The 67th Worldvision Song Contest (Örkemdrem, Darkmania) IC

by **Darkmania** » Mon Aug 20, 2018 12:13 pm

IC THERAD FOR WORLDVISION SONG CONTEST 67

OOC THREAD//BID//YT playlist//NSWiki page

PARTICPIATING NATIONS OF WV67

01.Izmedu

(Ismedu/ Ismëdÿ)

Gorana Sever-Zaplešimo

02.Nekoni

(Nekoni/ Nëkömÿ)

Alex Verdegrand-I Won't Forget That Song

03.Axuva

(Aksuva/ Äxüva)

Michaela Eizano-Great Mistake (Heartbreaker)

04.Togonistan

(Togonistan/ Törgonïstän)

DJ Himona-Dirty Dancing

05.Vartugia

(Vartugia/ Värtÿgia)

A bunch of cats and kittens-So This Is Why Vartugia Has a Poor Reputation

06.Normandy & Picardy

(Normandi Og Pikardi/ Nörmandÿ ë Pÿkardÿ)

Michelle Ferisse-Under The Moonlight

07.Estogium

(Estogia/ Ëstgÿa)

Jakob Fletcher-Underestimated

08.Noxmore

(Noksmore/ Nöxmër)

Singer-Title

09.Christarnea

(Kristaera/ Crÿstarenä)

Tygrys-Eufrat-Wężownik

10.Proluvia

(Proluvia/ Pröluvÿa)

Tranquilo Squad-The Narcissist

11.Kisharel

(Kishrael/ Kÿshraël)

Elissa Dahan-Stranger

12.Scottish Socialists

(Skottske Sosialister/ Skäctte Säsÿalÿsts)

Katie McIlvenny and Keith Fulmer-Love You Nice

13.Rusmailica

(Rusmalika/ Rÿsmalikä)

Dymitrov-Polowanie na Niedźwiedzie

14.Hlhata States

(Hilhta Statene/ Hÿlata Stäs)

Jerome Brown-I’ll Fight Back

15.Antahbrantahstan

(Antabranstan/Äntäbräntstän)

Stafford Decody-Forgive Me

16.Polkopia

(Polkopia/ Pölkopÿa)

MJM-Like Me

17.Kalosia

(Kalosia/ Kälosÿa)

Ǧiana-Got Me Dreaming

18.Darkmania

(Darkmania/ Darkmänsijë)

MAnGA-Redd Oss

19.Llalta

(Llata/ Lläta)

Pingu ft. The Choir of Llalta & Evergreen-Nööt Nööt Nööt (Don’t Stop Dreaming)

20.Adab

(Adab/ Ädab)

Selia Goral-Turn Away

21.Ceyesca

(Keisesa/ Këÿeska)

Ariana dél'Éste-Satisfied

22.Gaciadia

(Gakadia/ Gacÿdyä)

MOMA-Breathe It Out

23.Mister X

(Herr X/ Mÿster X)

[Commentary]
Owen Roberts-Go

24.Britonisea

(Britonisea/ Brÿtonisëe)

Alyxhia Willis -You've Wanted Me

[Commentary]

25.Wazekia

(Vasekia/ Wäsekÿa)

Errik Haslek-Awakening

26.Main Nation Ministry

(Hoved Natsjon Ministerium/ Gërte Nasijÿon Mÿnestry)

Sergeant Stavro Mazur, Armed Forces Technician Eduino Sachs and the fine soldiers from Main Nation Ministry's Armed Forces-Fifty More Soldiers

27.Tödlichebujoku

(Tødlikebujoku/ Tödÿlikëbüjüko)

Salamu & Sorya Ueno-Let Go

28.Lactatia

(Laktatia/ Läctäyä)

Latisha Von Titteh- In My Vagina

29.Saviera

(Saviera/ Savÿera)

Rosa Luxembourg-Summer (I Wanna)

30.Andalusin

(Andalusin/ Andälüsÿn)

Yasmin Yasfa-The Rose of Pyrenees

31.Mercedini

(Merkedini/ Mërcedïnÿ)

Daniel Alishkaerni & Alienna-Heart's Desire

32.Missus X

(Fru X/ Frÿ X)

Rick Leg-Corn On The Cob (featuring The Conveyor Belt)

33.These American States

(Disse Amerikanske Statene/ Dëër Armerÿcan Stäs)
[Commentary]
Bradley Taylor -I'm Always Down

34.Hinenaes

(Hinenaes/ Hÿnenäes)

Pira Pira-Can't Miss

35.Krytenia

(Kritenia/ Crÿtenïa)

Stephen Morton & Dinah Russell-Three Little Words

36.SquareDisc City

(KvadratDisk By/ SërntDÿsk Städt)

Steffan & Celia-Strawberry Creams

DaTV prodly presents...

by **Darkmania** » Mon Aug 20, 2018 12:14 pm

-WIP (Some blatant filler)-

This beat is the winning song from Todlichebujoku. Svea Valdnieks has been a superstar along the Worldvision fandoms. Tonight this will be her last night as the current champion. She has traveled to Örkemdrem to give the trophy to the winner. She is seen walking with her iconic, winning dress from Telm City, to the main stage part. She is on the backstage. She sings the last part of her winning songs.

If I could only turn back time
To hold you and to say goodbye
My heart is bursting through, tears spring anew
Raging oceans surge from my eyes

Svea has finally reached the main stage. She has the drummer from Telm City with her on stage.

If I could only turn back time
To hold you and to say goodbye
Mutta vanhat muistot, kuten laulut,
But old memories, like songs,

Paluu yálleen minulle
Come back to me again

A steady cam from the left comes and runs around Svea quickly as she sings while facing the audience.

Voi voi voi voi, ei ei ei ei
Oh oh oh oh, no no no no

Haluan vain olla taas kanssasi
All I want to do is be with you again

Voi voi voi voi, ei ei ei ei
Oh oh oh oh, no no no no

All that I can wish, is to say goodbye

The few remaining lights and subtle animations fade into darkness, with faint starry lights slowly blinking out one by one as the audience screams in celebration to see her on stage again. This will be after all her last night where she can call herself as defending champion.

-WIP (Some blatant filler)-

by **Izmedu** » Mon Aug 20, 2018 12:16 pm

01. IZMEDU
Gorana Sever - Zaplešimo
Translation: Let's Dance
Tune: LOBODA - SuperSTAR

Gorana Sever is one of Izmedu's most famous pop stars that has yet to enter WorldVision. In a career that has spanned almost two decades and is still going strong as she enters the age of 38, Gorana is often a name that has been thrown around by many Izmeduan pundits for almost 10 editions as a possible representative, only for her management to either dodge any media attempt to answer the question or for Gorana to just coyly not answer during interviews. Gorana herself started life and her music career in the city of Vodiznad. She initially was a bar singer hoping to follow the footsteps of two Izmeduan legends that defined the music landscape not just in Vodiznad, but in Izmedu all over (namely Natallija Tomcic and Naida Jurisa). She was known for her husky yet melodic voice that often crooned the Izmeduan blues through dramatic ballads, providing an emotional heft and register that was unique for the scene.

However, it was in her 20s where she hit her stride, to which she was a part of Izmeduan music history that found its continuation in Izmedu's previous WorldVision participation. Gorana Sever was part of the original three PRIAMAIKI members that was created by Zlata Zugec, being one of the many auditionees that were hoping for a spot in the now vaunted girl group. Due to Gorana's desire for to move beyond the bars that she sang as well as some attempts to enter the major music labels that were fruitless, the opportunity to be in PRIAMAIKI represented a possibility of further opportunities. Due to her drive and motivation, Gorana became the early 'face' of the band, much more willing and more durable against Zlata Zugec's almost impossible demands on the girl group. However, Gorana's personality is one that would eventually not stand for these kinds of conditions. Ultimately, Gorana would be one of the first members to leave the group entirely.

Despite being on the slightly older side of the spectrum when she broke out as a solo artist (having been 26 at the time of her leaving the old PRIAMAIKI), Gorana's cache as the face of the group led her to have developed an in-built fanbase that were more than willing to follow her into the next stage of her career. While she appreciated the work ethic that she built, the harsh conditions of Zlata Zugec's fierce control over PRIAMAIKI's creativity caused Gorana to develop a darkness and taste for rebellious material in her first forays as a solo artist. This was marked with how her first singles as a solo artist were a far cry from the bubblegum pop that PRIAMAIKI produced. Gorana's first single was a stirring, socially conscious ballad that decried Izmeduan society's handling of mental health as well as the personal discrimination she saw between Izmeduans. This first single, titled “Nevidljiv” (translation: Invisible) was the foundation to which she developed her repertoire and image as a pop start in the following decade.

Since “Nevidljiv,” which codified her as an alternative artist of choice in the Izmeduan language sector and successfully transitioned her from girl band face to solo artist in her own right, Gorana's career has undergone multiple twists and turns. Her initial years following her debut single were spent mostly experimenting and trying to find a style. While she made a splash by being quite unlike anything in the Izmeduan market, especially due to her vocal style and her more off-kilter performances, uniqueness could only get her so far. Following an EP that was released to mild success, Gorana then began to experiment further with a style of dance music (around the era of WorldVision 59 to 62, where the Izmeduan music industry faced its worst economic contraction yet) that mixed in with Izmedu's obsession with heavy beats with her own, darker, huskier, and dramatic style. Of course, this was also paired with Gorana's personal affects as well.

Releasing a series of mid-tempo singles throughout her late twenties and early thirties, these were largely an exploration of her conflicted psyche and emotions while adjusting to a middle-aged existence. She was discovering that her energy and spunk were slowly fading into one of a more calmer, nuanced look at life that she knew could easily careen into bitterness. These kinds of mental struggles were transformed into avant-garde-esque lyrics and music videos, to which she was noted with releasing music videos which involved her being rather intimate with a clone of herself to staging a Izmeduan-language summer pop banger under the metaphor of being trapped in a broken tower and attempting to break free from a fundamentally broken foundation. It is these wild escapades drawn from her unsettlement in a transitory stage of life that caused Gorana to become renowned as one of Izmedu's most forward-looking pop stars in its Izmeduan-language sector. She was someone who couldn't quite be put into a box or category. She was simply Gorana, being able to release both stirring ballads, mid-tempo songs, and fast-paced bangers under her distinctive brand of a haunting, avant-garde delivery.

This led many of her fans to push for WorldVision/WHF participation or at least, considering a song for Izmepisma. Behind the scenes, Gorana carried a fantasy of representing Izmedu on an international stage, but she had no clue or plan to begin laying the foundations of a WorldVision song. The first signs of a WorldVision song began to appear in her head at the age of 36, in which she participated in the yearly El ponocni ponos (Midnight Pride. In short, it is a night of endless, dancing, and impromptu concerts) celebrations that occur in Vodiznad every year to which Izmeduans of all walks of life are allowed to dance, perform, and sign to their hearts content without the need of some sort of official sponsorship. It was a night of music and endlessly partying to which popular Izmeduan celebrities can perform incognito and Izmeduan unknowns are allowed the biggest organic platform to which to expose their music.

She was inspired primarily by the dances and yearned to organize one herself, but this yearning ended up turning into a song idea inspired by the liberation she felt when she danced with strangers and old friends... She felt like Gorana the human being versus being Gorana the pop star. This was part one of Zaplešimo's genesis, but the second part came at around the time of the 66th WorldVision itself. She served as one of the advisory members for PRIAMAIKI's entry to help adjust them to performing on the stage. Gorana, while helping out the new incarnation of her old group on the side, was continually developing the entry that she'd hope would land her the ticket to perform in WorldVision. Working with Izmedu's WorldVision 66 entry behind-the-scenes gave Gorana the kind of knowledge necessary to help further refine the package she intended on sending to RTI.

Once Izmepisma submissions for WorldVision 67 were open, Gorana knew that it was her chance to make her WorldVision aspirations turn from a dream into a reality. She sent “Zaplešimo” to the channel and the rest was history. She didn't expect to be installed as the pre-Izmepisma favorite, nor for her song to go viral or even win the national final. While working with the previous Izmeduan entrants gave her some valuable knowledge of how performing for WorldVision worked, she was not prepared for the pressure or the feeling of having to be the one to perform on their lonesome. While she'd have a troup of dancers and a choreographer who helped style the dance moves that made the song so viral in Izmedu's domestic scene, the international one was another question entirely.

From Vodiznad to Örkendrem, Gorana was a bag of nerves and so were the channel. RTI were following a successful string of results that they wanted to upkeep as well as some indirect pressure from the currently very successful World Hit Festival delegation. RTI were going all-in with Gorana's domestic star power and success, but would it translate to the international stage? Gorana wasn't sure how to feel being the very first act to kick off the 67th WorldVision Song Contest proper. However, she knew she had to get ready...

Nodding to her cadre of dancers, she took a deep breath and sauntered off to the stage.

Stage lights billowed down to the center of the Örkendrem National Football Arena at the advent of the Izmeduan entry. The lights flashed a blinding white before simmering down into an overwhelming darkness amidst the heavy crowd cheer. Following Izmedu's win in the World Hit Festival, the crowd cheer from the Izmeduan contingent was especially loud. Once the crowd cheer quieted down, a single spot-light in a faded orange-yellow color began to shine on one of the bridges. The camera view faded to the bridge to the audience's right, a camera on the stage taking a close view of Gorana's silhouetted form. Her eyes opened to the entry's commencement, two musical beeps causing a determined and sultry look to appear on her face. The spotlight on the bridge intensified to specifically brighten on her and she began to sing to the headset she was wearing...

La noćna je mladi
Ovaj grad nije sarani
Mi tilo ne može zaustaviti
El ritam iznutri
Vrime igrati

For this part of the first verse, the camera remained transfixed on her as she began to sway and swivel on the bridge suggestively. She had both hands on each railing as her body was visibly swaying to the guitar-led instrumentation of the song. At each line, she slowly slinked backwards and forwards to the camera, creating an atmosphere of being hard to get and playing towards the audience at home. At the third and fourth lines, she started to slink down and sway her body to the different and more suggestive vocal technique she used versus the faster way she sang the song in the first two lines. She paused these movements at the end of the verse when the music ceased for a moment to let her vocals echo, the camera inching ever so closer and the view showing her daring expression.

Spremam ju sam ići
Maja glazba svira glana
Divoje, dičaci, i-el svit
Izađi-i-igraj
La pozornica je nueštra

The second part of the first verse saw the song begin to take it up a gear. Gorana almost 'swatted' the camera out of the way as she immediately let go of the railings and began to walk down the bridge. For the first two lines, as well as the gap between them, she most sang them in the pseudo-rap style that would remain prominent for the song. The camera would move backwards as she walked fast towards the main stage, to which she found two other dancers standing stationary during the interlude between the first and second lines. At the second lines, she briefly interacted with them to get them to join her 'cadre.' At the third and fourth lines, she and those two dancers would perform a light choreography where they would slowly squat their bodies up and down, matching the kind of vocal performance and creating a pattern from the first verse.

The camera view then changed from one from well within the stage to a view that focused on Gorana and her ever growing cadre of dancers from the front, but were wide enough to focus on the whole stage. The stage lights began to further intensify from a dark yellow-orange to a brighter one, while still dark enough to coat Gorana and the dancers' eyes in a shadow reminiscent to what one would see from a party. By the end of the verse, Gorana and the dancers ceased their brief choreography as the camera pulled back slightly to reveal that an even greater amount of dancers lay in wait.

Sentirem, sentirem, sentirem se vim i dobro
Moičurim, vidim to

Now it was time for the hook. The camera view transitioned from its wide view to focus on one that was slightly closer to Gorana and the dancers. The light wall at the back began to flash in a haunting white to the beat that resided in the undercurrent of the song. The lights were initially stable, illuminating in an almost intimidating fashion the group of four dancers that would march towards Gorana's way. At these lines, Gorana maintained the more suggestive vocal style as the two dancers slinked their arms and bodies around her while maintaining side by side. Gorana was almost writhing as she sang and performed her suggestive choreography, with the dancers moving along with her in a similar fashion. At the end of the second line, Gorana would dismiss these dancers in the brief pause between this and the hook's launch into the chorus. They were now in a trianglular formation as the camera flashed to different views of each dancer and Gorana herself in time to the beat... When the beat hastened to an insanely fast pace, the light wall behind them flashed in lightning speed. At the end of that, the lights would darken quickly sans as a spotlight on Gorana, in which the floating camera positioned its view on her determined expression...

Oslobodi sebe
I Zaplešimo

Gorana quickly rapped these two lines amidst the darkness of the Orkendrem National Football Arena. As soon as she did so, the arena quickly roared to life in a much brighter variation of the introductory colors. The stage was now coated in a yellow-orange and purple hue as the light wall behind them flashed with those very same colors to the chorus and dance break's instrumentation. At the dance break, Gorana and the dancers were performing the same routine that made this song become viral. Gorana and the dancers were each hunched over with bodies facing towards the audience's left. At each beat, Gorana and the dancers would flick their hairs and shimmy their shoudlers in unison. The camera focused on all of them as a collective, maintaining a frontal view as they would do that same motion two times before Gorana would have to sing to progress the chorus.

Let's dance

The dance break's instrumentation remained with its same intensity as Gorana put a little bit more embellish on the hair-ography and the collective swaying of their shoulders and bodies. Gorana and the dancers began to sway their arms as well and put much more motion to their bodies instead of remaining in place after each hair flip. Addtionally, as Gorana sang 'let's dance,' they all switched from the left to the right and remained in sync for the remainder of the choreography. Throughout this break, the camera switched from focusing on the stage to then changing angles and views at each beat, making the viewing experience at home almost as frenetic and yet intense as the atmosphere on the stage. At each beat, the camera would focus on either Gorana or one of the individual dancers working their choreography.

Zaplešimo

When Gorana sang the song's title, an additional beat began to be added to the dance break that would lead into even more intricate choreography. While the hairflips would remain and the individual camera views were to remain, the choreography saw Gorana break off from the constant hair flips and begin swaying her body left and right. She moved one arm forward to 'grab' the air and almost lurch forward in aggression. She then side-stepped and let her body motion towards the right, letting her feet almost step backwards as she then shimmied her hips to the beat. Additionally, Gorana also focused on making sure to let her hair sway at every other 'beat' of the song, to which it mirrored the stationary hip and hair movements from earlier. Throughout that display, the dancers would mirror her movements and remained in sync with her.

Let's dance

Gorana and the dancers maintained their choreography as the song was fast approaching the end of its chorus and dance break. To end the section, Gorana would do something a little bit more extra... While the background dancers maintained the same routine, she did a brief pause and did a backwards spin after she quickly sang 'let's dance.' The motion of her action caused her to look like a brief blur on the camera. When Gorana completed her brief spin, she flipped her hair forwards and backwards with a strong head nod that corresponded with the end of the chorus. The light wall and the stage lights themselves would dim at the end of the chorus as the camera zoomed in on Gorana's cool expression at the music's brief fade. The camera would then fade to darkness for a brief moment at the micro break between chorus to second verse...

Nemoj zaustaviti
Ovu divlju energiju
Nastavi, nastavi, nastavi conmaic i mi manki
Car nismo stiju

It was time for the second verse. For the first line, the camera view returned as the lights were initially darkened as the camera remained stationary of Gorana. She sang that first line with a daring smile, as two dancers behind her approached and put their arms on her shoulders. By the second line, the arena once more roared back to life as the beat kicked in and the light configuration from the first verse returned. The camera view then switched to one that was much more closer to the stage, following Gorana and the dancers as they began to sway to the beat. The rest of the dancers would re-group as they were now located at the center of the stage, closer to the left bridge. The camera view on-stage would circle around them before remaining stationary at the third line, where Gorana and the six dancers were in full-view under a strong, white spotlight. Gorana shimmied her head from left to right at the end of each 'nastavi' and swayed her body slowly as the dancers looked as if they were almost applauding her, staring in a choreographed awe. By the fourth line, the dancers broke off from their formation and were now dispersed around the stage, with Gorana still closest to the front.

Ovaj viaspro je tako ludo
Nema odmora za zle poput nas
Dok la vira, pa ju trčim
Ju trčim, ju trčim, ju tr-tr-tr-tr-tr-čim

The camera on the stage began to zoom in and out of the various dancers that were in different positions, almost spaced out to make an informal-looking hexagonal formation that was roughly evenly spread. The camera then began to motion around in an almost cinematic-esque fashion, as Gorana became out of focus with spotlights beginning to shine down on them. Gorana sang these four lines at a rapid pace, reflecting how the dancers were performing almost a breakdance-esque routine timed to her vocals. One dancer can be seen gyrating her entire body with the momentum of her hands, while another spun and priouetted, and at the constant repetitions of 'trčim' two dancers next to Gorana can be seen beginning to converge and let her fall into their hands, beginning to carry her. The camera view switched from the ground to a bird's eye view of Gorana after she sang the fourth line, with Gorana have her arms spread out and looking almost serene and liberated.

Zuan me u majoju slavju
Breskanjog ponos
La pozornica je nueštra

The other dancers then ran towards the two and began to aid in carrying Gorana to the center of the stage as she sang. The camera mainly focused on the close bird's eye view of Gorana as she sang the first two lines laying still as the dancers carefully moved her. By the end of the second line, the dancers began to slowly set her down as the view then shifted back to a regular angle. At the third line, Gorana sauntered forward slightly to the front as the view was close enough to catch a wink from her eyes. Throughout this, the arena's white lights would flash to the beat as the orange and purple lights slowly intensified in the lead up to the song's hook.

Sentirem, sentirem, sentirem se vim i dobro
Moičurim, vidim to

The hook remained similar to its first iteration, but this time there the camera opted for an overhead view of Gorana that slowly moved forward to a bird's eye. Instead of the more suggestive choreography where Gorana and the dancers almost looked as if they were writhing on each other, they instead opted to do a slow and suggestive squat. Each time Gorana sang 'sentirem,' she and the dancers would slowly move up and down as a collective. Behind them, the light wall shined to an extreme extent, causing a haunting reflection off their bodies especially when the camera view switched from the overhead to one that floated in front of Gorana and the dancers. A bokeh-esque effect was applied to the light wall as the light effects made the broadcast view look almost hazy. By the end of that second line, Gorana and the dancers ceased their suggestive squatting as the camera once more zoomed in towards Gorana's face, her chin tilted up and hands to her hips. The bokeh effect was removed when the vocals ceased and when the light flashes began to increase in frequency. When the music ceased for a micro-second, only a spotlight remained on Gorana...

Oslobodi sebe
I Zaplešimo

Gorana quickly sang these two parts to push the song towards its trademark dance break and chorus. She and the dancers immediately got into the same positions that they utilizied in the previous chorus. The lights in the arena were now flashing a mixture of yellow-oranges and purples. The light wall behind them was strobing in those same colors as well, making a fititng backdrop to the frenetic camerawork and dance moves that they were now making. For the first part of this chorus, Gorana and the dancers would do the same hair-flip routine. They motioned their bodies to the audience's right, shimmied their shoulders, and swyed their hair to the beat. The variation they did for this chorus involved camera work that cut to each dancer as they performed their hair flip, revealing their sassy and determined expressions.

Let's dance
Zaplešimo
Let's dance

At the first 'let's dance,' Gorana and the dancers pivoted and switched directions. They performed the same hair flip choreography as the camera zoomed by the stage, from left to right. The pace of which the camera flew was almost dizzying, causing Gorana and the dancers to appear almost like blurs until the camera closed up on them during their routine. Once the camera was done making its paces, which occurred just before Gorana sang 'Zaplesimo,' a further beat kicked in that cause Gorana to switched from the hair flipping to a more free style esque choreography that was more intricate than the previous dance break. After Gorana sang 'Zaplesimo,' some of the background dancers began to sing the last two syllables of the song's title as they broke the original formation and lined up in a straight line. The camera flashed to a side-ways view, with all of them turning their heads one-by-one by in quick succession and engaging in dance moves that were timed to the beat once they caught the camera's gaze. When Gorana sang the last 'let's dance,' they began to get into a circular formation and swiveled and swayed their hips to the beat. This would continue on until they all re-assembled once more into a triangular formation, which was well-timed to the end of the chorus itself and into the bridge.

Ju sam la kraljica noća
La izgovorena bajka
Podizanje infiarna
Za tebe i mene, da

For the more rap-driven bridge, the instrumentation was driven more by the deep bass that nearly caused the arena to slightly rumble. The lights darekened to a configuration that resembled the first verses, a dark yellow-orange that made the stage look almost like a backlit street. The camera then undertook a dutch angle as Gorana had her arms crossed for the first line. She was looking down towards the camera as she sauntered forwards and backwards, side-stepping and moving with a chaotic grace as she timed each movement to the beat of the song. She exuded swagger as she swayed her torso during the middle of this bridge, while making sure to keep her vocals secure. At the fourth line, she called forth the other dancers to come to her, turning to the left when she sang 'tebe' and to the right when she sang 'mene.'

Donosim la vatra
La zabava na ova mista
Destruamo se, nema takem
Apiaš-se, to je nueštre vrime
Sjajiti, racuadamti ovu noćni

The camera then switched to a neutral close-up view as Gorana and the dancers re-grouped, collectively swaying as the camera 'faded' to different directions at each beat. Each fade was marked with a slow down that was especially apparent at the third line, with Gorana's slight squat forwards dramatically slowed down before the camera returned to see her do a sassy 'no' motion with her arms. The first two lines involved Gorana and the dancers collectively moving towards the right and tapping their feet on the ground, reaching one arm out at at the end of the second line to swivel their bodies with momentum before returning back to a neutral spot. For the fourth and fifth lines, Gorana would focus on rapping the lines as the dancers behind her continued on their choreography. She exuded swagger as she crossed her arms as the dancers behind her were beginning to converge upon her while dancing.

Ponosni smo i slobodni smo
Prati mi vodstvo
Jamo zaplešimo!

By the ending lines of the rap hook, the dancers ceased their choreography and two were now temporarily laying their arms on Gorana's shoulders. Gorana's expressions and motions were still playing with a fierceness and ferocity as it seemed like she was daring to the camera to challenge her. Her arms and wrists were curved to a motion of provocation. The lights would dim as the camera did another close-up at the last two lines, with Gorana almost stepping back as she quickly looked at the dancers. At the last line, the dancers all quickly dispersed in time for the final chorus.

Gorana and the dancers did the same hair flips once more but were now free-styling much more with the choreography. The lights were flashing around the arena as if the stage was now a street party in full swing. The camera switched between fast pans of the whole stage to close-ups of Gorana and the dancers.

Let's dance
Zaplešimo
Let's dance
Zaplešimo

For this part, Gorana and the dancers ceased the free-style dancing and did a much more coordinated routine. With the hair-swaying action still prevalent, all of them got into a single-file line and danced against the blinding light wall that shined to an almost extreme extent. The camera was now focusing mostly on overhead shots as the music remained at peak intensity at each hair-sway. They let their hair flip with more force and were also moving in a tight formation throughout. By the second time Gorana sang 'Zaplesimo,' they would pause for their dancing for a brief second...

Let's dance
Zaplešimo
Let's dance
Zaplešimo

By the outro to the song, it was now more free-style choreography with Gorana in the lead. The camera view switched from the floating cameras to the camera on stage. The dancers would begin to surround Gorana from the back as she marched to the front in front of the cameras. As the instrumentation would only further increase intensity, the light wall began to dim its intensity to instead match the yellow-orange and purple hues that lit up the stage. Gorana was domineering the camera with the way she was almost pouncing and slightly kicking upwards with one leg, especially as she sang 'Let's dance.' By the last 'Zaplesimo,' she would slowly pause as the dancers behind her continued their intricate routines. She'd turn her back to the audience and sang the last 'Zaplesimo,' quickly turning her head around at the very end of the song.

Gorana turned around to the audience and blew a kiss to them, panting heavily for a second before regaining her breath. She had no idea how everything would turn out, but she knew she had the time of her life on stage. Whatever happens now, she knew she'd have to accept.

But from that moment she just had, she now knew why so many Izmeduan artists vyed for the chance to represent their country on this stage. There was nothing quite like this.

"Hvala!" She said to the Darkmanian crowd, blowing them a kiss before going backstage. The preparations for the Nekonian entry were due to begin not long after.

by **Nekoni** » Mon Aug 20, 2018 12:16 pm

Entry No.2: NEKONI
I Won't Forget That Song
Alex Verdegrand
Based on: Möt mig i Gamla Stan by Magnus Carlsson

It was a slightly unnerving surprise to see Nekoni out of the top 15 last contest. After a string of top 10 finishes, NTR's bubble was truly stressed with an 11th in Rouen, and straight-up popped in Telm City. Seeing the friendly rivals of Proluvia beat them for the first time smarted too, especially considering that what the Nekoni press believed to be a meticulously-planned entry was soundly beaten by a smaller broadcaster throwing everything at the wall and seeing what stuck on their third attempt.

It would be tasked to the NTR, then, to lick their wounds, and try to show that the last contest was a temporary blip. The plan was to change nothing. Their new idea of tying the contest in with a season of primetime reality singing contest The Journey was to be continued, but due to the time pressure of creating a new series, a week-long special was created featuring the original sixteen finalists, with the winner, Luca Florén in the mix as well. The rules were simple. Each entrant brought their own song, and each night from Monday to Thursday featured four of them, with the winning two by phone vote advancing to the grand final, where eight songs were performed on the Saturday night.

Shockingly, Luca Florén was last in his group, performing an acoustic ballad completely in French that the bookies were certain would top the final. Clearly, the public didn't share the sympathies that the press did months ago. In the end, however, came Alex Verdegrand of La Cristea, aged 28. He wasn't a particularly well-remembered figure on The Journey: no pathos-laden back story or USP other than being able to churn out 'a consistently solid performance' meant that he was sent home fairly quickly into the finals in 14th place. Since the contest, he had stayed at home, writing music for pleasure, and doing minor gigs thanks to his minor hometown fame. However, the song he brought somehow struck a chord with the public. Perhaps it was the wise choice to send a retro-flavoured, unashamedly-cheesy dance track in a field steeped in dramatic ballads. However, he had indeed won the contest, by a narrow margin of just 2% over the second-placed entrant, and it was he who would be claiming the ticket to Örkemdrem.

As an artist pretty heavily inspired by 90s eurodance acts, he has claimed not to look too far into the staging. "Nobody did in 1997, and we turned out fine."

The song begins with Alex, (decked out in an untucked white dress shirt, black slacks, black shoes and a black, loosely-tied tie), stretched out on a plush, red leather chaise-longue towards the right of the stage. A long conveyor belt appears to be placed across the stage, behind the chair. The lighting is mild and purple. He is also wearing some white, unbranded headphones, which appear to be plugged into a mobile device on the chair. As the song begins, he takes off his headphones, and leans up to an upright sitting position on the seat. He remains in his seat as the vocals begin.

Walking the streets where we once danced, took a chance
Music in our ears, the warm air rushed through your hair
We were there

As Alex sings, he has a roll of small photos of him and his alleged lover (actually just a model in non-performance), and looks at them as he raises his arm, sending the photos cascading down.

Many years on, I don't forget, don't forget
The song's still with me, but my one regret, is I can't
Share it with you

He drops the photos and stands up towards the end of the first verse, and, at the beginning of the bridge, moves to the right of the chaise-longue, and coming to a standstill behind it.

When the beat begins
When the words come in
There's a fire burning in my soul
When it all goes wrong
And the road runs long
I'll put my headphones on
And I'm back again

As the chorus begins, the conveyor starts moving leftwards with Alex on it. He is walking rightwards against it, however the belt is moving slightly faster, so he's steadily going left.

I won't forget that song
Although you're gone, I will fight on
I'll never forget that song
There's nothing that can stop me now

Off-camera, someone has loaded some white, stair-like square platforms onto the belt, which Alex steps on and over has he is moving.

I'm gonna keep running
Just hold on, I'm coming
Won't stop 'til I'm back with you
And you know it's true
I won't forget that song
I'll fight on, I'll fight on

As he reaches the end of the chorus, he stands on top of one of the white boxes, where he stays. He rides it to the left hand side of the stage. The belt comes to a complete stop as he reaches it.

Back on the streets here, it's not much fun, not much fun
Out on your own it gets lonely, lonely here
With my fears

As the beat comes back in, Alex (completely unashamed of the cheese of this bit) claps his hands twice to the beat. Two blond-haired women dressed in black evening gowns and long gloves appear around Alex, and come close to him, one tying up his tie properly, the other putting a black suit jacket on him.

I feel the rain running down my face, down my face
The skies may be dark, but my aim is, aim is clear
Bring you here

As the second bridge continues, a third woman with the same appearance appears on the right side by giant treadmill. She has his headphones in her hand, steadily moving on the conveyor to his side.

I recall the fights
And the sleepless nights
I just need your voice to keep me sane

She reaches the end of the conveyor and puts the headphones on his head. The lady who straightened his tie has come back and has placed a black fedora on his head over the top of the headphones, and the one who brought the jacket has handed him a bouquet of red roses. As the end of the bridge comes, he his play on the mp3 player clipped into his belt.

Just the memory
How life used to be
Could bring you round again
And I promise you

As the chorus begins, the conveyor starts moving right again, the lighting changing to a cool blue. The speed of the belt is increased, as Alex is nearly full-blown running against the run of the belt. The camera is on the right-hand side, so Alex is running into the camera.

I won't forget that song
Although you're gone, I will fight on
I'll never forget that song
There's nothing that can stop me now

As it continues, a wind machine is introduced. Strap yourself in, kids, we're going to the 1990s. The camera continues as his jacket, tie and hair flutter in the wind as the hat is humourously knocked off and goes flying into the audience. Someone's going to eBay that for literally hundreds of Nekonian Gen (about US$ 5, if you're lucky).

I'm gonna keep running
Just hold on, I'm coming
Won't stop 'til I'm back with you
And you know it's true
I won't forget that song
I'll fight on, I'll fight on
I'll fight on

As the brief instrumental before the final bridge goes on, the wind machine and conveyor belt stop. Alex (who has fortunately not fallen arse-over-tit as he did in the first dress rehearsal), is now conveniently in the centre of the stage, as the camera swings to the front, still facing him. The wind machine did its level best do ruin his haircut and yet has failed, as it has slid back into place through the magic of enough hairspray to give the contest's pyrotechnics guy a bit of a heart murmur. The headphones are now round his neck, and the flowers are still in his hand. He gets to the camera, glints his magnificent bastard white teeth, and gets on his knees to deliver the line before the inevitably 90s key change.

I know I was wrong
When you packed and run
But I'm a different man
And I'm needing you

The key change comes, as a quick blast of pyro goes off around him. The lighting is back to its purple, with flashes of orange joining in time with the beat. The camera zooms round him to reveal that in front of him, a table and two chairs have appeared, both designed in the Parisian café style, tablecloth and flowers on the table and so forth. The table has a guest: a short, bobbed, brunette woman, in a stylish golden dress. Clearly, the woman in the photographs from earlier. Alex's (in character) former lover.

I won't forget that song
Although you're gone, I will fight on
I will never forget that song
There's nothing that can stop me now

As the chorus reaches its climax, Alex does a couple of standard WorldVision 'not quite dance moves' you'd expect from the vocalists of the contest: grabbing air with the fist, stepping with one foot, throwing his hands to the side on a key note, that sort of thing.

I'm gonna keep running
Just hold on, I'm coming
Won't stop 'til I'm back with you
And you know it's true
I won't forget that song
I'll fight on, I'll fight on

As the end of the song comes, he goes to the front of the stage, grabs the chair, and swings round to sit into it at the table. As he finishes his final line, he presents the flowers to the woman at the table, and freeze.

I won't forget that song

The crowd cheers, as they do for everything that isn't murder, and Alex glints his punchable teeth again and addresses with the usual thank yous in the myriad languages of which we are accustomed to. The 20th place inevitably beckons, but he doesn't even care.

by **Axuva** » Mon Aug 20, 2018 12:17 pm

3- Axuva | Michaela Eizano

https://www.youtube.com/watch?v=BXhIT4MpRis

The lights lit up on stage and the music started. All of the dancers laid on the stage. Michaela would be on a black aerial hoop with a extra long dress that flowed down, almost touching the stage. She put a tight grip on both sides of the hoop with a microphone on her head as the loop stood in one place in the air. The screen would show an eclipse in the LED background that Axuva provided.

[Verse 1]
I took my scars, and I sealed them closed, closed oh.
I took it all, and had to break my own fall, fall oh.
They thought I was cool, they thought I was fine, fine oh.
Oh, how can I change your mind
I can’t..

She took off the lower part of her dress, and it fell into the lift that was already lowered, disappearing, Then rising up. She had on a long black dress with gold on and a crown. The loop was brought down on a giant LED square that was being raised out of the stage, and the back LED screen showed the bright eclipse with stars around it, and all of the stage lights and room lights were orange. She got off of the loop, walking to the middle of the stage, in a long black dress with a long golden necklace that flowed with the fans in the floor that was set inside of the stage, and it sat on a smaller stage piece on the normal stage, and all the male background dancers were shirtless with jeans, and the women wore long black dresses.

[Pre-Chorus 1]
I tried to hide the pain and then I couldn’t grow
I want to use myself to heal my broken wounds

All of the dancers would surround the LED square all holding hands and then forced letting them go, all of the dancers then started dancing in sync.

She stood on the tall square, singing as her hair and dress blew with the fans.

[Chorus]
You made me fall, I didn’t even know my own self
I didn’t know, how to even control my own self.
If I had known, you’d make me cry and you
You made me fall, you made me fall.. You took me off.
You’re just a great mistake and you’re a heartbreaker
You’re just a great mistake and you’re a heartbreaker

[Verse 2]
Yeah I took my scars, and thought I’d spend my life with you, life with you yeah.
But you made me fall, and I always proved myself to you yeah..
It hurts, with this pain you’ve put me through, put me through yeah.
So it’s your time, to leave out of my life, life oh.
And I can live life, without having you

[Pre-Chorus 2]
I tried to hide the pain and then I couldn’t grow
I want to use myself to heal my broken wounds

The stage pyro went off as sparks flew down on the stage and smoke flooded the stage, & fire lit up from the stage and then the dancers went off stage.

[Chorus]
You made me fall, I didn’t even know my own self
I didn’t know, how to even control my own self.
You gave it all, and stole it from me, and I know,
You made me fall, you made me fall.. You took me off.
You’re just a great mistake and you’re a heartbreaker
You’re just a great mistake and you’re a heartbreaker
You’re just a great mistake and you’re a heartbreaker
You’re just a great mistake and you’re a heartbreaker
You’re just a great mistake and you’re a heartbreaker
You’re just a great mistake and you’re a heartbreaker

She would then stare out at the crowd, with tears rolling down her cheek and in her eyes. And then as the song ended she fell inside of the tall square as it made a loud noise, and a thunder sound effect went off and the stage went pitch black as it started to rain. She then exited the square and bowed, walking off the stage. Then it stopped raining. The crowd cheered hard.

by **Togonistan** » Mon Aug 20, 2018 12:17 pm

04. Togonistan

DJ Himona - ''Dirty Dancing''
Tune: Elmayonesa - ''Kes Ei Tantsi On Politsei''

DJ Himona

DJ Himona is a 33-year old Togonistani actor, comedian and part-time singer. As a result of the Togonistani televote, he is representing the nation in 67th WVSC.

Performance:

Lights on the are are flashing. As the music starts playing, DJ Himona steps on the stage from the behind, wearing a colorful outfit consisting of a black cap, sunglasses, an over-sized shit with a picture of an eagle on it, a pair of large jeans and white sneakers. He is being accompanied by four female dancers, all dressed in short golden mini dresses. Camera follows Himona as he moves to the middle of the stage while singing.

Dirty dancing, takahi ah!
Dirty dancing, takahi oh!
Dirty dancing, takahi ah!
Dirty dancing, takahi aoh!

Himona raises his left hand up and starts nodding his head to the rhythm of the music. Backing dancers start doing dance moves around him, as Himona slowly walks around on the stage.

Hia! Kanikani! Kororia!
Feel the rhythm, try my cannabia!
Heads up and go shake that booty,
O M G, that back looks so fruity!
Hia! *ineligible mumbling*
Hia! *ineligible mumbling*
Hia! Chilling and eating kotakota,
we living la vida lo-o-ca!
One two three four feeling my rhythm
All listen up, this is my party hymn
Hey what's up, don't be a rorirori
Party with me is a real real glory
Watch my brand new LCD
Show commercials from TNTV
And surfing with some dolphins
Go on now shake that booty

One of the dancers starts intense twerking with her booty pointed towards the audience. DJ Himona gives a slap on the booty, which makes the dancer jump up and do a goofy face at him, before returning to usual dance moves. DJ Himona turns towards the audience and starts moving his hips to the rhythm.

Dirty dancing, takahi ah!
Dirty dancing, takahi oh!
Dirty dancing, takahi ah!
Dirty dancing, takahi aoh!

DJ Himona keeps singing, surrounded by dancers. The whole dance they're doing on the stage can best be described as a generic stuff people would do in a club. None of the moves are really synchronized, nor very professional.

Hey, aloha, can you feel the heat
all shut up and listen to my heartbeat,
hear this song can relate to all age,
only joy and not a single rage.
Hia! *ineligible mumbling*
Hia! *ineligible mumbling*
Chilling and eating kotakota,
we living la vida lo-o-ca!
Dancing and drinking until there's no end,
Share me your juice and i will be your friend.
Shake shake shake disco fever vol two,
we just chilling here with our crew!
Feeling dizzy, Feeling dizzy all
What happened can not recall.
Fell asleep in Incendia,
But woke up in Britonisea.

Dancers start forming a human pyramid behind Himona, as he steps forward to sing the last few bits of the song.

Dirty dancing, takahi ah!
Dirty dancing, takahi oh!
Dirty dancing, takahi ah!
Dirty dancing, takahi aoh!

Meanwhile, dancers are done with forming a pyramid. Three of them are kneeling, while the fourth one is on top of them, elegantly waving her arms. She keeps doing it until Himona finishes his song.

Lo-co-lo-co-lo-co-lo-co-lo-co-co!
Lo-co-lo-co-lo-co-lo-co-lo-co-co!
Lo-co-lo-co-lo-co-lo-co-lo-co-co!
Lo-co-lo-co-lo-co-lo-co-lo-co-co!

Suddenly, the pyramid behind Himona falls apart, with dancers showing no signs of life afterwards. Himona smiles to the audience a while, before turning around. Having looked at his dancers laying on the ground for a few seconds, he turns to the audience again, shrugs and walks off the stage.

by **Vartugia** » Mon Aug 20, 2018 12:21 pm

05. Vartugia

A bunch of cats and kittens- "So this is why Vartugia has a poor reputation.”

Kittens And Cats Meowing

Vartugia is totally not desperate to get the last place, so in order to stand out and get null points, we send a bunch of "pussies". Or cats. Or whatever they are called where you comes from. Gosh, i have no idea how to end this bio, so ill end it here before I break the 4th wall by saying this is a forum song contest. FACK!

The postcard has played and we see the stage being full of cats. Most of them just sit there, some lick themselves clean.

Meow

As a steadycam operator comes from the right the cats all moves toward the poor guy, as it turns out that they want food.

Meeeeeeoooooooooooow

The poor operator has to avoid the cats, but the cat is desperate for food, even if their bowl is full. Oh, the bowls are on stage.
We then focus on a kitten, who....... WHAT THE FUCK?!? DID IT JUST POOPED ON STAGE?!?

Meeeeeeoooooooooooow

Meeeeeeoooooooooooow

Meeeeeeoooooooooooow

The "song" ends abruptly and the backstage crew comes to clean the poop and takes the cats out so the next performing artist can sing

by **Normandy and Picardy** » Mon Aug 20, 2018 12:21 pm

6 - Normandy and Picardy
Under The Moonlight - Michelle Ferisse
Tune: ("Kundel Bury" - Daria Zawiałow)

NNN was bankrupt. It could not be spelt out easier than that. They had well gone over their budget and then some, even though for months they had been warned. It all eventually took an explosive turn during the 40th World Hit Festival as NNN pulled out after failing to qualify from the first semi final. They complained about the low quality of the qualifying entries, but in reality they simply couldn't afford to keep on broadcasting the show, and had no incentive to now that they were out. The move shocked many, and recieved widespread condemnation, especially given the argument NNN originally gave for pulling out of the contest. Thankfully Radio-Télévision de la Normandie (who will from now on be referred to as NTV for the purposes of this introduction) were able to step in, but they refused to say whether they would take over from NNN in WHF, or indeed WorldVision.

To many in the fan community it looked like Normandy and Picardy might end up pulling out of WorldVision. Indeed, it did seem that way until NTV quietly released a press statement about an emergency agreement that had been settled between NNN and NTV; in order to help relieve the burden on NNN, NTV would take over ,"NNN's cultural and musical programming". The next day, a grinning Marcel Forestier, Chief Executive of NTV, gave a press conference confirming the news, before revealing that as part of the deal NTV had gained the broadcasting rights for WorldVision and that they has every intention of competing. Two days later Gerard Toulian was confirmed as Head of Delegation. Normandy and Picardy would be competing after all.

The most pressing question now became the actual entry; it was all very good to say they were going to enter WorldVision, but NTV now needed a song to send. In order to find it they began an internal selection process, inviting a selection of singer-songwriters, bands and musicians to submit songs, and using connections within the music industry to nudge certain artists towards submitting possible entries. These were wittled down to a shortlist of five by an internal panel of music experts. These five were then assessed by a seperate panel, and three juries from other countries (Todlichebujoku, Izmedu and Britonisea), although NTV retained the right to change the entry, and potentially ignore the entire process.

Out of the five potential entries, it was "Don't Tell Me" by Anaïs Fevrisson that they intended to send to WorldVision, and all seemed well. The song was relesed, details confirmed, and it seemed everything was running smoothly. Anaïs, however, suddenly pulled out, without any explanation. This was devestating. A very stressed Gerard Toulian spent the following days trying to choose an alternative entry. The obvious thing to do would be to choose one of the songs from the jury process. However, this was not to happen. Three days after Anaïs pulled out, Gerard and his wife went out to dinner with Jean-Luc Soleris, a close friend (and former lover, not that his wife knew) of Gerard's. It just so happens that Jean-Luc works for a small record label called Nrgie, and in the course of conversation he recommended a certain artist to Gerard. One listen to her most recent single and Gerard was sold.

That singer was Michelle Ferisse, and that single was "Under The Moonlight". Michelle, a 26 year old musician from Le Havre, had had success in the Normand Indie Charts, but Jean-Luc hoped that competing at WorldVision might provide her her big break. Under The Moonlight is perhaps an unusual song to send to WorldVision. The character who Michelle represents speaks about wanting to be close to her partner despite suggesting at first he may have been unfaithful, simple enough. But, it is not that simple. It turns out that Michelle is dead, and depending on how you read it the lyrics suggest it was her lover that did it, and now she is speaking to him and to us from the afterlife. She is conflicted, both longing to see him again - and knowing that one day he will be with her in death ("soon" perhaps suggesting he has been caught and may face the death penalty, and feeling cold and distant (mostly because she is dead). Gerard saw the potential in it, and his imagination ran wild. This would be the entry.

And so Michelle was whisked off to Örkemdrem, Darkmania, for the 67th WorldVision Song Contest. She couldn't quite believe it. Rehearsals passed like a blur. And then it was time. This was it. She waited nervously. Finally it was her time, her moment...

The entire arena is in pitch black except for one corner of the main stage. A single white light shines on a cutout-style silhouette/model of a tree, dead and barren, under which there is a bench where Michelle can faintly be seen, sitting at the edge and looking down to the floor. The sound of wind can be heard, as the stage lies still, the solitary, cold light reaching out to Michelle. It turns out that the camera feed is in black and white anyway as the verse starts and Michelle looks up towards the camera with an air of melancholy. After quickly glancing at the camera she turns slightly and looks wistfully beyond it, as the white light shines brighter and a streetlight turns on next to the bench, providing another dim source in the pitch black. She reaches around in the pocket of her coat, lying next to her on the bench, and gets out a picture of presumably her lover, which she looks to tenderly for a second, before throwing it to the floor where it falls into the thin blanket of mist and smoke beginning to cover the floor of the stage.

Don't tell me about the things you've seen
Don't even say anything, my dear
Don't waste your breath on me, my darling
On a night like this when the air feels so paper thin

The broadcast switches to colour as the chorus starts, although only Michelle is really affected by this, her red lips especially standing out in the black and white of the stage, as the lights at the back of the stadium turn on and off in a pattern almost like a ripple, washing across the background of the stage, with a slight blue tinge. Michelle stands up and begins to walk across the stage, the smoke wisping and curling around her legs, as the shadow of the tree reaches across towards her, almost like an arm trying to pull her back to the bench. As she sings 'Please, please', she lets the emotion show in her face, stretched and warped before returning to cool; the same happens with the second half of the chorus.

Please, please
Don't leave me standing here, under the moonlight
No, no
I don't want to hear about where, when or even who

The next verse begins with the camera zoomed in on Michelle's hand, made to look frosty (thanks to some simple but nifty makeup skills), and almost blue cold at the edges. The camera slowly zooms out and begins to turn around too, as Michelle now stands at a microphone stand and just sings her heart out. One hand - not the one shown - holds the microphone tightly as if scared of letting go, whilst her other (the one the camera had shown) hung llimp and loose, before suddenly freezing up as if rigor mortis had set in (a subtle reference to the overall meaning on the song). By the end of the verse the camera feed is completely upside down, Michelle appearing to almost hang from the clouds (ie. the smoke), whilst behind her the lights continue to gently ripple.

My fingers feel numb in the silent cold
Under the moonlight, under that faded touch of old
A wave of a melancholic passion grows
Over these shores, where only shadows dare to go

However, as the chorus begins again, a face, or rather the outline of a face, begins to form in the lights, seeming rather cold and looking down on the stage. The lights which represented the eyes shine especially bright, shining down on the stage and meeting at the point where Michelle stands. Again, during the first line she appears to physically strain; with the first please her head tilts to the left, with the second the right. The outline of the face, however, keeps appearing and disappearing amongst the gernal pattern.

Please, please
Don't leave me standing here, under the moonlight
No, no
I don't want to hear about where, when or even...

As the chorus is repeated again, the lights at the bottom begin to shine bright white, and slowly but surely this white appears to move up across the background as more lights turn white. This is the moon appearing and moving into position, and the wave pattern disappears, but then some of the lights turn of around it until the moon is relegated to one corner of the background encased by the rings of the stage, apart from a few specks of white dotted around representing the stars. Whilst all this goes on, Michelle keeps on singing, but she slowly begins to appear more distant, and almost looks frozen in place. By the end of the chorus she simply stares forward as the camera pans around her.

Please, please
Don't fade away, don't turn all of the lights off
No, no
I don't want to hear about where, when or even who

At this point, with Michelle completely frozen, a shadow is suddenly projected across the smoke. It is the silhouette of a man, existing in what appears a different plane entirely to us and Michelle. Of course, this does rather contrast with the lyrics in which Michelle is the shadow; are we really the shadows along with Michelle, whilst the man exists in the real, physical world? This naturally creates a sense of unease, especially as the man almost attempts to grab Michelle, stood still and umoving (apart from her face, given she is singing) but his hand simply goes through her (this is being shown at a roughly 45 degree angle from the surface of the stage).

So you lay me down and say a little prayer
And I know you and I will soon both be there
On the lake where we met oh so long ago
I was here, now I'm just a shadow on the water

As the final chorus begins the silhouette of the man appears to dissipate and Michelle comes back to life, moving as if a wave was passing through her body, before slowly beginning to walk out towards the left side of the stage. The camera gave several panning shots around the stage become less and less tight, as Michelle began to move more and more. The lights in the background became slightly brighter, and in general the ambient lighting became more intense.

No, no
You know that it didn't have to end this way
No, no
It's been a while but I'm still here waiting for..

Yes, yes
I still remember how you held me that night
Yes, yes
I'm always watching, always waiting here for you

A camera passes over the tree, bench and streetlight from the beginning, where the image of the man can still be seen amongst a pile of leaves that appears to rise out of the smoke. Her coat has also somehow ended up on the floor spread out, evocative perhaps of a standard chalk outline of a murder victim, arms outstretched (again, another subtle hint). It pans around Michelle, showing the silhouette of a hand projected on the smoke try and grab her and go through her again.

I'm always there
Running, I'm scared
A gentle hand
Grabbing my soul

Michelle walks up onto the bridge, and the lights begin to slowly dim, the stars and the moon being extinguished as the background lights turned off. She rests against the rails on the audience/front side as the camera feed returns to the same black and white from the beginning. As the final small instrumental played she slowly freezes once more, not a single feature moving as the lights faded to black. Just before everything went black, however, a man appears behind Michelle and grabs her by the throat; just the stop any further doubts, we have been transported back to the day of the murder itself.

Still in my heart
Still out of reach

That was it. It was done. A huge sigh of relief. As the lights returned to normal, Michelle could be heard shouting 'Merci Orkemdrem, Merci, Merci!' as she made her way off stage as preparations for Estogium began. Only time would tell how she would do...

by **Estogium** » Mon Aug 20, 2018 12:22 pm

#07 ESTOGIUM
Jakob Fletcher - "Underestimated"
Tune : Jacob Lee - "Demons"
Language: English
Duration: 4:13

Young and underestimated: Jakob Fletcher is looking to show his worth to everybody at the 67th WorldVision Song Contest in Örkemdrem, Darkmania.

After what was a disappointing 64th WorldVision Song Contest, Estogium took a break from the contest at the 65th and 66th edition of the competition. RVC confirmed that Estogium would be returning to the contest in an effort to change Estogium's representation.

Jakob Fletcher is a 19 year old student who has a keen passion in singing and writing music - hoping that the WorldVision Song Contest will only provide him with a platform to better whatever he does in the future. Jakob comes from Estogium City, one of.the largest hubs for talent in Estogium owing to it's great history in the Arts and its large population too. Jakob spent most of his time growing up doing anything musical - always taking up a subject or extra curricular activity which involved him to express himself in a way which suited him.

Jakob is currently attending Norwood University in his home city, Estogium City, where he is currently studying Performing Arts; a degree which was made fairly recently, encompassing sections from other degrees such as Theatre, Music and even the finance side of live events. Although he had been studying hard, he always makes time to make his own music - keeping his creative juices flowing away from the things he learns at University as he realised what he was producing was too systematic and lacked freedom. He then decided to make a song called "Underestimated", which is the song that he would be performing on the large Darkmania stage tonight.

Submitting a demo version of the song, which included the guitar (which he was playing) and the piano (which was played by his friend), to RVC was a very easy decision for him - he described it as just "clicking a few buttons". As RVC's online submissions for the 67th WorldVision Song Contest closed, Jakob could only hope that his song was going to be picked - or shortlisted... Luckily for him, it was. While in other editions RVC may have took a longer time to find their representative for the contest, going through a longer process and getting industry professionals to help them out, RVC quickly decided that Jakob was perfect. Reminiscent of the nation's 53rd WorldVision Song Contest which scored them a 6th place (which at the time was Estogium's 4th place placing ever), RVC decided that they would go down that route once again.

Jakob and his friend, Carlos, went down to RVC to speak about the contest and what they think about how they can make the song better for the stage. An idea that Carlos had was input a guitar solo that Jakob could perform during his performance to make it that much more dramatic than the song already is. Other additions such as the harp sounds in the background also came up - just to give the demo track a bit more texture and je ne sais quoi. Going from just under 3 minutes to a song over 4 minutes showed Jakob the amount of work that his demo track needed, but he was very pleased with the ending results and said that he was able to connect with his song even more than before.

With him receiving blessing from his family members and friends back in Estogium City, he was then whisked to Britonisea, the neighbouring nation of Estogium, for the 66th WorldVision Song Contest so that he wasn't overwhelmed with what was going to happen to him for the 67th WorldVision Song Contest. As soon as the host was announced in favour for Darkmania, he had left Britonisea for the host of the 67th WorldVision Song Contest and rented a large hall for him to start practising his entry. One problem RVC had to encounter was getting him ready for a televised show such at the WorldVision Song Contest, as they described his presence as "perfect for theatre, not for television." Arriving as one of the first acts to reach Darkmania, he used the extra time he had to change and perfect his stage performance for the upcoming contest.

Though, Jakob has been caught up in a media storm since the Axuvian representative arrived to Darkmania. Michaela Eizano, who's performing third for Axuva, and him have been snapped by the paparazzi showing the pair getting very close to each other, with them speculating that instead of practising his entry for Estogium, his early arrival had an ulterior motive. With it getting worse and worse, reaching over all corners of the ABEN nations, RVC had released a statement regarding the situation - not directly.

Jakob and those working with him in Darkmania have been working very hard to make a performance that the Estogium people will be pleased with. With everything that's going on around us, both Jakob and RVC have a common goal at the 67th WorldVision Song Contest and that is solely perfecting Jakob's performance. Nothing else.

Jakob himself has kept very quiet about his relationship with the representative of Axuva, but has said on social media that he is always working hard to make sure that the performance he gives will be a great showing. He found out soon after that he would be performing 7th at the Grand Final, straight after Normandy & Picardy. He thought of this as a challenge, but he was prepared to bring on the competition and put his game face on.

As the three-time winners Normandy and Picardy left the stage, it was time for Estogium to take centre stage at the contest for the first time since the 64th WorldVision Song Contest. Jakob clicked his fingers before he walked on the stage with who he will be joined by. With a person for each instrument played in the song on the stage, he was happy that he wasn't on the stage by himself. Also joining him on the stage was his friend, Carlos, who he had kept right beside him throughout the WorldVision journey. He was happy that his best friend was able to join him at what would be the biggest achievement in his life - regardless of the placing that he came.

The postcard for Estogium had finished as Örkemdrem roared for the Estogian on the stage. He took one deep breath before walking towards the microphone. Everybody who stood behind him stood still...Everything was quiet as the lights went down. It was time for Jakob to execute the performance he and RVC spent ages trying to perfect. There were no LED boards this edition, but I guess this meant that they had to be more inventive with their staging as bringing an LED or.projection wasn't going to happen. Jakob started to sing with the camera slowly zooming out on his face. He didn't have have an expression of any sort on his face, though you could see his hunger in his eyes...

Calling for weeks,
Ain’t picking up your phone.
I thought that we
Knew where we both stood,
Both knew what was good...

I guess I was wrong,
Misjudged the equation.
You were using me -
Oh I don’t know how you thought that you are in the right..

By the end of the first verse, the camera had fully zoomed out to show Jakob holding a large electric guitar around his body, as well as the other members of the band that were dotted around the stage. The colours around the stage were bleak colours...greys and browns - nothing too special. The camera stopped after a while, focusing on the events of what was happening on the stage for a few sections before switching to the next camera - panning from one side of the arena to the next. Jakob followed the camera with his eye.

The first chorus was about to come up, and as the boy sang the last sentence of the verse, he took the microphone off of the mic stand and moved backwards a bit. The man who was on a guitar in the back and on the drums (Carlos), placed their mouths to the microphones that were positioned in front of them. They all then "oh'ed" along with Jakob in what was the build up towards the short, first chorus of the song. Carlos strongly lifted his hands in to the air before slamming it down on to the drums, with large wash lights filling up the stage. The audience saw the camera zoom out from Carlos, pass Jakob and show the full width of the huge stage created by DaTV.

Ohhhhh-ohhhhhh
Ohhhhh
I have been nothing but loyal to you yet
You didn’t want to put your trust in me - I’m hurt.
Once again I feel used
I feel underestimated.

A steadicam came from one side of the stage, meeting Jakob's eye as he turned towards that side of the arena. Jakob started to sing towards the camera before rolling his eyes and walking out on the circular bridge section, giving his hand to some of the people who were standing in the so-called Golden Circle. He carried on singing the song while he interacting with his audience. A spotlight followed him around the catwalk, with the people who were still on stage being lit up by a bright light from behind them. They were still doing actions which matched the song...such as strum the guitar or hit the drums.

Left me for months,
I’d forgotten your face.
I missed your smell,
Guess you don’t care though,
Left my heart hollow..

I just don’t know why
Explain yourself to me now.
I guess more fool me.
I now know the signs,
I now know your mind,
You’re not in the right....

When he reached the middle of the catwalk, he stood still where he was greeted by a camera. Similar to the first shot of the entry, there was a close up on his face, which was slowly zooming out as he carried on singing the verse. With one of his leg, he slowly rocked his body in time with the beat of the song. He looked as though he was really meaning the lyrics that he was singing. The chorus was about to come up and as it did, he looked out in to the audience. The lights flashed white once more before it cut to a wider angle shot.

I have been nothing but loyal to you yet
You didn’t want to put your trust in me - I’m hurt.
Once again I feel used
Doesn’t feel good, doesn’t feel good.

I have been nothing but loyal to you yet
You didn’t want to put your trust in me - I’m hurt.

Once again I feel used
I feel underestimated.

At the end of the chorus, the lights in the arena turned from the usual white and in to red. Everything on the stage was red and this drama was added with the puff of fire on each side of the stage. Jakob started to walk back around the catwalk and back on to the main stage. He ran pass all of the fans hoping to get a high-five from him, focusing on his microphone only. The camera kept on cutting back to him playing the guitar during the solo, with him really getting into it once he reached the main stage to join the rest of the band.

[Guitar Solo]
Ohhhhhhhhhhh
Oh-oh-oh-oh-oh
Ohhhhhh Na na na noooo.

With red being the main colour on the stage, a similar staging to the first chorus was shown here as he once again sang the chorus. The cameras weren't too fidgety, circling around the stage to make sure that everything was captured. His hair didn't look as perfect as when he started singing, it looked a tad messy, as though he was really rocking his head back and forth throughout the song.

I have been nothing but loyal to you yet
You didn’t want to put your trust in me - I’m hurt.

Once again I feel used
Doesn’t feel good, doesn’t feel good.

I have been nothing but loyal to you yet
You didn’t want to put your trust in me - I’m hurt.
Once again I feel used
I feel underestimated.

At the end of the performance, the camera slowly zoomed outwards with him holding the top of the microphone stand in one hand to his right and his head facing down - with his hair just dangling off of his head. He looked like he was breathing heavily as the Darkmanian audience came in with a huge roar for the artist. He took some time before lifting his head upwards and smiling at all the fans of his out there. He clasped his hands together and took a slight bow. "Thanks Darkmania! Thank you, WorldVision! Thank you, Estogium!" He then hugged Carlos, who looked absolutely exhausted by the way, before they ran off the stage with the rest of the band. The next nation then started to set up...

by **Noxmore** » Mon Aug 20, 2018 1:10 pm

8. Noxmore

by **Christarnea** » Mon Aug 20, 2018 1:15 pm

09 CHRISTARNEA
Tygrys-Eufrat
Wężownik
Tune: Est-Her - Sympathy
Language: Polish
Title translation: Ophiuchus

__________________________________________________________________________________________________________________

Background

Tygrys-Eufrat is a young experimental band from Ficer. It consists of 27-years-old charismatic vocalist - Paweł Szmyt and his friends - Mateusz Ogórek (26) and Adam Piwoński (28). The boys are working on their debut album. One of their first non-album single "Freud" featuring Ana Anatoliya, known for participating in the Christarnean "Voix" gave them some recognition around Christarnea. However, they are not that famous in the country. They were chosen to represent Christarnea with their brand new single "Wężownik" (Ophiuchus) that is written fully in Polish.

__________________________________________________________________________________________________________________

The stage is black. However it is illuminated by a light of the big candles that has been located in the background of the main platform. We can see three men in the black coats with big hoods that hide their faces. They enter the stage holding the big balls of white light in their hands. Only one of them doesn't have it. He stands in the centre of the stage while the rest of them stands behind him. He takes his hood off and face the microphone stand. He is Paweł Szmyt - the vocalist.

Jestem jedną nogą gdzieś
Gdzie nie chciałem być
Bóg dawno skazał mnie na śmierć
Lecz ja muszę żyć
Gdybyś nie znał piekła
Czy byś przed Nim klękał?

When the light is brighter we can see Mateusz and Adam playing their instruments being hidden behind the columns of big candles. They also wear long black coats. The two choirists that stand behind Paweł take a walk around the stage while he sings the following words:

I wśród węży znalazł się mój lud
I przyjaciel, brat
Uczy mnie nowych słów
Zawsze jest na tak
Też byś chciał dołączyć
Jad z pucharów sączyć?

The choirists come to Paweł and slowly takes his coats off holding their orbs in the other hands. He wears a shirt whose pattern imitates the snake skin and black leather trousers.

Wiedziałem, grubą skórę mieć to nie jest problem
Lecz chciałem umieć zrzucać ją gdy mam ochotę
Mówisz, nigdy nie wierz w to, co mówią
A kłamią że najważniejsze to być sobą
Prawie się nabrałem, dzisiaj jestem sam

The choirists put their orbs on the floor and take their hoods off joining Paweł in the pre-chorus. The three men are standing in the middle of the stage when the artificial candles are burning with the more and more brighter light.

A więc
Gdy zapadnie zmrok
Wyjdę na spacer
Z gadem krok w krok
Pełznie asfaltem
Choć mam go na smyczy
Jadem na mnie syczy

The camera is focused on Paweł's face expression during this two verses of chorus. He almost cries to the microphone looking towards the ceiling of the arena.

Jak wąż błagam wciąż - nie lekceważ mnie
Jak wąż gotów wciąż by wyślizgnąć się

The choirists take their black coats off and reveal their black shirts and trousers. They sit by their orbs and seems like meditating.

Straciłeś twarz, którą masz
Zwołaj gadzią straż
Możesz modlić się, ale to niewiele da
Chrzanić boski plan!

The candles are burning with bigger fire to finally transform into a bigger flames of artificial fire that covers the back of the stage. The chorists stand up and send their orbs towards the ceiling. The rope system takes them up. Their sights follow their orbs.

Podrzuć ogień pod swój dom
Poczuj jego swąd
Bije z niego ciepło
Jakiego nigdy nie chciał dać
Teraz daje żar
Daje żar
Daje żar
Daje żar

Paweł and his two backing singers head for the front of the stage. They seem to sing to the audience. However their eyes are focused somewhere above.

Chodź,
Gdy zapadnie zmrok
Wyjdę na spacer
Z gadem krok w krok
Pełznie asfaltem
Choć mam go na smyczy
Jadem na mnie syczy

The flames behind them become bigger and bigger. The backing singers turn back and seem to go towards the fire finally disappearing in its light.

Jak wąż błagam wciąż - nie lekceważ mnie
Jak wąż gotów wciąż by wyślizgnąć się

During the last part of the performance the fire slowly fades and the stage turns completely dark. In the end we can notice only Paweł standing at the front of the stage. He still is focused on the point somewhere above the audience. The tension in his body seems to be really high. Then the applause comes.

by **Proluvia** » Mon Aug 20, 2018 1:17 pm

Entry No.10: PROLUVIA
The Narcissist
Tranquilo Squad
Based on: I Am A Scientist by The Dandy Warhols

It was the greatest celebration of a 16th place ever seen. Proluvia, in their third proper contest, had finally escaped the bottom three, and just managed to squeak into the top half. Beating their rivals of Nekoni was just the cherry on top of the cake. The PRO1 offices were home to many hangovers the following morning.

However, soon WVSC67 rolled around, and it was time to start making an honest challenge for the top 10...perhaps. Sadly, PRO1 spent the majority of the time sat on their collective arses, nursing their headaches, and when the final week for subs came in, they sweated, and had the work experience guy raid their Filofaxes. Sure, it worked last time...but would it work again?

Tranquilo Squad, then. As is a recurring theme with Proluvia's entry, they were relatively unknown. Until three weeks ago, they never left their hometown of Novoramo. The only glint of fame was that one of their EPs managed to get minor radio recognition online in 2017, enough to hit the Top 10 in albums and score a No.6 in the singles chart. It wasn't in a genre the execs of the broadcasting companies cared for, but it didn't matter. Most of them hadn't listened to any music after 1995 anyway, and they were getting paid just to stamp an "approved" stamp on a bit of paper, really. It almost seemed like the PRO1 staff were almost trying to sabotage their entry, to deliberately mock Nekoni by sending a half-arsed entry to say "look what we can do when we aren't even trying!" The fact that they didn't give the band any real push in terms of increasing their image in the other countries that were competing this contest spoke volumes, although perhaps they were just trying to keep the bank balances in the black after they drank all the champagne last time.

According to PRO1's press release: "Tranquilo Squad's song or something is about some person who did a thing that annoyed them once in a bar somewhere. Honestly, after we spent the budget on the actors and the staging, that's about all they're getting. It's not like we're going to put 'em on TV after this month anyway except as a quiz show answer."

(From left: Nagui - Vocals, Aleister - Drums, Xavier - Bass, Roman - Guitar, Dave - Synths)

The song begins with the band center stage, drummer out to the right side, bass, guitar and synths on the left, singer at front, having to use a mic stand as his hands are a bit busy with a tambourine. All are wearing the same as in the band photo.

As the song commences, the area in front of the stage accessed by bridges has a fairly rotund man dressed in Regency foppish attire, powdered wig, makeup and all. He is being carried by four men in peasant garb using a sedan chair, all in a resplendent gold and black design with the top removed.

You've got no thoughts of your own
Your brain is leaking collagen
Too busy living in a world of your own
Your urban dandy tricks have gotten stale for me
Anaesthetised by drinking alone

As the song begins, the peasants carry the dandy across the front portion of the stage. As he is being carried, we can see that he is, in one hand, using a smartphone to take selfies, and with the other, feeding himself grapes. All of his actions suitably are comically over-acted. He's too busy enjoying his Instagram to pay attention to the lyrics yet.

Behold, the narcissist
A hipster hypocrite
Master bullshit artist
Why can't you just go back to your hole?

As the chorus comes, the dandy is now visibly annoyed with the accusations and starts throwing grapes at the singer, Nagui. The singer continues, playing tambourine undeterred, and manages to catch a grape in his mouth. He eyes the fop, flicks two fingers up at him, and carries on playing. The dandy is clearly not amused.

You might as well move out into the carnivals
And call the hall of mirrors your home
Your seven years of bad luck are overdue
Day 1 starts now, and the payback is on

As the second verse comes, the dandy has put down the phone, and is repowdering his face, antique mirror in one hand. In one weird scene, he checks his tongue, and decides to powder that as well. Clearly this was a bad move, as he pulls a grotesquely disgusted face.

Behold, the narcissist
A failed polemicist
Your reality, counterfeit
Get up and leave, this is a no-bullshit zone

The dandy, still annoyed, tries to flick powder at the singer, Nagui, but his powder-flicking skills are clearly as not as good as his fruit pelting, as the audience directly in front seem to get most of it. He additionally spruces himself up with an ornate perfume bottle, and, when he thinks nobody is looking, has a little swig of it. It's clearly strong stuff, as his eyes pop, and his face shivers momentarily.

Wish we swiped left and gone home
There's no way I can get this message in
You have no time for worlds outside of your phone
Could you spare me the Instagram pleasantries?
Take off the filter and just piss off home

The dandy, now properly annoyed with the band, reaches down and rather heavily taps the front left carrier on the shoulder. He stumbles, his legs nearly giving out and dropping the creature, but he manages to recover, as he looks up to see what the matter is. The dandy heavily and angrily points to the singer repeatedly, and bangs his fist into his hands. The peasant shrugs, as if he's resigned to obey his every word, and uses his head to gesture the pathway to the other peasant carriers. They take the sedan chair down the path and over the bridge to the main centre section of the stage.

Behold, the narcissist
Bleeding pop-culture cyst
We cannot co-exist
Your number's up, now get off of your throne
Your number's up, now get off of your throne

During the verse, the sedan chair has moved to the centre of the stage, and it has been placed on the floor. The dandy has already stepped out, and is nose-to-nose with the singer. The dandy is angry with him, however Nagui has a smug grin, as he knows what's about to happen. During the instrumental, he looks towards one of the four peasants who brought him in, and nods, passing him a few lira banknotes as he does. The peasant nods back, heads off the stage and almost immediately comes back in with a chair, to the confusion of the dandy. He places it in the centre, as Nagui slaps the dandy across the face. He tumbles down into the chair where the others immediately begin to tie him up. They leave him in the centre as Nagui retreats to the area where the drummer is.

The peasants come back, with an assortment of flour, eggs, fruit and buckets of paint. They all circle the dandy, who has a face of mock horror, as they begin to throw everything they've got at him. The dandy is completely coated as he melodramatically cries in horror and shame. When the hazing is complete, Nagui returns, mockingly gesturing towards him, allowing the audience to greet the new fool, and the spotlights centre on him to exacerbate the humiliation.

Behold, the narcissist
Hipster identikit
Behold, the narcissist
Aesthetic Darwinist

The final set piece of the performance is when Nagui takes his phone out of his pocket, and, in time with the final line, takes a selfie of himself with the crying, spluttering fop covered in everything, with his thumbs up mockingly. This image is displayed for the viewers at home.

Yeah, behold, the narcissist

As the song ends, and the crowds cheer, the band say their thanks, blow kisses and the dandy is left alone, still tied up. The drummer runs back on stage, and dumps a bucket of green paint over the guy's head, leaving the bucket on his head. His last words before leaving: "Good bloody luck cleaning that up, mate."

by **Kishrael** » Mon Aug 20, 2018 1:28 pm

. : 11 - Kishrael - כשראל : .
Elissa Dahan - Stranger
אליסה דהן - זר
Language: English, Hebrew
To the Tune Of - Asmik Shiroyan - Code

Elissa Dahan was never meant to compete at WorldVision. In the national selection, "Kdam-WorldVision" she was beaten on a tiebreaker by Yusuf and Sara, and so she was set for World Hit Festival. Yet it transpired in the press that Yusuf and Sara had entered the song as a publicity stunt, to highlight the deprivation of some Druze communities in Nechegara. The stunt worked, drawing attention to the plight domestically, however they had no intention to take their performance any further; first it would not fit in with their schedules, and secondly national pride, including for Yusuf and Sara would be too great to highlight injustice of Kishrael internationally and make the country seem vulnerable. So, instead of Yusuf and Sara, Elissa would be heading to WorldVision and they would stay at home. Elissa is a 25 year old from Nechegara, a diverse area of Kishrael home to many Jews, Arabs and the largest Phoenigetuzsthan centre within Kishrael. These experiences have fashioned Elissa into the artist she is today, being trilingual in Hebrew, Arabic and English (with a little Phoenigetuzstan), she has been able to cross cultural bridges with her music. After her Kdam song "Colours" reached number 9# on the Kishraeli charts, she was in works to feature on a couple of dance tracks from up and coming DJ's, but these projects were put on hold as she decided to return to Kdam and finish what she started.

Kishrael's emphatic return to the contest was somewhat dimmed when it was known that a ballad would be sent, but Elissa knew that her song had what it took to go far in the competition. The Kishrael music machine had evolved slightly, and now it was no guarantee that a Kishraeli dance "banger" would secure first place in any contest - as Kishrael's most recent results, now over 17 editions old demonstrated - the appetite for dance music had been waning. Enter Elissa. After a disappointing result trying to represent the now incorporated province of Raffiah in WorldVision 66 with her collaboration with Kishraeli DJ Imri, she went back to the drawing board, and did a complete 180 in terms of genres. Rather than another club banger, instead she entered with a heartfelt ballad. Elissa did concede in press interviews that sometimes the words are too raw and lack nuance, but she hopes that this energy will help people connect with the song, rather than be a detraction. Talking about her song and her inspiration for it, she says "It's actually something personal to me, but it's not a unique story. You want to be with someone, and they do to, but they can't because of where they come from, who they are and the community they're a part of. It's all too common in Kishraeli society, and we need to break down these barriers", she continues "I think my song is actually just a different take on the much more explicit message that Yusuf and Sarah were trying to portray in their song".

The stage in Örkemdrem was vast, as was the city. Despite being under dictatorial rule until recently, the city had retained a large amount of architectural heritage, and the experience of travelling to new places was something Elissa was relishing. Apparently 40,000 people could fit into the arena, but she didn't believe that, it looked more around 25,000 - but when you get to a certain number the specifics don't even matter. She was at WorldVision and she was going to perform her heart out. Rehearsals had been good, her staging was simple in order to highlight the tones in her voice and the power of the song. Throwing money at this project would not improve the final product - less can definitely be more. Now that the big night was here, she was ready. As the applause died down for Proluvia, and the Kishraeli postcard played, she stepped onto the stage into position. She kneeled, huddled on the stage. She was wearing this white flowing dress, and had simple understated makeup. Her hair was being worn down, curled beautifully. As the first notes of the song began, she didn't look up and continued to stay huddled. As she sung, she stayed huddled, three white spotlights all focused on her, creating a shadow on the floor and obscuring her face. Even though she was singing in Hebrew, she hoped her words would get through to the people at home who spoke no word of her language - she knew she had the power to connect with them.

אם מישהו אמר היית תצא
ארבע שנים מאז שזה התחיל
הייתי אגיד להם
שהם משוגעים, הם טועים

As the guitar kicked in and the beat became quicker, she looked up at the camera with a forlorn look on her face, selling the song with her emotions. Her large eyes were telling the story that the language barrier hindered her conveying. Throughout the next verse she rose to her feet and walked towards the edge of the stage, closer to the audience, where a microphone stand was waiting for her. As the verse progressed, the stage floor began to light up with little specks of whiteness, contrasting with the otherwise dark stage, but disappearing as the spotlights followed Elissa.

אך אני מניחה שהיו נכונים
ואני מניחה שהיית טועה
כשאמרת לי "נצח" כי נראה כי
נצח לא ארוך כמו שעכשיו

At the edge of the stage, she put her microphone in the stand and then the chorus began. She opened her arms to sing the next part, which was fully in English. The camera panned out, giving a view of the stage in the context of the full stadium. Bright white and grey lights of various hues, tones and shades shone out as she sung. Then the camera found a view of her face from the side as she sung, projecting to the audience strength, anger and determination. As the chorus ended, the stage got darker again and Elissa bowed her head, pulling the microphone of the stand.

Who do you think you are?
Do you know what you’ve done?
Ooooh Oh!
So wake me up when it’s over
‘cause I can’t live as a stranger
To you… Ohhhh!

As the chorus dims down, the crowd raise a cheer, happy to see a Kishraeli back on the WorldVision stage. Elissa then walks around the curved stage that juts around the standing fan area. She makes eyes at the camera as she walks and gestures with her hands. The stage is now silvery grey, without big lights flashing out, but a tasteful shimmering effect on the floor and backing tubular lights. Her dress flows as she walks, creating a beautiful silhouette. Growing in confidence, she's feeling ready to let go with raw emotions for the closing parts of the song. As the next part of the verse begins, she walks closer to the apex of the stage. As she nears the furthest point, she's subjected to a light wind in preparation for when she does reach the end. Ending the verse she looks at the camera while walking, but stops to hit the high note at the final part of the verse. As she does this, the camera zooms out to the back of the stadium and immediately the next shot shows Elissa standing in the centre of the stage with the wind machine blowing, her head and body arched back to maintain the note with a wide gate, still holding the note.

אולי אתה לא מוכן
אני בטוחה שאף פעם לא היית
אולי הייתי טיפשה שאני מקווה
אולי אתה יודע מה שאתה מוותר כאן

אז אני מגבירה את המוזיקה
עכשיו אני יכולה לטבוע במשהו
ואני מניחה שהייתי טועה
ואני מניחה שהם ידעו שזה יקרה
Ooooh! Oohh!

Singing the final chorus, Elissa looks more determined than before. The stage show is now a darker grey, with flashes of bright lights to represent lightning as she sings. A panning shot first captures this, and then as she remains at the apex of the stage, a shot from the front captures her, singing with these difficult notes, the storm building around her. Her dress now has a projection being shown on it, with a small fiery pattern on the bottom, not too dramatic and only near the tips of her dress, going up to her thigh, perhaps representing a forest fire as she draws upon symbolism from natural disasters.

Who do you think you are?
Do you know what you’ve done?
Ooooh Oh!
So wake me up when it’s over
‘cause I can’t live as a stranger
To you!

The chorus is sung again, with the different lyrics this time. The final chorus is characterised by a lot more face shots and body shots, rather than grand arena shots. Her large eyes still expressing the meaning of the song, yet with a steely strength, rather than vulnerability that characterised the start of the performance. She gestures with her free hand, rising it up as the stage darkens with stormy grey, black and blue, with the wind machine and flickers of lightning continuing to strike in the background. As she finishes the final word in the chorus, she throws her arm down as all the dark energy on the stage swirls into her, and the stage then becomes a calm baby blue colour, as the final notes of the song play out. Elissa looks up, and smiles.

You still visit me in my sleep, yeah!
And the wounds still cut deep
Ooooh oh!
So tell me when it’s over
Wake me up! I’m not a stranger
To you…

As she finishes, the crowd in Darkmania give a huge cheer. Elissa smiles even bigger, shouting "Thank you, Tak Tak Tak!" Her dream of performing on the WorldVision stage has finally become a reality, and it went perfectly. She rushes off stage as the crew prepare for the next entry of the night. Walking to the green room, her team congratulate her - whatever happens tonight, Elissa made Kishrael proud and she has done everything that she can to make this project a success. Now, time to enjoy the night until the nerve-wracking voting time.

iSideWith results · by **Scottish Socialists** » Mon Aug 20, 2018 1:43 pm

#12 - SCOTTISH SOCIALISTS

Song:- Love You Nice

Artists: Katie McIlvenny and Keith Fulmer
Rudimental & Major Lazer - Let Me Live (feat. Anne-Marie & Mr Eazi)

Before WorldVision 67, Scotland had never participated in any music competitions, except for hosting internal competitions, such as “Scotland’s got Talent” and “Sing!”.
But, due to a large sum of money coming into the hands of STV, a decision was made to enter WorldVision.

The Scottish Government managed to ~~kidnap~~ hire 2 singers that had previously done well in national singing competitions. The 2 singers hired were from families who lived on farms, so, it was promised that if they did well, they could eat for free, for life.

Although, it should be noticed that the lead singer, Katie, is known to be a ~~clingy bitch~~ little bit attention-seeking, which may have something to do with the repetition and language of the song.

~~WorldVision has already went overbudget so we need to do well or bail out STV for the 6th time help~~

Red = Katie
Orange = Keith

The lights go dark.
The LED screen turns black.
Then, a single, dim light focused on Katie. She was standing in the middle of the stage, wearing a long, grey dress. In front of her was a microphone, hanging from a wire attached to the ceiling. She grabs the microphone, and the music starts.

Walking into the party, many people I see (uh huh)
And then I see someone and, they lookin' very nice
And I want them now, I need them now
No person tell me what to do
'Cause I want them now, I need them now
No person tell me what to do

She rips off her dress to reveal a colourful, almost garish, jumpsuit.
At this point, 15 backup dancers appear from the dark.
The LED screen and lights begin to flash random colours in quick succession, killing anyone in the audience who had epilepsy.
At this point, the backup dancers begin to dance erratically.
Katie snatches the microphone from the wire, and begins to sing the chorus.

Come over here, let me love you nice
Come over here, let me love it up, love it up
Come over here, let me love you nice
Come over here, let me love it up, love it up
Come over here, let me

The lights go back to black, and the LED screen goes dark.
The backup dancers start slowly moving, not even dancing, just gracefully moving.

Are we fallin' in love, or is it in my dreams? (uh huh)
Just come over here right now
And we'll make some love
'Cause I want you now, I need you now
No person tell me what to do
'Cause you want me now, you need me now
No person tell you what to do

Just like the last time the chorus was sung, the LED screen and lights go haywire as they flash millions of colours repeatedly.
Any hope for the people with epilepsy is gone.
The backup dancers go erratic again.

Come over here, let me love you nice
Come over here, let me love it up, love it up
Come over here, let me love you nice
Come over here, let me love it up, love it up
Come over here, let me love you nice
Come over here, let me love it up, love it up
Come over here, let me love you nice
Come over here, let me love it up, love it up
Come over here, let me

This time, the LED screen and lights stay bright, and don't dim at all.

Why won't you come over here?
Yeah, yeah

At this point, Keith comes out from behind and begins to sing his portion of the song.

I will do anything you want
I can do anything you want
Come over here now I'll love you nice
Come over here now I'll love you nice
You come over here now
Imma bring you home tonight
Over here, love you nice, over here
Feel the love yo

Come over here now
Come over now (come over here)
Come over here now
Come over now
Come over here now
Come over now (come over here)
Come over here now

The backup dancers and Keith stand completely still, as Katie begins to sing her last solo bit in the song.

Why don't you come over here?
And I will love you nice

For the last section of the song, Katie and Keith begin dancing in front of the backup dancers, in perfect synchronisation.

Come over here, let me love you nice
Come over here, let me love it up, love it up
Come over here, let me love you nice
Come over here, let me love it up, love it up

Come over here, I will love you up, I will love you nice
Come over here now, I'll love you nice
Come over here now, I'll love you nice
Come over here now

The crowd cheers as Keith shouts 'Thank you Örkemdrem, and goodnight!', before running off the stage.
Katie, on the other hand, milks the fame, and bows repeatedly, before being dragged off by the backup dancers.

by **Rusmailica** » Mon Aug 20, 2018 2:01 pm

13 RUSMAILICA
Dymitrov
Polowanie na Niedźwiedzie
Tune: Bobi Andonov - Apartment
Language: Polish, English
Title translation: Bear hunting

__________________________________________________________________________________________________________________

Background

The second Rusmailican representative is Dymitr Żarnowski better known under his stage name Dymitrov. He is a 28-years-old singer, a son of Anna Żarnowska (53) who represented Rusmailica in the 1st Junior World Hit Festival as Ania. Dymitrov has just released his first EP consisting of five Polish-language singles. "Polowanie na Niedźwiedzie" (Bear hunting) is the last one. Dymitrov says that this song is his gate to record his first long-play album and he does not deny that he wants to release it worldwide. Therefore we will hear the bilingual version of the song on the WorldVision stage.

__________________________________________________________________________________________________________________

The stage is illuminated by the numerous white light bulbs. Dymitrov stands in front of the stage wearing black T-shirt and blue jeans. He also wears the artificial fur that covers his arms and shoulders. The right side of the stage is taken by the three female backing singers wearing white simple clothes. The whole performance is rather simple. Dymitrov starts the first versus standing by the microphone stand.

Chciałem być i życie swe wieść
Na swój koszt, mój błąd
Pozwól wyjść, nie ważąc na śmierć
Mam chęć, ty - broń

The white bulbs start to flicker and Dymitrov comes to the pre-chorus. We can see every single emotion in his face expression.

Nic śnieżne zaspy, nic ciemność i mróz
Chcecie podzielić me futro na pół
Wiosną, gdy ożył mój wzrok, węch i słuch
Nie chcieliście przyjść, nie chcieliście przyjść

The camera is focused on Dymitrov silhouette and his charismatic gestures. The chorus is sang with his perfect falsetto.

Puśćcie przodem rącze konie
I myśliwskie psy
Pójdą w ślad niedźwiedziej woni
Szczerząc groźne kły
Gdy splądrują leśne groty
Wezmą nas we śnie
Czemu zimą polujecie
Na śpiące niedźwiedzie?

He takes his microphone out of the stand and leaves his fur on the floor heading towards the audience. He sings with his eyes closed.

Dałem znać, że czuję Twój puls
Serca rytm w Twojej krwi
Jesteś zła, przepraszam za ból
Jestem kimś bez sił

When the second pre-chorus comes he starts to run across the stage bridge to finally appear on the second platform of the stage.

Nic śnieżne zaspy, nic ciemność i mróz
Chcecie podzielić me futro na pół
Wiosną gdy ożył mój wzrok, węch i słuch
Nie chcieliście przyjśc, nie chcieliście przyjść

Dymitrov takes a walk by the edge of the stage where the audience gathers. He tries to makes them have fun with him when he performs his sublime moves. The white light is brighter than before.

Puśćcie przodem rącze konie
I muśliwskie psy
Pójdą w ślad niedźwiedziej woni
Szczerząc groźne kły
Gdy splądrują leśne groty
Wezmą nas we śnie
Czemu zimą polujecie
Na śpiące niedźwiedzie?

The color of the light is slowly changing to red while the next verses are sung.

Czemu zimą polujecie
A wiecie, a wiecie
Wtedy jeszcze śpią niedźwiedzie
Niedźwiedzie, niedźwiedzie

Dymitrov stops in one place to focus on the perfect vocal in the next part of the song. He knock a few times on his chest. The stage seems like bleeding.

Let the horses gallop forward
Let the dogs pursue
They will scent the ursine odour
They're not in the mood
And no matter they will find us
Helpless in our sleep
Do you have to hunt in winter
When bears are weaker

The stage is illuminated by both red and white lights that flickers according to the rhythm of the last chorus. Dymitrov comes back to the main stage having run through the bridge.

Let the horses gallop forward
Let the dogs pursue
They will scent the ursine odour
They're not in the mood
And no matter they will find us
Helpless in our sleep
Do you have to hunt in winter
When bears are weaker

Dymitrov takes his fur from the floor and throws towards the audience. The people are getting crazy just to catch it.

Do you have to hunt in winter
In winter, in winter
'Cuz we fall asleep for winter
For winter, for winter

The stage blows with the bright white light and finally reveals Dymitrov bowing and sending kisses to the audience.

by **The Hlhata States** » Mon Aug 20, 2018 2:50 pm

14 | Hlhata States
“I’ll Fight Back” by Jerome Brown
I Won’t Break - Yulia Samoylova

After Abby Ich allegedly eloped to Izmedu with her soon to be husband, Jerome Brown, renowned Missus Xian singer stepped up to the challenge. Also stuck in a wheelchair, she felt that the song, “really resonated” with her. So here we are. ~~Some say she’s faking her wheelchair-ness for pity points but currently the Hlhaltesian broadcaster, HTCIB, can’t afford it. Please vote for us.~~

The battle that I lost
Made my last stand
I’m hurt never healing
My past locked behind bars

The me that I knew
The me that lost you
And everything I was, lost in just under a minute

I’m fighting back again
I’m fighting back again

I’ll fight back, again
I’ll fight back, again
And I’ll fight ‘till it’s over
‘Till I cross the border
And I’ll win it not die
I won’t give up ‘till it’s over

The battle that I lost
Made my last stand
I’m hurt never healing
My past locked behind bars

I’ll fight back, again
I’ll fight back, again
And I’ll fight ‘till it’s over
‘Till I cross the border
And I’ll win it not die
I won’t give up ‘till it’s over

'Cause I’ll always fight back
'Cause I’ll always fight back now
'Cause I’ll always fight back
I’ll fight the night

'Cause I’ll always fight back

(I’ll fight back again)
'Cause I’ll always fight back
'Cause I’ll always fight back now
'Cause I’ll always fight back,
I’ll fight the night
(I’ll fight back again)
'Cause I’ll always fight back,
My life grows and grows
No longer in debris
(I’ll fight back again)
‘Cause I’ll fight back
‘Cause I’ll fight back now
'Cause I’ll fight back
My life grows and grows
No longer in debris

by **Antahbrantahstan** » Mon Aug 20, 2018 4:38 pm

15. ANTAHBRANTAHSTAN

Stafford Decody-Forgive Me

Tune: Adam Lambert-Runnin'
m & l: Stafford Decody, Marthen Lamora, Simon Lundin, Freja Holmberg

Stafford is a 18 year old male from Centennial, Ladinia Province. Stafford himself was interested in music and songwriting, having written his first song when he was still 12 years old. He catapulted to fame after appearing on the recent season of The Voice Anta, coached by Eliana Karim, he reached all the way into the Quarterfinal rounds, a record label executive saw potential in him and he immediately got his first record label deal with California Recording Company, the largest Anturian independent record label. He is currently working on finishing his first album, however, Forgive Me is not related to the album's contents, being a non-album single.

Stafford based Forgive Me on several bullying incidents his classmates received when he was still in middle school, he thought of making a song based on the bully's perspective in the future, when the bully saw all of the bullied kids getting more successful than him/her, and how everyone suddenly hates him/her when the bullied stand up for themselves. "Well, people should know that karma is in fact, pretty much real, it may come fast or slow, but, yeah, you can take this song as a warning if you want." said Stafford on Fast Talk with Helga Salazar. "But well, my parents are actually hella into spiritualism, in fact, you guys might see how the concept of karma affects the songwriting process of this song in the first place, hahaha". "But there is also a message i wanted to send in this song, don't ever held grudge against someone for too long, it can cause harm to yourself, it is bad for you."

We see the stage being dark, although dark, we can see that Stafford is standing atop the stage, behind a microphone stand, doing the sign of the cross, behind him are 4 four backing singers, then, the main stage lights in the back lights up, the main stage lights then began to flicker on and off, in tune to the song's beat, afterwards, we can finally see Stafford in his full glory, having slick, pomade-styled hair. Stafford is wearing a black, unbuttoned blazer, grey turtleneck sweater, and black pants. The camera would in the beginning shoot on Stafford's face, however it would later change angles according to the song, also the camera would sometimes shoot from above.

I am livin’ my good life
Only for someone to take it back
It’s too late, my sweet life is gone, gone, gone
Eyes meet, asking me question
Mouth so numb, can't say a confession
But everyone now wants me gone, gone, gone

The stage lights in the back would then flicker, creating a white-coloured, arrow-like pattern from center to the edges, while the chandelier of lights above would then lower itself and separate and form a diagonal shape. The waves structure in front of the stage lights would be lit up in pastel blue.

Even a simple phrase, can cause blaze or amaze
I have hurt hundreds of people
From a simple sentence, never done repentance
Now karma comes after me, dragging me to hell now
Guess you’ll reap what you sow, i can’t take this anymore
Right now i’m begging, begging, begging, begging
begging, begging, begging, begging
You to forgive me

The stage lights in the back then flickered again, and the wave structure is lit up in white, the chandelier, now arranged in a diagonal line, lit up Stafford from above, the camera would then pan from the right side of the audience to the left side, before getting stationary, and then adjusting its angles alongside the song.

Feels like it’s just a dream
No one for me to cry into
I keep telling my brain, “It’s gone, gone, gone”
Didn’t get some sympathy
People now hate me, no empathy
My friendships that I've built are gone, gone, gone

The stage lights are then lit up in the same arrow-pattern again, aided by the chandelier that is positioned in a diagonal line by lighting up from the center part of the chandelier to the right and left part of the chandeliers ( a la Eleni Foureira's performance). The stage is once again lit up in a pastel blue colour.

Even a simple phrase, can cause blaze or amaze
I have hurt hundreds of people
From a simple sentence, never done repentance
Now karma comes after me, dragging me to hell now
Guess you’ll reap what you sow, i can’t take this anymore
Right now i’m begging, begging, begging, begging
begging, begging, begging, begging
You to forgive me

During the bridge, the camera would then focus on Stafford, the stage is then lit up in deep blue, while the stage lights in the back and the chandelier stopped lighting up.

Woah, ooh
My distress signal
Woah, ooh
It's too late for me, oh!

Woah, ooh
My distress signal
This is a cry for help from me
It's too late for me, oh!

The stage then turns dark, Stafford would then walk and take the mic from the microphone stand, with the camera focusing on Stafford. He would then walk forward while singing the prelude to the chorus, as he sings the high note, the camera zooms out and would then pan from Stafford's right side to left side, while it is being done, the stage is lit up in an orange colour, while a pyro curtain would be lit up in the back for some seconds, the chandelier then moved back to its original position while the back LED screen would lit up and move in an arrow-like pattern, but this time from the bottom to the top, a la Elina's La Forza performance. And during the final chorus, the stage slowly darkened and Stafford slowly kneeled while he sang, his face looking like he is going to cry, and lifted up his left hand (he's holding the mic in his right hand), as if he's begging. The camera focusing on Stafford.

I have hurt hundreds of people
Even a simple phrase, can cause blaze or amaze

Even a simple phrase, can cause blaze or amaze
I have hurt hundreds of people
From a simple sentence, never done repentance
Now karma comes after me, dragging me to hell now
Guess you’ll reap what you sow, i can’t take this anymore
Right now i’m begging, begging, begging, begging
begging, begging, begging, begging
You to forgive me
Right now i’m begging, begging, begging, begging*
begging, begging, begging, begging
You to forgive me

The audience went awry and cheered for Stafford, Stafford then stood up, said "Thank You, Darkmania!" and went backstage alongside his backing singers.

by **Polkopia** » Mon Aug 20, 2018 6:31 pm

16. Polkopia
MJM | Like Me

Language: English/Polkopian
Tune: CLC - Black Dress

The emergence of feminism within Polkopia is a phenomenon which has taken place over the past couple of years and continues to be a leading movement among citizens, particularly the youth. Females have historically held respectable roles within Polkopia, however certain legislative actions enacted by the Polk regime in recent years have had negative consequences for the female population within the nation. Such examples include outlawing abortion, disallowing women to serve in the armed forces, and limiting the number of women who are able to hold political positions. Because of the strong, anti-feminist undertones of these laws, citizens in Polkopia, particularly the youth, have led several demonstrations in order to bring about equality for men and women living in the country. Although opposition leaders have been jailed, and in extreme cases, exiled, the movement continues to hold appeal within the nation and its populace, and hopes remain high that some of the sexist decisions by the late Malcolm Polk and his successor, the current dictator of Polkopia, Semyon Polk, will be overturned within the year.

Feminism in Polkopia has caused a rise in the number of female artists, particularly in the music industry, and several all-female groups have soared to the top of the Polkopian charts in recent years. MJM, a relatively new group, has yet to gain popularity within Polkopia, as their Korean influences still seem somewhat foreign to Polkopian citizens, however their song, Like Me, which competed in the Landa vy Polkopiya and won the international jury vote, became massively popular days after the group's victory in the national final, climbing to #13 in Polkopian charts, making this song their most popular song to date. Their performance in the Landa vy Polkopiya was regarded as different than contemporary Polkopian tracks, due to the group's ability to perform elaborate and synchronized dance moves while still being able to deliver a stellar vocal performance. The style of music that MJM perform has historically flopped in the Worldvision competition, but MJM fans all around the multiverse believe that if any group can reverse that trend, then it would be these girls.

MJM consists of four members, each of whom brings their own unique style to the group. Tatiana was born to an immigrant family and suffered immense hardships within her family's first few months in Polkopia. Nevertheless, she was able to finish primary education and became acquainted by a local talent agent after performing Polkopia's national anthem during her graduation ceremony. Today, she is regarded as the "sassy" one of the group and serves as the primary rapper for MJM. Natalia is the youngest member of the group, and is often portrayed as the "rebel". There are various pictures circulating around the internet of her smoking, and she is very outspoken about the legalization of cannabis in Polkopia. Apart from that, many fans regard her as the best dancer of the group. Katya is the "leader" of the group and the oldest of the four girls. Born Katrina Durmentova, she originally went to school to pursue an art degree but was rejected from Peeto's most esteemed art academy twice. After being rejected a second time, she decided to follow in her aunt's footsteps and pursue a musical career. Marianna is often regarded as having the strongest vocals of the group. Any high note, or elongated note, she's the one who sings it. She's also known as the "jokester" of the group, after posting several videos on the internet of her pranking the other members of MJM. The four of them are known today as MJM, and are set to represent Polkopia at the Worldvision Song Contest in Darkmania!

Blue: Katya singing
Purple: Marianna singing
Orange: Tatiana singing
Green: Natalia singing
Red/Bold: All four singing

The audience's applause from Antahbrantahstan's performance began to die down just as the Polkopian postcard was shown. The postcard showed a group of eager Polkopian fans waving flags and cheering into the camera. Just then, the postcard vanished from the screen and an overhead shot of the stage was shown. The music began to play, and the lights behind the stage flashed a deep red that was synchronized with the beat. Meanwhile, the objects hanging in the back of the stage moved down and formed a straight line. The camera meanwhile zoomed in toward the stage, all while spinning, creating an interesting illusion. The camera then quickly cut to Katya's face, who looked up at the camera. Katya's signature blue hair was tied in a ponytail which rested on her shoulder and she wore a floppy black hat. Her lipstick was painted in a similar color to her hair, except for a black stripe down the center of her lower lip.

No

The camera then showed a side-view of the stage, where the objects behind the stage were moving again in a seemingly random order. The group members were not seen, as no lights were shown on the stage floor. The camera then quickly panned to Marianna, who suddenly turned and looked at the camera, arching her neck back as she spoke into her microphone piece. She wore a similar hat as Katya, and her black hair was long and wavy as normal and fell past her shoulders. Her lips were painted red with a black line down the middle of her lower lip.

One

The camera now showed a frontal view of the stage, where all four girls were situated in the middle of the stage in a horizontal line. They each grabbed the tip of their hat and turned around while Tatiana moved to the front. The girls now stood in a diamond formation, with Tatiana up front as she sang the introductory lines and Katya and Natalia to the side. The three girls in the back tapped their right hand against the thigh and leaned toward their right as the instrumental played and stopped after Tatiana sang her line. All four of them wore similar outfits; black heels, short black shorts, a black half-cut shirt, and a red blazer, unbuttoned. Tatiana stood forward and pointed to the camera as she sang.

Yeah, ain't nobody out there

All four of the girls crossed one arm over their chest, then another, and swiftly moved their right arms to their sides, looking down at the ground as they did so. They kept their left arm over their chest and their right knee was slightly bent. The arms crossing would happen as the four of them sang "Like," whereas the rest of the movements would occur at the moment that they sang, "Me."

Like me

The crowd roared in the background as the girls began to dance. The lights faded from red, to gold, and then back to red, and the objects hanging above the back of the stage all moved upward in unison. The girls all spun around and replaced the girl to their left, so that Natalia was now at the front of the 'diamond' formation and Tatiana and Marianna were to her sides. As soon as they replaced one another, they spun their heads back (Finished at 0:11). Next, they punched out in front of themselves two times, one with each hand, and stretched their arms to their sides, moving down from their heads. They interrupted this stretch one time, before doing it again and their hands ended at their hips with their elbows bent. (At 0:13). Afterward, they would step backward, rolling their shoulders back as well. They did this for a total of four times, and then moved their hands up to their ears and ruffled up their hair with two flicks of their wrists, again, in sync with the beat. They ended this part of their dance by sliding their hands down their shoulders, all the way down to their hips. When they reached their hips, they moved their shoulders to the left, and then to the right, and then it was Natalia's turn to sing.

As Natalia sang, the other three girls would line up on Natalia's right. Marianna, Katya, and Tatiana danced while Natalia sang. The three dancers would extend their left arm, then right arm, and then pull them close to their bodies, looking away from Natalia as they pulled their arms towards themselves. Then, they would roll their bodies twice toward her, bend over, touch their ankles, and slowly rise up, showing every curve of their bodies to the audience.

Tiy ne-to zna

(You couldn't know)

Moiy stavie ili sentimenti

(My attitude or feelings)

Kugdo ya žacu

(When I say)

Tebe lavu.

(I love you)

Katya walked to where Natalia was, and Natalia moved to the back of the 'line'. The girls returned to the diamond formation with Katya at front and Marianna and Natalia on each side of her. Natalia was on Katya's left and placed her right hand on Katya's left shoulder, and Marianna placed her left hand on Katya's right shoulder. All of them swayed to the left, to the right, then to the left two times (Ends at 0:29). Afterward, Katya would push her arms out to her side, and the two girls to her side would spin and "collapse" on one knee, facing away from her. When this happened, the audience could see Tatiana's left behind Katya as she did a back handspring during this. Natalia and Mariana would bounce on the ground twice, stand up straight, and the three girls in front (Katya, Marianna, and Natalia) would all throw their hands up in the air above their head, then let their right hand fall just above their shoulder with their fingers pointed at their neck. They did the same with their left hand, and then bumped the center of their chest with both of their hands right when Katya said the word "Me".

I ne videš

(And you don't see)

Eta krasva ičed tebe

(This beauty in front of you)

Porst otču, i žaciš

(I just want you to know)

There's no one here like me

They quickly regrouped and formed a horizontal line-like formation once more, except two were toward the back of this makeshift line, and two were in front. They took their right hands and moved it to their right shoulders, then moved it to their left hip. Then they moved their hands to their left shoulder and down to their right hip (Like the dance in the video from 0:35-0:36). The girls from the back moved to the front, and girls in the front moved to the back. They repeated this dance so their hands touched each hip two times. Then they moved their right hands near their right cheeks, waved, and winked. Then they placed that hand on their right hip and popped it toward the right while they casually fixed their hair with their other hand. (Ends at 0:39). Then, they raised their left hand high over their heads and extended their wrist outward twice. As they did this, they popped their hips toward the left two times as well. They moved their left hands in a Z-pattern across their chests, ending on their right hips where their right hands were situated (Ends at 0:42). They quickly raised their right leg, then their left leg, before rolling their head to the left, then right.

To kuti mi

(So buy me)

Khraveši

(Nice things)

I mene zadovoli

(And keep me satisfied)

Ya brasna-ti
(I'm the baddest)

Krasva-ti
(The hottest)

I čut-čut šumošedšaya
(And a little bit crazy)

Marianna and Tatiana now stood on the end of the 'line', and dropped to their knees, looking up at Natalia and Katya, who were still standing. Katya sang first, and she walked forward with a flirtatious smile toward the camera, before turning away when it was Natalia's turn. Natalia placed a hand on Katya's shoulder for a moment, pointed at the camera, and winked, as she sang. When they each sang one line, Tatiana and Marianna stood up and all four women raised their hands up to their sides. When all for of them sang the line, "Like me", the camera faded out to black.

Mene zadovoli teplo
(Keep me warm)

Nočya tak khladno (The nights are so cold)

I pomni čito ničevo
(And remember that nobody is)

Like me

The camera returned, showing an overhead view of the stage. Red lights illuminated the four girls, who were standing in a diamond formation center-stage, looking up at the camera, each of them having a serious expression on their face. The camera slowly zoomed in, rotating slightly as it did so (Until 0:55). When the first member of the group sang, the other three popped their hips to the left, then to the right. After, they placed their hands over their chests, pumped out with their chests once, and slowly extended their hands outward, while also extending their left hip outward. They quickly retraced their left hand and placed it on their hip, and they swung their right arm behind their bodies. Then, they pumped their hands once in the air. When it was time for another member to sing her line, she stepped forward while the others extended their hands outward, wrists pointed downward, similar to a zombie, stepped once with the right foot, and then once with their left. After that, they brought their arms closer to their bodies and flicked their wrists twice at the camera, almost in a dismissal-type gesture (Ends at 1:05). They placed their hands on their hips as Natalia came forward to sing, shook their hips three times, and pumped their chests out three times, whilst having their hands over their chests. When Marianna sang, the others rolled their shoulders back to the right, to the left, and then to the right again, before putting their hands in front of their bodies with their palms out.

You think you know me
But you don't know me

Mi žalina' za tebe
(I feel sorry for you)

No eše ne ty zapomnil, no
(But you still haven't realized, no)

There's no one, out there, no one
Like me

The group turned, facing the side of the stage, and the camera zoomed in one of the girls' profiles, then another, on and on until the last girl's profile was shot. Then, Tatiana came forward pointing at the camera, singing. The other girls stayed behind her, and 'shimmied' with their hands at their shoulders, palms out, but fingers bent. They repeated this shimmy motion until Katya sang "Me." At that point, they turned around, stuck their left hand in the air, and walked side-to-side. (Similiar to a modern-day nae-nae, but think of it with more hip action and sass).

Ničevo tam like
(Nobody there like)

Me
Don't you know?
Ya dravu sekondali do lasaviteš
(I'm counting the seconds until you leave)

I kugdo lasaviteš, čercu kito-to, čito mene zaslumerit'
(And when you do, I'll find somebody that deserves me)

Tatiana returned to the line, and Natalia began to sing. The rest of the girls dropped to one knee, looking forward. After the second line, the girls all stood up and leaned to their left, resting their left elbows on the adjacent girls' right shoulder. The girls at the end just held their elbow up as if someone was there to lean on. During the last line, the girls all placed their hands at the front of their waist, kicked up two times, and stuck their arms straight above their head, swinging them to the right three times, all whilest keeping their elbows extended. Their hips moved at the same pace and direction as their arms.

So boy, come on
Leči mene, kak prinčeza
(Treat me like a princess)

And maybe one day I'll
Padu v krovatu
(Fall into [your] bed)

The girls all repeated the same dance as before, except switched the order so that the two girls who were in the back of the line last time were now at the front, and vice-versa. Apart from that, the rest of the routine stayed exactly the same.

To kuti mi

(So buy me)

Khraveši

(Nice things)

I mene zadovoli

(And keep me satisfied)

Ya brasna-ti
(I'm the baddest)

Krasva-ti
(The hottest)

I čut-čut šumošedšaya
(And a little bit crazy)

Like before, Natalia and Katya stood up in the middle of the line while Marianna and Tatiana, who were at each end of the line, dropped to their knees, looking up at them. Natalia and Katya circled around one another, smiling, beckoning, and winking at the camera as they sang.

Mene zadovoli teplo
(Keep me warm)

Nočya tak khladno (The nights are so cold)

I pomni čito ničevo
(And remember that nobody is)

Like me

Instead of the diamond formation they assumed last time, they remained in a line, but all held hands, looking up toward the ceiling. The camera panned around the perimeter of the stage, looking up at them. When it was time for Marianna to sing, the remaining three girls popped their hips to the left, then to the right, just as they had done so during the first chorus, and continued dancing in the same manner as before, with little to no variation between the dance now, and their dance during the other chorus.

You think you know me
But you don't know me

Mi žalina' za tebe
(I feel sorry for you)

No eše ne ty zapomnil, no
(But you still haven't realized, no)

There's no one, out there, no one
Like me

Katya stepped forward, and the other girls slowly raised the arms up toward her, with their wrists pointed downward, so that it looked whimsical and delicate. She turned around when Natalia came to sing, and the girls repeated the motion, except to Natalia. When Marianna began to sing, the lights started to flash rapidly and the other three girls slowly put their left arms above their heads with their wrists pointed down.

Ne sprai mene prombit.
(Don't ask me to change)

Tiy znaš, čito ne vam
(You know that I won't)

Po mi, moy lavit višo čintit'
(My love is all that matters to me)

Baby, I know
I'll love you too
No ti nado lečit mene, kak ya zaslumeriu
(But you've gotta treat me the way I deserve)

I tak ya vam uznayu tebe
(And then I'll let you know)

Maybe

The four of them returned to their earlier position where they were in a diamond formation, looking up at the ceiling. Marianna sang, but as she did, glitter seemed to rain from the ceiling, and various shades of gold littered the stage floor, as well as the girls' hats and outfits. Once Marianna finished hitting the high notes, the camera rapidly zoomed in on the girls, whose eyes flew open, and Katya sang the next line of the chorus. Once she did, the girls all spread out and assumed the line position from earlier, and repeated the same dance moves from the last chorus.

Ooooooh.....
Ooooooh.....

No one here like me

Mi žalina' za tebe
(I feel sorry for you)

No eše ne ty zapomnil, no
(But you still haven't realized, no)

There's no one, out there, no one
Like me

For this next part, the girls of MJM repeated their earlier dance, where they moved their hands to their right shoulder, and then to their left hip. Then, from there, they moved their hands from their left hip to their left shoulder, down to their right hip. They kicked up one of their legs behind them as they did this, and repeated this every time the group sang the "Oooh's" together. Before singing, Katya would move to the front of the group. and as soon as she sang her line, the other three girls placed their right elbow on their right hip with their forearm extended outward, pumping it up in tune with the beat. With Natalie's line, Katya danced backward, and Natalie danced forward. The other three girls spun around with their hands extended over their heads, and then extended their arms out to their sides from their chest, and placed their hands back on their hips. Then, Tatiana danced forward and Natalia danced backward. Tatiana sang her line and the other three girls turned sideways, dropped to their knees, and stood back up slowly, running their fingers over their legs and hips as they stood back up. Finally, with Marianna's line, all four girls walked up, and posed with their hands on their hips.

Oooohhhh....
There's no one like me
Oooohhhh....
No one here like me
Oooohhhh....
There's no one like me
There's no one, out there, no one
Like me

The song was ended and the lights immediately cut out, showing only the group's silhouette. After a few brief moments, the lights returned back to normal and the group jumped and hugged one another as the crowd roared in applause. They then began to depart the stage, all of them waving toward the audience as they made they way off the stage.

by **Kalosia** » Mon Aug 20, 2018 10:43 pm

17
Kalosia
Got Me Dreaming — Ǧiana
performed in English to the tune of Vintage — Niki

Following the relative success of Montereu at WorldVision 66 in Britonisea, Radio-Television Kalosia were ready to unveil their entry for the next edition of the contest. It was soon announced that 19-year old Ǧiana Biažu was the internally selected representative of the island nation at the 67th WorldVision.

Ǧiana is an up-and-coming artist. As a young teen, she would upload covers of popular songs to the internet. Although she did not gain a large following, the positive feedback she received encouraged her to explore further in her musical abilities. Towards the end of high school, she would start writing her own songs and beats and would upload them to the internet too, sometimes promoting them on her Tweeter posts. Ultimately they gained traction and she was discovered by an independent record label that promoted young musicians like her, and her first official single launched in the fall of 2017. It was relatively successful and she soon followed up with her next single, Soñandu (Dreaming), in May 2018.

RTVK had announced for the song to be revealed in a Saturday night 30-minute segment. It was widely expected that Ǧiana was to perform a new single, perhaps her first one in English. Thus, it was much to the surprise of viewers when it was announced that the song, Got Me Dreaming, was simply an English version of Soñandu.

Unbeknownst to the public, what happened behind closed doors was that, there was actually a new song prepared. The songwriters had purchased the beats of the song from a foreign music licenser and developed it into the song. As it turns out this was a mistake; the licenser had accidentally made the beats available although they were meant to be licensed solely to a songwriting team from Ethane. Using those beats, that team went on to produce Ethane's entry to the 40th World Hit Festival, competing against an RTVK-led Kalosian delegation. It was subsequently realized that Kalosia's planned WV67 entry sounded too similar to it, and the Kalosian WV Head of Delegation ordered the song to be scrapped completely. (OOC: basically a Croatia 2018 situation — in fact I was going to use that tune until I discovered someone had beat me to it).

With only days until the song announcement, there was hardly any time to write a new song. Finally, it was decided upon that an English version of Soñandu was to be produced. Ǧiana insisted that she write the lyrics herself, as the Kalosian-language lyrics were also self-penned. In fact, she also self-composed and self-produced the song — both versions of the song were, thus, a one-woman effort.

For the performance, Ǧiana wore an all-white outfit and is accompanied by 2 backing singers hidden away from the stage. As the song began, a silhouette was visible on stage. It was visible from different camera angles, which switched along to the pattern of the music. Finally, the silhouette turned around and took a few steps forward — it was Ǧiana. Her look was revealed just as she was about to sing. The background lights, white, then begun to flash, some of them along to the beat, some of them twinkling like stars. Throughout the next part, the camera refrained from making wide shots.

Who is that charming man I see?
Passing by in front of me
Like the guy that every boy wants to be

You got everyone turning around
Flipping my life upside down
And your smile is all the talk of the town

So tell me, tell me, tell me what brings here, someone like you?
Are you coming to forget all that is said on a bad day?

And give me, give me, give me all the moves your body has
That way you will never remember
All the troubles, show me what you got

In the chorus, the camera made use of wide an dynamic shots as Ǧiana walked around the stage.

As the night’s getting deeper
All your words are getting sweeter
I don’t wanna be a sleeper
And I just wanna dance with you now

So while the night is getting colder
Put your arm around my shoulder
Hold me like you used to hold her
With every move you got me singing

Oh oh, oh oh
Oh oh, oh oh
Oh oh, oh oh
Got me singing

Oh oh, oh oh
Oh oh, oh oh
Oh oh, oh oh
Got me dreaming

The camera went back to making close-up shots.

Feeling charismatic as ever
Your look is so clean and clever
It’s a moment I might remember
Cause tonight ain’t gonna last forever

Wait a minute, I think I’m vexed
Guess I’m just feeling the effects
Don’t forget to leave behind your text
And who knows what we’re gonna do next?

Now Ǧiana walks over the bridge and onto the catwalk.

So tell me, tell me, tell me if you’re feeling so damn fine
If you are standing on top of cloud nine
Or if there’s something still inside your mind

And I say, I say, I say you leave all those thoughts behind
As we’re closer to the end of night
Fire’s now alight, what we started we must put to a finish

Ǧiana, now on the catwalk, is singing energetically among the swarms of fans as she walks here and there on the catwalk.

As the night’s getting deeper
All your words are getting sweeter
I don’t wanna be a sleeper
And I just wanna dance with you now

So while the night is getting colder
Put your arm around my shoulder
Hold me like you used to hold her
With every move you got me singing

Oh oh, oh oh
Oh oh, oh oh
Oh oh, oh oh
Got me singing

Oh oh, oh oh
Oh oh, oh oh
Oh oh, oh oh
Got me dreaming

Many critics have said that the song lacks a proper ending. Ǧiana makes up for this by interacting with the audience. "HELLO ÖRKEMDREM!!!"

The audience cheers. "How are you all feeling tonight?"

The audience cheers again. With a couple of moments left, she yells, "Everybody sing "Got me singing!"

As Ǧiana points her mic towards the crowd, you could kinda hear the audience sing even if you were watching at home.

She follows up, "Everybody sing "Got me dreaming!"

Again she points her mic at the audience and they respond accordingly.

By now the song had faded, it was time for the entry to end. Ǧiana took a bow, the crowd cheered, and she said "Thank you everyone! We love you!"
She blew kisses to her fans in the audience before leaving the stage as the hosts came in for a short intermission.

by **Darkmania** » Tue Aug 21, 2018 12:29 am

The kalosian entry was finished, and the camera focuses on Rëbeccä. She wears a green coloured dress.

Rëbeccä: That was Kalosia with their entry "Got Me Dreaming" by Ǧiana. Now. As you know, this is the first time Bigger World Hit Festival has been hosted in Darkmania. And to mark the historical event where a bunch of artist sings songs here, we felt like we had to have a motto that stands out. So "Make Your Story" was chosen as it was the best. Also, everyone knows that a new story is made in every Worldvision. Like who will win? Who is hosting? Will the host ever shut the hell up? You know. That kind of stories.

Some of the backstage crew sets an unknown number of slides put on a wooden photo painting display. All of them has the same logo, only the motto is different.

Rëbeccä: Thank you. Now here are some of the ideas what was suggested One was.....

The first one has the same logo (The "L"s). The text can be easily read.

"Come together and make songs"

Mild reaction from the audience

"From Örkemrem with music"

Same reaction as the first one.

She puts the slide

"Don't complain. Its actually way experience here"

The audience laughs as this is true. Prices here are higher than anyone from Vartugia will ever make. Good luck spending 110 NS Dollars for a night on a two beds suite in Örkemdrem.

"Goth Girl 18+ Big Anime Ti...."

The audience is shocked. SHOCKED. By the strong language used by Rëbeccä.

Rëbeccä:Oh my god! Why is someone's son's browser history here? Er... I need to distract you all. Er... Hey, look. Darkmania performs now!

The audience gets confused, but the darkmanian at the arena are cheering as the home country will now sing. Let's just forget what just happened, -eh?

by **Darkmania** » Tue Aug 21, 2018 12:29 am

18. Darkmania

MAnGA- "Redd oss! (Save us)”

Loreen- Statments

"The so-called Will Of the People will change and will away be changing. While the populous votes one answer, and there is a demand on a re-vote due to the other answer is leading in the polls after a referendum or an election, we should respect it and not calling the losing side for hypocrites. Now excuse me, I'm looking forward to those calling me a hypocrite myself for calling their side for hypocrite." - MAnGA, doing a press confrence pre-contest.

MAnGA are a famous female singer in Darkmania known for her songs with her themes being politically charged. As Darkmania is heading toward a referendum toward

The beginning of this entry shows a little girl, maybe aged 6, playing with dolls. Both of her dolls have dressed. One has an elegant, purple dress, the other being just rags that makes it look the doll is poor. As the camera zooms out from the girl, a group of adults begins to walk in front of the poor little girl, but she doesn't mind. One of them looks at her mobile phone, concerned and walks to the left end of the stage. The sign on the stage label that exit as "UNDUSURTANT FUTURE". One other lad goes behind her and acts as he is about to grab the "pussy". The lad has a suit and ties as in the picture, but he also has an "I lied" banner around him, with the word being just shown from the side toward the audience and the camera. We only hear the singers voice for the moment.

Folk har forskelige meninger og det skaper strid (People has different meanings and that causes conflict)

Les mine løgner og kast dine sannheter (Read my lies and throw away your truths)

«Denne sang er åpenbart propaganda» ("This song is just blatant propaganda")

Gjør vårt land stort igjen og mer rikere enn før (Make our country Great Again and more richer than before)

The crowd slowly goes away, and the little girl is gone. In place, we meet MAnGA. The stage has also got two walls, with one of the walls being graffitied with the text "red pill yourself", and a platform, with the side facing the audience being covered in a blue paper and 28 yellow stars placed randomly on the blue side, with different sizes.

She slowly walks into the centre of the stage with a skin-coloured handsfree microphone. With only ripped trousers, a purple t-shirt and a black hoodie with the hood removed. She is barefooted on the stage.

Hva er sant og hva er løgn? (What is true and what is lies?)

Hva er sant og hva er løgn? (What is true and what is lies?)

Hva er sant og hva er løgn? (What is true and what is lies?)

A random guy slowly walks to the top of the platform with the stars. MAnGA doesn't see the man who jumped the platform, but only after she turns and faces the man on the podium. The backside of her grey hoodie has some text to it. Its read "I really don’t care, do u?".

Vi er på rett vei, vi blåser bort kaoset det har skapt (We are on the right track, we dont care on the chaos it has made)

Falske nyheter (Fake News)

Jeg hører ikke på dine løgner, kun mine egne (I dont listen on your lies, only mine)

Kom her og faens- (Come here and fucking-)

Kom her og faens- (Come here and fucking-)

The random guy (who is one of the mani slowly walks to the top of the platform with the stars. MAnGA doesn't see the man who jumped the platform, but only after she turns and faces the man on podium. The backside of her grey hoodie has some text to it. Its read "I really don’t care, do u?".

Redd oss! (Save us!)
 
Redd oss! (Save us!)

MAnGA suddenly begins to move her arms as she was a puppet on a string with a guy on top of the platform "controlling" her. The "puppetmaster" has a white cap, blue shirt, and red trousers, similar to this. After a while, the master runs away and MAnGA breaks free from the control.

She

Gud kommer ikke til å redde oss på dommedag (God will not come and save us on doomsday)

Vi driver skipet mot isfjellet (We`re heading the ship toward the iceberg)

Murer og korrusjon øker i hvit hus (Walls and ccorrupstion increses in white house)

Beskytt vår land og kultur fra andre farget (Proctect our land and culture from "diffrent coloured".)

Hva er sant og hva er løgn? (What is true and what is lies?)

Hva er sant og hva er løgn? (What is true and what is lies?)

Hva er sant og hva er løgn? (What is true and what is lies?)

MAnGA jumps to the top of the podium and does something that may cause her trobble. She moves her hand she gave the salute to the left side, and with the other hand, does this. One of the yellow stars on the paper falls off and the paper begins to tear apart. From both sides, we see a crowd of folks. The right side has flags like these (the swastika is replaced by this due to darkmanian laws). The left side has the hammer and sickle, the rainbow flags and a loot of more flags. They begin to charge to the opposing group and "fights" on stage. This makes a lot of folks from both sides falls and "dies". There are flags all over the the stage.

Vi er på rett vei, vi blåser bort kaoset det har skapt (We are on the right track, we dont care on the chaos it has made)

Falske nyheter (Fake News)

Jeg hører ikke på dine løgner, kun mine egne (I dont listen on your lies, only mine)

Kom her og faens- (Come here and fucking-)

Kom her og faens- (Come here and fucking-)

Redd oss! (Save us!)
 
Redd oss! (Save us!)

Vi er på rett vei, vi blåser bort kaoset det har skapt (We are on the right track, we dont care on the chaos it has made)

Falske nyheter (Fake News)

Jeg hører ikke på dine løgner, kun mine egne (I dont listen on your lies, only mine)

Kom her og faens- (Come here and fucking-)

Kom her og faens- (Come here and fucking-)

The "dead bodies" rises up and acts like zombies. While they just do it so they can leave the stage, they ends looking like they have died and risen from their graves thanks to the war from both sides. MAnGA has jumed down from the platform and is in the middle of the zombie apocalypse. The zombies block the view from MAnGA.

Redd oss! (Save us!)
 
Redd oss! (Save us!)

Redd oss! (Kom her og faens-) (Save us! (Come here and fucking-))

Kom her og faens (Come here and fucking)

Redd oss! (Kom her og faens-) (Save us! (Come here and fucking-))

Redd oss! (Save us!)

The crowd goes like what you expect from the host nation. MAnGA has her hands in the air as like "please don't shoot me" manner as there is a guy (who looks like the puppet-master earlier) dressed as a police officer and is looking he is aiming at her with a (fake) gun. "Thank you" MAnGA says as the shots from the

by **Llalta** » Tue Aug 21, 2018 1:13 am

19 | Llalta
Nööt Nööt Nööt
Pingu ft. The Choir of Llalta & Evergreen

Tune = Don't Stop Nooting - Pingu ft. Journey

Music - John Marshall, Alexander Southborne, Pingu
Lyrics - Esther Winterbourne, Pingu
Languages - Pinguish & English

Pingu, The Llaltese artist to represent Llalta in WorldVision 67

For WorldVision 67, the LBN wanted something special; something that would stand out among the rest. After the disappointing disqualification of Esther Winterborne and her song, "Endless Dreams", the LBN wanted to make sure to revive the Llaltese spirits and revitalise Llalta's impressive place at WorldVision 65. So after Esther went on to compete in World Hit Festival 40, where she represented Llalta with the song "Free". Unfortunately, the song wasn't able to capture the hearts of the world. It didn't qualify. Originally Esther was supposed to represent Llalta but shortly after, she pulled out after an incident at home. The Llaltese people were disappointed with the recent results and had no one to enter, but when the LBN revealed LlaltaVision, the Llaltese national final, people's hopes were renewed. Over 100 applications and songs were taken in only four remained. After capturing the hearts of Llalta and nations all over the world, Pingu was chosen to represent Llalta in WorldVision. So, here we are.

Pingu is a 8-year old penguin, who lives and has always lived in Llalta. Jack South-Brown, his owner, only found out about his singing talent when Pingu sang along to the radio with note perfect precision. Since then, Pingu had performed in pubs all over Llalta and has grown quite the reputation in Llalta, even making a couple top 100 tracks over the past year.

The Choir of Llalta is a choir group consisting of 42 Llaltese people, from age 16 to 91. They usually do fundraisers for charities in places of war, poverty and lesser developed nations. They also fundraise for mental health issues and homelessness. Founded in 1940, the choir have seen many people come and go over the years and usually meet up on Saturdays, to practise and have a tea and a biscuit.

Evergreen are a Llaltese band consisting of 5 members. They are one of the biggest artists in Llalta, usually dominating Llaltese charts and having sellout concerts. They formed back in 1997 and have had the same members for just under 20 years. They are made up of John Marshall (pianist and vocals), Alexander Southborne (drums), Michael McGallaghan (guitar and vocals), Jorge Argonbourge (bass) and finally Cyrus Ashbury (violin, viola and cello). Unfortunately Cyrus and Jorge were unable to come due to issues at home.

The song, Nööt Nööt Nööt (Don't Stop Dreaming), is a song written in memory of an island who recently passed away in Llalta. Someone who was described as "a team player" and "someone who resolved issues and brought people together. Pingu and much of the islanders decided that they would write a song in memory of her. However, it was never planned to enter LlaltaVision. With the help of Esther and Evergreen, they crafted the song for the funeral. LBN took notice of the emotional song and negotiated with them about bringing it to LlaltaVision. Originally they disagreed, but after thinking a while they said yes. And after the difficult process of LlaltaVision and the finals it was chosen. The song tells the life story of Mary Unggradd, who passed away, and about how she escaped from a far away land and changed the small nation of Llalta forever.

The song will be the first ever WorldVision sung by a penguin and sung in the language of Pinguish.

*note: The lyrics on the left are those sung by Pingu; whilst those on the right are the translations. However, they are also sung by the choir as backing vocals.

As the last cheers from the crowd end, silence descends on the pitch black arena. There is an awkward moment of silence before the piano starts. 10 spotlights shine directly into the centre of the stage from the ceiling, lighting up a sleek, black keyboard. John Marshall is lit up, an 52 year old member of the famous Llaltese band Evergreen, who was playing the keyboard, wearing a casual leather jacket over a faded red retro t-shirt. He also wears denim jeans, which are frayed at the bottom, revealing white socks and black boots, of which the sole appears to be peeling off. His hair is grey and wiry, showing his age. So much so that it gleams in the spotlights. He is hunched over the keyboard, playing the chords with ease, not looking up to stare at the audience, wildly waving their flags. During the beginning section of the song, the camera pans around John eventually circling round the 52 year old pianist, showing the audience. However, another spotlight lights up. A single lone light pointed at the singer himself: Pingu, who is sat at the front of the stage, his feet dangling off the edge. His microphone is attatched to his head for reasons only the MI5 will know. He majestically Nööts the first line.

Nööt!
Yo!

John by this point is really into his keyboard, his back arched right over. His thick yet smooth fingers elegantly playing the chords. The camera makes sure to show this, focused on Pingu, only to change angle to see John. However, it goes back to Pingu soon enough, Pingu Nööting the song with a charisma not found on humans, John singing the translation along with some off screen backing singers. He looks bravely yet also vulnerable to the camera, before looking up at the roof of the arena thoughtfully. It was almost surreal; telling the story of someone he loved so dearly to the whole world. The camera circled round Pingu, however it stopped when it was behind Pingu, showing him look out at the audience, lit up.

Nööt Nööt Nööt Nööt Nööt
Though the waters deep

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
And the moon trapped behind dark

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
She sailed away into the midnight

Pingu continues to sit on the edge of the stage, a single, lone spotlight directed at him. John looked over whistfully at Pingu, smiling proudly but subtly. Despite this, he carried on playing the keyboard. He gazed a while at Pingu whilst the penguin nööted, only looking back at the keyboard to check he was playing the right notes. The camera panned across the stage, showing how small they are compared to the arena; let alone the universe. Pingu looked at the camera once again, which was focused on him, yearning for something he won’t get back. The spotlight lights up every detail, really encapsulating the emotions in the arena.

Nööt Nööt Nööt Nööt Nööt
Bleak winds slice the air

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Waltzing waves weeping the truth

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Escaping the chains that she once had built

As the first sound effect plays, the lights at the back of the stage shimmer white and yellow softly, before dimming and turning off again. However, silhouettes of figures in the background are lit up, creating a dramatic yet intriguing effect. The camera then slowly pans across the stage, both Pingu and Jack South-Brown in the moment. Pingu is staring dreamily out towards the audience, still positioned at the front of the stage. His eyes gaze excitedly, overwhelmed by the lights, the cheers and the attention. Although, to say he hated it was a lie. John Marshall was still playing the keyboard, back arched over the keys gracefully. The camera takes a wide shot of the stage just as the guitar comes in. Similar to the first lighting effect, the lights at the back of the stage shimmer gold and white, however not too brightly. However, as the guitar gets louder, the lights become brighter and harsher, illuminating the stage in a soft golden hue, almost nostalgic like. The figures placed at the back of the stage are also lit up again, however, this time it is easier to make out the figures. Around 2 figures are visible; one behind what seems like a range led mess of wires and stuff, the other holding what looks like violin. As the guitar finishes and the lights rise up, starting facing the stage before moving the light up to the ceiling. The two drum beats also have lights to match. Two white flashes of light from various lights, outlining Pingu, John and both figures with gold. The flashes however aren’t bright enough to hurt the eyes or to completely light up the arena. During the flashes of light the camera quickly switches from the left view of the stage to the front view at the same time as the drums, creating a dramatic effect.

After the light effects, Pingu stands up from the edge of the stage, waddling to meet John Marshall at the centre of the stage, where he affectionately reaches his wing up him, whom holds it like a mother holding a child’s hand. Pingu looks sweetly at him, still nööting with a sad tone, yet also a celebration, a remembrance. It is clear it means a lot to Pingu. Also as he moves across the stage, the spotlight follows him until it reaches the keyboard, where it joins up with its spotlight brethren, all directed at Pingu and John. By this point, John is holding Pingu’s hand, the other still playing the tune with such skill and brilliance. His eyes are filled with such pride yet also sorrow. The camera begins to circle the cute scene.

Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Watching the fading lights behind

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Shrinking ‘till they turned to nothing

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt, Nööt
Wondering what she had lost, but

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
She sails on and on and on and on

As Pingu nööts the last on of the stanza, his hand falls from John Marshall’s grip, and he turns to face the front, his nööts becoming proud and strong. His eyes filled with a determination of a child facing a challenge, a burning desire. Pingu stands strong, the camera faced directly towards him. As the drums build up the next stanza, the white spotlights that once were all directed at John spread out and flash on and off to the drums, starting of dimly before becoming brighter as the drum gets louder. They light up the stage including the two figures at the back of the stage. The lights eventually flash brightly, lighting up the arena with gold and white.

The sihlouettes a revealed to be a drummer, situated at the back of the stage on the right, and a guitarist on the left, near to John Marshall. The drummer, who was short and stubby with plenty of wrinkles, is wearing similar attire to John, the only difference being that his jeans are a lighter blue and are ripped at the knee. However he looked like a casual 50 year old dad in a dad-band. His drum set was fairly basic with cream drum skins with everything else being silver. The drums are decorated with bright red flame stickers on the side of random drums. He can be identified as Alexander Southborne, another member of the band Evergreen. The guitarist wore a black t-shirt with a skull emblem. He looked around 46, his brown hair cut so short he was almost bald. He wore a sleeveless leather jacket and denim shorts, also ripped at the knee. On his feet he wore red converse. Despite this, he looked fairly normal. His guitar was fairly basic too, being white with a flame like design, ringed with lights. He was also part of the Evergreens, known as Michael McGallaghan.

As Pingu boldly nööts the first line, eyes filled with confidence, the spotlights flash gold and white, every even light being gold, and every other light being white. However, with each synth pad note, the lights alternate between the two colours. The lights in the back wall are lit up gold, lighting Pingu’s face in a nostalgic gold hue, as he sings to the camera which pans across the stage, allowing each person (or penguin) a chance to flourish. Alexander Southborne is jamming on the guitar, completely oblivious as he wanders aimlessly around the stage. However, it is obvious he is into the guitar as he strums the guitar with power. He passes in front of John Marshall, who is playing the keyboard whilst looking towards the audience, giving a cheeky yet innocent smile. It is clear that his cheeks are red. He begins almost whipping his head back and forth to the beat, so passionate about the song. Pingu on the other hand sings towards the audience with a childlike innocence on his face as he nööts his heart out, shining onstage. The camera then takes a shot of some of the audience wildly partying to the song and singing along. However not in English; but in Pinguish.

Nööt Nööt, Nööt Nööt
New world, new her

Nööt Nööt Nööt Nööt, Nööt Nööt, Nööt Nööt
Lost alone, small fish, big pond

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Tryin’ to find her way in the world

The lights carry on alternating to each synth, adding dramatic lighting to match the music. Pingu gives the camera, which by this point takes a wide shot of the whole stage allowing the viewers to see Alexander and Michael, both rocking out as if no one was watching, as Pingu cheekily wink before he makes his way to the bridge on the right side of the stage. Alexander follows, joining Pingu on the bridge. The camera goes towards Pingu, leaning on the banister of the bridge. His eyes a lit with excitement. The lights on the bridge twinkle with gold and white, lighting up the guitarists mouth as he sings the translation with strength. Pingu takes a deep breath, his eyes shut before successfully belting the last high note of the stanza. Pingu was almost shaking as he finished the high note. The lights turned strobe like during the note, the white lights flashing manically whilst John joined in. A huge cheer erupted from the crowd after the note ended, Pingu blushing with pride. Michael smirked behind him, jumping in the air as he took a wild strum of the guitar.

Nööt Nööt, Nööt Nööt
Strangers, Waitin’

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
From the shadows she created

Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Starin’ as she makes her mark

The instrumental played for a couple of seconds, as the camera followed Pingu and Michael onto the centre of the outer ring, white lights illuminating their journey. Pingu, now dancing to the music, takes a deep breath. His accompanying Michael McGallaghan still jamming on his guitar which has LEDs attached, allowing the guitar's flame design to light up. The camera circles them on the outer ring, capturing each emotion. It then takes a wider shot of the stage, allowing view of Alexander and John Marshall, Jack hunched over, his fingers waltzing on the keys. He looks up for a moment, his hair gleaming in the white spotlight that shines on him. The camera then spins round to see Pingu looking out to the audience, whom are waving flags excitedly, singing very out of tune but enthusiastically to the poetic lyrics. The camera returns to Pingu, who nööting the lyrics with conviction, his eyes alit with charisma.

Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Workin’ ‘till she’s dust and bone

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Shadows staring blankly at her

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Lightin’ the hearth to make the fire

Nööt Nööt Nööt Nööt
‘Till night comes by

Pingu dances a little before nööting the next stanza. A tear rolls down his cheek, and he quickly wipes it off with his flipper. This moment is important to him and everyone onstage. His feet tap the floor to the beat. Michael looks down at him, still strumming his guitar, and nods reassuringly at Pingu. He places a hand on Pingu's shoulder before walking to the left bridge. Pingu is left alone to not his heart out to the audience, the camera circling him, showing each tear and each hand from the audience as they wave wildly to the anthem. The lights then flash wildly to each burn on the last line. The camera switches view each time, giving different angles of Pingu, illuminated by the white lights that flash. A flash on the last word ends it only for the arena to turn pitch black.

Nööt Nööt Nööt, Nööt Nööt Nööt Nööt
He watches, stares at her

Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Wonderin’ all the things he’s missin’

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Oh how Love can change someone

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
His heart burns and burns and burns and yearns

The next thing we see is a flash of blinding white, welcoming the next stanza, which floods the whole stage in white lights. After the flash dissipates, the next thing we see are people of all ages, colours, genders and sizes pouring onto the stage all wearing what looks like choir robes. There are at least 30 of them crammed on the main stage, singing along. The choir of Llalta sing the translated version joyously, all swaying in near perfect timing (apart from an old women in a wheelchair near the front). It is also apparent that they were the ones that were singing the backing vocals the whole time. Luckily for the Alexander and John, who are stuck onstage amidst the Choir of Llalta, are on a raised platform, allowing them to be seen above the singers. However Michael and his guitar are no where to be seen. Over on the outer ring, Pingu still stands there, valiantly nööting each word, filling the arena with emotion. The lights change from white to gold on each beat, like normal. And the camera pans across the stage, showing every person on the stage.

Nööt Nööt, Nööt Nööt
Each night, glowing

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Arm in arm their love burnin’

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Making their mark upon the earth

As the first line is sung (or nööted) the Choir all perform an action in which they sweep their hands in the air, before doing some kind of “rain” movement where there lower both hands whilst their fingers wiggle. Pingu does similar moves on the edge outer ring, although aren’t as good, especially without any fingers to wiggle. The camera pans across the Choir, showing off their in time movements. It’s powerful to see so many people onstage, singing an emotional anthem in memory of someone. After panning across the whole choir, it spins around to Pingu. However, the camera is placed in a way that makes it look like you are on the front seats of the arena, looking up at Pingu on the outer ring.

As Pingu prepares for the long note, he looks at his feet and takes a huge breath. It is obvious he is nervous as he looks up at the ceiling before nööting the long note. The lights flash manically white and gold. Pingu’s eyes are shut tightly as he nööts the note and a small tear rolls down his cheek. About halfway through the long note, smoke erupts from the stage, whilst the camera pans around the stage, taking in every light and showcasing the smoke. The camera goes back to a central shot of the stage at Pingu, when a figure front flips through the smoke, causing it to part like the red sea, and lands right in front of Pingu before taking a huge strum of the guitar he was holding. The lights flashed even more manically as he strummed the electric guitar. It was Michael!

Nööt Nööt, Nööt Nööt
Someday, one day

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
The rain it pours and pours but maybe

Nööt Nööt Nööt Nööt Nööt Nööt Nööt
We’ll meet someday once again

After the lights return to normal from it’s strobe effect, Michael and Pingu have a jam session. Without the choir or any backing singers, Pingu nööts the chorus, dancing alonng to the music. The choir by this point are stepping from side to side whilst clapping to the beat. Pingu looks at Michael as he emotionally nööts, his black feathers glimmering in the light The camera quickly turns away from the dancing duo to take a look at the audience, raving and singing loudly with Pingu. They also clap to the beat like the choir. A couple Llaltese flags can be seen waving in the sea of wild WorldVision fans. On the final line, the camera returns to a wide shot of the stage, taking in Alexander, drumming with such energy, and John Marshall who has stopped playing his piano only to stand up and clap with his hands above his head. On the final nööt of the chorus the lights flash on and off, however not enough to cause damage to the eye.

Nööt Nööt Nööt Nööt Nööt
Don’t stop dreaming

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
I’ll fly you to the heavens

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
And someday, in my darkest hour you’ll be

The lights flash brightly again, flooding the arena with white lights. However, unlike the first flash, it was shorter. Then what looks like a short sihlouette escapes the mass of light and into the air, flying. The camera zooms into it and it is revealed to be Pingu, flying in the air like no penguin has done before. Onstage, the bright flash has dissipated to reveal the choir, who make their way onto the outer ring, their choir robes tripping some of the less fortunate up. The lights are also flashing white and gold, flooding the arena in light. After the choir are all lined up on the outer ring, they raise their hands into the air towards Pingu, all 30 or so eyes looking up at him. They are also singing the translation again. Pingu, who by now is far up in the air, is filled with glee and excitement. He nööts even stronger though, the emotions taking over him. His voice nööts powerfully, and he raises his wings in the air and begins to do a flapping motion like he is actually flying. On the outer ring you can just make out Michael and his guitar rocking out. Golden sparks fall from the ceiling, giving the stage a grand yet emotional look.

Just before Pingu slays another high note, he looks back at the stage, in reassurance maybe, before nööting like no penguin has nööted before. The lights turned strobe like, with white and gold lights flashing, for the whole note before returning to normal as he finishes. His eye twinkled in pride. The crowd roars, flags waving madly in approval. The camera panned the whole arena, from Pingu up in the air to the choir, still singing happily as they raised their right arm up to Pingu. Alexander was still there striking the drums whilst John Marshall copied the moves of the choir.

Nööt Nööt Nööt Nööt Nööt
Don’t stop dreamin’

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Fly into the heavens

Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Each star, glowing

Sparks from the edges of the stage fly up from the main stage. The lights at the back alternate between a royal blue, gold and white to the beat. The choir do some flapping motion, still singing the backing vocals, before doing a small spin. The camera switches view to see Pingu wings spread, taking each moment as if it were his last. His nööts fill the arena. The camera the pans around the audience before turning back to Pingu, who readies himself both mentally and physically for the long note. On the final long note of the stanza, the lights flash like normal, however it ends with a burst of light which floods the arena with white.

Nööt Nööt Nööt Nööt Nööt
Don’t stop dreamin’

Nööt Nööt Nööt Nööt Nööt Nööt
Fly Away

Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Stars aglow

After the second to last long note, the flash dissipated. However, twinkling lights on the back wall took over, matching the quieter chorus. Pingu was slowly lowered back onto the outer ring stage where the choir parted, allowing room for Pingu to land. Michael McGallaghan and his guitar stepped back from his position in the centre. Pingu landed gracefully, before turning round just in time for the final high note. This was it. His last chance. He looked worriedly at his feet, closed his eyes and took a deep breath. The camera took it's position at the back of the arena. Pingu nööted the last note with power, the lights flashing brightly with a weaker strobe like effect. The camera zoomed into Pingu during the note, ending on Pingu. Meanwhile, the choir, Alexander, Michael and John all raised their arms, outlined by the flashing lights behind them.

Nööt Nööt Nööt Nööt Nööt
Don’t stop dreamin’

Nööt Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Fly into the heavens

Nööt Nööt Nööt Nööt Nööt Nööt Nööt
Someday, we’ll meet again

The lights flashed brightly one more time, signalling the end of the song. Pingu bowed, tears of happiness gleaming in his eyes. The choir on the other hand all bowed in almost perfect sync (except the old lady in the wheelchair). "Nööt Nööt Nöööööööt!!!" Pingu nooted before waddling off of the stage being fed anchovies along the way, the choir following behind. Take it away Adab!

by **Adab** » Tue Aug 21, 2018 1:17 am

20. ADAB
Selia Goral – "Turn Away"
Tune: Aretha Franklin - I Say a Little Prayer
Language: English

Selia Goral

Background
Adab's unexpectedly low placing at the 66th WorldVision Song Contest invited controversy and heated debates across the country. The country placed 21st at said contest, a stunning 18-place drop from the high they had reached at the 65th edition. The blame was directed at virtually everyone involved in Adab's entry, but mostly at the country's official WorldVision and World Hit Festival songwriter Kinan al-Salaman. Al-Salaman's insistence that he choose the contestants and have them sing the songs that he had written, critics charged, was becoming too much of a stranglehold on the country's musical efforts and served only to hamper its performance at both contests. Adab's success in penetrating the 40th World Hit Festival finals - though it eventually only placed 13th - did little to shore up al-Salaman's reputation. Al-Salaman was one of the greatest musicians in Adabian history and had served his country well on both contests, both as singer and songwriter, but the general consensus was that - after so many years - the time had come for him to hand the reins to the younger generation, one that was hopefully more in touch with the latest musical trends around the world.

Surprisingly for both supporters and detractors alike, al-Salaman agreed that the time had come. In a press conference at his mansion, the Alwalid, he brought up the contract which he and the Emperor had agreed to before the 64th edition, which stipulated that al-Salaman would serve as the country's official WorldVision songwriter for five editions (and, thanks to a later addition to the contract, World Hit Festival songwriter). It had been assumed by virtually everyone that al-Salaman would seek an extension, but instead he announced that he would take an "indefinite sabbatical" from the music business once he had fulfilled his part of the contract and focus on running the sprawling Al-Salaman Group; thus the 68th WorldVision Song Contest and the 42nd World Hit Festival would be his last hurrah as the country's official songwriter. He left it to the Emperor to choose his successor as songwriter and decide how future contestants were chosen, and emphasized that they did not have to be signed to Al-Salaman Records; essentially he was returning the powers that he had wrested away from the Emperor. (It was soon pointed out that al-Salaman might have chosen to see out his contract, instead of retiring immediately, so that he could write for the Junior World Hit Festival, believed to be scheduled for the near future.)

Now that the retirement question had been settled, al-Salaman turned his attention to the task at hand - he was, after all, still the official songwriter - and began devising his final farewell from WorldVision and World Hit Festival. For this edition, he wanted Adab represented by someone from a minority group. This was of personal relevance to al-Salaman; he was a Druze who shot up to superstardom in a country whose citizens were mostly Sunni Muslim. Al-Salaman intended to pay tribute to Adab's ethnic and religious minorities, some of which still occasionally faced various forms of discrimination in their own country.

Al-Salaman’s choice of a contestant eventually fell to the 21-year-old Romani woman Selia Goral. As late as three generations ago, her family still lived an itinerant lifestyle, wandering around the rural parts of the country in their caravans, though Selia and her parents made their residence in Mosul. Selia got her start performing her folk and R&B-flavored compositions in cafes and local and regional festivals; at one of those festivals, she was noticed by an Al-Salaman Records executive, who proceeded to put in a good word for her and got her signed. Her first two singles shot to the top 10 of the national charts, aided by constant radio play and online promotion.

As for the song to be performed on WorldVision, al-Salaman drew largely from the soul and gospel records in his collection at the Alwalid. When al-Salaman showed her the first draft of the lyrics and explained how he envisioned her singing the song, Selia was concerned that it might end up sounding "too retro." "Who cares?" al-Salaman replied. "As long as you sing from the heart and the song sounds good, then it's all good.” Al-Salaman and Selia worked together in modifying the lyrics and deciding which instruments and backup singers to use; she received a songwriting credit alongside al-Salaman.

The performance
The venue had come to a standstill following the previous act’s exit. The lights had gone off a while ago and the audience was in their place, standing, sitting, whispering to each other, waiting for the next act to come on the stage. Now the lights slowly went back on, shining around and down upon the stage. The camera zoomed in at the long-haired ginger serenely making her way onto the stage and into the eyes of the audience. Selia Goral had caught their attention before she even performed; she was resplendent in her light blue dress, adorned with small diamonds which shone nicely in the blueish light. Following her were five women – all in purple satin robes – selected from the choir of St Anthony’s Church in Adab City. The Adabians in the audience rose to their feet, cheering as Selia grabbed the mic off the stand assumed her position at the center of the stage, with the backing singers a few feet behind her.

“Good night Örkendrem!” she roused the audience with a wave and a huge smile, her eyes scanning the audience as laid out before her. Her grip grew tighter around the mic. “Thank you, thank you very much for your warm welcome. I love you all. I suppose I won’t much time to say what I want to say, so let’s get down to business, shall we?” She momentarily turned to the singers behind her as the backing track began playing. “Now is the time.”

(Italics) sung by backup singers

(So now I turn away)
The moment I see your face
Well baby I know it’s all over
And so now I turn away

All the times you broke my heart
Oh baby you’ve twisted and torn it
And so now I turn away

The audience cheered and clapped, especially the Adabians, enchanted and taken by surprise by her singing; even her fans weren’t used to hearing that much power and conviction behind her voice. The camera began to zoom in on the backing singers, swaying along to the beat. Once again Selia turned to them, beaming. “Let’s go girls!”

(Not today) not today (or tomorrow) or tomorrow
(You can come back to me and say “I love you”)
(Not today) not today (or tomorrow) or tomorrow
(I’ve had enough, oh no baby I’ve had enough)
(And maybe) and maybe (and you know) and you know
(Baby I just ain’t coming back, it’ll only break my heart again)

Selia now made her way to one of the bridges. Under her the masses danced and cheered and waved, with some even raising their hands as high as they could, trying to reach for the bridge. There was now a spotlight on Selia, following her every move; she was already prominent enough as it was, but the spotlight helped to further focus everyone’s attention on her.

I hear you running
Running, trying to reach me
But baby I’m turning away

You tell me you think of me
Well it sure wasn’t the case last night
And so now I turn away

“You’re the greatest, Örkendrem! Let's keep the momentum going!” she shouted, with arms wide open, lifting her gaze somewhere between the audience and the ceiling, raising her mic and then slowly pulling it down to her mouth.

(Not today) not today (or tomorrow) or tomorrow
(You can come back to me and say “I love you”)
(Not today) not today (or tomorrow) or tomorrow
(I’ve had enough, oh no baby I’ve had enough)
(And maybe) and maybe (and you know) and you know
(Baby I just ain’t coming back, it’ll only break my heart again)
No, no, I’ve had enough

(Not today) not today (or tomorrow) or tomorrow
(You can come back to me and say “I love you”)
(Not today) not today (or tomorrow) or tomorrow
(I’ve had enough, oh no baby I’ve had enough)
(And maybe) and maybe (and you know) and you know
(Baby I just ain’t coming back, it’ll only break my heart again)

Selia sauntered back to the center stage, taking in the adulation of the crowd. The spotlight was still on her, thought it had dimmed a bit to avoid clashing with the other lights pointing down at the stage. Now those lights were concentrated on her and the backing singers; this was done at the expense of other parts of the stage, with parts farthest from the audience dimming into blueish darkness, just barely bathed in the color of the lights, but at this point only the performers really mattered.

Baby listen to me (listen to me)
You used to be the one for me
But no more, baby (turning away)
I’m leaving now (turning away)
Tired of your games (turning away)
I’m turning away (turning away)

(Not today) not today (or tomorrow) or tomorrow
(You can come back to me and say “I love you”)
(Not today) not today (or tomorrow) or tomorrow
(I’ve had enough, oh no baby I’ve had enough)
(And maybe) and maybe (and you know) and you know
(Baby I just ain’t coming back, it’ll only break my heart again)

Selia now turned her back on the audience and gazed at the backing singers, raising and flailing her arms as if conducting them. The Adabian spectators, meanwhile, were cheering and shouting her name.

Baby listen to me (listen to me)
You used to be the one for me
But no more, baby (turning away)
I’m leaving now (turning away)
Tired of your games (turning away)
I’m turning away (turning away)

(Not today) not today (or tomorrow) or tomorrow
(You can come back to me and say “I love you”)
(Not today) not today (or tomorrow) or tomorrow
(I’ve had enough, oh no baby I’ve had enough)
(And maybe) and maybe (and you know) and you know
(Baby I just ain’t coming back, it’ll only break my heart again)

The backing track gradually grew fainter in volume and the lights dimmed. The audience, realizing that the performance was inching towards its end, applauded Selia and the other singers. Once the backing track had stopped and the last note gone away, they gathered at the front of the central stage and gave their final bow, to the cheers of thousands upon thousands in the venue. “Thank you very much Örkendrem. I love you all. Good night!” Selia shouted, waving to the crowd as she and the others disappeared backstage.

by **Ceyesca** » Tue Aug 21, 2018 4:11 am

Entry Number 21: Ceyesca
Artist: Ariana dél'Éste
Song: "Satisfied"
To the tune of: "Side to Side" by Ariana Grande ft. Nicki Minaj

Ariana dél'Éste is a Cesque singer-songwriter from Marseille, Ceyesca. She rose to prominence after winning the famous Cesque Reality Show, "Ceyesca's Got Talent" in 2014. She has 4 albums, "Never Loved You", "Useless to Me", "Suspicious and Wrong", and "Bitter" released on July 18th, 2018. She grew up in Marseille until her dad's death in 2001. She moved with her mother to Milan so she could pursue her musical career. She was on many children's musical shows and musicals, including the 2008 Cesque Musical,"Tréis". After winning the 14th Edition of "Ceyesca's Got Talent", she was signed to Republic Records in the US and has been working in the label ever since. She has become a Media Superstar in both Ceyesca and the US, reaching #3 on Billboard's Hot 100 with her song "Solution" featuring Iggy Azalea. Her 3rd Album,"Suspicious and Wrong", reached #1 in several countries, including the US. "Bitter" also reached #1 in the US on its first week until being replaced by Ariana Grande's "Sweetener" on August 17th. Ariana dél'Éste was choses to represent Ceyesca in the 67th WorldVision Song Contest because of her huge influence globally. We hope you like her!

As Ariana's name is presented on the loudspeakers and screens and the roaring claps slowly come to a halt, Ariana dél'Éste appears from the dark in a pink sporty jumpsuit surrounded by scantily clad male dancers, she begins to sing and dance:

In love and in pain
(Ariana)
You make me insane
(dél'Éste)
And boy, you got me feelin' satisfied
(Let them hoes know)

As the beat gets faster, the stage lightens up revealing sports equipment, she proceeds to the bikes and starts cycling in her place as she continues singing with her backup dancers cycling and dancing as well:

I'm looking at you
See you walking over there, staring at me
Feeling like I wanna kiss your lips, I'm sorry
And I don't have to think or listen
(Or listen)
I'm looking at you
I don't care that you got a bad history
Cause you make my heart beat rapidly
And we don't have to think or listen
(Or listen)

She gets off the bikes and heads center stage, squatting down surrounded by her dancers, clapping and singing:

These eyes keep starin' way too much
Sayin I should take you up
Can't handle it no more,

She stands up and performs some choreo consisting of squatting and tilting:

In love and in pain
You make me insane
And boy, you got me feelin' satisfied
In love and in pain
You make me insane
And boy, you got me feelin' satisfied
(Ahhh, ahh, ah satisfied)

She moves on to the weights teasing her dancers while they lift, singing:

Trying to hide it
It ain't gonna hurt, you're mine forever
Letting everybody know that we're together
Just as long as you are my heaven
(My heaven)
And boy I love you
'Cause tonight I'm missing you here beside me
Although I know it's gonna hurt me badly
Just as long as you are my heaven

This time, she squats quickly and gets back up in a rather suggestive manner, bending forward and tilting het legs as her torso slowly aligns with her legs, singing:

These eyes keep starin' way too much
Sayin I should take you up
Can't handle it no more,

She then proceeds to performing the official choreo for the song which consists of putting your left arm on your hip and leaning backwarss slightly, repeating three times. The next move consists of doing a wiggly motion with you left arm and right leg, and vice versa again slightly leaning back. Then you put your arms up hands pointing straight forward and kick slightly with your left leg for three beats and vice versa, ultimately facing the audience at the end and circling her arms around her in a barrel kind of movement turning around. She then repeats as she sings:

In love and in pain
You make me insane
And boy, you got me feelin' satisfied
(Ahhh, ahh, ah satisfied)
In love and in pain
(Loving and pain, baby)
You make me insane
(Make me insane, baby)
And boy, you got me feelin' satisfied
(Ahhh, ahh, ah satisfied)

She then gets ready to rap. She stands up and walks towards the audience, seductively surrounded by her dancers, rapping:

You the new style, with your fresh type of low
Lovin' you is hard, makin' some is no
Come through yo, I'm no longer solo
If you wanna let me go, boy I got news for you

Sort your sh*t out, overcomplicated b*tch
One second you're sweet, the next you're just one tired snitch
I'm done with all your super complex bullsh*t, I can't stand you no more
B*tch I motherf*cking quit
Listen up, nobody goes around and talks some sh*t
Comes back and thinks that we ain't gon know none of it
Intelligence, you ain't got none
Go to f*cking eBay, go on and get some, uh

As she gets ready for her high note, she stand up straight as her dancers are at her feet as she sings:

These eyes keep starin' way too much
Sayin I should take you up
Can't handle it no more,

She then repeats the same dance moves from the second chorus run, adding adlibs as she sings:

In love and in pain
(Loving and pain, baby)
You make me insane
(Make me insane, baby)
And boy (boy), you got me feelin' satisfied (you know you got me yeah)
(Ahhh, ahh, ah satisfied)
In love and in pain (lovin and pain, bae)
(Loving and pain, baby)
You make me insane (ooh baby)
(Make me insane, baby)
And boy (no, no), you got me feelin' satisfied (yeah yeah yeah yeah yeah)
(Ahhh, ahh, ah satisfied)

She prepares to rap one more time as pre recorded adlibs play and she squats:

You the new style, with your fresh type of low (ooh baby)
(Loving and pain, baby)
Lovin' you is hard, makin' some is no (ah ah ay)
(Make me insane, baby)
Come through yo, I'm no longer solo (ah nah ah ah ah ah)
(Ahhh, ahh, ah)
If you wanna let me go, boy I got news for you (ah ah ay, nah ah ah ah ah ah ah ah ay)
(Satisfied)

The performance ends with a great round of applause from the audience towards the Cesque singer, they adored her apparently, her sultry style and charm got them hooked! Ariana was truly satisfied with the performance, as the cameras zoom out of her smiling face, she said she was gonna serve killer vocals and she fulfilled her promise.

by **Gaciadia** » Tue Aug 21, 2018 10:50 am

#22 GACIADIA
MOMA - Breathe it out
Tune: Gryffin, Elley Duhé - Tie Me Down

The Plurinational Republic of Gaciadia is back in the WorldVision Song Contest! After an absence of more than 10 editions, the Gakiaulee TV (GTV) (Public Gaki Television) has decided to participate one more time in the competition.

This time not taking part in the contest has changed our vision of it. It's a great tool to close ties with our friendly, neighbour (and not so neighbour) allies, as well as to promote Gaki culture all around the multiverse.
We hope this returning edition will be excellent and maybe this time we get the points needed to be on the upper side of the scoreboard.
We feel pretty confident about our representative this year. A young, fresh face with a strong message that won't leave anybody unmoved.
- Maati Kouso, GTV delegate for Cultural Enviroment

GTV dropped out of the competition because of the lack of interest shown by the directives of the national TV station; but now, with a totally new board and a different mindset, the public channel has decided to take on the bus for WV, as people all over the country begged for years. Gakos have never stopped watching WorldVision, even if their country didn't take part, and hope that this will last long.

The artist: MOMA

Meikaa Stefanovic, also known as her artistic name, MOMA, is a gaki artist with Ceratov ancestry.
She was born 22 years ago in Aaraiaa. She, at an early age, started being interested in art, above all, painting. She was sent to a school focused on this discipline and at the age of 17 she was prematurely accepted in Aaraiaa Unibersitatea (University of Aaraiaa) to study Fine Arts.
As she finished her superior studies, Meikaa was already known by Aaraiaa's art connoisseurs and even several of her paintings were this played in a few Gaki fine arts museums.
Nonetheless, she was diagnosed with depression last year and, by this day, she has not recovered. She stopped painting and most of her artwork was destroyed by herself.
Meikaa saw WorldVision as an opportunity to gain the confidence she already had and to let everyone know what she feels everyday, every hour of her life

I like contrasts. I really do. And this song is just another example of it. A lively melody (with dark tones, of course) and a deep meaning. This was not unintentional: I tried showed how every depressed person tries to hide it, even though every single one of us knows it is bad.
So... upbeat melody with a deeper meaning, like us. Thank you for listening.
- MOMA

After Gaki postcard is shown on TV, the performance starts. Before the music begins, nothing can really be seen because of the general darkness in the stage.
As the first notes are heard, little lights twinkle in the background, following the sound of the beat. With this dim light, MOMA can be seen laying down on the stage’s floor, with 3 backup singers and dancers (all wearing black, from the tip of their heads to their toes, so they can't be recognizable), laying in the floor too, with her head close to MOMA’s. Their bodies are pointing to different directions, but Meikaa being the special focus in the performance.
For TV viewers, the camera is pointing to all of their faces from the ceiling, slowly getting closer to MOMA’s face as she sings, leading, eventually, only to Meikaa’s face to be shown in TV.

Help me, I'm drowning in a gloomy sea
Horizon is beyond what I can see
Between gems and gold, a layer that's pretty thin
Thinking that this is the deeper anyone has ever been

As she stops singing for a brief period of time, the 3 dancers stand up. They line up, looking at the audience, with MOMA's body still on the floor, stomach up and with her right side shown to the people in the arena.
Firstly, they do nothing, but, with sharp movements start leaning to MOMA, now looking at her but still lined up, as if they wanted to scare her.
The illumination of the stage doesn't change too much. The only thing worth to be mentioned is that now MOMA is under a spotlight coming from straight above, without any kind of inclination. She is the most recognizable thing on the stage, with the dancers being left much darker.
For the TV audience, the camera changes sharply the shot, from focusing on MOMA's face, to a general frontal view of the stage, with no movement of the camera at all

Lights and shadows blind me again
No matter how much do I try
A dark glitter and tears heavy blend
Under it, don't sound my cry

Just before Meikaa stops singing, she starts slowly standing up. While she is done singing, she is completely straight, standing still. She cover both of her ears with her hands (as she has a small, wireless electret microphone taped onto her cheek) and with her eyes closed.
Dancers go behind her and put their hands up in the air. Then, they start moving them sharply, as if they were angry.
In TV, the camera doesn't change the shot, only start zooming into the scene of them four.
Talking about the illumination, now all of them are illuminated equally.

Breathe it in
Breathe it out
I don't know if I can survive
No one can see I'm this down
This is eating me alive
My life was in colour before this big blur
Colourless, Colourless
And breathe it - breathe it out
And breathe it - breathe it out
No one hears me shout
Under all these doubts

Now that the chorus has ended, they abruptly separate (as if there were a bomb in between them) - dancers to one side and MOMA to the other, now facing each other. The dancers are walking at the sound of the music, giving a step every time the music beats (more or less at the end of each sentence). MOMA is looking at the ground, not really worried. In fact, no emotion has been seen in MOMA's face since the beginning of the performance.
The dancers are a little bit more illuminated than Meikaa this time.
For TV viewers, every time the dancers give a step, the shot changes between a general view of the stage, a frontal view of the dancers approaching MOMA, a frontal view of her looking at the floor and a cenital shot of the stage.

Don't leave, the vast inside of me
There are monsters haunting in between
Run and run, as fast as I can be
Don't worry, they're not after thee

The dancers now surround her, standing on their top toes to seem bigger, with MOMA on the center of them.
The shot for the TV is a general shot of the stage, with all of them at the right of the screen.

Lights and shadows blind me again
No matter how much do I try
A dark glitter and tears heavy blend
Under it, don't sound my cry

She slowly walk through them, in order to go to the center of the stage. They follow her very slowly, walking on their tiptoes.
The lights now illuminate so much the dancers that MOMA can barely be seen. All we can see is her silhouette.
For TV audience, the camera is in the same position as before, nothing has really changed.
When they arrive the center of the stage, they stay behind her.

Breathe it in
Breathe it out
I don't know if I can survive
No one can see I'm this down
This is eating me alive
My life was in colour before this big blur
Colourless, Colourless
And breathe it - breathe it out
And breathe it - breathe it out
No one hears me shout
Under all these doubts

Now, a 3/4, medium-high angle shot of MOMA is seen, with the dancers behing, that because of the kind of shot, seem very big. They are the only thing illuminated in the stage, and MOMA is only a dark shadow in front of them.
They start approaching to her

I'm tired of looking through a lens - and to be ashamed of what I sense
Nut whenever I try I also fall. I raise my hand asking for help. Lonely soul

Two dancers take her by the arms, and the other slowly touches her face. They start putting her down, trying to lie her down.
As the action occurs in the stage, the camera slowly moves from the last position to a cenital shot, all the way up in the ceiling

Lights and shadows blind me again
No matter how much do I try
A dark glitter and tears heavy blend
Under it, don't sound my cry

In the final chorus, the dancers hold her back to the ground, one holding her right arms, other, her left arm and the last one, both of his legs.
A tear can be seen rolling down her face.
As she sing, lights become dimmer and dimmer to a point where the light is so low that we can only understand MOMA’s face silhoutte
From the TV we can see a cenital shot, like the beginning of the song, slowly focusing on her broken, wet (from sweat and tears) face.

Breathe it in
Breathe it out
I don't know if I can survive
No one can see I'm this down
This is eating me alive
My life was in colour before this big blur
Colourless, Colourless
And breathe it - breathe it out
And breathe it - breathe it out
No one hears me shout
Under all these doubts

The 67th Worldvision Song Contest (Örkemdrem, Darkmania) IC

The 67th Worldvision Song Contest (Örkemdrem, Darkmania) IC

07 | Estogium | Jakob Fletcher - Underestimated

Interval Act 1 ("Motto") [-WIPing-]

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