Worldvision 70 - Ylfa, Talvezout

[Talvezout]

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OOC THREAD | HOST BID

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It had been a long while since Worldvision had came to Talvezout. While the archipelago nation has never won Worldvision, they have hosted Worldvision before - 3 times in fact. The contest has came to every corner of Talvezout - the warm Mediterranean climate of Yaru-Bzheriut, the tropical balminess of Phoda, and the cozy permanent winter of Ylfa. This time around, Ylfa was selected as the host city once more. In addition to it being the capital of Talvezout, the city still had a lot of infrastructure in place from Worldvision 62, allowing TRT to save money while giving a good show.

Thousands of fans would be filtering into the stadium, which would have a giant clock counting down the minutes until the contest would start. The orchestra would be tuning their instruments as the fans would be counting down, starting at 10 minutes. As each minute passed, more and more lights would start pulsing in the stadium, with the bracelets passed out to everyone in there pulsing in rhythm. When the clock reached 0:00, pyrotechnics would go off in the stadium, as the giant clock would descend on stage and open up, revealing the hostess with the mostess, Ylfa Lloviendo, wearing a 30 pound/14 kilo dress made of turquoise porcelain pieces, alongside 3 necklaces made of pearls and glass. The dress would shimmer and sparkle in the glare of a thousand lights as she got ready to perform.

Ylfa Lloviendo: "Welcome one, welcome all, to Worldvision 70, being held here in the lovely islands of Talvezout! Are you ready to party?"

The stadium would roar with delight as the opening number began.

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OPENING NUMBER
"IT'S NOT WORLDVISION WITHOUT YOU"

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Ms. Lloviendo would start dancing with a group of dancers all dressed in the colors of every performing nation. As more and more dancers would fill the stage, Lloviendo would be suddenly raised up by a bunch of wires.

Oh baby
You know that
It's not Worldvision without you
Love will
Bring us all together
It feels so good
We know that
It's not Worldvision without you

As Lloviendo would fly over the audience, the dancers onstage would be joined by the artists themselves. It would turn into a major party onstage, with everyone haviing a great time. The fans would also be having fun too, as there would be dancing and singing.

Love shall
Unite us forever
Oh baby
You know that
It's not Worldvision without you
Love shall
Unite us forever
It feels so good
We know that
It's not Worldvision without you

As the party continued onstage, a hooded figure would suddenly appear onstage. Whilst unnoticed among all of the revelry, the music would suddenly stop as the figure would step to the forefront.

Music will
Bring us truly together
Oh baby
You know that
It's not Worldvision without you
Love shall
Unite us forever
It feels so good
We know that
It's not Worldvision without you

The figure would take off their hood, revealing themselves to be no one other but Talvezout's entry from the first time they hosted Worldvision back in Worldvision, Sunny Siracauso. The second part of the opening act would start as Lloviendo would slowly return to the stage. A horn ensemble would suddenly descend from the rafters, adding to the great party atmosphere on stage.

"YOU"

Sunny would drop the hood for a simple, but tasteful pantsuit.

It's crazy how it's all finally happening
Got so many nations here it's popping
And it's just starting can't wait to get running
You can't even control the way your feet are going
It's such a funny thing for me to try to explain
All the groove and the partying is to blame
I just hope you understand
That this party ain't great until you can

The horn ensemble would go out onto the catwalk of the stage, as Siracauso would follow them. Lloviendo would touch down near her and join in the singing and dancing

Got us looking so crazy right now, the music
Got us looking so crazy right now (in love)
Got you looking so crazy right now, the songs
Got me looking so crazy right now (the songs)
Got you hoping we'll finally start now, start now
Got me hoping we'll finally start now
Looking so crazy in love's
Got us looking, got you looking so crazy for this

Uh oh, uh oh, uh oh, oh, no, no
Uh oh, uh oh, uh oh, oh, no, no
Uh oh, uh oh, uh oh, oh, no, no
Uh oh, uh oh, uh oh, oh, no, no

All of the performers would be joining them on the catwalk before everyone - hosts, performers, dancers, horns - would join the big part happening in the audience. Lights, smoke, and pyrotechnics would be going off, and everyone would be having a great time.

When I talk to my friends so quietly
Just what the hell is happening?
Tennis shoes, don't even need to buy a new dress
If you ain't there, ain't nobody else to impress
Because we can't have a party without you
it just doesn't feel right that's true
I just hope you understand
That this party ain't great until you can

Got us looking so crazy right now, the music
Got us looking so crazy right now (in love)
Got you looking so crazy right now, the songs
Got me looking so crazy right now (the songs)
Got you hoping we'll finally start now, start now
Got me hoping we'll finally start now
Looking so crazy in love's
Got us looking, got you looking so crazy for this

The song would stop, with Lloviendo and Siracauso being held up by the audience. They would make their way to a small platform in the middle of the crowd.

Sunny Siracauso: "I bet you all weren't expecting that huh? Well now that we're all settled, I think we're ready to finally start. Ms. Lloviendo, what do you think?"
Ylfa Lloviendo: 'Ready when you are hun!"

A button would appear in front of the duo.

Together:"LET WORLDVISION 70 BEGIN!!!!!

They would both press the button, igniting a ton of pyrotechnics on the outside of the stadium, as well as around the stage.

[Talvezout]

ORDER OF COMPETITORS

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01 - MAIN NATION MINISTRY
02 - ARDOKI
03 - BESEN
04 - KISHRAEL
05 - AXUVA
06 - ANTAHBRANTAHSTAN
07 - ADAB
08 - KALOSIA
09 - VARTUGIA
10 - ETHANE
11 - SYRCHE
12 - MISTER X
13 - PAN-ASIATIC STATES
14 - HLHATA STATES
15 - NORMANDY & PICARDY
16 - POLKOPIA
17 - SAVIERA
18 - TALVEZOUT
19 - THESE AMERICAN STATES
20 - ESTOGIUM
21 - NEKONI
22 - IZMEDU

[Indo States]

Overtime, The WV/WHF Show in RTV! | Episode 1 Series 2

Nick: Next at Overtime! Indo States and Even Western Edeltia was Been Disqualified? Huh? We can Only Comment but Edeltia become Reunification from East and West even Canton Oblast.. At The Overtime Commentary, There is no Specific Reasons no Entries are in IC.

(Star of Intro of Segment: The Overtime Commentary)
Man in Intro: It's time to...... COMMENT IN THE OVERTIME COMMENTARY!
(End of Intro of Segment; The Overtime Commentary)

Joey: It is Time to Watch the Opening Number but.... We've Know i Watched it.
Nick: It's not Worldvision without you. It is Good for Anthem of Worldvision!

Nick: Since We've Waiting for WV70. Thank you For Watching!

[Main Nation Ministry]

01 - Main Nation Ministry

The Leader - To Fantasize

Tune: Scissor Sisters - I Can't Decide
Language - English

Pictured above: The Leader (He's back, boys and girls)

Background: After the Leader's performance back in WV68, he has been planning on getting back in the spotlight, seeing how he realized he had more potential than he imagined. After getting out his pen and paper to write some more songs, he decided to plan what he calls a "publicity stunt" with some citizens of his own nation to be a part of the performance. With a series of anonymous phone calls, some raffle winners, a fake elevator, and a cane to dance with, the Leader got himself to work with a performance, which he admits is "borderline self-aware".

Before the Performance:
"Patriotic Paints, how may I help you?"
"..."
"I'm sorry?"
"..."
"Who is this?"

"Is this for a season of DoubleThink?"
"..."
"No?"
"..."
"You want me to go where?"

"Is this a joke from the Ministry of Education?"
"..."
"What does you mean, this doesn't have to do with my book?"
"..."
"Not a fan gathering either?"

"What does this have to do with my son?"
"..."
"I need to arrive as well?"
"..."
"What for?"

"Alright, I come."
"..."
"I bring my uniform, also."
"..."
"You pay for these plane tickets?"

Setting up some hidden cameras near the outside of Laugardalshöll, the performance starts with showing the footage of the raffle winners arriving at the entrance to the stadium, where a soldier disguised as a tour guide leads them inside. Taking them to an elevator pass the front doors, all 6 raffle winners are led inside where the doors close. Inside, one of them presses on the buttons to get the elevator to go inside, which gives no response. Slamming a fist above the buttons to get the elevator to work, the buttons immediately fall to the floor, revealing they were simply stick-on wall attachments, much to the raffle winner's confusion and bewilderment. Outside, two soldiers from the nation arrive and with some manpower, pull the elevator away from the wall from where it revealed it was simply a box shaped like an elevator to which they take to the backstage for the performance.

Performance:

The performance starts with the elevator being positioned at the center of the stage, where with some controls, the elevator doors open, letting out the raffle winners in confusion. Immediately surprised to see they appeared in front of a large crowd of people, they started making questions, until a spotlight was cast on a man strapped to an angled gurney with both of his hands handcuffed and a gag over his mouth. "This isn't DoubleSpeak, what is this?" one of the raffle winners yelled out loud. "Care to find out?" a familiar voice said, as the Leader arrived in view behind the group from the right of the elevator with a large cane. "W-what? What is this?" one of them asks, where the Leader had the music start playing.

Sometimes...The death rates are always rising
Disappearances without a trace
With a twist of being commonplace

One of the raffle winners attempted to walk past the Leader, only for them to be blocked by his cane, where he grins in response.

The pressure is already rising
Filthy traitors doing some treason
Maybe it is just that type of season

Another attempted to back away from the group, only for them to be surprised by a pyrotechnic of sparks that shoots up in the air, in front of them. The Leader grabs the bottom of the cane to wrap the handle around the neck of the handcuffed man to draw him closer to him. Making sure the man was looking at them, the Leader proceeded to sing the next set of lyrics towards him.

The power is coming once again
Can't simply just resist it
Though as I look you into your eyes
I just got to admit

Someone from backstage tosses the Leader a top hat, which he catches. Putting it on, he proceed to dance with the cane, while singing the chorus. All the while addressing the lyrics towards the handcuffed man, who is eventually revealed to be a traitor to the audience and raffle winners with their expressions showing them uncomfortable.

To fantasize
About your cold sad demise
Well, it's something really morbid
It's nothing personal there, kid
Though to forbid
That you would be terrified
Knowing this is all justified
Get the gun with chambers of silver
You will surely die

The Leader's attention draws back to the raffle winners, where they immediately show worry when he notices them. Nevertheless, the Leader walks towards with his cane.

To know that, tourists are not fond of me
Seeing blood on my delicate hands
Even when no one really understands

The Leader takes interest in the younger of the raffle winners, where the father attempts to shield him, only for the Leader to pull out a seemingly real pistol. Unfazed by this, he continues singing.

Life is always a bitch when you plea
Makes my job a little harder
Yet I'm filled with nothing but ardor

Grabbing the bottom of the cane to use the handle to pull the kid closer to him, the Leader points the pistol directly at the kid, where the father shows immediate concern before being held back by the other raffle winners in fear. Having a malicious grin on his face, the Leader proceeds to address the set of lyrics to the kid.

This is the day when you end
Being a message which you will send

I could have taken you to the gallous
But I receiving all types of malice

The Leader pulls the trigger to reveal... a spout of water emerging from the muzzle and spraying his hostage in the chest. Letting the kid loose, where he runs back to his father, the Leader let out a laugh where he proceeds to dance and sing to the chorus.

To fantasize
About your cold sad demise
Well, it's something really morbid
It's nothing personal there, kid
Though to forbid
That you would be terrified
Knowing this is all justified
Get the gun with chambers of silver
You will surely die

Letting the raffle winners run off the stage, he focuses his attention back to the traitor in the gurney, where he kicks the gurney to move in front of the elevator, where the doors are still open.

You could get a lethal injection
With extreme prejudice and perfection
Things that can happen could be worse

You can wake up knowing
That your head has began rolling
With me at my blood-stained boot
Seeing how

Using his cane as a club, he swings at the gurney which when hit, goes flying into the elevator, where the Leader proceeded to sing directly at the audience, while still dancing.

To fantasize
About your cold sad demise
Well, it's something really morbid
It's nothing personal there, kid
Though to forbid
That you would be terrified
Knowing this is all justified
Get the gun with chambers of silver
You will surely die

Taking his hat off and tossing it to the people in the audience, the Leader enters the elevator with a more murderous grin on his face. Pressing a button on the cane, a blade emerges from the tip, revealing the cane was disguised as an actual weapon. The traitor in the gurney looks nervous, while the Leader waves to the audience, as the elevator doors close.

[Ardoki]

Alistair Killian Moriarty, the Grand Emperor of the Ardokians, had thought of doing a Christmas themed song for this year's WorldVision. However, he had his annual Christmas party to plan, so quickly jotted down a new song on the plane to Talvezout. Sitting next to his Minister of Defence, Deirdre Immaculata O'Reilly. Despite her petite appearnance and high-pitched speaking voice, the Minister had a deep bass singing voice. As demonstrated in her first ever appearance in WorldVision where she increased Ardoki's positioning, after Moriarty's second last placing the edition prior.

02 — ARDOKI
Alistair Killian Moriarty (Feat. Deirdre Immaculata O'Reilly) - Vote 12!
Tune: A.R. Rahman, The Pussycat Dolls - Jai Ho

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Alistair Killian Moriarty, Grand Emperor of the Ardokians (left); Deirdre Immaculata O'Reilly, Minister of Defence (centre); Elder Dance Crew (right)

The stage was dark. The instantly recognisable silhouettes of the Grand Emperor, Minister of Defence, and Elder Dance Crew (who were arrayed on the wings of the stage) were visible against the faint light coming from the back of the stage.

As the music started, the more lights came on to focus on the performers.

The Minister of Defence then shouted in her bass singing voice, as Elder Dance Crew started waving their arms up and down while slightly sidestepping to the left and right.

Vote 12!
Vote 12!

The Grand Emperor then began to sing as he walked forwards on the stage, flanked to his left by the Minister of Defence with EDC slowly coming up behind on the two flanks.

I need, your votes
For my self-esteem
'Cause if you don't
I'll never stop
I'll just come back next year

The Minister of Defence then began her little chant once more, slightly bending over forwards with her right hand over her heart and the other open-palmed out to the audience to demonstrate the sincerity of her humble request.

Vote 12!
Vote 12!

The Grand Emperor then began the next part of the verse, walking forwards with more of a spring in his step and a big welcoming smile on his face.

I have, Elders, at my beck and call
My singing and their dancing will,
Will leave you all in awe
(Vote 12!) I seized control of Ardoki to spread my music
(Vote 12!) I will conquer the whole world to just win WorldVision

The Grand Emperor then began to sing his chorus, interspersed with more heartfelt requests from the Minister of Defence. Elder Dance Crew on the flanks appeared to grow several extra sets of arms, and began to perform a spectacular choreographed dance sequence with their new limbs. The Grand Emperor was also taking part in this synchronised dance sequence, and managed to keep up despite only possessing two arms.

(Vote 12!) I am the God of Song and Dance
(Vote 12!) An entire empire mobilised
(Vote 12!) This is my destiny!
Vote 12! Twe-twe-twe-elve

(Vote 12!) There is no singer who can rival me
(Vote 12!) Who is there to vote for but me
(Vote 12!) Phones out and vote for me
Vote 12!

Phones out, phones out, phones out, get your phones out
I want your votes
You can give me twelve points, give me twelve points
I need your votes
My empire is eternal, yes eternal
You will submit
To my benevolent rule
You will prosper in peace

Elder Dance Crew's extra arms disappeared, as the Minister of Defence just had to request another twelve points.

Vote 12!

The Grand Emperor began another verse, just as a whole legion of Elders appeared in the aisles.

(Vote 12!) Take your (take your) phones out (phones out)
Give me your twelve points
Who deserves this win? Oh only me
70 might be my chance

The Elders in the aisles started handing out pre-paid sims, so people in the audience would have no excuse for not voting.

Vote 12!
Oh yeah
Vote 12
Oh yeah

The Elders in the aisles also started handing about copious amounts of rum, to try and lower peoples inhibitions so they would be more likely to vote correctly.

Yo ho (yo ho) yo ho (yo ho)
And a bottle of rum
I have heaps of alochol
If you vote twelve points for me
(Vote 12!) Just keep drinking, yes drink it down
(Vote 12!) Now just vote for me again and again

The Grand Emperor then began to sing his chorus, interspersed with more heartfelt requests from the Minister of Defence. Elder Dance Crew on the flanks, and also in the aisles this time, appeared to grow several extra sets of arms, and began to perform a spectacular choreographed dance sequence with their new limbs. The Grand Emperor was also taking part in this synchronised dance sequence, and managed to keep up despite only possessing two arms.

(Vote 12!) I am the God of Song and Dance
(Vote 12!) An entire empire mobilised
(Vote 12!) This is my destiny!
Vote 12! Twe-twe-twe-elve

(Vote 12!) There is no singer who can rival me
(Vote 12!) Who is there to vote for but me
(Vote 12!) Phones out and vote for me
Vote 12! (This is my destiny!)

Phones out, phones out, phones out, get your phones out
I want your votes
You can give me twelve points, give me twelve points
I need your votes
My empire is eternal, yes eternal
You will submit
To my benevolent rule
You will prosper in peace

Giant drums appeared on the stage, with Elders proceeding to bang on them with big drum sticks.

Vote 12!
Oh yeah
Vote 12
Oh yeah
(Vote 12!) You better vote, for me
(Vote 12!) Or else, insert generic evil threat

The Grand Emperor then began to sing his chorus, interspersed with more heartfelt requests from the Minister of Defence. Elder Dance Crew on the flanks appeared to grow several extra sets of arms, and began to perform a spectacular choreographed dance sequence with their new limbs. The Grand Emperor was also taking part in this synchronised dance sequence, and managed to keep up despite only possessing two arms.

(Vote 12!) I am the God of Song and Dance
(Vote 12!) An entire empire mobilised
(Vote 12!) This is my destiny!
Vote 12! Twe-twe-twe-elve

(Vote 12!) There is no singer who can rival me
(Vote 12!) Who is there to vote for but me
(Vote 12!) Phones out and vote for me
Vote 12! (This is my destiny!)

The Grand Emperor, the Minister of Defence, and Elder Dance Crew started jumping on the stage. Higher, and higher, and higher, until... the song stopped and they froze in the air in a star jump pose. They then slowly descended to the ground after the song finished,

Vote 12!
Ardoki, Ardoki!
Ardoki, Ardoki!
Vote 12!
Ardoki, Ardoki!
Vote 12!

[Besen]

03 | BESEN
Lori - Tempo
Tune

Lori Stevans was chosen fairly recently to stage a comeback from Besen at WorldVision. Her song, 'Tempo', is written by Noel Indifer, Erica Rodman and Jaison Melido. It is produced by Faie Colen.

Stepping out to the cheering crowds in a tight pink crop top, Lori embraces the scene. Around her, the screens display a pinkish/purple mist which translates onto the real stage. There is a relatively big cylinder structure in the middle, which she walks up to, standing beside it. It switches colours with each part of the song (Grey-blue-pink). When the song begins, she rhymically slides to the other side of the structure, leaning towards it. Three dancers enter in all black, sort of fitting into the image of it all. They all crowd around her. As if someone is smoking, the LED smoke shivers up and down.

I am wondering what you're trying to find
Read your lips, yeah, I hope you don't mind
Breathing down my neck, scares me everytime
Oh, I'm feeling, I'm feeling, I'm feeling
Coming closer and my mouth- it don't speak
Desire left me not able to sleep
I could be honest, what I want, not yet, boy
I'm dreaming, I'm dreaming, I'm dreaming​

In the position to belt the chorus, a pyramid formation is formed between the four figures on stage. A close up shot follows every movement- as Lori glazes into it, hands out. The sudden change from that dark pink to bright blue brings the whole scene to life. Everything can be seen with precise detail. The dancers shift and swerve between each other, almost shrinking into the back.

Can you feel the tempo?
'Cause I'm not one to chase ya
Gonna dream until I fall
Not sure I really need ya
Can you feel the tempo?
'Cause I'm not one to chase ya
Gonna dream until I fall
'Cause I don't really need ya​

Every light flashes pink/blue, pink/blue. Pulsating and grooving to the beat, Lori remains front and center, while the dancers perform a complex routine to the sides. Misty darkness consumes the surface. It's almost as though the whole arena is beating like a heart.

Feel-the-tempo
T-t-tempo-o-o
Feel-the-tempo
T-t-tempo-o-o
Feel-the-tempo
T-t-tempo-o-o
Feel-the-tempo
T-t-tempo-o-o

The female dancer of the three steps out from the formation and joins Lori at the front where they engage in a duo performance. Lori crouches on the floor, and the girl strokes her hair gently. The rush of blue ends and returns to the hot pink once present, when the second chorus erupts into sound.

Holding hands, but I want to sin
Is it me or is it the state that we're in?
You only want me 'cause I give you everything
Yeah, I'm dealing, I'm feeling, I'm feeling

Lori's powerful vocal fills every space in the arena and the pulsating rhythm of the beat continues throughout, unlike the first chorus. The colours quickly swap between one and other, creating an stunning aurora of lights. Each dancer takes turns to slide back behind the cylinder object, invisible to the camera, which swings around for a wide shot.

Can you feel the tempo?
'Cause I'm not one to chase ya
Gonna dream until I fall
Not sure I really need ya
Can you feel the tempo?
'Cause I'm not one to chase ya
Gonna dream until I fall
'Cause I don't really need ya (I am deadly, I am deadly-y-y)

Bouncing palpitations continue to occur, but it is amplified by the center structure beginning to enlarge, it widens inside of itself, leaving the impression of a door-like mechanism. Lori slides over to this scene, she enters it with one hand on it's still widening side. It glows a beautiful rose.

Drink and drink, until we ache
It's the way of life
Drink and drink, until we fake
Is what we wanna say
Drink and drink, until we die
I ain't gonna lie, boy, now don't you cry (Oh)
Drink and drink, until we ache
It's the way of life (Way of life)
Drink and drink, until we fake
Is what we wanna say
Drink and drink, until we die (Oh-oh)
I ain't gonna lie, boy, now don't you cry (Oh)

The booming explosion of everything on stage makes the close-up shot a manic wonderland. The space is full, with either pyrotechnics, the passionate dancing or the dramatic performance of Lori herself. She gives her all in the final stretch of the song, interacting with the camera the most.

(Can you feel the tempo?) Drink and drink, until we ache
It's the way of life
Drink and drink, until we fake
Is what we wanna say
('Cause I'm not one to chase ya) Drink and drink, until we die
I ain't gonna lie, boy, now don't you cry (Oh)

The lights dim. The dancers firm. The mechanism folds back into it's original state. All that is left to focus on is Lori's passion, she gives a final glimpse to the audience out in front of her. The wide shot conveys the sudden peace of the stage, merely a woman on stage.

Can you keep this tempo-o-o?
'Cause I'm not gonna chase ya
Gonna dream and I’ll fall
See, I don’t really need ya

"Thank you, so, so much. I love you, Ylfa!"​

​
​

[Kishrael]

. : 04 - Kishrael - كشرائيل - כשראל : .
SambuCCA - Ba Li Otkha (I Feel Like You)
סמבוקה - בא לי אותך
Language: English, Hebrew
To the Tune Of - The Saturdays - What About Us?

Kishraeli girl group SambuCCa (also their performance outfits, coincidentally). were internally selected to perform for Kishrael's return to the WorldVision in Ylfa, Talvezout as part of an internal selection. Originally chosen to represent Kishrael at the World Hit Festival in Polumsiec, Izmedu, the broadcaster withdraw due to lack of certainty in funding for the upcoming year. SambuCCA were eventually given the opportunity to perform on an even bigger stage however, as HARESHET selected them internally to perform at WorldVision. Despite their original disappointment, the group are in high spirits heading into the contest, excited to perform their song to a larger audience - further, their genre is likely to be better received by the audiences of WorldVision than that of the World Hit Festival. SambuCCA are a Kishraeli group drawn from across the country and representing the modern face of Kishrael. The band consists of five girls, three Jewish, one Arab and one Phoenigetuzsthan. Although originally created and manufactured by the record label, they have grown into their own and represent a strong force in the Kishraeli music scene. Prior to the contest "Ba Li Otkha" had already peaked at 1# in the Kishraeli charts - unprecedented for a contest song and harking back to the times of old when Kishrael regularly competed in the upper echelons of the scoreboard. Fluctuating inside the top 10, the week of the contest the song once again peaked at 1#, with a Gold certification signifying 15,000 units streamed or sold domestically. Momentum was with the girls as they head into the contest, but whether this would produce a good result only time would tell, and of course the performance on the night would play a big role in this.

The girls had been enjoying the promotional events around Ylfa in the week before the contest. Ylfa was certainly not big, and it was this quaintness that they enjoyed, especially those from the band that did not come from Rakaphy, but their focus was mainly on rehearsals, which had been going well. The arena was slightly shoddy, but the interior was spectacular, and it would be one of the biggest indoor live events that SambuCCA had performed in, and by the far the biggest international audience.

It was the time for Kishrael to return to the WorldVision, and performing in 4th was SambuCCa. The girls were ready, and as the audience cheers died down after the Kishraeli postcard they readied themselves. As the first beats of the song rang out, the circular light display started spinning with colour in time with the music, in various colours of the rainbow, one colour for each girl. A pink spotlight shone over Aria Ktana, as she opened the song. The camera looked at her from above, obscuring everything save a silhouette. Aria sang the first line, with everyone else singing the second.

Every day is the same, so what did you think that’s changed?
Every day is the same, so what did you think that’s changed?

After this part of the song was over, the stage burst into bright and warm summery colours. Light blues and deep oranges swirled around the stage as the rest of the girls were revealed. The next girl Yona Begrou began singing the start of the first verse. The girls were in a chevron shape, with each of them moving to the front when their part of the song came up to be sung.

If I keep staying in bed, I think I’m gonna’ die
At the mirror I dress, say to myself again
“Come on girl dance, it doesn’t matter with who”
But really I’m not ready to forget you

As the prechorus started, a new girl Rina Hausdorff stepped forward to sing it. She marched the girls in the chevron formation to one side of the stage, pointing to where she was going to stand. As she was singing the stage had white electric pulses breaking up the warm tones and colours. This scene was shot with cameras from the front predominantly.

Listen to me, I don’t need permission
I know what you need, and you for me too

For the start of the chorus, Aria led the girls to the stairs on the stage. They all sat in neat formation and began jamming in time to the music, the other girls acting as vocal support for Aria. Then as the chorus progressed to the "na na na na" section, Aria jumped, skipped and moved down the stage to the circular platform. The other girls followed her in a careful confusion - choreographed deliberately to make it look like they were naturally having fun, they took over the "na na na na" parts. Rina sang the final "Ba Li Otkha" before they continued into the next part of the song.

Let’s ride the storm solo
And make the rest of them follow, and they’ll follow
בא לי אותך
Running circles in neon lights
Let the painted summer shine bright, and it shines
בא לי אותך
Cause you’re making me feel like – na na na na
Every day and every night – na na na na
In the dark you shine so bright - na na na na
בא לי אותך

Reaching the podium in the centre of the stage, Aria sung the first line of the next part, with everyone else singing the second. Then Gal Dahan took over the next part of the song. She sidled to the front in a nice sleek way, as the girls dropped it lower around her and whipped their hair. Gal flirted with the camera, touching and whipping her hair also. As she sings "Dim the lights around us", the stage got darker for a brief moment, eliciting a small cheer from the crowd.

Every day is the same, so what did you think that’s changed?
Every day is the same, so what did you think that’s changed?
When you see the flicker
Dim the lights around us, I keep running reckless
You’re my heavy hitter
‘Cause when the wire’s tripping, swimming pools of something
Now I’m in control, yes, I’m in con-

All the girls spring up with a strong triangular gate, hands on their hips, apart from the final girl to sing a solo, Taliya Chityat. She begins to lead the girls back to the main stage, as the stage lights from above begin flashing multicoloured in order of the girls according to specific beats in the music. This time as they walk it is more ordered, and they stop just before the chorus. Taliya turns her head round and winks at the camera, before the girls break into a more loose formation as they get ready for the chorus.

So listen to me, I don’t need permission
I know what you need, and you for me too

This chorus was less controlled, as the girls bounce around the stage, camera shots from below making them look super tall, while from the front shows how each girl is interacting with a different part of the audience. As the chorus end they begin to close in for the bridge of the song.

Let’s ride the storm solo
And make the rest of them follow, and they’ll follow
בא לי אותך
Running circles in neon lights
Let the painted summer shine bright, and it shines
בא לי אותך
Cause you’re making me feel like – na na na na
Every day and every night – na na na na
In the dark you shine so bright - na na na na
בא לי אותך

The girls then get into formation for the bridge. They begin doing a dance routine, with a lot of stomping and arm movements, repeating the title phrase of the song. As the chorus starts again, but at a lower pace than the previous ones, they all walk forward somewhat seductively - Aria takes the lead on this part, but the girls in the background are harmonising too, and they sing "Ba Li Otkha".

בא לי אותך-ך-ך-ך x 3
Let’s ride the storm solo
And make the rest of them follow, and they’ll follow
בא לי אותך
Running circles in neon lights
Let the painted summer shine bright, and it shines
בא לי אותך

The final chorus starts now, and the girls explode with energy on the stage, bouncing as they sing. For this part there is clear help from unseen backing vocalists. Shots of the crowd, likely Kishraeli show them dancing and singing along to the song, creating a party atmosphere that the stage directors for Kishrael wanted. Further, sparks and fire shoot from the stage during the "na na na na", emphasising the energetic nature of this part of the performance.

Cause you’re making me feel like – na na na na
Every day and every night – na na na na
In the dark you shine so bright - na na na na
בא לי אותך
Let me take the lead – na na na na
It’s to be believed – na na na na
We can supersede – na na na na
And I feel like you…

Finishing on a high, sparks shoot out from the stage, and the audience cheered. Visibly out of breath, the girls end the song posing on each other. Smiling after their performance, they're tired, but relieved. They breathe heavily into the microphone as they shout "Thank you world, thank you!". They then jog off the stage to make way for the next performance, with the hopes of Kishraeli music fans weighing on their shoulders.

[Axuva]

axuva





https://www.youtube.com/watch?v=GfCqMv--ncA


alana ji choel and ezcani



What, is it about us?
Nothing can break away this best defining love
I’ll do it all for you (All)
I’ll do it all for you (all)

And baby the love is ours and we cant let go
Our love cant be broken
Our love cant be broken
Our love cant be broken
Our love cant be broken
And baby the love is ours and we cant let go
Our love cant be broken
Our love cant be broken
Our love cant be broken

Do you know what you do to me
The love is ours and I just be feeling
Even when we’re going through pain nothing can tear through it
Love is needed in the world today
People take it for granted now look at our planet
The world isnt even competent
In being able to cooperate when the world is going through some trouble today
This is our final battle
Dont even tell me otherwise yo
The worlds in war
People falling, People dying
Bitch aint nothing else even important
But when people wanna bring change to earth
People wanna act silent
Being all bigoted
And they wanna be in everybodies business
On god, I’m telling you people this


What, is it about us?
Nothing can break away this best defining love
I’ll do it all for you (All)
I’ll do it all for you (all)


And baby the love is ours and we cant let go
Our love cant be broken
Our love cant be broken
Our love cant be broken
Our love cant be broken
And baby the love is ours and we cant let go
Our love cant be broken
Our love cant be broken
Our love cant be broken



Love the reason
People feel like they belong for a reason
And you know that feeling
When you’re in love and you get chills up your spine
Baby nobody’s running away from it
Nobody can be wrong when it means loving
And we all know what it means when we ooooh yeah
My life has a reason
You can make me feel like being
We can love anytime of the day
Night, day and evening
We makin love to the sun sets
Baby love never dies and
You’ll realize, when our souls set sail to fly


What, is it about us?
Nothing can break away this best defining love
I’ll do it all for you (All)
I’ll do it all for you (all)




And baby the love is ours and we cant let go
Our love cant be broken
Our love cant be broken
Our love cant be broken
Our love cant be broken
And baby the love is ours and we cant let go
Our love cant be broken
Our love cant be broken
Our love cant be broken

[Antahbrantahstan]

6. ANTAHBRANTAHSTAN

Tomas Darwis-Pathetic

Tune: Trevor Moran-Sinner (0:21-)

m: Max Wlichka
l: Nicole Marino

---

After Yuliana's historic win in WV69, Anturians are wondering whether or not their next entrant will bag another trophy, or, at least make it into top 5, with RR's internal selection somewhat working last edition, RR doesn't want to go back towards selecting their entrant internally again, as they wanted the public to at least see how the entry is selected.

RR decided to select their entry by the annual LCLN (Lomba Cipta Lagu Nasional, lit. National Songwriting Competition), an annual competition where aspiring songwriters submit their songs towards RR, wherein 10 songs will be chosen to take part in LCLN, and afterwards, an assigned singer (usually RR's choice, however, it's not unusual to see artists personally calling RR to pick the song they want to sing), will interpret the songs in front of a live audience and judging panel, wherein the judging panel will judge the songs afterwards.

"Pathetic" was one of the 10 songs chosen, however, many artists refused to sing the song, mainly due to it's intensity and edginess, until RR contacted Tomas Darwis. Tomas himself is a The Voice Anta winner, being one of the most famous singers in Antahbrantahstan, he accepted RR's invitation to sing, which, in turn, caused him to win LCLN, alongside the songwriters, Max and Nicole.

Tomas, while usually living in seclusion and releasing music once in a while, said that the song resonates deep within his soul, which, in part, is because of Nicole's life story was basically the song's lyrics. "I honestly don't know if it is because of the intensity? the anger? I think this is one of the most stressful song recording that i have ever done. Being an introvert, i totally relate with Nicole's lyrics, while Max's edgy, powerful instrumentals is the cherry on top." said Tomas, "I guess you can hear all the anger that i've bottled up in there, and well, maybe after this, i'll probably smile more, so that my fans can stop asking why i'm pouting in almost all of my photoshoots" he laughs, Tomas also added a note on his staging, "I brought along two guys from FOUR, Theo and Evan, to dance with me, they have been my greatest friends ever since we studied in the same music school and i think as they're hella famous now in Antahbrantahstan, i need to involve them in some way, hehe." said Tomas in a newspaper interview. "Also man, they're amazing dancers, better than me".

---

As the music started, Tomas, unseen, uttered the first verse.

Stop it, please
Please forgive me

The stage lits up, revealing Tomas, microphone in his right hand, who is wearing a bright red blazer, coupled with a red trouser and a white sneaker shoe, sitting on top of stacked old shoe boxes, behind him, the LED screens shows a deep blue coloured background, matching the mood of the song, the camera itself shot Tomas at a semi close-up angle during the verses, however, as Tomas sang the last verse, he purposefully puts his hand in the camera lens and pushes it to the right.

Is it possible to forgive me
Throat swelling, words can't get out of your mouth
I need, i need words, words, words, words, words baby
I need words, oh yeah, i need words, oh yeah

The camera then shot another semi close-up angle of Tomas, who is now snapping his left hand fingers, a hand also appears in the right and left side of Tomas, snapping fingers, following the song's beat. (The camera, however, didn't shoot people cleaning up the shoe boxes behind him, cleverly hiding it).

Now i know why you are sad
Sobbing all night in your bed
Until your eyes become red, become re-e-ed
Now i know why you are sad
Sobbing all night in your bed
Begging sadness to kill you
"I'm overdue", oh baby

Tomas then jumped to the stage floor, wherein he is then joined by the two male dancers (Theo and Evan), who wears all-black clothes, at first, they danced intense choreography alongside Tomas, before caressing Tomas' torso near the end of the verses, afterwards, they danced again.

I'm sorry, i've pushed you down and slammed my door
I'm sorry, for making your tears drop to the floor
Right here, now i finally know who i am
I know who i am
I'm a pathetic human
Human, human (I'm pathetic)

The dancers would then disappear off stage, where in right now Tomas sings alone, staring into the camera, the camera would then shoot Tomas from a semi close-up angle, wherein during the last verse, Tomas bows down a bit and slightly put his left hand upwards while singing. The camera would then zoom out and shoot the audience.

I have seen the sadness in your eyes
I have heard the sadness in your cries
Sorry, sorry, sorry, oh
I'm regretful

The stage then turns dark, with only the circular spotlight illuminating the stage, shooting at Tomas and his two dancers (who have appeared again), standing on his left and right side, snapping their fingers, during the final verse, the camera shoots at Tomas' face, who smirks towards the audience.

Now i know why you are sad
Sobbing all night in your bed
Until your eyes become red, become re-e-ed
Now i know why you are sad
Sobbing all night in your bed
Begging sadness to kill you
"I'm overdue", oh baby

The LED screen then shows the deep blue background again, whereas the circular strobe lights would shine one-by-one corresponding to how a circle is drawn, Tomas then threw his microphone behind, and switches towards an in-ear microphone (he wears that before going onstage, albeit not turned on), wherein Tomas engages in intense choreography, by spinning and putting hands over his head and moving around like a person begging to be freed from chains alongside his dancers, while the camera would rapidly change angles corresponding to the choreo.

I'm sorry, i've pushed you down and slammed my door
I'm sorry, for making your tears drop to the floor
Right here, now i finally know who i am
I know who i am
I'm a pathetic
Human, human (I'm pathetic)
Human, human (I'm so pathetic)
Human (I'm pathetic), human
Oh, oh

The stage then turns pitch black, with only a single spotlight shining at Tomas from behind, The camera stood still, shooting Tomas, who is walking slowly into the front of the stage.

And I finally realize
Your well-made, well-played lies
You're the one that's pathetic
Always try to guilt-trip me
Make me feel like piece of shit
Now i know you
Now i hate you
I won't be silent now

The stage then lit up, this time in a bright orange colour, with pyrotechnics and strobe lights now surrounding the stage like a spreading forest fire, Tomas and his two dancers then continued their choreography from the earlier chorus, spinning, caressing each other's bodies, jumping, and such, until the song ended.

Not sorry, i'll push you down and slam my door
Not sorry, i'll watch your own tears drop to the floor
Because, now i finally know who you are
I know who you are
You're a pathetic
Human, human (Oh, baby)
Human, human (You're so pathetic)
Human (Way too pathetic) human, human
(You're pathetic)

The stage then dimmed, as Tomas said his last verse.

Rot in hell, bitch.

The audience then applauded Tomas, Theo, and Evan, who collectively shouted, "Thank You, Talvezout!" before moving into the backstage.

[Adab]

7. ADAB
Nawa Sabrina – "Love Is Our Greatest Hope"
Tune: Celine Dion - That's the Way It Is
Language: English

Nawa Sabrina emerging from Khalids department store, Adab City

Background
Adab's WorldVision 69 entry - "Birdie", sung by Rafa Farrakh and Roman Albag - ended up placing 24th, but the pain of such a lowly placing was lessened by the fact that it was never expected to penetrate the upper reaches of the standings in the first place. The entry had been one of Adab's most bizarre in WorldVision and WHF history and its creation one of the most chaotic, a process marred with everything from bureaucratic intervention to a mysterious death to outright riots on the streets. "Birdie" was, indeed, a half-serious, half-joke entry, its comedian creators propelled to the WorldVision stage through online voting held in the sheer desperation of the Adab Broadcasting Corporation's (ABC) to find an artist - any artist - to represent them on that stage. That it would end up in the lower half of the standings was by no means entirely unexpected, even as critics slammed the entry for being, in the words of one critic, "unimpressive even at parodying" and the public was aghast to discover that the song had placed lower than, among others, the one performed by the culturally- and musically-impoverished Ardokian dictator Alistair Killian Moriarty.

"Our artists are devoid of inspiration, even when they try to mock and parody others," read a particularly negative review of the country's WorldVision performance by music critic Fahd Rustam on The Adab Times. "This is a nadir in the history of the ABC. They have collapsed from the infighting and proven themselves unable to make a remotely coherent attempt at a WorldVision or World Hit Festival performance. I simply see no one worthy at the present time of representing us on WorldVision or the WHF. We might as well just get the kids from the Imperial Palace Choir in there. At least they're good enough to sing for the Emperor." (ABC director-general Enki Akiya wrote a public reply a few days later, in which he slammed Rustam as "a dope and a 25-year-old has-been" whose "time in the sunshine is rapidly slipping away" and was "only in it for the money.")

By the time the dust had settled and the country, shaken as it was by the experience, began to look forward to its next WorldVision and WHF entries, the ABC's WorldVision-WHF Committee was defunct. All of its members had either resigned or been fired, the committee's (largely ceremonial) chairman Kinan al-Salaman had sworn off future involvement in the country's WorldVision and WHF projects, its president Naram-Sin Alwalid was finally standing trial for the death of the singer Samia Rabani as suspicions spread that the whole thing had been orchestrated by Akiya in order to get rid of Alwalid, and amid all that there were rumors, constantly and strenuously denied by the ABC, that Akiya - a notoriously mercurial person - was sliding into the pits of mental illness and receiving daily electroshock therapy. The rumors were so rife at one point that Akiya was forced to make a televised appearance to assure the public that he was in full control of his mental faculties. Whatever was going on behind the scenes, it was clear that Adab's latest WorldVision entry had exacted a heavy toll on the people involved with it.

With public support for the country's WorldVision and WHF efforts at an all-time low, there were proposals that the country withdraw from both contests for at least one edition. Nevertheless, Akiya was determined that the show must go on, and that the country continue its participation in both contests and salvage its musical reputation. He made it clear to industry insiders that the online voting was a "one-off, emergency thing", and that from now on he would make sure the ABC was in full control of Adab's WorldVision and WHF entries and would choose the artist. With the World Hit Festival 43 rapidly coming up, Akiya moved quickly to reestablish the WorldVision-WHF Committee. Al-Salaman was again appointed chairman, in an attempt to establish some continuity with the previous iteration of the committee, even as he once again made it clear that he wanted little, if any, involvement in the committee's activities and would for now prefer to focus on his burgeoning business empire. While everyone agreed that al-Salaman's appointment was a sound decision, Akiya's next move opened himself to accusations of nepotism and was hotly debated across the country; he chose his nephew Benji as president (and de facto leader) of the committee (al-Salaman gladly delegated whatever duties he had as chairman to him), and it was upon him that the task fell to find Adab's next WHF contestant. Benji proved himself a capable president, quickly cajoling rising star Khalid Aziz into becoming the country's representative - with the promise that he would be allowed to sing something which he wrote himself - and sending him to the WHF stage to general acclaim. Though accusations of nepotism remained, the public's trust in Benji grew, and so did their confidence in the country's next WorldVision effort.

How did Benji come upon Nawa Sabrina, and why did he choose her as the country's representative on the WorldVision stage? Nawa Sabrina was by no means unknown, and indeed by the age of 25 she had established himself as one of Adab's most popular pop stars. Her most recent album, My Name Is Nawa and I Sing for a Living, had gone platinum, selling more than a million copies within a year of its release. For some years she had been dubbed as one of the likeliest candidates to represent Adab on WorldVision, yet she was not Benji's first choice, and in fact was not the second, either. The first was the folk-pop singer Rama Shabazz, who apparently caught Benji's interest because he represented something of a middle ground between "organic" music - however it is defined - and the accessible pop which Benji felt was necessary to the song's success. Though he reportedly almost accepted Benji's offer, Shabazz ultimately turned him down claiming that he had "other commitments". With Shabazz unavailable, Benji turned to indie rock band The Feet. "Quite the unconventional choice," Benji would concede in an interview many years later, "but I believe that it would have paid dividends if done right." The Feet, however, was deep in a nationwide tour and also about to begin work on their next album, and thus passed on the opportunity to appear on the WorldVision stage. The band's manager, Aldo Rohal, was quick to recommend to Benji another one of his acts: Nawa Sabrina, who, Rohal claimed, was eager for the chance to represent her country in an international event. Though Benji was not very fond of her music, claiming that it reminded him of Meat Loaf, he nevertheless saw that she would indeed make a good fit for the WorldVision stage and offered her the chance to appear on WorldVision; she accepted immediately.

The performance
Nawa Sabrina marched onto the stage serenely, turning to the crowd, smiling, and waving as she received their adulation. The Adabian delegation gave her a particularly lively reception, clapping and cheering and even holding a few placards. A lone white spotlight followed her whenever she went. Behind her the Adabian flag spread across the video screens, with her name imposed over the middle white of the flag. She was wearing a golden dress, dotted with crystal-white diamonds which shone brilliantly against the darkness of the venue. Closely following her were members of the Adab City Orchestra, assuming their place in their pit as Nawa made her way down the catwalk to be closer to the audience.

Nawa had not been the first choice, she knew that, and now that the opportunity had fallen upon her she was determined, more than ever, to do her country proud. Mic on hand, she faced the crowd, as the orchestra began playing and the tune of the backing track echoed across the Laugardalshöll. "Thank you for this amazing opportunity to perform here," she said excitedly, to the cheers of the crowd. "It is a great privilege for me to be able to perform on the WorldVision stage. No words can express just how excited and grateful I am to be able to stand before you here. So once again, thank you, thank you."

Backing vocals in (italics)

I've been to the farthest lands, and those of fairytales
I've seen the best they have for me, yeah
It's a wonderful sight, beyond all my dreams
But I always end up coming back, yeah

So don't worry, baby, you know I'll come back
And nothing can keep us apart

The video screens behind Nawa now showed animated scenes of a man and a woman, hand in hand, walking together through the streets of Baghdad at night, eventually disappearing into a crowd crossing the street not far from the Imperial Palace. The orchestra played on, their tight and disciplined playing keeping the music together to the delight of the crowd. Nawa herself was making her way up and down the catwalk, waving to the audience along the way, and then to the back of the stage, right behind the video screens. Suddenly, with a loud bang, a series of red, blue, and green flames burst all along the stage and onto the ceiling. The screens changed to show black-and-white videos of Nawa recording in the studio, rehearsing for her WorldVision performance, and talking with people ranging from Enki and Benji Akiya to her own family.

If you think I'll be gone, then know that I'll return
If our love has run out, then we'll replenish it
Our faith in ourselves will
Carry us through all our troubles
And love is our greatest hope

"Ladies and gentlemen, the Adab City Orchestra!" Nawa shouted, pointing to the men and women in the pit. The crowd - led by the Adabian delegation among them - cheered heartily for the orchestra, while Nawa herself returned to the catwalk. There were now two spotlights on the stage, one pointing at Nawa and the other at the orchestra. She stopped in the middle of the catwalk, and then sauntered over to the edge of the stage and sat there, her feet dangling close to the audience, leaning to the thousands who had been watching her every move since the beginning of the performance.

We've had our share of troubles and of indecision
We know how it feels when we're on the edge, yeah
It was make or break, and we held on tight
And together we'll make it again, yeah

So don't worry, baby, you know I'll come back
And nothing can keep us apart

Nawa slowly rose to her feet - though not before shaking hands with a few lucky audience members - and proceeded past the orchestra pit and to the back of the stage, where the screens were now showing videos of Muslim, Christian, and Jewish weddings, representing the major religions of Adab.

If you think I'll be gone, then know that I'll return
If our love has run out, then we'll replenish it
Our faith in ourselves will
Carry us through all our troubles
And love is our greatest hope

Love is our greatest hope

By now the flames had begun to dissipate, and in their place was a great outburst of dark and blue smoke, slowly climbing up the interior of the venue. For a moment, the spotlight pointing down at Nawa was turned off, leaving only the one shining down on the orchestra, playing on in the midst of fire and smoke as the camera feed turned to focus on them. Meanwhile, Nawa serenely walked all along the stage, waving and pointing at the Adabian delegation in the audience with a wide smile. The video screens were still showing wedding videos.

When we find ourselves in doubt
And we can't see the road ahead
We'll look at each other and then we'll know
Our love will sustain us through all, all

At this moment, Nawa climbed off the stage and made her way along the front rows of the crowd, shaking hands and even hugging some of the audience members. The rapturous cheers and applause of the crowd boomed across the venue, led by the Adabian delegation. Gilad Kaykali, the country's head of delegation, jumped to his feet and applauded her, with the rest of the delegation quickly following suit. The flames once again came with a great bang, this time accompanied by columns of smoke, together rising to the ceiling in a multicolored spectacle. And through it all the orchestra played on.

If you think I'll be gone, then know that I'll return
If our love has run out, then we'll replenish it
Our faith in ourselves will
Carry us through all our troubles
And love is our greatest hope, oh

(Love is our greatest hope)

Nawa strolled through the crowd and to the Adabian delegation, where a visibly elated Kaykali embraced her as the rest of the delegation danced and swayed. Many were quick to notice that Nawa was not singing at this time, and that the voice heard across the Laugardalshöll had suddenly seemed to multiply. Amid the fire and smoke, those in the front rows noticed a multitude of children and teenagers, male and female, crowding the back of the stage.

"So, is this where the choir comes in?" one audience member was heard inquiring, standing not far from the Adabian delegation.

"Choir?" Gilad Kaykali turned to the man. "This isn't your local choir. This, my young man, is the Choir of the Imperial Palace of Adab. They don't just sing, they sing for emperors!"

(You think I'll be gone
If our love has run out, then we'll replenish it)

Having hugged, kissed, shaken hands with, waved at, and high-fived various members of the audience, including the Adabian delegation, Nawa began to make her way back to the stage, mic on hand, as her voice meshed with those of the choir, who continued to back her vocals.

Our faith in ourselves will
Carry us through all our troubles
And love is our greatest hope

Love is our greatest hope
(Love is our greatest hope)

Love is our greatest hope, baby
(Love is our greatest hope)

Nawa was now back on the stage catwalk. The video screens were turned off and the flames and smoke began to dissipate. Behind her was the orchestra, and behind them was the choir. She glanced over at them and smiled. "The Adab City Orchestra and the Imperial Palace Choir!" she announced, and was greeted with another round of cheers and applause from the audience.

Our faith in ourselves will
Carry us through all our troubles
And love is our greatest hope

The flames died down and the smoke faded away into the darkness of the venue. Nawa was alone on the catwalk, gazing at the audience as they cheered and clapped and applauded her in their numbers, with many rising to give her a standing ovation, including the entire Adabian delegation. She had been a major star in her country, but appearing on the WorldVision stage, representing her country, was a validation to her. She turned to the orchestra and choir, nodding and smiling, and then led them in a final bow to the audience.

"Thank you Ylfa, thank you very much, all of you," Nawa said. "You've given me one of the best nights of my life and I cannot thank you enough. So, once again, thank you, thank you very much to all of you, and of course to my fellow Adabians who are here tonight. I can see you from here. Mr. Kaykali? Yeah, you've been standing there for, like, a long time, we can all see you. You've been a great head of delegation and I cannot thank you enough, and the rest of the delegation. And everyone who has been with me from the beginning. My family, my friends, all the fans, and everyone who believes in me. This performance is for you."

Having concluded her speech, Nawa waved one final time to the audience, before leading the orchestra and choir backstage.

[Kalosia]

08
Kalosia
Travelling with You — Jasminë Meier-Fernandës
performed in English to the tune of Trampoline — Kero Kero Bonito

Jasminë Meier-Fernandës is a young and talented 19 year old. Born in Palmañë to a German father and a Kalosian mother, she quickly became familiar with Japanese pop culture in her formative years, which has greatly influenced her personal style. She competed in the Kalosian X-Factor in 2017, and although she did not win, the ensuing fame granted her a record deal and a following, mostly from the Kalosian weeb community.

She sings mainly of the joys and struggles of everyday life from her own fresh perspective, not excluding on topics of romance and young love. This is reflected in the song she will be singing at WorldVision, titled "Travelling with You". The track was originally submitted to be considered for the 69th WorldVision Song Contest, and although the RTVK executives favoured Shalissa's "In the City", they personally told Jasminë to hold on to the song as the delegation would consider it again for the 70th contest.

In the weeks following the Tampon Bay contest, it was announced that Jasminë would represent Kalosia in Ylfa, Talvezout for the 70th edition of WorldVision. There were mixed reactions, especially considering that the song has been quite different from what Kalosia had sent in the past. But preparations went smoothly.

For the event, Jasminë was dressed in a rather eccentric outfit that went well with the general vibe of the song. As the postcard ended and the crowd cheered, this was it. Her time had come.
As the song began, she started singing right away. The camera was doing a close up shot of her, and the background, of which not much of it was visible in the shot, appeared dark.

As the holidays come closer
It’s time to look for
What to do

The camera slowly started to zoom out.

Should we pack our bags and travel?
Or stay under the
Roof of this house?

As it turns out, none of the background displays were on, just the spotlight on Jasminë.

So then, I looked at the web and
I saw all these places that looked pretty cool

I think, it’s time to go sightsee
And swim or maybe ski
It’s your choice to make…

In that last syllable, as Jasminë held the note a field of white slowly made its way up, filling the background screen as if it was some sort of gauge. It filled up.

Let’s go flyin’

The white flashed a few times and then the background screen and all the lights just turned into warm, inviting hues. Cheerful splashes of yellow and pink bathed the stage. The background, in all sorts of cheerful, modern tones, displayed various activities and sceneries associated with travelling.

Over land and over seas
Longer distance
That’s where I want to be

The camera had been showing the stage from a few different angles. Now it was swinging over from the right side of the stage (audience's left) around it all the way to the other side.

Feels so crazy
To go where you’ve never been
To go to all the places in
The whole wide world

Close up to Jasminë. She does groove to the beat while singing, but there's only so much movement she can do while not losing her voice. When the camera completes its path, it switches to other angles as well, creating a sense of active movement.

It’s an honour
Travelling around with you
Without you, my
Life would not be the same

When you feel down
Take a breath and don’t forget
The best is still to happen yet
And life will come around

A DJ, which was only somewhat visible in any earlier shots, is now in the focus. He had taken the last syllable from that last part and put it on repeat. This mixing was done live.

Round, round, round
Round, round, round, round
Round, round, round, round
Round, round, round

When there was supposed to be a fourth "round" in that last line, the DJ stopped and the camera showed Jasminë, bobbing in slightly creating a "bounce" effect. Jasminë begins singing, facing the camera while walking around the stage, following the camera.

So begins the act of planning
What we’ll be bringing
Where to go

And if we all save some money
We can afford to
Follow the flow

I know it’s going to be tiring
But there’s just so much that we have to see

You’ll learn, it’s worth every second
And you’ll find yourself stunned
By where we will be

The steadicam as it "runs away" from the stage, is followed by another spideycam angle that comes at Jasminë from above and in front of the stage, zooming in not only at her but also the DJ and 2 backing dancers that haven't been receiving a lot of love and attention from the camera.

Let’s go flyin’
Over land and over seas
Longer distance
That’s where I want to be

Feels so crazy
To go where you’ve never been
To go to all the places in
The whole wide world

It’s an honour
Travelling around with you
Without you, my
Life would not be the same

When you feel down
Take a breath and don’t forget
The best is still to happen yet
And life will come around

The stage lights, colours, and graphics change to tones of blue and red, which may not be as cheerful or warm but are equally modern and within the overall feel of the song. The camera focuses mostly on Jasminë now, while in this next part the background screen (which is visible from the angle) shows an airport gate, where the large window of the gate shows each of the cities mentioned in quick succession.

Get to the gate
Look at the screen for the destination
Sitria or, Ylfa or Adab or
Junterapten or Estograd

The camera, on stage, quickly move again to the backing singers (one of them waves a passport case with the word "WorldVision 70" and the Kalosian flag on it), and then to the DJ, who gives the camera a thumbs up (daijobu is Japanese for "good").

Don’t forget to bring your passport
As we head over to the airport
And everything’s gonna be daijobu
It’ll be okay, we will be okay!

Then the angle is switched to a (spideycam) camera angle that is right in front of Jasminë, in a close up shot.

Even if you’re sleepy
That’s okay
There’s an adventure waiting for us

It’s exciting
I’ll wake you when we’re there
Then we’ll go and celebrate

The camera slowly zooms out, as the lights flash to the beat.

So let’s go, come with me
Fly to where you want to be
Let’s go, come with me
Fly to where you want to be
Let’s go, come with me
Fly to where you want to be
Let’s go, come with me
Fly to where you…

By now, the members of the audience are visible. The lights and screens burst into the warm, inviting, cheerful yellow and pink hues we had earlier, and everything was as it was in previous choruses. Now a camera in front of the stage makes its way around it, similar to an earlier camera angle. And then it switches to other angles, you get it.

Let’s go flyin’
Over land and over seas
Longer distance
That’s where I want to be

Feels so crazy
To go where you’ve never been
To go to all the places in
The whole wide world

It’s an honour
Travelling around with you
Without you, my
Life would not be the same

When you feel down
Take a breath and don’t forget
The best is still to happen yet
And life will come around

The camera shows the DJ, who is playing around (live!) with Jasminë's voice. And then for the last part, the angle switches to a camera in front of Jasminë that quickly zooms in on her and the song ends on a close up shot of her, who smiles at the whole world.

Life will come around!

The crowd cheers, and the camera shows a shot of the entire stage. Jasminë chuckles a bit and says "Thank you world! I love you Ylfa!" Before you know it, the performance was over. And Jasminë and her performers left the stage as it was now time for Vartugia to perform.

[Vartugia]

09. Vartugia

A litteral piece of bread- "Sliced Bread!”

10 hours of absolute silence

---

Vartugia are changing WSC by not even sending a artist, but instead a litteral piece of bread. We arent desperate to get nul points shut up!

---

The postcard has played and the camera focuses on the bread. The bread are on a plate who is on a chair and a microphonestand with a microphone are placed as its apears as the bread are singing this. The music dosent play. The exitment is hard.

(*Silence*)

Its been 3 minutes and nothing has happened.


Out of nowhere, dancers dressed as plates enter the stage and begin to line dance. Someone tries to sing, but it end up sounding like a drunk chipmunk who also smoked like a furnace.

SLICED BREAD!

The bread doesn't move.

SLICED BREAD!

Someone sneezed.

SLICED BREAD!

Its been 9 hours and 59 minutes and this entry have been a trainwreck.

SLICED BREAD!

A slice of bread falls over and this symbolizes the end.

[Syrche]

11. Syrche
L Morty - Reaching for the Crown
Tune: Foreign Air - Loud Magic
Language: English / Dåtsche



Løkaas Mortensen, 34,of Preston, Syrche, better known by his stage name, L. Morty, had been selected via National Final to represent Syrche in WorldVisison 68. Syrche was forced to drop out of the competition after a major economic hurdle, (Involving Housing and International Banking) which forced critical restructuring. This added to an uptick in immigration problems led the Government to change its focus, deciding that there were too many problems at home to be able to adequately support the contest.

Morty grew up in various places near the Capital until age 26 when he moved from Compton to Preston. Morty was a reluctant musician. He had composed hundreds of songs, many of which had been produced for other artists. Morty enjoyed creating music, but performing was stressful. Nevertheless, his talents had not gone unnoticed, and his name had been thrown around by the A&R department at One International Records. Less than a week after being asked to perform at WorldVision, L. Morty had composed the lyrics and backing track demo. The song was immediately taken to be remixed and was expected to be a major hit. Then came the Dåtsche Banking Crisis of 2018, derailing the Sÿrchesi economy just months before the song was to debut to the world. The performance was put on hold. The music community grieved the lost potential. But Syrche would return. L. Morty would return. The show was not over yet, far from it.

With 2018 firmly behind him, L. Morty moved down the hall to the stage, ready to embrace his destiny.

-

The stage was dimly lit by LEDS positioned at its base. The wall of LED display panels that wrapped around the stage displayed a gradient grey (beginning at the bottom as solid black and going to the white top. Whisps of smoke began to emanate from behind the stage, filling the area with great billows. The base lights began to pulse increasingly rapidly, setting the stage area aglow with momentary flashes. Then it cut out for a few seconds before returning in concert with the pace of the song as it begins..

The silhouette of L. Morty appears at the stage right. He begins to trek across the stage, ending up in the middle, greeted by three women, who extend their arms, to which L. Morty feigns bending on one knee and kissing.

I know what you're all thinking
History is repeating
I know there is an order here
I should bow down, kiss rings

The fog at the end of the stage begins to increase The three women are whisked away. The gradient dissipates with their dismissal, dissolving to a more solid grey. At the end of the verse, L morty appears with a knife extended as the lighting changes to fully overhead white and yellow lights.

But the tide is turning
Who will rise up in the midst?
Please excuse impatience,
I'm afraid i must insist

The Stage is lined with foreign tapestries. L. Morty begins the chorus, ripping the tapestries down from the wall and slitting some of them. The knife is tossed aside as a security guard dressed in Middle Eastern garb rushes in from stage right. L Morty spars with him, and drops him to the ground handily, placing a boot on his neck in dominance, before tying a Syrchesi tapestry around his neck, as a cape.

I'm tearing you down
I'm reaching for the crown
Your head is in the clouds
I'm takin' you out.
I'm taking that crown
So you better bow down.

The lighting drops back to dim, and L. Morty is seen as a silhouette, standing totally still.

I know what you all expect
But with all due respect
We need to keep order here
Is it kept in check?

Three more girls come out from stage left. Each are dressed in pageant dresses, styled to look like different nations; Polkopia, Todlichebujoku, and Britonisea. The girls walk out onto the stage, smiling and waving at the audience. From stage right, a man walks out, both hands firmly before him, positioning a crown on a pillow. He walks to the center of the stage to convey the crown, but both groups are greeted by L. Morty, who vigorously takes the crown away.

All the Favoured Darlings
Prim with Bows and Scents
Unaware they're falling
Down as i ascend

The girls faces turn in abrupt surprise, as L. Morty cradles the crown in his right arm, while smirking deviously, singing the next verse into the Polkopian girls ear.

Would it quite astound
If i spoke aloud all the words and phrases
I've been needing to get out.

L. Morty places the crown on his head. The next verse is sung as he moves around the staging, addressing the audience through gestures befitting royalty.

Høndt Skriv en Declarethe
Et Tusen Voix Choire
Ville Du Commerence ott?
Kan Du herre det klærdet nå?
Ville du Commerence ott?
Kan du Elevarethe Sondt
Fordi det ville være lavde

One Hundred written declarations
A thousand voices in Concert
Will they bring you out?
Can You hear it clearly now?[
Will the bring you out
Can you raise your sound?
Because it's gonna get loud

As the second chorus ends, L. Morty disrobes, throwing the crown to an excited front row member of the audience. The robe is likewise thrown off, though it ended up being hard fought by at least three excited members of the audience.

L Morty moves left to right to the music, relying heavily on hand motions, and really getting into the music.

Let defiance lift us up
In advancement of our love
Caught redhanded
Unreprimanded
[Repeat]

The lighting dropped to black, momentarily as the chorus began again. "....I'm taking you out.." The lights suddenly begin flashing and pulsing as before.
all six girls from before return again, this time dressed in uniform dresses to serve as backup dancers. The immitate the dance that L. Morty does, creating a well synchronized look.

I'm tearing you down
I'm reaching for the crown
Your head is in the clouds
I'm takin' you out.
I'm taking that crown
So you better bow down.

Let defiance lift us up
In advancement of our love
Caught redhanded
Unreprimanded
[Repeat]

"THANK YOU TALVEZOUT! Thank You World! It has been a struggle, but i am honored to have been here tonight, and thank you to all who support!"

[Talvezout]

Ylfa Lloviendo would appear on stage.

Ylfa Lloviendo: "How are you enjoying the party so far? I'm assuming it's going great, no? Well, we have a special treat here for you all. As this is the first Worldvision held here in Talvezout for a while, we have decided that it may be best to remind you all what Talvezout is! So here, with the help of TRT and the University of Phoda, it is...

TEN TRIVIA TO TALVEZOUT

NUMBER 1: Talvezout is composed of 4 main islands, alongside a countless number of smaller islands. The four main islands are Ahorda, Levantia, Ylfa, and Esta Lloviendo.

NUMBER 2: Ahorda is the biggest of the islands, consisting of 13 districts, with the capital city of the island being Phoda. Ahorda is a balmy, tropical paradise, rife with beautiful beaches and lush, tropical jungles. Withing Ahorda, inside the Kala, Esbia, and Siġġiewi districts there is the Ħaġar Qim Desert, the vast, remote, interior of Ahorda. Ahorda is a land of contrasts, from gorgeous beaches to lush jungles to alien deserts.

NUMBER 3: Levantia is the next island. Levantia is home to 10 districts, with the capital city of the island being Sarranca. Levantia is a Mediterranean climate island, with long and hot summers and short, rainy, and snowy winters. The island, alongside Esta Lloviendo, is one of the oldest inhabited islands in Talvezout, having had evidence for civilization dating back to 3,000 years ago. Levantia is home to many ruins and relics of ancient cultures, reflecting it's history.

NUMBER 4: Esta Lloviendo is a unique island. It is home to only three major cities - Esta Lloviendo, Nauravat, and Genyo. The island is a jungle filled wilderness, with cenotes and ruins of lost civilizations doting the landscape. Most of the interior of the island is uninhabited, with small villages doting the landscape. The three major cities are all located on the coast line of the island, with Esta Lloviendo being located on the northern end, Nauravat on the eastern side, and Genyo is located on the tip of the southern peninsula.

NUMBER 5: Finally, we arrive at Ylfa, the island that we are at. There is only one city on the entire island - Ylfa. The island is blanketed in snow and ice, with various valleys, mountains, and plains being features of the landscape. Ruins of a lost civilization are prominent on the island. Ylfa is located in the northern coastline of the island, with the rest of the island being rather uninhabited.

NUMBER 6: Talvezout has no official language. The main languages are International (also known as English), Talvezian (also known as Spanish), Talfossian (also known as Phonetic Greek), and Estalloviendoan (also known as Finnish).

NUMBER 7: The oldest and longest ever Grand Duke/Duchess Talvezout had lived to be 116. Grand Duchess Paloma was born in 1788, started her rule in 1800, and passed away in 1904. She holds the record for both. The longest Grand Duke was Grand Duke Samantsinghar, who lived to be 103. He ruled from 1718 to 1800, having been born in 1698.

NUMBER 8: The national flag of Talvezout was designed by esteemed graphical designer A. A. Vazquez. It represents the beautiful greenery and unity of Talvezout, with the four sided flower representing the four main islands of Talvezout. The national anthem of Talvezout, "Ynez y Samsamhara", was composed by famous modern classical composer Parvara. It is an instrumental adaptation of the ancient poem of "Samla", of a powerful love between the titular Ynez and Samsamhara.

NUMBER 9: It is illegal to smoke while driving a car and listening to adult contemporary in Ylfa.

NUMBER 10: Talvezout has officially won the multiverse award for "Most Hipster/Indie nation in the Multiverse".

[Mister X]

---

The Mister Xian Children's Choir - "Innovation"
Tune: Mike O'Donnell & Junior Campbell - "The Island Song" from Thomas The Tank Engine & Friends

---

The Song

After a fairly nondescript middle-of-the-road offering in WorldVision 69, it was time for MRX to get inventive and creative again in search of a second win. Production on this song started earlier than ever before, with the lyrics and artist signed off during WorldVision 69. The decision to hire the national children's choir was thought to add to the magic of the song. It's meant to be a tear-jerker, in a happy sense, however. The song is designed to capture your imagination, and make the eyes weep with a warm feeling inside. The old eyes will smile and for the first time in ages, you should feel a pleasant melancholy. The song is also designed to be inspirational. Some critics argued that the song portrayed a political message, but others argued it was so subtle, if it was even deliberate, that it would not be noticed at all.

---

The Children

Being young children, there was no major media pressures applied to them for obvious reasons. This, it was felt by their chaperones, was the best thing for them, for the worst thing you can do is to overcomplicate a child's mind. They rehearsed their performance endlessly, there was a pleasant feeling amongst the children and the grown-ups, because it was considered that the combination of the innocent sweet voices of children and the magical and beautiful song would lead to a second win for Mister X.

---

The Performance

As Ylfa Lloviendo left the stage having completed her host intervention, the children raced onto the stage into their designated positions whilst the postcard was playing. The children had chosen not to be conducted, as they felt confident that, as Mister X's finest Under 9s, they did not need one. The soloist, Lucia, took centre stage in the front of the choir in the front row. There were 39 kids in this choir, who were each in three rows standing shoulder to shoulder on steps. The boys wore smart black shirts with black trousers and shoes, and the girls wore full-length black dresses, which were not body-hugging, nor were they flowing gowns, but somewhere in between. They were worn with black shoes too. Everyone wore a small but noticeable pink heart on the right-hand side of their chests, and were all fitted with small radio microphones. The cuteness and adoring-ness was plain for all to see, and the murmurs of an "awwww" were heard amongst some of the audience members.

There was nothing pictured on the back walls to begin with as the camera focused in on the orchestra's oboe player who opened the song with their opening note in a solitary spotlight. The camera slowly faded to a front-right shot of the choir as some naturalistic warm fuzzy light slowly faded on the choir. On the third line, the camera cut to a slow panning shot from the back of the hall from right to left, and on the fourth line the camera gently eased in on a front-on shot until pulling to the right as it faded into the next shot.

Listen to all of the ideas of you find
And all of the things within
Take an idea and just don't let it go
Innovation is something you can do

By this stage the audience had all got their lighters out (phone torches for those who did not smoke) and were waving along to the song. The camera took a panning shot of them as the back wall slowly filled up with black-and-white photos of the choir's members having fun, the quality of which had been softened. These faded inoffensively onto the back walls, with photos soon stacking up and appearing on top of each other, overlapping. The children, with vast gleaming smiles, sang softly and sweetly, with the camera choosing several slow, medium-length shots, fading between each one.

Imagine your dreams that are all coming true
And all of your heart's desires
Your idea is something you shouldn't let go
Innovation is something you can do

The camera took the panning shot from the back of the hall as the back wall turned orange as a flash of light from the lights, but in an inoffensive and warm way, on the first beat of the chorus, marked the start of the chorus, which was hopefully to hammer home an inspirational message. The lights glowed ever oranger and yellower, with warm autumnal colours. The camera kept taking several angles of the children, but on the final line of the chorus took a long shot from the back of the stage and rose up, capturing the back of the children and the audience mellowing along to the song. The camera faded to black, as did all of the lights except for one spotlight on the soloist in the middle of the front row, Lucia.

Ideas, dreams from within
Innovating creatively
It's an innovation
An idea of something you can do

Lucia, shown in close-up from a front-on angle (although not a super close-up) spoke into the camera, which very gently eased in on her gorgeous smiling face.

Take an idea and just run with it
Create, improve, and do better
Think on the spot, or take all your time

The lights slowly eased back on as the camera faded to a wide shot of the children.

Innovation is something you can do

A golden shower of sparks behind the children, as well as the same effect being shown on the back walls, greeted the second chorus. The camera pulled out of the close-ups and took wide angles for the chorus. The audience's reactions were also shown in the camera angles, as some members of the audience now had tears in their eyes, but not sad tears, oh no; they were pleasantly melancholy. Every single member of the audience who had either a lighter or a phone torch was now waving along to the song in an adorable manner. A group of Under 9s had taken their heart away and captured the moment.

Ideas, dreams from within
Innovating creatively
It's an innovation
An idea of something you can do

Ooh ooh ooh ooh...

The golden shower stopped and the orange and yellow warm, fuzzy autumnal lights now turned red. The camera took wide angles of the audience during the instrumental break, before on the penultimate line the golden shower of sparks returned, as did the equivalent on the video walls, and the camera took an angle from the far left of the stage to show the children, before fading to a shot on the final line from front on that slowly zoomed out and faded to white in a dreamy and pleasant manner. The lights also faded out to white, along with the back walls and the children's voices were slowly faded out by the sound operator.

It's an innovation
An idea of something you can do

The audience battled through the tears to stand up and applaud, and their reaction almost brought the kids to tears. They had nailed their performance, and now the 39 children went backstage with their chaperones to watch the results come in. No matter what happens, they were all winners and they had done their best. Although, deep in their hearts, the chaperones knew - they deserved to win with such a sweet performance like that.

---

The head of the Mister Xian delegation gave a wry smile as the next act took to the stage, for this, he thought, had proved a new generation of Mister Xians was well and truly inspired. The song had truly inspired a generation, and hopefully inspired the multiverse.

[Pan-Asiatic States]

13.

Nation Name: The Federated People's Republic of Pan-Asiatic States Official Broadcaster: ABS-CBN Media Broadcasting Co. Song Title: The People's Liberation Artist(s) Name(s): Sandugo (Power Metal Band) [ Members, Left to Right: Deng Wei, Huang Mu, Teng Kun, Yin Qigang ] Tune: Sabaton - The Last Battle

The Band Sandugo is a Sino-Filipino power metal band from Aparri City. The band's main lyrical themes are based on war, historical battles, and acts of heroism—the name is a reference to the Sandugo, literally meaning 'One-Blood' or to 'make one's blood one', the term referring to the historical first encounter between Spanish Europeans with the indigenous Filipinos in Cebu. Lyrical content drawn from the Pacific Wars, ancient Asian culture, and other historical conflicts is prevalent and lyrics often recite stories of heroic deeds by men and armies. The Song After the nuclear bombing of Tokyo and the obliteration of the Imperial High Command by ComIntern forces, the Imperial Japanese Army enacted a series of guerilla warfare campaigns, determined to keep occupying their bases in Southern Asia, ready to fight the incoming Soviet, Filipino, Chinese, Malaysian, Indonesian, Burmese, and Korean forces or die trying. In 1974, during the Liberation of Manila, a strange occurrence took place. Deserting Japanese elements and the Red Army joined forces, fighting together to save the lives of prisoners being held within the inhumanely-run internment camps that had been built since the beginning of the occupation in the Philippines; several of whom were former high-ranking Generals of Hirohito, interred for false accusations of snitching the attack on Tokyo by the new Japanese guerilla command. Under the approval of Soviet Field Marshal Pyotr Koshevoy, the city was besieged by the combined forces, utilizing the knowledge of the deserters to navigate enemy garrisons and locate the camps spread across the island. Later on, that same Field Marshal would grant the entire 6 division's worth of men not only amnesty, but a valorous Red Banner each. The Performance The lightboard behind the band was loaded with a video presentation of historical photos and re-enacted scenes from the Liberation of Manila, in 1974. A mellow Xylophone tune accompanied the background, synthetic guitar as the intro began to play. Knee-deep mist began to gather on-stage as the vocalist inaudibly cleared his voice to sing the first verse. The video came alive from behind him. (intro) Armed to slay, liberation's 'round the corner, 1974, Manila's chains are to end-- Soviets at the gate, as the Japanese open-fire, There's no time to waste, the liberation's begun! After the bombing, a city besieged; Facing their fate and awaiting relief! Koshevoy's own men set Imperial officers free! And it's the end of the line of the final journey, The enemy's bleeding has passed. And it's Imperial troops and the People's Army, Joining together at last! One last night, brightened by the air strike; Justice must be done, the liberation remains. Shelling blow-by-blow, they're depleting their machine guns, Every tango counts until surrender's announced! After the killing, a city besieged; Facing their fate and awaiting relief! Koshevoy's own men set Imperial officers free! And it's the end of the line of the final journey, The enemy's bleeding has passed. And it's Imperial troops and the People's Army, Joining together at last! (instrumental) From Caucasian peaks to the Philippine sea... From Caucasian peaks to the Philippine sea... From the caves of the slave to a world of the free! From Caucasian peaks to the Philippine sea... And it's the end of the line of the final journey, The enemy's bleeding has passed. And it's Imperial troops and the People's Army, Joining together at last! And it's the end of the line of the final journey, The enemy's bleeding has passed. And it's Imperial troops and the People's Army, Joining together at last!

[The Hlhata States]

14 | The Hlhata States
Our Voice Matters by Danielle Crohn
Youniverse - Molly Sanden

Our voice matterssssss

[Normandy and Picardy]

15 - Normandy and Picardy
"In Time" - André Beauvoir
Tune: ("Mystery of Love" - Sufjan Stevens)

---

As the song began, the camera feed - in black and white - showed André sat in an armchair, old and slightly beginning to fall apart. To one side of him is a large lamp, and on the other is a small table with some assorted bric-a-brac strown across it. André was reclined, his legs hanging over one of the arms of the chair, strumming away on a mandolin - recalling the old travelling minstrel with a lute, or a helpless romantic. André's reclined nature spoke more of melancholy than relaxation, although really there was an air of an almost whimsical sadness. He was turned away from the camera at first, but as the song began he turned towards it, or rather he looked beyond the camera.

Oh, you know that life can seem
Hard when you are lonely
'Nother party, another night
You sit with your self pity

The camera remained focused on André as the song continued. He moved his legs around so that he was sat up on the chair, away from the reclined position he had been in, but in the process he knocked over some of the objects on the table, including a toy plane and a pair of keys. André, however, kept on singing and strumming away.

The girl you've had your eyes on
With a lad from the next town
Well you had your chance boy
Don't go wearing your best frown

As the "chorus" began, colour began to appear on the camera feed. It didn't happen uniformly, though, but rather in streams, like droplets of water travelling down a window and breaking through the condensation. The background LED screens were a soft sky-like light blue colour, although only a small section was seen of it as the camera remained focused on André, keeping the tight, intimate let slightly cold feel of the song so far. The colour, of course, helped to break through this and bring colour, but to some extent those only worked to intensify André's sadness via the juxtaposition with the blue. Far from being the sky, you could instead imagine it being the sea which André mentions in the chorus.

How unfair this all can seem
The world leaving you behind
Feeling like you're lost at sea
But you know you'll grow up in time

The lighting in the stadium remained subdued, but as the second "verse" began the camera began to zoom out slightly. André stood up and began to walk across the stage, walking along again like a minstrel strumming along, singing songs of knightly courage and romance, although this of course again juxtaposes the harshness of the lyrics which deal rather forwardly with sex and sexuality. There is in this, alongside the light blue, a suggestion of naivety or an immature conception of sex; the person André is talking to, perhaps even André himself, hasn't matured and grown up, and so can't truly understand what is going on, thus his inability to recognise the sexuality of his friends.

The one that you thought was gay
With a lass round the back
And the one you thought was straight
Has been with 5 guys this week

André reached the front of the stage, were he stood almost listlessly as the camera feed - at this point using a camera held by a cameraman on stage - very slowly zoomed in and then went past André, showing the background where the outline of a face in yellow, presumably that of the mother, slowly took form, before, at the end of the verse, the outline transformed into a flock of birds which flew away and out of camera shot.

Yes, life might be going well
Oh, you're eating your greens
Mama's little boy's been good
But you just want to feel free

As the chorus-y bit began once more, there were a series of sweeping camerashots which showed the light blues slowly fade away into a nightscape, stars twinkling in the night. André was small, almost minute, which no doubt also has some deep and meaningful point to it as well. He kept on strumming away, moving around little as if he was being gently blown this way and that by the wind or the ocean.

Oh, "how did he get her?"
Hidden behind compliments
"Oh you've done well for yourself"
You say whilst you wish another one goodbye

André began to walk back towards the old armchair. As he walked, he appeared (thanks to the wonders of technology) to be leaving footprints behind him, although they some faded away into the general ambience of the arena, temporary just like human life of something like that. Yeah, that works. At first, as he walked back, we got a camera shot from the face side of him, angled slightly such that the footprints could be seen, but the camera slowly moved so as to be behind him, following him as he approached the chair. The light from earlier began to flicker slightly as he approached.

Imagining what could be
Or rather what could have been
The years seem to fly by
But you're stuck in the past

André reached the chair and fell backwards into it, falling as if he was as light as a leaf falling from a tree. As he kept on singing, he put aside his mandolin and reached down to the toy plane he had knocked on the floor earlier. He started to almost play with it, moving it around him and gazing with an almost childlike bemusement.

Feeling like you are a child
But adult passions do flow
Never willing to grow up
But forever grasping

He put aside the plane and seemed to get a grip of himself again, looking back towards the camera. Every word almost seemed to be a sigh. As he sung, it became apparent that his mandolin had disappeared from where he had left it. As the song began to draw to a close, the stars in the background beginning to fade into the eternal darkness of space (calm down edgelord), the camera focused exclusively on André and zoomed in, a hand suddenly appeared on André's shoulder. It was one which showed signs of age, the skin wrinkled and the veins more pronounced. The camera zoomed out slowly to show a man who looked very much like André, but older, and indeed it was his father. With that image, the song ended.

How unfair this all can seem
The world leaving you behind
Feeling like you're lost at sea
But you hope you'll grow up in time

[These American States]

Commentary Coming Soon!

[Polkopia]

Tune: Mamamoo - Egotistic

Prior to their performance at the 70th Worldvision Song Contest in Talvezout, the Polkopian girl group MJM had performed in the 67th edition of the contest in Darkmania. While domestic opinion for their entry, Like Me, was overwhelmingly positive, the same could not be said for international viewers, and the song placed 15th out of 31 competing nations. This is Polkopia's second-worst placing to-date, with the group earning one place higher than Anna Petravona's entry in the 23rd edition of the contest. Nevertheless, the group went on to release their debut album months after their experience at Worldvision, and were internally selected to represent the nation at the 43rd World Hit Festival in Britonisea. Their song Mr. Hypocritical was originally submitted into the Landa vy Polkopiya prior to the 68th edition of Worldvision, but lost out to Mirela Santana's "Rise". For WV69, the PNB announced that they were doing away with the Landa vy Polkopiya for that year and hand-selecting Polkopia's participant instead. Many suspected that the PNB had chosen MJM to be Polkopia's representative due to the group's surging popularity, but instead, Yulia Vegovna was announced. Many were left disappointed and outraged that MJM wasn't returning to Worldvision, however a few days after Polkopia's Worldvision representative was announced, it was revealed that the group would be representing the nation at the World Hit Festival.

With just days between the end of the World Hit Festival and the beginning of rehearsals for Worldvision, MJM had an incredibly busy schedule prior to performing at the final. Due to this, the group was unable to choreograph an entire dance for their song. While some dancing is included, the choreography in of itself is nowhere near as intense as previous MJM entries. The group's manager, Anatoly Yaremchuk, believed this to be a good thing as he hints at the choreographic dancing as a primary reason for the group's failure to win in WV67. While many of the group's hardcore fanbase in Polkopia are disappointed with this decision, as they performed the song in the Landa vy Polkopiya with intense choreography, many understand the reasoning behind it. Rumors have also emerged saying that aspects of the choreography seen in the national final performance will be showcased during the grand final, but this has yet to be confirmed. Although rehearsal footage was published online through a video streaming service, the stream was unavailable for those in Polkopia and fans were left to depend on international bloggers or third party, low-quality streams in order to get an insight about what was to come for MJM's performance.

Besides performing at Worldvision and the World Hit Festival, MJM has seldom traveled outside of Polkopia. Since the nation recently relaxed its requirements of obtaining a travel visa, more and more Polkopians are traveling abroad and it has become sort of a trend in Polkopia to upload vlogs of one's travels abroad. MJM has decided to become a part of that trend and uploaded a series of their experience in Talvezout. While the group landed in Ylfa only one day before they were scheduled to perform their first rehearsal, all four members of the group agreed to extend their stay in the country by four days, meaning that they will be departing from Talvezout five days after the Grand Final - as they were originally expected to leave the day after the Grand Final. By doing this, the group will be able to explore Ylfa to its extent and post videos about their experiences, urging Polkopians to do the same. "I mean, we've only been here a couple of days," Marianna stated in the video, "but so far, it's an absolutely beautiful country!" While the group has been super busy preparing for their Worldvision performance since arriving in Ylfa, the group has managed to explore various locations along the Bay and visited several of the small, tourist locations along one of the main avenues. After their performance, the group plans to branch out and explore the city more in-depth and visit several of Ylfe's historical landmarks. For now, however, their primary focus lies with their work and making sure they deliver a spectacular performance to the audience in Talvezout.

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Before the performance began, the Polkopian postcard was displayed, resulting in a respectful clap from the audience and several enthusiastic hoots and hollers from some of the Polkopian members in the crowd. The postcard disappeared and the camera panned in an overhead view of the crowd, whose applause began to die down. Then the camera cut to the stage just as the instrumentation began to play, resulting in another series of applause from the crowd. As the guitar sound began to play, the stage, which had previously been completely dark, slowly became illuminated along the perimeter. Hues of vibrant oranges and yellows emerged along the perimeter of the background LED screens, and along the perimeter of the stage as well. The camera showed a frontal view of the stage and panned slightly to the side while the stage illuminated itself.

Orange: Tatiyana singing
Green: Nataliya singing
Blue: Katya singing
Purple: Marianna singing
Black/Bold: All four singing

---

Mmm mmm mmm...

After the four women sang the opening notes, the camera changed views. Now it was positioned along the edge of the stage, meanwhile, the stage continued to further illuminate itself. LED lights were positioned along the edge of the stage, in front of the camera, and they illuminated themselves in such a way that the illumination seemed to be moving in a forward motion, away from the camera, toward the center of the stage. While this happened, the camera followed the illumination until the lights reached the base of the stairs toward the left side of the stage, and the edge of the stairs began to illuminate themselves in a similar manner. Before she sang, Katya was illuminated by a spotlight and appeared to be sitting on the stairs. Her trademark blue hair was pulled back with a few strands hanging in front of her face and neatly curled. She wore short, high-waisted white shorts and a loose-fitting navy blouse with one of her shoulders exposed. She wore a variety of gold necklaces encrusted with sapphires and several matching bracelets.

It's been a while since you last saw my face
Just admit it, you're slow and you've lost the race.

By now, the perimeter of the stage was completely illuminated but Katya was the only member of the group who was visible up until this point. Now, the camera panned to a different view, showing Nataliya who was positioned at the very top of the stairs, laying down on her back. One of her hands was gently caressed the skin below her neck while her other hand one was just beside her head. Her green hair was neatly positioned around her head and she wore a black two-piece outfit which exposed a thin line around her stomach. The camera showed her from a birds-eye view that slowly zoomed in on her in a slight spiral motion.

You've caught up to me now, have you?
Do you like what you see now, do you?

The camera moved to focus in on Marianna, who was positioned on the other side of the stage. Her back was facing the camera, but she turned her head so that her profile was visible. Her eyes were closed and one of her hands gently grasped her shoulder - the one closer to her face. Marianna wore a thin beige tunic which only slightly revealed the clothes she wore underneath which was a white two-piece, revealing much of her stomach and some cleavage. She wore large, gold dangling earrings that nearly reached her shoulders, and her eyelashes were sprinkled with golden glitter.

Oh, have you got something to say to me?
Come on now, find your voice, speak clearly.

The camera zoomed out and a depiction of a massive, vibrant sun rising on a desert landscape was depicted. Golden raindrops were also visibly falling around the sun and across the sky.

You're so afraid to look up at me
Never thought you'd fallen so deep.

A blurring effect was present on the camera as it panned in on the sunrise. The camera showed a bit of the sun rising above the horizon before panning to Tatiyana who walked center-stage, pointing at the camera. The camera slightly retreated from the stage view and all four members of the stage were now shown. The three women who weren't singing were walking up from their previous locations to join Tatiyana in a horizontal line. By the last word of Tatiyana's solo, all four of them were standing in a line. Tatiyana wore a loose-fitting, spaghetti-strap golden dress and matching heels.

You can see me, standing pretty with an audience screaming my name.
You can try to call me, to raise your voice above theirs,
Go ahead baby, I'm all ears

The stage went completely dark, but as Nataliya sang the last words of the first line of the build-up, four spotlights illuminated the women, whose heads had all faced the ground during the mini black-out. Once the spotlights illuminated them, they rose their heads slowly and were facing the audience by the end of the second line. Nataliya did not mimic this and sang normally with her head turned toward the audience the entire time. Marianna and Katya sang the third line together and all four members of the group leaned to the left and extended their right hand upwards until it was level with their shoulder. As soon as their arms was level with their shoulders, they waved their right arm before letting it fall to their side again. During the fourth line, Marianna sang by herself and the camera zoomed in on her. She held her right forearm just above her head before flirtatiously wrinkling her face and rolling her tongue to make the sound at the end of her line

Mi vidite na spotlight

(See me in the spotlight)

Budu tančatsi all night

(I'll be dancing all night)

I'll search millions of people for your face
But at least watch me dance, rah!

The screen showed a cartoon-esque sun over an equally-cartoony indigo ocean and lights illuminated the stage in vibrant orange and golden hues. During the first line, the girls all faced toward the right and leaned their bodies backward while also rolling their bodies. They then stuck their hands out in front of their bodies with their palms facing upward and moved them in a vertical circular pattern. During the second line, they did the same motion, but faced the opposite direction. During the third line, they turned toward the audience, held their right hand slightly to the right of their mouths, and stuck their left hand upwards in a diagonal direction to the left of their bodies. They switched directions halfway through the third line and used their opposite arms/hands. During the fourth line, they fanned themselves with their right hand and leaned their head to the right.

Dancin' all ni-ni-ni-night long
Underneath the bu-bu-bu-burning sun
Eyaya - eyayo
C'mon and move your body with me.

For the first line, they swung their heads to the right, left, and then the right again. As they did this, they lifted their left, right, and left legs in-sync. They kept their hands on their hips during this, except for the third movement, and during this, they swung their right hand out and over their heads. They let their right hand fall during the second line, but it fanned their bodies as it did. They kept moving their legs in a similar fashion as they did during the first line. For the third and fourth lines, they did the same motions as the previous verse of the chorus.

Baby it feels just so damn right
Dancing in the spotlight, hey, oh yeah
Eyaya - eyayo
C'mon and move your body with me.
Only with me, hey.

The camera faded out and onto Nataliya's face. Although the background wasn't visible to the camera, the audience could see that the LED screens only showed a starry night sky and the lights slightly dimmed down to a neutral hue. During the second and third lines, the camera showed an overhead view of the stage, where lights shot across the floor of the stage.

Maybe I should take a break to cool myself down
My body is so hot baby
I've been dancing all night baby

The camera cut to Tatiyana who walked across the stage, her body's right side facing the camera, but she turned her face as she sang to look toward the camera. The camera panned to Marianna who smiled and winked at the camera, beckoning the cameraman closer to her toward the end of her solo.

I just need a drink and I'll be fine.
I need a second to wait 'til the stars align.
And I'll head to the dance floor again
'Till the sun sets over the horizon

The camera panned to Tatiyana who calmly strutted forward toward the camera, her eyes wide as she rapped her solo. She fluctuated between pointing at herself and to the ground throughout her verse and winked at the very end.

Ima bust a move, hey
I don't have to prove, hey
Myself to anyone else.
If I fall, down on the floor like a domino
I'll just get right back up again.

The camera panned overhead, looking at the stage from above, where the lights returned and the LED screens all faded to the cartoonish sunrise and sea once more. The orange and golden lights returned too, and several spotlights which were pointing upwards gradually moved down toward the group who returned to the same horizontal line as before.

Mi vidite na spotlight

(See me in the spotlight)

Budu tančatsi all night

(I'll be dancing all night)

I'll search millions of people for your face
But at least watch me dance, err!

The group repeated the same choreography as before.

Dancin' all ni-ni-ni-night long
Underneath the bu-bu-bu-burning sun
Eyaya - eyayo
C'mon and move your body with me.

Baby it feels just so damn right
Dancing in the spotlight, hey, oh yeah
Eyaya - eyayo
C'mon and move your body with me.
Only with me, no no no hey.

Smoke erupted from the back of the stage and the four women moved forward. The camera implemented a slow-motion effect on the members of the group as they walked, however the sound was still in real-time.

I don't play, I don't play
I don't play, I don't play
I'm ready to go all the way

The colors along the edge of the stage rapidly fluctuated from orange to yellow and several lights mvoed about the arena in a similar rapid fashion.

Mi vidite na spotlight

(See me in the spotlight)

Budu tančatsi all night

(I'll be dancing all night)

I'll search millions of people for your face
But at least watch me dance.
All day, all night

More lights erupted from various spots along the arena and shades of orange, yellow, purple, and scarlet flooded the venue. Fireworks rained from the ceiling and fell along the back edge of the ceiling as the group sang with more power than the previous choruses. Various members sang different lines, but Marianna sang the high notes in the background.

Dancin' all ni-ni-ni-night long
Underneath the bu-bu-bu-burning sun
Eyaya - eyayo
C'mon and move your body with me.

Baby it feels just so damn right
Dancing in the spotlight, hey, oh yeah
Eyaya - eyayo
C'mon and move your body with me.

As the song began to wrap up, members from the group sang certain lines with the rapper, Tatiyana (And these lines are in bold) and when they did, they stepped forward and repeated the same leg-lifting dance as before. When they stepped forward, spotlights with the members' "colors" illuminated them (Ex: purple for Marianna, blue for Katya, etc.). The background showed the cartoonish waves going back and forth across the screen.

Mene zvoli

(call me)

Nah nah nah nah hey
Mene lavi

(love me)

Nah nah nah nah hey
Mene vroži

(follow me)

Nah nah nah nah hey
Come along and dance with me
Come and dance with me
In the spotlight

The spotlights lingered on the four members of MJM for three seconds after the rest of the stage went dark, and the song ended. The lights went back to normal and the four girls waved and blew kisses to the cheering crowd.

[Saviera]

17. Saviera
I'm Not a Failure, by Simonella E. Kohlee ft. the Tall Barnacle Choir
To The Tune Of Holding Out For A Hero By Bonnie Tyler

Simonella E. Kohlee was Called Upon Short Notice After the Original Savieran Act for Worldvision 70 was Forced to Bail Out for Personal Reasons. But It's Okay Because Her Song is a Bop Too. It's Very Retro.

The Song Begins with a Strong Beat, and the Tall Barnacle Choir is Singing for the Intro Too, as Simonella Walks onto the Stage Quite Dramatically. The Lights are Flashing to the Beat Too.

Where have all the good ones gone?
Where is humanity?
In a world where bullies roam
This darkness like the sea

But I know I need to
Fight demons within me
Gone shall be the monsters and
All this negativity

As Simonella Gets into the Intense Chorus, All the Lights Flash Intensely. This Happens Everytime She Says: I'm Not a Failure!

I’m not a failure!
Despite discouraging words and taunts I’ve heard through my life
I’ve gotta be strong and I gotta have hope
And the courage to fight for my life

I’m not a failure!
Despite discouraging words and taunts I’ve heard through my life
I’ve gotta be strong and I gotta have hope
And the courage to fight for my life
Fight for my life

Now the Tall Barnacle Choir Also Chimes In with the Next Part.

(Fight for my life)
(Fight for my life)
(Fight for my life)
(Oh, oh)

Although Now Simonella is Back to the Verse, the Atmosphere is Tense as Ever.

I begin the struggle
An adventure that I need
Seeking out the chances where
I’ll plant my own successful seed

It’s a race against time
I’m rising with the heat
I know there will be drawbacks but
I’ll get back on my feet

And as We Get to the Chorus, Everything Just Becomes More Dramatic.

I’m not a failure!
Despite discouraging words and taunts I’ve heard through my life
I’ve gotta be strong and I gotta have hope
And the courage to fight for my life

I’m not a failure!
Despite discouraging words and taunts I’ve heard through my life
I’ve gotta be strong and I gotta have hope
And the courage to fight for my life

I’m not a failure!
Despite discouraging words and taunts I’ve heard through my life

Now is the Dance Break. The Lights Become Dim Except for the Strobe Lights. The Tall Barnacle Choir Joins Simonella in the Middle of the Stage as the Lights Flash Like They are at a Party, and They Dance Kind of Like the Thriller by Michael Jackson.

When the Dance Break is Over, the Members of the Tall Barnacle Choir Return to Where They Originally were, and Simonella Stands There Alone in the Middle of the Stage. In the Background, You Could See Lightning Electrifying Her. The Wind Machine is Very Strong. Simonella Feels More Powerful Than Ever.

Tonight I’m praying to the heavens above
For blessings for eternity
Cause I’m feeling my demons out there
Watching me

Through the wind, and the chill, and the rain
Through the storms and the floods
I won’t put out the fire that’s burning
In my blood

Now the Camera Shifts Focus for a Second to the Tall Barnacle Choir as They Support Simonella.

(There’s a fire in my blood)
(There’s a fire in my blood)
(There’s a fire in my blood)
(There’s a fire in my… oh! oh!)

It has Become So Dramatic, That You Could Almost Here a Canon Being Fired in the Distance. The Lights have Become More Lively Than Ever.

I’m not a failure!
Despite discouraging words and taunts I’ve heard through my life
I’ve gotta be strong and I gotta have hope
And the courage to fight for my life

I’m not a failure!
Despite discouraging words and taunts I’ve heard through my life
I’ve gotta be strong and I gotta have hope
And the courage to fight for my life

I’m not a failure!
Despite discouraging words and taunts I’ve heard through my life

As the Tall Barnacle Choir Continues to Woo the Audience, Simonella Encourages Everyone to Clap to the Beat. As the Song Fades Away, the Clap Turns into an Applause and Simonella and the Tall Barnacle Choir All Bow. Simonella Says: Thank You Talvezout! God Bless Saviera!

[Talvezout]

18 - TALVEZOUT
ALMA MONTSERRAT ANDRADE - "NADIE"

---

---

A song of pain and misery, with no end in sight until a woman takes justice into her own hands. That is the story of Talvezout's entry for Worldvision 70. Penned and performed by Alma Montserrat Andrade, an up and coming singer/writer, the song is inspired by the 11th century Talvezian novel Dolores about the romance of the titular character. She falls into a romance with a charming man, who in turn abuses and mistreats her. She suffers under his hand, until she kills him and escapes, to find her own path in life. The song itself is an adaptation of chapter 6, 11, and 13; Chapter 6 being Dolores lamenting her situation, Chapter 11 being the death of her lover, and Chapter 13 having Dolores ruminate on her situation.

Worldvision 70 marks Talvezout's grand return to the song contest. After a rogue controller sent an entry to Worldvision 69, TRT finally managed to put up an entry for this contest. After holding a rigorous internal selection, Alma Montserrat Andrade was selected as the entrant. Nadie is a selection from her second album, Alma Mia. This entry marks a continuation of Talvezout sending entries indebted to the folk histories of this nation.

And there is no one, to console her
Because they have all left, they have left
And there is no one, to console her
There is nobody here, to dry her tears

And there is no one, to console her
Because everyone has left, there
There is no one else out there
There is nobody else, there is no one else
 
Tonight, she dries her tears
Black hair, tearful eyes
How beautiful but depressed'
Downwards with trembling palms
While around
They passed by, they looked at her
They looked at her without understanding
Alone in hell
Her heart and soul were suffering
Suffering alone, the hands joined them
As if she was mouthing prayers
The words she screams:
 
"Lord help me please"
"Lord help me please"
("Lord help me please")
"Lord help me please"
("Lord help me please")
"Lord help me please"
("Lord help me please")
"Dear God help me please"
("Dear God help me please")
"Dear God help me please"
("Dear God help me please")
"Dear God help me please"
("Dear God help me please")
"Dear God help me please"
 
In the morning
Wake up with dry tears
Get up and think
About last night and the excuses
Facing up, to heaven to pray
Cleanse of her ills
That the world is going to condemn it
 
And there is no one, to console her
Because all have left, they have left
And there is no one, to console her
There is nobody here, to dry her tears
 
And there is no one, to console her
Because everyone has left, there
There is no one else out there
The words left her trembling lips
 
"Lord help me please"
"Lord help me please"
("Lord help me please")
"Lord help me please"
("Lord help me please")
"Lord help me please"
("Lord help me please")
"Dear God help me please"
("Dear God help me please")
"Dear God help me please"
("Dear God help me please")
"Dear God help me please"
("Dear God help me please")
"Dear God help me please"

They told me there was no hope
That I could not escape this pain
They told me that I had no reason
Why should I live with this curse?
Even if I have to die
To protect my children I must kill him

Oh this desire
It just takes your breath away
Left tearful and in pain
Because this love gave me pain
A pain without end
The pain that drives me insane
 
I'm not afraid of the future
Because I carry this weapon
A weapon to end the curse
I have it on
To end this pain
Revenge to those who have been injured*
 
Oh! I've finished
I leave his blood on the floor
Each cut is for her**
This reminds me of our first day
When you said "I love you"
Did you know what it would bring?
 
Oh! Freedom!
It tastes like milk and honey
My children can live free
Because nobody will suffer
The evil that I have been dealt
That I have finally killed

What good is love if it only gives you pain?
When only one who can save is yourself
(It hurts, hurts, hurts, hurts)
The evil desire that brings this bad love
But it was not love, eh!
It was not love
(It hurts, hurts, hurts, hurts)

And when it surrounds you and catches you
You do not notice until it's too late
You think, how did I get here?

*In chapter 8 of the text, Dolores finds out that she is not the first person to suffer under the hand of the her lover. She vows to punish him, through legal or illegal means, to stop the cycle of pain.

**The unnamed lover's last wife before Dolores, Flamenca, was a close friend of Dolores. She died because of the abuse she suffered at the hands of the abuser, and in the midst of her killing her lover, she screams "Para Flamenca!" for each incision.

CAPÍTULO 1: SIN ESPERANZA

The stage would be set up a la a strip club. Several poles would be arranged around the stage, with strippers of both sexes and everything beyond working the poles. The singer, dressed in a pentagram bra and hot pants, would be working the central pole. She would gradually come to a stop, with it evident to the audience that she was on the verge of tears. She would look down, before finally looking at the audience to sing.

Y no hay nadie, para la consola
Por que todos han salen, han salen
Y no hay nadie, para la consola
No hay nadie aqui, seque sus lágrimas

Y no hay nadie, para la consola
Por que todos han salen, allí
Ya no hay nadie más por ahí
No hay nadie más, no hay nadie más

She would get up, and rest herself against the pole. As the others would do their stuff near her, dollar bills would fall down around her, but Andrade would simply ignore them. She would grab her nearby coat and wrap it around herself, still singing as she was doing this.

Este noche, limpia sus lágrimas
Pelo negro, ojo lloroso
Que bonita pero apena'
Cabizbaja con palmas temblorosas
Mientras a su alrededor
Pasaban, la miraban
La miraban sin entendido
Sola en el infierno
Su corazón y su alma estaban sufriendo
Sufriendo sola, las manos las juntaba
Como si estuviera bocando a las oraciones
Las palabras que ella grita:

She would suddenly fall to the floor, with tears starting to stream down her face. She would look up to the camera, her face contorted in shame and disgrace. As she sung these words, she would bring her hands together, as if she was praying to the heavens. Halfway through the chorus, she would raise her hands up, as if she was questioning God why she was like this.

“Señor ayúdame por favor”
“Señor ayúdame por favor”
(“Señor ayúdame por favor”)
“Señor ayúdame por favor”
(“Señor ayúdame por favor”)
“Señor ayúdame por favor”
(“Señor ayúdame por favor”)
“Querido Dios ayúdame por favor”
(“Querido Dios ayúdame por favor”)
“Querido Dios ayúdame por favor”
(“Querido Dios ayúdame por favor”)
“Querido Dios ayúdame por favor”
(“Querido Dios ayúdame por favor”)
“Querido Dios ayúdame por favor”

She would get off her knees and sit next to her pole, wiping the tears off her face. She would clutch her coat and bring it in, as the lights around her would dim. The other strippers would stop and simply look at Andrade. As the verse continued, they would slowly walk towards her.

Por la mañana
Despierta con lágrimas secas
Se levanta y piensa
Sobre anoche y las excusas
Senta'ita, al cielo quie' rezarle
Prenda'ita de sus males
Que el mundo va a condenarla

The other strippers/dancers would outstretch their arms and lay their hands upon Andrade, who would continue singing without acknowledgement.

Y no hay nadie, para la consola
Por que todos han salen, han salen
Y no hay nadie, para la consola
No hay nadie aqui, seque sus lágrimas

Y no hay nadie, para la consola
Por que todos han salen, allí
Ya no hay nadie más por ahí
Las palabras dejaron sus labios temblorosos

The dancers would lift Andrade up crucifix style. They would clothe her in a simple black long dress, while affixing a golden wreath around her head. A golden light would shine from above onto her, as if the heavens were sending her a savior. A golden, fiery sword would slowly be lifted down, and at the end of the chorus Andrade would grab and wield the sword.

“Señor ayúdame por favor”
“Señor ayúdame por favor”
(“Señor ayúdame por favor”)
“Señor ayúdame por favor”
(“Señor ayúdame por favor”)
“Señor ayúdame por favor”
(“Señor ayúdame por favor”)
“Querido Dios ayúdame por favor”
(“Querido Dios ayúdame por favor”)
“Querido Dios ayúdame por favor”
(“Querido Dios ayúdame por favor”)
“Querido Dios ayúdame por favor”
(“Querido Dios ayúdame por favor”)
“Querido Dios ayúdame por favor”

CAPÍTULO 2: TOMANDO LA JUSTICIA

The strippers/dancers would all file away, taking the poles and pushing them in front of Andrade so they would resemble prison bars. Andrade would lean against them, clasping the golden sword. At the end of the verse, she would swing it and break the bars, freeing herself in an explosion of sparks.

Me dijeron que no había esperanza
Que no pude escapar a este dolor
Me dijeron que no tenía ninguna razón
¿Por qué debería vivir con esta maldición?
Incluso si tengo que morir
Para proteger a mis hijos debo matar

A man wearing a black suit resembling Andrade's would appear on stage. He too would have a sword, made of silver. They would spar for a while on stage, evading each other's blows. Each time their swords would clash, sparks would fly out.

Oh este deseo
Se trata de quitar el aliento
Izquierda llorosa y con dolor
Porque este amor le dio dolor
Un dolor sin fin.
El dolor que me vuelve loco

The male dancer would flee, leaving simply Andrade on stage. She would rest her sword, with the tip resting on stage. She would sing this line, before removing her black dress and donning a white dress, complete with a simple cape.

No tengo miedo por el futuro
Como yo llevo esta arma
Un arma para acabar con la maldición
Lo llevo encendido
Para poner fin a este dolor
Venganza a los que han sido heridos

The male lover would appear on stage. Andrade and him would spar before Andrade would finally get a hit on him. He would start to crumple to the floor, as Andrade would continue to slice and swing at him. She would do all of this in tune to the sound effects within the song, with her stopping to sing at the end.

Oh! he terminado
Dejo su sangre en el suelo
Cada corte es para ella.
Esto me recuerda a nuestro primer día
Cuando dijiste "te amo"
¿Sabías lo que traería?

She would "behead" the male dancer, in a pose reminiscent of "Judith Beheading Holofernes". She would hold up his (fake) head, as she would sing to it.

Oh! La libertad
Sabe a leche y miel
Mis hijos pueden vivir libres
Porque ya nadie sufrirá
El mal que me han tratado
Que finalmente he matado

CAPÍTULO 3: PENSAMIENTAS DE VIDA

The tableaux onstage would freeze, with the lights dimming as an older woman would step onstage, to read the final words of the song.

¿De qué sirve el amor si sólo te da dolor?
El único que puede guardar es tú mismo
(Duele, duele, duele, duele)
El mal querer que trae este mal deseo
No era amor, ¡eh!
No era amor
(Que duele, duele, duele, duele)

]Y cuando te rodea y te atrapa
No te diste cuenta hasta que es demasiado tarde
Piensas, ¿cómo he llegado aquí?

Everyone involved in the somewhat elaborate production would come to the forefront of the stage with Andrade and the dancer. They would bow to the rapturous and deafening applause of the audience. They would all be proud of the effort done by Andrade and her team, and they would leave onstage as the crew would get ready for the next song.

[These American States]

19.. These American States
Emily Baylor - Build The Wall
Tune: Carly Pearce - Hide the Wine
Language: ENGLISH!



President Don JJ Trummmp III, was angry after a major loss in These American States debut act, where country music superstar Bradley Taylor failed to break through to the International audiences. In the first appearance since WV67' DJT3 was bound and determined to do better, stating in a recent somber interview with FAUX news "Those Internationals are going to respect the amount of authority i wield."

Emily Baylor was selected by the White House to represent These American States in their sophomore attempt. President Trummmp had personally penned the song during a particularly long session in which he had failed to acquire funding from the congress to build his much spoken of wall, cutting off the Southern Border of the country.

Emily Baylor comes out onto the stage.

"Hello Everybody!"
The crowd jeers.
"Now, my President wrote this song. It's about an issue that's near and dear to my heart, because, well, where i'm from it just sorta hits close to home. Maybe some of you's out there can also identify.
The crowd jeers again.
"Yeah? We got any Beebu Baboos? out there? anybody sayin' "alla allahu ach alla?"
The Crowd goes silent.
"Now, it's a pretty fucking straight-forward song, so i'm just gonna go ahead and sing it, and fuck all that theatrical shit that you's all do. Hit it, Jeffrey!"

I've said
I'm not backin' down
Stickin' with my position immigrants can just get out

You may have heard
even heard it straight from me
that there's a problem with our border cause there's too many illegals in my country

Now, Now, Hear me out
Listen what i say
cause i promise that it's really great

we're gonna build a wall
Build it to the sky
Gonna keep out every motherfucker comin' here to commit crimes
we're gonna build a wall
the greatest one, and we ain stoppn til it done

Enemies
of me and you
They're gonna try to come here and take away your job too
and if they don't, then we know what they'll do
getcha whole fam-damn hooked on that damned black tar heroin

[chorus]

The music abruptly fades out after the second chorus. Emily Baylor drops her guitar at her feet. It crashes to the stage, audibly damaging the instrument. As the audience looks on, stunned, Emily pulls a matchbook from her pocket. Bradley Taylor, of WorldVision 67 fame, comes out onto the stage, holding a can of gasoline. He slowly untwists the cap, then douses the guitar, and splatters much of the stage with gasoline. Emily strikes a match, and throws it down. The flame catches and licks up.

Bradley Taylor exclaims "MURRRRICA! Fuck Yeah, WOOOOOOO"

The guitar is burning, and the stage is beginning to take, but a crew of men from the back come out to douse it.

Emily Baylor takes the Mic back.

"And in the words of our Greatest President, Abraham Lincoln, "You'll not fuck with THESE AMERICAN STATES!!!!"

[Estogium]

#20 ESTOGIUM
Ryelle - "Sweet Like Honey"
Tune : Valerie Broussard- "Trouble"
Language: English
Duration: 3:33


Rocking the shades: Ryelle is taking to the stage in Ylfa, Talvezout for the 70th WorldVision Song Contest

For the first time since the 67th WorldVision Song Contest, Estogium is participating in the contest with the song "Sweet Like Honey" by Ryelle.

It has been a rocky few months for RVC, the national broadcaster for Estogium at both the WorldVision Song Contest and the World Hit Festival. Estogium's continued participation from the 61st WorldVision Song Contest to the 64th WorldVision Song Contest was hope that the broadcaster and the nation would be able to return to being regular participants of the contest once again - but that simply wasn't the case. For the 65th WorldVision Song Contest, Nightom had requested their participation in the contest due it being their 20th anniversary since they first joined. Due to the restriction on ABEN States within the WorldVision Song Contest, Estogium had to sit this out in order to prevent tensions between KVC and RVC. For the 66th WorldVision Song Contest, the return of the Cross Border Battle meant that Estogium had to fight for their place - and they lost that battle to Nightom. Allegedly, there where were already friction between Estogium's RVC and Nightom's KVC due to Nightom having won on their second win while Estogium has participated over 20 times without a win, and Nightom won in an edition where Estogium was supposed to be represented - though this is insider information and RVC has refused to comment.

Estogium returned to the 67th WorldVision Song Contest in Axuva, where Jakob Fletcher represented the nation but had only bought bad press to the broadcaster and papers around the world due to his actions with the host nation's act. Despite this, Estogium placed 11th with 63 points - an improvement of their last two entries but far from the result Estogium had received at the 61st and 62nd WorldVision Song Contest - 3rd and 5th respectively. Crashing out of the contest once again, Estogium failed to participate in the 68th WorldVision Song Contest despite the intention to do so and Britonisea joined the nation in withdrawing from the 69th edition of the contest. Estogium, however, do return for the 70th WorldVision Song Contest in Ylfa, Talvezout to try and become the next ABEN state to catch gold.

---

Located in two pits on either side of the stage were two women standing in a pool in what seemed like a golden sticky liquid. The women all looked tall and were wearing very close fitting clothes. As the song started, the cameras quickly flashed back and forth towards the two pits of women who stood tall facing the audience. They were lit up in the colour red. The last shot before Ryelle entered was off the whole stage from afar, with the stage going dark. Suddenly, a flash of gold flooded the screens of those watching on television thanks to the lights on the Talvezout stage. The next shot saw Ryelle come in from upstage centre with similar clothing to the picture above...

I see lust embedded in your eyes, (Hey!)
I know that you got me on your mind. (Oh!)
I know how you hate it when I tease, (Hey!)
You know I like to play hard to get (Oh!)
Say it oh, oh-oh honey (Honey!)
Say it oh, oh-oh I'm your honey (Honey!)

Each of the times that the women had their little bits to sing, the camera would quickly cut to them and as they had that attention from the camera, they sharply moved from one position in to the next. The camera was hardly still throughout the first verse and the pre-chorus, always on the move. The stage kept the red colouring, only increasing in intensity as Ryelle entered the stage. She started to feel the music, sultrily swinging along to the music she was singing along to. Other shots include the trolley around the stage. She never looked down towards those cameras though. Members of the audience shouted "Honey!" along with the backing singers as well...

Oh how I do love each of your failed attempt,
it won't be that easy to get me in bed!
And well I guess I found you cuter
Your progress, no progress - you're now friend zoned.
Say it oh, oh-oh (Hey!) honey (Honey!)

As she started singing the pre-chorus, the camera kept on cutting to the women who were holding the slightly sticky and thick liquid in their hands before pouring it all over themselves. As they did this, a camera swooped along the back of the stage to capture this moisturising happening live. Ryelle flicked her hair in a circular motion, as the camera zoomed out of her face, making it look as though her hair pushed the camera back towards the other end of the stage. The gold started to appear more on the stage as the pre-chorus finished and we moved on to the chorus.

(Hey!) Honey, it's your favourite word for me
Honey, so succulent, it's so sweet.
You keep trying. You still hoping?
Well Honey, good luck
Honey oh good luck.

As she sang the last few words of the lyrics, "Well Honey, good luck. Honey oh good luck" the camera zoomed on her face with everything behind her seemingly turning black behind her, making her the sole centre of attraction in the Talvezout Arena tonight! She touched her face, teasing the camera as she sang her last few words of the pre-chorus. She turned around as soon as the chorus started, with the stage lighting up in red and gold. As she turned, an angels wing in red and orange flashed up on the very long LED wall. The camera zoomed out quickly as this happened with the women on either side of the stage pouring themselves with the liquid they were standing in.

Ooooh, Ooooh
Am I sweet like honey?
Ooooh, Ooooh
Am I sweet like honey?

Hey!
Hey!

The camera zoomed in on one of the girls who was giving it their all when throwing the liquid all over their body. She smiled at the camera before it cut away to a far away, wide shot of the arena. As the chorus finished, Ryelle got on to the floor in the "four legs" position and the women who were in the pits also followed this movement. The camera slowly zoomed in on Ryelle from a far, coming over the audience. The red and gold theme was still present on the stage. This all happened during the short instrumental section between the chorus and the next verse with the lights flickering on and off making a real drama of what was happening on stage.

You tell all of your friends that I'm your girl when I'm not, (girl when I'm not)
And you tell them how sweet you think I am (you think I am)
Well, you're too nice, and well you're my type (you're my type)
But I don't know whether you're Mr Right
Say it oh, oh-oh honey (Honey!)

Ryelle started to crawl forward before flinging her hairpiece one way to the next. For the women in the pits on either side of the stage, they were covering themselves with the mysterious liquid in the back, with the cameras catching a glimpse of them flinging themselves all about the place. The camera zoomed on another woman who winked at the camera before it cheekily looked to the audience. Ryelle turned on her back, looking up at the ceilings and the camera caught her looking straight at it.

Honey, it's your favourite word for me (woooah!)
Honey, so succulent, it's so sweet. (oh, I'm so sweet)
You keep trying. You still hoping?
Well Honey, good luck
Honey oh good luck.

The camera faded to black really quickly before an explosion of red and gold hit the screens around the arena and the lights on the rigs. The liquid started to fall from the top of the arena in to the pits which the women were standing in. The women quickly stood up, showering themselves in the liquid in a sexy, flicking their hair back and forth. The camera zoomed in and out of the women before giving some attention to Ryelle who welcomed the women with a flick of the finger.

Ooooh, Ooooh
Am I sweet like honey?
Ooooh, Ooooh
Am I sweet like honey?
Ooooh, Ooooh
Am I sweet like honey?
Ooooh, Ooooh
Am I sweet like honey?

A steadicam rushed up on the stage during the bridge section of the song - what is a WorldVision performance without a steadicam at the ready during the bridge? The very cheeky Talvezian steadicam operator came on to the stage and focused on the two women that were on the pits closest to him, showing them bathe in this mysterious liquid falling from the rigs. He then realised that he was supposed to be focusing on Ryelle who was on the stage. He quickly ran on and circled around her before zooming outwards and running away.

Honey, it's your favourite word for me
Honey, so succulent, it's so sweet.
You keep trying. You still hoping?
Well Honey, good luck
Honey oh good luck.

The next camera was of her back, facing the LED wall. She rose her hands up in the air as the piercing white lights shone on her face, but the people at home could only see her body, the audience, the lights and the bit of smoke that came up during that bit. The women who were covered in the liquid then were thrown in to the air like angels taking flight from Jerusalem, blessing the audience with the trail of the liquid falling over them. Most of the audience, especially the thirsty ones opened their mouths ready to receive the liquid - it was honey! Harking back to the good old days of ABEN performances giving out food during a performance to entice the audience into voting, Estogium's angels started to dash honey over the audience. Ryelle flicked her hair around and around, with the camera now going crazy to show the madness of the performance.

Ooooh, Ooooh
Am I sweet like honey?
Ooooh, Ooooh
Am I sweet like honey?
Ooooh, Ooooh
Am I sweet like honey?
Ooooh, Ooooh
Am I sweet like honey?

The women landed on the other side of the arena and ran off the stage leaving Ryelle to close the show. At the end of the performance, Ryelle gave everybody a bow before speaking in to the microphone ready for the next act, Nekoni, "I love you all! Thank you for listening to my song - we're all sweet like honey!" She then proceeded to walk off the stage without hesitation. She was fairly happy with that performance...

[Nekoni]

Entry No.21: NEKONI
Your Song
Les Dahlias Noires
Based on: Choose Me by BAND-MAID

---

Whatever happened in the last contest, nobody at NTR has any recollection of. In fact, it may well have been a cheese-induced nightmare. The offices smell of Deep Heat and searing flesh still, but nobody knows why. Gropey Dave was dead, having spent the week following the contest running through the thick forests of Nekoni naked screaming, before being clawed open in two by a bear. So there. Let us never speak of it again.

NTR decided once again to play the internal selection card, this time finding great difficulty in locating an artist good enough to make the country forget what the hell happened last time. That was until the main guy in charge went to an open mic in a smoke-filled pub in Varea and, in between the usual anxiety-ridden guitarists fumbling chords and tone-deaf hen parties confusing the place for a karaoke bar, he found an all-female band that, surprisingly, actually weren't that bad.

Upon dropping some business cards to the girls, and after some initial doubts over the validity of the offer (it wasn't the first time Les Dahlias Noires had been stiffed by a manager-type in a suit), they agreed to represent the country. Will this metaphorically clear the smell of Deep Heat from the NTR WorldVision comittee?

---

From left:
Ginny Balthaire - Rhythm Guitar (ESP 800 - purple)
Elizabeth "Ellie" Malmédy - Lead Singer, Lead Guitar (Gibson Flying V - white)
Alice de Fleurs - Drums (MAPEX Tornado 5-piece - gun metal grey)
Mylène Delacroix - Bass (Fender Jazz Bass - 5 string - cherry red)

---

The song begins with the camera focusing on just the singer herself, playing the sole guitar lead. The camera is black and white and deliberately film-grainy in the true 80s ‘art movie’ fashion. The girls’ outfits are street casual: lots of darker colours, acidwashed T-shirts and darkened jeans being the order of the day here. Ellie, leading, has a black bomber jacket on, unzipped, and Alice, the drummer, has snowboard goggles pushed up on her forehead to keep her hair out of her face.

As expected, the guitar is slung low, with Ellie in a nonchalant pose whilst downstrumming with her pick. She is in the circular stage area at the front, with the other band members in the back directly behind her.

For every time you blew me off to hang with your friends
For every time you used me just to gain from your end
I'm giving you your song, my last present for you
You won't need another one

As the song begins, a quick burst of CO2 surrounding the circular stage around her leads to the colour returning to the camera feed. The backing LED screens maintain the monochrome film grain effect, though, showing what appears to be a home video in black and white, with the usual artifacts you'd expect on a camcorder: record icon, time, etc. In it, Ellie is dressed in a frilly gothic dress accented with bows, and a similarly bowed headband. She appears to be in a bedroom, decorared with drapes, stuffed animals and the like. The video contains multiple shots of her appearing to be either waiting for someone or trapped in the room, with cuts switching between her pacing the room impatiently, sitting on the bed clutching a stuffed bear with 'To Ellie x' written on a name tag, and hammering on the door in a vain attempt to force it open. The video has been noticeably sped up.

(0m25)
I've waited so long, such a long time
To let you know, why I'm gone
Why I ran as fast as I did
Pay attention now, because I won't say this twice
It's your own fault this won't be nice

(0m36)
How the hell did you think you could
Keep close to me for the rest of my life?
Excuse me, you don't know what you've done
I'm better than you, ohh

As the bridge goes on, the video continues playing whilst real time Ellie walks from the front circle down the gantry to the left, the steadicam rolling with her as she goes. She walks pretty much on the beat of the music, arriving at the intersection between the walkway and the stage itself just before the chorus starts.

(0m46)
For the times you left me leaving high and dry
For the times you left me leaving wondering why
Why the hell I loved you in the first place

For the chorus the light show dominates everything, with a lot of bright, strobe effects throughout, interspersed with rapid changes of camera between the band members when they have a significant part to play in the song. The back LEDs have changed to a white spectrogram style display, overlayed on an electric blue lightning background.

(0m55)
For every time you blew me off to hang with your friends
For every time you used me just to gain from your end
Now here's your own song, my last present for you
You won't need another one

The chorus continues, slightly less in-your-face with the camera changes for the second part. Don't want the viewers at home getting laser eye surgery for free, now.

(1m06)
There's a thousand men all waiting for me
You won't be remembered
I will fight on, your flame becomes
Ashes in my hand

For the second verse, Ellie plays and sings as she makes her way to the rest of the band. As the verse continues, the same background from the verse last time is used, however, each individual clip is introduced from the left most screen to the right, in what appears to be a timeline, from the clutching the bear, to the impatient pacing, to the door hammering.

(1m18)
My memory's of lying
Cheating and conspiring
If I had a Gen that you swore upon on your life
That you'd tell me that your heart was just for for me
I'd be a millionaire

As the verse continues, the last of the clips is shown; Ellie is sat in a large, extremely plush velvet chair, in front of an ornate dressing table. She has mascara running from where tears have fallen. She sighs, placing her head in her hands and lying on the dressing table. At the point of her sinking onto the dressing table, every panel of the LED screen displays this part, before fading into a deep blue.

(1m28)
I could put a stake through your heart
You'd keep living on, like you wouldn't feel a thing
It ain't the first time there's been a putain in your bed
Don‘t tell me you‘re sorry, ohh

At this point, Ellie has reached the center of the stage where her bandmates are.

(1m39)
After you saw me leave, after I said goodbye
I know with your paid girls you'll find it hard to cry
But you're cheap thrill's running dry and you'll crawl back to me

The second verse is played out in the same way as the first, with the notable exception that the camera isn't quite as quick cutting between shots as the band is all in one place. To compensate there are a few shots of the audience thrown in for good measure.

(1m49)
For every time you blew me off to hang with your friends
For every time you used me just to gain from your end
I'm giving you your song, my last present for you
You won't need another one

(2m00)
I can see you crawling on your knees now
Saying that you're sorry
Don't apologise, I know your lies
I'll kick you to the ground

At this point, the guitar solo has the camera pretty much all on Ellie as she plays, with the lighting eased up to be a solid blue base, with smaller white spotllghts circling the band. The LED board shows a close-up of her fingers playing the solo, because, let's face it, it's a pretty damn good solo.

When the middle 8 part begins, the camera focuses on the bassist as she hits the bass runs. The camera pans over steadily to Ellie at about the halfway point of the section.

(2m32)
I am a diamond, shining in the moonlight
You treated me like I was fake
Now you're just left with your little plastic princess
I'd pity you

The final chorus plays pretty much exactly like the second one. This time, Ellie's singing her lines with a much more obvious smile. Whilst she tends to keep the stories of her song to herself, she can't help herself let slip that this is a story about her, and she's able to throw all her emotion into it because, especially in the second half, the words speak the truth. And how can you not smile when you're basically yelling "I'm fucking great" in Franglish?

(2m42)
But for every time you blew me off to hang with your friends
For every time you used me just to gain from your end
I'm giving you your song, my last present for you
You won't need another one

(2m53)
You'll be overweight and washed up and
I'll still be fucking génial
Don't talk to me, it was meant to be
You were never in my league

During this second solo, the background displays Ellie in the scene from before, but this time, the sequence is played at regular speed, in colour. In it, her dress has been tattered, and she is brandishing a pair of scissors, angrily wrecking the room in multiple frenzied shots: stabbing the chair, ripping the pillows apart, hurling books off of the bookcases, that sort of thing. The camera stays on the band whilst the background scene unfolds.

(3m04)
Because you only needed me
To prove your masculinity

During the outro background, Ellie, who has now replaced the scissors for a sledgehammer, breaks down the door into itty-bitty splinters, confidently striding out of the door. What's outside of the door isn't explicitly shown, as when she makes her move out, the camera pans to the finishing shot: the stuffed animal that she previously had cuddled. Of course, its head has been severed off by the scissors, and its name tag is being gradually singed by flames.

Outside the video, on the final note, a nice parting shot of flame occurs on the final note of the song from the stage, because that's how hard rock works.

(3m26)
And now you can take this song
Repeat it in your head as the day goes on
It'll burn in your mind as you try to sleep
You're never gonna beat me!

The high-octane song is complete, and the band looks, naturally, exhausted. Ellie yells thank you to the crowd and to the lovely nation of Talvezout in both English and French, the crowd goes wild, and they all run off stage in a huddled, mobile-group-hug sort of way. Whether this will erase the memory of last contest remains to be seen, but you can't say they didn't try their hardest.