56th WorldVision Song Contest- Besini Pãcretana, Besini [IC]

by **Lupolska** » Mon May 15, 2017 2:20 pm

OOC Thread may be found here.

“Let the WorldVision Song Contest begin!” a deep, heavily-accented voice booms through the arena. The theme of Worldvision 56 plays throughout the arena and on the TVs of each network playing the contest, as the stage flashes in a grandiose display of its technical capabilities. The LED panels are lit with various colors and abstract designs, while the various powerful lights swing back and forth across the arena. The cameras pan across the crowd and throughout the arena, showing the cheering fans of multiple nationalities, waving their flags or arms.

Arioslavian fans in lively dress.

As the instrumental closes, the audience applauds again stage falls pitch black as the performers of the opening act rush to their positions.

The lighting returns to the light purplish-blue that will remain it's default setting throughout the contest. Natala Nagyek, the show's hostess, struts onstage to welcome the audience. “Welcome, world, to the Fifty-Sixth edition of the WorldVision song contest! I am the beautiful Natala Nagyek, and I’ll be your hostess for tonight, guiding you through the evening as we listen to our 27 marvellous contestants, and then decide which will be this year's winner!

“Before we truly commence the show, I would like to give special attention to our slogan, ‘Chart A New Destiny!’ We, the citizens of Besini, believe in the freedom for anyone to self-determine their path, whatever it may be: to make what you want of life, to become what you wish, to do and experience what you wish. It’s one of the cornerstones of the culture of our lovely little country, and it’s one we hope to share with the rest of the world. It has allowed me to come to this stage to present this contest to you, the fans, and it has allowed our many performers to also come up here, from twenty-seven different nations, to perform for you and compete for the title of WorldVision Champion!

“And now, without holding up the progress of the contest- for we have important programming to show and planes to catch, here at TV CIODA- we present to you the previous winner of the contest, Matinée Schylestreake, and her beautiful song, 'I Will Not Concede'.

As the song started, her figure was already on stage. She was standing with her back towards the audience, looking at the backboard of the arena's stage. The stage was a fiery red and orange - infused together to make a dangerous display. The camera came from the back screen of the stage to meet her face to face. As the camera came closer to her face, she smiled ever so slightly. She then looked to the right, where another camera had greeted her. She then began to sing the song.

I have now returned,
I am back in town,
I've traveled a long way.
You tried to run away,
But I was on to you.
Now it's time to voice the truth.

She then turned around, now facing 90° clockwise from where she was previously. The staging was still quite fiery and it showed now signs of slowing down - the fire raged on. She held out her hand, singing the song with passion. She felt used, she felt abused. She wanted to convey this message with her audience - both in the arena and at home.

Do you think that they will be in your favour?
You better think again!
I've been so down low,
But you were sky high!
Oh, you'll deserve what's coming...

She then slowly started to turn around more. The camera, however, spinning around her in the opposite direction. At every four bars, the camera would meet her face and out, would she hold her hand. When she started to sing about how she had been "down low," she went down to the floor, and a camera from above her came closer to her. She then looked up and pointed as she sang about what will be coming.

As she did that, a 3-D spectacle happened, where it looked as though she was trying to reach for the camera, but she was sinking under. The floor of the stage was compensating to this illusion and of course, the movement of the camera.

On a fight, a conquest!
I will tear you down.
You'll defend, I'll fight back!
As I will not concede!

She started to sing the chorus, she had totally turned around all the way and the camera came from the far end of the arena, zooming in on her face at 40mph and the stage behind her crumbling from hellish red and orange to turquoise green. A wave was created with the staging behind her, which was complimented with 3-D effects which made it seem as if the wave was coming out of the stage - thanks to the camera work.

As she sang about how she will "shelter," she walked to the left of the stage, with the camera behind her. The spotlight were infront of her, so as she walked, each spotlight would turn on, paving the way for her to walk. She then stopped and raised her hand in the air as she sang "I will not concede!" The camera then faded in to darkness, and so did the arena.

Another camera came from in front of her and greeted her in the face, similar to how it was done earlier in the song, near the start of the song. However, her facial expressions were somewhat different. She looked angry and slightly flustered. She raised her hand to her ear and roughed up her hair to show her frustration.

I was left to think,
It was all on me.
You've put me in great doubt.
I knew the day of judgement would come.
You are up for trial! Justice sounds good,
And so does my voice!
Once was silent, but I'm now heard!

She then started to walk backwards back to the main bulk of the stage. She still looked confused as she walked back, with her head lowered - ashamed to show the audience her true emotion. How could someone have done this to her? A strong woman she thought she was. She started to doubt herself.

When she sung about how "Justice sounds good," the camera zoomed passed her and confronted a violinist on the side of the arena. The light then focused on the violinist and so did the camera, so that the people in the arena and those watching on television could see. The violinist stressed the next section as this was her bit to shine. The light, which had previously been yellow turned back to hellish red. After "heard!" was sung, a splash of pink and yellow blew up on the stage with petals on the screens. However, there were some petals which were blown on to the stage to make the staging look more realistic.

On a fight, a conquest!
I will strike you down.
You'll defend, I'll soar high!
I will not concede!

The song was about to increase in texture before dropping dramatically. She had to make sure that this would good, and so this was complemented but quick and fast camera shots. She just stood there on the stage as the fan machines were turned on and the rest did the job.

I won't surrender
I'm your contender
I will not, I will not concede.
I'll linger in your mind,
Have regret for your life
I will not, I will not concede.

Her head was so up that she was looking at the ceiling of the arena. She was turning around on the spot, and she turned on the spot, the floor LED made spirals which would ripple throughout the whole floor of the stage. She raised up her hand to the sky and lowered her head down to the floor.

Never surrender. I'll never render,
The love we once shared together!

On a fight, a conquest!
I will break you down.
You'll defend, And I'll rise!
I will not concede!

I will not, I will not,
Concede.

After the drums kicked in for the last time, the stage then fell in everything. A single white spotlight was on her for the last bit of the song (the one with the larger font), and lifting her face from looking down on the floor, with a line of mascara dripping down her face.

"Wow, what a stunning performance! But hold tight- before the contestants perform, we have one more act, performed by our very own. You are most likely familiar with BELET- the quite literally stage-smashing band from two editions ago. Well, they've returned to provide the music for our second opening act, but they won't be the ones singing." Natala explained, smiling. "We'll leave that a surprise," she added, flipping her hair to the camera and winking.

The rear wall is lit up and displays aerial video of the city. Towards the rear of the stage, some of the members of BELET, Besini’s debutant act in WorldVision, are playing instruments and operating sound equipment, while Natala remains in the front of the stage, singing into her same microphone. The camera alternates variously between Natala, the band members, the audience, and live footage from a drone above the arena. As the music picks up, Natala yells into the mic, "WORLDVISION, LET ME HEAR YOU!" The audience cheers loudly in response. "LOUDER!" she yells, and the audience screams.

From the halls of Sovoux, to the bank of the Kreitton
And plenty other places
Many nations have tried, many have gone down fighting
And many pull their aces

From the side of the stage, another Besinian singer (Fustina Neri) enters the stage and starts singing. In the background, towards the end, the video switches to a timelapse of the arena from a nearby highrise as the sun sets, ending with the arena at night.

So we’re back again, gathered with our good friends
Wanting the entries to go!
But still the rest of this song to sing,
So just enjoy our show...

The rear screen depicts a brilliant fireworks display over the arena as some spotlights dance around the audience, and others strobe. The general coloring of the lights matches that of the fireworks on the stage.

Welcome to WorldVision, musical collision
International showdown
Where our fates shall unfold, will you go for the gold?
Or will you be blown out?
“Give me a chance,” they pray; “Give me a show,” we say back
Oh, no pressure, my boys!
Here in this little park within our isolated nation
Come on and make us some noise!

Natala takes the lead again, singing the second stanza. The rear screen 'fast-forwards' to daytime. As she lists the countries that are mentioned in the lyrics, the screen shows the skylines of recent host cities, such as Konikstaat, Cherbourg, Kyvivre, and Phoda.

Wherever you’re from, whether near or far off
Here we welcome you today
Mister X, ToBu, Kalosia, Izmedu
Britonisea and Kwadai
Talvezout, Goluta, Arioslavia, Ekoz,
Mercedini and Merecendi
And so many other nations we missed
Together in Besini!

As the second recitation of the chorus is performed, the video feed fast-forwards again to night, showing more fireworks. Simultaneously, fireworks are shot off from barges on the river, and are visible to the outdoor viewers who have a less-than-perfect view of the arena.

Welcome to WorldVision, musical collision
International showdown
Where our fates shall unfold, will you go for the gold?
Or will you be blown out?
“Give me a chance,” they pray; “Give me a show,” we say back
Oh, no pressure, my boys!
Here in this little park within our isolated nation
Come on and make us some noise!

The fireworks cease and the camera focuses on Fustina as she begins the bridge of the song. Towards the end, Fustina points to Natala.

Can’t you feel the air all around you?
I hope our language doesn’t confound you
They say it’s difficult, yes it’s true
Mai goladmolu ga daltudu

Have you tried the delicious golascä[i]?
We promise it’s very [i]masazza
The music’s intense, wouldn’t you say?
It’s all the better for your stay

Are you ready for the first act tonight?
We assure you, it’ll be quite the sight
I’ve only got one more thing to say
Natala, take it away!

The fireworks resume as Natala sings the penultimate chorus. The camera tracks her for a moment, before spiraling and zooming out to view the entire audience.

Welcome to WorldVision, musical collision
International showdown
Where our fates shall unfold, will you go for the gold?
Or will you be blown out?
“Give me a chance,” they pray; “Give me a show,” we say back
Oh, no pressure, my boys!
Here in this little park within our isolated nation
Our contestants are poised

Fustina rejoins the singing, and the camera shows them and BELET in the background, as they finish the chorus.

Welcome to WorldVision, musical collision
International showdown
Where our fates shall unfold, will you go for the gold?
Or will you be blown out?
“Give me a chance,” they pray; “Give me a show,” we say back
Oh, no pressure, my boys!
Here in this little park within our isolated nation
Come on and make us some noise!

As the audience erupts in applause and the fireworks finish, Fustina and BELET join hands and bow at the front of the stage for the audience, before walking off stage.

Natala returns to the forefront of the stage. "I must say, that was exciting! Let's give a round of applause to Fustina and to BELET for their amazing performance, and to Matinée for hers!" Natala says, trying to make herself heard over the audience's massive applause even with the sound equipment in place. "Now, I believe we have kept you waiting long enough. We present to your the first act of tonight's WorldVision Song Contest!"

The audience cheers and applauds once more as Natala exits the stage and the first postcard plays.

by **Lupolska** » Mon May 15, 2017 2:21 pm

ACTS/POSTCARDS

COMMENTARY

Arioslavian Commentary
TBD

TNTV (Togonistan)
Full Commentary

BVC (Britonisea)
Full Commentary

PNB (Polkopia)
Part One (Acts 1-11)

Töbuk (Tödlichebujoku)
Part One (Acts 1-7) - Part Two (Acts 8-14) - Part Three (Acts 15-21) - Part Four (Acts 22-27)

NNN (Normandy & Picardy)
Full Commentary

MRX One (Mister X)
Part One (Acts 1-22)

CdRY1 (Yttribia)
Part One (Acts 1-24) - Part Two (Acts 25-27, Voting Commentary)

by **Tinhampton** » Mon May 15, 2017 2:23 pm

Act #01: Tinhampton, fashionably early. Entry to come.

by **Gregoryisgodistan** » Mon May 15, 2017 3:02 pm

02. Gregoryisgodistan
Title: “We Will Nuke Them All”
Group:: Children of the Lord Children’s Choir
Tune: ”It’s a Small World”

The Children of the Lord Children’s Choir walk onto the stage, all wearing child-size flame resistant suits with Lord Almighty Gregory’s smiling face on them, and carrying fire-resistant large schoolbags full of props. The children rage in age from six to ten. Then, they begin to sing about nuking their enemies in an extremely cheerful, yet creepy voice.

It’s a world of heathens, a world of us
We praise the Lord, and we do what’s just
And the heathens are fools, but they teach us in school
We’ll nuke heathens ‘till they fall!

The Children of the Lord Children’s Choir remove flags of Costa Luna, the first nation to be added to the enemy list, from their schoolbag, and set them on fire with flamethrowers. Slaves dressed as Doybert from the hit TV show Costa Lunians Say The Darndest Things walk on stage and the children set them on fire as well. Then, they continue to sing.

We’ll nuke the Loonies ‘till they fall
We’ll nuke the Loonies ‘till they fall
We’ll nuke the Loonies ‘till they fall
We will nuke them all!

The children then set more Costa Lunian flags on fire and detonate miniature (non-nuclear) bombs to blow the slaves up, and then pour some gasoline on the fire as they continue to sing.

There is just one God and his name is Greg
If you don’t love him then please don’t beg
For your death will be near and it’s time that you fear
That we’ll nuke you ‘till you fall!

The children then remove flags of San Jose Guayabal, Gregoryisgodistan’s Number One Enemy, from their bags and set them on fire. Also, slaves dressed as the Guayabalense soccer team and Queen Margaret I of San Jose Guayabal walk on stage and are set on fire. The children continue to sing, still in a cheery voice, as the fire rages on around them.

We’ll nuke the Guayas ‘till they fall!
We’ll nuke the Guayas ‘till they fall
We’ll nuke the Guayas ‘till they fall
We will nuke them all!

The children detonate more miniature bombs, blowing up the slaves dressed as the Guayabalense soccer team and their queen, then set the bits on fire, pour more gasoline on it, and continue to sing, still in an extremely cheery voice.

Hicanas are stupid, we nuked them too
They were ugly pieces of ugly poo
We have nuked them to bits
We have killed all the twits
Oh guess what, we nuked them all!

Video of Gregoryisgodistan nuking Hicana plays on the video board in the background as more bombs go off in the background, partially destroying the stage, and Hicanan flags are dropped from the ceiling, set on fire, and doused in gasoline, all by these small children.

We nuked Hicana, now they’re gone!
We nuked Hicana, now they’re gone!
We nuked Hicana, now they’re gone!
We have nuked them all!

More Hicanan flags are set on fire as the video of the nuking reaches its dramatic conclusion with Hicana vaporized. Then, the children proceed to pour more gasoline on the fire, causing it to engulf the front third of the audience, and then throw bombs into the audience, blowing the front few rows to buts.

Then they continue to sing, about their Worldvision rival Britonisea, also on the Enemy List.

The Britonish are evil, we’ll nuke those clowns
We’ll nuke each city and every town
We will nuke them to bits
We will kill all those twits
We are gonna nuke them all!

The children remove flags of Britonisea and set them on fire. Slaves dressed as every Britonish WorldVision contestant in history, as well as WorldVision contestants from all their little friends like Grand Britonish Kingdom, walk on stage and are set on fire. The children pour more gasoline on the fire, which now causes it to engulf the front two thirds of the audience and the flames climb almost all the way to the ceiling. Then, they continue singing.

We’ll nuke Britonisea ‘till they fall!
We’ll nuke Britonisea ‘till they fall!
We’ll nuke Britonisea ‘till they fall!
We will nuke them all!

The children then detonate bombs which blow all the slaves to bits, and then throw bombs into the audience, blowing up many more members. They then pour more gasoline on the fire and it engulfs the entire building. Now, it is time for the finale.

There will be no heathens, we’ll drop some nukes
They will be all gone, it is our rebuke
And the heathens are gone
When we drop atom bombs
We are gonna nuke them all!

The children take out flags of the remaining Enemy List nations who they did not have time to address in full, specifically Middleton Valley, Taxachussetts, Alianza Albos, Greater Vakolicci Haven, Jeckland, Estenia, Nexxus Drako, New Wolfopolis, The Royal Barangay, Berk Island, The Archregimancy, The Serbian Empire, Acedonia, Coconutstan, Coconut Isle, Super-Llamaland, Miley World, Gloriax, Iesusisgodistan, The Holy Empire, Apox, Abanhfleft, Star United States, Associated Godlands, Chiata, Jeruselem, Frenline Delpha, Valladares, Osarius, Carialus, Damukuni, Eura, Ceni, Taeshan, Bonesea, Red Blackiland, Nephara, Ilyseum, Gadirya, and Cosumar, and set them on fire, pouring more gasoline on it in the process. Meanwhile, slaves dressed as notable individuals from all those nations, including their national sports teams and current and former WorldVision contestants when applicable, not to mention the leaders of those countries, walk on stage and are also set on fire, then blown up. Slaves dressed as “King” Andreas of east Saintland and his family also walk on stage and are set on fire and blown up, but unlike the other countries, no civilians or flags are destroyed, representing the fact that the Gregoryisgodistanis view the east Sanctii government as illegally occupying the eastern half of the Kingdom of Saintland, and the people as victims of a theocratic radical Christian government rather than the Enemy. In sharp contrast to previous contests, King Petrus XX is not threatened, as the Kingdom of Saintland, known to the rest of the world as West Saintland, is now a constitutional monarchy ruled by a Femininstvs Sanctvsterra-led government, and an ally rather than an enemy of Gregoryisgodistan. Meanwhile, the video board shows video of Gregoryisgodistan nuking Associated Godlands and Coconutstan into oblivion, much like they will eventually do to all the other nations. They the children sing the final chorus.

We’ll nuke the heathens ‘till they fall!
We’ll nuke the heathens ‘till they fall!
We’ll nuke the heathens ‘till they fall!
We will nuke them all!

But now, we’re not done yet. It’s time for the Grand Finale. Bombs have secretly been hidden throughout the audience, which is now already dead, and they go off, blowing up the bodies. Then more bombs drop from the ceiling all throughout the venue, and when these go off, Fireworks go off too in addition to the explosive force from the bombs. The venue is now completely engulfed in flames and the bombs have destroyed a lot of the venue. Finally, the sprinklers go off and it takes them three hours to put out all the flames, plus a lot longer to put everything back together after the bombs. The children, meanwhile, are unharmed in their flame resistant suits, and walk off the stage, finally having stopped singing in that creepily cheery voice.

by **Lupolska** » Mon May 15, 2017 3:25 pm

TV CIODA orders a quick advertising break to clean up the mess within the amphitheater. The contest resumes minutes later.

by **Talvezout** » Mon May 15, 2017 3:35 pm

03 - TALVEZOUT
LAURA - SONG OF REVOLUTION

Laura would be standing on a platform, in the middle of the audience. Six long stops of cloth hang from the ceiling down to the platform, where Laura is standing. She would be wearing a simple grey dress, that would congrats nicely with her bright fire red hair.

When she would start singing, a single spotlight from the back would illuminate her, showing her only in silhouette. She would sing the first verse like this, with the cloths gently billowing about behind her.

Ópos to fos érchetai apó mia skiá
Kai akóma perissótero tha ekpémpei o ílios
Oi simeióseis érchontai tóso kathará
Oi léxeis tóso éfkola
To mínyma pánta oneirikó

Another spotlight would gently open up on to the front of Laura, illuminating her in the darkness of the arena. As she would sing the chorus, other spotlights would gradually illuminate the hanging pieces of fabric.

Ópos tragoudó:
Aftó to néo tragoúdi epanástasis
Kai tragoudáo
Aftó to néo tragoúdi epanástasis
Akóma tragoudó
Aftó to néo tragoúdi epanástasis
Étsi tragoudó
Gia agápi, elpída, agápi

As the chorus ended, the spotlights on the fabric would turn off as the wind machine turned on, gently billowing about Laura's dress and her hair.

Ópos eípan oi prógonoí mou
I agonía gia allagí
Gia na káneis mia kalýteri zoí xaná
Nomízo óti oi kakoí paraviázoun
Oi kairoí allázoun

After the snare roll ended, bracelets given out to the audience would all light up, surrounding Laura in a sea of light. The audience would wave the bracelets around, giving the impression of Laura being surrounded by a bright, shimmering sea.

Aplá prépei na synechíso

Ópos tragoudó:
Aftó to néo tragoúdi epanástasis
Kai tragoudáo
Aftó to néo tragoúdi epanástasis
Akóma tragoudó
Aftó to néo tragoúdi epanástasis
Étsi tragoudó
Gia agápi, elpída, agápi
Agápi, elpída, agápi
Elpída, agápi, agápi

The spotlights on the pieces of fabric would come on, but would also cut out when the verse ended. The bracelets continue shining, as the wind machine comes back on.

Kai kathós oi práxeis érchontai se trochiá
Miló me synkínisi
Oi léxeis eínai tóso katharés
Kai to méllon me fovízei
Allá nomízo óti eímai étoimos
Gia na to antimetopísete kai na deíte

As Laura sang the last chorus, the spotlight illuminating her from the front would gently cut out, leaving just her silhouette admits the sea of lights.

Étsi tragoudó:
Aftó to néo tragoúdi epanástasis
Kai tragoudáo
Aftó to néo tragoúdi epanástasis
Akóma tragoudó
Aftó to néo tragoúdi epanástasis
Epitrépste mou na tragoudíso
Gia agápi, elpída, agápi

Clearly happy to be back on the Worldvision stage, Laura would thank her audience before leaving the stage.

by **Free Republics** » Mon May 15, 2017 3:52 pm

04 - Free Republics
New Republicana, Performed by Egidia Fuentes
Tune

Egidia Fuentes walked onto the WorldVision stage. The exotic-looking daughter of immigrants was scantily clad and had dyed her hair green. In recent months, she had risen to the top of the musical charts as the voice of "La Resistencia de la Raza", a radical progressive movement committed to "resisting the racist, sexist and homophobic status quo" as represented by the relatively moderate Consuls Robert Nicholls and Kyle Bolton and their legislative coalition of the mainstream, which included the Moderate Liberal Conservatives, the Liberty Party, the Responsible Progress Party and the Radical Alliance, that was now governing the Free Republics following the overthrow of the Radical Christian dictator and the techno-fascist dictator. As she walked onto the stage in Besini Pãcretana, Egidia grabbed the microphone and started speaking:

Egidia Fuentes wrote:Hello WorldVision! Hello, Besini Pãcretana! First off, I want to say that I was appalled to see Gregoryisgodistan call for the death of the good Progressive people of Taxachusetts. Is the allegedly omniscient god who calls himself "Lord Gregory Almighty" or something like that so transparent a fraud that he doesn't even know that Taxachusetts is now part of the FFR? Excuse me, Mr. False God, but Connection happened years ago, whether we like it or not and Taxachussans are mostly happy to remain under the Republican defensive umbrella, even if they're having to make massive cuts to government programs because of the far-right plutocrat and rapist whom we laughably call our Consuls.

But I didn't come here today to tell you how many of us also find the so-called leaders of our nation to be a complete embarrassment, and make no mistake about it, Robert Nicholls and Kyle Bolton are Not My Consuls and those anarcho-fascists in our national legislature are Not My Legislature. I came here today to sing a song in honor of the New Republicans, a song in honor of the children of immigrants, in honor of people of color,
in honor of the Sisterhood of women and even in honor of those decent white men who know that they must Check Their Privilege 5 times a day to repent for their contributions to racism, sexism and homophobia.
This song is entitled "New Republicana".

Pigs hit by flying bottles,
Just what you deserve if you're Fascista.
Viral memes turned us into heroines.
Self-made success now we don't roll with no fellers.

As she began singing, several women dressed in all black, wearing black masks and carrying bottles walked onto the stage and a dozen life-size stuffed pigs wearing police uniforms were lowered down to the stage. The women in masks began throwing bottles at the pigs. As the bottles broke, they covered the stuffed animals in what looked like real blood.

Survival of the fittest, the federation's ours until it falls.
We're CEO and Consul bound, and we don't feel like outsiders at all.

As she sang this, images of the legislators and Consuls of the FFR being shot and replaced by radical Progressives flashed on the screen.

We are the new Republicana
Smoking cheap marijuana
Raised to not be Neanderthala
We are the new Republicana

As she sang this line, the masked women began lighting marijuana cigarettes and representatives from Resistancia Records began passing out marijuana cigarettes and lighters to the audience.

Young Federico Loggia, some say he looks just like his father,
But he could never love somebody's daughter.
A Baseball player, he loved more than just the game
So he vowed to be somebody's husband at the altar.

As she sang these lyrics, two guys walked onto the stage, holding hands and began graphically making out with each other for the remainder of the performance, gradually escalating all the way to public sexual intercourse.

[box]Survival of the fittest, the federation's ours until it falls.
They're CEO and Consul bound, and we don't feel like outsiders at all.

We are the new Republicana
Smoking cheap marijuana
Raised to not be Neanderthala
We are the new Republicana

More images flashed of a violent revolution against the democratically elected government of the FFR and the masked women began lighting more and more marijuana cigarettes.

We know very well who we are, so we won't hold back once summer starts.
How many people have you been recruiting?
How many fascist skulls have you smashed lately?

As she sang this, the screen showed more and more people joining La Resistancia and engaging in extreme violence against their political opponents. Meanwhile, more and more masked women entered until she had an army behind her on the stage.

We are the new Republicana
Smoking cheap marijuana
Raised to not be Neanderthala
We are the new Republicana
We are the new Republicana
Smoking cheap marijuana
Raised to not be Neanderthala
We are the new Republicana
and the FFR is OUR country now!

As she sang these final lyrics, the room filled up with marijuana smoke. As Egidia Fuentes and everybody else involved in her performance left the WorldVision stage, nobody could even see them through all of the smoke...

by **Yttribia** » Mon May 15, 2017 4:03 pm

OOC: The Yttribian trigramme is normally YTT, but YTR will also do at the host's discretion.

/ 05 - Yttribia /
/ Stewart d'Arcy - It Takes Two /
/ Language(s): English /
To the tune of: The Revivalists - Wish I Knew You

With everything magically back to normal and set in place after the Gregoryisgodistani delegation murdered every single guest and burned down the whole venue and the Republican delegation decided to hotbox the arena, Besini Pãcretana is ready for a performance once more. The stage has a nocturnal atmosphere, with a single spotlight shining as d'Arcy takes the stage dressed in a blue button-down shirt with small white dots, which is tucked into a pair of nicely fitting tan chinos, and black boots. The screen, designed to look like the dark night sky, now has stars appearing on the screen slowly as the backing band begins to play, and d'Arcy puts both of his hands on the mic and micstand, smiles as he begins to sing, with stars continuing to form in the background.

You...come from lands afar
and it may be bizarre
Looking for the luminous
And I, I wanna be stunned
So let's have some fun
and break from the cubicle
Now look at my plan
Let the pedal hit the floor
Ignore the nitty gritty
This won't happen nevermore
Be my guide, be my host
Turn me into the devil
Hit me with that morphine dose
That morphine dose

The stars have now fully in the background as d'Arcy starts to dance with the micstand, bringing it down and up as he continues to sing, and proceeds to sing the chorus at the song, mouth beaming with joy and happiness as he is in awe of the massive crowd gathered to see him perform.

Yenno it takes two to have some fun
And now I feel so alive
Driving to that top forty song
Basking in the night's lights
You and I are gonna bind
And we'll become glued
Basking in the night's lights
Yenno it takes two
Yenno it takes two
Oh, yenno it takes two to have some fun

d'Arcy is clapping his hands to the drums during the transition from the chorus to the second verse of the song, closing his eyes as he dances to the instrumentals, before placing his hands on the mic and micstand to sing once more with his easygoing attitude allowing for him to enjoy this moment further.

I...will now take your lead
For this love that we breed
And enjoy what's beautiful
I'm bound to have a turnaround
Yet you make me think wow
And you're strong like a crucible

d'Arcy picks up the microphone from the stand and starts to make his way down the runway, showing his power and presence on stage, before stopping and pointing at the audience as he finishes the next line of the song.

Now whatchu-whatchu-watchu-watchu mean we're done?
Don't tellme-tellme-tellme-tellme this night is done?
I'll be your guide, be your host
Turn you into a devil
Hit you with that morphine dose
That morphine dose

The chorus kicked in again as d'Arcy would get up close and personal with the vibrant fans and audience present, high-fiving them and holding their hands as his boyish smile, which could brighten even the blackest of black holes, captivated the crowd as he sang the chorus to the thousands of fans in attendance and the millions (and millions) of fans watching at home, with the whole screen behind him now fully transformed into a beautiful starry night, with the moonlight-tinted spotlight focused on d'Arcy, giving him his moment to seize the night.

Yenno it takes two to have some fun
And now I feel so alive
Driving to that top forty song
Basking in the night's lights
You and I are gonna bind
And we'll become glued
Basking in the night's lights
Yenno it takes two
Yenno it takes two
Oh, yenno it takes two to have some fun

The stars start to disappear as a faint purple can start to be seen on screen, as the bridge kicks in for d'Arcy to sing. Slowly, the screen begins to become more of this dark purple color as the bridge progresses further and further.

Now let's get in the groove
Oh, oh, oh
Let's get in the groove
Oh, oh, oh
Let's get in the groove
Oh, oh, oh

The mood kicks up for once last time as the chorus is sung for one last time, as d'Arcy's night is slowly coming to an end, both on stage and on the screen. The purple and now pink sky is starting to overtake the once dark blue screen, as the chorus is sung one last time, with d'Arcy smiling all the way to the end, knowing he did himself proud, and he was ready to enjoy the rest of his night, no matter what the results were at the end of this contest.

Yenno it takes two to have some fun
And now I feel so alive
Driving to that top forty song
Basking in the night's lights
You and I are gonna bind
And we'll become glued
Basking in the night's lights
Yenno it takes two
Yenno it takes two
Oh, yenno it takes two to have some fun

d'Arcy puts his fist up as the once dark screen has become a much more brighter screen, with the sun slowly starting to come out on screen, signaling the end of the night for d'Arcy and the end of the song. d'Arcy takes a step forward and bows, lets out a loud "Thank you, Besini Pãcretana!" and blows many air kisses to the crowd as he waves to the crowd goodbye, and makes his way offstage and into the greenroom. To Stewart d'Arcy, this was the best moment of the night to him. Whatever might happen during the voting, who knows. He couldn't give more of a shit if he tried. He did himself proud, and that's what mattered.

by **Lupolska** » Mon May 15, 2017 4:08 pm

The stage is dark. A lone, somewhat dim spotlight illuminates the singer, standing by herself on the stage with the mic on the stand infront of her, as she begins the first chorus. She begins singing softly and quietly, though still clearly audible to the audience.

When everything is said and done
When I’m staring at the tip of my smoking gun
A solemn thought comes creeping in
Oh, the visions, the dreams, the memories that have been

A few more spotlights shine on the singer, illuminating her fully. She raises her voice. As she sings, she lays her arms out in front of her, then crosses them over her chest, balling her hands into fists

Adversaries, who said that I’m frail
Who told me I can’t, and that I would fail
I know that I’m not, whatever they thought, whatever they thought
The tears in my eyes, I wipe them away
The hardships I’ve passed, have left me unfazed
So I lift my head, So I lift my eyes
So I lift my eyes

The rear screen lights up, with wavy lines of dim green light feeding into behind the singer (according to the camera's view) to give her 'energy'. The rest of the stage is lit enough to be visible to the cameras and audience. She

I stand undefeated, I know I won’t fall
When you see me you’ll know, I am unstoppable
Unafraid and relentless, I’ll push for it all
Let the whole world know, I am unstoppable
Woah oh oh oh oh oh, I am unstoppable
Woah oh oh oh oh oh

She continues her motions as she carries into the second chorus.

I don’t need a helping hand
Do you think that I’m going to sink into the sand?
I shall glide upon the waves
For I don’t give a damn about what anyone says

The lines get brighter and 'stream' faster.

Adversaries, who said that I’m frail
Who told me I can’t, and that I would fail
I know that I’m not whatever they thought, whatever they thought

The lights in the stadium all flash brightly once at the beginning of the chorus. As the singer reaches the 'woah oh' segment of the chorus, she waves her arms around. The 'streams' of light coalesce and wave to the motions of her arms, appearing to the camera as though she is guiding them as they come from her hands.

I stand undefeated, I know I won’t fall
When you see me you’ll know, I am unstoppable
Unafraid and relentless, I’ll push for it all
Let the whole world know, I am unstoppable
Woah oh oh oh oh oh, I am unstoppable
Woah oh oh oh oh oh

The singer grasps the mic closely and stares into the camera as it swings in circular motion from one side of the stage to the other.

And if the fight will ever find me, find me
There is no need to remind me, remind me
I know...

When she reaches the long note, she draws it out to cover the "I stand undefeated" segment of the chorus at the beginning, returning to the regular vocals as she finishes the song. She repeats the motions of her arms at the 'woah' and 'yeah' section, with the screen replicating likewise. During the final recitation of the line, "I am unstoppable", the stage returns to it's beginning setup, with the lone dimly lit spotlight on the singer.

I stand undefeated, I know I won’t fall
When you see me you’ll know, I am unstoppable
Unafraid and relentless, I’ll push for it all
Let the whole world know, I am unstoppable
Woah oh oh oh oh oh
Yeah yeah yeah yea-ah, I am unstoppable

The music track ends. The singer bows to the audience, giggling a little. "Bascada, thank you!!" she yells, before exiting the stage.

by **Togonistan** » Tue May 16, 2017 11:12 am

7. Togonistan

Grace Lekker - "Freedom"
Tune : https://www.youtube.com/watch?v=-Q0dztCxoSs

Grace Lekker is Togonistanian singer, actress and songwriter. After representing Togonistan in WorldVision 55, Grace decided to give it another shot and singed herself up for Togonistan's WV56 National Selection. Despite the fact that fans and betting sites did not consider her to be a favorite, Grace managed to win National Selection once again by beating runner-up metal band Red Alert.

Grace's song ''Freedom'' is a story about domestic violence. Woman has had to put up with her dominative husband for years, when she suddenly decides to make a change in her life and leaves him. When asked about why she chose such a subject, Grace said: ''Domestic violence is a social problem that often tends to be overlooked at. It is a kind of problem that people don't seem to talk about much. But it exists, and with my song, i want to give everyone a message to stand up against it.''

Performance:

The stage theme is dark. Grace is standing on the stage, wearing short leather dress and open high heels. She is looking at the ground, and as the music starts playing, she slowly raises her head, looks at the audience and starts singing:

Things are getting better
throwing everything bad away
I left you, and now became a settler
I slowly fade away

Day by day i recover
but my scars are still there
I believed you when you called me your lover
would you really think it's fair

As the chorus part starts, stage suddenly gets filled with green flashing lights and lasers. Background changes into a futuristic-looking city made of green grid (it looks something like this).

Here i am running through the fire
you see, it's my desire
to be free just like a bird
without you i can feel much happier
you were my mental rapier
cutting through my soul like sword

How could i let it go this far
you were my very own czar
used to be praying when i saw a shooting star
this is not understandable
i was easily commandable
you simply took away
my freedom

The lights and lasers stop flashing, but the overall stage theme still remains green. Grace removes the microphone from a stand and starts walking around the stage while singing her song.

Walking my own path from now on
til' i see you in mind
i want to forget, think that you are gone
but i can't, if i try

Once again, the stage turns into a storm of lasers and flashing lights. Grace is now standing in the middle of the stage while singing the chorus and doing hand gestures with her left hand, while the right one is holding the microphone. Her body and facial expressions are strong and even kind of tough.

Here i am running through the fire
you see, it's my desire
to be free just like a bird
without you i can feel much happier
you were my mental rapier
cutting through my soul like sword

How could i let it go this far
you were my very own czar
used to be praying when i saw a shooting star
this is not understandable
i was easily commandable
you simply took away
my freedom

Lights stop flashing, stage theme becomes dark again and Grace looks deeply into camera while singing:

my freedom
you took away
you took away
my freedom
my freedom
you took away
you took away
my freedom

For the last time, the stage gets filled with flashing green lights again. Togonistanian fans can be heard cheering while Grace starts singing her final chorus.

Here i am running through the fire
you see, it's my desire
to be free just like a bird

How could i let it go this far
you were my very own czar
used to be praying when i saw a shooting star
my freedom
you took away
you took away
my freedom

As the song ends, green lights quickly fade out and whole stage is shown in a normal, white light. Grace smiles and shouts into the microphone: ''Thank you Besini! Thank you everyone! I love you all, wooooo!'' Grace leaves the stage and heads on to the greenroom.

by **Britonisea** » Tue May 16, 2017 11:27 am

#08 BRITONISEA
Sanna- "Na Farar (Never Forget)"
Tune : Джамала (Jamala) - "Заманили"
Music: G. Autriche & Sanna, Lyrics: Sanna

LIVE - Jamala - "Zamanyly"

Sanna; She will be representing Britonisea in WorldVision Song Contest 56

Sanna is the most risky WorldVision Song for Britonisea to date, as she has decided to sing the song in full Britonish; a language that is rear in international competitions such as the WorldVision and World Hit Festival. However, Britonish has had some success. In the World Hit Festival, Britonisea sent a song with the majority of it in Britonish, and placed 2nd place. Estogium sent a song in Britonish in the WorldVision Song Contest, "Univexserelle Llorge," which came 9th in the finals. Aloquirbe also sent a song which has a section of it in Britonish, sent by a group called Zekso, which means desirable in Britonish. They placed 15th. While singing in Britonish doesn't seem to have any negative impacts, it is still a risky out-there thing to do, especially as Britonisea has been sending English songs since it's debut.

Posted 25th April 2017 on the official Britonish Eurovision page;

Sanna Zilberschlag-Lebedev is an Arioslavian-Britonish artist, who is 31 years of age. As a child, she grew up in the North-Western Arioslavian city of Kaxtele. She was born there under an Arioslavian father and a Britonish mother. After the age of eleven, her father unfortunately died in war, and her Britonish mother took her to Britonisea - away from the memories of her father. Whilst her family on her father's side disagreed with this decision, her mother thought it would be good for her to see the other side of her culture. Sanna then lived in Machievelihe - a heavily Britonish-Language city in Britonisea. Though she knew English, she also had to learn Britonish to fit in with people her age (even if English was a language spoken in the city.)

After realising her talent, and signing up for many Britonish-Language shows, she became somewhat famous in the Brityunikosophere, which is most of Estogium (excluding Darlington and Estogium City) and Northern Britonisea - places where a majority of people speak Britonish. She has promised not to sing a song in English, and to stay true to her Britonish fans - and this was imperative when BVC gave her the confirmation call.

She had signed up to an internal national final. The audience, 6000 people, including the 10 judges, voted for their act. There were ten acts hoping to go to WorldVision 56 - four of which in the Britonish Language. This national final was not broadcasted. This is the second time in Britonish WorldVision history that this type of selection was done. We must note, all the songs in the internal national final were songs not sent from the top three record companies in the country - and strives to look for more local companies to shine. The link above/below is not the WorldVision version of the song.

With the vulnerability of Britonisea increasing this edition, BVC encouraged Sanna to not worry about the result that she receives but at the end of the day, this is an experimental song showcasing the hidden culture of Britonisea. They had told her that she was very brave to represent the country singing in this language, with pop with a strong ethno vibe. The broadcaster are confident that Sanna will not disappoint her country.

On arrival to the WorldVision Song Contest, the 25th anniversary since the first Britonish entry, she found out that she will be performing eighth. She knew that she was not going to perform later than Mehkl Maddox-Ajax, who performed a rather late 23rd, and so performing eighth was ideal for her. Usually, Britonisea likes to send entries near the start or near the end of the competition. The Britonish Delegation came to Besini, after losing to Besini in the host race due to the committee voting for the Besini bid, already in bad spirits only to find out that a song, which contains Anti-Britonish lyrics and staging, which made the Britonish reconsider their staging. "It is a shame we have to deal with this in 56th WorldVision Song Contest. I am sure that BVC will do everything possible to protect the Britonish identity."

After the seventh act, Togonistan, had finished performing on the stage, the audience watched the Britonish Postcard. During this time, the stage set moved on stage two gaunt-looking trees, and in between them was a swing. The swing was painted white, but looked worn out. Sanna came out on the stage in the given forty seconds. She sat on the floor, right in the centre of it. Sanna was placed on the stage, she was just sitting their on the stage wearing, what appeared to be, a traditional dress. The traditional dress was in different colours and reached over her whole body - her legs and her arms. She was lowering her head. The forty seconds were over, and it was time to perform on the stage. The audience gave quite a quiet cheer before the music started playing in the arena. The arena floor started filling up with thick, grey fog which covered the LED floor, and the bottom half of Sanna's body. The wolf's howls were heard loudly for those watching the television at home, and also for those in the arena. There was a lone wolf, behind the swing, in a silhouette. The light shone on the wolf until it faded away. The camera slowly moving backwards and downwards to greet Sanna, who was already looking up at the camera;

Tellulvie-o vhe dìomhair
Tellulvie-o vha passé
Tellulvie-o vhe futur
Qu'es conmreux?

Discouvarne...arne.

During that verse, the camera slowly moved in towards Sanna, who was now laying down on the floor. The camera was coming from the top of the stage, the roof, down towards her. She looked to her side, away from the camera. Colours evident in the arena was a murky orange and brown, creating a threatening and ominous ambiance, perfect for a quite serious song in terms of lyrical content. However, when you try to look for Sanna among the midst, you will notice that this is a hard task. You can just about see the dark figure lurking behind the fog. She then raised her hand which she wasn't using to hold the microphone in a rapid movement.

Buvvie pour qounse vi'es
Vi'es gelux on getweh
Nacy eskvie, Nacy exvie...
Qounse ia memorvie vi'es?

Sanna then lifted herself up from the sitting position she was previously in, almost as though she had returned from the dead and rose in a coffin. The camera came from around seven metres left (and about 5 metres higher than stage level) of the stage, where her back was facing, and came around to face her, and then it stopped. As it stopped she turned her head to the right, almost signalling the camera to go in that direction - the camera's left. The fog that was created for the floor early was starting to clear up, revealing a swirling cauldron of macabre colours.

Ia memorzvie vieton fós natal?
Ton fós Ydohian? Quand dáiríre vieton fatal!
Jelod crenie viet pamphlet kombëtal
Jelod vha neizgovone, sada sellulmies

The lights focussing on her started flashing on and off and she was lifted, using almost invisible strings, up on her feet. She then turned around to face the audience as she started to move from in to the pre-chorus in to the first chorus, which involved a man's vocals in the background. The man's vocals were quite loud, though they were distorted. The audience at the home couldn't tell exactly what the man was saying. The camera followed the eyes of the woman on the stage, jerking from the left to the right, creating a tense and unwelcoming feeling in the song.

Na!
Farar!
Na farar, no!
Oh, no. Oh, no!

Sanna then started to spin around on the spot, in the opposite direction of the swirl on the floor. The lights started to spin with her, going both ways, in the audience and on the stage. The audience sat down watching in awe. This was not an entry where you could jump around and dance gaily as if they didn't have a care in the world; this was serious. During that chorus, the camera tilted to the left, and then to the right, as it would tease the audience by getting close to her before going backwards; further away from her.

As that had started to calm down, she then turned her back to the audience, and as the whispering started, she closed her eyes. The camera swivelled around her body before she opened her eyes and was about to sing. As she opened her mouth, she started walking forth towards the back of the stage.

(Discouvarne)
Iire viet iducin viktin
Quiner vhe chok, os’v’a jugar de gorje
Carph in vhe jugarer vhav choisvie
Consequi aknagis

Every time the you heard the drum in the back, she would take a step. On the LED floor, which was now clear of fog, formed a path which she took right to the back of the stage. There, she met the LED floor. She faced the wall for a few seconds, and the camera just followed her. As she sang, "Consequi aknagis," she quickly turned around, facing the camera, which quickly turned around to face the audience - as if the camera had been caught following her.

The camera came from the top of the stage, at the front, and came down, but moving towards Sanna at the same time. The LED floor was now switched off, and the effects that were on the wall, which were already confusing now reflected on to the floor, creating a psychedelic scene in front of your own eyes. The audience started cheering as she went in to the bridge section again;

Ia memorzvie vieton fós natal?
Ton fós Ydohian? Cuand dáiríre vieton fatal!
Jelod crenie viet pamphlet mondial.
Jelod vha neizgovone, sada sellulmies

Here it came - the largest bit in the whole song. This was the bit that she needed to perfect because it contained the most amount of movements between herself and the camera angles. Suddenly, she then ran from the LED wall in to the stage and out of nowhere, people came running on to the scene. They tried to block her path, and with everyone that came she either jumped above them, went under them or even rolled upon them. A warzone was created on the stage as the flashing of lights intensified. The camera quickly cut every 2 seconds, from shots coming from the back of the arena - zooming forwards, or the LED screen moving forward towards the audience. She looked as though she was tired, and she started to wear out as these people came out of nowhere. They then all came at once and held her down to the floor. One of them holding the microphone for her as she fell on to the floor.

Never!
Conmremes a vie
Posarmes viet lifa
Vie nacy waltzar
Ni ‘vie cy septar, no!

In that previous verse, she had sung her first bit of English - and her only bit of English that would be sung by the main singer. Although she started singing, and the lights had somewhat died down; the camera was still moving about frantically - immersing the audience in to a sense of anarchy and madness; hiding meanings of the song.

Ton fós Ydohian?
Per vieton fatal!
Bhuel, a temp a
Ne’ia Farvie

As she finished that last note, her voice slightly broke as she dropped to the floor under a single white light. "Thank you ever so much" she said in to the mic under the cheering from the host arena. "Thank-you," she repeated before she started walking off the stage as the graphics moved on to the next nation.

by **Todlichebujoku** » Tue May 16, 2017 2:01 pm

09. _Tödlichebujoku_

Tune: KSHMR & Crossnaders ft. Micky Blue - Back To Me

Reality

Armor & Kyllikki Táhtinen

Hailing from the small interior city of Seltsamebochi, Kyllikki Táhtinen had always enjoyed the safety and security of childhood. As time went on and she found herself facing the expectations and responsibilities of adulthood, she found writing and performing songs in order to express herself and relieve stress. Her songs mainly revolved about feeling trapped in between the security of childhood and the unknowns of adulthood, neither one nor the other and unsure what to do with the weight of expectation pressing against her yearning for "the good old days". Introduced by a mutual friend to a local group of people with a particular way of looking at things, Kyllikki began experimenting with different methods and aids to escape her fears, trying to find a new perspective in which to put her fears and anxieties into scope. Through this group she met the producer Armor, real name Armo Mori, who had a flair for the theatrical and dramatic. Linked through their interest in music, the two became close confidantes and very close friends. Together they created what was to become "Reality", a song influenced by their similar experiences and deepest concerns; the original recording was discovered by a TÖBUK talent scout on the crystallomatrix, and soon the song became what it is now- Tödlichebujoku's entry for WV56.
TÖBUK had been on the search for something with which to follow up its innuendo-packed WV55 entry "Make Me Late", which had not done quite as well as the broadcaster had hoped. One of the members of the WorldVision entry committee tasked with filtering through submitted entries had come across Kyllikki and Armor's first collaboration, a simple video rendition recorded and posted on the matrix, while browsing after work, and quickly contacted the two. The two musicians were surprised at the possibility of representing their nation on the international stage, but decided to go for it after a lengthy discussion. Kyllikki had felt uncomfortable revealing her deepest concerns as a stage act watched by millions, but eventually warmed up to the idea and jumped on board. The broadcaster, meanwhile, had felt that some of the lyrics were a bit too raw and visceral, but Kyllikki quickly shot them down- if she was going to do this, she was not going to water down her feelings and emotions that had created this song and made it what it was, and was fully backed up by Armo, who felt that the lyrics were intrinsically linked to the music. With this in mind, the broadcaster and the artists worked to make the raw song a fully fleshed out stage performance, combining emotion with theatricality.

The Britonisean entry really is something, thought Armo idly as he got ready for his performance with Kyllikki. All those hours and days and nights of preparing, thinking, revamping, and rehearsing had come to this. Learning the choreography really was more difficult than anything else, especially for someone who had thought he was good at dancing before learning and rehearsing the routine with Kyllikki. It really had come to this; the time was now. He would never have thought his and Kyllikki's angst and uncertainty would have led to where they were now. Together they shared a bit of the herbal mix they had taken back in the old hangout, back when they were writing the tunes and lyrics that would become this. Kyllikki herself was especially nervous. Even though she had rehearsed countless times, revealing these deep feelings to the world was like tearing open a scar to show the blood to a crowd of onlookers; painful and revealing. However she knew that this experience would only make her stronger, help her rise above the insecurities that first led her to write and sing, and help her succeed and revel in life. And now? Now it was time to perform. The duo grasped wrists and stepped onto the stage, the audience of the Gaius Csaba Amphitheater and viewers across time and space waiting expectantly. Soon the lights would brighten, and soon the music would begin.

The dark stage quickly flashes blue, then slowly brightens. Kyllikki is in the center of the runway, grasping the microphone stand. She is clutching a coarse gray shawl around what seems to be a wide and flowing red dress as flakes of ash drift down around her. In the back, red-orange pyros "weep" down weakly like a thin flickering curtain disappearing into nothing, echoed by dim red orange accent lights and contrasted by an overall deep blue-black lighting theme. The background screens display a dry grassland in deep twilight, with dark mountains and a building thunderstorm in the background, accompanied with distant lightning flashes and wind whipping through the grass. Soon after Kyllikki is seen on stage, the stage lights illuminate Armo. Clad in an all-black suit, and sitting at a black grand piano behind her on the main stage and off to the side, he begins to play the opening notes of the song. Kyllikki, her eyes closed and her breath nervous, holds the microphone close, and sings

Tear my heart to shreds
Burning paper threads
I can feel the darkness breaking free

Kyllikki opens her eyes, staring earnestly toward the audience, as if on the brink of tears. She is visibly not singing to the audience as a whole, but to viewers as individuals, as confidantes, as trusted friends. her deepest secrets beginning to pour out from within. For some reason the view becomes a bit hazy, and the background scene becomes somewhat faded. Armo and the piano are now only barely visible in the hazy half-light

Rising through the high
Fire in my eyes
Dancing through my shattered destiny

Previously left unlit, a choir along the back wall and dressed in dark robes is slowly illuminated, now seen to be wreathed in smoke that is billowing across the stage and blurring lines and boundaries. Kyllikki looks upward and reaches out with a hand, toward something distant that isn't there. Flakes of ash continue to drift down amid the billowing smoke as she continues, with the camera view executing a panoramic sweep of the stage, zooming in on Kyllikki and her despondent demeanor halfway through

Staring far away
Distance seems to fade
What is real in this reality?

Death and happenstance
Breaking through this trance
All I ever loved is back to torture me

The lights suddenly dim except for the faint lightning flashes and the spotlights on Kyllikki. A set of wind machines in a particular pattern creates a light whirlwind that sends the ash and smoke spiraling while tossing Kyllikki's hair, with the pyros fading but not entirely disappearing. However, the red-orange accent lights begin to pulse and intensify, as the occasional lightning-like strobe cuts through the dark, smoky air. Kyllikki clutches the microphone stand, as if in desperation, and with the last lines and the buildup, white lights to either side of the stage flicker rapidly

All I ever loved
I ever loved
What is real or not?
Is real or not?
All I ever loved
I could have loved

A great blast of wind clears the stage of smoke as a succession of intense spotlights, one at a time, flash onto the stage, the first one in time with a blast of sparks that shoot up and over the audience from the stage. Lights sweep over the audience, blinking to the beat, as the wind machines create a turbulent atmosphere in the amphitheater, the ash flakes having ceased falling. Armo, who had not been playing during the last lines, suddenly appears on the runway and pursues Kyllikki to the main stage, where they whirl and perform a duel-like dance around the piano, with Armo in an aggressive role and Kyllikki thrown into desperate throes while trying to evade. At one point Kyllikki's shawl is ripped from her grasp by Armo and is cast onto the piano, revealing Kyllikki to be wearing a ripped and torn red dress, with loose flaps of fabric fluttering in the breeze. Armo then retreats back to the piano, allowing Kyllikki to stumble back onto the runway. On her knees, with her torn dress splayed out around her, she continues, having grabbed the microphone from the stand

Reality

The lights go back down, and smoke begins to invade the stage once more. The background shows the same scene as before, except one of the mountains is revealed to be a volcano, causing the landscape to be aflame and drops of lava raining from the sky. Similarly, the pyros now consist of a light "rain" of red-orange sparks falling throughout the main stage, except for the area around Armo and the choir. The background is then faintly overlaid with an image similar to that of the Vitruvian man, who appears severely burnt or disfigured and on fire, amid a background of dark red, with the stage accent lights pulsing a more intense red than before. Still on her knees, though having regained a bit of composure, Kyllikki sings with a more intense conviction, these lines being a more personal reflection of her struggle

Flay my body live
Free the flesh inside
Sacrifice my wholeness just to flee

Prayers only met
Salving one regret
Now I wait for dreams to set me free

The smoke grows thicker, and small fountains of red sparks rise from the edge of the stage and meet with the pyro rain. Spotlights rove about the stage area, which become clear shafts of light as they shine through the smoke. The background image begins shaking intensely and brightening, as Kyllikki shifts her weight from her knees to the side of her legs and sings with her eyes closed, shaking her head as if to deny the trials of reality. The camera view captures all this, then pans over the orchestra pit to show that the orchestral elements are being performed live

Screaming in my heart
Evasion is an art
This body burns in all degrees

The background image fades out, replaced by a clearly dreamy landscape of flowery meadows and green trees with songbirds and clouds of butterflies, and children dancing in the fields, the whole scene pulsing with white light. Kyllikki shuffles back, away from the audience, as if retreating into herself

Hide in every way
Flee so far away
Dancing in my false reality

The scene of the flowery meadow is repeatedly cut with the one of the burning wasteland in an almost frenzied manner, with puffs of smoke billowing up the background screens. Kyllikki turns back to the audience, opening up again, but still lying on the runway floor

Dancing in my false
Is it that false?
What is real or not?
Real or not?
Burning in my bones
In my bones

Kyllikki collapses to the floor entirely, as Armo scoots his piano bench back suddenly and rolls away as fast as he can. When the dance break begins, what appears to be a large Molotov cocktail falls onto the piano and explodes into a blast of flame, setting Kyllikki's shawl on fire, and also the piano. Kyllikki pulls herself back up and begins whirling in her dress, its torn flaps and strands flying outward. Armo and Kyllikki then continue their dance duel from before, but this time both seem to be carefree, perhaps frenzied, and neither seem to be an aggressor nor a victim. A blast of wind is blown from above the stage, pushing the smoke outward as spotlights sweep over the audience and blink to the beat as before, creating the effect of blinking shafts of light passing over the audience, with the audience given the experience of almost being in the music, with light and music given physical form and sweeping over the audience members. As the dance break ends, Kyllikki slows and stops herself partway through a whirl, making sure she is facing the front, with her dress and hair wrapping around her body and neck respectively for a second, and Armo holds her arm firmly

Reality

The two close their eyes and drop to their knees as the lights dim to black on the stage, with the shawl and piano still aflame, burning bright, and casting shadows on the walls

"Kiitos! Thank you all so much! Thank you Besini!" the two shout, with a tear tracing its way down Kyllikki's cheek. She was trembling, and could feel Armo doing the same. Everything worked out, and she was proud of what the two of them had done. For his part, Armo was happy not messing up the choreography and radiating pride for Kyllikki's performance. He tried not to think too hard about how this might affect his self-image as a wandering soul, and resolved to just revel in the moment. The two bowed and hurried off the stage, eager to relax and enjoy the post-performance high. At this point, whatever would happen, would happen, and they were content with having the done the best they could and watching the rest of the performances, making sure to wish Mito Montersor and Terezija Novak luck on the way back to their seats.

by **Ekoz** » Tue May 16, 2017 3:00 pm

Mito Montersor - Insane (Official Ekozian Entry)

After winning MelodieFestivålen with his single "Stop Me", Mito continued to work with is musical peers within the industry to follow up on what would be his second single from us as-of-yet untitled album. The seventeen year old approached the STE after co-writing and producing "Insane" in regards to submitting the song to the WorldVision Song Contest in Besini. Reluctantly, the STE chaired a meeting in which was discussed what would be the most responsible way (in regards to the hundreds of thousands of viewers who actively voted for Mito's MelodieFestivålen entry) of dealing with the situation without upsetting the paying consumer. After a six hour long meeting, the head of delegation for WorldVision and MelodieFestivålen announced that the public would decide in an online poll which entry they preffered most. As a result, "Insane" won with a huge percentage of 87% and thus the STE officially confirmed that Mito would perform said song at the up-coming WorldVision Song Contest.

Mito Montersor, 17, is the youngest ever Ekozian representative at the WorldVision Song Contest and rose to fame after participating on Superstarsøkke (Ekoz's 'X Factor') last year finishing in fifth place. He continues his studies at his high-school in central Carnise and is hoping to continue his studies in music at the Royal College of Music in Carnise.

Mito stated "what I intend to do with this song is highlight an issue with mental health and mental stability within the mainstream. It's completely ok to feel weak and to feel pain, especially within male culture. I of course, living in the biggest city in Ekoz often feel overwhelmed and it's tough. I just want people to understand and to be more compassionate to one another. I'm not trying to glamourise what the message of the song is for personal gain, I just really want to highlight this issue to both my musical peers and my listeners. I want each song I put out to be of substance and meaning, and I hope that when I perform in Besini, it reflects that." After being asked how he think he will perform in terms of placing, he quickly responded "I really couldn't give a damn. I'd have performed the song I wrote with my message on the biggest ever platform to billions of people around the world. That in itself is winning to me". "Insane" is currently on #1 on the Ekozian iTunes chart and is expected to debut within the top three this coming week.

As the postcard ends, the lights in the arena fade into complete darkness. The crowd can be heard screaming and cheering. As the beat of the music starts, a landscape camera shot captures Mito standing centre stage, directly in front of the LED screen at the back of the stage. Mito is wearing all black and looks sombre. The stage is very dark, with fog and mist on the stage floor. As he begins to sing, the LED pictures a slowly flowing stream and a dark, eery woods with no leaves. On each of the first beats, the camera angle changes showing the side, front, and then other side of Mito before panning back to the centre of the stage as he begins to sing. Throughout the verse, he holds his head in his hands and darkly looks into the camera lens as he sings, visibly in pain or agitated.

Following the path of a slow stream,
Guiding me to a place where I can feel sane,
But what I can't see it's true grace,
'Cause all I really see is an outlet to entice pain.

The camera zooms in on Mito for the first line of the chorus; Mito on "Am I" raises his hand and points to his tempt sinisterly. As his vocals break up, the camera pans back showing a complete wide show of the entire stage. Strobe lighting, see here for visuals) appears and remains visible on each vocal break. As the fog begins to rise, the LED screen features a pre-recorded shots of Mito screaming, shaking his head frantically and holding his hands to his head, repeating each milisecond. As well as the strobe lighting on each vocal break, the camera zooms in on and out on Mito's face, almost in an invasive manner on each vocal break. On the final "going insane", the stage fades to black and the upper-half of Mito is in shot. He looks defeated.

Am I Insa-a-a-a-a-a-a-ne?
Going crazy, everything so hazy,
Insomnia-a-a-a-a-a-a-a.
Taking over me, it's pull so heavy.

Going insane.

Similarly to the first verse, Mito remains static behind his mic-stand centre stage. The LED background has changed this, however within the dark, eery and autumnal forrest. A naked male is visible floating within the water with his hands and feet slowly moving in the water. Mito continues to sing into the camera lens.

All these endless days seem so mindless,
Hour after hour asking why did I deserve this?
I say "I'll be fine" to hide what is inside me.
Though deep down, this darkness is still scheming

Similarly to the the first chorus, the camera pans back showing a complete wide show of the entire stage. Strobe lighting, appears and remains visible on each vocal break. As the fog begins to rise, the LED screen again features a pre-recorded shots of Mito screaming, shaking his head frantically and holding his hands to his head, repeating each milisecond, however this time Mito is dripping wet. Similarly again the strobe lighting on each vocal break, the camera zooms in on and out on Mito's face, almost in an invasive manner on each vocal break.

F**king Insa-a-a-a-a-a-a-ne
Going crazy, everything so hazy,
Insomnia-a-a-a-a-a-a-a.
Taking over me, it's pull so heavy.

The stage begins to brighten up as the LED screen then begins to change to an aerial shot of the male floating in the water which appears to be Mito. As the bridge of the music carries on, the LED projection zooms in onto the male (Mito's) face. On stage, Mito remains completely static behind the mic-stand.

As the stream gets ever higher,
As the darkness slowly brightens,
I know this is what I need, to set me free from the voice inside,
What will be is meant to be,
No more darkness left in me,
No more doubt, I will be free, insane no more.

After Mito sings "insane no more", the LED projection sees the male (Mito) submerge into the water and slowly and slowly sink in the murky, green and dark water. The stage then fades into complete darkness and the instrumental music stops for around five seconds, before Mito raises his head and breaks before singing the final chorus of the song. As with both previous choruses, the strobe lighting, projections, continue to play in sync and the same camera shots are used.

No more insa-a-a-a-a-a-a-ne
No more crazy, nothing will be hazy,
Insomnia-a-a-a-a-a-a-a.
Slowly leaving, it's pull so distant.

After the final wide shot of the strobe-lighting around the stage, the camera quickly zooms back in onto Mito as he sings his final line. The stage quickly dims into darkness.

No more Insane

Mito: (sombrely, with his hand on his chest)Thank-you, thank-you. (He then waves to the audience before making his way off the stage)

by **Izmedu** » Tue May 16, 2017 9:54 pm

11. IZMEDU
Terezija Novak - Rat
Translation: War
Tune: Loreen - Statements

"This is for those whose voices are suppressed. This is for those suffering against tyranny. This is a song for the damned, the voiceless, and the marginalized. Even in times of utter terror and war, you must take a stand." - Terezija Novak

Terezija took a deep breath as the Todlichebujoki entry just ended and with Mito Montresor having to ascend up to the stage to begin the Ekozian entry. She responded amiably to Armo and Kyllikki's wish of good luck, blowing them a kiss as anxiety was etched in the singer's face. During the Ekozian entry, she had re-convened with the Izmeduan delegation and relaxed herself for the brief duration from then until she herself would have her second moment on the WorldVision stage. Terezija had thought that her experiences in Caen 14 editions ago would calm her anxiety, but she knew of the different stakes behind her new entry. This was not "Beautiful Chaos" and its meditation on existence, this was far closer to home and to reality. She knew that there would be a national fallout after the contest regardless of the result, she knew she'd have to defend and justify this entry for the rest of her life. She contemplated her journey at the goings on the Gaius Csaba Amphitheater, gazing at Mito's performance with intensity.

Since WorldVision 42, Terezija had fallen silent from the music scene as the promised LP of new music attached to "Beautiful Chaos" failed to materialize. Despite being immortalized in the Izmeduan fandom as the entrant who would codify the Izmeduan entry after the not so satisfying result in WorldVision 41 and as the first of the famed 'Izmeduan golden trio' from WorldVision 42 to 44, she fell into silence immediately after. During that silence, Terezija had switched her career goals from being singer into a political activist. She traded her record deal to work at an Izmeduan non-profit just a year after WorldVision 42, and was tasked with performing volunteer and community service in Izmedu's eastern and mountainous regions. She had moved to Sastavak, which was the main site of the service she had to do.

Growing up as part of the cultured Izmeduan elite of Vodiznad, Terezija had assumed that the country was an egalitarian paradise, socially and economically. Moving to Sastavak, she had seen only a fraction of the extent of social injustice that lingers deep within Izmedu. Terezija could visibly remember the soft prejudices that her parents expressed against the 'Istocni Izmedi' (eastern Izmeduans), who were considered to be the vermin of Izmeduan society. They were not deserving of the benefits that Izmeduans received, nor were they worthy of being human according to the coastal Izmeduans. Terezija visibly remember being shaken by a study that found that service sector employees were locally hired from the eastern portion of distracts that stretched both sides, with Sastavak disproportionally providing the amount of unregulated, hard labor comparable to slave-like conditions.

But these were parts of the horror that she saw, and as Terezija stayed longer in her post; the more the horrors became unspeakable (especially those that occurred near the border). She was much more aware of Izmedu's political worldwide status, its intimate relationship with the Hesskin Empire/Republic, and its enemies. She saw the desire for the second revolution, of war, from the Izmeduan marginalized come through. Now, she's lived long enough to see that even Izmedu itself had enemies on the outside, waiting to declare war on it. This was enough for her to spark a resignation from the non-profit, Terezija had a renewed purpose in songwriting.

It was around this time that the genesis for "Rat" was born, but due to being out of the loop of songwriting, Terezija had hit a non-start when it comes to producing the song she was envisioning. It took a chance encounter with Samira Kareli and her forthcoming song "Ezin Gara," to which the Euskal singer had hit the very resonances that Terezija was aiming for. She booked a trip to Euskirribakondara and personally contacted Samira for a chance to collaborate and exchange ideas. However, it turned to a meeting of Terezija sharing her experiences in her service work to Izmedu. Constant hours of volunteering to help homeless shelters, working in remote regions acting as counseling, acting as a soothing presence, maintaining faulty infrastructure... She weeped to Samira about the pain she felt and the shattered ignorance of the Izmeduan utopia. She expressed grave concerns of looming war, the threat of being internationally isolated, the threat of looming dictators, and the possibility of a second revolution.

Terezija proposed to write a song in Izmeduan, with the concern of war in mind as a rallying call for those who society left behind. In a time of uncertainty, Terezija desired peace and resistance. The ensuing project moved forward with Samira Kareli on board the songwriting and credited as the primary composer of the song, with Terezija behind a majority of the words in Izmeduan. The Euskal involvement of the song, being spread through industry rumors, led the Izmeduan music industry to herald it as a 'miracle' comeback for the singer, bypassing the political concerns of the song. This did not help as Terezija and Samira submitted the song for Izmepisma consideration, and won the right to represent Izmedu in WorldVision 56; causing the country to be split in its support of the song as the Izmepisma results were tallied.

That split, some considering the song a necessary piece of discourse to those who thought RTI had been reduced to a political machine, was what worried RTI and Terezija in the lead up to the contest in Besini. Terezija tried actively not to inscribe an unnecessary oversignificance to the song, but the political discourse surrounding the entry was something she could not ignore. There was more at stake than just Izmedu's WorldVision legacy, but the eyes of all Izmeduans, even those who were not interested in WorldVision (which were few), would be down upon her.

As the Ekozian entry ended, it was time. Terezija said a silent prayer in Izmeduan, just like in Caen, and made the march towards the stage...

OOC Influences
La jeune fille a la fleur
Protest in Croatia
Eurovision performance theory article on a betting website

Stage lights billowed down to the center at the Gaius Csaba Amphitheater, heralding the beginning of the Izmeduan entry. Massive cheers were especially prominent from the Izmeduan contingent, who were excited to see the entry that landslided the Izmepisma televote and the first contestant to represent Izmedu twice in WorldVision. The lights then darkened and the crowd quieted, the audience at home and in the Amphitheater waiting in bated breath for the entry to begin...

A haunting wail from the area of the stage was unleashed throughout the arena as the stage turned a blood red, showing a figure at the center physically convulse into an arc before turning into a sound of brief weeping and laughing. The haunting sound paved way for a forlorn arpeggio of an electronic guitar, causing the red lights to fade as the screens behind the figure showed a photo of a digitally retouched Terezija looking artificially young, holding out a flower as the song's introductory instrumental. Imposed against the fake Terezija were outlines of guns, causing the flower to wilt. After a few seconds, the camera faded to a frontal view of Terezija herself kneeled on the floor being covered by some sort of blanket, a spotlight dawning upon her as a haunting seeping sound heralded the beginning of the vocals. As the camera zoomed in on her, Terezija looked towards it and stopped the camera in its tracks, her expression solemn.

Čutas i brágoli od pali
Njihov životi distruzaro
Naši organi smo iskidani
Po ovo bescjilinih bitaka

For the haunting first verse, the camera maintained its static view on Terezija as she sang these words directly to the audience at home, asking for someone at home to sympathize and to listen to the pleas she is uttering for the voiceless. Behind her, images of abstract destruction were shown on the screen, the outline of a ravaged field appearing for a majority of the verse that was drawn a dark red. The Gaius Csaba itself also applied a gradual red hue to the interior. On the floor screens, the ravaged field from the back screens also appeared as well, with pools of red liquid appearing beneath Terezija as she held her gaze to the camera until the last line, where she looked away from the camera to end the verse. This caused the camera to take a brief survey of the stage and the brutal background behind her. As the instrumental resonated into the pre-chorus, the lights flashed a momentary white causing the image behind Terezija to transform into an image of an empty Vodiznad, looking pure and innocent...

Jo je stabilitet
Jo je spašavanje
Jo je izručenje

Terezija began to slowly rise up and take off the blanket that was enveloping her during the pre-chorus, revealing her to be wearing this outfit. For this, Terezija had an expression of cautious hope and mournful yearning for the peace she was singing for. She asked these questions to the viewers and to the audience, a tone of entreatment. The tone of innocence was expressed through a shift to blue, white, and green lights for the brief pre-chorus. Terezija's release of the blanket looked almost like a slight chrysalis moment, with the seemingly innocent Terezija in a world of possibility. At the end of the pre-chorus, the Gaius Csaba quickly shifted to blood red lights at the last notes of 'izrucenje,' the image of Vodiznad becoming distorted to two beats...

Stojim protiv tvoja tiranija
Ćemo čuti naše glasove
Nikad neću
Se boriti

Gone were the solemn arpeggios of earlier that were now replaced with an ominous electronic buildup. When the chorus hit, the camera switched to a wider, zoomed out view of the stage, with an image of Vodiznad burning as the sounds of burning flame could be made audible. At the chorus, Terezija belted out the chorus with absolute pain and ferocity, her voice arching into an echo as she belted out each line. She arched her body forward, as if Terezija's insides were burning along with the city that was being slowly destroyed behind her. Terezija then held out one hand in the second line, the camera catching that moment before fading back to the wide view of the stage. At the last two lines, the song began to take a cinematic instrumental bent as the camera focused on Terezija, with her cupping her hands into a fist as she sang directly towards it, her expression laced with agony... At the build up to the post-chorus, the lights flashed a deeper red as the the image of the burning Vodiznad faded into darkness.

Tvoj rat
Tvoj rat

For the post-chorus, a harsh post-apocalyptic electronica stormed throughout the room, with Terezija punching the floor at the first 'Tvoj rat,' the lights remaining red as the floor screens showed a 'crack,' with pools of blood now surrounding Terezija as the floor screen itself was a scene of war ravaged street. She spoke the line with grit, the young Terezija from earlier now replaced with one that was toughened and colder. At the second utterance of 'tvoj rat,' Terezija stood erect as if in a boot camp drill, and pointed towards the camera with an accusatory tone. Only letting the finger down as a series of beats came on as she stepped back with one hand fisted, preparing to throw something but instead, uses that hand as a sign of protest, holding her head down among the flashing white lights before the Gaius Csaba resonated red.

Vidješ la destrukcija jesi
Vodiznad gori u canaisa
Ćemo odolivati ljuto
Čak protiv svih rizika kod muart

At the first two lines of the second verse, a darkened image of Vodiznad in ruins appeared on the back screens as Terezija carried herself in a perpetual march to the beat, which did not disturb her singing. Her tone was more aggressive as she brought out the threatening tones to her lower register, which coincided well with the chaotic mix of electronica and orchestral elements of this verse. Each march that she took was marked with dark red footsteps on the LED floor. At the third line, she shifted from aggressive hand motions (raising a fist to a push motion where it looked as if she knocking down a wall) to one where she looked as if she was leading a protest, holding one hand up to the air and looking toward the audience, daring them to come at her. During this verse, the camera positioned itself right in front of her. At the end, she was almost to the very edge of the stage...

Jo je stabilitet
Jo je spašavanje
Jo je izručenje

With both hands held up, Terezija walked backwards at the more dramatic iteration of the pre-chorus, with a greater sense of endangerment as the lights shut to black except for the lone spotlight on Terezija. At this scene, the camerawork was frenetic as in this iteration, she was looking for enemies that were prepared to silence her resistance. Her hands were outreached, ready for the attack as she made lunges at each soft beat of the music, causing the lights to flash red in time for each one. At each line, Terezija's vocals increased in intensity as she cupped her fists before nearly crouching down from the threat, and at the final line, she nearly shouted the line towards the camera holding one hand to her chest as the song immediately transitioned into its chorus.

Stojim protiv tvoja tiranija
Ćemo čuti naše glasove
Nikad neću
Se boriti

Terezija positioned herself center stage as quickly as she could and began a tightly choreographed motion of leading a political protest herself, belting out each line as she made deliberate stop motions towards and away from the camera at each powerful note of the first two lines. The camera maintained its frontal view of her as the lights alternated between red and white. The motions she made were evocative of Izmeduan symbolism, with a pointed Izmeduan Revolutionary Army salute at inbetween the first and second lines (in which the salute is a cupped fist rested in the head followed by a motion towards the heart, signifying the strength of the body and mind that can overcome a dictatorship). At 'nase glasove,' she began a march (but stayed in place) as her hand remained cupped to her chest until the end of the chorus, with her marching and belting out the rest of the lines with an excruciating and resilient fervor. At the moments of the chorus' last three lines, she looked as if she was leading the country through its darkest time, leading the marginalized into a new fate. On the screen was an image of the city Vodiznad, unrecognizable; enhancing the image of Terezija's protest marching.

Tvoj rat
Tvoj rat

At the post-chorus, the lights went dark as the sounds of bombs, delayed, can be heard descending upon the stage, causing smoke to appear on the screens, all the lights to shut except for the spotlight on Terezija, and for Terezija to be barely left standing, with both hands raised. Terezija, despite the attempt at the protest being stopped, still stood resilient against the attempted act of destruction. She sang the first 'Tvoj rat' as if it was a protest chant, her voice nearly cracking as she was making a last rallying cry. Both of her hands were raised up into fists, her face determined as the spotlight shone stronger. At the moment she sang the second 'tvoj rat,' the sound of sniper gunfire was played and Terezija looked as if she was shot on stage, collapsing and holding the area around her chest where it looked like she was 'shot.' At the end of the post-chorus, the lights began to turn blue...

Stojim protiv tvoja tiranija
Ćemo čuti naše glasove
Nikad neću
Se boriti

At this chorus, this was where Samira Kareli would make her entrance. As the camera was focused on Terezija collapsed on the floor, positioned in front of her, the familiar figure of Samira in her costume appeared against the haunting backdrop of blue light. Terezija would sing the first line with a tone of genuine defeat and of fear. At the second line, Samira began to help Terezija recover, with her gently coaxing the Izmeduan back up to the floor as she looked at Terezija with a look of pure empathy. Samira helped Terezija regain her rhythm as the last two lines that Terezija were belted began to act as a form of regaining confidence, but at the same time, also a way for Terezija to express her pain as this time, 'nikad necu' and 'se boriti' sounded more like cries for help. The instrumental itself was suitably haunting for such a moment, more haunting and not crowded with instruments. At the end of the chorus, the lights went dark...

(Tvoj rat)
Tvoj rat
(Tvoj rat)
(Tvoj Rat) Nikad neću
Se boriti
(Tvoj Rat)
Se boriti
Tvoj Rat

Samira motioned forward with similar movements to Terezija's protests, but had done them in a much more agile and precise manner as Terezija tried to follow suit, but Terezija mostly stayed behind, allowing the child's chorus to open the song as she stayed mostly still for the first half of the song's outro. The lights flashed a combination of blue and white as the camera maintained its focus between Samira and Terezija. At the second half, Terezija had recovered, and was now marching proudly with Samira. She had regained her ability to fight back. The final 'tvoj rat' both Terezija and Samira sang together, the lights flashing a brighter blue before the lights faded, creating a silhouette effect for both women.

At the end of the song, Terezija nearly collasped as she fell into Samira into an impromptu hug, barely keeping it together as she was trying to process what had just happened and the performance that just occurred.

"Hvala... hvala lipa," Terezija said, enough to get her bearings. Soon after a long look at the crowd, she and Samira exited the stage.

by **Goluta** » Wed May 17, 2017 3:49 am

12. Goluta

Iraj Kinntis - No More Time
Tune: Die - Jeff & Casey Lee Williams (RWBY Vol.2 Soundtrack)

Iraj Kinntis is a Golutian singer, from the depths of some second rank talent show, she became known mostly as an actress, with some singing on the side. Now, she sings mostly ballads, but uses her strong voice to sing other pieces as well, such as No More Time, which was written by Rott Musil.

---

The stage is dark, and on the screens a golden clock frame on a black background ticks down 5 seconds until 00:00:00. Then, mostly red spots converge on the centre of the stage, creating a red atmosphere complemented by the smoke machines, where Iraj stands, wearing a low-cut purple dress, reaching to the floor. Before the song begins, the clocks wait for two seconds, and as Iraj starts to sing, they begin to run again.

Right from the start, everything seems, like it is taking off
A change of heart, new hopes and dreams, I’m in the making of
But then I crash, and then I burn, and then I stumble and I fall
I started fresh, I didn’t learn, and soon I ran into a wall

The last few lines were sung with an off-stage backing choir. During the next section, the clocks speed up, and the lighting grants more sight of the stage.

It went fast,
I woke up pretending everything was fine
But in an hour I had struggled not to cry
Cause my future starts to bleed
And my hopes begin to fly

Now the drums pick up, and so does the speed of the clocks. There's bright orange lights scattered around the stage that begin to shine, adding to the sensation the stage is on fire, if it weren't for how dark it was.

Try to clutch the dreams that you cannot follow
Everybody knows how hard you tried though
But you know there’s only one that you can blame

During the fast part of the chorus, the clocks stop. Iraj looks down, and as she does, bright white spots from the floor rise next to her. She puts her fists up.

And I know I could’ve made it, if I tried
And I know I had the power to fight
But didn’t because a voice deep inside
Said “No”

Clocks begin to run again, a new vitality comes to the stage, as green lights now alternate the red (in space, not in time). On each of the chords of the fall before the lyrics begin again, another red spot switches off, and soon Iraj is covered in green lights only.

Back on the ground, this feels so wrong, nothing can change the future
I’m lost and found, it takes too long, I just need a tutor
To teach me how, to tell me why, make sure I don’t go down again
I’ll take a vow, at least I’ll try, to prevent me from this heart’s pain

During the second half of the previous block, she put her hands up, as if she's screaming her heart out. Speaking of which, when she sings "heart", she put her hands on her chest. Clocks speed up and more spots turn on, adding green light.

It went slow,
I have to work to prove I absolutely know
That it’s my life that I should stand for but I hide
‘Cause I know I have to work
And my hopes begin to fly

During the first half of the following solo, Iraj grabs a pocket watch (an old, fancy one on a chain) from behind her, shows it to the audience and the camera, and throws it off to the side. The second half (you'll know the second half begins when the drums change) contains Iraj unfolding herself out of her dress to reveal a snazzy outfit which resembles everything people that use the word snazzy do not stand for. She is now wearing a short white dress, but more spectacular is that the way she took off her dress revealed an almost silly amount of clocks taped to the inside. She continues with the bridge, helped by backing vocals. Lights switch from green to a more golden color.

No more time (Noooo)
You must try (Ooo-ooh)
No more time
There’s no more time
(You must) try
Try

Instruments stop playing, and for that part of her line, the golden lights become white, showing the stage very au naturel. See also the color of the text for what color the lights take from then on.

Try to clutch the dreams that you cannot follow
Everybody knows how hard you tried though
But you know there’s only one that you can blame

And I know I could’ve made it, if I tried
And I know I had the power to fight
But didn’t because a voice deep inside
Said “No”

No
More
Time

The light returns to white and Iraj walks off stage, shouting "Thank you!", making a little jump when she's barely not out of sight.

by **Alinghi Federal-Democratic Republic** » Wed May 17, 2017 4:19 am

13 .ALINGHI FEDERAL-DEMOCRATIC REPUBLIC #ALH

SONG: Figli di Stonewall (Sons of stonewall)
ARTIST: Ambroinov Kostinovic Igor
TUNE: https://www.youtube.com/watch?v=1JYUudE2BlA

The artist

Born in Paradizna in canton Tromski. He do a normal childhood.
He coming out praticcally immeidately at 13 years.
He do a bouncer of the discoteque, and bar for 12 year, (17 years old to 29 years old). He begin his carrer of muscan casually, he post on youtube a his written song "Life of me" with no intention to became an artist. But a record company see this video, and request if he want a song a contract with the company. He accepts, and in three yaers became one of most famous artist on the republic.
He exivbited in all nationa territory, and in all gay pride in Tromski, Gracemeria, Alinghi Stadt, Duzzendorf and Balocchia Nord.
He partecipate in this edition of WorldVision, with a song "Figli di StoneWall" says what ammire the events of Stonewall, he consider this event a beginning of the fight of the gay right in the world

Despit ethe rhytm of music the singer decide a simple performance, he want that the people show the attention to a message, and to the singer, whan the "performance spectacle"

The man begin to play his violin and begin to sing. In the screen begin will be a photoo of stonewall inn of new york.
With the singer will be a small orchestra composed by a four violinist wha play in backgound with a techno music

0:07
Noi siamo i figli di stonewall (We are sons of Stonewall)
quelli che negli anni '60 (the boys that in the sixties)
hanno fatto casino a New York (doing a mess in New York)

After the photo in the background change now is pictured a police raid in a gay bar

0:12
Stufi dai continui raid della polizia (Tired of continuos Poice's raids)
solo perchè siamo gay (only because we're gay)

In the background screnn will appear now a bloack and whit stripes with a big pink triangle (the nazis to identify the homosexual in the camps they ised a pink triangle)

0:17
Siamo i figli di Stonewall (We are the sons of Stonewall)
che granzie al paragrafo 175 (What thankst to paragrath 175)
i nazisti amazzarono 100000 di noi (the nazis killed 100 000 of us)

Now the singer stop to play the violin and begun to sing with a higher voice, arrived some dancers with a naked chest to dance at music rhitm.
At the backgound will be a christian homofobic predicator

0:23
Noi siamo i figli di Stonewall (We are sons of Stonewall)
quelli creati da "dio" (those create by "god")
solo per essere odati da voi (only to be hated by you)

Now at the backgrund on the screen are a group people of different races, different "type" of gays (ex. the drag, the bear, the fairies, etc...) what hold a rainbows flags

0:27
Siam diversi (We are different)
siam di mille colori, (we are of thousand colours)
come la nostra bandiera (as the our flag)
la bandiera arcobaleno (the rainbow flag)

Now on the screen are show the world

0:30
Noi siamo i figli di stonewall (We are the sons of Stonewall)
noi siam dappertutto (and we are everywger)
e non potete farci nulla (and you can't do anything)

At the scree are suddivided in three parts, at the right the neighbrough door, at the centre a man with a job suit (what represent the you collegues), and finally on the left a mom and dad, with their son on the centre...

0:34
Siamo i tuoi vicini (We are your neightbrough)
Siamo i tuoi colleghi (We are your collegues)
Siamo anche i tuoiii fi-gli (We are also the your sons)

On the screen will are present the a picture of a today's gay pride. The singer before to contineu the sing play some notes of the violin

0:45
Noi siamo i figli si Stonewall (We are the sons of Stonewall)
ora abbiamo alzato la voce (now we have raise the our voice)

ora non ci potete più zittir (now yot can't shut up)
perchè abbiam reclamato (beacuse we had reclamed)
quel che noi siam (what we are)

On the screen now ar show the peope who oppose pacificcally at homophobic manifiestation, forming a human chain holding their hands

0:53
Noi siamo i figli di Stone-wall (We are the son of Stonewall)
noi saremo sempre uniti (we will be ever united)

anche se voi (also if you)
ci insulate (insult us)
o menate ( or hit us)

At the screen now are show a man in this pose to ahow the force

1:01
Noi siamo i figli di Stone-wall (We are sons of Stonewall)
ora noi usciamo allo scoperto (now we will coming out)

e vi facciamo vedere (and we will show)
quanti siamo e (how many of us we are)
qual'è la nostra forza (and how is the our force)

At the screen are show a party in a gay disco, and the man are drressed with a "provocant"things

1:08

Noi siamo i figli di stone-wall (We are the sons of Stonewall)
e andiamo in giro (and we walk around with)
a far vedere quanto siamo favolosi (to see what we are fabolous)
e pronti a far festa a tutte le notti (and ready to do a party every night)

The singer and the begun to play a violin and the singer will show a emotion to the public

1:15-1:43 PAUSE

On the sreen now are completely whit but with two red flakes, the dancers stop to dance and wil kept by hand, who the people don't know two of the dancers have the AIDS, and is the most visibly "healtly" because to avoid that the disease will get worse they must kept a strong alimentary diet, and most phisical exercise.

1:44
Noi siamo i figli di stone-wall (We are sons of Stonewall)
Noi siamo i soppravvissuti dalla (We are the survivors)
tragedia della malattia (of the disease)
tanti son morti, (many of us are dead)
tanti sono sopravvisuti (many of us are survived)

1:53
Dal punto più basso (From the lowest point)
noi siamo ripartiti (we'll raising)
dai pregiudizi (from pregidices)
noi ci difenderemo (we will defend)

Now athe background screed will be show a sunrise what represetn a future, the dacern re-begun to dace.

2:01
Noi siamo figli di Stone-wall (We are sons of Stonewall)
ci attenderà un glorioso e luminoso futur (we will expted a glorious and shining future)
e farem capire prima o poi (and we make understand)
dal mondo intero, quel che siam veramente (to at entire world, what we are truly)

2:08
Noi siamo figli di Stonewall (We are the sons of Stonewall)
e vogliamo che capite (and we want what you understand)
che siamo semplici persone (what we are a simple people)
un po' diverse dal "normale" (a bit different form "normal")

The singer bill play the violing, when the dancer begin stop to dance

2:16-2:48

In the screen begin will be a photoo of stonewall inn of new york.
With the singer will be a small orchestra composed by a four violinist wha play in backgound with a techno music

2:48
Noi siamo i figli di stonewall (We are sons of Stonewall)
quelli che negli anni '60 (the boys that in the sixties)
hanno fatto casino a New York (doing a mess in New York)

After the photo in the background change now is pictured a police raid in a gay bar

Stufi dai continui raid della polizia (Tired of continuos Poice's raids)
solo perchè siamo gay (only because we're gay)

Now on the screen are showed wman with a provocotary dess, with only pants, with all colors.

2:56

Noi siamo i figli di stonewall (We are the sons of stonewall)
noi siamo i festaioli (we are the party people)
siamo gli esuberanti (we are the exuberants)
siamo provatori (we are the provocators)

Now at the background will be show a "queer family", particularry a photo thit all charaters of the famous gay TV-Series "Quees As Folk"

3:03
Noi siamo i figli di Stonewall (We are the sons of Stonewall)
qualunque cosa accada (whatever happens)
qualunque avversita (any trials)
saremo uniti (we will united)
come una "frocia famiglia" ( as a "queer family")

3:13
Qualuque strada sceglieremo (whatever route we will choose)
Qualunque sia il nostro destino (whatever wull be the our destinity)
Continueremo a battere il tempo (We will continue to beat a tempo)
We will survive

At the end of performance the singer say "Thaks to all, and I say a very fabolus hello to Besini, and the all people"

After, the two HIV-positive dancers will go in fron the public at the border to stage, with a pround face. Alinghi love to show a strong messages on the exibitions, and in this case the message that: You can't do the disase will win, and a normal life and soddisfacent carrer with th virus can be reached. Don't surrender.

by **Normandy and Picardy** » Wed May 17, 2017 11:05 am

14 - Normandy and Picardy #NPC
Marie - Hold Me Now
Tune (Siru - Kaksi Naista)

Although Top 10 had been within the sights of NNN last contest, no one had expected to get 4th with what was - for Normandy and Picardy - a very unorthodox song. Filled with confidence, Anais Aloren (the Head of Delegation) announced Normandy and Picardy's return to the contest instantly, and opened the submissions process for the next contest the day after the final in Dreiichibu-u-Mousiki. The NNN WorldVision office was quickly inundated with millions of demos, songs and things that could barely be called songs. Somewhow, Anais managed to convince someone at the head office of NNN to put money into a multi-show version of QCPN, such was the high quality and spread of the songs that had been submitted. Two favourites quickly emerged; Baram, with Never, a rock song that would have been a bold choice for Normandy and Picardy, and Gogos with Mistakes, which got the majority of the attention from the international WV audience. However, one simple ballad shone through all of the rest, winning both the televote and the jury vote in both the semi and the final; Marie, singing the ballad 'Hold Me Now'. A departure from previous Normand entries, and from the more experimental route the country had followed in recent years - it is a simple pop ballad, far from EDM and Folk - the song is written by top Normand composer Michel Asenir, who has been responsible for more Top 10 hits on the Normand charts than anyone cares to remember (including several WV entries), and sung by Marie Honfluer, who goes by her first name on stage. The 25 year old from Avranches has had success in Normandy and Picardy before, with her ballad 'L'enfer' being number 1 for 5 weeks. However, until recently she had put her career on hold in order to care for her elderly mother, who was suffering with dementia. The song's lyrics, written by her, reflect this story, written from her mother's perspective; it is a call for help, and rather than a typical love ballad - although Marie cerainly doesn't mind it being seen like this - it is a song about a mother-daughter bond and helping people through tough times.

Will she be able to return Normandy and Picardy to the Top 10 once more? The expectation of a nation rests on her shoulders...

As the song begins, a single red spotlight shines down on Marie as she walks from the back of the stage, with a thin layer of smoke building up on the stage and reflecting the red light, shining in the deep darkness that surround Marie, who is wearing a white dress which reflects the red light. She walks with a somewhat vulnerable - not nervous - stature, and yet is still obviously confident in her performance. As she walks and sings the first line, red footsteps appear behind her on the LED floor, before appearing to be washed away by LED waves. The background looks something like this, with various bands of different shades of red moving and sliding over one another, creating a wave effect. During the third line of the verse, when Marie makes it to the centre, a dark blue band appears from the back of the stage, reaching Marie's feet before stretching out across the floor.

Some say that love heals all wounds
And I have certainly got a few
Some say that love can fix a heart
And mine needs a stitch or two

The lights begin to grow in intensity as the music builds up through the first chorus, with white lights breaking through the sea of red, joining with the blue waves on the floor to break through the original background. The red waves in the background remain, but slowly white bands appear within the waves. The camera pans around Marie, her hand outstreched as if the audience at home is the lover she is speaking to, her eyes looking up; again she portrays vulnerable without being nervous.

Hold me now and don’t let go
Help me feel alive again
The darkness holds me in its arms
I need yours to bring me home

As the violins begin to play, due to some clever camera play it appears a golden teardrop falls onto the LED floor (it actually just comes down from the background screen), and thus a wave of gold appears across the ground, before returning to red with golden lights shining on Marie, and a mixture of gold and red in the background. Marie appears to have a newfound strength, with her standing with her arms outstretched with the regal gold now shining on her dress. She begins to walk to the edge of the stage as she sings the second half of the verse, the smoke building up around her and taking on a mixture of the reds and golds.

A thousand tears won’t drown my soul
A thousand knives won’t cut the bond
A million years of waiting for nothing
Have now found themselves in your eyes

Not much changes during the second chorus, except the fact that Marie now stands at the front of the stage, with the camera moving behind her and reavealing the audience with their phone lights, waving in time to the music, going 360 and showing Marie's face, her looking into the camera as it moves upwards and zooms outwards.

Hold me now and don’t let go
Help me feel alive again
The darkness holds me in its arms
I need yours to bring me home

The lights intensify and the stage begins to return to the strong red colours again, with quick, wide camera shots showing Marie within the sea of red, the smoke becoming thicker and thicker and taking on the red. It laps around Marie feets as she follows the camera during the second half of the bridge, back to the centre of the stage, before it spins around her. It leaves her behind, zoom out and making her seem small in the immense sea of red and smoke, vulnerable yet still somehow strong.

I will fall into your arms again
Anything to feel alive
Emotion, I need to feel it
Anything to know what it’s like to be free

The stage returns to the darkness of the beginning, with Marie now on her knees, the smoke wisping all around her. A single white line shines on her, as she reaches out and looks up to the camera.

Some say that love heals all wounds

The stage explodes into life, filled with golden light. The camera pans away, allowing Marie to get up behind the scenes. A pyro curtain falls as the smoke intensifies even more, and the golden lights and the golden waves on the LED fill the stadium. The background shows a golden constellation of stars, with Marie's face appearing brightests amongsts the stars. The background zoomed in on the constellation eye, with Marie appearing to fall through the pupil, with the stage then falling dark, with one gold spotlight dimly shining on her, before being snuffed out as the music ends.

Hold me now and don’t let go
Help me feel alive again
The darkness holds me in its arms
I need yours to bring me home

Marie can be heard shouting 'Merci Besini, Merci WorldVision!' as she leaves the stage. Will she carry on Normandy and Picrdy's recent success? Only time will tell...

by **Mercedini** » Wed May 17, 2017 11:46 am

15

Mercedini #MRC

Leanne Cantrelli ft. Santo Davide Gospel Choir - Flying Through The Air
Tune: Elaine Martins - Santificação

The performance starts off with a dark stage with the performers standing in the centre of the stage, surrounded on both sides by the orchestra who are situated in the pits below them, only spotlights behind them illuminate to show their silhouettes but not yet showing their faces. Leanne is wearing a colourful top, black leggings and a pair of white stilettos. She is standing in front of a large choir who are tiered in three rows on an extra stand at the black of the stage. They are all wearing their black religious gowns with the conductor with his back to the audience with the same gown but with a white vicar's dog collar. The LED screen behind them displays a starry night with streaks of rain flying past the screen. The intro begins and flashes of lightning lights up the stage when in time with the intense parts of the music before the music comes back into life, and at that point the stage lights up in a baby blue before Leanna lifts the microphone up to her mouth to sing the opening of the song.

(Can you hear my call?)
Can you hear my call?
(Can you hear my call?)
Can you hear my call?!

Leanne planted her feet firmly on the ground to sing the first verse of the song. She looked into the central camera and sung with passion and power as she forces out the big notes from within her. The thunder begins to light up the screen behind her, the strobing also gives the impression that the thunder is effecting the arena aswell. The camera moves to the drummers and guitarists in the orchestras who are frantically banging their drums and rocking on their guitars in time with the music. The choir are swinging their arms and clicking their fingers in time with the music. The camera zooms out before moving onto the next verse.

At the start of my life, I was just like everyone else
Slowly working on my own space
But then, I took all control
The only way is up

The LED floor which used to display a concrete floor then cracks and falls apart save for one piece that Leanne is standing on while the other parts fall away and is replaced by shooting stars flying past where she is standing (which gives the impression that she is flying forward towards something), which the camera gets a full glimpse of. The wind machine is turned on and blows the clothing of Leanne and the rest of the choir behind her. The thunder on the screen and the strobing on the stage begins to get more intense as the song gets more intense. Leanne give pained looks as she continues to sing notes of her song.

And then the ground tremored at my feet
You could hear a million miles away from here
It's the greatest prophecy you've ever known
Will I come down again? Baby, no one knows

Both the choir and Leanne both begin to sway and click their fingers in sync with the music as the camera flies forward from an elevated position towards the stage. Leanne points to the sky before looking back into the sky and singing her meaningful words towards into the camera and at the people at home. The orchestra continues to play their instruments, which the camera catches a few glimpses of before switching back to the central camera in the arena.

Soaring through the clouds, through the thunder, and the lightning
Soaring at the speed, the speed light just can't do
I'm free from all worries. Baby, that's for certain
You can try but there's no way that I will stop

The sun rises on the LED screen which replaces the starry night with a cloudy day with clouds flying past intermittently, the LED floor that the performers are standing on also changes to a cloudy day which matches the screen and the floor together. Leanne continues to sing as the song continues to build up. Just before the chorus, the lights flash in time with the chimes of the song before entering the chourus

And even when the ground seems so far
Even when my body seems to reach the highest star
You cannot deny that like the birds in the sky
They fly free. Igniting a fire that no one can comprehend

Even when my body flies up to the highest high
Even when I see the whole wide world from my two eyes
I stay grounded as we're all one from the same creed
I don't think there's anything in the world that can stop me.

The choir continues to sway but both the choir and Leanne spread their arms out wide for the chorus, signifying themselves fly through the air (matching the title of the song). The lights on the stage light up and wander rather aimlessly around the arena, emitting from the stage and lighting up the audience. The wind machine gets turned up a notch which blows the hair of Leanne more than before. She has a determined look on her face and offers her hand to the camera as the chorus progresses.

Soaring through the sky
Seeing the whole world from here
Can you hear my call?
Calling from the clouds above

Soaring through the sky
Can you see me down there?
We're going up, don't look down
We're flying through the air

After the chorus has finished, Leanne walks forward to the very edge of the stage and speaks to the crowd directly (and the viewers at home in the process) before reverting back to the song she is singing. The lights subside so only the light from the LED screen and the spotlight above her are illuminating the stage and the artists on it. She looks to the sky a couple more times before reverting back to the cameras in the arena. The people at home can see the entire arena from the back as the camera moves along the back of the arena, showing the waving flags and the stage in a wide shot.

I say to call of you. Can you here my call?
And maybe we can make this world better for all!

We will always try our best
No matter how hard it gets
Fight to provide for your needs, and they will hear you call

She does the same thing again, but this time the camera is split between the central camera and a close up of her face faded in as she sings the song. As she sings the final verse before another chorus, the lights begin to flash once again as the song build up to a crescendo. For the final line, the strobe lights flicker on and off before the song bursts into life for the chorus

Just fight for what you need, and injustice will be rid
You'll find your elevation, that drives too many insane

You can fight to be the greatest, have the whole world in your palm.
Will you work to get it? The conundrum of our time.

When you call, we will be listening.
Just remember you're not alone!
This feeling's so real
For we will rise!!

The wind machine is turned on full blast as the song bursts into life, blowing the hair and the clothes and anything that isn't tied down to the stage. The LED screen behind everyone shows clouds flying towards and then past the camera, which corresponds to the floor pattern aswell. The camera flies forward to the front of the stage where Leanne and the choir are waiting. The orchestra, the people on guitar and drums are all rocking out more than ever. Leanne sings with passion as she belts out the notes while trying to keep her balance while the wind machine is trying to blow her over.

Soaring through the sky
Seeing the whole world from here
Can you hear my call?
Calling from the clouds above

Soaring through the sky
Can you see me down there?
We're going up, don't look down!
We're flying through the air!

The camera now focuses on the choir who have their moment to shine, with Leanne supporting them as they all sing their part of the song before they combine for the final part of the song. Various parts of the stage light up with each chime of the song before the whole stage is lit up as the last chime sounds before the lights circle the stage once again. Leanne plants her feet on the ground once again as she sings the signature line of her song.

Baby (Soaring through the sky
seeing the whole world from here) from up here
Can you hear my call?
Calling from the clouds above

Soaring through the sky
Can you see me down there?
We're going up, don't look down!
We're flying through the air!

The choir then takes over once again as the hold their arms out high and wide as they continue to sway to the rhythm of the song. Leanne sings the final line of the song before the orchestra plays the final notes of the song independently. As they play, the stage goes dark and the strobe light flash brighter then ever to finish the song with a flurry of light and sound and the cheers of the audience.

(Can you hear my call?)
(Can you hear my call?)
Can you hear my call? Oh!

"Thank You Besini, thank you multiverse. We can be the greatest!" Leanne waves to the crowd and walks of stage with the choir who are quickly filing off stage to make way for the next performer. There is a shot of Mercedinian flags fliying high as the transition is made for the postcard of the next artist.

by **Arioslavia** » Fri May 19, 2017 3:48 am

16. Arioslavia
Margot - Where to go?
TUNE

Margot at the cover of her latest album

Following a humiliating low place at the 55th WorldVision Song Contest in Izmedu, the ATV decided to give the voice to the people. In a tele-voting, the Arioslavian audience decided to send to Besini someone with the WorldVision experience. Margarita Igorova, better known as Margot (born in Elizavetburg, 1996) represented Arioslavia at the 51st WorldVision in Kyvivre, Britonisea, where her song Dancing with Fire ended up 4th. Now, she returns with a new song Where to go?, hoping to repeat her success. Or maybe even improve it? Who knows? After all, this is the WorldVision!

***

Margot is standing in the center of the stage. It's dark, the lights are blue, the backscreens display a starry sky. Margot is wearing a black dress with a silver, glittering belt. Her long, curly, blonde hair are slightly waving. She starts singing:

I, I'm looking to the stars,
Asking about the sense of life,
Waiting for the end of the night...
I, I'm searching for the light,
Million of ways, which one is right?
I don't know...

The lights get brighter, as the refrain begins. The stars at the backscreens fade away, which is corresponding with the song. When Margot sings rise again, the backscreens suddenly turn to light golden colour and the stage bursts with lights. The TV viewers see a camera view from the audience point of view, the cam moves left horizontally, over the audience, catching some waving flags and hands.

When all the hope fades away,
Where to go? Where to go?
When you think all is lost,
So, where to go? Where to go?
Rise again, rise up, rise up,
Raise your hands up to the sky,
Don't let the sun fade away,
Where to go? Where to go?

During the instrumental part, the yellow lights penetrate the arena. The synth version of the Where to go? phrase is heard. Margot repeats it before the second stanza starts:

Where to go? Where to go?

During that part, the stage returns to the more mild colours. It's dark violet. Margot extends her right hand to the audience, singing. During the second half of the stanza, the camera rotates around her.

Come, time to start something new,
Enough asking for the thruth,
We'll discover it together...
When, when the right time comes,
We all fly up to the sky,
To meet our destiny...

Like before, the stage bursts with lights. After a short shot of the audience, which is waving flags and filming the entry with their smartphones, the cameras show Margot singing the refrain. She raises her hands and head, while singing the second half of the refrain.

When all the hope fades away,
Where to go? Where to go?
When you think all is lost,
So, where to go? Where to go?
Rise again, rise up, rise up,
Raise your hands up to the sky,
Don't let the sun fade away,
Where to go? Where to go?

Again, a synth voice repeating Where to go? is heard.

Where to go? Where to go?

During the bridge, all the lights concentrate on Margot, who is kneeling.

Oooh, take my hand, take my hand,
Oooh, don't forget about your dreams.
Life is too short, take its steer
Into your hands, don't wait.
Oooh, oooh!

For the last time, the stage is lit with vivid orange lights. Margot sings the refrain, gradually rising up.

When all the hope fades away,
Where to go? Where to go?
When you think all is lost,
So, where to go? Where to go?
Rise again, rise up, rise up,
Raise your hands up to the sky,
Don't let the sun fade away,
Where to go? Where to go?

A chorus singing Go, go, go... is heard. Margot repeats the key verse for the last time:

Where to go? Where to go?

As the song ends, the arena erupts with applauze. Margot, still standing in a pose in which she finished singing, says Thank you, Besini! Spasibo! before bowing and leaving the stage. As she walks off, the cameras show a group of Arioslavian fans, chanting her name.

by **Arioslavia** » Fri May 19, 2017 3:49 am

Arioslavian commentary

WIP

by **Adab** » Fri May 19, 2017 4:23 am

17. Adab
"Mother's Eyes"
Writer: Kinan al-Salaman
Performer: Kinan al-Salaman

Al-Salaman performing at a recent concert

Tune: Soundgarden - Black Hole Sun
Language: English

Background
Kinan al-Salaman knew that his performance at the 56th edition of the WorldVision Song Contest would become by far the most controversial and contentious of his WorldVision appearances long before he stepped onto the stage. Just a few days after returning from the 55th WorldVision Song Contest, al-Salaman was driving alone on one of Adab City's highways when a car suddenly crashed onto him and another car, sending all three cars slamming against the wall. Al-Salaman survived the crash with minor injuries, but the other unlucky driver - and one of his three passengers - died on the scene. As the highway stopped to a standstill and police began descending on the scene, al-Salaman saw the culprit staggering out of his wrecked car and walking around it, flailing his arms, clearly drunk. It did not take long for al-Salaman to recognize him; the singer had seen him in the Imperial Palace before and had even talked with him. He was a prince, one of the many great-grandsons of Emperor Tizqar III.

Al-Salaman knew the prince was very likely to get off and avoid charges of negligent driving and manslaughter by virtue of his imperial status, and he had accepted it as soon as he recognized the man from the smashed window of his car. Yet what irritated al-Salaman was that the prince showed little, if any, remorse for what he had done, claiming publicly that he should be "forgiven and this crime forgotten" because he was simply drunk at the time of the accident. In a fit of rage, al-Salaman walked up to the gates of the Imperial Palace alone, at midnight, shouting for the prince to apologize to the loved ones of those he had "drunkenly slain". He was promptly put under arrest for "disturbing the peace", although he was promptly released two days later without any clear explanation; perhaps the imperial family did not desire to keep one of the nation's most respected public figures under arrest for far too long.

They had another reason too; by boldly walking to the palace and shouting for the prince to apologize, al-Salaman had inadvertently installed himself as the voice of angry people, horrified at what a man of imperial blood had done while drunk and the lack of resulting repercussions. Keeping al-Salaman under arrest would have added to the opinion that the imperial family sought to isolate al-Salaman from the masses who loved him and would follow him to the end of the world. Even with al-Salaman free, riots and demonstrations broke out, demanding that the prince face justice; al-Salaman participated and even spoke at some of the demonstrations. Some turned horribly violent; at least ten people died and many more wounded in violent clashes with the police. As the 56th WorldVision Song Contest neared, rumors came out that Emperor Tizqar III and many of his descendants were mulling and advocating the possibility of once again arresting al-Salaman - this time as an "agitator" - and hiring someone else for the contest.

In the end, however, it was that prince who ended up in chains; the Emperor saw sense and had his own blood arrested, to end the violence if not to ensure that he would pay for what he had done. The Imperial Palace struck a deal with al-Salaman; he would drag the prince with him to the WorldVision stage, where the prince would publicly be beaten up - if only for a few minutes - and receive all the multiverse's insults and humiliations as his punishment. In return, al-Salaman would no longer bring up the issue and call for him to receive justice. Al-Salaman reluctantly agreed, and it seemed that all was well once again between him and the imperial family. Yet the rumors would not die down: al-Salaman had grown extremely discontent with the imperial family's elitist, can-do-no-wrong attitude and was preparing to fight them in his own way.

The performance
Al-Salaman and his backing band marched into the stage and assumed their positions without saying even a single word; they were all wearing t-shirts and jeans. Al-Salaman's t-shirt was blood red with "JUSTICE FOR ALL" in white on it. Following them were two burly, intimidating troops from the Adab Army, in full uniform, with the prince - dressed entirely in a black robe as if he was the Grim Reaper - between them, sliding along on his knees, weakly hanging on to the troops' shoulders. He looked weary and white with fear, as if he had not been fed for an entire day.

The Adabian entourage, as always, cheered for their hero as he made his entrance, but they cheered even more loudly when the prince was dragged onto the stage and the sight of the whole multiverse. "Thank you very much," al-Salaman growled into the microphone, glancing at the prince as he was unceremoniously slammed to the floor by the troops. The prince let out an audible moan, after which the troops took turns kicking him and rolling him around the floor like a carpet. Al-Salaman, who had been tuning his electric guitar the entire time, did not pay much mind to it; he and his band had their own job to do. The lights and the LED screen were shining in their full, multicolored glory as al-Salaman crooned and the prince's beating continued.

Bloodshot eyes, bloodied moon
Agony, seen them in my dreams
The golden eye, the teeming snakes
Feasting upon the rapture

Parents died, children screamed
'Neath the red, the corpse was laid
Black angel came through the window
And rang the bell, our time was up

One of al-Salaman's roadies rushed to the stage with a bucket of icy water, which he promptly gave to the troops. They poured it all down on the prince.

Mother's eyes, will you look
And take me now away?
Mother's eyes, will you look
Will you look?

Al-Salaman seemed to glance back to check on the prince, who was being lifted off of his feet and carried around the stage by one of the troops in a scene that reminded the singer of those wrestling matches back in Adab City.

On our knees, hell blowing
Take the cup and burn it all
Water's dry, black as dead
Fly me with the owls to the moon

The virgins' incantations
Man running, I begged to stop
Horsemen came, shadow knives
No one smiles, no one hopes no more

The prince was being beaten to a pulp. The sight so sickened the non-Adabians in the venue, and one by one al-Salaman could see them streaming out of the place. One even vomited on his way out. In a reminder for those who doubted al-Salaman and his band's musical abilities, the band took over backing vocals as al-Salaman showed that he was, indeed, quite the master on electric guitar.

Mother's eyes, will you look
And take me now away?
Mother's eyes, will you look
Will you look?

Mother's eyes, will you look
And take me now away?
Mother's eyes, will you look
Will you look?

(Mother's eyes, mother's eyes)
Will you look?
(Mother's eyes, mother's eyes)
Will you look?
(Mother's eyes, mother's eyes)
Will you look?
(Mother's eyes, mother's eyes)
Will you look?

Al-Salaman performed a stunning guitar solo, which brought cheers from the audience intermixed with gasps as the prince was pushed back-first onto the wall. The troops delivered a series of stinging jabs, chanting, "You have brought disgrace upon the Imperial House! You have brought disgrace upon the Imperial House!"

Mother's eyes, will you look
And take me now away?
Mother's eyes, will you look
Will you look?

Mother's eyes, will you look
And take me now away?
Mother's eyes, will you look
Will you look?

(Mother's eyes, mother's eyes)
Will you look?
(Mother's eyes, mother's eyes)
Will you look?
(Mother's eyes, mother's eyes)
Will you look?
(Mother's eyes, mother's eyes)
Will you look?
(Mother's eyes, mother's eyes)
Will you look?
(Mother's eyes, mother's eyes)
Will you look?
Will you look?
Will you look?

The drums died down, and it dawned upon the audience that the song was coming to an end, and so was the public suffering of the prince. Many of those who were still in the venue at this point would later recall that Kinan al-Salaman turned to the prince, who was being dragged back to the stage once again, bruised and bloodied. He ordered the troops to release the prince and "let him go". The troops reacted in confusion; they were not supposed to be ordered around by al-Salaman, and didn't he want to see the prince suffer? The singer realized that the troops were not about to obey him any time soon, so he turned to his band and gave the signal, a finger raised. The band members descended upon the troops and the rhythm guitarist smashed his instrument on their heads. The troops released the prince, who crumbled to the stage floor with a bam, and turned to deal with the band.

Chaos broke out in the place. Pandemonium. The audience either rushed for the exit or for the stage, attempting somehow to end the brawl. As the troops, the band members, and audacious members of the audience struggled on the stage, al-Salaman took advantage of the confusion to take something from his pocket: a syringe. He came over to the prince, lying on his stomach on the floor, wide-eyed yet half-conscious. What al-Salaman said in that pivotal moment is still in dispute, drowned out by the noise, but nowadays it is largely agreed that he said something along the lines of, "Cruel necessity, but you brought this upon yourself."

The prince could only moan as al-Salaman injected a large dose of sodium thiopental. He moaned and moaned, flailed his arms, shook from the head to the legs, then stopped. Additional troops from the contingent sent to guard the prince stormed the stage, having been alerted to the chaos. Kinan al-Salaman turned around, threw the syringe away, and fell on his knees, extending his arms like an Adabian savior. Killing the prince was not part of the agreement. "Justice for all!" he proclaimed as the troops seized him. "Fight the power!"

by **Togonistan** » Fri May 19, 2017 5:03 pm

WORLDVISION 56 ON TNTV

WorldVision 56 Live Coverage on TNTV with Mandy Hill and Mac ''Sharpshoota'' Lewis
Sponsored By: Ultrabet.tn - the #1 betting site in Togonistan.

Mac: Good evening dear viewers, we are here live from Besini, where 56th WorldVision Song Contest is about to start any moment. All preparations have been done and artists are waiting nervously behind the stage. My name is Mac ''Sharpshoota'' Lewis and sitting right here next to me is Mandy Hill.
Mandy: Hello everyone. I must say that it is really hard to believe that WorldVision has been going on for so long. I mean, we're witnessing the 56th edition already. Anyways, right now you can hear the official WorldVision 56 theme playing as we see fans who have gathered here from all around the world. We sure have some colorful characters here. Just look at these fans from Arioslavia for example.
Mac: Yea indeed, by the way, this year's competition's slogan is ''Chart a New Destiny.'' Last year our destiny gave us 11th place. We'll see what our destiny this year is going to be.
Mandy: I will not make any bets, but i do believe we can enjoy a nice evening tonight. By the way, Togonistan is performing 7th tonight.

COMMENTARY:

by **Britonisea** » Sun May 21, 2017 4:48 am

BVC ONE
The 56th WorldVision Song Contest
Brityunik Vefecosoin Cairkovoin

Live Coverage of the 56th WorldVision Song Contest in Besini Pãcretana, Besini with your hosts Zeke Lemondey and Rigas Jengiz

Zeke: Hello and welcome to the 56th installment of one of the Multiverse's longest running broadcasts. I am Zeke Lemondey...
Rigas: And I am Rigas Jengiz. You know, the WorldVision Song Contest is something quite special, but I must say that the contest has lost its lustre and it seems a bit too slick nowerdays.
Zeke: I haven't represented Britoniea before, as you have, so I can't judge from your point of view. But, the contest comes on regularly and it's usually is the same nations with the same types pf songs - nothing extraordinary or mind-blowing.
Rigas: Britonisea, since it's return, has been struggling to get safely in to the top 10; coming 11th, 10th and 9th in the last three contests - in that order.
Zeke: I think we have just run out of ideas. We are not bad at the contest. We have three top-3 places, and that increases to twelve top-10 places, most of them in the last 10 editions. But, I think that since the return, that willing to win has gone!
Rigas: Maybe, so. The television viewership has gone down. In the contests we have participated in, last edition was the lowest - WorldVision 55 has managed only 29% of television viewers.
Zeke: Perhaps the contest has had its heyday in Britonisea.
Rigas: In an attempt to regain viewership, BVC decided to bid with no success.
Zeke: Well, tonight, we have some returnees and Sanna, who will be performing 8th tonight.
Rigas: She will be singing "Na Farar," a song in all Britonish.
Zeke: Anyway, are we ready for the opening act?
Rigas: I am ready for my bed...

#OA1 - Winner's Reprise - Nightom - Matinee Schylestreake - "I Will Not Concede"

Zeke: She must be absolutely bored of singing that song. I mean, at World Hit Festival, then twice last edition - and then again here in Besini. Wearing the same dress!
Rigas: This will probably be the last time she performs the song; to be honest I'd be tired too!
Zeke: Nevertheless, she is doing a fantastic job at promoting her song, and I do like the song.
Rigas: Me too, I think it's great!

#OA2 - Loads of people - "WorldVision"

Rigas: Didn't like that to be honest, not at all!
Zeke: Yeah, I am not too sure about the instrument, they should stick to their day job.
Rigas: I agree with that! It seemed a bit weird, I dunno...
Zeke: Anyway, let us move on to the first country - Tinhampton!
Rigas: Judging by their entry last edition, this is a bad way to begin a contest of enjoyment.

Rigas: I am not too sure what to think about the first seven entries. I think that the songs that stuck out are Yttribia and Free Republics. I think people will vote them down, Free Republics that is, for that public sex section. I don't think it helps the LGB at all; it's almost like they're trying to prove themselves free of their homophobia etc labels, but instead they've caused the reverse effect.
Zeke: Oh yeah, I agree. Definitely. I liked Yttribia. It is the only song I would vote for out of all of the first seven songs. Didn't really like the songs I am about to mention, but, I would also vote Togonistan and Talvezout if I had a gun to my head.
Zeke: Well, things look on the up. We have WorldVision heavy-hitters in quick succession of each other. And the first of them is Britonisea! Our very own Sanna performs in 8th, now, with the first Britonish song in Britonish! Good luck Sanna!

Rigas: Out of the last 7 entries, the majority came from previous winners, and you can definitely point this out.
Zeke: Yeah. I hope Britonisea does well, but a left-side finish would be fine for me. Honestly.
Rigas: Yeah. There are songs that I liked, and songs I didn't, really didn't, like.
Zeke: But anyway. Up next is Mercedini. They believe that because Nightom, who participated in WHF 31 and came 4th, transferred their song from WHF to WV and won, if they did the same, they would also win. Especially as this song received just under 50% more points than Nightom, and came 2nd in World Hit Festival. Will it win? Well, they seem to think so...

Rigas: Right. So, I quite enjoyed Antahbrantahstan, really. I also liked Arioslavia, but I think Mister X will do quite well this time around.
Zeke: Well, it'd be interesting in they win. I think there is other stiff competition, but I am not sure. They have been going on for a very long time, you know. Anyway, it is song number 22, it is Missus X. I am not sure how well they are going to do tonight...

Rigas: Well those last few songs were boring. How boring were they? Very.
Zeke: Thank god it's over.

by **Polkopia** » Mon May 22, 2017 3:01 pm

The PNB had decided to withdraw from the 55th and 56th Worldvision Song Contests, citing issues with other broadcasters as the reasoning, however, it was just released by the Polkopian press that alleged corruption within the PNB had forced the broadcaster to withdraw from all international events. Although the broadcaster did not participate in the contest itself, the PNB broadcast the 56th Worldvision Song Contest, and sent a commentary team to Besini to cover the contest. A new team of commentators were sent, as the previous commentator, and head of the PNB, Viktor Khassanov, was jailed for seven years following the incident, and will not be returning to work for the PNB. Thirty three individuals in total were released from the PNB, and some were even charged with more serious crimes, resulting in a potential life in prison, though the press has yet to release the name(s) of those involved in said allegations.

Mikhail: "Dobra večer Polkopia and welcome to the Worldvision Song Contest. Yes, this is the Polkopian broadcast of the show, and after a brief hiatus, we're back! My name is Mikhail Resnik and I will be bringing you live coverage of this show tonight, along with my partner, Sabina Plešec!"

Sabina: "Thank you, Mikhail, yes, this is sure to be an exciting show for you today. We have quite an interesting selections of songs for this edition, and I'm sure you're all looking forward to the big show! Well, it starts in a bit. First, though, we have the opening act, which is brought to you from the host country. This is last edition's winner, which many of you at home have yet to see. So, here we are! Matinée Schy...lest..re-Schylestreake, is here with her winning song, I Will Not Concede!"

00. Opening Act
Matinée Schylestreake - I Will Not Concede

Mikhail: "Oh that was nice, a true winner with an emotional performance."

Sabina: "She needs to get some liquid eyeliner, or something that doesn't smear all over her face though. The song was good, but giiirrrl, cheer up! It's Worldvision!"

Mikhail: "Yeah, I'm not too sure if it makes a whole lot of sense to make the opening act an emotional one, but I guess it works? I dunno. Usually the opening acts are a bit more lively than this, but maybe the times have changed."

Sabina: "Maybe. But that's over and done with, and we move on to our first competing act of the night. It is Tinhampton!"

01. Tinhampton
TBA - TBA

02. Gregoryisgodistan
Children of the Lord Children’s Choir - We Will Nuke Them All

Mikhail: "Oh nice, we have these guys coming back to sing for us. They used to be regular participants of this contest, before seemingly dropping off the face of the Worldvision earth. I'll let you all decide if having them back is a good thing or not."

Sabina: "As a professional, I'm going to have to keep my mouth shut on this one. I'm just happy that we're not one of the millions of enemies these guys have."

Mikhail: "They seem crazy, anywho. But now that's over and done with, and while we wait for the stage to get cleaned up a bit, I'm going to refill my cup for a bit. I have a feeling this will be a rather long night."

Sabina: "The first two nations have performed, and we're already more than three hours behind schedule. Ladies and Gentlemen, this means that the broadcast of Martina je Ritarnna will be shown next week instead. Anywho, next up we have Talvezout."

03. Talvezout
Laura - Song of Revolution

Mikhail: "I quite like this! It's a very dreamy song, but it's still very beautiful and emotional. I so love that they use their own language for this as well."

Sabina: "I found it a bit boring, in all honesty, but it's not bad, per say. I can see the appeal this has to some people, but it's just not for me."

Mikhail: "For all of you who don't understand this, the song is about her ancestors during the First Talvezian Rebellion, and the word epanástasis translates into 'revolution'. There's your daily Talvezian lesson for the day."

Sabina: "The staging is very nice, I'll admit, but the song never picks up. There's never a chance for her to show off her voice, or even stand out from the rest of the acts here tonight. I fear she'll end up toward the bottom, but honestly, I can't say I'd necessarily feel bad for her, singing a monotonous song like this."

Mikhail: "Well, good thing you won't be the only voting tonight. Ladies and Gentlemen, if you liked this song, text the number on your screen and add a 03 to it to vote for Laura. Up next, we have the Free Republics!"

04. Free Republics
Egidia Fuentes - New Republicana

Mikhail: "I know it's a bit ironic, but this woman seems almost as appalling as the Greg-is-god people or whatever. I can't stand those social justice warriors, or whatever they're called. But I digress. The song is decent I guess, but the lyrics... no."

Sabina: "Yeah... the staging is just very odd as well. Just an outright awful and ridiculous performance, and I can't see many Polkopian viewers voting for this. Maybe the jurors will think otherwise, but I hope I'm wrong here."

Mikhail: "No, I can't see this song appealing to either the public or the jury. Good riddance too, this was just awful. How to ruin a decent "

Sabina: "Welp. Half the acts so far have been crap, so here's hoping the next act can save us. We have Yttribia up next, represented by Stewart d'Arcy."

05. Yttribia
Stewart d'Arcy - It Takes Two

Mikhail: "What a breath of fresh air from some of the previous acts. No destruction, no death, no drugs, just a decent song with a decent singer. It probably won't win though, but they gave it a good try."

Sabina: "Yeah, the singer is cool and charismatic, and looks like he's having a good time on stage, so I give him props for that. The performance is good, and I think the Yttribian delegation did a good job to make an average song hold appeal to more than just a few viewers."

Mikhail: "I feel as if though this might appeal to the public rather than the viewers, but who knows? This one could do much better than I thought, and I don't think I'd be too upset with that. If it won though, that's a different story, but I won't go there."

Sabina: "Well the next country is getting ready, the postcards are being shown, and the stage is being prepared. Ladies and gentlepeople, get ready for the host nation! It's Besini up next!."

06. Besini
Liliana Saragï - TBA

07. Togonistan
Grace Lekker - Freedom

Mikhail: "So this one is... different."

Sabina: "That's a nice way to put it. Quite frankly, I didn't like this one a whole lot. The verses didn't match with the chorus, and personally, I'm not a huge fan of the background green thing that was going on."

Mikhail: "Yeah, the background was a bit too much. It hurt my eyes a bit to watch that, but no worries, I'm alright. The lyrics were a bit average too, not that anyone ever watches this show for that, but still, it's something I feel like I should mention."

Sabina: "Yeah, it's not the worst song of the evening though, so there's that. But for you people at home, if you want to vote for this, add 07 next the the number shown below to vote for Togonistan. Up next, we have Britonisea."

08. Britonisea
Sanna- Na Farar

Mikhail: "Oh, I like the staging quite a lot, but the song..."

Sabina: "No, I don't like the song either, but I didn't like the staging either. I found it a bit too much. There's so much to look at. There's the girl, Sanna, or something, and there's the background. And I think there was a bit where there was a wolf or something. It all was just a bit too much for me."

Mikhail: "I liked it, because it distracted me from the song. If I was voting, I could see myself voting for this one, just because it was interesting, at least. Not for the song."

Sabina: "Well for you at home, if you all liked this one, add an 08 after the numb- oh wait. I just remembered you all can't vote. Well, just pretend like you can, and dial the number on the screen and see what happens."

09. Tödlichebujoku
Armor & Kyllikki Táhtinen - Reality

Mikhail: "Oh, I really like this one! It's very fun, despite the weird and sadistic lyrics. Yeah, if you don't sing this one aloud, it's very good and is sure to put you in a good mood!"

Sabina: "Yeah, I mean, the performance was very emotional, and the lyrics probably have a symbolic meaning to them. That's my guess, at least. I really liked this one as well - it might actually be my favorite so far."

Mikhail: "Yeah, it might not be my favorite, but it's definitely up there somewhere. I wouldn't mind seeing this one do well. Tödlichebujoku have really brought it this year! "

Sabina: "Agreed. Well, we're moving on to our next country, and that is Ekoz!"

10. Ekoz
Mito Montersor - Insane

Mikhail: "Wow! Now this one is definitely my favorite of the night! Just amazing vocals, staging, everything!"

Sabina: "I liked the previous one a bit more, but I can't deny the quality about this one. I liked it. I really did. The vulgar language caught be a bit off guard at first, but I guess it works with the theme of the song and all."

Mikhail: "If this doesn't come top 3, I'm going to definitely have to see if there's a chance that Polkopia can pull out of the next edition, because that'd be ridiculous!."

Sabina: "You have fun with that. Anyway, we're moving on to Izmedu, our next country."

11. Izmedu
Terezija Novak - Rat

Mikhail: "I have very mixed feelings about this one. While I do like the song and her voice, especially, I'm not so sure on the staging. I do understand what Ms. Novak is trying to portray here, but... I don't know, something just feels a bit off about the whole thing."

Sabina: "I'm pretty sure this song is political, or at least, has political undertones in it. That should be obvious. I liked it though, I thought it was very powerful, and she was a very capable performer here. Of course, her voice was amazing, but I'm sure everyone has already recognized that."

Mikhail: "I'd probably give this an 8/10, based on the voice alone. The song just followed two other entries, which were very good, so it might lose out in points based on that."

Sabina: "We'll see at the end of the night, won't we? Moving on, we're on to the next country of the day, and that's Goluta"

by **Todlichebujoku** » Mon May 22, 2017 11:44 pm

- P R E S E N T S -

OFFICIAL TÖDLICHEBUJOKI COMMENTARY

with Kielo Tsukino and Taiki Bosch,
featuring Aoeuou from Kasanova-Koratica's KKOK

OOC NOTICE: Commentary for reservations will be updated to reference the completed entry

TAIKI: Hello and welcome to the 56th WorldVision Song Contest in Besini Pãcretana! I'm Taiki Bosch with Kielo Tsukino and this edition we have a special guest commentator, Aoeuou from the faraway land of Kasanova-Koratica!
AOEUOU: Hi peoples! We're in Best Pancreas and we're going to be watching... people! It's amazing!
KIELO: Um so yeah, looks we have a nice dancy theme to set off our night in the beautiful city-state of Besini.
TAIKI: I can see myself jamming to this. Nice and mellow, but still upbeat enough.
AOEUOU: We can feel sounds through our earholes! It's like smoke into your mindmeat! I have a big mindmeat.
*Kielo and Taiki look at each other for a second, somewhere between confused and concerned*
KIELO: How wonderful! Anyway, it looks like Matinée Schylestreake from Nightom has returned to give us a performance of her winning song "I Will Not Concede" from WorldVision 55:

Opening Act 1 - I Will Not Concede

TAIKI: It really is a great song, and a great performance. How does she get that mascara to drip down just perfectly every time?
KIELO: I honestly have no idea. But I'm really loving how the message stands out now that she's won and is opening the next contest, that message of perseverance and all.
AOEUOU: Why is she back? I want someone new. My mindmeat is sad.
TAIKI: Well she won, it's always nice to see and remember what we all loved last time. Anyway, Besini have an original performance lined up for us as well; here's our host Natala Nagyek, with BELET and Fustina Neri taking it away.

Opening Act 2 - WorldVision

KIELO: Well wasn't that an opening.
TAIKI: Really is, I'm just waiting for the lyrics and performance notes to be released. That would be great.
AOEUOU: That's because you couldn't see. Because I'm fat. Well I'm fat. I like fat.
*Aoeuou plays with his(?) jiggly body parts while Kielo and Taiki look on in a confused manner*
KIELO: That's... very inspiring, isn't it? Um, so it looks like our first entry of the night is Tinhampton.

Tinhampton

KIELO: Tinhampton really is a beautiful nation, fashionably early no less.
TAIKI: It was a beautiful video tour of the nation. Maybe some music would help.
AOEUOU: Haha I'm naming my baby Tim Hammton now. Ooh look, it's my love buddy Greggy boy next!
*Aoeuou squeals in joy, as Kielo and Taiki prepare the lead-lined flameproof screen*

Gregoryisgodistan - We Will Nuke Them All

AOEUOU: YAAAAAY! SPARKLY! LIGHT! I like to drink my wine from the source too, and there's a lot of it out there now.
TAIKI: Um...
KIELO: That.. that was something.
TAIKI: The melody, I believe, has merits.
AOEUOU: I wanna go and drink the wine before it burns up.
KIELO & TAIKI: NO.
AOEUOU: I'm a sponge and I want to be red. Haha, bered. Bread. With wine.
*Taiki jams a chair against the door, then takes down the screen*
KIELO: Now that the stage is just about cleaned up, we have Laura from Talvezout with the "Song of Revolution":

Talvezout - Song of Revolution

TAIKI: This is the perfect respite after that madness before.
KIELO: The language is just beautiful, and the stage effects and performance just fit the song so well.
AOEUOU: Not fun. My mindmeat is soft and sleepy. I want more sounds in my earholes. More feelings.
TAIKI: Yeah, it's not going to be the most upbeat or memorable song in the contest, so it probably won't win, but it'll look dignified and respectable hopefully in the top half.

Free Republics - New Republicana

KIELO: Oh, the classic Free Republican pre-song speech.
AOEUOU: M A U R E E N WAS ROBBED! Euphorbia was better. It just was. Hmph.
TAIKI: Wait, what- oh. I think. I think I get what you're referencing there. Anyway this was a great tune, the performance was quite agreeable, though extreme at points, the lyrics more than a bit extreme, aren't they?
KIELO: Seems almost satirical. Like this is a front by conservative elements trying to discredit the new movement by broadcasting an over-the-top performance on international airwaves.
TAIKI: Though we all know that most of us Tödlichebujokis probably won't notice the satirical undercurrents; what seems over the top to other cultures is really kind of normal to us. Most concerts I've been to back home blasted the crowd with hemp vapor and half the teenagers have public sex because their parents aren't there to see.
AOEUOU: What is a sex
*Kielo and Taiki stare at Aoeuou for a moment. Noticing that Aoeuou is oblivious, they continue their conversation*
KIELO: It's expected back home. People might think it's a bit much to be putting it on stage in this setting, but really it comes down to how much the lines about bashing cops and fascists disturb you.
TAIKI: So it'll get points despite the violent tones and probable satire. Okay, we've totally overrun and Stewart d'Arcy from Yttribia is onstage right now and literally about to sing.

Yttribia - It Takes Two

AOEUOU: MIGHTY MORPHINE PO-
TAIKI: Weeelllll looks like we have more drug references, an actual drug this time, but in a song that's more mellow and relaxed.
KIELO: Love how it's self-referential when it mentions "a top forty song" when of course it's going to be in the top forty of this edition. It's Yttribia, after all.
TAIKI: What you just said was so bad but also so good. I think we'll just move on and introduce our host nation, Besini!

Besini - Unstoppable

AOEUOU: But she stopped. She lied to us.
KIELO: Well she has a time limit, and she wasn't referring to her song. This here is your first classic, sweeping WorldVision power ballad. It's bound to do quite well, with its uplifting chorus and professional staging. I'm really glad that this has arrived to really set the contest in motion.
TAIKI: It was very well done but it was almost bland, in the sense that the idea's been done countless times before, in similar ways. Like it's part of a power ballad clone army, really just stunning by itself but also really just the same as any other power ballad.
KIELO: That's a harsh outlook on it but.. I'll have to admit that somehow seemed to lack personality. I don't know, there just seems to be some sort of disconnect happening there. But really, it was a great performance, and former debutant Togonistan is taking the stage!

Togonistan - Freedom

AOEUOU: If you're wearing leather aren't you asking for some S and M fun? That's what Elisza Swiss-on-Rye told me last night. We had fun.
*Kielo and Taiki stare at Aoeuou in alarm*
KIELO: I.. um.. don't want to imagine that. So that was a fascinating entry from Grace Lekker of Togonistan.
TAIKI: The visuals and music seemed a bit at odds with the lyrics and vocals, but I think it just sounded great overall.
KIELO: Yeah I definitely wish the visuals were more in line with the lyrics, but other than that it was well done.

TAIKI: Okay, we'll be taking a break for a short bit, and when we return we'll have Britonisea with Sanna's "Na Farar", and right after that, our very own Armor and Kyllikki with "Reality"! Keep us on!
AOEUOU: Make a sound! Make a scene! Make a baby poo! It's cleanup time and I choose you!
KIELO: Wat-

56th WorldVision Song Contest- Besini Pãcretana, Besini [IC]

56th WorldVision Song Contest- Besini Pãcretana, Besini [IC]

08 | Britonisea | Sanna - "Na Farar"

10. Ekoz: Mito Montersor - "Insane"

Next: 56th WorldVision Song Contest

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