WorldVision Song Contest 59 | IC | Thatcher City, Mister X

by **Mister X** » Mon Sep 18, 2017 12:21 pm

worldvision song contest 59 - thatcher city, mister x

more than just music

(OOC: A "mixtape" will be provided later.)

As the clock struck 2000 in Thatcher City, and indeed all around Mister X, the lights came on, and the world's cameras began to roll. Almost like a 1920s movie, the cameras slowly zoomed in on the stage's front curtains, red, velvet, and silky, as one solitary spotlight showed the middle of the stage. All of a sudden, as the music began, the entire mood changed, the lights all changed to green and the curtain drew back. It revealed an army of dancers - the men in loose-fitting white shirts, with the women in golden, almost indecent, dresses. Whilst the track was pre-recorded, the theme was it was "more than just music", and so the dancing took centre stage.

On every major chord in the introduction, all the dancers did big sweeping motions with their hands, outstretching them as one arm went clockwise from their sides to above their head, and the other arm went the other way, so they were both moving outwards on their ascent up to the top. This was repeated for the first four chords and thus the first four bars. On the fifth bar, they all did a Cha-Cha walk forwards down the stage (the women on one side, the men on the other), and on the sixth bar, the men held a line, took a woman's left hand (one for each man), and the women spun into their men.

(Yes!)
(We're back in Thatcher City!)
(Most incredibly, we are here!)
(For more than just music!)

As the tempo changed, the lights all changed to red, and the women went into Cuban breaks with their male dancers - that is, to say, putting one front in front of the other and then back on every beat, doing a double take on the fourth beat of every bar. On the trumpet, they spun out, whilst still maintaining hand contact, and they all had their arm sweep above their head, and spun back in again.

Oh yeah, oh yeah, oh yeah, oh yeah-yeah,
Oh yeah, oh yeah, oh yeah, oh yeah-yeah,
Oh yeah, oh yeah, oh yeah, oh yeah-yeah,
Oh yeah, oh yeah, oh yeah, oh yeah-yeah

Then, as the trumpets and the male voice returned, they all spun out and went into New Yorkers - that is them starting from a standing position, but turning 90 degrees each so their backs face each other, and sticking their free arm up, with the palm pointing down. They do this for the next scene, until the music changes back to how it was again.

(Yeah, history in the making,
Back here, we're back, baby!)

Suddenly, the music stops (at 0:29 in the video), the dancers all split down the middle, as Mister X's most famous singer, Filius Deorum, walks down the gangway created by the dancers, wearing his normal black two-piece suit with his white shirt, top button undone, and no tie. The lights all fade, save for one spotlight on Filius, as he begins to sing to this music.

Tonight, we'll find, everyone,
A new winner for WorldVision,
And I swear, what we'll do,

Suddenly, the music jumps to later in the official track (0:26 on the video) and Filius goes into a falsetto.

They're all doing it for you!

All of a sudden, the lights come on, and the dancers have moved back to the centre of the stage in the interim. They're all in couples, as before they did the gangway, and start doing basic salsa, moving in and out of each other.

We've been waiting for so long,
Now the competition's on,
In Thatcher C,

Another jump (to 1:11) in the music...

Just remember!

We're all quavers,
Crotchets, minims, and notes,
And I'll tell you something,
Tonight we'll vote, because...

All the dancers in the background lift their women up higher than many in the audience think is possible.

It's more than just music, yeah,
Everything we know, it's up to you,
And we'll know what you do,
Because tonight, it is your show!

A woman in a blue dress, but the same style as the other girls comes on, and starts dancing with Filius Deorum. The music starts fading away as the curtains draw across.

Robert Baxter enters from the audience's left, and Sam Smith from the audience's right, in front of the curtains on the few inches of stage in front of the curtains to whooping cheers from the audience. They are both dressed like Filius, and once the whooping dies down, Robert announces...

Robert: Good evening! Welcome! Welcome, welcome, welcome, to the 59th WorldVision Song Contest, live from Thatcher City in Mister X!

More cheers.

Sam: Tonight, many countries will fight for your votes in order to take home the WorldVision trophy. Your voting information can be found from your national broadcaster's commentator, and, let's be honest, we'll get to all that later. What you need to know is this: note down which ones you like, and you can vote for them later. Please note, you cannot vote for your own country.
Robert: Also, can we please have a huge round of applause for tonight's conductor, seated backstage. Indeed, tonight, the nations have the option of live music - the orchestra are playing backstage and their sound being pumped through speakers.
Sam: Sorry, we couldn't fit them all in the arena!
Robert: Right, now, Sam and I are off to the MRX commentary box. Am I right in thinking that's everything?
Sam: Yeah, I think so.
Robert: OK, let's be quick, we've only got the hall booked until 12.

Some laughter comes from the audience.

Sam: Oh, hang on, we forgot one thing!
Robert: Oh, of course!

Sam claps his hands twice. The curtains open (the dancers having now disappeared by now) and a huge hammer and sickle drops down from the ceiling, as Robert moves to the back of the stage, standing in front of it.

Boos ring out from the audience.

Sam: Hold on, everyone...
Robert and Sam: 3, 2, 1...

Robert takes out a lighter and sets fire to the flag, turning those frowns in the audience upside down. They watch it combust, before eventually there is nothing left to burn. Robert moves back to the front of the stage.

Robert: Ladies, gentlemen, and non-conformists,
Sam: The pleasure is mine...
Robert: ... and the stage is yours!

And with that, the first act's postcard begins playing...

by **Mister X** » Mon Sep 18, 2017 12:22 pm

OOC THREAD | OPENING ACT | INTERVAL ACT | RESULTS

POSTCARDS

Performance | Votes

~~07 Ekoz~~

Performance | Votes

~~11 Antahbrantahstan~~

Performance | Votes

COMMENTARY

DARKMANIA | DATV | BENJAMEM RESPERTER
PART I

by **Saviera** » Mon Sep 18, 2017 12:41 pm

01. Saviera
Daddy, by Lila Andora, Viola Lichtenstein, Daffodila Monako, Tulipa Samarino, & Orchida Vatikan
To The Tune Of Jam Jam By IU

Lila Andora, Viola Lichtenstein, Daffodila Monako, Tulipa Samarino, & Orchida Vatikan are Originally Part of a Group Act. However, the Fifth Member Could Not Make It to Thatcher. But Together with Rosa Luxemborg, They Would Make Up the Girlband "The Internationales".

When They were Ready to Sing, the Stage was Dark and You Could Only See Their Silhouette. They were Posing a Bit Sexy.

We live in times where money
Are owned by all the bunnies
That drive fancy cars all around the land
So maybe you could give back
To us, the sweet girls who lack
So many things, we could eat out of your hand

The Lights Turn On, the Background is like Retrowave, and They Made a Stylish Walk Down the Stage.

Kalosians, never mad
While all the Izmeduans, always sad
But Tödlichebujokis, not afraid
And the Britoniseans, only shade

They were Doing Slow Choreographic Movements but it was Just Like Posing.

I need some sugar, I need to think straight
My age and wage to you are both just a number
But my bills are like, tension, just keeps building
You and your income come in my desperation

They were Teasing the Audience.

Come give me gold, daddy
Come give me sugar
Come give me gold, daddy
Come give me sugar
Come give me gold, daddy
Come give me sugar
Come give me gold, daddy
Come give me sugar

More Choreography.

We live in times where money
Are owned by all the bunnies
That drive fancy cars all around the land
So maybe you could give back
To us, the sweet girls who lack
So many things, we could eat out of your hand

The Girls Looked Surprised because the Wind Machine Lifted Their Skirts and They Tried to Hold Them Down.

Oh!
Come give me gold, give me sugar
Oh!
Come give me gold, give me sugar

More Choreography.

The Normands, history
You’re just like a Mister X, mystery
Mercedinian arms are like spaghetti
When they are just ri~ight, to the tooth

I need some sugar, I need to think straight
With you my chasing thoughts turn into a slumber
Between us it’s like my bills, tension, it just keeps building up and above
Drowned in your sweets

More Teasing.

Come give me gold, daddy
Come give me sugar
Come give me gold, daddy
Come give me sugar
Come give me gold, daddy
Come give me sugar
Come give me gold, daddy
Come give me sugar

They were Surprised but the Lights Also Became Dark and it was a Bit Like a Tease.

Oh!
Babies are expensive, yet there are many
Oh! (But daddy)
Yet always, you still come in, come in, come in

The Lights and Retrowave have Returned, and More Choreography.

Oh!
Babies are expensive, yet there are so many
Oh!
Babies are expensive, but you always come in

More Choeography but Also Teasing.

We live in times where money
Are owned by all the bunnies
That drive fancy cars all around the land
So maybe you could give back
To us, the sweet girls who lack
So many things, we could eat out of your hand

Just Teasing and the Lights Faded to Dark.

Come give me gold, daddy
Come give me sugar
Come give me gold, daddy
Come give me sugar
Come give me gold, daddy
Come give me sugar
Come give me gold, daddy
Come give me gold

The First Song of the Night was Over and Everyone Cheered. Lila Andora, Viola Lichtenstein, Daffodila Monako, Tulipa Samarino, & Orchida Vatikan Said Thank You and Left the Stage. Everyone had Fun. Yay

by **Estogium** » Mon Sep 18, 2017 1:40 pm

#02 ESTOGIUM
Ellie Morgent - "My Love"
Tune : TAYANNA - "I Love You"
Language: English
Duration: 2:54

Ellie Morgent: Estogium's girl, Ellie Morgent, takes a leap of faith as she decides to come back to the WorldVision Song Contest.

RVC (Rwhitton Vefecosoin Cairkovoin) was pondering whether they should leave the WorldVision Song Contest alongside the Britonish Broadcaster BVC after the 57th WorldVision Song Contest. The bureaucrats at RVC decided that the nation should continue to follow its own destiny, instead of following their bigger 'brothers' Britonisea. RVC then decided that they will participate in the 58th WorldVision Song Contest, which eventually took place in Polkopia, a nation that had waited twenty editions to host the contest, compared to Britonisea's six edition wait. Going to Polkopia was an exciting moment, but memories of Estogium's past hawked back to the RVC - Estogium debuted as the name Estogium in WorldVision 39 in Titaniumland, and with Ellie Morgent not being available for the 58th WorldVision Song Contest, it was up to RVC to find a quick replacement. Upon receiving the result from the 58th WorldVision Song Contest, there were speculation that Estogium would decide to finally withdraw from the WorldVision Song Contest by the 59th edition. In fact, RVC decided to once again compete in the contest, being the first nation to announce their official intention and the first country to announce who will be singing their song.

During the 58th WorldVision Song Contest, RVC had scurried to get Adrian Zane to represent Estogium at the contest. Initially, Ellie Morgent was supposed to represent Estogium in the contest in Machievelihe, but she had personal issues which forced her to pull out from being the representative. When the song was announced, there was unrest amongst the Estogian fans, who believed that this song was not a good indication of the music scene in Estogium, and some called for the song to be dropped from being the official WorldVision Song for Estogium. However, RVC decided to be poised in their decision, saying that Adrian was committed to making sure that the performance that he gave would be one that Estogium would be proud of. Estogium was coming back from two sixth-places, followed by two twelfth-places and so, the Estogian fans were willing to get back in the top 5, which was last seen during the WorldVision Song Contest 51 in Kyvivre, Britonisea and before that during the WorldVision Song Contest 48 in Talvezout, with the representative being Ellie Morgent.

The broadcaster, during the 55th and 56th WorldVision Song Contest was forced to withdraw those two contests because of the broadcasters from the now-fallen Nightom and Provincial Aloquirbe. Both broadcasters stated that it was unfair that Estogium and Britonisea were being the two nominated ABEN nations to be nominated to participate in the contest. Britonisea had the right of way, as the largest financial contributor of the nations, which left the fingers being pointed at RVC and Estogium. An unwritten rule allowed nations to participate in their tenth anniversary. Britonisea, Estogium and Aloquirbe were given that opportunity, with the latter refusing to take it due to issues, but Nightom argued that it should also count for them. Nightom won the right to participate in the 55th WorldVision Song Contest, infuriating those in RVC. Nightom ended up winning the contest on their anniversary, and only second attempt which made the RVC fuming too. The Nightomese broadcaster thought that they should be given the chance to come back to the contest after winning, something that many agreed to. However the Aloquirbic and RVC broadcasters disagreed which lead to the Cross-Border Battle. The Battle, which was conducted by BVC, saw Estogium come last, Nightom second and Aloquirbe first. Aloquirbe, an overseas territory of Britonisea, scored their highest placing of 4th many editions after their last participation. Nightom fell and confirmed they will not be returning, and Aloquirbe decided to not return either leaving Estogium able to participate. RVC took upon that decision.

However, Adrian Zane and the team behind him bought home a result that for Estogium nowadays isn't something they would want. With only 39 points, Estogium came 17th out of a field of 26 nations, their lowest result since Prescott, Electrum. RVC are hinting that they blame the long wait for their poor result, and not Adrian himself, but many land the finger of blame down to RVC. RVC needed a lot of help to make sure that they get back in to the top end of the scoreboard, and so they enlisted the help of Ellie Morgent.

Ellie Morgent represented Estogium on two different occasions, once in the World Hit Festival and again during the WorldVision Song Contest, coming out with a very good result - which remains Estogium's best result to date. Ellie Morgent coming to represent Estogium is the first time since WorldVision Song Contest 49 that a woman has represented the country, which is a change "needed" according to the RVC. Ellie Morgent has said she doesn't mind if she doesn't top her first result because her aim is to "make sure that Estogium gets back on track for the upcoming edition and score their win 26 editions after their debut in Ekoz's Carnise. "My Love" marks Estogium's 20th entry, and with that, hopefully a bit of success will come of it.

Ellie Morgent was quite worried about coming back to the WorldVision Song Contest, especially 11 editions after she last participated in the contest. She felt a sense of nostalgia, but she noticed that the contest was marginally different to how it was before. Looking at the recent winners of the contest, they have mostly been nations that have never won the contest before, or nations that have won before, but over or around ten editions ago. She hoped that the new wave of talent could relate on Estogium, because the nation has been waiting a fairly long time to win, but mostly, the nation has been waiting a long time to get to the top, but there are nations who are still wanting of that trophy. Ellie Morgent slowly walked to her microphone and got ready for her performance.

She said that the song and performance didn't have any gimmickry, and was down to having a good voice, a complimentary staging and an excellent voice, which she believes has all been successfully achieved in the Estogian song this time around.

The song was about to finally start, and Ellie Morgent was ready. The song had a very ominous and quick starting, and so she was relying on the lighting to give her an indication on when to start singing. At the start, as the sound got louder, a camera from the top of the stage curved downwards, speeding up as the sound got louder before passing Ellie when the sound echoed through the arena. It then faded to another camera, which was focused on Ellie Morgent, who stood there in white, in front of the blacklight-lit, rather small, screen wall behind her.

A year later, silent words, no ultimatum
Blank scriptures, and stained pages, an unfinished story.
Open scars, shard of glass, a wound which cannot heal.
Memories are now dying, fading in the night...

Ellie Morgent started off the song with her eyes slightly shut, ever so gently. As she progressed through the verse, which was a very short verse compared to other songs in the competition, she wanted to show a sudden contrast between how she acts during the first verse and the chorus. The screens behind looked as though it was reacting the song in the arena. In the middle of the LED screen, it looked as though there were soundwaves, which changed to each part of the song, for example, the introduction of the backing percussions.

But, as she started to sing about how her memories are dying, the soundwaves started to get less frequent, and less straight as they muddled up and started to circle around, and this was happening right behind Ellie Morgent, who still focused solely on the camera, which had only slowly backed away. Suddenly, after that break in the voice, the camera quickly spanned outwards, as white lights on the side of the arena started to turn in place, filling the arena up with those lights, and the camera too.

Please let me prove myself to you,
I'm begging and I'm pleading.
You've shot me down to my knees,
And you're looking down on me.
And I am asking for the chance,
To put your trust in my palms.
I cannot fight much longer, my love.

There was yet another break in the vocals, which allowed Ellie Morgent to compose herself. She took the microphone out of the stand and started to walk to the other end of the stage, which was not that interesting. Ellie smiled at the camera, which started to follow her as she walked. The white lights in the arena turned to pink, but most of the lights in the arena were focused on Ellie Morgent, who would occasionally look at the camera, to recognise that it was following her around.

I promise that I'm not dreaming, of us every single night
Although I love you so much I can keep it up no longer.
I can't believe a year passed on, and you have no regrets.
Or is this just a strategy to punish me again?

The next verse was quite similar to the first verse, that she the surroundings were quite dark compared to the chorus, which had bright lights and glaring LED screens, but those had died out for the above verse, but as previously mentioned, the verses are extremely short, so this didn't last for a long time. The Estogian slowly looked from the right, where a still camera was, to the left, where the other camera was positioned. She then looked back at the camera facing forwards as she begun to sing the chorus again.

Please let me prove myself to you,
I'm begging and I'm pleading.
You've shot me down to my knees,
And you're looking down on me.
And I am asking for the chance,
To put your trust in my palms.
I cannot fight much longer, my love.

Ellie Morgent looked down, and the colours on the stage was only black and white, and every few seconds, the camera showed her in a circular shot, changing positions. Ellie Morgent didn't follow the camera, as it did come back to her by circling around her. She started singing in to the microphone, though she started singing as though she was quite weak and inclusive, she wasn't giving anything away.

And I am asking you,
I will only ask once more.
Cuz' when I see your face,
I wish things were different!

Similarly to the last Estogian song, the last chorus had a very big improvement compared to the rest of the lyrics, however, this song seemed to fit in very well. With the end of the songs, you could start to hear the brass instruments playing the background more, which added to the texture of the song, and making it seem as though it was more polished than it was. As she'd sung "different!" the camera backed away, exposing the whole stage, with the white lights still circling around the arena, similar to how it was doing it in the first chorus. This time, though, she was slowly bending her knees with the brute force of her key change.

In the back, on the screens, it was a picture of her head as a silhouette, with her hand slowly touching her neck and turning from side to side, to show her femininity. The picture, though, was somewhat distorted and unclear as a dark silhouette figure appeared in the background, appearing and then disappearing after every change of the camera shot.

Please let me prove myself to you,
I'm begging and I'm pleading.
You've shot me down to my knees,
And you're looking down on me.
And I am asking for the chance,
To put your trust in my palms.
I cannot fight much longer, my love.

She then lightly stamped her feet on the spot, behind flicking her hair from one side to the other side as the final bit of the song, the denouement of the song, began. The final camera shots swerved were from steadicams which circled around her and she protested about how she can't fight.

I can't fight,
I can't fight,
I can't fight,
I just can't fight.
Ooooh, Ohhh, Ahhh, Ahhhh
I can't fight,
No more, my love.

Ellie Morgent stood very strongly near the end of the stage and sung that last part of the song before the audience faded in with a fairly large roar, though, we are not sure whether this song was their type of enjoyment. Ellie Morgent waved to the audience before turning her face of seriousness in to a happy, jubilant face that we are more used to. "Thank you so much everyone, thank you!" She said before walking off the stage as the stage got ready for the next act.

by **Cleaca** » Mon Sep 18, 2017 1:46 pm

03. Cleaca

Elite Angels - ''Take a Chance!''
Tune: Vanilla Ninja - ''Tough Enough''

Togonistani Overseas Territory of Cleaca, a tiny island nation of approximately 1200 people, were granted a right to participate in the 59th WorldVision Song Contest under their own flag after 5 month long discussion between TNTV and CBC (Cleacan Broadcasting Centre). CBC already had an idea about who is going to represent Cleaca in their WV debut, and considering the fact that the whole island is extremely small, it was more than obvious that they were going to approach the only artist from their nation who had gained some recognition overseas.

Elite Angels. From left to right: Amy Lisbon (guitar), Sally Kaylor (vocals), Kelsea Menesula (keyboards) and Caty Epenu (drums)

Elite Angels is a Cleacan girl band formed in 2016. They have performed in various nations, including Britonisea, Estogium and Arioslavia, as well as participated in Togonistan's WV National Final (sadly, without any success). Even though their popularity has been rather minuscule in the international scene, the girls have become nation-wide idols (and, cough, national sex symbols) in their native Cleaca.

Performance:

The band is standing on the stage with their instruments. Stage is dark at first, but eventually gets lit up. Background is dark grey-ish stuff with some unrecognizable stuff moving around. Band plays the opening part and, eventually, Sally puts her mouth near her microphone and starts singing:

Baby only the bold shall prevail
Through the massive path of life
And even though sometimes you will fail
Baby keep on going, I'll be by your side

Suddenly, the background turns red with some poker cards flying around all over the place. Band keeps playing their instruments and vocalist keeps singing:

So please stop running
The table is turning
Now stop, life is a game where
You are the player
Baby just take a chance
Just keep on playing
And don't stop trying
There is no reason
To stop when all the cards have been played
Baby just take a chance

Baby just take a chance

Sally grabs the microphone with both hands, as some Cleacan fanboys can be heard chanting in the audience. Background LED screens show the king of hearts.

Even though life's a dangerous place
They can't read your poker face
With a bluff you can change all the stakes
And my kiss can wake
Feelings you can't take

King of hearts in the backgrounds explodes into a thousand pieces as some more playing cards start flying around (it's hard to describe but i guess you get the idea).

So please stop running
The table is turning
Now stop, life is a game where
You are the player
Baby just take a chance
Just keep on playing
And don't stop trying
There is no reason
To stop when all the cards have been played
Baby just take a chance

Baby just take a chance
(Baby just take a chance)
Baby just take a chance

Some golden rain starts falling down in the background (totally not ripping off Tremendous's performance in WV 57) as Sally keeps singing:

We will take it all
Even if it's hard
Oh tonight

So please stop running
The table is turning
Now stop, life is a game where
You are the player
Baby just take a chance
Just keep on playing
And don't stop trying
There is no reason
To stop when all the cards have been played
Baby just take a chance

Baby just take a chance
Baby just take a chance
(Baby just take a chance)

Golden rain stops and background screens show same thing as before, except that now the background is gold-ish instead of red. Elite Angels perform the final part of their song:

So please stop running
The table is turning
Now stop, life is a game where
You are the player
Baby just take a chance
Just keep on playing
And don't stop trying
There is no reason
To stop when all the cards have been played
Baby just take a chance

Baby just take a chance

Band ends their performance with a huge applause and all the members start hugging each other on the stage while smiling, screaming and being a bit too excited due to the fact that they had just finished successfully performing their song. They wave to the audience and shout out some ''Thank you's'' before eventually leaving the stage.

by **Kalosia** » Mon Sep 18, 2017 2:14 pm

04
Kalosia
Sailing on the Stars — Lonely Lovers
performed in English to the tune of Wishing Girl — Lola Marsh

For the 59th WorldVision Song Contest, Radiu-Televižju Kalosia (RTVK) has internally selected the band Lonely Lovers to represent the island nation at the prestigious event. The band's name itself also has its origins from the show, as it was named after Lonely Lovers' Club, the Kalosian entry to the 38th contest, which came 4th. However, the similarities stop there. Lonely Lovers, founded in 2015, specializes in a more indie sound.
The song, "Sailing on the Stars", is sung from the perspective of a woman, whose lover — a sailor — is about to go on a journey at sea, a familiar tale among Kalosian society, which has been a seafaring civilization throughout the ages. The music video was filmed mostly in the small seaside village of Legurno, where fishing is the main source of income and thus many of the townsfolk are fishermen.

But that was early on in the development stage. After several special performances, promotional gigs, and days of rehearsal and rest, Lonely Lovers made the journey to Thatcher City, Mister X, and landed safely. Rehearsals had also gone well — press reports suggest the performance will be relatively simple, a stark contrast to the elaborate staging of last edition's song.
But now the time has come for them to perform. The band's lead singer, Diana Marseľu, was wearing an outfit that could best be described as "a stylish modern simplification of Kalosian traditional dress", while the rest of the band were wearing striped white-and-blue polo shirts with blue pants (basically this but with long pants instead of shorts). While the postcard was playing, the stage crew quickly prepared the set as Lonely Lovers came on and it was visible that there would be a typical band setup, with the band members playing their own instruments, while Diana would be in front of the stage singing through a cordless mic in hand.
The stage was dark, but just as the song began lights faded in and the background showed a calm sea and a clear sky at night, and the crowd cheered.

note: in the phrase "you~u are sailing on the stars", the first word is 3 syllables instead of 4 like in the original song. so when the original singer says "are", that corresponds to the syllable "sail" in that line.

Come here, before you go
You know that you need to take it slow
So see me, just one last time
As I am yours and truly you are mine

In the background graphics, clouds developed and thunder was seen once or twice.

But when the seas are rough
Skies above will guide you
For I gave you my song
Long time ago, long time ago

The sky in the background cleared but the sea gradually turned into clouds, forming a graphic like this.

Cause you~u, you~u are sailing on the stars
And I~I, I~I am your faithful one
Cause you~u, you~u are sailing on the stars
And I~I, I~I am your faithful one

In the background screen, a flying ship "sailed" into the picture (like this, except the colour scheme stays mostly blue) from the right side of the screen. It is full of movement, and if you looked closely you could see the sailors who work on it.

While you’re here, I’ll say this:
Come hold me once again, we’ll trade a kiss
Yes I know you cannot stay
And memories are all that will remain

Another flash of thunder on the background screen, the flying ship's journey appears to be turbulent.

But when the seas are rough
Skies above will guide you
For I gave you my song
Long time ago, long time ago

The camera shows a close-up of the ship on the screen, focusing on what appears to be the captain of the ship, looking through a spyglass. The camera gradually zooms out, showing Diana, and shifting the focus to her.

Cause you~u, you~u are sailing on the stars
And I~I, I~I am your faithful one
Cause you~u, you~u are sailing on the stars
And I~I, I~I am your faithful one

In this short instrumental break, the camera pans across the stage, showing all the band members, and then to the screen, in which the ship "flies away", exiting through the left side of the screen. Diana appears to watch it leave and then turns back toward the audience to sing the next part.

Cause you~u, you~u are sailing on the stars
And I~I, I~I am your faithful one

As the song ended, the crowd cheered. Diana smiled, and said "Gražia Señoriko! Thank you!" and along with her bandmates left the stage as it was about to be prepared for the entry from Norjihan.

by **Norjihan** » Mon Sep 18, 2017 2:30 pm

|05|
Norjihan
| Tarynadu - Et Tu?|
Tune: Chvrches - Gun

5th place was practically a win for Norjihan in their very first contest; a show that was unheard of in Norjihan became a national obsessions, WV Fever spreading like mad. NF (the Norjihani Broadcaster) had pulled off a coup, beating their rivals TYN to most popular show of the year. The air was pure ecstasy in Hajenired as staff partied for what seemed like days, the sheer elation and joy almost uncomparable; just imagine if they had won! Jula Pönaa was given a heroes return, being met by King Uzedlem, and given a reception at the office of PM Uram Utenid, who announced his support for the contest. It hardly could have been better. But for Gynud Junasö, head of delegation, this was both a blessing and a curse; the weight of an expectant nation now was placed firmly upon his shoulders, and if he faltered even slightly it'd all collapse.

With this thought constantly in his mind, Gynud nearly considered resigning, and indeed the immense stress he was under warranted it. He was eventually persuaded to stay after a long holiday in Myski (a Norjihani seaside town/holiday resort), from which he returned rejuvenated and reading to grapple the bull that was WorldVision firmly by the horns. Like a man possessed he began tearing through record labels catalogues, and scouts where sent to the four corners of the world; nothing would stop him in his quest for the next Norjihani WorldVision hit. It just so happened that synthpop group Tarynadu had announced that they would be interestes in going to WorldVision at some point, with lead singer Kare Kventü reportedly telling a journalist from the Hajenired Journal that, 'We have a song and we have one goal in mind; WorldVision'.

Now, who are Tarynadu? They are a synthpop group from Myski (where Gynud is rumoured to have met them) and are at the very pinnacle of modern Norjihani music. Give them a synth and they can make a masterpiece, and their second album ('Got Cash?', a concept album about a prostitute's journey into the criminal underworld, following a similar framework to The Divine Comedy) released easily won 5 out of the 7 awards for albums at the Norjihani Music Awards, with every song ending up somewhere in the Top 30. Their recent success has been extraordinary especially within a constantly changing Norjihani music scene, and it is clear that they want to reach out to a new fanbase with WorldVision. The group is comprised of lead singer Kare Kventü (28), Guila Resaddi (29) and Neru Umman (29), who all met at the University of Myski, each studying entirley unrelated subjects. The 3 formed a group to compete as a joke at a 'Battle of the Bands'; when they won it, they realised that music could be a future for them and formed a group after finishing uni.

The Song, 'Et Tu?', is a commentary on the world of politics and business, which experts in these sort of things say is a perfect example of the 'New Society' movement in Norjihani culture which is working in tandem with the world of politics where the KFN, a democratic socialist party, have just been elected; this marks the biggest shift to the left in Norjihani political history. The song is almost, according to Mrest Urkvan, a 'rallying cry, a call to not accept what is accepted, a knife in the front of modern society'. This song was certainly a bold choice for NF, but Gynud Junasö was confident in it, saying 'We're not going to win by being mediocre. We must represent Norjihan, a modern, vibrant Norjihan, and accept no limits'.

The response to the release of the song, followed by the confirmation that Tarynadu would be going to Thatcher City, was met with much applause and hope; for NF to have secured a group like Tarynadu was extraordinary, and the song instantly jumped to number one. Of course, in the usual style the fans had noticed the group was free for the period over which the contest takes place and all the other usual markers, but the news was still a surprise to everyone. Gynud Junasö was right; he once again felt the weight on his shoulders as he flew to Thatcher City for the greatest musical contest in the Multiverse. Would all the effort pay off..?

Darkness. A pure darkness (or it would have been if a few idiots hadn't been on their phones or other devices of a similar nature) filled the stadium, the stage still as the final preparations were made hidden under the thick, choking darkness. Suddenly, after what for Tarynadu on stage felt like forever, the song burst into life. A single blue spotlight shone down onto the stage, the wisps of the smoke covering the floor being caught in the light and forming a crown around the platform on which Kare stands. The platform makes up for the lack of an LED floor, with a blue, almost portal-like image is shown below her feet. The spotlight flickers slightly as the music plays, and is joined by a few stray lights which reveal the other members playing on their synthesizers. As the verse begins the camera, which had been floating around the stage and around Kare, cuts suddenly to a front view of her wearing something like this. She sings the first chorus holding onto the microphone and looking up almost meekly, but with a curious air of confidence expected of a well-renowned artist on stage, to the camera, which slowly begins to pan away, stretching her along with it due to a camera effect like this.

You live for your biography
Your last words are scripted
From your ivory tower you see
The world below cry

The background, which up until his point had just been a plain sea of an incredibly dark blue on the verge of black, now also joined in, showing an image of tangled wires and all sorts of things caught up in them, including a camera showing a political rally and a man in a business suit struggling to escape, move up through the morass but never quite leaving it. Two white spotlights shine onto the stage, showing the two other members playing rather than just the glimpses during the opening, themselves wearing clothers made to look like a tangle of wires holding them back, and what looked like chains holding them to the stage.

Wires, ropes and cameras
Won't keep you afloat this time
I've never seen a man so sure about
His insecurities
His lies and his feelings

Kare leaves the platform, and walks towards the front of the stage, the smoke curling around her the entire time whilst, on the camera feed, images of ghostly figures appear around her - this isn't seen in the stadium. She carries o forwards regardless as them despite them reaching out for her. The cameras lift upwards and give a birds eye view for a second, before cutting to a shot above the audience which zooms to the front of the stage where Kare now stands.

Fake or fortune, does it matter?
Alive or dead, it's just the same
Just keep the record playing
And applaud yourself, go on soldier

A large number of lights in different shades of blue and white begin rapidly shining on and off as the prechorus begins, whilst the camera cuts randomly across the stage, creating a feeling of anarchy and a loss of control. The camera feed then returns to Kare, or rather her facing forward and two mirrored versions facing either side, which as the end of the prechorus arrives merge into one, followed by a large flash of light.

Et tu, even after all this?
Run away, hide away from the trail that you made
Your breadcrumbs betraying you
The words you spoke written clear
Time to hear yourself at last

The camera then passes past Kare's face and into the morass of wires, and in particular into one of the TV screens, and then suddenly the background is replaced with a kaleidoscopic image of guns, soldiers and general patterns, which spins around. The camera angle that we get when the chorus begins makes it seem as if Kare's head is in the centre of the kaleidoscope, almost like a halo around her head. However, generally not much changes, with the lights and camera shots just being the usual sort.

Fight, fight, fight against your armies
You may have not meant it
But orders are orders
Say, say, say anything that you want
Now words are hollow
And truth, what about it?

As the second verse begins, the platform in the background becomes the focus once more as it now shows a chessboard, onto which Kare jumps, 'knocking' a few of the pieces off. She walks across it, imitating a piece being moved across the board as referenced by the lyrics. The background kaleidoscope fades into the distance, showing a pawn that is slowly wrapped up in the same wires as before that seem to grow like an ivy, ensnaring it.

You play as if you are a god
While you move across the board
You play at what you say you preach
But inside you know that your time is coming

Kare reaches the other side of the 'chess board', and kicks off the King (obviously deliberately breaking the rules of Chess). So as to not break the illusion, the camera rapidly changes to show Guila on the right hand side of the stage (to the audience), playing away as he is wont to do, but with the smoke beginning to rise up his legs, as it does the entire stage. Kare appears once more, again at the front of the stage, as the last line is sung and a projection shows a nuclear bomb detonating on her face.

As you fiddle with the numbers
The smoke rising to your feet
Another day, another story
Another write, click, send, wait and ignite

The background again changes to show statues of famous world leaders falling into a thick ocean of tar, whilst further back fires and marching armies can be seen. The stage itself remains pretty much the same, with Guila and Neru both playing away on their synthesizers and moving about to beat whilst Kare appears to become more and more confident, becoming even more emboldened as time goes on.

Et tu, even after all this?
What happened to our Brave New World?
Gone up in ashes
The stuff of dreams, the foundation
The neverending fever dream
Time to go deeper into the sand

The lights suddenly dim, and we return to just one spotlight shining on Kare at the front of the stage, smoke licking her feet and legs whilst she reaches out to the camera as it pans in a circle around the point where she stands, slowly lifting up as it does so. The lights slowly intensify and there are small flickers revealing the whole stage, and as the lyrics say at the end of this an 80s styled sun rises, sending rays off in every direction.

Fight, fight, fight against your armies
You may not have meant it
But orders are orders
Say, say, say anything that you want
Now words are hollow
And truth, what about it?

Fighting for a promised land that you've never known
Pin the tail on your back, you know that you will it
Within the fray, there you wait, marching to the same beat
As the sun rises on you

As the stage bursts into life once more, with the blues prior being replaced by a deep purple representative of the sun shown before, that sun transforms as first to show Kare's face spinning around, from which her eyes fall out of her mouth. This image transforms to again show a kaleidoscope of her face, spinning around. Occasionally objects appear randomly in it, including a payphone, a microphone and an apple (half eaten). Generally the cameras pan around and skip madly, whilst random 'clones' of Kare appear on the camera view shown at home alongside random objects and at one point a man falls across the screen.

Fight, fight, fight against your armies
You may not have meant it
But orders are orders
Say, say, say anything that you want
Now words are hollow
And truth, what about it?

Now that words are hollow
Now that words are hollow
Now that words are hollow
Now that words are hollow

Cracks begin to appear in the view shown at home, as it the camera itself is breaking; of course, in reference of lyrics, this is meant to suggest that the televisions at home and what audiences are viewing are themselves a reflection on real life (you can read into what this suggests yourself). The song slowly fades out as do the lights, and the background too also fades into the same blackness show before. The stage descends into darkness except a lone flame shown on the background at the end, which is blown out by a large pair of lips that appear in that darkness.

And you'll be waiting on the other side
The reflection may be cracked but not broken
And you'll be waiting on the other side
The reflection may be cracked but not broken

As the lights return to normal in the stadium and the crowd do whatever the crowd decided was the appropriate reaction, Tarynadu collectively take a bow and thank the audience, both in the stadium and across the Multiverse, for indulging them. Now, how will they do? That remains to be seen...

by **Darkmania** » Tue Sep 19, 2017 10:33 am

THE LIVESTREAM!

DaTV offers a live stream broadcasting life from Thatcher City as a celebration of a darkmanian comeback. One of the stream-watcher is the darkmanian fan of WSC, Bënjamem Rësperter, who has listened to all entries and has already his favorite. But he`s giving the rest a try. His main trait is to nitpick and basically mocks whatever he picks apart. (If any of you is triggered from his comments, feel free to contact me)

They have a communist in their group calledRosa Luxemburg. Plus they trash talk the other nations. Not gonna vote on those commtards. lol.

Estogium always make amazing entries. Its one of my favorites this year. Maybe a win this year?

I`ve never heard of Cleaca. Must be a colony of Togonistan. So this year, they send a girl-group. Fits better for my little-sister than me. skip.

They are one of the favorites to win this year. Their GlueTube views are the highest Worldvision-related

Et tu, Norma and .. Fuck i forgot that they changed their name just a few years ago. It's Narjiham now.

Polkopia is Dying to Know what i think of their song... Alright.

Who the fuck is.... Ah. Variota, a debuting nation. And they send a girl. I like her ~~bobs.~~ song.

Thats a long ass name. Their song must be a killer.

The AresKicker Of The World of Electrum. Kicks our tiny ass, but this year, its one of the weaker entries. Maybe better luck next year?

*Bënjamem was doing number one and therefore missed this song. Buts it's ok, it's his home entry and he had heard it billion times already*

EDO is next. Shame it's not time for world war one. Their music is just a blessing to my ears, she is in tune. This is my favorite. Where the fuck did I lay my YouPhone?

Its time for Adab (*Does A dab*) And they are sending

The last years winner, and

Mercedini

Izmendu, the supreme overlord for World Hit Festival. And -

Latin? What is he? The Catholic church?

by **Polkopia** » Tue Sep 19, 2017 4:07 pm

06. Polkopia
Urban Cohocara | Dying to Know

Tune: Otto Knows - Dying For You (ft. Lindsey Stirling and Alex Aris)
Language: English

Just days before the deadline for participating broadcasters to submit their song for Worldvision, the Landa vy Polkopiya had concluded, and its results showed that Urban Cohocara would win the right to represent Polkopia at Worldvision, hosted in Mister X. Urban's victory marked the 26th time that a National Final was used to select the broadcaster's song in Polkopia's participation history. Winning both the televote and the jury votes, Urban Cohocara walked home with an astounding 84 points, 25 points ahead of the second-placed act, making it one of the larger gaps between first and second place in more recent editions of the LvP. While the broadcaster had proposed having Urban perform a multitude of tours around the multiverse, he had only performed his song, Dying to Know, only in a select handful of nations. Although the number of concerts he was able to perform was only a fraction of the broadcaster's intended number, his song had broken into the top 200 in a few of these countries in which he was able to perform in. Urban's claim to international fame had started to grow, and he hadn't even performed his song at Worldvision yet!

Urban Cohocara stood on the stage, as the applause that resulted from Polkopia's postcard being shown began to die down. The stage was completely black for now, however as the music began to play, the stage began to light up. For each of the piano notes that played in the background, the one-third of the background LED lights would light up in a bright golden color. By the second illumination, the silhouette of Urban could be seen from the frontal view that the camera was positioned in. For each of the "Ooh"'s that were sung by the background singers, a train of 5 small white lights would swiftly make a circle around the LED lights in the back and disappear as quickly as they came, until the next "Ooh", where they would then reappear. Right before he started to sing, Urban turned around to face the audience and a spotlight made him visible to the camera. He walked forward, slowly, looking at the camera, smirking as he sang. He wore a casual, yet trendy outfit (minus the sunglasses).

Your shoulders are slumping
and your eyes are turned toward the ground.
All those thoughts inside your head are
running around.

You can't mask your feelings with a smile
or wave of your hand.
You know I said that I'd run miles
For you to understand.

The camera was lowered, and zoomed in on Urban as he continued to walk forward, squatting a bit as he sang. He pointed at the camera and widened his eyes, smiling ever so slightly. At the same time, the lights shone brighter in the background. Hues of golden-orange shone throughout the stage, and would bring about a sort of positive-feel to the atmosphere around.

Somewhere, I'm thinking about you.
Oh and I know that somewhere far away
You think of me too.

The camera zoomed out and the lights immediately turned brighter, revealing a podium that was fixated along the back corner of the stage. A female violinist was seen perched on top, wearing a black sleeveless top and a turquoise skirt, with matching earrings that dangled above her shoulders. She was seen playing the violin in a fast, vet serious manner, though her exact facial expressions couldn't yet be read by the audience.

So what's the matter, dear?
You know I want to hear.
I'm dying to know, dying to know.

And when you say those words,
You can be rest-assured
That I'm dying to know, dying to know.

The lights flickered on even brighter, but only for a bit. Midway through the next two stanzas, the camera zooms out, revealing the entire shape of the stage and the audience cheering.

So what's the matter, dear?
You know I want to hear.
I'm dying to know, dying to know.

And when you say those words,
You can be rest-assured
That I'm dying to know, dying to know.

As soon as the camera was able to fit the stage and audience in one shot, the camera angle changed towards the stage floor, looking up at the violinist atop the podium. Smoke erupted from the perimeter of the stage, and the violinist squatted down, facing the audience, still playing the violin. She rose slowly, still playing the violin for her first solo. A shot of Urban was seen and he pointed and flashed a toothy grin at the camera. The angle then changed to a frontal view of the stage. The background LED screen showed thin zig-zagged blue racing across a black background. The frontal lights around the stage alternated between blue and white, whereas the spotlights on the stage remained the same color, but dimmed and brightened in sync with the beat. Another camera angle captured the violinist twirling while playing the violin. After this part, the camera faded out to black, and then centered on Urban's face once again, as he started to sing.

I'll fight all your battles so you can
sleep easy at night.
It's best to face your fears now so
you can win the fight.

The camera zoomed out, revealing the different obscure blue patterns that appeared on the screen. The violinist was seen playing her instrument, meanwhile.

Somewhere, I'm thinking about you.
Oh and I know that somewhere far away
You think of me too.

The black background screen was speckled with white lights that appeared for a second, and then disappeared, only to reappear somewhere else. The background screen was littered with thousands of those lights, and the camera showed a profile view of Urban's face, then a frontal view, and then an overhead view, where the floor's LED screen looked like a realistic night sky zooming by, creating an interesting illusion.

So what's the matter, dear?
You know I want to hear.
I'm dying to know, dying to know.

And when you say those words,
You can be rest-assured
That I'm dying to know, dying to know.

Now, Urban walks forward and the lights dim and brighten in sync with the beat.

So what's the matter, dear?
You know I want to hear.
I'm dying to know, dying to know.

And when you say those words,
You can be rest-assured
That I'm dying to know, dying to know.

The camera turns toward the violinist, who was standing still atop the pedestal, but rotating in place via turntable. The lights dimmed out to black, but smoke erose from the base of the pedestal, and the perimeter lit up in white lights.

I'm dying to know

The stage lit up again and smoke erupted from around the stage. Fog was released around the stage, and the violinist jumped off her pedestal and continued to play the violin. Various shots of the audience singing along and cheering were captured by the camera.

I'm dying to know
I'm dying to know
I'm dying to know
I'm dying to know

I'm dying to know
I'm dying to know
I'm dying to know
I'm dying to know

After he performed, Urban embraced the violinist and they bowed together, before departing the stage.

by **Ekoz** » Thu Sep 21, 2017 2:39 am

by **Variota** » Thu Sep 21, 2017 9:46 am

#08 | Variota
Dina Diva - Als Ek Die Doe
Tune: Jelena Karleusa & Azis - Ostavljam te

With the Variotan national broadcaster Nasionale TeleSicht Variota receiving a larger budget through the government and fundraisers, the long-frozen plan of participating in the WorldVision Song Contest was able to be defrosted and used. Part of these plans, using the knowledge and manpower that were normally only available for the larger Variotan music festivals such as the Kewastesmere Yearly Festival and the Klan Reierfer Independence Day Contest, was to razzle and dazzle the other contestants and nations into awe for the, clearly superior, Variotan kaltoer. A cultural shock and awe, if you will.

In that regard and hoping for a Variotan win at the WorldVision Song Contest, a National Final named VarioVisie was made and worked out with invitations being sent out to international juries to select their pick. This part of the National Final sizzled out, with only an international jury from Izmedu letting their voice be heard. That does not minimize or otherwise lower the legitimization of the victor, Variotan superstar Dina Diva!

This superstar and her top-notch high-quality song need no introductions, Dina Diva is who she is, the song is what it is. And both are vocal dynamite, gracing the ears of the international crowd with a type of quality that usually is kept to the hottest clubs, the best parties and the finest socialites. You don't need to think about your own failing life, Dina Diva is taking you on a three to four minute long journey into her own life, one you can never have because you're not as great as Dina Diva. Dina Diva has the best in the world because she's the best in the world, what's your excuse?

When it became time for Variota and Dina Diva to perform, the stages goes dark as if one was suddenly inside a sleazy gay nightclub instead of an international music contest. This was partially for the technical part of the show, as various sections and mechanics had to be checked for a last time, and partially for the shock and awe effect. Even if you did not like the song itself, one was sure to be amazed when a plethora of lasers and visuals was forced down into your cornea's. That effect was only enlarged by the dark, as it allowed a greater contrast.

As the song starts, Dina Diva can be seen standing alone on the stage, surrounded by the warm glow of lasers. She slowly starts the song, in order to keep your ears and hearts from popping with vocal love.

Als ek die doe is 't goe
Als ek hem sieh fuul 't goe
Geef mi wat lehkers baby bee
Of tehurf jou aftoe nie?

The song really starts now. Flashing lights, Dina Diva herself is on the background screen doing her thing while also doing her thing on the actual stage. Dancers, all highly praised alumni of the Grootwaterflakte Kaltoer Akkatemie, join her on stage to really make it a party. The exciting dancing done by Dina and her dancers are additionally enhanced by short bursts of pyrotechnics, giving the crowd a genuine feeling of how the hippest and hottest nights at an exclusive Variotan club could be.

Geef mi lehkers
Geef mi lehkers
Geef mi, geef mi lehker-lehker-lehkers

Dina Diva and her dancers take their dancing to the next level of intensity, they're having fun and it's showing. Being her usual amazing diva self, Dina winks and kisses towards the crowd while screams of delight, lust and desire can be heard from the crowd. It's clear that the crowd enjoys taking a ride into Dina's magnificent life, one they can never have themselves.

In leer-aar en rook gehuult, geen tereprassieffen
Ek sieh jou wel sjoeren naar mi's tatsen
Kom maar tichtneer, ek ou fan felewraten
Solang ji het maar kan nieme aparrath'n
Nieme aparrath'n
Nieme aparrath'n
Wat-wat nieme aparrath'n
Nieme aparrath'n
Nieme aparrath'n
Ja-ja, nieme aparrath'n
Geen aparrath'n

The dancing continues throughout this part of the song, although it ends with Dina Diva being lifted by the most muscular of the dancers into the air. She stays there while one of the lesser muscular dancers, also serving as her background singer, does his bit.

Als ek die doe is 't goe
Als ek hem sieh fuul 't goe
Geef mi wat lehkers baby bee
Of tehurf jou aftoe nie?

Dina is lowered back onto the stage by the dancers keeping her up and she restarts her singing, providing her powerful voice to a short duet with the background singer/dancer. They're really popping and living it up, as seen in the bright lights and dancing. Lasers pop on and off, giving short bursts of bright light. Life is great and so is Dina Diva.

Als ek die doe is 't goe
Als ek hem sieh fuul 't goe
Geef mi wat lehkers baby bee
Of tehurf jou aftoe nie?

Dina stands still, sexily moving in place with the dancers while babies in bee costumes are lowered from the ceiling. These babies, fitted with special safety harnesses, began flying over the crowd, providing the crowd with fun with puns as these babies were both literally baby bees and were a reference to the 'birds and bees' conversation that most parents did with their children. Some, presumably, done after the child in question discovered Dina Diva and her work.

Baby bee
Baby bee
Baby bee
Baby bee
Baby bee
Baby bee

The babies are hoisted back up and Dina Diva pops out of the group of dancers groping her, restarting the dance routine and making sure the song itself also pops. The background screen shows a multitude of champagne bottles popping open, an action doubled by the dancers as they get thrown champagne bottles from off-stage. In actuality, the champagne bottles that the dancers get are filled with baby oil, allowing them to oil up. Using their shirts as a way to get additional grip on the bottles, the dancers pop them and pour the oil all over themselves, making them all seem deliciously sleek and slippery slick.

Sijne ji aftoe mi's groote ros
Kom maar, ji sijne nie het klos
Kom maar tichtneer, ek ou fan felewraten
Solang ji het maar kan nieme aparrath'n
Geen aparrath'n

The song and dance routine continues, occasionally joined during the additionally uptempo parts by very short bursts of smoke and pyrotechnics in order to provide a great show for the crowd.

Geef mi lehkers
Geef mi lehkers
Geef mi, geef mi lehker-lehker-lehkers
Geen aparrath'n

While the song and it's dance routine take an easier, slower pace, the lasers get turned back on. In sheer contrast to the dance routine, the lasers reach epileptic levels of activity. This, combined with the short bursts of smoke and pyrotechnics, give it the feel of a world-changing song. A song that unlocks the deeper desires of humanity, a song that unlocks the deep emotions of life, a song that will provide women with the wish to become Dina while men want to be with her. She's the Queen and you're her pawn and you wouldn't have it any other way.

Als ek die doe is 't goe
Als ek hem sieh fuul 't goe
Geef mi wat lehkers baby bee
Of tehurf jou aftoe nie?

Als ek die doe is 't goe
Als ek hem sieh fuul 't goe
Geef mi wat lehkers baby bee
Of tehurf jou aftoe nie?

Dina does a short bow-and-applause dance with her dancers before the song ends, as it ends the pyrotechnics are turned up to 11. As flames lightly scorch the ceiling surrounding the stage, Dina and her dancers quickly leave the stage. When the flames end, the stage is empty as a light dusting of pink glitter comes down on the stage and the crowd.

by **To-Das Kavysyan Kystareyu Syyeryn Joraya** » Thu Sep 21, 2017 9:09 pm

09. _Todaskakys_

Tune: Breathe Carolina & APEK - Anywhere But Home

Conysa Kasale (This Moment, We Let Go)

vuuanyvaro ruuskada ft. Nezahualcoyotl Matsumoto

Todaskakys had made its debut in WHF34 and received a decent placing with "Kystonu" by Zarya Reyana. To-Das SeTi (TDST, short for Todlykebujoku-Daskoxyan Senatyta) had its eyes on the WorldVision Song Contest for some time and decided that now was as good a time as ever. As a transitional fusion program meant to merge Daskoxyani and Tödlichebujoki styles together in a radio/international-friendly format, Todaskakys developed the collaboration of the Tödlichebujoki Nezahualcoyotl Matsumoto and the Daskoxyani vuuanyvaro ruuskada to represent itself in WV59. Nezahualcoyotl was born and partially raised in a suburb of Äußerstenkeiken near Sinnlichshükai to an Azteca-observant family, which moved to Sterblichengokai, more commonly known as SterGo, for missionary work. There the young Tödlichebujoki found a new group of music-oriented friends, who preferred to call him Nez, and launched his music career. When the Todaskakys program became public, he was one of the first to sign on, awed by the prospect of being able to work with people from a completely different and far more advanced technological world than he was used to, and eventually was able to study abroad, in a way, and live in the city of Nyyeros on the capital planet of Komatar. In the Azadeya-speaking society, his nickname became Neza, and in Nyyeros, he met the music group vuuanyvaro ruuskada, which he became very good friends with. The broadcasting branch of the Todaskakys program picked up on this as Neza traveled home, and soon the two artists were contacted by TDST to enter into an international song contest. And that is the story of how a Tödlichebujoki with a Nahuatl name met with a Daskoxyani artist and showed up with a song in Thatcher City.

Aqua accent lights flash rhythmically before the main beat comes in, riding on bouncing holographic golden bars overhead. Nezahualcoyotl is at first dark, but is slowly illuminated, revealing him to be wearing a simple white tunic suit, sitting down on the stage floor, looking up in mild trepidation

Naykysa nesyye
Your face radiates

Teyo kai zhasonylai
Like all our stars

He rises to a standing position, the intensity of his voice rising similarly, as an array of golden holograms simulating him backs up his vocals, as if a choir was singing made up entirely of Neza. He still seems a bit nervous, but he pulls himself together and hits everything correctly, looking straight towards the audience

Nayzaryka vuuanyvare
Your state of beauty never dies

Conyso reytaranyye
This moment slows to a crawl

Synpajyke danonayne
While searching for your true self

O...

Neza finds his rhythm and melts into the song, forgetting his anxiety as he loses himself in the words and the melody, closing his eyes then gazing at the audience and camera again. The venue interior is still dark, except for the holographic bars, now slowly becoming dancing sea green needles, above the audience and the spotlights illuminating Neza. The ambient lighting does begin to brighten now, though

Nysana vote zhazzo
Forever is not enough

Zayraju nyysaryyo
Their reign is long past

Kayrynya zaryyo
Our love is stunningly beautiful

Dyenkavys conysa
And together now

Conysa kasale
This moment we let go

The holographic bars over the audience are a dynamically shifting gradient of golden bars and sea-green needles a bit higher up. Neza is very engaged in the song

Syyre, conyysha kavonyyse
Sing, tonight we won't age

Darekoye synzhana
Dance energetically in the dark

Dyenkavys conysa
And together now

Conysa kasale
This moment we let go

The stage and holograms all fade, with only ambient and ground level lighting providing illumination. Ground-level lighting specifically is what's making Neza visible.
It intensifies with the music, as the holograms become brighter and brighter, with a good amount of flashing at the buildup

Ooh...
Ooh..
Dyenkavys conysa
And together now

Conysa kasale
This moment we let go

Large green sheaths of laser-like holograms sweep through the air as fan-shaped arrangements of red lasers pulse and drift over the audience. Neza dances along with the audience, meeting up with one of the members of vuuanyvaro ruuskada who has appeared from the darkness behind the stage

Ooh...
Ooh..
Dyenkavys conysa
And together now

Conysa kasale
This moment we let go

The laser effects and flashing fade away, with the stage lighting and effects returning to that of the earlier verses. The members of vuuanyvaro ruuskada are now visible in the back of the stage, making sure the performance is going smoothly. Neza heads to the front of the stage, his demeanor a bit downcast

Ooh...
Kalynye zhasalaskai
We desire all things

Skadu di vuuanyvaru
Power and immortality

He looks back up, as his demeanor brightens, holding a hand to his chest, looking outwards wistfully as different layers of golden lights wash over him

Zan, kavolynze shasalaskai
But we don't need most things

Totan rynarta di kayreskai
Only love and our family members

Zhotanylaruusai vysna
All the sunsets with you

O…

The background screen shows a torrent of red liquid flowing, pulsing down a convoluted path as Neza touches his body, tracing the path of blood within

Rynarta sare raso
Love flows red

Raryke synka, eno
Pulsing in us, alive

Volynze kasarto
Don't need to be guarded

Eso syn conysa
Because in this moment

Conysa kasale
This moment we let go

The brightened lights and holograms splash and dance through the audience playfully, not quite as seriously as in the dance break, as Neza executes some rather literal choreography in synchrony with the holographic background singers behind him

Kayvyyn, dano eno, dyenarto
Our hearts, are truly alive, and feeling

Volynze kasarto
Don't need to be guarded

Eso syn conysa
Because in this moment

Conysa kasale
This moment we let go

The lights dim as before, with flat sprays of white light spattering out in time with the light drum beat, underlying the bouncing tiered rectangles about 30 feet above the audience (that's 9 m for you metric lot). Neza is seen mostly in strobe flashes

Eso syn conysa
Because in this moment

Conysa kasale
This moment we let go

Neza arches back while singing and then releases himself into energetic, carefree dancing as the rest of the lights and effects come into play, even a blast of white sparks sounding off the holographic and laser-dominated dance break grounded by deep red ground/audience level faintly-visible visual "shockwaves"

Dyenkavys conysa
And together now

Conysa kasale
This moment we let go

vuuanyvaro ruuskada are having a great time while Neza loses himself in the audience. The lights and effects begin to dim, with the bright holograms up above and the various laser effects being the only lighting over the crowd

Dyenkavys conysa
And together now

Conysa kasale
This moment we let go

The lights fade with Neza lost in the crowd, but he holds his microphone up and it essentially turns into a spear of light, which then cuts out after a few seconds

Nezahualcoyotl and vuuanyvaro ruuskada link arms on the stage and bow, with Neza softly saying, "Kiitos Thatcher City," before the whole crew joins in with "Daye, dayye Thatcher City!"

by **Electrum** » Thu Sep 21, 2017 10:24 pm

10. ELECTRUM

Song: Apple of my eye
Artist: Angelo
Tune: Riptide by Vance Joy

Introduction
In as many editions, Network ENN has chosen to select a singer of their own, believing that it is the best way that all song genres can have equitable representation in appearing for Electrum and to allow a range of musical flavours. This edition, they have gone with Angelo, an up-and-coming Prescottian singer who's handy with the ukelele and is more well-known for playing in low-key Prescottian bars rather than very large audiences such as the WorldVision Song Contest. He's twenty-six years old and he decided to apply on a whim -- luckily, the Network ENN executives saw that he had talent and chose him, despite not many in Electrum even knowing who he was before the selection. This song is about not knowing if you're good enough for someone, despite being so smitten for them. This song is based on his personal experiences in proposing and marrying his wife just last year too.

The Performer

The Song

Angelo walked into the well-lit stage. He was a little nervous but his facial expression didn't betray that -- he was wearing his plain white tee, light blue jeans and his disproportionately small ukelele was strapped to his body. The stage darkened as soon as he entered, and when the song began he had a quick seductive glance to the camera before starting on his ukelele...

0:10
No one really knows what boredom's like
Our eyes locked across the street, who knew it'd be a rollercoaster
Oh, you've taken me for a ride
Is it right for me to see you as starry-eyed?
Oh, oh, now I remember why

Hey there, you're the apple of my eye
I promised to be your stand up guy
And nothing's gonna change that
Sometimes I think you're too perfect for me
I don't know what to say 'cause
You might want to be set free

In between Angelo's singing and looking at the camera, the background screen changes to a bird in a cage trying to fly out.

0:57
They say that birds are meant to be free
Are you waiting for the door to open so you can fly away
The birdie's pining for some air
Imagining life without a care
Oh, oh, and she spreads her wings

Hey there, you're the apple of my eye
I promised to be your stand up guy
And nothing's gonna change that
Sometimes I think you're too perfect for me
I don't know what to say 'cause
You might want to be set free

Angelo starts walking towards centre-stage and he is lifted upwards by a small platform. Angelo is still passionately strumming to his ukelele, and during the brief interlude, he sneaks another glance to the audience. The screens behind him change to two birds flying together in the sky.

1:50
You've just gotta, you've just gotta say
If you're gonna, honour what we have
You just need to, need to let me know
That I'm the one, and there won't be another way
All you're waiting for is the ring
Maybe one day in a Prescott bar we will sing, oh

Hey there, you're the apple of my eye
I promised to be your stand up guy
And nothing's gonna change that
Sometimes I think you're too perfect for me
I don't know what to say 'cause
You might want to be set free

(Note: Prescott is a former host city of the WorldVision song contest, and is known for its nightlife)

In the final two choruses, he pulls his ukelele behind him and takes the microphone in front of him instead, and really gives it all, staring longfully into the camera. By this time, the chorus was pretty well known and the audience sang it with him -- he actually dives backwards into the audience (as planned) in his final few lines, with the camera having a bird's eye view, coming in closer until the song ends.

2:35
Oh, hey there, you're the apple of my eye
I promised to be your stand up guy
And nothing's gonna change that
Sometimes I think you're too perfect for me
I don't know what to say 'cause
You might want to be set free

Oh, hey there, you're the apple of my eye
I promised to be your stand up guy
And nothing's gonna change that
Sometimes I think you're too perfect for me
I don't know what to say 'cause
You might want to be set free
I don't know what to say 'cause
You might want to be set free

by **Antahbrantahstan** » Fri Sep 22, 2017 8:38 pm

11. ANTAHBRANTAHSTAN

Maraa Annis Salla-TBA
Tune: Gabriela Guncikova-Cerny Andel
WIP

by **Darkmania** » Sat Sep 23, 2017 12:28 am

12. DARKMANIA

#DMN

"Reisen" - Smokefilled Spirits ft. Örkemdren Okestÿr
Title Translation: The Journey
Language(s): Norwegian (Bokmål form)
Lyrics and Music: Säbrïnë "Smokedfilled Spirits" Hërdae.
Urban Symphony - Rändajad

With Darkmania returning from god know how many circules it skipped, they peformed their first ever norwegian songs at a WorldVision, in hope of replecading the languages succes in World Hit Festival, giving darkmania two third placeses. One of the bronzewinners is Smokedfilled Spirits.

Säbrïnë "Smokedfilled Spirits" Hërdae (b: 17. September 1995) is the performer of the song. Having played violin since she was 4, she is known in the darkmanian music- community as "the best. Violist. Ever." She will be performing under her stage name, "Smokefilled Spirits", along some of her friends who will go under the name of "Örkendrem Okestÿr"

Dark stage, only spotligh on Säbrine.

Mørket, svarte skygger (Darkness, black shadows)
Ledet av stjernelys (Lead by starshine)
Når er vi fremme ved målet? (When have we reached our goal?)
Reisen er lang og endeløst (The journey is long and endless)

The darkness fades away, revealing the "Okestyr".

Bli med meg, og la oss forlatte livet (Join with me, and let us escape the life)
Bli med meg, så rømmer vi fra våre synder (Join with me, and run away for our sins)
Bli med meg, så oppdager vi ukjente stede (Join with me, and discover unknown places)
Reisen er ikke ferdig før vi er vekk (The journey is not done unless we are away)

Nattens mørke er kommet (The darkness of the nigth has arrived)
Vi går i snødekte eng (We walk on snowcoverd field)
Jeg forlater deg aldrig(I`ll never leave you)
Jeg er med deg hele turen(I am with you on the journey)

Bli med meg, og la oss forlatte livet (Join with me, and let us escape the life)
Bli med meg, så rømmer vi fra våre synder (Join with me, and run away for our sins)
Bli med meg, så oppdager vi ukjente stede (Join with me, and discover unknown places)
Reisen er ikke ferdig før vi er vekk (The journey is not done unless we are away)

Nattens mørke er kommet (The darkness of the nigth has arrived)
Vi går i snødekte eng (We walk on snowcoverd field)
Jeg forlater deg aldrig(I`ll never leave you)
Jeg er med deg hele turen(I am with you on the journey)

With norhtien light like lighning, she sings a norwegian phase about travel.

Å reise er å leve. (To travel is to live)

Long violon solo.

Bli med meg, og la oss forlatte livet (Join with me, and let us escape the life)
Bli med meg, så rømmer vi fra våre synder (Join with me, and run away for our sins)
Bli med meg, så oppdager vi ukjente stede (Join with me, and discover unknown places)
Reisen er ikke ferdig før vi er vekk (The journey is not done unless we are away)
Bli med meg (Join with me)

The audience sheers.

The audience shuts up so E.D.O and Gertrude Pullman can perform their "masterpiece".

by **Electrum Diplomatic Offices** » Sat Sep 23, 2017 9:06 am

13. ELECTRUM DIPLOMATIC OFFICES

Song: ChemDae Industrial Organisation Advertisement
Artist: Gertrude Pullman and ChemDae Industrial Representative
Tune: Friday by Rebecca Black

Introduction
Gertrude Pullman, who lost her appeal to her tax evasion case in the time since the last edition (allegedly she was evading taxes by creating her own religion which she denied but it was transparently obvious), has resorted to new means of making money and staying afloat after learning that her other case in being dismissed from her long lasting career at the Electrum Diplomatic Corps. had failed because she had failed to perform satisfactorily in her duty as security guard due to the fact that every few months she would go sing at the WorldVision song contest. Regardless, because she is known as a fixture for EDO, Network ENN recently bought the rights for EDO's WorldVision spot (normally Gertrude would just nominate herself without consultation as representative of the EDO) and has decided to bring Gertrude Pullman back and pay her just the same salary as usual. The catch? She has to sing, in the next few editions, about products that Electrumite companies have bid for time for in the world's largest singing contest, in order to repay for her salary and the rights for EDO's WorldVision spot.

The Performer

The Song

Gertrude walks on stage with just herself and none of her usual props, this time she doesn't have the money to pay for them. Instead, she has to sing an advertorial to pay for her spot at ENN. Before though, she had to give a disclaimer before she started that, "This is a paid advertisement by Chemdae Industrial: Subatomic and Water Analysis Division"

I'm here to tell you about this great deal
You need to know about this business
That works in analysis, about chemicals
Workin' with them, is just like winnin'
When you really need, a beam of electrons
Can't go past Chemdae's synchrotron
Especially when, you need beam lines (Beam lines)
X-ray absorption spectroscopy
X-ray fluorescence microscopy
Now I need to decide
Which line do I want?

Chorus
It's Chemdae, Chemdae
Need to consult with Chemdae
About their subatomic analysis products, products
Chemdae, Chemdae
Need to consult with Chemdae
About their petrochemical products

Testin', Testin' (Yeah)
Testin' Testin' (Yeah)
Fun. Fun. Fun. Fun
Subatomic analysis products

Behind here were graphics of the subatomic analysis projects (as well as some very nice and expensive holograms, paid for by Chemdae), including the synchrotron that Chemdae owns, showing blasts of particles smashing into each other. It all looked very futuristic save for the elderly Gertrude who clearly had no idea what she was singing about.

1:10
Did you know, they do liquid analysis
Yes it's so true, I didn't know too
Fun, fun, think about fun
Membrane Bioreactor
Did you know, about this
Tapered Flocculation
Did you know, about this
Now you know it
Instrument Disinfection
Still Sedimentation
Now I need to decide
Which skill do I use?

It's Chemdae, Chemdae
Need to consult with Chemdae
About their subatomic analysis products, products
Chemdae, Chemdae
Need to consult with Chemdae
About their subatomic analysis products, products

Testin', Testin' (Yeah)
Testin' Testin' (Yeah)
Fun. Fun. Fun. Fun
Subatomic analysis products

It's more of the same, and it's looking pretty sad. Gertrude is still clutching her microphone at the very front of the stage, and as the boos grow louder from the obvious advertisement, she persisted. To her credit, if this happened during her peak years, she would've gotten mad very quickly.

2:05
Who knew about Chemdae, (Chemdae)
Now we know Chemdae (Chemdae)
I-I-I want to try! I want to try
Let's do some NMR today
Tomorrow we'll flocculate and hopefully this is it
It's time to introduce my friend!

All of a sudden, it was the Chemdae Industrial's representative's turn to sing. It was a very weird intervention, and he looked like someone straight from a stock photo. He was holding all of these test tubes and accidentally splashed some of it onto the audience, making them scream -- of course, it was some of the sewerage he was analysing, and some of it were acids which were used to disinfect the test tubes. Gertrude simply stood awkwardly until the chorus.

2:30
C-D Industrial
So puttin' up my large feet (up my large feet)
In the sewage (In the sewage)
I’m choosin', choosin' (Yeah, yeah)
Effluent treatment places,
Wit' giant rats up my leg (Woo!)
(Come on!) Choosing a water treatment technique's easy
Make some cash, some cash, save with us
Save some time, choose Chemday, you deserve it
And that's our song, chorus, chorus y'all

Chorus x2

They both bowed and left their stage amid widespread booing.

by **Balkvla Islands** » Mon Sep 25, 2017 1:18 pm

14. Balkvla Islands

Song: Silver Midnight
Artist: SUN
Tune: Wake Me Up -Taeyang

SUN, a famous singer from South Korea, has won the right to represent Balkvla Islands in the 59th WorldVision Song Contest, he's also the first solo representative of the nation. He hopes to impress with a ballad he penned himself as he took the stage.

The stage was dark apart from SUN who sat on the floor, back leaned up against a box. Inside the box, a man dressed in black mirrored SUN, backs to each other through the glass box.

I just wanted you to know
If there's something I can do?
And maybe we can fix this so we can be in love again.
Even though it was so long ago
I want things right and new
But this world is so boring and everything's in vain.

The background began to display a starry night, as SUN got up, walking around the box, depressed, the man inside the box exactly mirroring his movements.

Is it love?
I don't know what it means anymore
Without you by my side
Is it love?
If it is you that I will adore

The background screen began to show galaxies and star clusters as SUN went on his knees, looking up to the ceiling yearning for his loved one's return.

A sleepless night, night, night
A sleepless night, night, night
A sleepless night, night, night
oh no, I just want this night to end

Glitter suddenly began to rain down on SUN and the stage, he was now on his knees and sometimes hands, in emotional pain. The stars in the background began to explode in colorful supernova.

But time seems to have stopped
Now that you're no longer here
I want to say it's all my fault, but my pride gets in the way.
Maybe if this subject can be dropped
You'll be there to endear
But without you my nights are silver and gray

At that moment, the box slowly began to fill with water, but the man inside continued to perfectly mimic SUN despite the increasing water levels. SUN didn't seem to mind as he got up to sadly walk around the box again.

Is it love?
Why must I be so immature?
Take you for granted like this.
Is it love?
I will grow up and that I'll assure

SUN sang to the man inside the box as the water almost submerged him from inside. They both touched hands through the glass. Implying that both he and the man in the box are the same person.

A sleepless night, night, night
A sleepless night, night, night
A sleepless night, night, night
oh no, I just want this night to end

The box was completely filled with water as the man inside just floated inside, not bothering to escape. Once again, glitter rained down on SUN and the stage as the background became brighter and colorful.

I can feel you in my arms when I close my eyes
Feelings your warmth and touch
Even if it is just a dream
It'll make me forget our demise
But I'm using you as a crutch
So I can no longer scream

The stage went dark, with only the box being lit. The man inside began to pretend to struggle inside until it became motionless.

A sleepless night, night, night
A sleepless night, night, night
A sleepless night, night, night
oh no, I just want this night to end

As the chorus was sung one last time, sparks rained down on the stage as SUN sang to the heavens with as much passion as he could muster. Once the song ended, the pyrotechnics stop and the stage goes dark.

"Thank you!" yelled SUN as the lights turn back on. Both SUN and the man in the box, who inexplicably escaped out of the still full of water box, but still wet, bowed to the audience, hand-in-hand.

by **Adab** » Wed Sep 27, 2017 6:00 am

15. Adab
"Last Night"
Writer: Kinan al-Salaman
Performer: Kinan al-Salaman

Al-Salaman visiting his new estate, the Alwalid, a few weeks ago

Tune: Paul McCartney and Wings - Nineteen Hundred and Eighty-Five
Language: English

Background
A few weeks after his performance at the 58th WorldVision Song Contest, which saw him gain a respectable 13th place and virtually preserved - for now, at least - his right to represent Adab at the hallowed contest, Kinan al-Salaman received a rather unexpected gift. A millionaire had died in his exquisite mansion, the Alwalid, a short distance to the east of Adab City. The millionaire never married and had no children, and had disinherited his family in a long-running financial dispute. Declaring his family a "disgrace" and a "collection of sewer rats," the millionaire decided to leave the mansion and his entire wealth to al-Salaman, "currently perhaps the greatest torchbearer for the glory of our nation, and a wholly virtuous and patriotic person." While initially taken aback by the unexpected inheritance and not sure what to do with the additional wealth, al-Salaman quickly grew to love the mansion and decided to keep it. Most importantly, though, he established a studio in the mansion; from now on, al-Salaman's songs would be recorded in the comfort of his home.

Despite worries from fans and music executives that the comforts of the mansion would seduce al-Salaman into complacency, the singer quickly put all the rumors to rest when he announced that he was yet again working on his new album. Al-Salaman had built up a massive record collection over the years, which he promptly moved in its entirety to his new mansion, and he found himself listening to scores of dance and rock records. Al-Salaman was eventually inspired to make "an album combining the best of both worlds: exciting, catchy, and danceable tunes under a layer of a rocking beat." As usual, al-Salaman took one song from the album to the stage of the next WorldVision contest. For this edition, al-Salaman assembled a new backing band consisting of a friend's son (lead guitarist), a distant cousin (bassist), his new butler (keyboardist), and a thief who had just been recently freed from jail (drummer).

The performance
The stage started to light up as Kinan al-Salaman and his backing band entered the stage to the enthusiastic applause of all present, especially the Adabians who had made the long journey from their country to see their musical hero perform once again on WorldVision. Al-Salaman and his men appeared confident in their tuxedo suits, as the lights above shone in the multicolored glory of red, green, blue, and sparkling white. The floor glowed in perfect squares of blue, green, and purple, each square changing in color every few seconds, as laser beams shot up to the ceiling. Meanwhile, members of the backing band were checking and settling into their instruments. On the center-front of the stage, amid all the colors, stood a grand piano, with a microphone fixed to the body. "Hello there Thatcher City!" al-Salaman sat down and bellowed into the microphone, to the cheers of the audience. The camera on the ceiling began to zoom in on al-Salaman. "Are you ready to have some fun tonight?!"

The crowd cheered even louder than before, while al-Salaman's fingers danced over the piano keys. The lights above too danced across the venue, moving back and forth across the stage and occasionally to certain parts of the audience. The background was the moon and the stars rising against the blueish sky, seen from a landscape of rolling hills, as the clouds dissipated into the night. Al-Salaman swayed side to side on his seat; it was clear he was enjoying this and was determined to produce a good performance.

Oh when you walked away from me
On that very hour last night, I keep wondering
Well I was heartbroken, I was sure confused
Don't know what to do but I'll find my way
Oh out of here

Oh I, oh yeah
I might just be running around and around
I'll stand on my own pretty soon

"Rock the house! Show them what you've got!" al-Salaman excitedly urged his backing band, as they launched into an interlude without lyrics. Al-Salaman and his band together went into falsetto for a good fifteen seconds, uniting their voices in a long "uuuuuu" and as if they were performing an ethereal hymn. On the background screen, a flock of birds flew across the rising moon, accompanied by a strong wind that appeared to almost blow the trees over, and still the lights danced and the floor changed colors. Al-Salaman then went back to rocking on the piano, his fingers moving so dazzlingly fast with every passing second. In his excitement, he jumped up and kicked the stool away and over the edge of the stage.

The world moves on, the clock ticks right on
And I can't keep it all together now
I should have thought, I should have walked
Then I wouldn't have to be in this place right now

Oh I, oh yeah
I might just be running around and around
I'll stand on my own pretty soon

Al-Salaman and his band once again sang a long, sustained "uuuuuuu," as some in the audience - particularly the Adabians - got up from their seats and danced. The camera zoomed towards al-Salaman as he sang into the microphone, softly and in falsetto, hands tentatively grabbing the microphone. As the "uuuuuuu" came to an end, al-Salaman's hands swiftly returned to the piano.

Oh when you walked away from me
On that very hour last night, I keep wondering
Well I was heartbroken, I was sure confused
Don't know what to do but I'll find my way
Oh out of here

Oh I, oh yeah
I might just be running around and around
I'll stand on my own pretty soon

The song moved towards its drawn-out, grandiose ending, the guitarist's exquisite playing clashing against the increasingly rapid drumming and the various sounds that al-Salaman made into the microphone - ranging from a soft whisper to a moan and a howl - as his fingers moved across the keys. The bassist pressed a button on a little device next to the amplifier, which simulated the sounds of explosions, echoing across the venue. Eventually, the drumming slowed to a series of loud beats on the toms, and eventually that too ceased, along with the rest of the music. Al-Salaman gathered his band for a final bow, after which they disappeared backstage amid dimming lights and loud cheers and shouts of "Al-Salaman! Al-Salaman!"

by **Togonistan** » Wed Sep 27, 2017 2:01 pm

16. Togonistan

DJ Mephisto feat. Alyn Tuvalu - ''Immortality''
Tune: Brennan Heart & Jonathan Mendelsohn - Imaginary

Togonistan hosted yet another closed national final to find their representative for WorldVision 59. Togonistan's national final was won by a collab between EDM producer DJ Mephisto and singer Alyn Tuvalu, with their song ''Immortality'' receiving 32% of televote results.

Alyn Tuvalu on his new album's cover art.

DJ Mephisto is a 32-year old Togonistani EDM producer from Hawkston, who has won the national music award in the best EDM producer category 5 times.
Alyn Tuvalu is a 41-year old singer from Tushlark, Togonistan. He is relatively famous for having performed a lot of songs from various different genres.

Their song ''Immortality'' is about a man on his search to find a way to eternal life. The song has gained rather humble popularity in Togonistan,
with it currently being ranked #7 in the local radio charts. When TNTV asked Alyn if he feels any pressure due to representing his nation in an international song competition that WorldVision is, he replied: ''No, not really. I will just go there and do my thing, and hope that people like it.''

Performance:

Alyn is kneeling on the dark stage with various light beams crossing over the stage every now and then. He is all alone on the stage, and starts singing as soon as the music starts.

Raise above the best
Age may not take control of our body and our mind
Wanna go, to create a new world with eternal life

The stage lights up and reveals Alyn kneeling down on the stage. He stands up and starts walking towards the crowd while singing at the same time. Background LCD screens show a dark smoky background and real smoke covers the stage floor.

Though it's unlikely I still will seek, immortality
Eternity's here for me to take, and though it might be
I have only seen it in my dreams, immortality
I still feel I can somehow succeed, immortality

Lights start flashing, more and more as the song progresses.

Immortality, oooh
Immortality
Immortality, yeah
Immortality

Eventually, the whole stage turns into a firestorm. Lights are going crazy, background screens show a nuclear explosion and Alyn starts dancing on the stage alone like crazy. Some flames burst up into the sky from flamethrowers at the edge of the stage. Then, suddenly, everything calms down again and stage is just like it was before.

Every day and night
Surround and break down, all the rules of galaxy and life
Continue my fight
You will see eventually I'll find it or lose my mind

Though it's unlikely I still will seek, immortality
Eternity's here for me to take, and though it might be
I have only seen it in my dreams, immortality
I still feel I can somehow succeed, immortality

Lights start flashing a little bit more as Alyn sings the final part of his song.

Immortality, oooh
Immortality
Immortality, yeah
Immortality

Alyn bows to the audience and says: ''Thank you world, thank you Thatcher City, love you guys and girls.''

by **Mercedini** » Sat Sep 30, 2017 11:30 am

17

Mercedini #MRC

Alexa Anglidu - Lighthouse
Tune: Andra Day - Rise Up

Alexa's heart is beating as the final chimes of the postcard rung out around the stadium, meaning the beginning of the song is imminent. The stage has been set with Alexa standing behind a microphone stand, surrounded by a ring of candles which is illuminating the bottom of her black lacy dress. A mature, middle-aged man in a dark suit sits as a piano and plays it softly, with his thin and bony fingers lightly feathering the keys at the opening lines progress. As Alexa sings the words to her song, four female backing vocalists in all black clothing stand behind her, all holding handheld microphones. The LED screen behind all of the performers shows a flowing ocean with slow waves flowing in the dark of night, which are barely visible but can be seen as they are being illuminated by the light of the moon. In the distance, there is an outline of rocky cliffs, but they are barely visible due to the screen being fairly dark. The camera slowly scrolls along the bottom of the stage as Alexa looks into the audience to sing the opening few lines.

When you’re heart has one desire
You feeling high, then you’re world falls down
And when you want to spark that fire
I’ll make you feel brand new, when you can’t make a sound

She closes her eyes for the lead up to the chorus and feigns pained faces to reach the powerful high notes while still adding sensitivity to the song. The central camera is zoomed completely in, meaning the audience at home can only see the emotions she is putting into the song. For the final line, she opens here eyes and the camera zooms out which no shows a wide screen view of everything on stage. The screen fades to black for the first chorus begins.

But you-u-u-u-u-u-u found me
Away from solid ground
Can you-u-u-u-u-u-u guide me

The screen fades back into view, with faint twinkling white lights now visible on stage. The darkened cliffs now shine bright thanks to a light which rotates every couple of seconds, and lights up the surrounding scenery on the LED screen. The camera makes a series of long flowing movements, moving with the calm notes of the song. She offers her hand to the camera to end the first chorus of the song.

You’re my lighthouse
You light up the way
My lighthouse
Turn my night into day
My lighthouse
I want you to be the guiding light, my friend

You’re my lighthouse
A guide through the waves
My lighthouse
Take my life, make it safe
My lighthouse
I want you to be the guiding light, my friend

The camera transfers from the central camera to a camera up on the stage close to the piano. The female backing singers sway to the melody of the song, but the piano player and Alexa are the main performers on stage, and the ones that everyone has their eye on. She puts both of her hand in front of her, grasping the air in front of her while the white beams of light reflect off the stage to illuminate her head an body, the camera flies a way from the stage to complete the entirety of the chorus, before changing angles for the second verse.

To you oo oo oo
To you oo oo oo
To you
To you oo oo oo oo

Alexa takes the microphone off the stand and walks slowly towards the piano player at the front-corner of the stage, taking a step to each beat of the song. When she makes it to the piano, she leans ever so slightly onto the piano and looks at the pianist as he is busy playing his instrument. The two of them make brief eye contact which brings out a smile from the pianist while Alexa continues to sing like a professional. She moves her body to face the camera and finish the second verse of the song. She then moves into the second lead up to the chorus and waggles her finger along with the long notes she is making, she sings into the camera before the chorus ends with a wider shot of the two performers together.

When my mind isn’t inspired
Because how I feel makes my will so weak
Here, my bleeding love lays lying
I hope you redeem, to make my lonely heart heal

You-u-u-u-u-u-u lost me
‘til the day we meet
Can you-u-u-u-u-u-u guide me

The angle changes to the camera at the front of the stage as it moves along the bottom of the stage, tracking Alexa as she moves. The main performer makes her way from the side to the front of the stage, moving herself closer to the audience more than ever before. The audience have got their phone lights out (thanks to their high income and low taxes, no doubt) and a sea of lights are now encouraging her and her fellow performers to give their best version of themselves. As the chorus ends, she makes her way back to the vacant microphone stand to go back where she was a mere minute ago

You’re my lighthouse
You light up the way
My lighthouse
Turn my night into day
My lighthouse
I want you to be the guiding light, my friend

To you oo oo oo oo
To you oo oo oo oo
To you
To you oo oo oo oo

A camera once again makes it's way onto the main stage to get a close up of the main performer. She sings the bridge with passion, power and sensitivity as the camera circles her and catches glimpses of the performers around the stage and then the glimmering lights of the audience, all becoming one blur as Alexa remains the sole figure visible through all the motion. The camera moves away as the stage lights fade out for the final parts of the song.

You can guide me, guide me to the shore
Like a sister to a brother
Like a mother to her daughter, yeah
Be my light
Be my light
Oh, be my lighthouse oo oh oh
My light

A single spotlight shines down of Alexa as the rest of the stage, including the LED screen, goes dark. The central camera is the one broadcasting the performance at this time, showing Alexa and only Alexa as she sings the words with meaning into camera and at the audience at home. As the bridge comes to an end and the song being to build in intensity, the light fade in one again for the end of the song.

My lighthouse
A guide through the waves
My lighthouse
Take my life, make it safe
My lighthouse
I want you to be the guiding light, my friend

The lights illuminate the stage and the performers on stage, it reveals that the female backing singers have moved from the very back of the stage to just behind Alexa, with two performers standing on each side of Alexa. With flags flying to the melody of the song, the performers finish singing the final notes of the song. The two backing singers immediately behind Alexa put their free hand on the main performer's shoulders, with the two singers behind them doing the same thing one layer back, forming an arrowhead with Alexa at the front.

You’re my lighthouse
You light up the way
My lighthouse
Turn my night into day
My lighthouse
I want you to be the guiding light, my friend

To you oo oo oo oo
To you oo oo oo oo
To you
To you oo oo oo oo

As the backing singers perform their final couple of notes, the audience are already starting to cheer, but that intensifies as the song officially comes to end. She five performers all bow before Alexa blows a kiss, waves and thanks the crowd. 'Thank You, Thatcher City! Grazije!', there is then a short transition before the postcard of the next performance is shown on screen.

by **Izmedu** » Mon Oct 02, 2017 4:09 am

18. IZMEDU
Ema Galovic - Baspod la bojasa
Translation: Below the Belt
Tune: Danijela Martinovic - Nemam mjeru

A massive existential crisis developed at RTI at the aftermath of WorldVision 58. While El veo's 7th place was certainly respectable, the channel was forced to confront that the ambitions that were subconsciously built were dashed. With the successful but modest result at hand, expectations were reset as RTI planned a longer than usual hiatus away from WorldVision news. Due to the sudden silence, the seeds of doubt of Izmedu's presence in WorldVision began to be sown. Innocent but ominous sounding social media messages were posted, as were the sudden testiness of RTI employees, down to rumors that the channel would shut down. This was all disproven by the late but still stalwart appearance of Izmepisma.

A national final later, Ema Galovic's understated, bouncy, and scandal-causing "Baspod la bojasa" won Izmepisma by a considerable distance versus the pre-contest favorite, Naida Jurisa's "Cilu noc." Ema is an Izmeduan music veteran, finding immense fame in rough patches before disappearing for long periods of time. Galovic's type of pop has changed, from world-beating balladry to the more folky styles that resonate with her training in bossa nova music mixed with Izmeduan folk. She found immense fame as a ballad singer at first, dominating the early years of post-revolution Izmeduan pop with her peace ballads and codifying the framework of music that current ballad singers like Marija Jurisic and others would work upon on.

She was a young teenager back in the day of her immense fame, but she entered Izmepisma as a seasoned industry veteran at the age of 36. Due to stress placed on her voice caused by mismanagement, Ema found it appropriate to take a hiatus for the next decade or so to get away from the fame machine. Thus, she spent much of that time away from singing living out a life in Vodiznad. Becoming a 'city girl' working as a bartender, Ema was audience to a wide variety of life experiences. Witnessing attempted intercourse in a bar, to infamous Izmeduan parties leading to a ton of wasted Izmeduans, and nonetheless, flings with both men and women that never quite made it as far as she liked.

Ema's return to the music industry and to Izmepisma representation was sudden and recent. Growing somewhat tired of being settled, Ema wanted to channel her new experiences to her music, and the Ema Galovic that returned to the Izmeduan music scene was a much more different, more raw yet more refined version of the young teen singer. Incorporating more explicit folk influences in her new set of singles, her sudden re-appearance helped to revitalize the sagging Izmeduan language music market after being largely held by the same set of artists.

As for the song itself... "Baspod la bojasa" was a 'drunk project,' in Ema's words. Written when she was both sober and drunk, Ema wrote it about a public confrontation between a couple that was both tragic and yet to her, caused mirth when viewed from a satirical context. When Ema witnessed a couple that fretted over lies and communication, Ema couldn't do anything but stare at the event. She grew so tired of the constant arguing that she went back home, drank a swig of rakia, and lo and behold, began to draft the song.

She submitted the song to RTI as a laugh, but did not expect it to grow into the domestic phenomenon it is to the lead up to WorldVision 59. The rather playful nature of the song resonated well, but as the song gained momentum, it hit a level of division that intensified further after the national final. Some critics questioned its suitability for a song contest, while many also expressed discontent and discomfort with the song's subject matter. Others were also leery of such a more traditionally laced song being sent by Izmedu.

Regardless, the constant fan debates only made the song's viral-ness increase. The unexpected polarization for a more 'lowkey' entry caused RTI to be unsure of how it'd be perceived to an international audience.

For Ema, all she knew was that it was a take it or leave it situation. She sauntered to the stage...

Stage lights billowed down to the center amongst a flurry of crowd cheer in the Churchill Arnea For the Izmeduans in the arena, there was a certain sense of familiarity of being back in Mister X all over again. 25 editions all led up to this soft silver anniversary of Izmeduan participation. After a few seconds, a soft beat commenced along with the bouncy strumming of a guitar. The camera immediately faded to a shot of Ema standing near the back screen, a spotlight shining on her, wearing this outfit, and bouncing her shoulders to the rhythm as she walked towards the camera with a slightly sultry look. The stage itself began to pulse in gentle purple light, with the back screen being lit in a hot pink. After a horn flourish, Ema stopped at the center of the stage, and put the microphone to her mouth.

Te kažeš ove pametani bosce
Postaje me sjetan dinklaunta
Stvoriš takova adora facada
Koji su mul mui caroban lukavstvo

Ema caught the camera in its gaze as she sang to it for this first verse, her voice almost 'speaking' the sing-song rhythm of the song as a sly smile was etched on her face. She pointed towards the camera as she sang, shimmying at the end of every second line on this verse, and looking down with a palm to her face at the end of the verse. Regardless, she still carried a strong sense of energy as she sang. After that facepalm, she turned to the camera as it shifted through various angles of Ema, the last shot of the verse being a crooked view of the singer as she winked to the camera.

Ah prevario si me
I maje naive cre
Nažalost, to je živ
Adias što da radim da
Ova graia

After another horn flourish and a subtle touch of guitar, the camera zoomed out to reveal that a bar scene was beginning to form in the screen behind Ema as she began to sing the verse. Behind Ema were a couple dressed similarly to Ema's color palette and with spotlights on them. During the hook, the camera cut to somewhat frantic views of Ema and the couple, of which the latter were acting out the situation presented in the lyrics. As Ema sang her part, the woman followed along Ema's singing almost perfectly, creating a near-perfect lip sync. The man only looked flustered as he tried to take the woman to the dance, but the woman only began to grow defiant.

Ju reći ću toi
Nemoj baspod la bojasa
Ju ću osmjehnuti
Cand znaš vaš dulsassa je fuals

At the first half of the chorus, Ema slowed down the pace of her singing as the spotlight on the woman disappeared. The interaction attached to this chorus was Ema interacting with the man, sizing him up as she sang the chorus. The reaction was instant disapproval and teasing. At the first line, the camera zoomed in to her hand as she gave him a finger waggle. The man tried to be absolutely sweet, but Ema disregarded him as she only turned away at the end of this half. During this chorus, a vectorized version of Ema appeared, causing the background to go from a bar to an almost surreal cartoon-like drawing, looking like an 'emoji' that was acting out her emotions. Timed to the microsceond, that vector facepalmed as Ema did, and so on and so forth.

Duanc tvoja miarda
Nisu oscondran fermu
Duanc tvoja miarda
Ju znam ih, Ju vidim, Ju levum
Ih-hotan loisnost

The camera then cut to a shot with the man's face on a blurred background and Ema on the foreground, the former visibly perturbed as Ema just shimmied to the music, shaking her shoulders during the chorus' second half. At the last two lines, the woman joined Ema as she began to 'sing' along to Ema. As fast as it came, the chorus transitioned to the instrumental interlude.

During the instrumental interlude, the rhythm made its infections pace as the camera transitioned to a ground perspective view of Ema and the women. As a parade of horns made an integral part of the instrumental alongside some intricate guitar playing, Ema and the woman began to dance the flamenco on stage. On the screen, vectors of them were shown moving in rough sync with the two women. At the end of the interlude, the woman pecked Ema on the cheek as the bar scene on the screen returned.

To je nuf dai i vidim te hodaš noid
Tražiš vrlo brzo zadovoljstvo
El svit ne gaudara tvoja šara
Te si la budala de požude

With the second verse at hand, the man's spotlight on stage returned, except looking a little bit less modest this time. The man seemed to be without a shirt while having his pants still on, revealing a well-muscled and a model's body. The man strutted his stuff as Ema turned around to gaze. While she seemed impressed at the first line, by the second and third lines, the man was flexing his muscles as a clear attempt at impression. This caused Ema to roll her eyes, with the camera having a clear view of her face when done so, and turning back around at the end of the verse.

Sentireš se upoznat
Sentireš se polnonat
Nažalost, to je živ
Adias što da radim da
Ova graia

At the hook, the bar scene began to disappear, with the cartoon-like background disappearing as Ema made much more deliberate poses for each line. She opened it up with one hand to her chin, exaggerating though, before turning into utter amusement as she turned back to see the man's bewilderment. At the end of the hook, the woman came up to Ema again, locking hands with the singer's free one...

Ju reći ću toi
Nemoj baspod la bojasa
Ju ću osmjehnuti
Cand znaš vaš dulsassa je fuals
Duanc tvoja miarda
Nisu oscondran fermu
Duanc tvoja miarda
Ju znam ih, Ju vidim, Ju levum
Ih-hotan loisnost

Similar to the previous chorus, the vector of Ema appeared on the screen that was timed to mimic each one of her actions. Ema did the finger waggle at the shirtless man, but was even far sassier with it this time. Additionally, the woman's miming of Ema was far more energetic and confident. She was all over the man, getting in close but then keeping a distance, making it clear that whatever intimacy was between them was gone. By the second half of the chorus, the man could only walk away, having 'learned' his lesson already, as Ema and the woman were engaged in song and dance together.

Ju reći ću toi
Nemoj baspod la bojasa
Ju ću osmjehnuti
Cand znaš vaš dulsassa je fuals
Duanc tvoja miarda
Nisu oscondran fermu
Duanc tvoja miarda
Ju znam ih, Ju vidim, Ju levum
Ih-hotan loisnost

At the final reprise of the chorus, it transformed into a dual mocking into a sharing of gossip and emotions between the two women. They were hugging each other, getting physically intimate as they sang. The movements weren't quite as intense as before, but the camera was adamant in focusing at both of them. Ema and the woman especially seemed to be at peak ecstaticness at the fourth line, before engaging in dance for the second half of the chorus. The choreography was light, making sure Ema still had the chance to sing.

Duanc tvoja miarda
Ju znam ih, Ju vidim, Ju levum
Ih-hotan loisnost

The final three lines of the song were preceded by a small interval, in which the two women almost treated it like a ballroom dance. As the woman began to pirouette out, Ema began to sing the last few lines, the woman approaching her at the first two lines of this mini-verse, with a small pause between them and the last one. At exactly the last line, Ema caught the woman in her arms, sang the verse to her directly, and kissed her at the song's outro.

The lights dimmed down at the last guitar strum, and Ema can be seen blowing a kiss to the crowd.

"Hvala Mister X!" she said, and she went backstage.

by **Mister X** » Mon Oct 02, 2017 7:50 am

19 Mister X

Morgana Infidelo - "Oculi"
Tune: Tina Turner - "GoldenEye".

Emerging onto the WorldVision stage like the queen of the night, Morgana Infidelo (which is a hybrid of Latin and Celtic names, and when translated into English, means "the disloyal dweller of the sea") stalks across the stage. Her choice of outfit is like something out of a costume drama, with a silky dulled golden dress adorned with rings and necklaces. She glides elegantly across towards the front of the stage. The back wall changes to animation of black smoke. In the background is a couple doing an Argentine Tango.

sunt in me sed sunt in nemo
hic tu expectantes mihi
venire ab intus in me
et hic nocte nos possumus

Morgana moves to one side of the stage and starts stroking one of the curtains, hiding half of her body behind it.

oculi inherunt ad tu
oculi ad loqui possum
oculi per videre possum
sed in mecum, sed in mecum, sed in me

Morgana scuttles across the stage.

in oculi
sunt canticae et sonos de vitae
in oculi
quod iam adsum, sed ego aderat
in oculi tuus
in me, in tu, in illa, sua
sed in oculi meus
in oc, in oc, in oc, oculi...

The camera fades to black and then fades back in on a super-close up of Morgana's face.

quam moveus nos invenire
videre possum oculi tuus
sed mecum quod estes tu
et adsum iam forte

oculi inherunt ad tu
oculi ad loqui possum
oculi per videre possum
sed in mecum, sed in mecum, sed in me

in oculi
sunt canticae et sonos de vitae
in oculi
quod iam adsum, sed ego aderat

The Argentine Tango dancers move towards Morgana at the front of the stage and start posing around her.

et iam possum morire
sine tu hic nocte
et iam possum morire
super omnia mea
et in oculi tuus video...

Morgana is hoisted up by the dancers.

in oculi
ocu, oculi
in oculi...
in oculi...

With the final three notes she makes three dramatic poses in the air and the lights all cut to black on the last note.

by **Mister X** » Mon Oct 02, 2017 12:02 pm

The curtains at the front of the stage closed. The camera then slowly zoomed in and faded into black and white as dancers scuttled on. A spotlight showed a projection of tap-dancing feet on the face of the curtains as the music began. At 0:21, a man came bursting through the front of the curtains - none other than Robert Baxter himself, one of the hosts. He was wearing a full tail suit, with a white shirt, a white tie, and, of course, a top hat. He had a cane in one hand and a piece of paper in the other. He parades from side to side gracefully, wafting, during his little solo.

I said it was more than just music,
It's singing, it's dancing,
It's culture, exciting,
And now it's the bit we all like!
Nothing now could stop us from our fun,
Especially considering
That it's exciting,
The interval act is now...
Oh, we,
We don't know how to win,
But we do know one thing,
Have a good evening!
We,
We may keep losing,
But whilst the acts are snoozing,
Time for me to fail!

Robert returns to the middle of the stage and thrusts both arms out.

Tonight it's time for us to show you
Just how we will entertain you,
Whilst your nation may not win tonight,
That's OK because you're all right

He starts moving from side to side again, wafting his arms.

In our own hands
Yes, we have got some class,
Polished enough in the arts
To present you this...

The curtains open, the camera goes back to colour. and Robert moves aside, with an array of backing dancers all in couples as they were in the opening act. Behind them, the orchestra have emerged from behind the stage and are now on it, all sat down, having set up incredibly quickly. The men are all wearing what Robert is wearing (except they're not carrying canes or papers) and the women are all wearing white ball gowns. They engage in a very quick Foxtrot with some lovely turns, before changing into Quickstep steps and trotting around the stage in a circle. It all looks incredibly graceful. At 1:50, they all break hold and start making the same wafting actions Robert was making earlier, this time all in unison and to the music.

Sam Smith then moves to the front of the dance troupe (at 2:01) - unbeknown to the audience, he was one of the backing dancers. All the backing dancers stop dancing as he does a tap-dancing solo. At 2:38, the backing dancing men join in as the women move to the side and encourage them on.

Gradually, the men move back into the stage, with the exception of Sam. They each reach for a woman and twirl her in, and stand side-by-side next to her. At 3:27, Robert (this time without cane and paper) slides back in at the front alongside Sam, as all the backing dancers, along with Sam and Robert, repeat their wafting motion from earlier. Simultaneously, confetti fires.

We hope you have,
Have been entertained,
Entertained tonight,
Tonight in Mister X!

Everyone stops moving and the confetti stops firing.

And we say thank you,

Everyone turns their bodies to the side and during the next line, all raise their arm towards the audience.

Thank you, Mister X!

The confetti fires once more on the final note.

The curtains draw shut, and Robert and Sam move to the very front of the stage, holding hands together, congratulating themselves on an excellent performance, as the curtains close behind them. They each throw their top hats to the audience.

The cheering is so loud, Robert can hardly get a word in edgeways.

Robert: Thank you!
Sam: Thank you!
Robert: And so-

The cheering is just too loud. Robert gives up and lets the audience finish. But they start chanting: "Encore! Encore! Encore!" Robert decides to play to the crowd.

Robert: Shall we?
Audience: YES! [cheering]

The curtains open again as Robert and Sam return to their position, and they all reprise the end (3:27). Everyone begins wafting again.

We hope you have,
Have been entertained,
Entertained tonight,
Tonight in Mister X!

Everyone stops moving again.

And we say thank you,

Everyone turns their bodies to the side and during the next line, all raise their arm towards the audience. Again.

Thank you, Mister X!

There's no more confetti to fire. Now the curtains close - this time, for good.

Robert is still attempting to hear himself over the audience cheering.

Robert: Thank you indeed, and now...
Sam: Now for the serious bit!
Robert: OK. Serious faces.

Robert and Sam glare down the camera.

Robert: We have 17 eligible entries tonight for points. The phone lines are now closed, and it's over to-
Sam: Wait, haven't we forgotten something?
Robert: Oh yes.

Robert claps his hands and on the back wall comes up the scoreboard.

Robert: OK, then, let's call up our first country...

by **Darkmania** » Tue Oct 03, 2017 10:02 am

Karölina Füks, "official" spokesperson for World Hit Festival. (And based of Lynda Woodruff)

“Hello. Örkendrem calling. This has been a fantastic show for Bigger World Hit Festival, from Vodiznad, Kalosia. Right?

Here are the points"

Our 8 points goes to Cleaca

10 points goes to…. Estogium

And our 12 points go to…

Beileve it or not, it goes to Electrum Diplomatic Offices!!!"

by **Cleaca** » Tue Oct 03, 2017 2:02 pm

Cleacan votes

Ashley Lepetulavu, Cleacan model and actress.

''Hello Thatcher City, this is Port Cledana calling. We are very proud to be represented here tonight, and I just have to say that you have done an amazing job with hosting. So, I suggest that I shall announce the results of Cleacan voting now, shall I?''

''Points 1 to 7 are here:''

7p - Electrum Diplomatic Offices
6p - Estogium
5p - Togonistan
4p - Polkopia
3p - Kalosia
2p - Mister X
1p - Variota

''8 points from Cleaca go to...''

''10 points from Cleaca go to...''

''And our 12 points go to a nation called...''

WorldVision Song Contest 59 | IC | Thatcher City, Mister X

WorldVision Song Contest 59 | IC | Thatcher City, Mister X

02 | Estogium | Ellie Morgent - "My Love"

Commentary

7 | Ekoz

1/17 (Darkmania)

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