54th WorldVision Song Contest | Kønikstaat, Ekoz | STE

by **Kwadai** » Wed Feb 22, 2017 1:31 pm

17.
KWADAI
Artist: Sara al Zayed & Hamza Jeddawi
Song Title: Shadows
Melody: Koit Toome & Laura - Verona
Lyrics: Ivan Athanasiadis, Ali Nahyan

The postcard and song title faded away to reveal the stage sat bathed in a gentle golden light. As the somewhat haunting yet enticing opening melody began a sun shaped object ascended on the screen behind the stage, by now the entire stage was illuminated in a much stronger light. There were four two metre by two metre led screens showing brick walls scattered facing the audience. Now Sara emerged from behind one dressed in a body hugging grey, black and white patterned jumpsuit. As she sang she moved further forward weaving in and out of the walls.

The cold night is over 
But you're still lying there on the street
 You're barely awake, and we both know it wasn't a dream
I could never see that side of you
Before the romance turned to chaos
To think it was so perfect once before  
Now you're lost in the shadows...

As Sara finished singing a white light appeared on the left side of the stage, here Hamza strolled out dressed very smartly in with an off white blazer. At this stage Sara had worked her way to the righ of the stage and was facing Hamza.

Taking the harder route
will make you stronger time is the proof 
I can't seem to get up
 and you put me back on my feet
I was always at my best for you  
Or maybe I was just blinded?
I didn't think that one day we'd have too much 
now we're lost in the shadows

Suddenly, the walls changed into shiny jet black screens and seemed to move away forming a larger space in centre stage with the floor now resembling polished wooden floorboards a stark contrast from the previous streetscape. Sara and Hamza walked close to each other and joined hands at chest height while facing each other.

We are lost
 Lost in the depths of our dreams
 We are lost 
like two worn out sails in the breeze
 we are lost 
cause sometimes there's no yellow brick road
we are lost in the shadows

Where are the days we remember?

Quickly releasing eachother's hands the pair sharply turned to face the audience as they continued to sing extending their arms upwards as if trying to reach out to something in front of them that did not exist.

We are lost in the shadows
The train rolls on and on, the train rolls on and on 
There is no way to stop it 
The past is dead and gone 
This endless chain of wanting, the days that come and go
Hidden in the shadows

Instead of being close together like they had already been, Sara and Hamza were apart with Sara standing at the front of the stage and Hamza diagonally a few metres behind her. The floor was dark except for illuminations lighting up each singer.

Where are the days we remember?
We are lost in the shadows
We are lost 
Lost in the depths of our dreams 
We are lost 
Like two worn out sails in the breeze
 We are lost
Cause sometimes there's no yellow brick road
 We are lost in the shadows

Where are the days we remember?
We are lost in the shadows
We are lost in the shadows

by **Britonisea** » Wed Feb 22, 2017 1:56 pm

BVC ONE
The 54th WorldVision Song Contest
Brityunik Vefecosoin Cairkovoin

Live Coverage of the 54th WorldVision Song Contest in Kønikstaat, Ekoz, with your hosts Zeke Lemondey and Rigas Jengiz

Rigas Jengiz: Hello, and welcome to the WorldVision Song Contest 54!
Zeke Lemondey: Indeed, welcome to the WorldVision Song Contest and for the fourth time, we are going to Ekoz!
Rigas: And every time that they have hosted, we have participated and so, I am very excited to be here right now!
Zeke: Of course, the last time Britonisea was in Ekoz, we did great, but the time before that...we came 40th!
Rigas: 40th! Seriously?! We must have been very bed then!
Zeke: Indeed Rigas, anyway, we are now going to watch the Opening Act, and boy am I excited!

00. Opening Act & Host Intervention

Rigas: The song was alright, and it had been written pretty well. I surely hope that Ekoz can top this for their performance because if not, that would be quite embarrassing.
Zeke: Yeah, the opening was a bit of fun, you know, and old bit of a laugh.
Rigas: It was alright, unfortunately, I won't be downloaded it - even if it's going to good causes...
Zeke: Me neither. The hosts?
Rigas: Don't like 'em at all! You can tell there is no real chemistry between them.
Zeke: A bit over the top. And by the way, Andars, the male? Why don't you search for him on the internet, you may find a nice little treat.
Rigas: Emphasis on little? *both laugh*
Zeke: Ha, well we now move on to Missus X. Some of the performance will be blurred out or even muted. This is just because some of the performance is quite...well, you would be able to tell.
Rigas: Explicit. It is explicit.

by **Alinghi Federal-Democratic Republic** » Thu Feb 23, 2017 2:46 am

18. Alinghi Federal-Democratic Republic

Song Title: Voi non mi capite
Artist(s) Name(s): Zuberkreis Carostello Michele

Tune:Taron Egerton - I'm Still Standing

The Artist Born in Sonzastone in Canton FalceMartello, he have 20 years old and do a vertigioiuns rise on the national music schene, that in a year he rise from the unkonown artitst to a most know artist.

The song: This talk for a personal condition, the artist have the Asperger Syndrome, a siligt form of autist, and talk how he feel having this syndorme. Specially a criticize to a society, what the word "Austism" or "Syndrome", the society think that you are dumb, weird, etc... This song had the function to know to the public that this Syndrome are.

Fin da piccolo son così (since childhood I'm this)
considerato tipo strano ed asociale (considered a weird and asocial guy)
ma sai, ciò non è vero (but you know, it's not true)
anzi io non voglio essere solo (I don't want to be alone)
è che io ho interessi particolari (only that i have a partircoular interests )

e se non fai cose che non sono considerate "normali" (and if you don't do things that are not considered "normal")
la società tende ad escluderti (the society tends to exclude you)
e va finire che tu resti solo ed incompreso (and it will end that you became alone and misunderstood)
e poi ti abitui ad indossare una maschera (and you get used to wear a mask)

e non sei più te stesso (and you are no longer yourself)

Voi noon mi capite (You don't understand me)
anche se fate finta di (also if you pretend)
capire quel che penso (to understand that I think)
o come sono io (or that I am)

Voi non mi capite (You don't understand me)
compatendomi (piting to me)
quando non ho bisogno di compassione (when I don't need the your compattion)
perchè io son capace di far quel che voglio (because I'm able to do what I want)

Voi non mi capite no no no (You don't understand me, no no no)
Voi non mi capite no no no (You don't understand me, no no no)

Vorrei essere solo me stesso ( I would be myself)
e so di essere diverso dagli altri (and I konw what I'm diffrent from the others)
perchè faccio le cose in modo differente (because I do the things in a different way)
ed agli occhi degli altri posso sembrare un po "strano", (and according to other eyes, I can seen to other a "weird" boy)
Poi vi dico che... (And I say to you...)

Io non vi capisco, (I dont understand you)
se siete felici oppure no (If you are happy or not)
non riesco a capire le vostre emozioni (I'm not able to understand the your emotion)
e non riesco ad manifestare le mie (and I'm not able to show the mine)

Cio fa sembrare me un po' goffo sai (And this seem to me a little clumsy, you know)
uno strano e anche uno "debole" (a weird, a "weak")
e alla fine quel che ci rimane male son io (and to end, who feeling bad are I)

Voi non mi capite no no no (You don't understand me, no no no)
Io non vi capisco no no no (I dont understand you, no no no)

E come che io fossi un alieno (It's that I was an alien)
che proviene da un altro mondo. (that arrived from an another world)
Un alieno che è appena sceso sulla terra (An alien what are just arrived on the earth)
e non conoscendo l'umanità (and not knowing the humanity)

Solo io so quel che son capace di far (Only I know that I'm able to do)
ma non so come struttare queste capacità e alla fine mi sento perso(but I not know how to takte advantage form this abilities,and at the end I'll fell lost)

Voi non mi capite no no no (You don't understand me, no no no)
Voi non mi capite no no no (You don't understand me, no no no)
Voi non mi capite no no no (You don't understand me, no no no)
Voi non mi capite no no no (You don't understand me, no no no)

by **Normandy and Picardy** » Thu Feb 23, 2017 1:58 pm

WorldVision 54 Coverage with Jean Beauvoir

Welcome Ladies and Gentlemen to the 54th WorldVision Song Contest live from Konikstaaaaaaat, Ekoz. Oh wait, that's the host's lines. Nevermind. Anyway, welcome to Konikstaaaat, or Konikstaat as people normally call it, and to the WorldVision Song Contest once again. I am your commentator, Jean Beauvoir, and tonight we're set to take a wonderful musical tour through the multiverse, from pop bangers to slow gentle ballads and a guy shitting in a jar... yeah, that is a thing, and it's the first song, so don't say I didn't warn you. ANYWAY, tonight the nations of the multiverse are all fighting for one thing and one thing only, the WorldVision title and whatever sort of trophy or goody bag comes with winning. It seems STE are finally read to start the show, let's see how they shape up to us, and COME ON JULES.

by **Mercedini** » Thu Feb 23, 2017 2:17 pm

19

Mercedini

Rhythm DMZ ft. Dimetrix - My House Is Not A Home
Music + Lyrics: M. Dommazoni, J. Mutso-Zemini, D. Metrixa

Tune: Alan Walker - Alone

The performance starts with a digital effect which causes the camera to glitch (which only the people at home can see), the camera switches between a series of wide shots of the dark stage before glitching again and changing to another angle. The first notes of the song begin to chime in which receives a small cheer from the audience. The stage lights up to reveal the two members of Rhythm DMZ behind a DJ stand, Dimertix standing in front of the stand wearing a white cut-off flowing dress with thin pieces of material hanging off the dress, she stands bare foot on the stage is supported by three female backing singers, who are all wearing the same dress to match the main vocalist. They are even wearing blonde wigs which gives the image that there are three carbon copies of Dimetrix on-stage. The LED screen behind them all displays a dilapidated house surrounded by a baron wasteland with wooden panels falling off it and smashed open windows. Dimetrix is crouched down with one hand on the floor as she lifts her head up and sings the first verse of the song.

I'm out of time
I've gotta go
All these feelings inside.
They have all gone cold

Bright white lights flash to the beat of the drums which signals the lead up to the chorus. The house on the LED screen spins and turns into dust, the dust then flies around the screen and flies towards the audience, turning the LED image into a starry night which twinkles to the beat of the song. Dimetrix stands up and plants one foot in front of the other and rocks back and forth quickly in time with the song. A wind machine is turned on which causes Dimetrix's dress and blonde hair to flow behind her.

Living nights I will remember
A shelter in stormy weather
But my house is not a home
My house is not a home

She opens her free arm out wide and sings into the audience while the camera is beneath her, showing her singing as well as the pieces of material flowing in the wind behind her. She smacks the air as the beat gets more intense with white beams of light circling around the stage and around the audience in the arena. She touches her heart before standing tall, looking up to the sky and singing the title of the song, causing the beat to drop and the stage to explode in a sea of light.

Possessions that I treasure
I couldn't stand the pressure
My house is not a home
My house is not a home!

The beat drops causing the lights to flash around the arena, The backing signers have their hands on their hips and sway them from side to side in time with the music. Planets and stars fly past the screen as Dimetrix collapses to the floor after she sings the line before the beat drop. The people at home see a stationary image of the stage, to give them an unhindered view of the LED screen on the DJ stand showing the same images which is on the large LED screen on the stage behind them. The stars slow down before planet Earth slowly appears to grow on the screen before coming into full view, signalling the end of the song.

My house is not a home
My house is not a home

The camera fades to black before immediately fading back to normal, the new camera angle shows Dimetrix lying face-up on the stage floor with the camera above her slowly descending towards her. The LED screen on the floor shows a starry night with beams of energy emitting from her body where she is lying which in time with the mellow beat which is guiding the song. As the camera is descending, it begins to slowly spin, giving the impression that Dimetrix is spinning on the stage but she isn't. The camera fades to black once again.

Hope has now died
Will I feel again?
These four walls hold my sins
Spinning in my brain

The camera fades back into normality and the stage lights up in bright white lights while the backing singers create the distorted part of the song which is on the studio track. The camera angle encompasses the entire stage with the audience in total darkness and the stage almost unrecognisable with the amount of light being emitted from it.

The lights subside with Dimetrix now back on her feet as she sings another lead up to the beat drop. This time, she has a determined look on her face as she sings directly into the central camera which is zoomed in on her face. With the lights beginning to get more intense behind her and the song picking up pace. She offers her hand to the camera and walks forward to the very front of the stage to sing the lyrics to the song.

Living nights I will remember
A shelter in stormy weather
But my house is not a home
My house is not a home

She opens up her body language and sings into the audience as the camera below captures the audience waving their flags and Dimetrix singing at the edge of the stage. The lights begin to circle around the arena once again as the music gets more intense. For the final line of the build-up, she holds her arm out in front of her towards the camera, her actions are mirrored by the backing dancers as the camera focuses on them as they hold their arms out as well while facing into the audience and singing with passion. The song builds up once again for another base drop.

Possessions that I treasure
I couldn't stand the pressure
My house is not a home
My house is not a home!

My house is not a home
My house is not a home

The camera moves up on stage and circles Dimetrix as she crouches down and looks down to floor. The wind machine and a fog machine is turned on at the same time which blows the fog past her face and blows her dress, giving the impression she is weathering a literal storm. The lights continue to circle around the arena with the audience still waving their flags in time with the song. With the song coming to an end, Dimetrix stands up and sings the final line of the song into the camera.

It's not a home, It's not a home
(It's not a home) My house is not a home
It's not a home, It's not a home
(It's not a home) I know I'm not alone

Dimetrix takes a bow as the audience cheers and applauds her for the performance. "Tack, Ekoese. Thank You Everyone". She waves at the crows while the camera shows some Mercedinian WorldVision fans going mental. The screen transitions into the postcard for the next song.

by **Ardoki** » Thu Feb 23, 2017 9:10 pm

20 — Ardoki
Alistair Killian Moriarty — Help! I'm a War Criminal
TO THE TUNE OF: Help! I'm a Fish

Alistair Killian Moriarty is back and better than ever! After being removed from office, the former Ardokian leader has been able to focus on his musical and acting careers, releasing several films and albums in just the first couple of months this year. However, some countries have been been making a fuss about Moriarty not being held responsible for alleged crimes against humanity. So, Moriarty has been forced to make a public apology for what he calls 'accidents' or 'mistakes'. In his classic style, he'll sing it out at the WorldVision Song Contest.

Chairman Moriarty stood centre-stage, looking down towards the ground, as the introduction came on.

I'm a war criminal, criminal, criminal, criminal, criminal, criminal, criminal
I'm a war criminal, criminal, criminal, criminal, criminal

The suddenly, Elder Dance Crew appeared out of nowhere and Moriarty started singing.

Chairman Moriarty and Elder Dance Crew danced to the up-beat song, quickly leaning to their sides and clapping.

I'm a war criminal in the big wide world
Won't someone arrest me
I'm a war criminal in the big wide world
Come on and arrest me

Chairman Moriarty did a back-flip, then started singing again. Elder Dance Crew punched at the sky and towards the ground.

Do you want to know the truth about my tolerance camps
Do you want to know about everything else I've done

If it wasn't for Kennedy Rowan Coleman
I would still rule Ardoki
With an iron fist
and reeducation
I'm so cool
Go me!

Chairman Moriarty and Elder Dance Crew danced to the up-beat song, quickly leaning to their sides and clapping. All the while, Chairman Moirarty sang the chorus.

I'm a war criminal in the big wide world
Won't someone arrest me
I'm a war criminal in the big wide world
Come on and arrest me

Chairman Moriarty did a back-flip, then started singing again. Elder Dance Crew punched at the sky and towards the ground.

Do you want to nuclear bomb the SACTO until there is nothing left?
How about setting genetically engineered zombies on the IFC?

If it wasn't for Kennedy Rowan Coleman
I would still rule Ardoki
With an iron fist
and reeducation
I'm so cool
Go me!

Chairman Moriarty and Elder Dance Crew danced to the up-beat song, quickly leaning to their sides and clapping. All the while, Chairman Moirarty sang the chorus.

I'm a war criminal in the big wide world
Won't someone arrest me
I'm a war criminal in the big wide world
Come on and arrest me

Chairman Moriarty started spinning on his head while Elder Dance Crew formed a circle around him and started worshipping him.

Go me, go me
I am just so cool
Go me, go me

Go me, go me
I am just so cool
Go me, go me

Elder Dance Crew stopped dancing as Chairman Moriarty got to the apology part.

I'm a war criminal who is sorry
Please everyone forgive me
Remain on your medications
Or else you might end up like me

Chairman Moriarty and Elder Dance Crew danced to the up-beat song, quickly leaning to their sides and clapping. All the while, Chairman Moirarty sang the chorus.

I'm a war criminal in the big wide world
Won't someone arrest me (Won't someone arrest me)
I'm a war criminal in the big wide world
Come on and arrest me (Come on and arrest me)

I'm a war criminal in the big wide world
Won't someone arrest me (Won't someone arrest me)
I'm a war criminal in the big wide world
Come on and arrest me (Come on and arrest me)

Chairman Moriarty and Elder Dance Crew cart-wheeled off the stage.

by **Electrum** » Fri Feb 24, 2017 4:14 am

Electrumite Worldvision Commentary - Network ENN (Electrum National Network)

Sonya Portelli, Michel Li: composer of Electrum's WVSC entry, and Max Hardwell

Sonya Portelli: Hello! Welcome to the WorldVision Song Contest number 54 in Konikstaat, Ekoz!
Max Hardwell: Oh, Sonya, it's Kønikstaat! Anyways, we are back after an editions break due to our government witholding funding to ENN last time during the last government shutdown.
Sonya: Anyways, we're back brighter than ever, and we're sending a great song today, composed by our very own runner-up Michel Li!
Max: And... she's also our special guest commentator for today!
Michel Li: Hello guys! This is exciting isn't it?
Max: For the first time ever we have three commentators!
Sonya: So many exclamations, let's get started!

by **Puerto Candelaria** » Fri Feb 24, 2017 5:26 am

21. Puerto Candelaria
Song: Por Siempre
Artist: Sofía Vizcaíno
Title Translation: Forever
Language(s): English, Spanish
Music by: Tim Mitchell, Gloria Estefan, Isabel Mebarak
Lyrics by: Isabel Mebarak

OOC: Translation between brackets. Mebarak, composer, lyricist and producer of the song is inspired in RL Shakira, and she actually won WV24. She was invited to represent her country in WV54, but she chose to mentor a rising Candelarian star: Sofía Vizcaíno, who will take the song to the Ekoese stage.

Sofía was dressed like this and she had a mini band (dressed as in the photo) joining her: six back dancers and a platform in the middle of the circled stage... where a guitarist and a percusionist (instead of the violinist) are playing. The background was going to show ticking clocks on a sepia tone as a frame for a main image. The main image was going to change as the song was played. With all the passion in her heart, she advanced to the stage and waited for the song to start.

The lights (orange-ish) were fading in, illuminating all the stage by parts. She and her 6 back dancers were crawled and they started to rise (with their backs facing the cameras) as the guitarist made the first chords. When the lyrics where about to start, Sofía and the dancers turned around and started facing the cameras, all the light bulbs went to Sofía, as she started to sing. For this stranza she'd move her arms (in total coordination with her dancing team) gently/kindly as the song progressed. When she says "cielo" she looks up to heaven; and when she says "death" she passes her hand in front of her neck. The back image was a couple walking through a park, looking at the sky and kissing passionately.

I had never met such a good person
That was so gentle and so mellow
I had never felt what I am feeling
In love and joy I am believing
I cannot deny that right now you are
Everything in my life, you're my cielo ("Cielo" means 'heaven' in English)
With you I'm going to stay 'til death parts us
'Til the day, sea becomes lava

All the 7 fell to the ground in a very interesting way, and started to rise again moving their arms as in the video; with gentle rain drops falling to the stage. The cameras where focused on Sofía, who was sexy (but not slutty) as she sang and danced. For the last phrase, she moved her hips to the rhythm. The back image changed to the image of Sofía dancing.

Le ro lo le lo le
Le ro lo le lo le
You know right, how do I feel

The orange-ish bulbs turned off as a huge white light above the stage started to illuminate everything. The flute player was shown in one of the circles to the main one, and he started to back Sofía's track. The Candelarian audience and those who knew Spanish sang along with Sofía, as she smiled and danced like running, and then shaking her hips. The back image was a shot of seawaves crashing against the cliffs. A few water pyros were working around the stage.

Por siempre, mi vida (Forever, oh darling)
Estarás tú en la mía (You're going to be in my life)
Siempre conmigo estarás (You'll always be with me)
Y de mí te acordarás (And you will remember me)
Lo pienso y presiento (I think it, I feel it)
El futuro es nuestro (The future is ours)
Ya no hay nada que temer (There's nothing to be afraid of now)
Si me vas a querer (If you're going to love me)

All the 6 dancers and her walked towards the back of the stage with strength on their steps. A few seconds later, the second stranza started. The choreography is the same as in the video. The smoke is on the stage, and the background image showed first green eyes, then a heart, then a knight in shining armor, and finally a flame of fire. Sofía was singing with her good voice here, and she was being cheered by the audience.

I had never seen such a pure beauty
With those green eyes you are such a cutie
Lucky that I found you in the moment
In which my heart was, really dormant
I had really kept waiting for my knight
In shining armor to come by night
Passion is burning now inside me
My heart's on fire, and you know that

She fell in the hands of her 6 back dancers, and they gently started to rise her. At some point, she started to be stood up on the hands of her 6 dancers, dancing in a sexy non-slutty way again. A gentle fire pyro was surrounding the stage, as she sang.

Le ro lo le lo le
Le ro lo le lo le
You know right, how do I feel

The white light was now increased, and everything looked 'dreamy' and insanely white for some. The flute player was shown again in one of the circles to the main one. The back image was a shot of running horses and ticking clocks. The fire was around as Sofía sang with more strength, since she had warmed up her voice so far, and she was receiving a lot of energy from the audience. She was still in the right circle.

Por siempre, mi vida (Forever, oh darling)
Estarás tú en la mía (You're going to be in my life)
Siempre conmigo estarás (You'll always be with me)
De mí te acordarás (You will remember me)
Lo pienso y presiento (I think it, I feel it)
El futuro es nuestro (The future is ours)
Ya no hay nada que temer (There's nothing to be afraid of now)
Si me vas a querer (If you're going to love me)

They ran to the front of the stage. All the lights went off, and one flame was illuminating them as they danced totally coordinated, as in the video. This is the part where Sofía sang with the best voice ever, since it was the climax of the song. Wind machines were moving her blonde hair, a shot where the camera focused on.

Le ro lo le lo le
Le ro lo le lo le
You know right, how do I feel

Le ro lo le lo le lo la
Don't ever forget that you are
Right in my heart

They stood up quickly and went to the center of the stage again. They started to dance like in the video, with fast and strong moves; the guitarist was playing with a smile on his face as well as the percusionist... And the giant white light was on again, everybody in the crowd was dancing and singing along.

Por siempre, my dear ('Por Siempre' means forever in English)
I'm going to have you near
Day and night I'm going to love
All the things that you adore
And even when I'm older
You will still be my lover
For me you'll be the only thing
That can keep me breathing

The water pyros started to work again as everyone on-stage danced happily. The flute player was now in the middle of all the energy playing harmoniously. This time, the dancers stopped and directed the attention towards Sofía, who was singing but at the same time dancing... Whipping her hair and shaking her hips (a bit like in the video).

Por siempre, mi vida (Forever, oh darling)
Estarás tú en la mía (You're going to be in my life)
Siempre conmigo estarás (You'll always be with me)
De mí te acordarás (You will remember me)
Entiende, mi vida (Understand, oh darling)
De ti no me voy a cansar (That I'll never get tired of you)
Ya me entenderás (You'll understand me)
El futuro lo apreciarás (You'll appreciate the future)

The two players descended from the platform as Sofía ascended to it, with the flute player. The dancers made a "matress" with their bodies as they'd receive Sofía. The giant light was off, and just one bulb was pointing at the platform... that light was white at the start but then it started to change into orange. Sofía was shouting "Gracias! Thank you Puerto Candelaria!" and some seconds later, the flute player directed the air of his flute towards Sofía, and she fell off the platform synchronized with that flute move. The camera zoomed in the flute player as he delivered the last notes.

The crowd then went crazy.

by **Euskirribakondara** » Fri Feb 24, 2017 5:27 am

22. Euskirribakondara
Thiago Maciel - "Aserorpunga, Suli, Uumavunga"
Title Translation: I'm Broken, Yet, Alive
Language(s): Portuguese, Aranese, Greenlandic
Lyrics by: Thiago Maciel, Patxi Suersaq
Music by: Samira Kareli, Thiago Maciel, Marko Txĩbilã, Mikkak Elsner
Tune: HERE ('1973' by James Blunt)

Song Intro by Thiago: "I've had a rough year in terms of love. After spending most of my life without a partner, my life's luck changed and I had the opportunity to meet someone amazing. Then, fate would play its cards and I'd be left heartbroken and alone again. Then, out of nowhere, I'd meet someone else who would make me think hope was not lost and for whom I dreamt again. And I got dumped again. And then it happened a third time. Before the fourth one comes I decided to write a song to those three people, saying that I may be too hurt to love again right now, but that I know that the cycle won't end and I will dust myself off, pick myself up and love again without fearing it will end, even when I know that that's very likely. In the three cases, it was harder for me to let go and move on than for them. I guess I'm just -too- romantic. And you know? It does hurt more. But I'd rather live like that than lie to myself and/or shielding myself from feelings."

(Translation between brackets; that translation is given to the participating broadcasters to subtitle this performance when broadcasting.)

The stage was pitch black. In the front central part of the stage, there was a piano. The circular lights around the perimeter of the stage turned candlelight-like yellow and the song began. The camera started shooting from one corner of the stage, and was swiftly zooming in on Thiago, who started playing the piano by the fourth second (he was dressed pretty simply, with a shirt, a dark brownish-orangeish velvet jacket, and some vintage-styled jeans). There was a sepia effect on the image, creating a cozy and intimate atmosphere in the broadcast of the song. As the camera zoomed in, it moved slowly around Thiago. In the broadcast, the volume of the audience cheers was reduced; but in the arena, the loud Euskal WV fanbase was cheering for their first act after more than thirty editions.

By the twentieth second, the piano solo gave way to the real base rhythm of the song, and thanks to the lights of the arena, we can now identify his accompanying band in the back of the stage. The L-shaped structure above the back of the stage started showing a lot of candles on its screens, which were shown by a camera that panned from the left screens to the band to the right screens, showing every single instrument being used, but all in a slow, relaxed, way. Then, as the lyrics would begin, the image switches to that of a camera placed diagonally towards Thiago, slightly tilted down so that we can see him as he sings and plays the piano. As he sings, better lighting shows that the Euskal delegation has put a giant cotton canvas in the back of everything (covering the rather complex shapes of the background screens). This canvas is illuminated also from behind, serving thus as a screen where shadows are displayed.

[0:36 - 0:48]
No entanto (As it was happening)
Fiquei sonhando (I was left, just dreaming)
Com a última vez que... 'cê (With the last time that... you)
P'ra mim sorriu (Smiled for me)

A smile was drawn on the background canvas in the last line of the first verse, and it was shown on the cameras. The image then switched back to Thiago, who was singing this song with a lot of passion; it talked, after all, about his own life and feelings. The sepia effect of the cameras gradually changed to a default image. Nevertheless, the yellow perimetral lights, the piano+band+canvas setup, and the rhythm of the song, all made the intimate atmosphere stay. For this verse, the cameras switch between Thiago and the back canvas, where images try to evocate the lyrics (first the shadow of two people talking, then one person violently gesturing at the other one, and then those shadows fade). In the third verse, the image fades from the shadow canvas to a shot of the ground in front of Thiago and his piano, where an orange flame turns to blue and then is put off as if by a hard breeze.

[0:51 - 1:04]
'Cê fala (You speak)
Acena e me alanha (You nod and gesture, and [those movements] stab me)
A sua flama gelou (The flame of that fire of passion that you once had for me, froze over)
Gelo que queimou ([It became] burning ice that ruptured me)

The chorus kicks in and Thiago is no longer in the piano, a backing player has taken his spot. Thiago has taken the microphone and is now walking towards the front of the stage, with a steadicam revolving around him (faster than before, but not too fast). The lighting of the stage is now much brighter, and the shadows canvas shows a woman leaving behind a man, who then kneels down and starts crying. As if by magic (they were hidden close to the front of the stage among the audience), a choir of people (all dressed in white ragged-like cloths) appears and surrounds Thiago to join him in the third line of the bridge (OOC: these choir+Thiago lines marked in blue):

[1:07 - 1:20]
En un mes, tu t'es jà oblidau de mi (In just a month, you've already forgotten about me)
La mia ment nunc vora ren que m'aus fet sentí (But my mind cannot push away any of the things that you made me feel, both good and bad)
Ilumummi (There's no doubt about it)

A panoramic camera makes a shot from the roof of the arena, swaying down, and settling in on a shot where we can clearly see Thiago singing on the front, his band behind him; and behind everyone, the shadows canvas; now lit in a velvety red and showing a beating heart. The choir is shown again (now in one side of the stage) as they collaborate in the last verse of the first chorus.

[1:22 - 1:35]
La vita va ansí (Life goes that way)
Ma jo mi sento anfí (But I feel in yet another, different way of mine)
Estic molt malferit (I'm exceedingly bruised and wounded)
Pas preparat per de nou amar (Not ready at all to love again)
Nuliassigaa… na 'aana* (My sweetheart... too much pain, let me be*)

*"Na 'aana" is an interjection in Greenlandic used to convey a sense of pain, and a message of 'leave me alone, let me be'.

Thiago moves back and interacts with his band as if he was speaking with them. The shadows canvas shows a close-up of two mouths that begin speaking to each other and then move closer as if they were going to kiss, but then move away awkwardy.

[1:38 - 1:51]
Me enganava (I was fooling myself)
Iludido esperava (I was naïvely deceived, expecting)
Escutar da sua boca dizer (To listen to you, saying from your own mouth)
Saudade de mim ter (That you missed me, and you were longing for me)

Given that Portuguese is the native language of Thiago, there is a special feeling delivered in his Portuguese lyrics; it's like he sounds stronger and more passionate in his own language. The L-shaped structure is now showing flowy shapes of orange and yellow, but it is just a background... The camera is focused on him: his charisma is very well registered and conveyed visually.

[1:54 - 2:08]
Ô, fado (Oh, fate)
Cruel diabo (You ruthless demon)
Me fez ver, sentir, ouvir que (You made me realize with my eyes, hands and ears)
'Cê tá nem aí... (That you don't care about this, that you don't even care about me...)

A new bridge kicks in (this time in Greenlandic); and Thiago moves back to the front of the stage. The shadows canvas shows an open wound and blood coming out of it, then forming the shape of a couple of two men in love.

[2:09 - 2:22]
Kilernikka aanaalersorpakka (I hurt my wounds so as to make them bleed)
Ilorpasissukkut annernarpoq, nuliassigaa (It hurts farther inwards, my sweetheart)
Silaappoq (When you behave deliberately in a foolish, hurting, manner)

The chorus kicks in and this time in the shadows canvas, it is a man leaving another man behind. And the man left behind kneels and cries again.

[2:24 - 2:38]
Paraules que m'aus dit (Words that you've said to me)
Ma purchè cal mentí? (What's the use of lying, anyway?)
Estic molt malferit (I'm exceedingly bruised and wounded)
Pas preparat per t'oblidar (Not ready at all to forget you and let you go)
Nuliassigaa… na 'aana* (My sweetheart... too much pain, let me be*)

*"Na 'aana" is an interjection in Greenlandic used to convey a sense of pain, and a message of 'leave me alone, let me be'.

Now Thiago disappears, and the band as well (through an optical illusion thanks to the angle of the cameras and the stage lighting, and the choir (with a heavenly sound) delivers the start of the climax of the song. We can see the audience behind them, and everyone is being moved by the entry.

[2:41 - 2:55]
Na na na*, na 'aana, aaa, aa… (It hurts**, let me be, aaah, aa....)

*"Na na na" is yet another interjection in Greenlandic used to convey a sense of intense physical pain, and a metaphorical emotional pain.

Now the image focuses on Thiago (who is BEHIND the canvas) and delivers his most heartfelt verse in all the song...

[2:56 - 3:09]
Quelqu'un més va hodi a ton costat (Someone else is nowadays walking besides you)
El meu cor n'au set sufís i m'aus superat (My heart just wasn't enough, and you are now over me)
Am sajant que jo a tu no… (Even when you knew that I was never over you...)

A tear comes down his face as he continues singing; and by the end of this chorus, he breaks through the canvas, tearing it apart, quite dramatically.

[3:11 - 3:25]
Non te culpo del tot (I don't really blame you for everything, I'm not sure I can even blame you)
Sabia, encora nol (I already knew back then that I wasn't ready)
Vull malferit - molt (I always arrive bruised and wounded - exceedingly)
Pas preparat per de nou amar (Not ready at all to love again)
Ersarunnguvunga! (I feel pain in my heart!)

He goes back to the band to finish the song, and the choir eventually joins him.

[3:27 - 3:40]
En un any, tots, veus, s'son bourats de mi (All the people I've met in one year, you see, all of them have fooled me, hurt me and not cared about me)
La mia ment nunc vora ningú per qui amor ai sentit (My mind is never able to push away the memory of someone for whom it has once felt love)
Immaqa su' asavakkit (Perhaps I just never stop loving)

[3:43 - 3:56]
Todos vivem assim (Everyone is okay with it, and everyone lives like that)
Eu não sou afim (But I'm not similar to them)
E não posso mudar (And I cannot change)
O que fui, que foi, que serei (What I was, what I am, what happened, and what I will be)
Só porque até agora errei… (Just because I've always failed until now...)

[3:58 - 4:10]
Erinivunga (My impending hour of salvation)
Annaffissara (I await and long for)
Iluunngarlunga (With all my heart)
Aserorpoq, suli, uumavoq (That is broken, yet alive)

by **Zeganas** » Fri Feb 24, 2017 4:21 pm

#23 - Zeganas
Ma Tugi'oda
'Furry' Freaky

The postcard plays and the stage is black, with only two peole, the two singers in Ma Tugi'oda. Julian Michaels and Britney Terranova are right beside each other, dressed in gender appropriate formal attire, Julian in a tuxedo and Britney in a bright pink dress. Smoke machines are active and the whole stage is clouded up except for the middle part, with the background having small twinkles of light in it.

The first half of the initial chorus they were both facing forward blankly, and then halfway through they face each other and swing their bodies side to side to the beat.

We're furry freaky and tonight we don't caaare
Promise me that now we do what we want and all that we daaare
We're furry freaky and tonight we're not faaair
Promise me that now we do what we want and we do not caaare
Oh my god

Right as she said "oh my god", Julian ripped off his tuxedo to show an undershirt and sweatpants, along with a gold chain. Britney does a circular headbang, 4 rotations, at the beginning of the instrumental, and then immediately thereafter she takes off her dress to reveal herself in a tanktop and jean shorts.

The visuals during the instrumental the spotlights flashing through it, and pyrotechnics launched off when the instrumental began as well. The panels on the sides and the back changed between the 6 primary colors.

When the instrumental drop shifts to another tune halfway through, backup dancers appear out of the smoke and dance symmetrically across the stage, one side being guys and the other side being girls. As the instrumental break comes to a close, all but two of the backup dancers fall down flag onto the stage to seemingly disappear into the smoke on the stage.

Julian walks up to the front of the stage and holds a mic up to his mouth now, ready to rap his verse. The visuals became more mellow but still were bright, the spotlights were moving around illuminating moving cirlces of light along the stage and crowd.

Everyone, listen up
Tonight we are turning up
1 2 3, a b c
forget that when you're with me
but we are, not furry
but we are super freaky
we are mistaken as that
cuz to strangers we are whack

raise your hands if you feel high
born to party born to die
we're more than what has met the eye
we have a warrant, run and hide
now what's to say I bust some rhymes
and all we want is party times
just wanna get freaky right
like animals, freak tonight

Britney creeps up behind Julian as she sings the chorus, and right in the middle of the chorus she grabs ahold of his hand and stands up against him.
Right when Julian says "my god", Britney goes over and gives a warm kiss on the lips to a female backup dancer.
The lights are now flashing and the pyrotechnic sparks blew off just like the first time.

We're furry freaky and tonight we don't caaare
Promise me that now we do what we want and all that we daaare
We're furry freaky and tonight we're not faaair
Promise me that now we do what we want and we do not caaare
MY GOD!

Quickly following the kiss, other dancers get up and pretend to fight each other but do it in interpretative dance style, swinging legs and arms over and between each other.

We're furry freaky and tonight we don't caaare
Promise me that now we do what we want and all that we daaare
We're furry freaky and tonight we're not faaair
Promise me that now we do what we want and we do not caaare

As the chorus ends, the panels flash faster and faster. And then sparks get launched from the ceiling as everything goes dark except for one spotlight and some UV lights turned on around the stage to have the couple glow with their fluorescent makeup, having a lot of it, greens, pinks, blues, yellows, some all in the hair, some on the lips, some as war paint designs. They were completely invisible when the regular lights were on.
They then lay down on a bed of sorta, it's an elevated surface at least that's above the smoke.

here it is, here's the night
we know we will do it tight
I love you and that is right
we will play and maybe fiiight
(hehe)
You're a freak, I don't want you to look bleak
I just don't want this ship to sink
I am a freak what do you think?

Some spotlights turn on and move around the audience again as Julian starts rapping.

What I think is we make a scene
But whatever we are livin the dream
My demons just want for me to scream
You're my angel and you-u-u save me
Very freaky, we get so sneaky
That we will wear down the pinky
Very freaky, we get so sneaky
That we will wear down the pinky

And now we go, we have the flow
Go real stealth don't give a show
Gotta make sure that your key is real low
But tonight we are gonna say no
I love it that we have that mojo
I better change my name to kojo
Wait a small second what rhymes with mojo
And guess what now we hit the choro

Just like in other choruses, the sparks fly out, the lights are back to bright and flashing, and now the backup dancers do a regular synchronized dance routine now, behind Britney and Julian. The two are now pressed up against each other standing up in the front of the stage.

We're furry freaky and tonight we don't caaare
Promise me that now we do what we want and all that we daaare
We're furry freaky and tonight we're not faaair
Promise me that now we do what we want and we do not caaare

And then Julian goes over to a backup dancer, a male backup dancer, and guides him over to where Britney is, at the front of the stage, and all the backup dancers follow suit. The lights don't flash as much now and are a bit dimmer, the background panels are all white now.

Promise me that now
Promise me that now
Promise me that now we do what we want and we do not caaare

They then run in a circle around Julian and Britney, the female backup dancers singing in the parentheses.

(but we are not furry!)
we don't care
(screw it we are still freaky!)
we don't care
(but we are not furry!)
we don't care
(screw it we are still freaky!)
do what we want and we do not caaare
(but we are not furry!)
(screw it we are still freaky!)
(but we are not furry!)
(screw it we are still freaky!)

The UV lights turn back on and the other lights go dim as all the dancers are revealed to be glowing, the backup dancers being the only ones singing from here on now. Julian and Britney are picked up by the crowd of dancers and paraded around the stage for a short while.

We are not furry!
Screw it we are still freaky!
We are not furry!
Screw it we are still freaky!

The song ends, and all the backup dancers suddenly drop down onto the stage as if they were "deactivated" and Julian and Britney stand up, breathing hard after the performance and shout "THANK YOU EKOZ! THANK YOU WORLDVISION" and double high five each other.

by **Todlichebujoku** » Fri Feb 24, 2017 4:22 pm

24. _Tödlichebujoku_

Tune: Sergey Lazarev - Idealniy Mir (Choruses)
Ani Lorak - A Dalshe (Verses)

L I B E R A T E
-
ZTA & Aras Junc ft. Momoko Krebs

With the heartening improvement in the last contest, and the realization that WV54 was the contest in which Tödlichebujoku's WV27 debut would fall in the first half of WorldVision history, TÖBUK opted to go big or go home. The broadcaster's multiple teams brainstormed, searched for artists, and brainstormed some more before settling on a direction and a concept for the nation's big celebratory entry. The decision to try to continue rising up from WV52's surprising mid-lower table finish led the broadcaster to settle on bringing back some previous artists and representatives to collaborate on a positive pop song, one that followed on the path blazed by "DYNAMO" that represented TÖBUK's intention to move on from the earlier string of overly serious (in subject) entries that stretched for more than a few editions prior. For this edition, the broadcaster went to the people and filtered through popular reactions from previous WorldVision editions to find beloved artists that received more interest than anyone ever predicted. Thus the producer ZTA and actor-model Aras Junc were asked to join on Tödlichebujoku's final WV entry. Luckily for TÖBUK, the two accepted the offer happily, with vocal lessons provided to the latter due to his status as an actor and not an experienced singer. During the writing process, the writing team happened across samples from Momoko Kreb's incoming album "Uusia Teitá", and realized she was exactly what the unfinished song was needing. In a controversial decision, TÖBUK allowed the team to ask Momoko to join the WV54 collaboration, and after some discussion and introspection, she agreed to return to the WorldVision stage.
Momoko Krebs wasn't exactly the first choice TÖBUK had in mind for a returning artist. Similarly, returning to WorldVision wasn't Momoko's first choice for a televised performance this year. However, the forces of music and fate aligned for the opportunity for the two to work together once more, whether they wanted to or not. With ZTA's insistence on a reworked verse melody and Aras's admitted general lack of experience in the music field, Momoko's experience and fresh perspective on the project proved to be an opportunity that simply could not be passed up for the broadcaster if it wanted to have a decent chance at doing somewhat well in the contest, even with Momoko's past entry lurking behind the entirety of the situation. Momoko, on the other hand, felt she had a responsibility for addressing her prior entry and making up for her less-than-successful performance in WV52, despite fears that the same result might befall the nation's WV54 performance, all due to her involvement. She had definitely needed some time to reconsider her choices, her reasoning, and her plans, but decided to aid and participate in the project due to a nagging feeling of responsibility for her country and her self-esteem.

Of course, when the news broke about Tödlichebujoku's WV54 artists, heated discussion immediately broke out and spread like wildfire across the nation's cafés and matrix shards. Was Momoko really needed in the songwriting process, and if so, the ultimate performance on stage? Did she really have a responsibility for what happened in WV52? At the same time, was Aras really ready to transition from modeling and film to the international music stage? These questions continued to simmer and burn in the minds and words of WV fans throughout Tödlichebujoku and across nations, and of the broadcaster and artists themselves. Was Momoko a death knell and was Aras even up to par? Could ZTA turn this possible disaster into a roaring success? Zeganas' Ma Tugi'oda had just finished performing their entry, and the answers hung in the balance.

A faint glimmer of blue precedes the performance, with a silhouette just visible in the fog of the stage. The fog wafts away, revealing Momoko Krebs standing behind a microphone stand, in a patterned outfit. Soon after, ZTA is seen near her, in what appears to be a chrome-finished straitjacket tied into an array of silvery fabric straps that are connected to the two outer pillars extended from the stage, like an insect stuck in a spider web of metallic cloth. He is writhing about at first, but ceases as he turns toward Momoko, reduced to faintly swinging in his web among other less hectic, fluid movements. Momoko takes a deep breath, clutches the microphone stand, and begins, eyes cast down and lips very close to the microphone. As she continues, she begins to look up and releases her grip on the stand, gesturing to the audience

[A Dalshe, from start]
Your flawless eyes are filled with fear
Lift them up to me, it's safe right here
Don't you be afraid to let yourself… be

She's a touch breathy, as if a bit high. But really she's just enjoying the moment, feeling the message, as she closes her eyes and embraces the music within her. The background screen is revealed to be displaying a maelstrom of dark clouds, slowly opening up to a blue sky

Soaring free
Let your soul breathe
[stop at 0:30]

Momoko opens her eyes again and nods in front of her with a knowing smile, where Aras joins her in singing, unseen at first. He is then found rising up on a platform from below, clad in an unbuttoned clean white tunic suit showing his bare skin and muscles (like this, but in white and with just the outer jacket) along with white skinny jeans and high tops, just as the lights intensify in time with the electronic bits of the music

[Idealniy Mir, 0:45]
Just let go
There's more to life outside the window

Filling up with energy, Aras launches into the chorus jumping about on his platform. He's really engaged with his singing and message, earnestly singing to the audience and to the camera, which pans around him. The background screen transitions to show a blast of various exploding points of light and glowing shockwaves

We can be the pinnacles of possibility
Liberate your passions, liberate your dreams
Take your inspirations, make them all that they can be
Liberate your being

Aras, charged up on excitement, bounds down the platform to the main stage area, where Momoko is striding about, moving to the beat. ZTA tears some of the fabric strips from him, but is still constrained and thus whirls about in his cloth web, which glints and flashes in the spotlights

We can be the pinnacles of possibility
Liberate your feelings, liberate your dreams
Take your inspirations, make them all that they can be
Liberate your being
[stop at 1:39]

The spotlights throughout the arena slant left and right, to the music, with an extra flash at the drumbeats. The background screen displays various looping white and silvery explosions- explosions of white smoke, of silvery confetti, of flowers blossoming and their petals flying off, with the segments of the music. ZTA bounces in his silver web in time to the music, the glinting from the metallic cloth in time with the slanting of the lights. Momoko and Aras have a little dance off in the center stage, circling each other, before Momoko begins again and breaks from the circling in order to address the audience. With the lights dimmed back, she does so tenderly, lovingly, perhaps looking off a bit distantly at first but quickly zeroing her gaze on the audience and camera

[A Dalshe 1:24]
It's time to find the beauty in your dreams
Time to let loose, and just believe
Bring your thoughts into reality, see

The spotlights across the stage slowly sweep up over the audience as Momoko continues, with the spotlights behind her radiating out around her. The background screen depicts a golden sunrise. Momoko raises her arms from her sides, as if embracing the arena, voice brimming with optimism and opportunity

So much more
Feel the dance beat
[stop 1:46]

The stage colors shift from gold to sky blue, and an equalizer pattern appears on the background screen with puffy clouds beyond. Aras, heading back up to the front of the stage next to Momoko, joins her vocally as well

[Idealniy Mir 2:17]
In your core
Feel reality's base heartbeat

The two cock their heads and smile at the same time as the electronic thumps, then Momoko whirls off as Aras belts out the chorus and the stage gets drenched in light. More fabric straps collapse from ZTA's web as he begins a spinning, bouncing motion that must be absolutely dizzying, but he holds his cool. Aras skips along the edge of the stage right near the screaming fans while Momoko is joined by two female dancers and begins a spinning, leaping dance routine. The background screen depicts a massive rhythmic radial equalizer animation

We can be the pinnacles of possibility
Liberate your passions, liberate your dreams
Take your inspirations, make them all that they can be
Liberate your heart and mind

We can be the pinnacles of possibility
Liberate your feelings, liberate your dreams
Take your inspirations, make them all that they can be
Liberate yourself tonight

Aras cocks his head just a bit, grinning, before dancing in sync with the dancers behind him, with a dance that mirrors the electronic, upbeat, yet almost robotic music. With the dance break in full swing, the background screen's equalizer pattern begins emitting pulses of white throughout stage, echoed throughout the arena with accent lighting in a series of waves. Aras joyously runs forward and slides to a stop on his knees

Liberate yourself!
Liberate your beauty now, ohh!
[stop 3:10]

Aras (and the attention) immediately turns to Momoko, who is rising on a platform. The pulsing equalizer symbol on the screen suddenly explodes into a golden, glittering sun, with the ambient arena lighting similarly glowing with wavering rays of golden light. Pumped up on a wave of passion, Momoko throws herself into her solo chorus, appealing to the audience. Halfway through, she falls to her knees, entirely absorbed in her lyrics and her message. A series of spotlights converge on her, alternating with the beat as sparks fire up from the edge of the stage periodically. She rises back to her feet as her part ends, dancing along to the beat, clapping her hands above her head as a wind machine tosses her hair and her dress in a breeze.

[A Dalshe 1:54]
You're free and you're strong and you're glorious
You're perfect, don't hold back, you'll make a change

You've got this, you've got us, you've got so far
It's better now, just don't stop now

You're free and you're strong, you're glorious
You're perfect, don't hold back, you'll make a change

You've got this, you've got us, you've got so far
Liberate, liberate, yourself!
[stop 2:38]

During the dance break just after Momoko finishes, the ambient lighting dims down and the view turns toward ZTA and his remaining straps of glimmering silver cloth holding in place, the metallic aspect of which is emphasized by the strobe lights flickering upon them. He swings back and forth, jumps, moving and reacting with the motion of the web, before finally breaking free and doing a backflip. With the spotlights now blinking on and off in synchrony, his flip is visually broken up into steps as he is seen on the ground, then at the apex of his jump and flip, and finally back on his feet. He then weaves in and around the dance routine performed by Aras and the two dancers, his hands raised with the peace/victory sign. When Momoko's platform lowers back to the rest of the stage, she joins Aras and ZTA. Aras quickly picks up where Momoko left off, jumping up and running along the stage edge as Momoko and the dancers join ZTA in jumping and dancing around just for fun. The background screen now shows a view of abstracted skyscrapers form the bottom up, with confetti drifting down from above and people jumping up from around and below. Momoko echoes and sings with Aras at points in the chorus

[Idealniy Mir 3:10 to end]
We can be the pinnacles of possibility (pinnacles of possibility)
Liberate your passions, liberate your dreams
Take your inspirations, make them all that they can be
Liberate your heart and mind

ZTA and Momoko shout, "COME ON, EVERYONE!" gesturing for everyone standing to join in dancing, jumping around, and/or singing the chorus, the two artists joining in singing the rest of the chorus with Aras

We can be the pinnacles of possibility
Liberate your feelings, liberate your dreams
Take your inspirations, make them all that they can be
Liberate yourself tonight

As the chorus ends, the background image alternates between various color schemes in a pop-art style. Having made their way to the edges of the stage and back, the performers are all in the center of the stage together. With the ending notes of the music, they abandon their freeform dancing and lock back into the previous semi-robotic synchronized dance form, turning their heads left, right, whirling around once, falling on their knees facing their left, and clapping twice. They end their act with a quick simultaneous cock of the head and a wink

The lights return to normal, with all of the performers standing along the stage. They bow briefly, as ZTA, Aras, and Momoko chorus, "Kiitos kaikille, Kønikstaat, thank you all so much!" They smile and wave at the crowd and their screaming fans, before leaving the stage.
Would the most dire predictions hold true? Was the performance up to snuff and would it prove popular abroad? Antabrantahstan's Darja was up next and voting was coming all too soon with the final answers.

by **Antahbrantahstan** » Fri Feb 24, 2017 7:45 pm

25. ANTAHBRANTAHSTAN

Darja-Fine China

Tune: Dotter-Evolution
m&l: Darja Antonjeva, Jamie Nykänen, Oliver Võsumägi

Darja is an Anturian singer-songwriter, born in Kuuresare, East Province. she released her debut single "DIving" and rose to fame 6 months ago, which caught the attention of music expert Iiris & Mikkel Holm, who is searching for up-and-coming singers to participate as the Anturian representative in WV58, they then asked her to represent Antahbrantahstan, which she accepts. She then took part in a songwriting camp sponsored by RR, the Anturian broadcaster, she ended up creating 3 songs and after much deliberation with Iiris & Mikkel Holm, she selected this song.

We see Darja, wearing a white floral headdress & veil, quite oversized white blouse and white long skirt, standing in front of a mic, the background shows white silk floating in the air, a guitarist and two backing singers stand behind her, and after the instrumental notes, Darja sings.

I can see all my friends come and congratulate me
I can see the white sands of Fiji in front of me
I sprayed myself with fragrance
Pretending i am Madama Versace

The strobelights move about (a la Anja Nissen's DMGP 2017's performance, but it doesn't change colours, it is simply coloured white). The backing singers then walk towards her and stands next to her.

I have fooled myself over
All those good dreams are over, ooh
All these fine chinas will now shatter
Ah-ah-ay-yah 2x

I have fooled myself over
All those good dreams are over, ooh
All these fine chinas will now shatter
Ah-ah-ay-yah 3x

The background then changes and shows white roses falling in a white background, she then removes the veil and puts in the stage floor, the backing singers then dances around Darja as if she is being dressed up by them, Darja shows a pretty sad facial expression.

My mother have told me, “You need something to borrow”
Although she will know that our love is just borrowed
I can only mourn myself and cry
Now that i am Madame Butterfly

The background then shows the white roses suddenly becoming petals flying away and the background turns into a drak gray-ish colour, Darja's clothes then changes colour to black.

All those handmade dress
A pair of wedding rings
All those fine champagnes, ooh
All those white bouquets
All for sake of love
Illusory love

Darja's clothes suddenly falls, and she is now wearing a dark black blouse and black trousers with some butterfly motifs from it.

I have fooled myself over
All those good dreams are over, ooh
All these fine chinas will now shatter
Ah-ah-ay-yah 3x

As the guitar solo plays, the background shows black satin floating in the air, Darja embraces the moment, after the guitar solo ends, Darja sings again.

All those handmade dress
And pair of wedding rings
All those fine champagnes, ooh
All those white bouquets
All for sake of love
Illusory love

I have fooled myself over
All those good dreams are over, ooh
All these fine chinas will now shatter
Ah-ah-ay-yah 2x

I have fooled myself over
All those good dreams are over, ooh
All these fine chinas will now shatter

As Darja belts her vocals, the backing singers picks up the veil that Darja put to the ground and enlarges it, showing that the veil is actually a very long black satin, they then put it behind Darja's back and the wind machine makes the satin wiggle, the background then turns pitch black and the strobelights are illuminating Darja and her backing singers,

I fooled myself
I have fooled myself all over
I have fooled myself over
All those good dreams are over, ooh
All these fine chinas will now shatter
Ah-ah-ay-yah 2x

All those good dreams are over

Darja, the backing singers and her guitarist then moves into the front of the stage and bows down, Darja shouts "THANK YOU WORLDVISION! I LOVE YOU! and then they go backstage.

by **Mister X** » Sun Feb 26, 2017 11:03 am

COMMENTARY on MRX ONE with Robert Baxter and Sam Smith.

by **Izmedu** » Wed Mar 01, 2017 12:50 am

26. IZMEDU
VIR - Pol
Translation: Pain
Music & Lyrics: Olga Karabatic, Anton Karabatic

Izmepisma found another triumph in the form of a second place finish on the hands of TK Prod. & Vigora Marasovic's Freedom. This further proved the strength of the Izmepisma format; after only two editions in the WorldVision circuit, a switch to a national final gave the country two podium results in three editions. The management at RTI were more than enamored with the format, and with the advent of the Izmeduan 20th anniversary in WorldVision at hand, a rather unique chance was taken. Concerns were growing within both RTI and the Izmeduan fanbase over the continued non-presence of the Izmeduan language in WorldVision. As a way to celebrate 20 editions in the contest, RTI approached Izmepisma selections through encouraging more Izmeduan language submissions. As a result, the grand final of Izmepisma was for the first time, in its history, filled with all Izmeduan-language songs.

After a competitive night, VIR rose victorious with their song “Pol” (translation: Pain). Winning both the international jury and domestic televote with a convincing margin, VIR enters WorldVision after having broken the points record in Izmepisma, beating out favorites such as Daria Calic's “Apokalipsa,” Naida Jurisa, and Kristina Radic. With the additional burden of expectation upon the band as being the 20th anniversary entry for the country, the pressure couldn't be anymore higher on the band. However, as they touched down upon Konikstaat, the pressure became a little bit easier to manage...

VIR are a band that have remained hard to classify. Over the years, many have wondered, are they alternative pop? Rock? Chamber pop? Baroque? Avant-garde even? Stratifying them onto one market has been difficult, as the band has sang regularly both in the English and the Izmeduan language, charting consistently in both language charts. The media has remained dogged in trying to figure out the answer as to why, but VIR itself was born deliberately this way. Being the brain child of the two Karabatics (Olga and Anton, lead and singer keyboardist respectively), VIR was born originally as a garage band in the inland city of Rajvosa, making genre-busting yet pop friendly music. Olga and Anton mostly promoted the band through extensive demo-ing, going through every genre possible and submitting it far and wide to record labels and managers.

This constant promotion was how the three remaining members met the band. Each came at their own time but the pace at which VIR grew from a duo to a band all happened in the space of a year. Patrik Lang approached the band after consistent gigs in underground clubs, Eduard Simonec joined not soon after the newfound trio was publicly seeking bassists. VIR as a four-piece were now more steps closer to a major label debut as outfits in Vodiznad began to take their marketing and positioning seriously. With an EP at hand, VIR were signed to major record deal and had turned from extensive garage demos to a band at the precipice of fame. Recording sessions in Vodiznad was how VIR was able to secure their 5th member. Bozidar Cecelja, well-regarded as one of the most artful and talented session drummers amongst Vodiznad's studio scene, joined the band after learning of their larger musical project.

This is how VIR itself started in earnest, and they have remained a comfortable presence in the charts. Their success not lies not in shifting a large amount of units, but of the heaps of critical acclaim that have been lavished upon the rare but usually comprhensive VIR releases. Olga and Anton Karabatic, the masterminds behind many VIR songs, have especially proven to be prolific songwriters (and similarly to Karin Volaric, are in the business of providing many hit songs to other Izmeduan artists). The story of their Izmeduan entry, “Pol,” indeed started out that way. “Pol” was born out of a recent drought of non-folk style Izmeduan language music on the charts, as well as an exploration of thematics that Olga was finding compelling in the years prior to WorldVision 54. The song itself was meant to be marketed in the music industry itself as a song for the likes of Jolana Perko or Poslie Postojanje, but the three other members, Patrik, Eduard, and Bozidar, and slowly Anton himself, saw the song as more suitable for VIR than another artist.

Olga, in time for Izmepisma submissions, agreed to the idea. On top of a new song being produced, VIR had also been 'tipped and in demand' to represent Izmedu in WorldVision for the past few editions, which was the tipping point for band to submit their song to the Izmeduan national final. “Pol” itself was the first song to be revealed to the Izmeduan audience, and it remained the favorite up to the results reveal (despite many songs threatening to take its place throughout the Izmepisma season). The margin of victory, though unexpected, gave the band to collectively accept the honor of representing Izmedu in WorldVision.

It was only moments before VIR was due to perform... Extensive rehearsals followed up to this point, but it was this moment that would define it. 13 years as a band had led up to it, 20 editions into the contest led up to it... VIR looked at each other, nodding one last time as all of them went out onto the stage.

Large roars could be heard from the Izmeduan contingent of the audience in Konikstaat as stage lights billowed down to the center, flashing as they hit the center of the stage. This caused the band to be illuminated for a split second, but their visages were unclear in the flurry of the brief chaos before the entry. A red hue began to shine in the Anna Friedriksdottar Arena just seconds before the entry started, and a red gas-like hue was now prevalent. A blood red spotlight then shined on Olga, who was wearing this outfit, looking down to the floor...

Sčora sjombra pleše
Unutar maja culva, nikad zaustavljanja
Ova noći
Lezam bustraur kod demuni iz la dalek prošlosta

At the moment Olga sang the first line, that was the moment the entry began in earnest. Olga had cupped both hands as if in prayer, singing the first two lines as the camera zoomed in on her face as it gradually rose up slightly. At the end of the second line, Olga's face was fully visible, her face etched in agony as if she had just woken up gradually from a restless night. At the third line, the red hue began to brighten; revealing the the full extent of what the background screens were showing; a nightmarish empty bedroom background with the band members staged around as if in a wide circle. At the end of the verse, the camera returned to Olga, with her walking forward slightly as the song got softer...

Mi glas vikam van
“Ostavi me sam”
La noćna mora neće svršetak
Mi tilo pada
Na iscrljenost
La pol je maja egzistencija

The window on the 'nightmarish' bedroom scene on the background screens opened, and with that window being represented by the very center of the background screens, it caused a streak of light to appear to hit the center of stage. It created a moonlight streaking through the window effect, with the red hue disappearing as Olga passionately belted out the chorus, the streak of light from the front and back hitting her face. The lights did not seem to affect her performance ability as her movements were chaotic, the streaks of lights literally following her as did the band members.

During this chorus, one could see the lead guitarist and bassist, Patrik and Eduard, gravitate closer towards Olga in her moments of insanity on the stage, with her looking up and down as if she was in trapped in an eternal nightmare. That moonlight effect did not disappear at the end of the chorus, with the camera focusing on a bird's eye view close to the stage's ground and Olga on her knees, as if the ceiling was shot from a cupboard. Olga had belted out the lyrics as she fell to her knees, with the camera locked into that bird's eye view, catching that raw emotion as the instrumentation softened. At the end of the chorus, the red hue from the first verse returned, crafting a 'red smoke' like background to propagate around through the Anna Friedriksdottar Arena.

Svitlo
On oslipe
La mjesečina probi la finiastra
Mi vaći adare
Ali, mi san neće prestati otići

The brid's eye view began to arc out into a wider view of the stage, with Patrik and Eduard standing beside Olga as if they were unmoving statues, though Eduard was still providing the bass instrumentation for the song. Ghostly light effects dominated the first two lines, making the moonlight effects flicker as Olga sang the lines as if she were in a dream-like sleep, the red haze looking as if she were about to fall asleep even as the lights were shining directly towards her face. At the third line, the moonlight effect then applied to all members, slanted spotlights shining one streak of lights across each band member's faces. At the last line, Olga could be seen standing up, covering her eyes from the moonlight effect as the red hue began to shine a blood red in the build-up to the chorus, and the camera slowly zoomed out as the instrumentation ramped up...

Mi glas vikam van
“Ostavi me sam”
La noćna mora neće svršetak
Mi tilo pada
Na iscrljenost
La pol je maja egzistencija

The red hue disappeared in a white flash, as Olga began to belt the chorus out once more. The moonlight effects on the streaks of the band's face disappeared, as the bedroom scene on the background scene began to flash with thunder, visible on the window. A demonic force began to influence the bedroom scene around the band, with the windows shutting open and the scene itself being tainted by the red hue that haunted the versus. As the chorus progressed, Olga was again suffering through her moments of insanity, the camera catching her eyes, wide awake and panicked, with the band members surrounding her remaining distant and in dispersed places. Midway through the chorus, Olga slowly fell to the ground and onto her knees, clutching her chest and almost writhing into a ball as the lights only flashed brighter at the chorus' end, with the instrumentation refusing to let up as the drums powered the march towards the guitar solo.

The camera faded to a view of Olga almost folding into herself into one of the lead guitarist, Patrik, still shrouded in darkness as the lights chaotically flashed around the stage. The camerawork was a controlled, deliberately frenetic of angles as they emphasized Patrik's intense jamming with the guitar, playing each note expertly despite his constant movements. The drums also played a role, with the camera catching views of Bozidar playing alongside Patrik. At the latter half of the guitar solo, Olga could be seen releasing herself from her locked position, unleashing a swipe of her arms as if trying to get rid of an unknown force. The stage floor around her looked to have began to 'crack,' with her position on the floor marked by broken glass that was emphasized through each movement breaking the floor screens. At the end of the guitar solo, the instrumentation became soft, with Olga looking up into a lone spotlight for a few seconds, surrounded by mounds of cracked glass.

Ovaj svit je maja pakao, da...
Ovaj svit je...

Olga's face looked down as the camera zoomed in at the moment she spoke these lines, her hair covering her face as her hands were again locked in prayer. She then began to clutch her hands to her stomach after the last 'ovaj svit je,' looking up to the camera with a fragile expression on her face. The red hue began to return to the Anna Friedriksdottar Arena throughout this brief interlude.

Ovaj svit je maja pakao, da
Ima nema kraja dolazak
Samo što pol
Samo tuga
Samo sjetu je mi reljef

At this bridge, the instrumentation remained soft despite the sudden intensity of emotions on her face. She began to reach both hands for the camera as it distanced itself away from her, a visual encapsulation of the agony and grief in her voice as the red hue once again began to brighten to a crimson. Patrik and Eduard, the only mobile band members by this point, were seen to be visibly looking away from Olga at brief shots to their silhouetted forms. Olga was truly at the verge of losing her mind, holding her head with both hands at the end of the bridge...

Mi glas vikam van
“Ostavi me sam”
La noćna mora neće svršetak
Mi tilo pada
Na iscrljenost
La pol je maja egzistencija

Unlike the previous choruses, the red hue remained as VIR unleashed the chorus with Olga belting out the lyrics with trademark power, shining a blood red that made the entire stage look as if it was truly a nightmare world. This was also reflected in the background, which was muddled throughout the bridge, but returned in a form that looked alien. The background screen had black, vine-looking material propagating it, and showed the bedroom scene from earlier in a much different line. The window had only shown total darkness, the bed looked to have been somehow rusted, and the image itself was coated in dark red that made aged the room to look as if it were a salvaged wreck from a bygone time. The walls itself looked as if they had decayed. Olga had maintained the power of the chorus, looking defeated and having begrudgingly accepted the nightmare world she lived in, with the camera giving ample air time to each band member throughout this chorus as they had played their instruments. At the end of the chorus, the camera ended with Olga falling to her knees, looking down to the floor as she belted 'egzistencija' and the camera focusing on her entirely as she slowly went onto her knees.

At the soft guitar-led outro, the red hue disappeared, but the nightmarish background remained. The camera focused on the beleaguered face of Olga, an orange-red spotlight shining down on her face as she looked down and closed her eyes. At the song's end, the lights faded, and one could see the entire band in the same position as her with the exception of the drummer. All on their knees with heads down.

With the crowd cheer, VIR all got up collectively and ambled around each other, in awe of the Ekozian audience.

“Thank you Konikstaat! Thank you Ekoz!” Olga shouted.

“We love you! Thank you!” Patrik then said shortly after, with the rest of VIR giving waves before the band departed backstage, not wanting to delay the next act.

by **Ethane** » Sun Mar 05, 2017 6:57 pm

Ready, Set, Go
By Sarah Kirby

Tune

Cheers erupted from the venue as Ethane was announced as the next act and the postcard flashed up on all the screens. The stage was illuminated by a range of bright white lights to the left and the right of the stage, all pointed down, focused on the centre of the stage where a pole stood. On the right of the stage set stood this man, who was stood in front of a microphone - a backup singer.

As the music began building up, a red array of lights slowly brightened while the stage filled with smoke, but not so much that the people on the stage were not clearly visible, creating a red gas-like glow on the stage. As the song reached the short repetitive section before the sudden jump in intensity, the red lights flashed on and off a few times in time with the music before the music jumped in intensity.

At the moment the music jumped in intensity, the red lights started flashing more, joined by blue, purple and yellow lights. The eight white lights focused on the pole in the middle of the stage began to move in a straight line while spinning (creating a pattern) between the poll and the position of the light. (moving back and forth).

The singer and two men either side of her also came charging out when the music jumped in intensity and began to dance (similar to the dancing from 0:00-1:00). The vocalist was dancing centre stage in front of the pole by about 2 metres while the two men were dancing roughly in line with the poll either side of it. The singer was wearing a microphone like this so that she could dance and sing at the same time.

As the vocalist began singing she stopped dancing and stood still looking out at the audience while walking towards them. The two dancers either side of her followed her slowly, but in jolty actions with no natural flow, although they did move in time with the music. When the backing singer sang, he grabbed hold of the microphone and got so close to the microphone that he was practically kissing it.

When the singer started singing the verse, the lights calmed down again with the multiple colours fading out rapidly, leaving just the red hue and array of lights (but not flashing), the smoky atmosphere, and the white lights which stopped spinning and moving and focuses solely on the pole again which was still currently vacant of any persons. The red lights were dimmed however for the start of the verse when the music died down again and slowly faded in during the verse until their full intensity by the second verse.

You ain’t just here for drinkin,
You don’t know what you’re thinkin,
You just want some quick fling
(and all the men will dig in)
They all get you to lay low,
They start dancin slow,
He just wants you to let go
(and you will let go).

As the second verse signalled a move back to the more intense music again, the other coloured lights came on but were only moving around in patterns rather than flashing as well. The singer and the two dancers continued doing the dance like that shown earlier to the music. Throughout the second verse the dancers and the singer slowly edged backwards until, at the end of the verse, the singer had her back pressed up against the pole. On the final line of the verse she placed her hands on the pole and swung round provocatively, her legs either side of the pole for when the chorus began.

Hey baby what you doin?
I like the way you’re movin,
Wanna find another room?
(you know he’s gonna dig in)
He’s movin closer, ‘let’s go’,
Let’s get this show straight on the road,
Tonight it’s ready, set, go.

As the chorus began, the lights began flashing intensely with all the lights at full brightness moving around the stage in patterns at rapid spaces. Smoke was also creating a colourful hue across the stage, not dissimilar from a disco or nightclub. While she kept singing and swinging around the pole in a provocative fashion, with the white lights that were focused on the poll now flashing and moving back and forth, the two male dancers came over to either side of the pole and danced there, spinning around the vocalist who was spinning around and dancing on the pole (think strip club but less racy and less revealing). As she sung the last line of the chorus she let go of the pole and went to her knees in front of the pole while pointing to the ground while the two men rushed to her side and touched her face and hair before continuing dancing next to her. Throughout, the backing singer was swinging side to side and looking like he was having fun, clicking his fingers along with the tune.

Girl what have you been thinkin?
How much you been drinkin?
To the floor, and you just keep buyin’ more.
You are the one strippin strippin, the men are lookin, lickin
their lips, as your nips are
Slippin, they’re devouring all the kittens
it doesn’t get better, they’re in, barely met her,
This ain’t a game, all you ladies will be goin straight down on your knees

During the more instrumental part between the chorus and the verse, the dancers slowly danced away from the singer, who stood up and slowly walked forward towards the front of the stage.

As soon as she started singing and the music died down a little again, the extreme lights all suddenly cut out, leaving just a dimmed array of red lights creating a red hue and the white lights, which were once again focused on the pole in the centre of the room. The two male dancers did their jolty movements again while the singer completely stopped dancing and only walked around at the front of the stage looking at the audience and the camera. They moved away from each other into different corners at the back of the stage which were shrouded in darkness - behind a black curtain where there was some rustling of the black curtain to show they were in there.

You feel like this is livin,
The alcohol has kicked in,
You’ve lost control, stopped thinkin,
(and that’s when you will give in)
They all get you to lay low,
They start dancin slow,
He just wants you to let go

The music picked up in intensity once again and the lights all turned on again to reflect this for the fourth verse. A female dancer slowly strolled out from the back of the stage, wearing some rather provocative clothing, heading towards the pole which she stood behind once she reached it towards the end of the verse, waiting for the chorus to start.

Hey baby I think I’m dreamin,
Because you’re what I’m seein,
I see a gap to fill in,
(Its your moans, that singin)
He’s movin closer, ‘let’s go’,
Let’s get this show straight on the road,
Tonight it’s ready, set, go.

Straight after the verse when the intense music cut out again, the lights mostly cut out including the red lights leaving only the white lights focused on the pole and the woman who was standing behind it. The woman began to move around the pole before straddling it as the chorus begun, dancing provocatively in time with the music.

The singer continued to move around the front of the stage for most of the chorus, only changing her actions when she reached the end of the chorus to which she once again went to her knees. For the chorus, the lights all suddenly came on and flashing full intensity much like the other chorus.

Girl what have you been thinkin?
How much you been drinkin?
To the floor, and you just keep buyin’ more.
You are the one strippin strippin, the men are lookin, lickin
their lips, as your nips are
Slippin, they’re devouring all the kittens
it doesn’t get better, they’re in, barely met her,
This ain’t a game, all you ladies will be goin straight down on your knees

All the lights except the red array of lights and the white lights dropped out again. The singer ran to the back of the stage, where it was darker, making the audience wonder where she was going. You could see the black curtains, slightly illuminated by the red lights, moving and hands grabbing them, some people obviously behind them. The woman dancing on the pole and the backing singer were the only ones who remained on stage, with both continuing what they had been doing for the chorus.

As the song built up to a cruscendo, the dimmed white and red lights slowly brightened to full intensity when the more intense music began again, with the other coloured lights only kicking in when the more intense music began.

As the more intense swing music began again, the two male dancers returned to the stage arm-in-arm with two woman also wearing quite provocative clothing. In front of them was the singer. Behind the men were a group of about 5 or 6 men and woman dancing in partners in a swing style (similar to that of the video I gave as an example of the dancing but in partners). The backing singer walked up to the pole-dancing woman as well, grabbing by the hand and dancing with her leaving only the singer without a dance partner stood in the front-centre of the stage. Then a man jumped up from the audience and grabbed the singer’s hands, dancing with her in a swing-style as well.

Girl what have you been thinkin?
How much you been drinkin?
To the floor, and you just keep buyin’ more.
You are the one strippin strippin, the men are lookin, lickin
their lips, as your nips are
Slippin, they’re devouring all the kittens
it doesn’t get better, they’re in, barely met her,
This ain’t a game, all you ladies will be goin straight down on your knees

‘Thankyou Ekoz!’

by **Kalosia** » Sun Mar 05, 2017 10:09 pm

28
Kalosia
Chemicals — Rian Dalesso
Composed by Guy Autriche, Adrian Dalesso, & Emile Sollihul
Written by Adrian Dalesso & Emile Sollihul
performed in English to the tune of Shape of You — Ed Sheeran (Grammys performance version)

Rian Dalesso (real name Adrian Dalesso) is relatively new to the Kalosian music scene. Yes, he is Kalosian, but only recently has he become a professional musician, which he achieved thanks to his tens of thousands of fans on Youtube, where his cover videos and collabs with other Youtube singers can reach hundreds of thousands of views (the 20 year old's most popular one had a little over a million views when he signed the contract with the record company he now works under). Yes, he is Kalosian, but the songwriters are not. Guy Autriche & Emile Sollihul composed the original tune, and just like the Kalosian entrant last edition, they're Britonish.
In fact, the Kalosian entry, "Chemicals", was not originally written for RTVK. It was originally known as "Distorted", and was written for Gerald Nikssen to perform in Vha Mehlodhivestoile 2017, an annual song contest held in Britonisea. However, it came fifth in the semifinal and did not qualify. Wanting to give it a second chance, the original songwriters submitted it to RTVK to consider for WorldVision. Things went well for them, but the lyrics were rejected. Separately, RTVK chose Rian Dalesso as the Kalosian entrant to WV54 and he was called in to help write new words for the song. Also making a few tweaks to the instrumentation, Rian turned the song into his own, and the new piece was called Chemicals. The official version was promptly released. But it wasn't the same one to be performed on the international stage.

After the postcard played, it became apparent that Rian was wearing a blue short-sleeved buttoned shirt with white patterns and tight khaki pants. With him on stage he had a guitar, a keyboard, and a pedalboard. The mic, guitar, and keyboard were connected to the pedalboard, which could record and play loops under control of a user. It was clear: he was going to perform entirely live as a one-man band.
To avoid timing and scheduling issues, a beat was supplied to Rian's headpiece, which only he could hear. This allowed the duration of the song to be controlled, as it determined the tempo at which the song was to be performed.
The stage, on the other hand, was dark. No screen graphics for now, just a spotlight shining on Rian and his surroundings.

Now the song starts. Rian pushes his foot on the pedalboard to record the strumming of his guitar for one bar, and then lets the loop play for another bar, and he repeats this procedure with the keyboard, and eventually his own voice. The beat transmitted to his headpiece fades away as all the instruments are set, and then he starts singing.

I’ve never felt what it’s like to be loving, I’m romantically unknown
Then you walked in, and came into my broken life, just said hi but it got me blown
I really wanna start up a conversation with just you, and trust me to give it a chance
Now listen to me, as your hand’s on my torso, I think I’m seeing things

Then I was like, girl, please tell me what you did
Went to the doctor, asked if it was a spell
Told me: “Oh, nothing’s wrong kid”
But I still do not feel too well

So girl, please confess to me
Why does my heart beat, beat so vigorously
Maybe we have chemistry
Oh maybe we have chemistry

The background + floor screens turn into a shade of blue that is dark and not very saturated. The stage lights gradually become slightly brighter. At some point he starts strumming the guitar to add a bit more to the instrumentation.

Nervous thoughts flowing through my brain
And without you they turn into pain
For when we’re in love, we both gain
Chemicals in our bodies

Why I feel it, I don’t know
Because of this, my feelings show
Open up, all you need is to let them flow
Chemicals in our bodies

Chemicals in our bodies
Chemicals in our bodies
Chemicals in our bodies
Open up, all you need is to let them flow
Let your love flow into my—

The stage becomes dim again, lights mainly focused on Rian.

One week in, we let the story begin, and this is my first ever date
You and me get steamy after dinner at yours, under the sheets, we were both feeling great
And after hours and hours of talking, I’m feeling sour, I know it probably wasn’t the entrée
Am I hallucinating? My brain’s just messing with me for I know I wanted to stay

Then I was like, girl, please tell me what you did
Went to the doctor, asked if it was a spell
Told me: “Oh, nothing’s wrong kid”
But I still do not feel too well

So girl, please confess to me
Why does my heart beat, beat so vigorously
Maybe we have chemistry
Oh maybe we have chemistry

Stage becomes less dim again.

Nervous thoughts flowing through my brain
And without you they turn into pain
For when we’re in love, we both gain
Chemicals in our bodies

Why I feel it, I don’t know
Because of this, my feelings show
Open up, all you need is to let them flow
Chemicals in our bodies

Chemicals in our bodies
Chemicals in our bodies
Chemicals in our bodies
Open up, all you need is to let them flow
Let your love flow into my veins

Stage is entirely dark, only a spotlight shining on Rian. Crowd gives a few cheers.

Come on, love, and be mine tonight
Come on, love, and be mine tonight
Come on, love, and be mine tonight
Come on, love, and be mine tonight

Come on, love, and be mine tonight
Come on, love, and be mine tonight
Come on, love, and be mine tonight
Come on, love, and be mine tonight

Lights kick back in.

Nervous thoughts flowing through my brain
And without you they turn into pain
For when we’re in love, we both gain
Chemicals in our bodies

Why I feel it, I don’t know
Because of this, my feelings show
Open up, all you need is to let them flow
Chemicals in our bodies

Come on, love, and be mine tonight
These are chemicals in our bodies
Na na na na
Chemicals in our bodies

Come on, love, and be mine tonight
Come on, love, and be mine tonight
Open up, all you need is to let them flow
Chemicals flow into our veins

And the song ended. A simple performance, but the deed had been done. Actually, entries like these were perhaps best kept simple — it really highlights the song and all the parts that really matter. The crowd cheered, and Rian thanked the audience before leaving the stage for the next act.

by **Britonisea** » Mon Mar 06, 2017 12:53 pm

BVC ONE
The 54th WorldVision Song Contest
Brityunik Vefecosoin Cairkovoin

Live Coverage of the 54th WorldVision Song Contest in Kønikstaat, Ekoz, with your hosts Zeke Lemondey and Rigas Jengiz

00. Interval Act

Rigas: To be honest, I didn't quite get the point of that.
Zeke: The lack of diversity here makes me sick.
Rigas: Yes, not just through race but through body types as well.
Zeke: Where is the space for us meek lot?
Rigas: Ew, especially that blonde one.
Zeke: Didn't like him at all.
Rigas: Moreover, they keep on doing the gay joke.
Zeke: I know right, like, WorldVision is for everyone! All the single men! All the opposite sex marriage men unite!
Rigas: Zeke, I swear you're going out with Jasper.
Zeke: I am a bi-guy, call me in a year, it'll be you I'm going out with!
Rigas: You naughty porkie pie!
Zeke: Up next is Monaco-Portuguese.

by **Ekoz** » Mon Mar 06, 2017 1:57 pm

Andars: Ladies and Gentleman, boys and girls. That is it! Twenty-eight nation's have performed and its now down to you!
India: Yes! It's down to you to vote for your winner of the 54th WorldVision Song Contest! I'm pretty sure you're aware of the voting rules as you are all die-hard WorldVision gay- ahem, (clears throat as the crowd laugh) fans, but we are of course legally and contractually obliged to tell you exactly how to vote...

Andars: Yes, here comes the boring stuff! If you feel you have a favourite song and want to vote, you can vote dialling the local number shown on your television screens with the number of the nation performing, so if your favourite performed third, add the number 03 at the end or vote via SMS with 03 for example.
India: You may also vote using the official WorldVision app, available at any smartphone app centre. Please do NOT, vote for your own country as your vote will not be counted and you will still be charged for the transaction, so don't as it's not worth it!
Andars: But before you have completely made up your minds. Of course, in true Ekozian style, we have a campy, tongue in cheek and completely unnecessary interval act by two men you will not have heard of unless you are of course, either Ekozian or Milean, but the STE did want to remain on a budget when hosting this edition, so you'll have to make do...
India: (She smiles) Yes, here are two very popular Ekozian comedians/singers who actually represented Ekoz and Milea at the World Hit Festival many editions ago.... so ladies and gentleman, put your hands together for...

Both: ANDÅRS AND JØNAS!

The camera pans 360 degrees around the arena before zooming in on the stage where Andårs and Jønas are in position.

by **Ekoz** » Mon Mar 06, 2017 2:49 pm

Andårs & Jønas - We Love WorldVision (WorldVish")

The contest thats ingrained in our hearts,
the contest that invades all our charts.

WorldVish' is the contest for togetherness and peace,
WorldVish' is the contest that will bankrupt you like Greece,
An platform to display home-music,
With a little hint of campness, it's TV's ultimate pick.
Whether reigning victor or debuting tonight,
WorldVish' will get you feeling alright,
Guaranteed to get the party goin', so don't stop helping WorldVision growin'...

We love WorldVision, (uh, don't say any different)
We love WorldVision (uh, the only decision)

It's great for countries that suck at sports,
So all you gays go grab your passports,
A contest based on peace and of love,
An addiction thats sent from above

Oooh,
(we love, we love WorldVision)
Oooh,
(can't get enough o'Vision)
Ooooh, yea-yea hey

WorldVish'

The contest that's ingrained in our hearts,
the contest that invades all our charts.

So sing along, to all of the singers,
Don't be afraid, none of them are mingers.

We love WorldVision, (uh, don't say any different)
We love WorldVision (uh, the only decision)

Of course, there can be only one winner
That usually is Polkopia,
And though it ends, don't be sad my dear,
This contest happens twelve times a year,

Oooh,
(we love, we love WorldVison)
Oooh
WORLDVISH'

The contest that's ingrained in our hearts,
the contest that invades all our charts.

We love, we love WorldVision
We love, we love WorldVision.
The ultimate contest & the answer to your prayers
(The contest that's ingrained in our hearts,)
The ultimate contest to wipe away your cares..
(The contest that invades all our charts)

Andars: Wait....
Jønas: One things missing....

Both: KEYCHANGE!

The contest that's ingrained in our hearts,
the contest that invades all our charts.

The contest that's ingrained in our hearts,
the contest that invades all our charts.

by **Antahbrantahstan** » Tue Mar 07, 2017 5:53 am

Antahbrantahstan, 1/29 Countries Voting.

WorldVision is amazing, Are you watching WorldVision now? WorldVision is amazing, I will announce numbers now.

Eight numbers to...
Britonisea.

Ten numbers to...
Estogium.

The last twelve numbers go to...
Izmedu.

I have announced the numbers, do you like it? I love numbers. I want to say more numbers.

by **Adab** » Tue Mar 07, 2017 7:22 am

Adab voting results:

12 - Tödlichebujoku
10 - Kalosia
8 - Kwadai
7 - Natanya
6 - Electrum
5 - Ekoz
4 - Ardoki
3 - Monaeroglisseurest Pleindanguilles
2 - RIPlania
1 - Missus X

by **Normandy and Picardy** » Tue Mar 07, 2017 10:31 am

Normandy and Picardy Votes

Help...me...

12pts - Antahbrantahstan
10pts - Kwadai
8pts - Besini
7pts - Izmedu
6pts - Electrum
5pts - Puerto Candelaria
4pts - Estogium
3pts - Electrum Diplomatic Offices
2pts - Polkopia
1pt - Euskirribakondara

by **Monaeroglisseurest Pleindanguillese** » Tue Mar 07, 2017 10:35 am

Monaeroglisseurest Pleindanguilles Votes

Howdy folk! How are y'all? Here are your votes my life is misery

12pts - Electrum
10pts - Ethane
8pts - Electrum Diplomatic Offices
7pts - Besini
6pts - Antahbrantahstan
5pts - Polkopia
4pts - Izmedu
3pts - Ekoz
2pts - Zeganas
1pt - Britonisea

[/quote]

by **Estogium** » Tue Mar 07, 2017 2:28 pm

05. DARLINGTON, ESTOGIUM

ELLIE MORGENT

"Hey! I hope to return to the WorldVision Song Contest one day, but not in the near future! Anyway, here are your points from Estogium!"

12- Besini
10- Puerto Candelaria
8- Antahbrantahstan
7- Normandy and Picardy
6- Mercedini
5- Britonisea
4- Todlichebujoku
3- Adab
2- Zeganas
1- Electrum

by **Mister X** » Tue Mar 07, 2017 3:46 pm

COMMENTARY on MRX ONE with Robert Baxter and Sam Smith.

And that concludes tonight's entries. Here's a quick reminder of all 25 songs and their softness ratings.

01 Missus X
02 Britonisea
03 Polkopia
04 Merecendi-
05 Natanya
06 Estogium
07 RIPlania
08 Electrum Diplomatic Offices
09 Mister X
10 Electrum
11 Adab
~~12 Darkmania~~
13 Normandy and Picardy
14 Ekoz
15 Lupolska
16 Monaeroglisseurest Pleindanguillese
17 Kwadai
18 Alinghi Federal-Democratic Republic
19 Mercedini
20 Ardoki
21 Puerto Candelaria
22 Euskirribakondara
23 Zeganas
24 Todlichebujoku
25 Antahbrantahstan
26 Izmedu
27 Ethane
28 Kalosia

54th WorldVision Song Contest | Kønikstaat, Ekoz | STE

Commentary 54th WorldVision Song Contest | BVC

Commentary 54th WorldVision Song Contest | BVC

Estogium Votes

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