaurant in the inner city. As the sun set, they made their way back to the hotel, got ready and went to sleep.

Two days later, it was time for the Titian Carpet. Les Puyeurs showed up wearing some of the other clothes they bought while shopping. In the small interview, they talked about why they wanted to go to Eurovision, the French language, the meaning of their song, their outfits etc. After another long day out, they went back to their hotel, got ready and headed back to bed.

The next few days were mostly filled with preparing for their act, but a few days in, it was time to film their postcard. To kick things off, they took the ferry over the strait to the city. As they wandered through the city, they found an art museum that looked interesting, so they decided to check it out. They looked at the various paintings and art installations, including some fairly famous works. One of the people depicted in a work looked like Jérôme to the other members, causing them to joke a bit about it.

The rest of their days were mostly filled with preparing for the contest, being interviewed by international press and participating in some fan events.

INTERVIEW
This is an abridged, translated version of an interview RTBO conducted with Les Puyeurs:
Why did you decide to try your hand at representing South Batoko this edition?
Martin: We've always loved the WorldVision Song Contest. Ever since we met each other, we've watched it together. In fact, I started my musical training because it was my dream to perform on that stage, and this is really just a dream come true for all of us.

You're the first act representing South Batoko singing in French. How do you feel about representing not just our country, but also the Francophone minority?
Jérôme: It feels great! Us French-speakers are often underrepresented in South Batoki culture, despite being a fairly important part of our history and our present. By showing this French voice to the world, we can make everyone, both inside and outside South Batoko, more aware of our existence, and I think that's beautiful.

There have been some different interpretations of the song floating around. What was the original intention with the song?
Anton: Our original intention was for this song to be about just letting your worries go and enjoying life, but it's completely OK if people interpret it differently. Art is very subjective, after all, so no one interpretation can ever be fully correct.

Finally, in some rehearsal footage, we noticed that the image on the screens at the end looked a lot like a child drew it. Am I correct in assuming that, and if so, who was the artist behind it?
Emmanuel: The one who made that drawing is actually my daughter! One time I was singing the song to myself, and she had overheard me. Of course, she then started to draw a whole scenario about the song, and it was just so cute and fun, I just had to have it included in the final product.

PERFORMANCE
The camera goes gradually more in focus on Jérôme playing his guitar. A spotlight shines on each member. The camera then turns to Martin when he starts singing. Martin is holding the microphone on the stand with two hands. During the fourth line, he looks up to the side, while the camera tilts upwards.

Les veilles, je le vis sous les arcs-en-ciel
Ouais, les veilles, je le vis sous les arcs-en-ciel
Ce fut où nous discutâmes de toutes-choses si belles
En nous remémorant celles-là

He looks back at the camera. At the end of the second line, the camera cuts to Emmanuel and Anton, before going back to Martin.

Ce lieu devint le nôtre ce jour-ci
Ouais, ce lieu devint le nôtre ce jour-ci
Il ci devint celui à qui je me fie
Et mos, il me dit :

On the LED screen, a silhouette of a young boy appears, progressively getting older.

« Un jour, quand tu seras plus grand
Tu t’sentiras à feu, à sang
Là, tu devrais pas t’inquiéter autant »

Martin lets the mic go, making a semicircular motion with extended arms at the beginning of the first line.

Ô les arcs-en-ciel, mettent les cieux en couleurs
Qui me laissent oublier mes soucis
Pas d’excès de zèle
Je me promène par la vie si calmement de depuis

He takes the mic off the stand and walks over to the other band members a bit back, the camera following him. When he's reached them, he looks at them and smiles.

Les veilles, nous nous vîmes sous les arcs-en-ciel
Ouais, les veilles, nous nous vîmes sous les arcs-en-ciel
Nous étudiâmes nos vies ‘vec des jumelles
Qui révèlent les fissures

Martin sits down on the backrest of Anton's chair and looks him in the eyes.

Il m’eut donné des vrais choses dont j’eus ri
Il m’eut laissé échapper de mon nid
Mais mos, je le demandai un peu plus d’avis
Et il me répondit :

Martin puts his hand on Anton's shoulder, eliciting some cheers from the audience. Just as the music pauses, they both look straight into the camera.

« Donc, si la vie devient revêche
Essaie des nouvelles, plante ta bêche
Une vie sans aventure est juste si sèche »

Martin gleefully walks back towards his mic, swinging his remaining arm and snapping on the beat. The camera follows him again, with Martin sometimes looking at it.

Ô les arcs-en-ciel, mettent les cieux en couleurs
Qui me laissent oublier mes soucis
Pas d’excès de zèle
Je me promène par la vie si calmement de depuis

On the screens, a world, in the style of a drawing made by a child, appears. A yellow sun with sunglasses, bushes, a house, ... Most notably, there's a rainbow path going from Martin's mic to the front of the stage. Martin continues walking, this time on the path. The camera cuts to a wide shot of the arena.

Ô les arcs-en-ciel, mettent les cieux en couleurs
Qui me laissent oublier mes soucis
Pas d’excès de zèle
Je me promène par la vie si calmement de depuis

The other band members get up from their seats, and, taking their instruments with them to the best of their ability, go onto the path and walk along it, until all four reach the front. At the last words, they all hold hands.

Ô les arcs-en-ciel, mettent les cieux en couleurs
Qui me laissent oublier mes soucis
Pas d’excès de zèle
Je me promène par la vie si calmement
De depuis

The audience cheers and claps loudly. The four of them bow. Martin shouts "MERCI! I LOVE YOU!", before they all rush off stage to let the next act on...

by **Natanya** » Wed May 17, 2023 10:08 am

17. nat anya

by **The Authoritarian Republic of Lochario** » Wed May 17, 2023 10:34 am

18. LOCHARIO

Johnny O'Flannagan ft.#SHEPHARDLAND- Blicker in the Sky

Tune: Elliott Kings, Riggs- Paper Walls

JohnnyO'Flannagan

- is an Irish minority singer, currently living in Downtown Zun. His songs promote the peaceful message of cooperation, as well as tranquility at the times of war. His anti-war single "Wooden Sticks" had received quite significant numbers of threatful assessments, signifying the 'pacifist', 'cowardous' stands in times of the Special Force Engagement inside the territory of the so-called 'Bigtopia'. The singer hasn't received any awards yet, but is becoming increasingly popular amongst the pacifists, seeking the decrease in Lochario's military spending.

#SHEPHARDLAND

- are a group of DJ's born in both Killig and Saalaktit islands respectively. Having experienced the war-torn past, the performers are fully aware of how fierce combat may break families or relatives. The song "Blicker in the Sky" is composed in a way that would make any war mongering criminal realize both the duty to defend the country and the need to solve matters peacefully. The DJs have received numerous Locharian musical awards- most notably, the Locharian Records Label 2021 for the song "Ośtïn" written in the Killig tongue of the Locharian language.

Performance and Lyrics:

As the song begins, the LED panels light up, displaying vibrant neon colors that pulsate in sync with the music. Laser lights shoot across the stage, creating a high-energy atmosphere.

Johnny O'Flannagan enters from a hidden entrance, wearing a futuristic outfit with illuminated elements that glow in different colors. He moves with slowly rising energy and begins singing, captivating the audience, as the tempo of the song builds up.

(Camera 1, zooming towards the stage)

I stare up at the starry night
A flicker in the sky, a guiding light.
With each shimmer, my spirit's lifted high
In this moment, I feel the world align.

On either side of the stage, elevated platforms are placed. These platforms are occupied by the talented musicians and instrumentalists of #SHEPHARDLAND, creating a vibrant and energetic live band experience. They are dressed in futuristic attire that blends technology and fashion, showcasing their creativity and artistry.

Throughout the song, the stage lighting is intense and dynamic. It combines vibrant colors, strobe lights, and rapid changes to match the fast-paced tempo and electronic elements of the music. The lighting interacts with the LED panels, creating mesmerizing visual effects and futuristic patterns that engulf the entire stage.

(Cameras 1, 3 and 5)

Running through the fields, chasing dreams
Whispers of the wind, nature's silent schemes.
As I lie beneath the stars, my mind takes flight Immersed in a symphony of moonlit delight.

As the song reaches its peak, a massive holographic projection of constellations and galactic imagery appears above the stage, immersing the audience in a cosmic experience. The holograms move and twinkle, giving the illusion of a breathtaking celestial display.

(Camera17)

Blicker in the sky, shining so bright
Guiding us through the darkest night.
Blicker in the sky, a beacon of hope
With your glow, we'll never lose our scope.

During instrumental breaks, dancing holograms emerge beside Johnny. They move with precision and fluidity, performing intricate choreography that combines human-like movements with robotic precision. Their metallic outfits reflect the colorful lighting, creating a mesmerizing visual spectacle.

(Cameras 2 and 3, (Camera 2 zooms away from the stage, while Camera 3 zooms towards it))

The instrumental break is also symbolized with a single lyric in Locharian.

Varum nü kohtan mï? (Why don't you stay with me?)
(x3)

I stare up at the starry night
A flicker in the sky, a guiding light.
With each shimmer, my spirit's lifted high
In this moment, I feel the world align.

Love fills the air, a universal song
In every heart, it truly belongs.
Our voices blend in harmonious accord
Together we'll rise, our spirits soared!

For the grand finale, pyrotechnics ignite, shooting flames and sparks into the air, enhancing the high-energy atmosphere.

(Camera 5)

The LED panels and holographic projections merge to create a stunning visual display of exploding stars and interstellar explosions, synchronized with the music's climax.

(Cameras 19 and 1 (Camera 1 zooming towards the stage))

Blicker in the sky, shining so bright
Guiding us through the darkest night.
Blicker in the sky, a beacon of hope
With your glow, we'll never lose our scope.

Varum nü kohtan mï? (Why don't you stay with me?)
(x3)

As the song concludes, the stage returns to a calm state. The LED panels fade into a soft, gentle glow, resembling a peaceful starry sky.

(Camera 17)

Johnny O'Flannagan stands at the center of the stage, bathed in a spotlight, as the audience erupts in thunderous applause.

by **Malta Comino Gozo** » Wed May 17, 2023 11:23 am

Nation Name: Malta Comino Gozo
Official Broadcaster: MCG 1
Tune: Narkis - Go Straight
Song Title: Feel My Rythm
Artist(s) Name(s): Prilla Grixti
Lyrics & Music:Nathan Aperitivo, Michael Yahel & Prilla Grixti

As the band held their breath in anticipation, so did the whole WorldVision audience. It was Malta Comino Gozo or the Achaean Republic. One of them would win. The hosts milked their chance at revealing the last set of televotes as the MCG delegation sat there; well sat isn't the right word, their legs shook, their arms were crossed behind their heads and even some paced up and down holding their faces.

The announcement came... "112 POINTS, MAKING YOU THE WINNER OF THE 106TH WORLDVISION SONG CONTEST!"

Fakawi leapt into the air with excitement! Hugs and kisses were exchanged, and they even kissed the camera! The audience's cheers were deafening. They were the country's seventh winner. Not bad at all for WorldVision's smallest country! As Fakawi finally reached the stage, the camera changes focus to Claire Vandame, holding the trophy. She walks up to them, handing it over. Shortly after being given the trophy, Franġisku held it up into the air, eliciting more cheering as confetti poured down. Franġisku Ross grabs the mic and the camera focuses on him. "Thank you so so much! This win is everything to us. You have made us so happy! I cannot thank you enough!" He begins to cry and laugh as he wipes away a tear and his band swarms him for comfort. "Grazzi, Grazzi! Now get ready for tons of rock next edition! He laughs.

It was a victory like no other. From small-town buskers to the World Hit Festival and then to the WorldVision Song Contest, Fakawi had become the first act ever to represent the country at both prestigious festivals and not only that they had gone on and won the entire thing! Malta Comino Gozo now had their seventh victory in the contest and continued their run of top 5 positions. Since debuting in the contest in WV#76 the small island nation often nicknamed the WV Island had only ever finished outside the top ten six times out of 31 contests and now had a total of 18 top-five finishes! Not bad at all for a nation of 500 hundred thousand inhabitants. It was a feat even recognized abroad and even by the Executive Producer of WorldVision Song Contest 107 here in Doportedas and Former Executive Producer of Vha Mehlodhivestoile!

- Chief Operations Officer of MCGBC Joseph Grech

The Malta Comino Gozo Broadcasting Corporation (MCGBC) and MCG1 have recently unveiled their selection for the upcoming 107th WorldVision Song Contest. It brings us immense joy to announce that the accomplished musician Prilla Grixti has been chosen to represent MCG in this prestigious global event. Prilla, a gifted artist from a mixed heritage of Malta Comino Gozoan and Alezian descent, will proudly showcase the rich cultural influences of her mother's Alezian roots on the WV stage. With her unique blend of musical styles and cultural background, Prilla promises to deliver an enthralling performance that will captivate the hearts and minds of the audience, leaving a lasting impression on all who witness it.

Prilla Grixti was born in Valletta, Malta Comino Gozo, in 2000. Her father hails from MCG, while her mother is from Zafizamarrah, North Alezia, Alezian Union. Although Prilla is not widely known outside of MCG, her story is an interesting one. Prilla's mother moved to Valletta in 1997, where she began working as a taxi driver. At the time, Alezians are a minority in the country, and many of them then worked in the local shipping sector as migrant workers. Being a Christian Alezian in a Christian country made it easier for Prilla's mother to integrate into society, and she eventually found a local church where she met her husband. Despite the cultural differences between the two countries, many Alezians of all religions moved to MCG after the WMCA alliance was established. The friendship between the two nations goes back over 40 years and is rooted in a maritime solid bond.

Despite being half Malta Comino Gozoan, Prilla always found herself intrigued by her Alezian roots. Her childhood was full of questions about her mother's heritage, her background, and her native language. From a very young age, Prilla learnt English, Maltese and Arabic. Her mother often sang to her in Arabic as a young child, profoundly affecting her life choices. Despite studying medicine at Briarwood University, Prilla, always found a pastime singing, though rarely publicly.

On one fateful night, a group of dear friends urged the gifted and promising young singer, who had been resisting their pleas for weeks on end, to perform karaoke at a popular bar. Despite her initial hesitance, she eventually acquiesced and took to the stage, delivering a stunning and unforgettable performance that left the entire audience spellbound and awestruck. Among the spellbound crowd was Xander Pariente, a distinguished and highly-regarded vocal coach, who was enjoying a refreshing Pina Colada at the same bar. Following a brief but amicable chat and exchange of business cards, Prilla made the momentous decision to embark on private vocal coaching with Xander, a decision that would go on to transform her life completely.

A few months down the line, Prilla went from strength to strength. That is when Xander popped the question ( no, not that question!) of how she would fancy singing at the WorldVision Song Contest. This was an enormous question! Prilla had watched the WorldVision Song Contest from a very early age, despite her home country and her mother's country not competing. The contest was well-liked but nothing on the scale it is today on the island. When word spread around WV75 that Malta Comino Gozo would be making its long-awaited debut the following contest, WorldVision fever spread like wildfire with a peak of almost 400 thousand people watching Lewis Sarucino perform the country's first-ever entry. Despite a mediocre result of 16th, the contest become soon became a national favourite.

Skip ahead a few editions, and Malta Comino Gozo has transformed into a WorldVision hub. Prilla and her friends and family had also watched the contest hosted in Għain on a public screening in Valletta and were blown away by the sheer scale of the event. Following on from Malta Comino Gozo's most recent victory, Prilla was asked the question. Her mind was firstly full of doubts; she had never sung in front of a large audience, let alone an international song competition. Secondly, surely there was someone else, a boyband, a rocker, she asked. But then her head filled with ideas, stardom, and international success, this would be too great an opportunity to turn away. Who knows, it might even be the start of her career as a professional singer!

Prilla's selection caught the eye of many notable MCGoan, including 102 winner Niki Xerri who had also sung for MCG who was mixed heritage being half Roosian, and most notably, the Queen Consort of Malta Comino Gozo, HM Natalia Rossi who had just returned from her trip with HRH King William I trip to The Alezian Union as well as the WMCA members. It was safe to say the tweet was quickly retweeted by Prilla!

"Feel My Rhythm" is a captivating pop song created by the talented MCG WorldVision artist, Nathan Aperitivo, along with renowned songwriter, Michael Yahel, and Prilla Grixti. According to the MCG charts, the song is an ethnic bop that draws inspiration from Alezian undertones, providing a refreshing break from the usual island trends. The song's summery and catchy hook takes listeners on a journey through Prilla's background. Notably, it is the first song since WorldVision 100 to include Maltese, a language that perfectly complements the Alezian undertones, as insisted by Prilla. The song ultimately expresses the impact of love on women, evoking an array of emotions and the feeling of falling head over heels in love.

Prilla was immensely excited about her new promotion and the opportunity to immerse herself in the captivating world of WorldVision. Her dedication to her job was all-consuming, leaving her with precious little leisure time. Despite feeling utterly drained, she found genuine satisfaction in this career hiatus from her studies. In many ways, it felt like she was sitting for a new exam - this time, on the subject of WorldVision. Her first order of business was to visit the WMCA nations, particularly Waisnor, Carrelie, Achaean Republic, and the Alezian Union - a country that held treasured memories from her childhood. She planned her itinerary meticulously, ensuring that she made the most of every full day she had in each city. Though she had little time for sightseeing, she captured precious memories of her experiences and shared them with her followers on both Instagram and TikTok.

On arriving in Zafizamarrah, the Metropolitan City of North Alezia and the capital of the Alezian Union, she would have a day exploring the sights, especially around Isbaraqqi, exploring the Mall of Alezia and Mazaqba - Hafarqazza the part where old Zafi met new. Each promotional gig was well attended and went down ever so well, with Prilla singing her 107 entry as well as many other past Malta Comino Gozoan entries from a beautiful rendition of Paloma Fennech's song "Hero" to a slower version of "Melody" by Pallix ft Kate. This once timid and unknown young woman from Valletta was soon gaining traction.

Prilla had an absolutely delightful day exploring the intricacies of Doportedas. She took her time strolling through the bustling streets, immersing herself in the vibrant culture and admiring the stunning architecture that adorned the city's buildings. The experience was a welcomed departure from her daily routine of rehearsals and interviews, and she felt incredibly grateful for the opportunity to get lost in such a lively and enchanting place. As she continued her leisurely walk, the sun began to slowly set, casting a warm and inviting golden glow over everything and creating a truly magical atmosphere. The way the light illuminated the buildings and streets was nothing short of spectacular. The colours seemed to come alive and dance in the sun's last rays, leaving a vivid imprint on Prilla's mind. The bustling energy of the city seemed to slow down as the sun set, creating a peaceful and calming ambience that wrapped around her like a warm blanket. Prilla was swept away by the breathtaking beauty of the city and knew that this experience would stay with her forever.

Prilla and her delegation decided to dine out in the Capital that evening. She was excited to explore the city's various restaurants and cuisines. As she walked down the bustling streets, the aroma of different dishes wafted through the air, making her mouth water with anticipation. Finally, she chose a cosy little restaurant that had a warm and welcoming ambience. The menu offered various dishes, from local delicacies to international cuisine. Prilla ordered a delicious locally caught salmon and pasta dish and a glass of red wine to complement it. The food was impeccable, and the service was excellent. Prilla enjoyed her meal thoroughly. She would definitely indulge in Britonish cuisine again!

Prilla in the WorldVision Village.

The rehearsals were exhilarating for Prilla. When she stepped into the enormous arena for the first time last week, she felt both insignificant and worthy, carrying the weight and hope of her nation on her shoulders. The flag parade had offered Prilla a quick glimpse into how large the crowd was as she elegantly made her way onto the stage as MCG was called out. Draped in the MCGoan flag, the hall went ballistic for the reigning champions!

As the song from Lochario ended, the hairs on the back of her neck stood up, and she knew it was her turn. Behind her, the backstage workers were like worker bees, swiftly adding or removing props in unison. Prilla's backing dancers stood tall, with their makeup and outfits perfectly in place. As a woman asked her to do a quick microphone test, Prilla felt ready to go. The Britonish team behind the scenes had a calming nature that put her at ease, something she had found in every Britonish person she's spoken to in Doportedas. The excitement in the entire city for WorldVision made for an enthralling show that Britonisea excelled at.

Displacing the warm air around her, she flapped her hands against her face and wriggled her shoulders. The Locahrio entry finished, and loud applause filled the hall. As she stood backstage, waiting for her turn to perform, she couldn't help but feel a mix of excitement and nerves. The adrenaline was pumping through her veins as she listened to the crowd roar for Lochario. She took a deep breath and reminded herself to stay focused and present in the moment. The stage crew signalled for Prilla to start making her way towards the back edge of the stage, and she knew it was showtime. As she took her first steps onto the stage, she felt the crowd's energy wash over her, and I knew there was no place she'd rather be.

Prilla was immediately enveloped by a palpable sense of excitement and anticipation. The air crackled with energy as the thunderous applause of the audience in the Arena de Banqués echoed off the walls, creating a pulsing beat that seemed to reverberate through the very floor beneath her feet. Every sensation was heightened, every detail magnified until it felt like she was living in a vivid, technicolour dream.

As Prilla's postcard played out, the scenic beauty of Malta Comino Gozo unfolded on the screen. She had captured her postcard at Fort St. Elmo in Valletta, a historical fort and castle built in 1552. The fort was situated on a highland overlooking Santa Lucija Bay and the surrounding areas.Prilla's postcard was a true work of art, showcasing the magnificent fortress crafted from the finest Malta Comino Gozoan limestone. The walls of the fortress were towering and awe-inspiring, instilling a sense of strength and durability that left one feeling humbled and impressed. The intricate details of the fortress were crafted with the utmost precision, making it a true masterpiece of architecture that was sure to leave a lasting impression on anyone who laid eyes on it. It was no wonder that Prilla chose this location to film her postcard; the fortress was both stunningly beautiful and irresistibly inviting, beckoning visitors to come and explore its many secret rooms, towers and armouries. Never conquered the old fortress had defended the island nation for centuries. The natural light that poured in through the many windows and skylights only added to the warmth and welcoming ambience of the fortress.

The postcard seamlessly transitioned to Fort Marshwater in Bayisone Britonisea, where Prilla performed a part of her song surrounded by a hundred dancers. Visitors to this magnificent Fort would undoubtedly be left with an indelible impression as they marvelled at the intricate details and stunning beauty surrounding them. From the towering walls to the intricate carvings that adorned every surface, the fortress was a true work of art showcasing the best human ingenuity and innovation. The dancers held up LED panels above them as the performance progressed, creating a stunning visual display. The camera then zoomed out to capture the majestic Malta Comino Gozo flag in all its glory.

Prilla was dressed in traditional Malta Comino Gozoan clothing, and she looked absolutely stunning. Her outfit was a beautiful combination of colours, with a long speckled red and white skirt, and a matching blouse. The skirt had intricate embroidery along the hem, and the blouse had delicate lace details on the sleeves. She also wore a white filigree shawl over her head which draped over her shoulders which was made from a soft, sheer fabric. On her feet, she had on a pair of traditional leather sandals that completed her look perfectly. She carried herself with such grace and elegance, and the viewers couldn't help but admire her outfit and the cultural significance it represented.

The crowd held their breath as the sound of loud footsteps filled the arena as Prilla began strutting forward. The song's start opened with a Qanun, an Arabian string instrument before the beat suddenly dropped in, and Prilla began to sing. Prilla's vocals were so smooth and exotic, blending perfectly with the backing track. She had a guttural, throaty enunciation, especially during the opening Maltese verse as she sang into her wired headset microphone. It was clear that the hopes of the nation were resting on her shoulders. Her voice was powerful and full of emotion, and everyone in the room was captivated. It was a moment that would go down in history, and Prilla knew that she had to give it her all. Little did she know, this was just the beginning of a journey that would change her life forever.

A spidercam from the back of the area rapidly approached the stage at speed towards Prilla who was standing with her left side facing the camera. As she stood on stage, the spotlight shone down on her, illuminating her in a pure, white light. With her microphone high above her head, it almost seemed like she was reaching towards the heavens. The camera transitioned to a Railcam, so she took up the whole field of vision. A silhouette of her movement played out on the huge LED screen behind her (think Finland 2023 when he is on top of the box with the shadow of himself on the screen behind him) The crowd watched in awe as she began to sing, her voice ringing out clear and strong, filling the room with an ethereal, otherworldly sound, swept away by the power of her performance. As she held the last note, the spidercam pulled away from her outwards into the arena above the audience's head, revealing the entire stage again. As her silhouette disappeared, the screen gradually turned black, and the stage's edges glowed in a shimmering golden-yellow hue.

It-taħbit tal-poeżija f’ġismi huwa qawwi,
U nispera li qatt ma tgħib
Żfin mat-taħbit
Mieghek il-lejl kollu...

The camera cut to a central steady cam shot just behind Prilla. Out of the darkness from the back of the stage, as the beat kicked in, the audience was treated to a breathtaking sight. Six female dancers gracefully appeared from backstage, dressed in traditional Malta Comino Gozoan attire in various colours. The intricate details and vivid colours of their clothing were simply mesmerizing, shining brilliantly amongst the bright white lights which now lit up the spectacular stage. Every move the dancers made seemed to bring their garments to life, adding an extra layer of depth and beauty to their performance. Their dance was a blend of traditional MCGoan and Alezian.

Prilla raised her arms above her head and sang directly into the steady cam, which rose and fell in front of her. Waggling her finger and smiling, she played with the camera singing directly to the viewers at home. Behind her the whole time, the dancers spread out in a line from left to right and danced behind her.

Ħoss ir-ritmu jċaqlaqni
Kif aħna żfin bogħod il-lejl
B’idejk madwari
Imħabba sad-dawl ta’ filgħodu
The beat of poetry in my body is bright,
And I hope it never fades away!
Dancing to the rhythm with you all night...

Feel the rhythm move me!
As we dance away the night
With your arms around me
Love until the morning light!

As she sang "I know the sorrow", a railcam panned from the right side of the stage to the left. The camera cut back to the same steady cam as before as she sang "But I feel the rhythm". As the verse progressed, so did her dancing which saw her slowly become more and more lively. As the verse came to a close, she wrapped her arms across her chest before the camera cut to the remote head cam directly positioned high above her as she raised her arms high into the air as if waiting for the "heavenly rain." Throughout the entire duration of the verse, she maintained a beaming smile.

I know the sorrow
I know the pain
But I feel the rhythm
Of the heavenly rain!

Then came the Arabian accordion for the instrumental, and the crowd cheered! The camera cuts between shots of Prilla and her dancers performing their choreography. The warm and inviting golden spotlights illuminated their skin, casting a beautiful and radiant glow. Prilla's movements were graceful and fluid as she effortlessly swayed her body and hips to the rhythm of the music. Her arms twirled slowly and elegantly, adding a touch of whimsy to the dance. With a bright and genuine smile on her face, she exuded pure joy and happiness. The camera panned around the arena as the instrumental wrapped up.

As the second verse of the song commenced, the LED screen abruptly turned pitch black, instantly creating a dramatic effect. Simultaneously, the stage lights suddenly flashed white, adding to the theatrical ambience. The stage is alight with a mesmerizing blend of orange and purple hues, which seem to dance effortlessly in perfect synchronization with the music. Positioned at the centre of the performance area, Prilla sat atop a tall black box about 3 feet off the stage floor. The Spidercam, slowly but surely, glided closer towards her, capturing her entire performance with unparalleled precision and clarity, allowing the audience to experience every moment of her performance as if they were right there with her. As she began to sing, Prilla oozed an irresistible charm and charisma, drawing in the enraptured audience with every note that she sang. Her stunning traditional white filigree shawl draped elegantly around her shoulders, further accentuating her already immaculate appearance. Her long, flowing brown hair cascaded down her front with grace.

I can feel the rhythm of you boy on my mind
And when it comes to this, I just can't seem to resist
To let myself unwind as I close my eyes at night...
I can see his face and feel the rhythm near

As the camera slowly moves backwards, the dancers gracefully reappear on stage. Positioned on both sides of Prilla, three dancers stand on each side. Behind Prilla, a stunning arch-shaped arrangement of white lights illuminates the stage. Prilla sways her body rhythmically and lets the music take over. The camera then pans across the front, capturing each dancer in the spotlight for a few moments. Their movements are perfectly synchronized, and two of them even flash a spontaneous, playful smile at the camera as it moves by. As she sang "I'm gonna have to call my sisters to come along tonight" Prilla approached the edge of the box with poise and elegance. As she reached out her arms, her fellow dancers took hold of them, assisting her in a seamless descent to the stage floor. The movement was executed with such fluidity that it appeared as if Prilla was floating down, landing with grace and precision. As she landed, she sang into the camera seductively, asking the viewers "Do you wanna dance with me?"

So I'm gonna play my favourite tune here aloud tonight
I would do anything to keep you on my mind
I'm gonna have to call my sisters to come along tonight
You need a little romance! Do you wanna dance with me?

As the pre-chorus began to play, the concert hall was charged with an electrifying excitement. The stage was illuminated by a stunning blend of orange and red lights, creating a vibrant and dynamic scene. All eyes were fixed on Prilla and her dancers. The white spotlights shone on them as the ethnic beat kicked in, setting the tone for the performance with intense energy.

As the camera zoomed out, the audience could fully appreciate the magnitude of the performance. The LED at the back now portrays a Batik, a North Alezian technique of wax-resist dyeing applied to a cloth. Prilla and her dancers stood in perfect formation, their movements precise and in sync. They marched forward with determination, their faces unyielding and intent. They reached the edge of the stage and stopped marching. Prilla exuded confidence as she placed her hand on her left hip, pointing towards the audience with her right hand. Her challenging gesture seemed to say, "Come and dance with me if you dare." All the time, her face lit in an alluring smile. The dancers held their ground, some marching in perfect unison, their arms raised, and some clapping to the beat, creating a mesmerizing dance routine.

As the lights shine down
And the showdown nears
Poetry in motion
You better be prepared

A pedestal shot of the whole arena from the back right corner shows the entire arena twinkling red, gold and orange, thanks to the LED lights attached to each seat. For the last two lines, Prilla joins hands with one of her dancers, and they spin in a circle, the camera backing out into the enthusiastic audience as it does. As the verse ends, she and her dancer spin off in opposite directions. Prilla spins off to our left and the view is captured by a Jitacam, which swoops left to right over the audience.

As we keep on dancin'
I am hypnotized
By the rhythm of your body
And the music in your eyes

The sound of the Arabic accordion fills the air as the dancers step forward into the spotlight. The backdrop fades to black to not detract from their performance, while the stage floor comes alive with swirling red and yellow Batik designs. The women are illuminated by a stunning golden light, showcasing the vibrant hues of their skirts as they gracefully perform a traditional folk dance from Malta Comino Gozo. A fixed railcam at the front of the stage catches the entire view. The audience cheers!

The instrumental finishes and the camera pulls it into the arena.

Prilla returns to the spotlight in front of her dancers. As she sings the second verse, the camera focuses on an upper body shot of Prilla. One of her dancers struts up behind her and delicately removes the filigree shawl from Prilla's head. Prilla tilts her head towards her left shoulder with an alluring grin on her face. She then turns to face the camera, staring directly into the lens before giving a playful wink. With a shy smile, she looks away and lowers her gaze.

Working to the rhythm and looking into his brown eyes
Trying to send him a message and getting some replies
Feels like he's looking into my soul
Gotta look away
To keep control before the rhythm gets me

As the pre-chorus starts, darkness envelops the stage, except for Prilla, who stands at the centre, bathed in a dazzling golden spotlight. Eager viewers would notice a few flickering flames in the background, casting a warm and comforting glow across the stage. The camera begins to rise steadily, tracing Prilla's every movement as she raises her hands and fixes her gaze on the camera hovering above her. A large diamond-shaped flame encircles her, radiating an entrancing and hypnotic glow that captures the audience's attention.

Feel the rhythm move me
As we dance away the night
With your arms around me
Love until the morning light!

Prilla switches back to singing in Maltese. Her vocals remain confident. With every note she sings, the flames intensify, and the stage bursts into a riot of orange and red, infusing the performance with a fiery and passionate energy that leaves the audience spellbound. As Prilla belts out the third line of the verse, "The rhythm of the heavenly rain" a pyro of golden rain rains down at the back of the stage. The camera pans out towards the audience, capturing their enraptured expressions and the fiery ambience that Prilla has created on stage.

Naf niket
Naf l-uġigħ
Ir-ritmu tax-xita tas-sema
Huwa tassew divin
I know the sorrow
I know the pain
The rhythm of the heavenly rain
Is truly divine!

As Prillas holds the last note, the melodious instrumental track begins again. Her troupe of dancers congregates around her, as the flames gradually subside and the stage is illuminated with alternating blue and green hues. Their movements are graceful and reminiscent of the urban street dance style. Meanwhile, the LED screen positioned behind Prillas radiates a captivating shade of orange, adding to the overall aesthetic. We then have a quick shot of Prilla again, this time with her back to the audience as she sings to the steadycam on stage before turning back to the crowd.

After singing the last lines Prilla captivated the audience with a short but stunning solo dance performance. The camera zoomed in on her as she twirled gracefully twice, resembling a ballerina, with her skirt swaying beautifully. She then gazed out at the audience and rhythmically tapped her feet from side to side, ultimately placing her hands on her hips, followed by the rest of the dancers as they stood there defiantly as the song drew to a close.

The rhythm!
Do you wanna dance with me?

The Arena de Banqués hummed with electrifying energy, the air thick with cheering and excitement. Prilla stood at the centre of the stage, her senses overwhelmed by the deafening roar of applause that echoed throughout the venue. The sheer magnitude of the moment was almost too much to bear, and Prilla found it hard to hear her own thoughts amidst the cheering. Yet, despite the overwhelming emotions flooding her, she basked in the limelight, revelling in the momentous occasion that had brought her here.

Suddenly, her dancers rushed towards her, their faces beaming with excitement, and engulfed her in a flurry of hugs and squeals. The camera panned around the arena, capturing the euphoria that had taken over, as the chant of "MCG! MCG!" reverberated throughout the venue. As the camera zoomed in on Prilla, tears of joy streamed down her face, and her voice quivered as she spoke softly into the microphone, "Grazzi WorldVision, Grazzi ħafna!" The sheer magnitude of the moment was palpable, and Prilla and her dancers left the stage, their hearts bursting with happiness, as the hosts took over, ushering in the next act. It was a truly unforgettable experience that she would always cherish!

by **Britonisea** » Wed May 17, 2023 1:01 pm

Live Coverage of the 107th WorldVision Song Contest hosted by Matt Evans, Alyxhia Willis and Xavier Benchek

From left to right: Xavier Benchek, Alyxhia Willis, Matt Evans

After the performance by reigning champions Malta Comino Gozo, it was time for another break. Ten nations had just performed and the producers thought that it was more than enough time to try and break things up a little bit. The crowd were quite noisy at this rate, especially now that they could see the hosts reappear. It was the boys once again who were standing in the Greenroom. In the background, you could see some more of the acts that were about to perform including the likes of Immanuel from Alezian Union, The Dissenters from Alinghi Federal Democratic Republic and Áno, Nevis Barbo from Todlichebujoku who was catching a lot of people's intention from inside the arena. The hosts started speaking;

Xavier Benchek: Thank you Malta Comino Gozo and the other ten nations who have just performed tonight - we're around halfway through tonight's acts and before we get through the old half - we thought that it would be a perfect time for a little break.

Matt Evans: So go on, grab a quick snack and come right back - and for those of you who have already gotten through a XL pack of popcorn or crisps, you know who you are, stay seated. You don't need more food.

Xavier Benchek: What you do need is another history lesson! Our wonderful madame of the ball, Alyxhia Willis, is going to bring us some more facts about the WorldVision Song Contest - Alyxhia, how are you doing?!

Alyxhia Willis is stood on the B-stage with the board once again hiding what was going on behind her. In the background they were preparing the stage for Placely Placington and removing the set from Malta Comino Gozo. Alyxhia was wearing a similar costume to what she had on before but it was slightly different - it seemed a bit more colourful.

Alyxhia Willis: Hello there! Well, we're going to stay on to the topic of the introduction of the televote and jury split - but this time we're going to talk about what has happened since the WorldVision Song Contest adopted it...

Xavier Benchek: Oh right, so what is the topic we're going to be discussing?

Alyxhia Willis: Well, there have been some times where the Jury and the televotes - well, they don't quite agree. Sometimes, they don't agree on who should win the WorldVision Song Contest...

Matt Evans: ...Britonisea has definitely hurt by this!

Alhyxhia Willis: Oh, too many times! The Jury winner and the Televote winner doesn't always agree but the purpose of this section is to talk about some of the biggest disagreements between the Jury and the televote - now, we're only going to use some of the most prolific differences here. Let's take a look at times when the People & the Jury didn't agree...

VT: TIMES WHEN THE PEOPLE & THE JURY DISAGREED (WIP)
A clip narrated by Aaliyah Banques, Britonish representative at the 90th WorldVision Song Contest - where she won the Jury vote but did not win overall...

Short 20 second clips of each of the following entries were shown:
TBA

WV99: Alan Andric & Andjela Matic - Don't Play Me
Difference: Jury 2nd, Televote 13th [Overall 8th]

Aaliyah Banques: Trigger warning, Britonisea! Our final entry is our WorldVision 92 entry! Britonisea sent the young and athletic Benjamin Walters to the WorldVision Song Contest and the song initially did have a lot of hype around it. In the country, while the song was seen as quite...out there! - it was a hit and made it to the Top 20s of the Official Britonish, "Won't Let You Down" certainly was...a let down however - at least when it came to the votes.

WV92: Benjamin Walters - Won't Let You Down
Difference: Jury 4th, Televote 17th [Overall 11th]

Aaliyah Banques: At the halftime results of the jury, Britonisea was second place with 64 points - a mere 2 points behind leaders Beepee who had 66 points. It seemed as though Britonisea was on course for yet another great placement and potentially what would've been, at the time, its 8th win at the contest! The Jury votes saw Britonisea in fourth with 92 points, but still up there in fourth. The Jury votes came through..."Anyway, the points. Britonisea got, from the public...60 POINTS". Since the contest was being held in Darkmania, a lot of Britonish fans were in the audience and you could hear an audible gasp as Britonisea received the 17th highest televote score. The nation finished outside of the top 10 in the end...

BITC | 107th WorldVision Song Contest | Entries Thread [IC]

BITC | 107th WorldVision Song Contest | Entries Thread [IC]

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Opening Act & Flag Parade

Host Intervention 1: Let WV107 begin!

01 | StrayaRoos | Kitta & Ali - Welcome to the Show

Host Intervention 2

Host Intervention 3

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