WorldVision Song Contest 71 | IC | Main Nation Ministry

by **Main Nation Ministry** » Tue Feb 05, 2019 1:48 pm

V
"Ladies and Gentlemen, come with us as we take you to Main Nation Ministry."

by **Main Nation Ministry** » Tue Feb 05, 2019 1:49 pm

Somewhere in Freedom Plaza, hundreds of people from around the multiverse, including the globe has come to Main Nation Ministry for WorldVision 71. A whole line of tourists was stretching several blocks, where some merchants used this advantage to sell whatever snakefish on a stick or Leader action figure they can barter the crowd with. The night was approached, though it was around 7 PM. The doors were supposed to directly open at precisely 7:10 PM. Inside the building, the Leader himself was getting his outfit ready for the show. "It's going to be a full house tonight! I can expect things to be rather interesting! How's the commentary?" The Leader asked, as two commentators were heading to a booth that gave them a good view of the stage. The Leader examined his outfit before him to see it in full view on a mannequin of his size. It was a black and red ringleader outfit with a blood red Victorian tailcoat, a black vest, a black top hat with a red band, a black bow tie with the numbers 7 and 1 on each side, black shirt and pants.

"Well, I think it looks perfect on me! Now all that needs to be done is to be ready for 7:10. The crowd is growing restless. They lust for the sounds of performers! In own little darkened land we call our theater!" The Leader said to a manager. "But the show officially starts at 8 PM? How are you going to keep them entertained?" they asked in response. "We wait till they all stream in towards their seats, setting up their cameras, and to be peacefully excited. You see, I have a theme for this show. This isn't going to be their own typical performance show. We are going to subject them to the bizarre! The Absurd! And of course, the implicated violent! It will be perfect!" The Leader said, where he looked like he had a rather bloodthirsty intent.

"Many would want to know what I tend to see as fun, well I show them what I see as fun!"

At 7:10 PM, the doors to the theater opened up to left everyone inside. A concession booth was set up and the bathrooms were operational for all to use before the show began. At the main stage, ghostly jazz can be heard around the stage where those seated were waiting. The atmosphere was already made to seem mysterious, while the music heighten the mood. Around 7:30, the screen from near the curtains went slowly down, where a countdown popped up for 27 minutes appeared in a font similar to numbers in a nixie tube clock.

After the countdown ended, the lights slowly dimmed until it becomes dark. After a while, the lights go back up where several things have been added to the stage. The piano which was already on stage when people arrived had a lit candelabra, which was previously unlit. Several actors were seating on a couch looking at a retro TV the same directions as where the curtains are. The actors themselves seem to resemble a typical nuclear family dressed in retro clothing based around the Art Deco era. Going through the curtains, but not having them open, a group of 4 male singers dressed in red and black business suits emerged, where they stood in front of the TV, while the people on the couch don't react. In the first part of the Opening Act, they sing.

00: Opening Act 01 of 02
The Starters - Oh WorldVision
Tune: Blind Guardian (Originally Made by the Chordettes) - Mr. Sandman
Language: English

As the music starts up, they sing in unison the opening verses towards the people on the couch and the audience, acknowledging the presence of both of them.

Oh WorldVision, show us music
Give us a vision so we don't lose it
Make sure that they don't shed a sad tear
Make a true miracle appear from nowhere

Oh WorldVision, we're so cold
All here tonight to be all told
The greatest show to see it
Oh WorldVision, show us music

The song then shifts into a bit of a genre shift, as a man wearing a Victorian suit emerges from the curtains holding a black electric guitar. One of the main singers pulls out a hand puppet and makes some hand motions to make it look like it's singing.

Oh WorldVision, show us music
Give us a vision so we don't lose it
Embrace the darkness to stop a nightmare
Make a true miracle appear from nowhere

Oh WorldVision, we're so cold
All here tonight to be all told
The greatest show to see it
Oh WorldVision, show us music

The song continues to go into a demented theme, as several more people emerged from the curtains as back-up dancers. Over one of the main singers sings the last part of the song, while the other 3 proceeds to erratic head bang, while dancing in a violent fashion. The TV which the people on the couch was watching starts to spark and smoke, which they don't seem concerned.

Oh WorldVision, show us music
Give us a challenge that only the poor fools quit
Give us a performance so very absurd
The greatest show that is meant to be all heard

Oh WorldVision, we're not alone
The magic parade is here to be known
At the greatest show to see it
Oh WorldVision, show us
yes, yes, yes
Oh WorldVision, show us music

YEAH!

The TV finally explodes in a rain of sparks, as the stage and room becomes immediately engulfed in darkness. Heard throughout the theater, the Leader's voice can be heard to the audience. "Ladies and Gentlemen! As you have saw, we were just warming up. The time is now 8PM. The sun has now officially set and the moon is up in the air. Now that we have gave you a glimpse on what can be expected from Main Nation Ministry ourselves, we have one more act for the opening! This time, we're having the reality beyond these curtains be open where we shall let the line between fiction and reality blur. I guess it's time for me to make an introduction as host. May I?"

A spotlight flashes on the stage, as a figure dressed similarly to the man featured on the bid's commercial appears, surprised and confused. He looks around at the audience off of the stage, as he backs up against the curtains. He briefly touches them, where he leaps back in confusion. At first hesitating, he starts to pull back the curtains from side to side, where the red curtains pull back by themselves to reveal a void-like darkness where stars slowly appear within. He extends a hand into the void, where he immediately jerks it away in confusion. "What? What is this place? Is this.. a doorway into another reality?" the man said, aware of the presence of the audience. Suddenly, several old-fashioned TV's pop up on stage, where they turn on one by one, revealing themselves stacked on one another as pillars throughout the stage. A ghostly piano player materializes at the piano (with the help of some Pepper's ghost effect and special effects), where a large TV that was tall as a human being appeared at where the curtains were.

The TV emits static where the man takes notice and watches, where the piano player proceeds to put his hand on the G note of the piano.

00: Opening Act 02 of 02
The Leader - The Mystic Welcoming
Tune: My Chemical Romance - Welcome to the Black Parade
Language: English

As the music starts, the Leader appears on the TV screen dressed in his ringleader outfit. Positioning himself in as ease with his hands at his back, he took a deep breath where he started to sing.

Are you ready to go on
A journey to a land of new wonders
At Main Nation Ministry?

A drummer and guitarist dressed in black uniforms with visible sparkles to resemble stars appears to materialize from the void near the TV, where they start to play their instruments, as the song continues.

Are you ready to left this
The fake life that you wish would be normal
To embrace the absurd world?
Can you listen for the tunes
Of musicians from places of mystery?
Their worlds are now a stage.

The void starts to appear once again near the TV, where the TV starts to show interference.

And now tonight, it begins
A performance of a life not like others.

The Leader flashes a crazed smile, singing the last verse, before the TV fizzles out.

To embrace and to amaze!

With a flash of pyrotechnics, the Leader appears in the central performance area, almost transparent, similar to a flickering TV. With a large spiked microphone stand in his hands, he starts to sing the next set of verses in a gleeful mood.

Are you ready to go on
A journey to a land of new wonders
At Main Nation Ministry?
Are you ready to left this
The fake life that you wish would be normal?

The Leader extends his arm to the man who is still watching all of this unfold on stage, where the man starts to reach out for the Leader, as well.

To embrace the absurd world!

The central performance area erupts in thick smoke and bright lights, as the arena lights up to a dim setting. The Leader appears on stage, where the TV pillars lining the stage are now showing synchronized screens full of various colors to match the tune of the song. From the central performance area, several dancers dressed in red and black military uniforms, along with several more musicians wearing the same outfit arrive to the catwalk to play and dance towards the song.

As I walk through the chaos, I step over the flames
Where I wash my own shoes in the just spilled blood.
To have the weird as they appeared, these events are so fun
Yet when you show, we can give you some love.

In this new world, in this new world!
And even though you're scared, it's starting
Your new life in this new world!
In this new world!
To even though you can't handle it
This song soothes you for a bit!

It's good to have some fresh air from ashes of progress
The darkness is here for your slow ease.
A shade of red to paint up ahead, your creative mind is anew
With new ideas for in a deep freeze!

In this new world!
In this new world!
And even though you're scared, it's starting
Your new life in this new world in this new world!
In this new world!
Even as you see it as insanity
Your mind is now free to roam!

Several singers from the dance crowd sing along with the Leader, as he starts to walk towards the young man.

A dazzle of twilight for new dreams.
(ha, ha, ha)
It will feel good to hear your own screams.
(ha, ha, ha)
Grab my hand now, because it all starts now!

The Leader reaches out to the young man where the Leader pulls out a ruby medal. While holding the medal, the Leader puts the mic on his stand to sing, while he puts the medal over the young man.

Just to sing a small song or two
For a grand show to entertain the crowd.
For the world, we will help show you
What it all means to make you all very proud.
For the weird, we want more of it
With no regrets, give them one of a kind.
For idols of the darkest times
With a trip to the back of your mind.

The Leader has the young man raise his arms in triumph, where the Leader raises his arms as well.

For the greater, between good and evil
As a host to present this large show!
For the greater, between good and evil
For us all!

The Leader returns to singing from the mic stand, as the young man looks back at the central performance area, which is now foggy.

In this new world!
In this new world!
And even though you're scared, it's starting
Your new life in this new world!
In this new world!

Even as you see it as insanity
Your mind is now free to roam!

The Leader picks up the mic from the stand and using his other hand, he tosses the mic stand off the stage, as several musicians start to destroy their own instruments, as the young man goes into the fog at the central performance area.

Just to sing a small song or two
For a grand show to entertain the crowd!
For the world, we will help show you
What it all means to make you all very proud!
(In this new world)
Just to sing a small song or two
For a grand show to entertain the crowd!
For the world, we will help show you
What it all means to make you all very proud!
(In this new world)

The Leader pointed towards the ceiling, as the Leader spoke into the microphone.
"Ladies and gentlemen! It begins!" he said to signal the start of WorldVision 71.

Truth News Commentary with Jerry Flounders!

Jerry Flounders is resting using two chairs as a leg rest and trying to play croquet on his desk, when he realizes he's on the air. "Oh! Welcome folks at home! Don't mind me, I will be providing top expert commentary for this WorldVision! Here I will most likely reference random music pop culture moments for the sake of shamelessly appealing to the younger demographic! Now, if I just.." Jerry immediately tosses aside the croquet mallet and puts his hands neatly on his desk. "Now! As you may have seen, the opening act had just finished! Now all performances are about to start any minute now!" Jerry said, as he got out some papers that were clearly blank to straighten.

"I think I'm going to get some dancers in here...Maybe those cheerleaders from that one music video." Jerry said, before the commentary ended.

by **Estogium** » Tue Feb 05, 2019 1:50 pm

#01 ESTOGIUM
Kelly Foster - "Prove You Wrong"
Tune : Anna Bergendahl - "Ashes to Ashes"
Language: English
Duration: 3:01

Estogium performs in running order position #1 for the first time since the 51st WorldVision Song Contest in Kyvivre. Estogium sends singer Kelly Foster with the song "Prove You Wrong".

The 70th WorldVision Song Contest was rather different to some of the contests which came before it. Ever since the 65th WorldVision Song Contest, the amount of nations participating in the contest had dramatically increased with the 66th WorldVision Song Contest reaching a total of 33 participating nations. Despite Estogium's usual participation at a Britonish-lead WorldVision, Estogium failed to participate but returned to the 67th WorldVision Song Contest. Placing 11th was an improvement of Estogium's result before at the 64th WorldVision Song Contest. Taking another break for the same amount of time as the break before, Estogium returned to the WorldVision Song Contest hoping to break into the top 10. With a reduced field at the Contest in Ylfa (19 nations), Estogians were confident that the nation would place on the left hand side of the scoreboard.

However, things seemed to have gone wrong for Estogium during the Ylfa contest. The nation managed to only gain 34 points which was the lowest amount of points gained since WorldVision Song Contest 41 in Quickenden, 29 editions before. Due to the small field, however, Estogium placed 13th - which compared to Estogium's previous results too bad. Though, similarly to Kalosian media, Estogian media blamed Estogium's failure to gain points was due to nations who would normally vote for Estogium not participating - nations that have music tastes akin to Estogium's. Others thought, and the Estogian broadcaster that Estogium must learn to adapt to significant changes within the world of WorldVision and learn to cater to a wider audience. With that in mind, Kelly Foster was internally picked as Estogium's 27th representative.

Kelly Foster is s 35 year old woman who comes from the city of Estograd - one of Estogium's major hubs. In the last 10 years of her life, she has actually been teaching music to children from the ages 11 all the way up to 18 - going from school to school in Estograd and even once moving to Darlington (Estogium's capital city) to teach music. Her passion is music and she argues that her ability to teach others and realise their potential in the Art is fantastic. Kelly, however, wanted to show her own talent as she believes that in the process of doing something that she loves such as teaching, her talent hasn't yet been truly unlocked. With the WorldVision Song Contest being a huge platform to show millions of people both inside and outside of the country of her talent, she decided to send in a demo-version of her song that she created with a few of her former older students who (some of them) successfully work in the music industry.

Luckily for her, the demo was deemed acceptable by RVC and she was asked to go for a live audition with other artists who were also in the running to represent Estogium at the contest. She realised that the other artists were also hungry to represent the country especially since Estogium had only participated twice in the last seven editions and no one was sure whether RVC was going to keep on participating after 71. Moreover, some of these tracks have been brewing in RVC's drawer for editions on editions. Kelly auditioned and two weeks after she did, she had received a call from RVC asking for her to go for a meeting at the headquarters in Darlington. With the school's backing, she took a trip to Darlington only to find out that she had won the chance to represent Estogium at WorldVision. Everything was done on the down-low with RVC cancelling the usual "The Big Reveal: Estogium" show which reveals the artist and sometimes the song.

RVC, however, are hoping for improved chances at the 71st WorldVision Song Contest and has assured fans that RVC will work as hard as possible to keep Estogium in the contest for as long and frequent as possible.

Kelly Foster is the first to grace the WorldVision Song Contest stage. Some delegations complained that the stage might not have well reflected a more modern and technologically advanced one but Kelly quite liked the look of it. Placed on the middle of the out section of the stage was a large box of which Kelly placed herself in. The box, which stood around 6 feet tall, had sides but the back of it looked as though it went on and on right back into the stage wall eventhough it didn't. She crouched down as the Estogian postcard was being played. The audience cheered for the first performance of the night (I am not sure whether this nation is that aware of Estogium) and the stage went dark. Kelly's song started straight away - the camera focused on her crouched in the box.

I have suffered for too long, I want no more pain now.
I have gotta clear my mind - it's time to move on and be free again.
I see my future, it's waiting. See it waving at me.
It's ready to welcome me...much to your disappointment.

The camera slowly zoomed out during that first verse. As it zoomed out, some of the audience members starting to clap along to the music. Kelly started to get up as she starting seeing "her future". She pointed outwards towards the audience and at that point that camera zoomed out at a quicker pace. The box, on the outside, started going an orange colour contrasting slightly with the blue lights flooding the stadi-, the are-... the theatre. The orange had a gradient all over the box making it look more pronounced among the blue. The camera cut to Kelly as the pre-chorus came. She looked straight down the camera as she sung;

Oh, I can't wait to see you again
And to see your priceless look

She winked at the camera as she finished her sentence. The camera blurred away with the audience at home noticed their whole screen filling up with blue. The next shot was an aerial shot, moving away from the backwall of the stage to where the box was located right in the middle of the catwalk section. She was looking out towards the audience still, pretending to be unaware of the camera above her... On the box's top, the word "RISE" appeared.

I' m gonna rise up, I won't stop and you'll see it,
You'll see my worth, you'll see my gift, my value.
Fixated on me, you'll want me too.
Because of you, I went hard and I didn't stop.
Yes, anything to prove you wrong, oh, I will do.
I'll keep on rising, yes! It feels good.
Anything to prove you wrong.

There was several camera shots during that chorus, ones which made her interact with the camera and ones which showed her interaction with the audience. The lights were different colours as well, making the theatre feel rather autumnal. The last shot of the chorus was the aerial shot once again with the words, "Prove You Wrong" on it. The audience cheered as the chorus finished. She stepped out of the box as a spotlight focused on her.

A camera came from below stage level and met her as she commenced forwards towards the audience. Among the darkness around her, the fierce orange box stood out. She stood in position as she started singing the next verse...

I saw you laughing at me,
I tried to ignore it.
You were there, always there and taunting me
Your words got into my head - oh no.

The saying sticks and stones,
Well it's false, you left me hurt
And with nothing but your words
Left me feeling so small.

She started to walk around the stage during the second verse before reaching the back of the box (away from audience who was watching the contest from the front and not the sides). The stage was still dark and the spotlight followed her around the stage. People in the audience brought out their torches. The box which showed displays on it is what she leaned on as the next pre-chorus came up. She looked at the camera which zoomed towards her as she sang;

So, I can't wait to see you again
And to see your priceless look

A flurry of colour filled the arena as the pre-chorus finished. She ran up to the main area of the stage, away from the box. As she ran, there was shots following her from both sides - left and right. A spotlight followed her to make sure that she was still the centre of attraction.

I' m gonna rise up, I won't stop and you'll see it,
You'll see my worth, you'll see my gift, my value.
Fixated on me, you'll want me too.
Because of you, I went hard and I didn't stop.
Yes, anything to prove you wrong, oh, I will do.
I'll keep on rising, oh! It feels good.
Anything to prove you wrong.

She had reached the main stage and turned to the audience dramatically along with the words "prove you wrong" being shown on the screens behind her as she turned. The camera zoomed out quickly as she turned around - and the box isn't there anymore! She swayed from left to right as the bridge section came up. The fierce orange was now the focal colour around the arena. The camera was zooming into her from a far or panning from the audience to the stage where she stood...

You'll see my worth, you'll see my gift, my value.
I'll keep on rising, oh! It feels good.

Oh, I can't wait to see you again
And to see your priceless look

As the final chorus came up, the pyros really turned on. A golden shower of sparks fell from behind her with the cameras showing the beautiful sight in Bright Falls from a large distance. The audience could be heard cheering for the Estogian audience as the pyros lit up the stage. The colour of the pyros matched the surroundings which were already orange.

I' m gonna rise up, I won't stop and you'll see it,
You'll see my worth, you'll see my gift, my value.
Fixated on me, you'll want me too.
Because of you, I went hard and I didn't stop.
Yes, anything to prove you wrong, oh, I will do.
I'll keep on rising, oh! It feels good.
Anything to prove you wrong.

The stage turned dark and a single spotlight focused on her with the camera zooming in on her final sentence, "Anything to prove you wrong". A smile showed on her face as the audience applauded her efforts. "Thank you everyone! Thanks so much!" She then ran off the stage to make way for the next act from Axuva.

by **Axuva** » Tue Feb 05, 2019 2:40 pm

______________________________________________________________________________________________________________________

AXUVA

____________________________________________________________________________________________________________________________________

Teyana

Outfit

The song started and she held a microphone as she stood at the middle of the stairs on the right side of the stage and two women stood with ther

Oh lord what is it that you’ve done to me
Your voice just gives me chills, it brings me to my knees
Baby you make me feel that life is at ease
I’ll give you all the love that you really need

They started to walk down the stairs as she started to sing and the camera was struck directly on her

I know you don’t know me but you can trust a try
Baby it’s all good and let me step into your life
You know you want it baby you can not deny
It’s just like someone has casted a loving spell
Oh boy you make me forget about the bad moments

She reached the main floor and walked to the microphone stand, placing the microphone on it, continuing to sing.

And baby you so cool you make me lose my breath
Boy you know love is like a wishing well
You take me deep in and I’m just losing my breath, losing my breath!

She grabbed the microphone, being approached by a man taller than her and as she sand with the microphone in her hand they danced around the stage slowly, along with other backup dancers.

We can travel ‘round the world we’ll take it nice and easy
I’ll take you to Milan, Baton Rouge, and Tunis
Im delicate enough to cast you with my spell
God knows how this will end but I can tell

Your past is gone and we’re living in the now
When you are not around it just feels like torture
I know I want you baby and I know you want it
Your lovin is so good I’m gonna lose my breath

She resorted back to the front of the stage snapping with her left hand, and holding the microphone in her right, with two women standing next to her and they snapped aswell

Oh boy you make me forget about the bad moments
And baby you so cool you make me lose my breath
And boy you take me down like a wishing well
You take me deep in and I’m just losing my breath

She walked backwards and the two women stood still. Then they started following her facing her way and they all snapped

Ooooooooooooooh….

I want you all on me today
I never ever ever can catch a break
You’ve got me thinkin loud, I cant hold it
So let’s move the bed and get-

They all then matched with a partner on stage, dancing with them until the song ended and they posed.

by **Antenovaria** » Tue Feb 05, 2019 3:00 pm

3. ANTENOVARIA

___________________________________________________________________________________________________________________________________

Outfit

Stage Import

As she sang the lyrics she slowly walked down the imported stairs and the train on her outfit followed her as she approached the bottom

You know you like me so you cant come over here
Boy it’ll take alot more for you to be poppin’ over here
What I got here isn’t just for show
If you wanna know then I suggest you take it slow
Cause baby if you want me you gotta treat me like the best
You gotta change and be a man for yourself
Hell yea I’m goin there, you better contest
Cause you need to get your act right before you stare

She ripped off her train leaving it behind.

It may be just the way I move
But why do you do the things you do
And if you would take this all for you
Baby what is it that you’d do?

Two poles rose out of the ground and women in silver skirts and tops came out and got on the poles, and started to dance.

Get yourself together before you get all in this
If you want my love just do more to get it
You need to do better for your love to win me
Better for your love to win me
Better for your love to find me
Oh you gon have to run, just to even get me
You need to do better for your love to win me
You need to be better for your love to win me

The dancers dropped to the ground slowly as she sang at a microphone stand at the front of the stage

Better for your love to find me
Worth more than you thinkin’

Thank you for comin, but you need permission
If you think im easy boy you just be trippin
Sorry baby but you cant keep up,
if you want it you better do more for my love
And baby holla at me when you get in touch
You better be able to deal or you cant take it up

The dancers continued to dance on the poles and then another pole rose out of the ground, and she latched onto it with the mic in her hand

Get your act right or you cant be loved
Dont try to front

It may be just the way I move
But why do you do the things you do
And if you would take this all for you
Baby what is it that you’d do?

Get yourself together before you get all in this
If you want my love just do more to get it
You need to do better for your love to win me
Better for your love to win me
Better for your love to find me

Oh you gon have to run, just to even get me
You need to do better for your love to win me
You need to be better for your love to win me
Better for your love to find me

I’m worth more

by **Missus X** » Tue Feb 05, 2019 7:33 pm

Rick Leg - "Fuck! I'm In A Dress"
Tune: Who Cares? - "Doctor In Distress"

Welcome to one of Rick Leg's nightmares, which provided the inspiration for this entry. It's surprising that Missus X did not enter in WV70, but a spokesperson for MSX Television said "oh shit, we forgot". With a backlog of songs that MSX Television wants to enter, Rick Leg added another one to the pile which suddenly became top of the list when it was submitted. As usual, Rick Leg would sing it as "there was no one else", and although WorldVision records are hazy, it is thought that he is now the artist with the most appearances at WorldVision. Sadly.

The song begins with Rick Leg standing in the middle of the circle in the middle of the stage and he fades in and out through elaborate camerawork (well, not really "elaborate", just a shot of no one on stage and then of Rick on it with a locked-off camera which they fade between). Rick fades in and out for several seconds before fading in for good, and then on each orchestral hit there is a flash of light and a different camera shot used in jump cut, causing viewers of such a disposition to obtain photosensitive seizures. Thankfully, several broadcasters put up a "flashing images" warning before the performance.

ONE DAY I WAS HAVING A SLEEP
I WAS DREAMING ABOUT A SHEET

Rick walks around the stage.

It was a long old night that evening
Snowing and blustering, y'all

Then he changes to a much higher register for no reason. Throughout the song he changes his register several times.

I had a nightmare that long evening
I didn't know how to wake, y'all
An old man captured me
And dressed me in a box
It started off some events
That I wish I could forget

The curtains open to reveal a chorus of drag queens, but some really bad ones, which are obviously just men in dresses.

Fuck! I'm in a dress!
I have to call an SOS!
Fuck! I'm in a dress!
La-la-la la la, what a mess!

Then he screams for no reason.

HELP ME, MARGARET, I'M A 'MARE

Rick then tries to crowd-surf, but the audience don't want to touch him and so he falls flat on his back on the floor.

There I was prancing in a dress
And I shouted "OH FUCK HELP"
Inside each crease and fold
Was a body trapped in mould
The man then took me roughly
And added on one more
Now it's not just a dress
It's a double denim dress, y'all

The drag queens start up again.

Fuck! I'm in a dress!
I have to call an SOS!
Fuck! I'm in a dress!
La-la-la la la, what a mess!

The bridge section starts as Rick clambers back up.

La-la-la la la, what a mess!
If I only wake up, I won't wear a dress
The nightmare man has gone from my brain, y'all
But I can't wake up, it's horrible

And now more chorus as the audience covers their ears.

Fuck! I'm in a dress!
La-la-la la la, what a mess!

And anyone who wasn't doing so now is on this line...

HELP HELP HELP HELP HEEEELLLLP!

Oh god there's more

No one could accept my state
Whilst I looked like a tramp
Wearing anything I cou-ou-ould find
Is it a crime to forcibly dress?
Then came a Brigadier and the Army (ha ha ha ha ha ha ha)
And they arrested me instead
It was just an exercise
In showing how peeps would react

Finally it's ending

Fuck! I'm in a dress!
I have to call an SOS!
Fuck! I'm in a dress!
La-la-la la la, what a mess!

Fuck! I'm in a dress!
I have to call an SOS!
Fuck! I'm in a dress!
La-la-la la la, what a mess!

That's not a fade out, that's your brain falling asleep.

by **Syrche** » Tue Feb 05, 2019 11:01 pm

05 Syrche
Lejn Andersson - Re-Form
Tune: Ulrik Munther - Before

Lejn Andersson - Re- Form

Lejn Andersson II, 24, of Wertymnserk, Syrche.

Lejn Andersson I, had made a successful music career in Syrche, in the late 80s. It was around this time that he married his high school sweet heart, Ellie Reisen, and they moved to Andersson's hometown, Wertymnserk, a city with beautiful last century architecture.The Andersson name built a lot of the town, Wertymnserk, which had originally been a trade hub between Syrche and Lithany in the late 1700s. Andersson's were a founding family in Syrche, and their name still held a lot of weight.

Lejn Andersson received the best education, including a degree in music from Ashery State College. Lejn had produced his own music for years, and as the darling son of a popular musician, had already amassed a respectable following in Syrche. Then, he submitted to the Sunlight Song Contest, the annual competition that serves as the National Final for Syrche... And now here he was, standing before the World.

Lejn Andersson stood in the wings, shrouded in the darkness that preceded his act. The audience made a cacophony of foreign sounding whoops and yells. The adrenaline slowed time down. As the first set of blue lights flashed, a woman's gold and turquoise bracelet reflected back at him. She cheered loudly, smiling a huge smile into the blinding lights of the stage-

Go time.

The stage is dark, with a bright backdrop of blue LED's. A guitarist, dressed in white, sits center stage.

The music begins.

Lejn Andersson walks in, unassumingly, from the stage right. A soft spotlight shone off him, as he treks the stage, singing, before ending up in the center of the stage in front of the guitarist.

In the blink of an eye
everyyhing i knew has turned into a bitter lie

the times i had when everything was alright
are suddenly, turning over in my mind
all at once, one at a time

Lejn looks up, into the audience, singing directly to them.

maybe sometimes
we just need to rewind

The blue lights fade out. Two huge LED displays are moved via mechanical arms, to obscure the backdrop, instead showing a video.
A close up of the Flag of Syrche is shown, billowing in the intense wind, before panning out to show a female soldier, standing in the desert. Her face is strained and horrified. The film pans back more, to show the body of a dead foreign soldier below.

RE-FORM the thoughts that fill our heads
Re- Form the ties that bind
We must retrace our steps, again
i'm begging you please rewind

The film reverses, to show the bullet exiting the dead soldiers chest, and re-entering the gun in slow motion. The man's face reanimates. The camera pans back to the flag, beginning to fade out.

Reform and take a stand
rise and be a better man
reform before we lose what made us great,
reform this nation-state

The screens are removed under cover of darkness, as the lights return to low, with just a spotlight on Lejn at center stage. He again begins to traverse the stage, in the opposite path this time.

hours i felt down
like i was in a place where nobody could pull me out

A girl, dressed in black pants, white shirt, and black and white facepaint, enters from the wings, taking hold of Lejn's hand

You were there, to see me through hardship
You knew me well, that's right where the heart hits

As the pair reach the edge of the stage, the girl disappears into the wings, while Lejn's outstretched hand pulls back in sadness

cause you're gone, and i know why

Lejn looks again, sidelong, toward the audience.

maybe sometimes
we should just rewind
maybe we could try

The screens are back again, and this time it's spring time. An overexposed field of dandelion meets the rays of a rising sun. Panning out, we see that Lejn and his female companion are having a picnic. They lean in for a kiss.

RE-FORM the thoughts that fill our heads
Re- Form the ties that bind
We must retrace our steps, again
i'm begging you please rewind

As before, the film rewinds. The two pull away from each other. The sun goes back away.
The girl from before, re-enters the stage, walking in the shadows and then out in the spotlight to stand beside Lejn, who takes her hand in his.

Reform and take a stand
rise and be a better man

The two turn towards each other. He stares intently into her eyes, as he sings through.

reform before we lose what made us great,
reform this nation-state
reform this nation-state

A gold panel backdrop lights up. They walk slowly to center stage.

Lets propose a toast
as we begin to dine
as you break the bread,
i open the wine

you see there's one thing
that i need you to know
that i'm still fighting
even if it's I alone
I don't wanna fight
It's just what's on my mind right now

The lights drop.

I promise that i'm fine
Wish we could rewind

The gold panel lights kick back up,
The Ashery Bay College Music department, numbering 55, appear now behind Lejn Andersson, dressed in military clothing, providing both background "Aaah"s and performing a choreographed dance that looked like they were marching in place.

RE-FORM the thoughts that fill our heads
Re- Form the ties that bind
We must retrace our steps, again
i'm begging you please rewind

Display panels now show Worldvision flag. It zooms out,to show that the flag is in Main Nation Ministry. It then turns into a satellite view and continues panning out until it shows the whole of the globe of the Earth.

Reform and take a stand
rise and be a better man
reform before we lose what made us great,
reform this nation-state
reform this nation-state

The lights go down for several moments at the conclusion of the song.

"Thank You WorldVision, for the opportunity i've had tonight. Good Luck to all the other performers, and Thank You to all who support me." Lejn and his crew exited the stage.

by **Izmedu** » Wed Feb 06, 2019 12:47 am

06. IZMEDU
Olga Vrbic & Duje Simunic - Last Chance
Tune: Lady Gaga, Bradley Cooper - Shallow

“If you told me I'd be in WorldVision a year ago, I would've laughed at you. A year ago, this song was close to being part of a movie, part of what I thought would be some sort of cinematic spectacle that would represent something different from what I normally do. I know I'm a singer. I was right there defining flash and glamour in my prime years alongside the best of them, but my time's come and gone, it was time for the next generation of Izmeduans to define the new decade. So I thought, a film about music, raw and real... As raw and real as a movie gets anyway. That gets pulled out of the rug, but I believed in the song, he believed in the song, and here we are somehow.” - Olga Vrbic

“They say actors don't do the music business. They say that music and film were separate, even when the biggest films in Izmedu are musicals. I'm not one like Olga over here, but hey... I'm just an actor hoping for his big break, not even thinking I'd be singing for something like WorldVision. I've been around sure, but we were hoping so strongly for this film... And then one day, like she said, it was gone. The only thing we had left was the music, which we didn't want to see fade to some sort of copyright bullshit or whatever. We fought to make sure that this music, all the work from Olga, all the work from the composers, wasn't forgotten. Now... I guess you can say we got a hell of a lucky break, didn't we?” - Duje Simunic

This was the entry that no one expected to even qualify to the live rounds in Izmepisma, much less win the national final itself.

It was a song specifically created to evoke the romantic feelings of its source movie, a movie that was vaguely a musical and yet is deeply entrenched in serious drama in a topic often considered to be approached in sweetness and light. It was a movie ostensibly about two couples reforming within the context of failed ventures. The scene, conceived by Director Bruno Kumisa and Composter Lea Feric, played off the classic tropes of two lovers bonding together for the first time. They were performing live to a song about taking one last chance at not just love, but at what they wanted to do. The movie itself flummoxed between many titles, being titled 'Last Chance' to 'Never Enough' around the production table. However... despite the conflicting image, there was always a vision behind the movie Bruno Kumisa wanted to fulfill.

A love story of self-redemption that ultimately traffics and falls to tragedy. 'Last Chance' was the very emblem of the movie, the title song that would be the one doing the various rounds of promotion through film and television circles. This is why famed singer Olga Vrbic and once-renowned actor Duje Simunic were bought in as the leads. In the mostly shadowy audition process, there was a specific and yet inchoate criteria that Kumisa wanted prospective actors and actresses to fulfill, ones that would serve to sour the project's reputation amongst the film industry and actors' agents. The film itself was hard to sell to prospects, especially to future producers, investors, and the very company that wanted to financially support the project. Part of this difficulty stemmed from Kumisa's infamous working relationship with actors and another part stemmed from the nature of the project as well as the necessity for actors to have suffered the kinds of failed restarts, innumerable failures, and the desperation that the characters failed. Only Olga and Duje, after a protracted search and some convincing, met that criteria.

Olga is used to that failure. Primarily known as a singer, but often dabbled in acting in plays on the side; she was famed for being one of Izmedu's 'weirdest' and glam-filled stars in decades past. She had a six year reign as Izmedu's pop queen for re-inventing the wheel as to what Izmeduan pop can be, alongside with a stated desire to remain in the country. She blurred the line between accessibility, shock and awe, and the avant-garde in pop, while her music remained conventional and strongly rooted in the kind of dance-pop that remains popular in the Izmeduan airwaves. However, Olga couldn't avoid the kind of mid-career slump that plagued a lot of Izmeduan music careers, seeing the kind of shine she was used to quickly fade as the industry at writ large moved away from flashy dance pop to a more organic sound. When those six years passed, Olga was now considered 'old' news, leading her to an awkward liminal state to which she was either doomed to fading to complete obscurity or accept that she was nothing more than an 'old guard.'

Duje was faced with a similar situation, but in a much smaller scale. Duje himself was no singer, being only a small-time actor whose was gradually being typecast as the rugged, suffering male in Izmeduan arthouse movies. He had a slight proclivity for singing; but did most of his creative craft in the acting world where he'd spend a decade and a half hustling for roles. The movies attached to his name were of varying quality. Some were lauded amongst Izmeduan critics to be the best contenders for the film awards circuit, while some... were of more than questionable quality. His filmography was a patchwork filled with varying qualities, but never coalesced to a star-making role. He remained at the periphery of the film and acting industry, with his small cache eventually petering out to the point where he'd spend the years before landing the lead actor role in Kumisa's movie trying to make ends meet through any odd jobs he could find. His star had faded, much like Olga's.

'Last Chance' defined the very trajectories that Olga and Duje brought into the movie and the eventual WorldVision entry. Noting these characteristics and narratives, as well as a lack of actors that really embodied that kind of desperation, Olga and Duje were suddenly signed up for what seemed to be a dream project at the surface. It was the 'next tour de force' amongst the film hopeful, the kind of water cooler disruptor that would bring Izmeduans to theatres by being the unexpected hit of the winter season. 'Last Chance' the movie had the hallmarks of re-invigorating the careers of not just Olga and Duje, but of Bruno Kumisa himself. Even if there troubled production's roots were germinating, the star that surrounded Olga and the haunting performance that Duje brought revitalized a hope in the project.

Was that hope enough to bring the project from filming to the silver screen?

The answer went from a complex 'possibly' to a resounding no only six months after the lead actors were cast and as production was sorting out the details of the supporting cast and script. Of course, Olga and Duje had no problem with the concept of the film and were more than happy to toe the line at first, but Kumisa's vision for the project began to change. Of course, as two people who originally suffered to even secure stable gigs, Olga and (especially) Duje, alongside the composer Lea, feared reprisal and punishment from Kumisa's overly eccentric and harmful tendencies. His vision of the film changed as filming progressed. He would often test Duje's patience through needless retakes, frustrate the screenwriters through forcing some odd on-the-spot creative changes, and the famed scene that involved the title song was never even successfully filmed.

The project was careening towards a car crash that was unable to be salvaged. As word of Kumisa's behavior got to the larger production companies and funding sources, the funding on 'Last Chance' (which did not even have a finalized title) was pulled. The project was canceled right then and there. The incomplete film met tragedy, suffering the very same fate as the events outlined in its plot.

All that was left was some incomplete working footage and the in-progress soundtrack. Olga, Duje, and Lea Feric were not willing to let the movie be forgotten so easily. Of course, there were complications surrounding the film's copyright, music rights, and who really 'owned' the incomplete media to the film. In the end, these discussions were laid to rest seeing as the film never materialized. Thus, the music was released to the composer herself, and Olga and Duje (even with the botched 'Last Chance' scene) were more than eager and happy to launch at least the lead song as some sort of single, maybe a surprise 'gift' for fans (especially loyal Olga fans) that didn't have much of a context. The thought of submitting it to WorldVision came from Lea herself; right up to the very reason that some Izmeduan entries in WorldVision are able to materialize... miracle timing.

The film had already catastrophized into oblivion by the time RTI were asking for entries. Olga, Duje, and Lea thought they did not have much to lose. Duje himself was concerned... He had undergone vocal training in preparation for the rule (seeing as the movie was a musical by nature), but even with the chaos of filming and production, he fostered an very close friendship with Olga that kept him comfortable enough to agree to become a singer just for this song, seeing as he too helped Olga through the acting process when she faced her own uncertainties. The surprises kept coming... An invitation to the live shows, qualifying from the semi-final, and winning... To becoming a domestic phenomenon. 'Last Chance' became an Izmeduan anthem in ways that no one was expecting.

Much like their characters, Olga and Duje almost found themselves leaning into each other as their turn was up in Main Nation Ministry. 'Last Chance' defined how this opportunity felt. By this point, neither had much to lose. Olga knew that while her fans were out in full support, she was never going to return to being the high-shock pop star she used to be, and she was okay with carrying this more rougher and rawer image. Even if she knew her character wasn't really her... She felt comfortable in that skin. Likewise for Duje. His voice wasn't anything to write home to, but it was serviceable, and there wouldn't be any singing or acting gigs for him waiting back home. This was the one last chance to be remembered for the craft he loved and used to do.

For now... they take that as the victory. That both of them can make one last statement to the world on their own terms.

Stage lights billowed down to the center of the Freedom Plaza Theatre at the advent of the Izmeduan entry, flashing intensely before quickly fading into darkness. Duje was centered on the stage's center while being close to the edge as much as possible, with the piano being removed to keep the performance as prop-free as possible. He took as many deep breaths as possible, trying not to let the crowd cheer overwhelm him. Performing to a crowd of Izmeduans itself was anxiety inducing, but an international crowd? He closed his eyes as he felt the 'beep' in his in-ear indicate that it was the start of the entry. With the guitar wrapped around and fingers of the plucks, he began the entry in earnest...

The camera view and filter was cinematic, with a side angle view of Duje playing a simple set of guitar notes and chords as a haunting spotlight was flashed on him. His eyes and face were angled downwards, the very traces of light reflecting off his face suggesting a concentrated expression. As soon as this brief instrumental part was finished, the camera faded to a side-view of his face. The spotlight angled itself to catch a much clearer view of his expression, a wistful and sorrowful look on his visage as he began to sing...

Staring at the edge
Life's passing us by with all these scars
We still got a shot?
Or do we let go and just move on?

His voice rang out with resonance and strength, seeming almost effortless even if he wasn't a trained singer. There was a slight twang to his voice, and yet also a huskiness that belied pain and experience. He sang with his eyes closed as the camera angled itself to catch a closer view of him, making sure to be strategic with the views to let the lights reflect with a haunting elegance. His face shined against the myriad of spotlights of that began to shine against him, trying to emulate the feel of a legitimate concert venue than a song contest. The lights never changed according to a timed effect or to a vocal tic, they changed in an assortment of colors that were concentrated with reds and whites. At the end of the verse, he would stare wistfully into the camera, his eyes glimmering with a tinge of despair and resignation, a sad smile that only became ever more wistful.

I'm still here
Holding on to us
To our glories and hopes, our love
Maybe I'm a fool, scared and lonely

Throughout this pre-chorus, the camera would alternate between shots of Duje playing the guitar and intimate shots of his singing. Even if he'd sung this so many times from national final to the WorldVision contest proper, he felt naked singing these parts. There was a slight whoosh when Duje sang 'I'm still here,' the camera taking another side angle that would hide his face for just a brief moment before alternating camera angles. This served to amplify the cinematic and concert-esque experience. His expressions were nakedly vulnerable, the very yearnings and longings of the song being displayed from the way his voice resonated with that wistfulness and sadness. His eyes were downcast through the first two lines, before a latent fear would make their way to his face in the last lines. Even so, his vocals never faltered. At the last line, Duje visibly breathed and stepped back as the spotlight on him softened. The stage itself was now one that would gradually shift between green and red hues.

The end of Duje's followed a brief instrumental that he played live, using the same notes as the introduction. The end of this brief interlude saw Olga saunter onto the stage. She sauntered onto the stage with a natural shyness, her eyes gazing into the audience with an intense concentration. With a microphone at hand, she smiled naturally at Duje and took a deep breath. She felt the camera's gaze right at her as she prepared herself to sing...

Staring at the skies
Life's passing us by without stopping
We still got a shot?
Or are we just hoping for nothing?

Olga's voice was tentative, almost seeming untrained in comparison to Duje's. Her eyes were closed and her face was downcast as she sang, her shoulder hunched as she slowly gained more confidence through the verse. The camera angle alternated between her and Duje, with Duje playing the guitar and smiling at her with an encouraging confidence. They would occasionally glance at each other eye-to-eye as Olga sang, with Olga stepping forward just bit by bit as the spotlight on her intensified throughout the verse. By the final line, the 'nerves' that she played were disappeared, with Olga letting out more of her trained and confident self while keeping in line with the vision of the character she played.

I'm still here
Holding on to us
To our glories and hopes, our love
Maybe I'm a fool, scared and lonely

She took on a lower register for this pre-chorus, with the song's instrumental slowly developing at the moment the song transitioned to this part. The deeper bass was timed well with Olga's more contemplative tone, a contrast to Duje's wistfulness. There was a clear yearning in Olga's voice, but with the tenor of someone having accepted that maybe there was hope, with an optimistic yet faint glimmer in Olga's eyes. As the pre-chorus progressed, the camera began to focus exclusively on Olga. Hawk-eyed viewers at home and at the audience can see Duje visibly stepping back.

I'm taking this chance, I'm not letting go
I'm jumping in with you
Through this crazy world, these wild emotions
Because this is our last chance

For the chorus of the song, this was where Olga truly let loose and let her vocal prowess come to light. She belted out the lyrics to the song with as much passion as she could muster, the camera and the stage taking center stage for her moment. Her voice echoed and reached for higher heights than the resevred vocals she bought, and her body language and delivery were all done so accordingly. Her eyes were closed from the increased intensity of the vocals and re-opened as she got a handle on singing from a belting register. She held one hand to her chest as she arched her face upwards, looking towards the ceiling. Her voice would echo through the Freedom Plaza Theatre at the final two lines, with this effect especially emphasized as she did a powerful belt at the final line of chorus. The instrumental itself too would develop, taking on a slight orchestral belt while remaining guitar-driven. In preparation for the second half of the chorus, Duje can be seen stepping forward.

This is our last chance
The only one we'll ever have
This is our last chance
The only one we'll ever have
Because this is our last chance

By this point, Duje knew that Olga had effectively taken center-stage of the song with that moment she unleashed her vocals. Even so, he and Olga put their all into their harmonizing. Olga was now the one more forceful and emotional in her vocals, crooning and pouring her heart out as she sang 'this is our last chance,' while Duje sang the harmonies and sounded a touch more resigned. The camera angle made choice shots of both Olga and Duje as they sang, with light amounts of smoke now being released throughout the stage for slight dramatic and lighting effect. As they sang, the camera view would occasionally and slowly lay their shots on top of each other, doing so as organically as possible without disrupting the flow of their respective camera angles. At the end of the chorus, Olga and Duje stepped back and regrouped, with Duje looking at Olga with another comforting smile as the instrumental prepped itself for the final minute of the song.

The climax of the song was almost at hand, and the song itself had the buildup to help make it possible. The camera would begin to focus on Olga as she began to do the very vocalizing that would've been the very focal point of not just the movie, but the very scene that used the song. Her vocalizations were soft at first, before quickly developing into a series of more powerful notes that coincided with the build of the music. She actively moved as she continued to make her notes higher and louder, stepping and arching her body backwards just slightly. When she reached for that very tipping point of the build-up, belting out that one note with as much power and grace as she could. Now, was the right moment for the song's climax...

I'm taking this chance, I'm not letting go
I'm jumping in with you
Through this crazy world, these wild emotions
Because this is our last chance

It was a more powerful and more forceful reprise of the song's chorus. Olga was giving it everything she got here, with Duje visibly smiling and cheering her on as he strummed along with his guitar. The instruments were all on full force, but ultimately, this was Olga's moment to shine. The camera views were all on her as she belted out these lines with passion and ferocity. She would make movements almost timed to the music, but let go of any pretentions or any note of whatever choreography she thought she needed to do. At the latter half of the chorus, she turned to Duje, inviting him in, wanting him to share in the energy just in time for the song's outro. They both faced each other eye-to-eye, intending on singing out the song together.

This is our last chance
The only one we'll ever have
This is our last chance
The only one we'll ever have
Because this is our last chance

For the song's outro, they sang to each other. Olga can be seen laying a hand on Duje's back as they looked into each other's eyes, singing to each other with as close as they humanly could even with the guitar acting as a barrier. For the entire rest of the chorus, they remained in that position, staring into each other and singing with the emotions that led them to this performance. The uncertainty, precarity, frustration, and ultimately the love of what they were doing.

When the entry was done, Olga and Duje immediately gave each other tight hugs to the sound of the cheering crowd. They had no idea how to react to the cheering crowd. Duje could only mouth a wow, reeling from the energy that he was getting from the crowd. Olga, was able to regain her senses a touch quicker and blew a kiss to the crowd.

“Thank you!!!” Olga shouted.

Jesus that... my god that was surreal... I didn't realize how much I missed this actually... Maybe I should... nah... Olga thought as she sauntered backstage, holding Duje's hand.

I... Maybe all of this is worth it after all...

by **Main Nation Ministry** » Wed Feb 06, 2019 12:56 am

Truth News Commentary with Erik Anderson!

Erik Anderson appeared at Jerry Flounder's desk, wearing overly large sunglasses and is seen blowing bubbles straight of a little canister of liquid soap. "This is Erik Anderson here, who will now be providing the commentary for the Truth News and WorldVision 71. Jerry Flounders cannot be with us right now, because he had suffered a seizure while watching footage of Missus X's performance. This will not affect votes towards Missus X's performance of.. Ahem. I cannot say this word, as it is bad language, so get the censors ready. "Fuck! I'm In A Dress", that's the name of the song. Jerry Flounders is currently being treated at one of Main Nation Ministry's finest hospitals. Of important notice, Rick Leg from Missus X looked like he suffered an injury of attempting to crowd surf, however we have not yet received word of him getting medical treatment, meaning he could have no injuries."

"And to make sure I keep up with Jerry Flounder's gimmicks, I have painfully tattooed my chest to look like guitar strings. Erik Anderson takes off his shirt to reveal curvy lines that don't resemble guitar strings at all. "Another highlight currently is Estogium's "Prove You Wrong", which became the 1st performance to be played after the opening act." Jerry said, where he starts to get visibly bored. "Get a song playing! I need to- Oh shit!" Erik immediately leaps from his chair, as suddenly, giant dice appeared in the room with him, nearly crushing him.

by **Besen** » Wed Feb 06, 2019 9:29 am

07 | Besen
OLA | "Durem (La La)"
Fleur East | Favourite Thing
Music & Lyrics: Onika Laurel Abit, Camren Adid, Zach Merci

OLA (or Onika Laurel Abit)

OLA did not originally call Besen her home, but twelve years ago when her country was unsafe, she not only made her own identity here, but brought her love for afro-caribbean funk music. Now 25 and with a career in something that she adores, it was without a doubt that she would take the opportunity to enter a contest to represent Besen at the Worldvision Song Contest. But long before this, she'd already had multiple top ten hits, and her latest album, 'Home', went to number one after a gradual climb up the charts. Ultimately, it was her goal all along to promote the type of multiculturalism that she had been a part of just a few years previous. Many people know her from her song, "Where Do You Come From?", which touched a nerve in the middle of an immigration crisis that was rocking the society. Moreover, she is not only a musician, apparent from her position as Head Ambassador of BRC, a refugee charity that helps home those seeking protection from dangerous warzones.
Her song for 'Cana dor Besein' was originally crafted to be on her album but it was from the advice of executive producer and songwriter for two of Besen's entries in Worldvision, Claudio Batine, that she entered the contest. Of course, she was accepted, and performed well in both rounds of the show, ending up on top by a high televote in the grand finale. The song (in English meaning 'Wild') is an uptempo love track, with a thumping tribal beat. She chose after her win to keep some of the lyrics in Besenian, as the rules of CdB entail.

____________________________________________________________________________________________

Appearing from an orange silhouette, held up by four females in leopard-print leotards, OLA wears a yellow tinted leather jacket, and a pair of sparkling leggings which hug her body. Her hair is let free, and the makeup she bears dazzles against the huge technicolour illumination. As the song begins to play and the thumping beat kicks in, the dancers pulsate and their ruby spotlights follow them closely. She begins to sing. Throughout the verse the camera shifts left to right and OLA focuses her attention into it.

I love and I love you hard
Hate when we’re far apart
You look like an evening star above
I love all of your whole damn heart
Always valued your cards
But I ain’t here for the cars
Just be mine, and only mine
Durem, dor 9 te 5

For the first time, OLA begins to dance alongside her back-up. She tenaciously hits her cues, and at the same time manages to keep up with the fastening pace. The camera takes a wide angle of her staging, including the LED, which is only currently flashing bright, multi-colour waves.

Because I’m so glad I,
Get to have your body
Haven’t felt so mad yeah,
Since you mad me lose it
Always ‘gon be yours my love,
Yeah be honest

After the wide shot, there is a close-up of her figure, that then quickly rushes out of place, and films the whole audience. At the climax of the chorus, an inferno shoots out from the two sides of the stage. OLA jumps into an animated kicking movement, fulfilling an epic choreography that gets the audience jumping. There is a shift in the lighting, moreover, that brings the stage from changing colour into a clear, loud pink.

Ne féce de mino, ese feritivo, perci
I’m driving you, durem! (la la la la la)
Áy! Durem, dor 9 te 5
Áy! Durem, love the way you die when-

Almost out of breath, OLA gets comfortably in front of the camera again, this time with a giant positive glow around her, the audience is still cheering. A lot of cooperation occurs between her and the dancers, as they glide in between each other, still maintaining the heightening funk of the beat.

I can’t take the heat no mo’
So roll down that gold window
‘Cause I wanna know what’s it like
To be under your control

An ecstacy of drive lights up her eyes. And then, the beacon of pink fades into not much, but there is still a flashlight of shine. The camera quickly flashes between views of the audience, the quartet on stage and then finally a massive overlook of it all. They move to the very front.

Because I’m so glad I,
Get to have your body
Haven’t felt so mad yeah,
Since I made you stop it
Always ‘gon be yours my love,
Yeah be honest

For the second chorus, it's almost as though the crowd is chanting along with the 'la la la' part, which energizes OLA's moves. Like a giant party, the camera delivers an inspired shot of the entire capacity, all having a great time. An eruption of lazerlights shoot up from the bottom of the floor, reaching up to the roof.

Ne féce de mino, ese feritivo, perci
I’m driving you, durem! (la la la la la)
Áy! Durem, dor 9 te 5 (la la la la la)
Áy! Durem, love the way you die when-

It's like the entire structure was dancing along to the enormous boom of the beat, and OLA played of to this, hyping up the audience. Her and her dancers manage to carry out a clapping rhythm with everyone inside, and the camera swings around in a 360 motion, displaying this on TV.

And you want some more?
Gotta get, gotta get me to the floor
And you want some more? (La la la la la)
And you want some more?
Gotta get, gotta get me-
Ne féce de mino, ese feritivo, perci
I'm driving you durem (La la la la la)
Hey! Hey! Hey! Hey!

The lights spasm in and out of colour, and the camera shots are quick, tight. The firestorm continues, but is even more apparent to the staging as the beat takes a detour. She swings her hair around, which makes the crowd go crazy, which gets exemplified by one of the dancers performing a frontflip. And then it comes time to hit the hardest notes of the song, which she is able to do with the help of the further intensifying participation by the onlookers.

Hey! I wanna hear you!
Ohhh! Ohhh!
Durem, love the way you die when- (Oh, yeah)
Durem, love the way you die when- (Oh, yeah)
Durem, love the way you die when-

The final stretch of the song is explosive, and everything is thrown at it. The pyrotechnics do slow down however, as OLA makes her way to the different sides of the stage, waving and extending to the limits of her vocal capacity. Out of breath, she smiles her way through the last parts, and organises her and her dancers into a cohesive triangle. Finally, the 'durem!' chant ends the fiesta. A massive cheer is warming, as is evident on her face.

And you want some more?
Gotta get, gotta get me to the floor
And you want some more? (La la la la la)
And you want some more?
Gotta get, gotta get me-
Ne féce de mino, ese feritivo, perci
I'm driving you durem!

"Thank you so, so much! I love you!" OLA almost falls to her knees, overwhelmed by the receival of her hard work. They exit orderly from the long stage.

by **Belgaam** » Wed Feb 06, 2019 9:43 am

08 - BELGAAM

ANNI KRODSTEM - ALL YOUR FAULT
TUNE: KATI WOLF - LIFE GOES ON

Y-e-es I know, you've been the worst to me-e-e. Searching for love, with your blindness.
Just take your time, to pack your bags! You sabotaged my la-la-love! To stay alive, just admit what you di-i-id.

Question for you, why you so blunt?! Shut your mouth, I just wanna hear, Silence, silence!

You can't stand the fact you're dead, now just try to prove me wrong! It's burning in fire! And that is all your fault! Oh yeah!

Just stay away, because I'm not the one for you-ooh-ooh, ending your life, well who's to blame?
I love my life, you dirty dog! I swear I'm not over-re-acting. To stay alive, just admit what you di-i-id.

Question for you, why you so blunt?! Shut your mouth, I just wanna hear, Silence, silence!

You can't stand the fact you're dead, now just try to prove me wrong! It's burning in fire! And that is all your fault! Oh yeah!

Why'd you do that, why. WHY WOULD YOU DO THAT?! WHY WHY?! WHY, WHY WHY WOULD YOU DO THAT?!
I'm standing here like a loser now, now now now!

Question for you, why you so blunt?! Shut your mouth, I just wanna hear, Silence, silence!

You can't stand the fact you're dead, now just try to prove me wrong! It's burning in fire! And that is all your fault! Oh yeah, yeah yeah yeah!

Question for you! (question for you) Why you so blunt?! (why you so blunt) IT'S BURNING IN FIRE! THAT IS ALL YOUR FAULT! YEAH, YEAH YEAH YEAH! QUESTION FOR YOU! WHY YOU SO BLUNT?! THAT IS ALL YOUR FAULT! (can't stand the fact, oh yeah)

by **Vartugia** » Wed Feb 06, 2019 10:14 am

09. Vartugia

Children of Teh Ruling Party Of Vartugia Chior For A Glourois Future And A Polictcaly Correct Socitly- "Totaly Not Propaganda!”

"Chinese Communist Propaganda Song"- The One Belt and One Road Initiative Song

Teh Ruling Party Of Vartugia For A Glourois Future And A Polictcaly Correct Socitly (Its spelled like that) is totally not the one-party who controls everything about Vartugia, since we have 498 out of 499 seats. Ignore that fact. Look at the children. Growing in a totally rich and normal country. ALL FACTS ABOUT US IS FAKE NEWS MADE UP BY DARKMANIA TO SPREAD GLOBAL WARMING AND GOATS TO DE-HUMANIZE US!!!! (Screams loudly in anger)!

The stage is filled with children, all known as "Children of Teh Ruling Party Of Vartugia Chior For A Glourois Future And A Polictcaly Correct Socitly". All are dressed in the Choir's dresscode and all begin to sing to the tune of someone playing the guitar.
The choir begin to sing, but as with every song made by yours truly, its sung out of tune and badly.

We are not communist
We have a ton of bread
We are just a normal place
who is ruled like a normal party

Someone dabbed.

We will now sing a song
To get null points
And now you are gonna listen
Of how great we are

They begin to dance like they were forced.

We gonna destroy you all (Annoying "yeah"-ing)
We are a great nation (Annoying "yeah"-ing)
Please dont vote for us (Annoying "yeah"-ing)
We gonna destroy you all (Annoying "yeah"-ing)

Someone begins to rap. The rappper seems stiff and his flows are weak.

Vartugia has green air
And we too has blue grass, yes
Our steamtrain can go up to 50 km/h
We are rich as fuck

So please learn from us
And take our ideas
Your mind is so 2000 and whatever
We are the future

The group dances in a poorly added filter made to look like they are walking on a globe.

We gonna destroy you all (Annoying "yeah"-ing)
We are a great nation (Annoying "yeah"-ing)
Please dont vote for us (Annoying "yeah"-ing)
We gonna destroy you all (Annoying "yeah"-ing)

As the children are about to sing, the machine that plays the tune starts to malfunction and plays "We gonna destroy you all (Annoying "yeah"-ing)"many times. The children seem lost and all begin to march away as the audience are speechless over what the fuck just happens.

by **Llalta** » Wed Feb 06, 2019 10:58 am

10 | Llalta
Start A Fire by Esther Winterbourne
Lyrics: Esther Winterbourne
Music: Esther Winterbourne
Tune: Shine - Sofia Nizharadze

Esther Winterbourne, 18-year old singer song writer who represented Llalta in World Hit Festival 40, 41 and now 42.

WorldVision 69 was an interesting edition in general. Most of the entries were let's say... 'unique' with their themes and songs, most being erotic and dare I say it... humourous. Despite this, the LBN decided that sending a serious entry to the contest, hoping to profit off of the lack of serious entries. They decided to send rising starlet, 18 year-old Esther Winterbourne, with her hit song, "Like Memories". Though many people criticized the small nation for, "Not being in the spirit of the edition", the LBN went ahead with their plans of sending the simplistic yet emotional piano ballad to Tampon Bay, Lactatia. And so, Esther performed her song on the big stage, like the way she did back in World Hit Festival 41, Polumisac, Izmedu, where it came second with 36 points, one point behind the winner Kalosia. Fortunately, the song managed to capture the hearts and emotions of the audience, coming 5th with 98 points, the most points in Llaltese history, even more than in WorldVision 65. After a couple misses in WorldVision, Llalta was back in the top 5. Now the next step for Llalta is top 3, or maybe even a win. With their confidence back knowing it's possible to reach top 5, the small island nation has to send something stunning in order to their first podium position. .

Despite the extensive plans for WorldVision 70, it had to sadly be saved for sometime in the future due to the mismanagement of money in the already poor LBN who could not afford to enter the contest. Despite this, Llalta was able to enter the World Hit Festival 43, in Burgendore, Britonisea, the overseers of the contest. Patricia was chosen to represent the small island nation again, hopefully able replicate her impressibe 4th place in WorldVision 65. Her song. "Make History" was an uplifting anthem about making a mark and changing the world for the better. Despite not being able to crack top five, Patricia took a solid tenth place, keeping up Llalta's top ten streak. However, the LBN were slightly disappointed having worked hard to produce an entry.

Esther Winterbourne, 18-year old Llaltese singer-song writer, was born in the tiny village of Lilliannes. She is very well known throughout Llalta, being one of the biggest artists behind Evergreen. From the age of three, one of her favourite pastimes was singing, where she would sing songs 24/7. At four, she started school at St. Christopher’s Academy, where she stayed at the school until she was 18, the school teaching almost every Llaltese child. From four to eighteen, she participated in many school talent shows and open mic nights at pubs, where she became ubiquitous for her singing and piano playing. The piano she learnt from 6, from the renowned John Marshall of the Evergreens. Now 18, Esther Winterbourne is currently taking a gap year to focus on her music career and travel the world before going to Britonisea to study at the University of Telm, where she will study Healthcare and medicine. She says that, “While I love making music and singing and so on, I want to do something more with my life, helping people and others in need.” She plans to get her degree and become a doctor back in Llalta to help those less fortunate than her. “I want to make people happy; save lives; make Llalta stand out for it’s amazing healthcare.” She said in an interview. However, now her music career has really set off, boasting two second places at the World Hit Festival. Despite this and being a commercial success abroad, she still believes that being a doctor is her dream, and to help people. However, she couldn’t be more thankful for what World Hit Festival has done for her. She said, “The World Hit Festival Really has changed my life. Like, people know who I am and you know. I just can’t put it into words how... thankful and glad I am for the opportunities and having the chance to meet amazing people I wouldn’t had met before. It really is surreal.”As of World Hit Festival 42, the rising starlet has had three consecutive contests, two of which gave her podium positions, being second place. And now with a top 5 in WorldVision under her belt, it's time to add a win.

The song, entered into WHF 42 where it came second with 31 points, is about the current refugee crisis in a nearby country, where many people are risking their life for the safety of their families and themselves, escaping the conflict. Esther was appalled at the attitudes of some people who labeled these people as mere terrorists or criminals, and this pushed her to write the song. And after an emotional visit to a refugee camp to listen to the stories in her most recent documentary, "Those So Called Terrorists", which taught her new things she'd never knew before. She dedicated this song to Muktar, a 16 year old refugee she met at the camp who has to look after his 3 year old sister after his family passed away in a gas attack. The song recounts his stories and his hardships.

As the postcard finishes, the Kalosian crowd applaud and the lights in the arena fall and it turns pitch black. The last mutters of the audience quieten and silence descends on the arena. As the soft piano starts to play it's melodic symphony, a single weak spotlight falls on a dancer who runs in from the right of the stage, looking panicked as if he is being chased by something before he takes a couple breaths. He looks around a bit, looking lost and wondering slowly around, taking in his surroundings before turning around so he faces the way he came onstage. He then slumps to the floor, ending up so that he sits, curled up in a ball. His face is covered up but it is clear he is sobbing. The boy looks around 16, maybe older, and he has dark, middle eastern colour skin. His cropped, brown hair is ruffled and messy. His face is thin and gaunt, just like his body. He is relatively tall. He wears a scruffy white shirt, unbuttoned messily at the top revealing the top of his chest. On his bottom half he wears black, long slim jeans. Half of his shirt is scruffily tucked into his jeans, the rest is let loose. He is bare foot as well, wearing a single leathery anklet on his right ankle. His harsh brown eyes appear empty, like a shattered piece of glass. He's seen things no 16 year old should have to see.

Another weak spotlight appears, shining on Esther as she begins singing, her mic attached to her face rather than in her hand. She is sat back to back with the boy, who is the same height, as she sits with her legs out in front of her, knees raised up in front of her face casually, legs spread just slightly. She wears this dress which is elegantly sprawled across the floor around her and her brown hair flows elegantly down to the top of her chest. She is also bare foot. She has little make up, yet she looks stunning and natural. Some may notice a silver necklace with a single Christian cross on it. The camera circles the two performers, sitting back to back, two single weak spotlights pointing their direction, though many shadows are there to create a slightly ethereal atmosphere. Other than that though, there are no other lights in the arena apart from a couple cameras and phones from the audience. Esther begins to sing the verse, with a melancholy tone of voice. On the second line, Esther and the dancer tilt their heads back so that their heads rest on the other's shoulders. They look up to the ceiling of the arena dreamily, eyes glistening in the light. The dancer during this movement opens up from his curled up ball, and his legs move outwards, spreading his legs out a little to mirror Esther.

As Esther somberly sings the final line of the verse, they remove their heads from each other's shoulders. The two performers then slide on the stage and end up so that they have swapped positions. Only this time, they are facing each other on one knee, like an exact mirror image of each other. Their eyes are level with each other as they stare blankly into each others eyes, slowly rising from one knee to a stand. The camera circles the two once more in this section, before taking another close up from the back of the stage, Esther and the dancer staring at each other stood up with the audience watching them intently. The two performers stare, both confused and nervous, not knowing what to think of the other. Despite their bodies facing the front, their heads are turned towards each other. This is all while Esther sings the verse with note perfect singing.

The shattered eyes that tell a million tales
That bear the weight of never said goodbyes
Teardrops etching marks along his muddied face

As the bridge starts, the male dancer runs desperately to the front left of the stage, somehow being elegant and theatrical whilst doing it. However, he stops abruptly moments when he reaches the edge of the stage, as if he was having second thoughts. His deep brown eyes then drift to his left shoulder, where a hand is placed on it. The camera shifts a little, to reveal Esther behind him, her hand holding onto his shoulder as if she were trying to stop him. The camera then takes an aerial shot of the stage, the only lights still being the two spotlights on the performers. On the second line, he grabs her hand, still on his shoulder, and removes it forcefully of his shoulder, before walking backwards cautiously. Esther glances from the left of the stage, her right arm reaching out towards him longingly. He shakes his head before turning to perform a one footed twirl on the spot, synchronising with Esther who also twirls on the spot her white dress twirling elegantly. Her vocals are slightly breathy during the twirl, but remain perfect otherwise. The two performers then runs towards the centre pf the stage, Esther stopping halfway to turn her head away, so that she faces left, from the male dancer who goes to perform a perfect straddle leap (picture for reference) back towards the centre of the stage. He ends so that his back is faced towards the audience, centre stage, his head turned towards the right of the stage.

Lost in the patchwork of green
Running from the person he used to be

As the chorus approaches, the lights shift from spotlights to the golden row of lights at the back, so that Esther and the dancer appear more like silhouettes with little light, only enough to see basic features. The camera takes full advantage of the effect, taking mostly close up shots throughout the emotional chorus. As for Esther, she elegantly runs towards the male dancer, her dress flowing like a river behind her. She runs to centre of the large stage and leaps as beautifully as a gazelle as she passes the dancer, who picks her up mid leap. He spins her around with ease, Esther moving her legs so that she is pretending to run on air gracefully. The long back part of her dress yet again trails elegantly behind her as she is span mid air. After a couple seconds he puts her down onto the stage floor for the second line where Esther elegantly twirls on one foot, synchronised with the dancer who does the same just a metre or two behind her, before falling dramatically to the floor in a heap of brown hair and white dress as the second line ends. The male dancer kicks his long muscly yet thin legs over Esther as she is curled up into a ball on the floor. He is obviously stretchy as his feet easily are raised to shoulder height. Esther then rolls to the side so that she ends up with the side of her body pressed against the stage floor as she leans on her shoulder and looks up desperately and sorrowfully at the male dancer, who looks down at her with a blank yet cold expression on his face, her upstage arm slowly and shakily reaching up at him throughout the duration of the third line. As the fourth line is begun, he grabs Esther's hand and lifts her up off the ground. Esther then walks around him slowly in a circle her hand on his shoulder and a slight smile, the camera following behind her, before twirling, ending up so that she is in front of the dancer who wraps his arms around her lovingly. Her hands rest on his. They stay still for a moment enjoying it, both eyes closed shut peacefully. She then spins out of his arms and both the dancer and Esther perform a graceful leap, tossing their heads backwards as they leap, their athletic legs showing. They both then land on the floor and roll, ending up on one knee, the dancer behind Esther, reaching outwards. Esther is breathy throughout, yet her vocals remain strong.

Lost and alone he runs ‘till he’s free
No one cares
Cares for the people that suffer beneath
Pray, Pray, pray all you want but then
What God can save his soul, amidst the pain

The lights shift so that it was like the beginning, two spotlights still shining on them, shadows dancing across their faces with every movement. The camera throughout the verse is taking close up to mid shots, with very few far out shots. The piano and guitar start playing for the verse. As for Esther and the dancer, they rise to their feet quickly before performing a kick in an arch shape, both feet going as high as their shoulders, though the male dancer's leg goes slightly higher, due to more training. Using the momentum of the arched kick, the two performers pirouette gracefully, one leg spinning outwards, before landing as they had started. The two performers then leaped backwards, Esther kicking the train of her dress midair so that it is splayed outwards. They land and turn around, so that Esther's body is now facing the dancer's back. Their heads however, are turned to the left of the stage. This is all in quick yet graceful succession, each move transitioning perfectly with each other. Esther's voice trembles a little during the leap but she takes a breath afterwards and continues her so far perfect vocals.

On the second line, the camera takes a further out pan of the beautiful stage, feeling rather empty with the only two spotlights for Esther and the dancer to match the mood. The male dancer drops desperately to his knees, his back arched and his head buried in his hands. He pushes his cropped brown hair back and shivers very slightly. Esther runs elegantly towards him, before placing her back on his back so that they are back to back and performing a mock cartwheel with her straight legs flipping in the air. Her feet find Toes pointed, the feet go in an arch motion until they reach the other side of the male dancer. her feet find the stage floor after she does the flip, and stands, ending up so the she begins twirling gracefully. The male dancer quickly rises to a stand, before grabbing Esther as soon as she finished the twirl. At first he spins, holding her close to his body as they spin swiftly. Esther heads resting tightly against his chest, eyes shut tightly. Her hands grab onto his shirt desperately, legs twisted around his lower torso like a koala to a tree. The male dancer embraces her tightly too, hands lost in the white fabric of her dress. After a few seconds Esther lets go of his thin body and leans backwards, her head close to the floor as they spin. Her arms are outstretched freely, possibly to balance her. During the spin her vocals are slightly breathy but pitch perfect. Only her legs remain wrapped around his pelvis as they spin rapidly.

He begins to slow down his rapid spin, before grinding to a halt, Esther's dress flopping back to her body. Esther cartwheels expertly out of the male dancer's grip before reaching out to the opposite side of the stage, taking a large breath before she sings. Her back leg is lifted high up behind her, the other on it's tiptoes on the ground. The male dancer is tightly gripping onto Esther's other hand, which is outstretched behind her. The two performers then twirl elegantly, before leaping like deer towards the front of the stage. However, the male dancer dramatically and spontaneously falls to the floor, only stopped by his hands so that he ends up doing a plank. Esther meanwhile places one foot on the male dancer, applying pressure. It remains like this for a moment, Esther applying more pressure each second. The camera faces towards Esther who reaches out towards the camera, her face seeming almost angry. Then, Esther performs a multitude of smaller backward leaps, whilst the male dancer hops to his feet in one swift jump. He then kicks upwards, his knee millimetres away from his face, which faces upwards, eyes shining. Esther then does a quick spin so the two performer's backs are facing each other. They then run backwards as if they were being dragged violently until the meet in the middle back to back. Their hands meet shaking, before their fingers interlock.

Remembering the bloodstained streets he once had known
People he once loved buried under charred stone
Their twisted empty faces haunting the past

The spotlights slowly fade out and are replaced with the spotlights at the back, making both Esther and the dancer look like silhouettes. Only basic details can be made out. The camera takes close up shots of Esther and the dancer throughout the short bridge. The male dancer spins and then falls to his knees dramatically, his shirt untucked from his trousers, as he holds his head as if trying to quieten the thoughts in his mind. During the first line he violently shakes his head from side to side to the beat, his messy brown hair covering his eyes at times. By the end of the line he is on his hands and knees violently shaking with his head twisted in anger, sorrow and anguish. During the male dancer’s dramatic sequence of moves, Esther stands behind him with her hands hovering over his head, moving in exactly the same way as him, like a puppeteer and her puppet. She belts out the words with an angered tone. When he shakes his head from side to side, Esther also does the same, only stand up behind him. And when he falls to his hands and knees, Esther is behind him, whipping both her arms out powerfully.

On the second line, the male dancer rises sharply back to his knees once more, only this time he mimes screaming out in anger. His face is both terrifying and sorrowful, his ace distorted in such a way that it conveys so many varied emotions. He then falls to the floor, only his bottom slightly raised up from the floor. Esther pirouettes over his body, her muscly legs swooping over his shaking body. The male dancer then rolls from side to side, before staying slightly to the right to reach his hand up almost zombie like, his head miming a scream. The lights hide much of the detail but still creates a scary atmosphere nonetheless, maybe even more if the lights had been normal. While he performs this sequence of moves, Esther belts out the bridge passionately. Meanwhile she sings, she also swings her head and body from side to side, synchronised with the dancer, her hair flipping from side to side. Near the end whilst the dancer reaches upwards, she kicks her leg in an arch over his twisted hand, before turning around so that her back faces the front. The lights brighten as she is facing the back, creating a dramatic lighting.

Explosions ring in his mind
And screams pleading help they’ll never find

The arena lights up in white for the very first time in the song, Esther and the dancer at last being seen fully with few shadows. The camera takes a wide shot of the stage, taking in all the light. The lights on the back wall are lit up randomly like a sky of stars, glimmering and shimmering. The audience is seen waving their flags to the song, a couple Llaltese flags being shown at the back of the of the arena. Some lights are also seen in the audience, from phones and wristbands. Meanwhile, Esther grabs the male dancer's bony hands and lifts him off the floor, the male dancer rising to a stand. The end up so that Esther is behind the male dancer. He then holds onto one of Esther's hands and spin her until she is by the side of the male dancer, who despite having his body facing the front, his head is turned towards Esther. Esther then leaps dramatically before performing another twirl on the other side of the dancer. After the twirl in which her dress stays airborne throughout, she reaches her arm out, pushing the male dancer away, who performs yet another beautiful straddle leap before using the momentum to kick his leg up high, his knees touching his chin. By the second line, Esther stretches her arm out and in front of her before elegantly moving it backwards in an arch. She bends her back so that she can arch it backwards, kicking her leg out to balance herself. Her hair flows downwards like a waterfall. Around a couple metres away, the male dancer performs a forward roll to the opposite direction of Esther, ending on one knee with his arm reaching towards the camera which is in front of him. His eyes shine in the and there is a moment of lens flare behind him as he stares sorrowfully into the camera.

For the third line, the male dancer stands up sharply and looks at Esther who is slowly returning back to a stand. She takes a breath, and they stare at each other sadly for a couple moments, before running towards each other. However, as they pass, they both perform a straddle leap, Esther in front of him. They land and twirl elegantly, synchronised. They then end up side by side, and give each other a quick and solemn glance at each other as they take a well deserved breath, before raising their arms up, hands in fists. They soon after however lower them swiftly, and fall to their knees. They then swiftly transition so that they are on all fours, before moving forwards using their arms and legs like animals. However they only perform the move for a couple moments to keep the dance snappy. They glare into the camera as it looks at their direction, eyes twinkling in the light. The male dancer has his mouth snarling whilst Esther sings the chorus. Then, Esther performs a roll similar to that of a pencil roll, however more free and wild. She rolls, he dress fluttering elegantly in the air, and rolls to the right so that she swaps place with the male dancer. Whilst she rolls, the male dancer performs a cartwheel from the floor over her body, his legs not entirely straight for style reasons. They both swap positions and rise so that they are straight, but still on their knees. Esther and the dancer take a deep breath before the fourth line begins.

The fourth line rolls around and the male dancer kneels, his back bent slightly as he shuts his eyes tightly. He puts his hands together praying, and begins to mime muttering words. He subtly rocks back and forth, whilst Esther sings beside him, standing up. As she sings each “pray”, she kicks her leg up high as she walks around the male dancer as he prays, her dress flowing and fluttering as she kicks them into the air. And as she finishes the line she twirls to the left side of the male dancer, still praying, before lifting her right arm up slowly. However, her hand swirls and twirls as if it were dancing as it slowly makes it’s way upwards, her bright eyes watching every movement. She then beautifully moves her arm arm over her head in an arch shape before performing a dramatic dance move that is a mix between a spin and a leap, legs flailing elegantly as Esther she leaps. She ends up rolling on the floor and and standing up only to kick her leg up straight in the air, her back arches and head leaning backwards. The camera pans around Esther as she flips and kicks.

The final fifth line begins, Esther swiftly stands up straight and grabs her silver necklace with a cross on it and yanks it off, beads falling everywhere as she throws the cross pendant to the ground. She thenspins gracefully around so that she faces the male dancer, who rises to a stand swiftly and Esther pirouettes away from him, consecutively nailing each spin before leaping high up into the air. She ends by kicking in an arch direction, her feet reaching as high up as her head. Meanwhile, the male dancer twirls elegantly on the spot for a couple moments before reaching out his long gangly arm towards Esther longingly. His eyes grew desperate as he saw Esther on the other side of the stage. Esther glances back solemnly, before running like a deer towards him. As she nears him, he bent down slightly, so that when she cane he was ready to lift her up. She was lifted into the air, held by the arms which were outstretched to the side like Jesus on a cross as she sang the last long note of the chorus. She shut her eyes calmly, bathing in the spotlight; in the moment. The camera panned around her, looking upwards at her presence. Then the camera took a further out and wider shot of the beautifully crafted stage. He placed her down soon after as the lights darkened and dimmed.

Lost and alone he runs ‘till he’s free
No one cares
Cares for the people that suffer beneath
Pray, Pray, pray all you want but then
What God can save his soul, amidst the pain

The arena turns dark once more, with only two single spotlights directed at Esther and the male dancer respectively. The male leaps desperately into the air, towards the front. He mimes a scream and shout, his dark thin eyebrows furrowed above his lifeless brown eyes. He lands and immediately curls into a ball, his head tucked into his arms tightly. Esther walks solemnly and steadily, cautiously taking steps until she is slightly behind and to the right of him. Her eyes look sorrowfully into the sea of audience, and her hands gently making movements as she sings softly. The camera takes a closer up shot of Esther, capturing each emotion and each shadow that dances across her face as she moves. Esther glances down at the male dancer who begins to shake subtly but still noticeable. As the second line begins, she shakes her head sadly and steps away slowly. Her head can’t stop looking as she walks away to the back of the stage, leaving the male dancer alone. Eventually the spotlight that is focused on Esther fades as she walks away, until you can’t see her. There is a intimate moment of just a single spotlight illuminating the male dancer, shadows covering his face and much of the small details. Esther begins to belt the lyrics, “War” and then suddenly, the lights flash brightly. The arena is lit up once more with the golden LED lights glimmering like little stars. There is a cheer of approval in the arena. The LED screen shows a gradient, with a golden light at the bottom of the screen like a bright sunrise against the black. Esther is also shown at the back of the stage emotionally belting the line.

He suffers in silence alone
Forgotten in the prison of war

The arena is lit up in a golden hue as Esther belts the final line of the bridge, over the top of the backing singers. The male dancer, at first begins to peek up from his ball, hope in his eyes, now filled with life. He then begins to swiftly uncurl from his ball, eventually, although still on the floor, on all fours looking forward, a smile beginning to form on his face. He looks up, his eyes beginning to tear up and shimmer in the golden light. He then hops up onto his feet, and although landing in a squat, he swiftly yet cautiously rises to his feet. He smiles to the audience for a moment shifting on the balls of his feet before twirling round, his shirt now undone and loose, swirling majestically around him. His chest is now exposed too, showing a muscly yet thin physique. Meanwhile behind him, Esther continues to sing the line almost in tears, walking slowly towards the front. Creases are etched on her face as she shakes her head, raising her arm up to about half way, her hand switching from an open and inviting palms up to a fist. The camera meanwhile takes a wider shot of the stage, each golden light glimmering and shining as the performers do their thing. A quick shot of the audience, who continue to wave their flags and hands to the song.

As the second line is belted passionately, Esther runs dramatically towards the male dancer, who as he turns around lifts Esther up into his arms. She is at eye level with him as she faces the male dancer. Her legs are outstretched behind her as she leaps into his arms and the remain behind her during the lift as well. She now holds onto him as she is span once, before he places her on the stage floor once again. Her eyes are shut tightly, a small tear glimmering in the lights it’s it rolls down her cheeks. His hands are holding on tightly, not to let go of her once during the spin. They spin once, Esther’s dress trailing behind her like a trail of stars, and he places her down. During the spin, they look into each other’s eyes in wonder, eyes twinkling in the light as they share the close moment together. A single glistening tear rolling down her smooth cheek. Using the momentum of the spin, Esther and the male dancer run out and perform a straddle leap as the third line begins, Esther singing the song emotionally. A sense of hope and happiness fills the arena like an infectious disease. They land in perfect sync and twirl with elegance, the male dancer in front of Esther by a couple metres. The male dancer then staggers backwards, looking rather distraught and terrified, almost falling over at some point. However Esther leaps on the spot and holds her arms out strongly as the male dancer falls. He falls into her thin arms and Esther leans backwards, crouching further down to accompdate his weight. Holding onto him tightly not to drop him, she glances dreamily down at his face before slowly lifting him back up to a stand. During this, the dancer’s eyes are shut tightly and his head rocked back off her arms. Not only that but after she reaches near the bottom of the floor with the male dancer, he makes exaggerated walking motions with his legs until he reached the top, his muscly legs staying stable throughout. Esther takes a large breath as she belts the final chorus.

For the fourth line of the final chorus, they both twirl in sync with each other, both bathing in the golden lights that filled the arena. The audience begin to cheer loudly again. The camera panned across the audience, flags waving and arms flailing; a sea of people feeling the emotions onstage. Some could even relate to the lyrics and the song. Anyhow, the two then leap in sync as the second “Shout” is sang passionately by Esther, who is obviously exhausted yet still sings perfectly. Esther hops into his arms, her chest close to his chest and her head resting on his shoulders, hair falling from her head. Her eyes open calmly, glistening in the golden light and her legs are left dangling. The camera takes a bird eye view where both Esther and the dancer stare into the lights above, twinkling golden lights reflecting and shining everywhere. So, the dancer spins her round in a circle, Esther’s legs moving in a running motion as she is span round. Finally, she cartwheels out of the spin, and reaches her arm out longingly to the audience as the penultimate line comes to a close. Her eyes sorrowfully laced with hope, stares out into the distance, her arm halfway between choosing to stretch out but fighting against it. The male dancer joins soon after, copying her motion right next to her and the stage grows calm. The male’s eyes finally grow colourful; soulful. They feel alive with stories to come and stories of the past. A wind machine is turned on as Esther’s hair and dress flutter elegantly behind her and the male dancer’s shirt flaps in the wind. They both share a moment; a scene for mere moments before their hands retreated to their bodies as they turned around and walked back to centre stage slowly.

On the final line, they reach centre stage and they turn back round to see the audience. Esther begins singing the final line, tears pouring out of her brown yet kaleidoscopic eyes that shift colour in the light. The song means a lot to her. She’s seen it with her own eyes. Ears. She sings the last line as if it were her last line. She takes a deep breath just before the final note. The audience cheer loudly and sparks begin to fall from the ceiling, creating an emotional scene that’ll bring a tear to every Izmeduan. He lifts her up and Esther steps on his shoulders, she begins to belt the final note with note perfect precision. Sparks begin spewing out of the sides of the stage as Esther can be seen overlooking each spark and looking over the audience. Sparks are flying everywhere as she looks up at the ceiling, tears pouring out like a waterfall. There is a final flash of light to end the dramatic song.

But together we’ll run ‘till we’re free
You’re not alone
We’ll care for the people that suffer beneath
Shout, Shout, suffer in silence no more
Start the fire

There is a huge roar from the audience as the last of the sparks fall from the ceiling. Breathy and exhausted, the male dancer and Esther embrace emotionally, Esther sobbing into his shoulder. After a couple moments, they stand side by side and bow, the audience still cheering loudly or Esther. "Thank you and Start the fire!" Esther shouts, stopping midway to sob, her eyes glittering in the lights before walking offstage.

by **Polkopia** » Wed Feb 06, 2019 2:44 pm

Puddle of Fish - Insomnia
Tune: Young the Giant - Cough Syrup

For this edition of Worldvision, the Polkopian National Broadcaster selected Polkopia's entry by hosting the Landa vy Polkopiya, which served as Polkopia's National Final. A record-breaking eight nations made up the international jury, whose votes consisted of 50% of the final vote, with the other half of the final result determined by a domestic televote. While the rock group, Puddle of Fish, came third place in the domestic televote, the band earned the right to represent their home nation after securing first place in the international jury votes. This is the first time that Polkopia has sent a rock song to the Worldvision Song Contest and many Polkopian fans questioned whether it was a sound choice for the PNB to allow them the right to perform at Worldvision. Many accused the Landa vy Polkopiya of being rigged - something that had been a problem in the past prior to the revitalization of the national selection, however these claims were quickly disputed after the PNB published an in-depth chart of the voting results, citing each and every vote awarded by all of the nations in the international jury as well as voting demographics across Polkopia. In the end, it was hard to disprove the fact that the band had won the Landa vy Polkopiya fairly and therefore the band could move on to perform at Worldvision without any further controversy at home.

As the Polkopian postcard was shown, the applause began to dwindle down in anticipation for the song itself. The audience was filled with citizens of all nations across the multiverse, however there were much fewer Polkopians than usual due to a travel advisory issued by the Polkopian Department of Tourism for Polkopians traveling to Main Nation Ministry. The Polkopians that chose to travel despite these warnings, however, were as enthusiastic as ever in supporting the entry from their home country and cheered as loud as they could. The band was set up around the catwalk and the curtain toward the back of the stage was down. The stage was completely dark, save for a single spotlight centered on the lead guitarist's instrument. The camera focused in on the guitarist's hand strumming the guitar for the opening chords. When lead singer, Ivan Strmkić, began to sing, the front of the stage lit up and all five members of the band were shown. A projector showed bright gold circles on a dim golden background on the curtain behind them and the camera showed the band from the front and panned around them in a half-circle, around the perimeter of the catwalk of the stage.

The night's still young and my head is numb, woah.
My mind's a mess, feel it in my chest, feeling it all.
These zombies in the night, they're looking for a bite, woah wo-oh-oh woah.
The dark world aches for a restless soul, wo-oh-oh.

Strmkić takes the microphone off of the stand and small flares shoot out along the perimeter of the stage in-sync with the beat of the drum. Strmkić runs along the perimeter and rocks his head back and forth while singing. The others members of the band are seen intensely playing their respective instruments and lip-syncing the lyrics to the song along with the lead singer.

If I could find a way, to send my brain on holiday.
To paradise so I, I could rest easy now.
I'm blinded by this moonlight tonight.

For this instrumental break, the main camera panned to different members of the band who were playing their instruments at the same caliber as earlier in the chorus. Strmkić, meanwhile, walked back to the microphone stand and fit the microphone back in its holster. When the instrumental break ended, he stood behind the microphone stand and proceeded to sing the next verse. When he said "cannons" in the third line, a loud boom sounded throughout the arena, mimicking a cannon shot, and LED lights on the background screen showed pavement cracking in a landscape camera angle.

The night's still young and I'm feeling dumb, woah.
This feeling in my chest has got me over-stressed, I'm dying, oh.
These cannons in my mind won't help me to unwind, woah wo-oh-oh woah.
This battleground longs for the taste of a pill, wo-oh-oh.

The background animation on the LED screen showed the cracked concrete from the previous verse, but segments from the surface began to fall and the ground began to disappear into a black hole of nothingness. Partway through this, the animation changed from a landscape view to an aerial view of the ground, and the camera then rapidly zoomed in a spiral motion. By the time the camera "hit" the ground, Strmkić finished singing the last bit of the chorus.

If I could find a way, to send my brain on holiday.
To paradise so I, I could rest easy now.
Every night I'm lying awake in my chaotic bed.
My anxious head won't leave me be.
I'm blinded by this moonlight tonight.

The background LED screen was completely black after the camera "fell through" the ground and the rest of the stage lighting followed suit. There were only spotlights illuminating the band, with the brightest spotlight trained on the lead vocalist. The other members of the band, though illuminated, were not nearly as lit up as Strmkić. Strmkić, meanwhile, placed both of his hands on the microphone itself and trained his eyes on the ground.

The night's still young and my head is numb, woah.
My mind's a mess, feel it in my chest, feeling it all.

Strmkić surged forward and then left the microphone as he wandered around the stage, away from the spotlight. The lights that illuminated the other members of the band began to brighten, and diagonal jets of flames occasionally spurted from the perimeter of the stage. The crowd was heard cheering as the atmosphere of the staging began to intensify during this instrumental buildup. The LED screen, meanwhile, showed fire at the ground, slowly rising up. By the end of the instrumental breakdown, the fire had climbed to the very top of the screen.

Strmkić quickly ran forward toward the microphone stand, leaning forward as he sang. The lights dimmed for a brief moment (during the first line of the chorus), but illuminated themselves in-sync with the instruments in the song. The pyrotechnics around the perimeter of the stage shot out at the same time as the lights. Strmkić ripped the microphone from the stand as he sang the third line and stormed forward, pointing toward members of the crowd, resulting in a louder cheer from the closest audience members.

If I could find a way, to send my brain on holiday.
To paradise so I, I could rest easy now.
Every night I'm lying awake in my chaotic bed.
My anxious head won't leave me be.
I'm blinded by this moonlight tonight.

One more taste of this magic pill, woah.
Just one more to keep my stomach filled, woah woah.

"Thank you Multiverse! Than you Main Nation Ministry!" The lead singer said, bowing to the cheering crowd before departing from the stage.

by **Antahbrantahstan** » Thu Feb 07, 2019 4:49 pm

12. ANTAHBRANTAHSTAN

FOUR-Whispers In The Clouds

Tune: BTS (ft. Steve Aoki)-The Truth Untold

m & l: Surindra Pahmawati, Alice Norris

FOUR is an Anturian boygroup that was created in 2016, consisting of Agustian Wirayudha (Agus), Leon Candra Wiguna (Leon), Theofilus Widjaja (Theo), and Evantyo Rizki Rahadiansyah (Evan).

FOUR was internally selected by RR's WV committee, as they felt that the Melodi Grand Prix and Lomba Cipta Lagu Nasional format is getting obsolete, in addition to their popularity in Antahbrantahstan (especially for girls and mothers). In addition to that RR allowed songwriters to submit songs for consideration, as RR wanted the public to have a chance composing songs for their reresentative.

While usually, RR received a maximum of 200-300 songs for their internals, RR received 1000+ songs from the public, this sudden increase caused RR's WV committee to be stressed, as their voting mechanism obviously causes a lot of ties between the committee members, and then, RR committee members discovered WITC, written by one of the Anturian honored artist Surindra Pahmawati, the lush, yet minimalistic melody enchanted the committee and subsequently, it was offered to FOUR, FOUR members also loved it very much, and it was chosen as the Anturian WorldVision entry.

However, FOUR encountered mishaps during the recording process, namely because Leon keep breaking down during the recording process, and how they have to take many vocal takes because of it, and therefore, Agus as the leader reluctantly reduced Leon's lines, much to everyone's displeasure. Another mishap is how tension occurred as Theo and Agustian were photographed by fansites "arguing" outside the recording studio, while in reality they were just doing some vocal training, causing a huge news and civil wars across the FOUR fandom, however, everything was solved peacefully, nobody was hurt, and they finally completed their recording process.

Red: Agus
Blue: Evan
Baby Blue: Leon
Green: Theo
Colorless: All members

The stage is dimly lit, and in between the audience, we can see that there are lots of audience members holding a turquoise-colored FOUR official lighstick, afterwards, a single, lonely spotlight shone on Leon, who is wearing a plain white t-shirt, paired with a vest, standing, microphone stand in front, for sure, audience both at home and in the theatre could see that he was holding tears a little, but he continued through, his soft, deep voice caressing the whole theatre. In the meanwhile, what seemed like some tiny, orange-colored flame could be seen around the stage floor.

Malam yang sepi
In this silent night

Ku berbaring disini
I am laying myself in here

Terasa muram
It feels so gloomy

Ku hanya ingin pejamkan mataku
I just want to close my eyes

The spotlight then stopped shining on Leon, and afterwards shone on Evan, standing next to Leon, microphone stick in front too, wearing a simple plain white outfit, like his coat and trousers, Evan's voice, of course, was more mature than Leon, and subsequently, it is also reflected in his performance. In the meanwhile, the camera would first show Evan's half-body, before changing their angle, showing Evan's full body during the last verse, with his voice sounding like a soft whisper.

Malam semakin larut
It's getting late

Ku pikirkan dirimu
And i'm still thinking of you

Apakah mungkin?
Is it possible?

Dengan nyanyian lagu, kau datang
If i sang a song, you'll come here

The spotlight then stopped shining, and in the background, the LED screen slowly lits up, revealing a dimly-lit forest at night, the stage would then become dimly lit as well, in order to maximize the performance, in the meanwhile, Evan has passed his singing torch to Theo, who also wears a white coat, t-shirt, and trousers, with microphone stand in front, as the piano becomes more and more intense, the camera would shift angles, at first showing Theo's half-body, but later changing angle so that Theo's side profile becomes a prominent figure for the audience, showing his ethereal visuals.

But I know
Kau hadir, berbisik kepadaku
You're right here, whispering to me

Menenangkan hatiku
Calming my heart down

“Aku disini”
"I am right here"

And now it is time for FOUR's leader, Agus, to sing, he was wearing a grey coat and trousers, paired up with a pastel blue shirt, like the other members, he also sang with a microphone stand. As his voice moves along alongside the deep, saddening piano, Agus seems to be more expressive than the other members, as he would sometimes put his hand in his chest, being so enchanted with the song's somber, moody tone, in the meanwhile, the camera angles would adjust to Agus accordingly.

Jangan bersedih
Don't be so sad

Don’t cry for me
Smile with me
Aku baik-baik saja disini
I am fine in here

Janganlah khawatirkan diriku
Don't worry about me

The stage finally brightens, revealing that there are lit candles around the stage, the LED screen would then show a black background with gold, glitter-like sparks flying about, all as Evan sings, voice flowing like a river, the camera angles would predominantly shoot on Evan, it would sometimes shoot the other members, but Evan would always be in frame. The camera at the end would shoot the audiences holding the lighsticks for some seconds until the blue sparks turned into some bokeh effect for the TV audience.

I wish that I can
Laugh with you
Cry with you
Sayangnya kita takkan pernah bersama
Sadly we won't be together anymore

Kau tinggalkan diriku sendirian
You left me alone

But I know you’re there

It's Theo's turn to sing, and loneliness is reflected in the way he sings, in the last verse, his voice echoes throughout the theatre, evoking sadness in the audience. After he sings the last verse, he lifts his up, and his footage would then turn into a blur at the end of his verse.

Kaupun sudah pergi
You have left

Ku tinggal sendiri
And i am now alone

Sinar mentari
The rays of sunshine

Tak terasa menghangatkan lagi
Doesn't make me warm anymore

Agus didn't waste time singing his verse, his voice might not be as soft as the others, but he makes it known that he is capable of singing songs like this, the camera would at first shoot Agus, and after his last verse, the camera would pan from the left to right side of the stage (shot from the audience's PoV)

But I know
Kau pasti, akan segera datang
You'll surely come here soon

Meski ribuan petang
Eventhough thousands of afternoons

Sudah berlalu
Have passed by

The camera would then shift to Leon, his deep voice would then envelop the theater, as his voice slowly mellows, the camera would shot Leon from either the side or the front, depending on what verse is he singing.

Semua ingin
Everyone wants to

Bahagia
Be happy

Bersama
Together

Perpisahan memang sangat menyakitkan
Separation is very painful, indeed

Sampai kapan aku berpura-pura?
How long should i pretend?

It's Evan's turn to sing, the staging and his singing continued normally, however, during his second-to-last verse, the stage and the LED suddenly turned dark, with only spotlights shining the FOUR members in its entirety.

“Wahai kawanku
"Dear my friend

Ingatlah
Just remember

Ucapanku
Everything that i have said

Jangan kau susahkan diri sendiri
Please don't bother yourself

Meski kita jauh, ku lihat kau
Eventhough we're far from each other, i still see you

‘Cause I know you’re there
I know you’re there”

The stage finally brightened, and the spotlights would then shine into the audience, Theo doesn't waste this opportunity, as he sang more emotionally than before, hopping on the dramatic guitar playing like a professional, his voice would encircle the theater, bringing some of the audience into tears.

Andaikan saja
I wish, if only

Ucapanku
All my words

Pikiranku
All my thoughts

Tercurahkan pada saat itu juga
Are said right away back then

Mungkin kini ku takkan gelisah
Maybe right now i won't be so restless

Ultimately, it is time for everyone to sing) though Agus' voice remains the dominant voice, performing raw vocal techniques alongside the melancholic guitar, in the meanwhile, the camera would adjust its angles, panning from side to side, shooting everyone, or panning from the audience's PoV, all of this is done while they're still singing gracefully.

Terima kasih
"Thank you"

Tanpamu
Without you

Diriku
My own self

Takkan mampu hadapi hidupku ini
Won't be able to navigate through this world

Saat ini ku bersyukur karena
And right now i am very thankful because

I know you’re right here

I know you’re right here
I know you’re right here
I know you’re right here

The audience then cheered, and FOUR would collectively shout "Thank You!" as FOUR walks backstage, avoiding the candles and all.

by **Mercedini** » Fri Feb 08, 2019 4:09 am

#13 MERCEDINI
Arna Venogrum - "Ammonimentum"
Tune: Conan Osiris - "Telemoveis"
Music: Arna Venogrum • Lyrics: Arna Venogrum

Dini return to the WorldVision following yet another one edition hiatus following their surprising 4th place finish at WorldVision 69 with Gimme D and her self-title pop anthem. Mercedinian broadcasters ENM have been busy chasing other projects on their edition out, including lining up potential bids for future WorldVision contest plus methods to promote Mercedinian music to more than just nations who participate in WorldVision and the Novapax sphere of influence. Artists have been busy singing at some of the multiverse's biggest sporting events on the calendar, but now it's back in time for the big one, with ENM choosing a rather peculiar artist for the selection for the 71st edition

Twenty-four year-old Elspa native Arna Venogrum will take the reigns for the 71st and will hope to deliver a true taste of ethnic-Mercedinian flair on the stage in Main Nation Ministry with his song 'Ammonimentum', becoming the first artist to sing a song entirely in the Mercedinian language. An 'Ammonimentum', in the Mercedinian ethno-sphere, refers to a cautionary tale taught by older generations to younger relatives and children to warn them about the dangers and pitfalls of the wider world. Venogrum has stated that the song will dictate environmental issues raised in the world as it is today, something that won praise from the general public, given the nation's love for their nature in the forms of mountainous climates and it's numerous luscious forests throughout the country. ENM representatives have stated that this will be the song that truly represents the public's qualms about some of the competing nations and their actions towards the planet. The message is worth more than the result with this one, so it will be three minutes of reflection for the viewers at home as Song #13 graces the screen of millions.

The song begins with the opening strums combining with a camera shot which overlooks the stage with the Mercedinian representatives on it. Arna stands in the centre wearing a green check suit with no tie and the top button unbuttoned on his shirt. Four figures stand spread out across the stage wearing black and gold cloaks, with their faces and bodies obscured from the view of the audience. The curtain behind the stage contains a projected image of a forest and the muddy ground beneath it, with waving images of green and blue flowing around the curtain as the intro to the song comes to an end.

As the lyrics of the song come in, a close up of Arna's face is relayed to the audience at home as he faces the centre of the arena to sing the meaningful words to his song. He walks forward towards the central portion of the stage as members of the audience in the front row look on in wonder. The colour in the stage begins to fade away and is replaced with darkness save for the golden beams of light shining down from the roof of the building.

Cos'e un ammonimentum
Parole che non possum esseripute
Le lezioni che insegnano
Piu prezioso dell'oro
What is a cautionary tale?
Words of actions that shouldn't be repeated
The lessons they teach
Are more valuable that gold

A camera works his way up onto the stage and spins around Arna has he holds his head and contorts his body, reflecting the chaos and uncertainty that the song's meaning is meant to convey to the audience both in the arena and watching at home. He sways back and forward a total of three times before making his way back to the make section of the stage during the final line before the breakdown. He stands in the centre and gets on his knees as the light above his head goes out.

Il terran sanguina
Terran sanguina, carla terran sanguina
Causatio
Le rovine del torneranno a perseginai
The bloodstained ground
bloodstained ground, decayed and bloodstained ground
Of our own doing
The ruins of the present will come back to haunt us

The light going out serves as a stark transition as the lights around the arena begin to flash in time with the mad banging of the glockenspiel which is ringing around the arena. The blue and green colours that was replaced with darkness is now replaced by red, orange and other fire related colours as Arna remains crouched on the stage floor. The four hooded figures which were originally standing like statues now contort and twist themselves around the stage as the camera moves between them. With the return of the instrumental strums, Arna returns to his feet as the four figures now circle him on their knees.

Arna then turns to the four figures individually to sing his words to them as the camera remains on stage to capture the action, with each erson returning to the back of the stage once Arna has sung to them. Once all four have returned to the back, Arna then turns back to the central camera in the auditorium as the rear curtain shows flecks of orange growing in the lush greenery of the projection, with the green struggling to contain the growing flames in a symbolic representation of the song's meaning.

Le verde ci aiutano
Le verde ci sostegnono
Continua a causare il funerale del pianeta
Stai bene con le tue scelte?
Soffocando il mundo senza voce
The plants aid us
The plants sustain us
But we continue to contribute to our planet's funeral
Are you OK with the choices you make?
Choking our world without a voice.

White flashes of light come into the staging in time with the drum beat which has been introduced to the instrumental of the song. The four figures contort themselves on the spot this time as Arna walks between while staring intently into the camera which is tracing the action. The close cuts are replaced by a wide view of the auditorium and the thousands that look on with respect to the artist's message. The speed of the annunciation mean Arna has to take multiple breaths during the verse which increases the intensity of how he is saying them, with the drum beats, the moving bodies and the flames which continue to engulf the greenery in the projection, it's building up to a climax within the auditorium which has some members on the edge of their seat.

Cosa hai imparato da questa ammonimentum?
Ah se se se
La ultima'ammonimentum
Ne ritorneu
Leggi quest'ammonimentum
Un altro risveglio con ammonimentum
What have you learnt from this cautionary tale?
Oh yes yes yes
The ultimate cautionary tale
It won't return
This cautionary tale
Another awakening with this cautionary tale

The four figures now move towards Arna in the centre and grab at his clothing as the Mercedinian representative makes a desperate attempt to move forward against the figures as the try to pull him back. He pushes them away one-by-one as they each fall away once Arna is clear of them. Arna whips his arm around the air he is standing in which simultaneously cues the flames in the projection to collect into a ball and fly upward and away from the curtain behind the performance, leaving some greenery plus the charred remains of which was there before which was destroyed by the flames.

Cos'e questa ammonimentum
Parole che non possum esseripute
Stai nel passato, non commettere gli errori che hanno fatteu
What is this cautionary tale?
Words of actions that shouldn't be repeated
They should stay in the past, don't make the same errors they made

The cloaked figures that were lying still as Arna pushed them away now come back to life and crawl towards him as he stands at the very front of the stage with the camera underneath filming his actions from the perspective of an audience member. Arna crouches down once again to place his hand on the stage floor, which blooms with grass and flowers from a second projection onto the stage floor where Arna is standing. He stands back up once again to sing 'La responsibilita viene prima' directly at the audience at home in all of the competing nations and more, giving them a message to make an environmental difference before it's too late.

Le terran sanguina rottai
Ciao, sei tu?

La responsibilita viene prima
The broken and bloodstained ground
Hello, is this you?

Responsibility is the start

The long instrumental portion of the song gives time for reflection for the audience members at home as Arna weaves his way around the four figures which are trying to claw at his trouser legs and chelsea boots, but Arna effortlessly shrugs past them as he looks down with a look of disgust on his face. He moves back to the front portion of the stage as a sweeping shot flies in, just in time for Arna to continue the lyrical portion of his song

Venogrum looks tired and strained as he looks into the camera on more time with a wide-shot of the stage. The four figures in the background have combined to form one black amalgam at the back of the stage with Arna waiting innocently in front of group. It slowly moves towards the performer who is singing towards different points of the auditorium, with some members already aware of the actions that will unfold as the verse reaches a climax

Cos'e questa ammonimentum?
Parole che non possum esseripute
Stai nel passato, non commettere gli errori che hanno fatteu
What is this cautionary tale?
Words of actions that shouldn't be repeated
They should stay in the past, don't make the same mistakes they made

The black mass latches itself onto Arna as a white firework lights up the auditorium, prompting a change of staging from what was happening moments ago. The collective black mass of the four accompanying performers pull Arna back into the centre of the stage as flames in the projection and on stage engulf the performance in fire and flames, burning everything on stage that had been built up so far. Lights are flashing in time with the glockenspiel which has returned to the song instrumental in a climactic end to the song.

Non commettere gli errori che hanno fatteu
Don't make the same mistakes they made

The flames subside to leave nothing but darkness and smoke on stage, with no colour or movement in the performance representing the vast swathes of nature that mankind has destroyed due to their previous actions. White beams of light shine onto the black bloc in the centre of the stage as Arna rises to his feet into the light and away from the figures as a sign of hope for the future. The lone piece of colour on stage comes from his green suit. An extreme close-up, mirroring the start of the song, shows the final moments of the song and the final words of the 13th song of the night.

Noi fine
Our end

Arna doesn't smile as the audience applauds the performance as it comes to an end, marking a hopefully successful Mercedinian comeback to the WorldVision stage. Arna clutches his chest and simply bows his head to the applauding audience in front and around the performer. A sweeping shot of the audience shows the expanse of the auditorium as a quick cut of the contest's graphic acts as a transition for the host's to come into the show for a quick break from the action.

by **Main Nation Ministry** » Fri Feb 08, 2019 11:50 am

Truth News Commentary with Erik Anderson!

Erik Anderson appears wearing a leather jacket and is playing with a Leader action figure with a toy soldier. He had put up a gold sheet behind him to make a background. Erik realizes he's back on the air and hides the action figures. "And we're back! Sorry about earlier, the dice should like gold. I need to have gold in here or they come back to kill me." Erik briefly looks around, visibly paranoid but eventually calms down to present the next set of highlights. "We got performances of Besen's "Durem (La La)" and Belgaam's "All Your Fault". We also got our friends at Vartugia singing a nice song with the help of some children. Including Llalta's "B.I.S.H". A regular contender Polkopia are now fans of our pyrotechnics systems for 71, though what bugs me is that I'm getting word that the Department of Tourism in Polkopia has issued a travel advisory for Polkopians traveling to Main Nation Ministry. I'm sure it's nothing to worry about. This broadcast is being aired live."

Erik is shown to become bored again and gestures at an intern. "Get the smoke machine! We need some atmosphere! And I'm starting to sweat!"

by **Kishrael** » Sat Feb 09, 2019 6:51 am

. : 14 - Kishrael - كشرائيل - כשראל : .
Chaya Riback - Im Hayiti Shayyetet (If I Were a Sailor)
חיה ריבק - אם הייתי שייטת
Language: English, Hebrew
To the Tune Of - Rita Ora - Radioactive

Chaya Riback is a 25 year old singer from the capital of Rakaphy in Kishrael. Jewish in background, she rose to fame after featuring on a remix of the dance classic "I Realise" by Tabitha Shamaimah that peaked at number 5 in Kishrael. From this, her route to fame was not direct, nor was it easy. A number of planned solo projects fell through, and Chaya eventually returned to her studies as a part time student while working on her music. Upon hearing of an open call for submissions from RESHET, she decided to apply, submitting a demo version of her song "Our Love's Alive" which was well received by producers for WorldVision at RESHET. Given some editing, rewriting and mixing, Chaya has ended up with a WorldVision ready dance classic. In an interview with 'Kishrael Hayom' she said "I'm really pleased with my song, and it would be amazing to bring the crown back to Kishrael... I know that these days Kishraeli dance pop isn't a guarantee like it was in the past, but I think this track references some great things that we did in the past in this contest and hopefully modern enough for the current WorldVision audience." The actual contest was a lot different than normal. Hosting in a police state which by today's standards, was comparatively backwards and facilities were not as had been in previous contests. Despite this, Chaya was excited for the experience, regardless of the crazy people that were watching everyone's every move.

by **Proluvia** » Wed Feb 13, 2019 1:50 pm

Entry No.15: PROLUVIA
And Now We Must Make The Great Shame
The PRO1 WorldVision Selection Committee
Based on: Hey Hey Hee Hee by Jack Packard

23:30 Proluvia Time, WVSC70 Finals Day
"And your winners of WorldVision 70, NEKONI!"

A groan echoed throughout the PRO1 offices. Their rivals had gone and bloody won it. They came from mediocrity and snatched the win. However, instead of the usual misery throughout the office, one man was worried sick. That man was Mr. Lavenza, the head of the selection committee.

His phone immediately rang. He know what it was, and although he really didn't want to answer, he had to.

"Hi, who is it?" he sheepishly asked.

"WE FUGGIN' WON! AHAHAHAHAHAHAHA", screamed the response through the phone.

"I know." Lavenza tried to hide his disappointment. The voice on the other side would have taken it and ran with it.

"YOU'RE DAMN RIGHT! NOW, OUR AGREEMENT."

"The agreement!?" Lavenza froze in shock.

"Yeah, the one which led to us to give you the money to run your country in the show in the first place." Lavenza audibly gulped. "Now, if you'd like to explain to everyone in your office about it? I'm sure they'd be happy to find out. I wouldn't want to get the courts in for breach of contract. I know you can't afford any of the fees-"

"Don't remind me, mate. I don't want to do it, but you know I have to."

"Excellent!" The phone line went dead, as Lavenza shuffled back into the room, calling the other suited workers for an emergency meeting. "Guys, I need to come clean. I've just been on the phone to someone from Nekoni. We...we didn't have a lot of money. Not enough to run an entry at all last year. And we got a nice loan for this next contest, from the guys at NTR."

"That's nice of them," one of the faceless suits replied.

"Yeah, about that." Lavenza was visibly sweating. "It came with strings attached. The good news is we don't have to get anyone to write an entry any more."

"What's the bad news?"

"They wrote one for us." Lavenza threw a script on the table. The office read it, then collectively let out a gasp of shock.

"Oh, shit."

The song begins, and all fifteen members of the committee shuffle out onto the stage. We mean shuffle, as they are dressed in their business suits, but their trousers have been dropped round their ankles, revealing their underwear. You'd have thought that, given that they knew what was about to happen, they'd have bought clean pairs.

The Bontempi keyboard plays in time with their shame as they line up on the stage. The begin marching forward, some of them already crying tears of shame.

Come look, and see
We are crap at WV
Hey, look, and see
We are bad at WV

They all continue, wondering whether this was really worth it. The alternative was going to a debtor's prison, which to some people may have been paradise in comparison.

We're bad at our job (W, V)
And we ran out of cash (S, C)
We'll scrape out dignity
Because we want
A little bit more

When the drums break in, they start rhythmically squatting to the beat. Nobody is having fun out there, including the audience.

Come look, and see
We are crap at WV (come see!)
Hey, look, and see
We are bad at WV (we're all pee pee!)

A man comes out in a suit, mercifully fully buttoned up. He goes to Lavenza, at the front, who is openly weeping. Lavenza asks him "C-c-c-c-can I have my money now?"

The man punches him hard in the testicles, dropping Lavenza to the floor in a feotal position. The rest of the committee awkwardly shuffle off stage, with the man, leaving the head of delegation on the floor in a heap. Nobody is making a sound. It would be embarassing to be the only one in the audience cheering. The shame has been made. But at least Proluvia got paid to enter next year? That's worth something, right? RIGHT!?

by **Mister X** » Fri Feb 15, 2019 12:07 am

Merlin Cook - "Back & Rewind"
Tune: Charli XCX & Troye Sivan - "1999"

After winning "A Song For The World", Merlin Cook finally was being given an opportunity to shine on the WorldVision stage for his wonderful, beautiful, and inspirational nation state of Mister X. Mister X is all about aspiration, innovation, and other capitalist ideals, so when Merlin was given the opportunity he jumped at the chance. His song, "Back & Rewind", is about a throwback to a better and simpler time. It uses the extended metaphor of videotape to refer to love. When you get to the end of the tape, you need to record over what you no longer want on the tape, especially if it's something you regret.

A videotape, since most of the multiverse have rendered such items obsolete, was a home entertainment format not dissimilar to a DVD, whereby audiovisual material could be viewed upon a player. Electronic signals were recorded onto magnetic tape, and then played back in a video player.

Starting from the chorus is an odd and interesting idea, but it was how this song was to begin. On the stage, the curtains were open and on each LED screen, one either side of the stage, showed a VHS tape, which was slowly playing (although we couldn't see its output) on a green background. Merlin stood in the middle of the centre circle, and behind him and slightly off-centred was a pianist sat down at a grand piano, which had been deliberately tuned to provide a slightly brighter and shallower sound. Merlin is wearing a black suit with a white shirt and blue tie, although the jacket's buttons are not done up. The song starts with the chorus, taking a camera angle of Merlin close up as the lights come up in a naturalistic pattern, and whilst they don't strobe, certain lights come on whilst others go off on each beat of the chorus.

I just want to go back,
Back and rewind the tape.
Start again, baby, right from the top.
I just want to go back,
Press the double triangle,
And rewind the tape of our...

In steadicam, Merlin is then followed around the stage as he walks back from the front of the stage during this verse of the song, effectively giving a viewers a tour of the stage, firstly looking at the picture of the videotape on one half of the LED wall, then moving across the stage to the other side, then moving forwards to the pianist. At the end of the verse, the camera zooms in on the keyboard whilst Merlin returns to the front of the stage.

Yeah, it was such a good time:
No hurts, no plots,
So pure and uncompromised,
The physical not the invisible, oh,
So much simpler, oh,
Now at the end of the tape, oh,
Stop the player and start over again,
No problems, no data, a tape can be rewritten

The camera takes a long panning shot from the back of the hall as Merlin puts the microphone back into the stand and outstretches both arms. The stage is filled with light as several, although not many, dancers join from either side of the stage. They are women who are all dressed in a cheetah-print catsuit and black high heels, with relatively long hair which is neither outrageously blonde nor brunette, but sort of somewhere in between.

Ooh, maybe I can't reset the time
But then again,
Ooh, can I redo the timeline?
Timeline, timeline...

The dancers, and Merlin, twirl their hips and stick out their right arm, with the palm facing outwards and vertical, on the lyric "back", upon which they stop for a couple of beats before "rewinding" their bodies on the next line - that is to say moving their hips as if they were unwinding. The camera starts in medium-shot and crash-zooms on Merlin's hand when he says "back". Then it takes a high shot from the front right of the stage showing the dancers "winding" their hips. The camera then zooms in and out of Merlin like a 1990s television programme on the next line, as he stops dancing although the dancers continue, performing variations on the Cha-Cha-Cha, keeping it tight, sharp, and crisp in their movements. The sequence is then repeated for the second half of the chorus: Merlin and the dancers twirl their hips, then on "back" they stick out their right arm in the same way, before "rewinding" their hips. Unlike the first time around, however, on the final line of this chorus, the camera pulls out from a super-close-up of Merlin at such a speed that he is in long shot by the end of the line. The lights, throughout this chorus, continue their pattern of alternating, except on this chorus they are also moving, albeit not particularly quickly, and almost creating beams.

I just want to go back,
Back and rewind the tape.
Start again, baby, right from the top.
I just want to go back,
Press the double triangle,
And rewind the tape of our...

Merlin switches to a slightly deeper and breathier register as he takes the microphone out of the stand and moves around the front of the stage, singing towards members of the audience. The camera, from long-shot, follows him around the stage for the first two lines. The lights have now stopped moving although they continue flashing, and the dancers have stopped moving and look down, motionless, at their feet. The camera, for the following lines, shows a rising shot from the back of the stage as Merlin continues to do his movements at the front of the stage, addressing audience members. On the final line of the verse, a steadicam zooms in on the pianist.

Yeah, I just want to press "REC",
Over what we've seen before.
Erase it from the existence of our minds,
Record all the new material (hee hee),
Never remember the mistakes,
Take a brand new blank tape
Or re-use all the old ones
'Cause really, I just want to start over again...

In this pre-chorus, the videotapes on the LED screens fade out and the green background changes to a dark brown colour. On fades a load of cogs, all rotating, like the inside of a watch. The camera takes a long panning shot from the back of the hall from right to left, but when Merlin says "but then again" it cuts to him in super-close-up, then on the following line, there is another panning shot from the back of the hall, but from left to right. Then the camera gradually zooms in from a front-on angle of Merlin on the final line.

Ooh, maybe I can't reset the time
But then again,
Ooh, can I redo the timeline?
Timeline, timeline... (mm-hmm)

The staging for the previous chorus is repeated, including the camerawork, but with one major exception: on the LED screens, the cogs move to the edges of the screens and a clock face spirals out from inside the gulf left by the cogs, showing Roman numerals from 1 to 12 (I; II; III; IV; V; VI; VII; VIII; IX; X; XI; XII) through the spiral. When the numerals get to XII, they go back to I. They spiral out during this chorus.

I just want to go back,
Back and rewind the tape.
Start again, baby, right from the top.
I just want to go back,
Press the double triangle,
And rewind the tape of our...

The lights stop moving and flashing, and the dancers stop dancing, and Merlin sings directly into a steadicam that does laps around him, sometimes zooming in and out on his face. It is quite nauseating for some viewers to watch. The pianist also helps Merlin out by providing the backing vocals.

Love is all just a game
(And at) At the end of the frame,
(And now) Now all I want to just do
(Is just) Go back to the start.
(Just press rewind) I just want to go back,
Back and rewind the tape.
Oh...

Merlin returns to facing the front of the stage and the camera pulls out. The lights, camera, and LED screens fade to black. The lights fade up again flatly, and the camera fades in to a black-and-white shot of Merlin. It zooms in from the back of the hall, alternating with a dynamic shot of the pianist as his piano is heard clearer than before in the song.

Back and rewind the tape...

At the end of the videotape
I wanna press rewind
So I can watch or record over
All I've left behind.
And I'll rewind, rewind...
And you'll rewind, rewind...
And we'll rewind, rewind...
Ah, I want to go back...

The colour returns to the camera feed and a shot of pyrotechnics release from all around the stage. The dancers start their dance again (and the lighting effects return), although this time Merlin isn't joining them. The camera instead focus on dynamic shots and makes rapid cuts between all of the camera angles it has available, taking a new angle, almost at random, on each line of the chorus. On one of the LED screens the videotape graphic is shown, and on the other, the graphic of cogs and the spiralling clock is shown.

I just want to go back,
Back and rewind the tape.
Start again, baby, right from the top.
I just want to go back,
Press the double triangle,
And rewind the tape of our...

The camera now takes a front-on shot of Merlin and one of the pianist's mouth, which it alternates between depending on who is singing. The dancers keep dancing, although two of them push the LED screens together during this final section. On the final line of this section, the LED screens show one large rewind button (i.e. two triangles pointing left, next to each other horizontally, in a light grey colour).

Love is all just a game
(And at) At the end of the frame,
(And now) Now all I want to just do
(Is just) Go back to the start.
(Just press rewind) I just want to go back,
Back and rewind the tape.
No, no, no, no...
I just want to go back,
Back and rewind the tape.
Yeah... (I just rewind the tape)

Merlin finishes the song and the audience stands to acclaim him. The performance was good, the song was good... maybe this time Mister X will add to its one and only win?

by **Normandy and Picardy** » Fri Feb 15, 2019 3:57 pm

17 - Normandy and Picardy
"Les Vagues" (The Waves) - LaSeine
Tune: ("Call Me" - Blondie)

Promo pic of LaSeine from this year, with lead singer Marie, drummer Michel, guitarist Ultimo and keyboardist André

Whilst 6th place is not normally something to be sniffed at, and of course certain delegations would kill to do that well (and in the past they sometimes have, although those days thankfully seem behind us), given the amount of money that had been poured into the entry, mostly funded by the large windfall courtesy of Masturbatea and the success of the WV69 entry, it was not as good as the Normand delegation had hoped for. Or so it seems anyway, as the head of delegation was quickly, and mostly quietly, sent packing. Mostly quietly, because one small WorldVision picked up on it, and a furore was spawned from it. Many in Normandy and Picardy had been quite understandably happy with another top 10 placing, especially given the rather low expectations within the country for what was, for them, an unusual entry before the contest itself. Still, RTN refused to budge, and brought in Andre Farsin, showrunner of Normand TV talent show L'Étoile ("The Star") to take over the WorldVision department. They also terminated the contract they had with Michelle Beauvoir, who had staged the last 5 Normand entries. It seemed drastic, but someone high up in RTN clearly thought it necessary. Some have accussed the broadcaster of deliberately trying to sabotage the country's success, whilst others have suggested they are preparing to pull out of the contest entirely, although RTN have strongly denied both in recent days.

And so, the question quickly turned to who would represent the country at the next contest. There was to be change here too. Often seperated, the WV and WHF teams finally started working together, which spared plenty of headaches in regards to funding and other internal issues. However, they proposed an idea for a return to a National Final format, which would of course be costly. However, they did now have Farsin's experience as a showrunner to ensure things went smoothly, and of course it would allow them to ~~blame the public if the song did badly~~ hand power back to the people, and involve them more with the process. And, with the contest being used as a way to choose both the entries for WV and WHF under the original plans - although there was to be a slight complication with this to come down the line - it appeared like it would kill two birds with one stone. And so, Notre Chanson, the first Normand national final in a long time, was born.

Work quickly began on finding the songs and artists necessary to fill up the final. Farsin used his music industry links to find interested artists, and also used his connections from his time working on L'Étoile, bringing in artists like Jules Pams, winner of the 4th series, whilst the WHF office went off and found more niche and up-and-coming songwriters like Marcel Volle. A line up of seven songs was eventually agreed upon, after much bickering and argument, and help from a series of both industry and international juries. The show itself was a ratings hit, gaining 76% of the TV viewership on a Saturday night, which - especially for a country like Normandy and Picardy with a population of only around 5 million, and especially when up against NNN. The eventual winners of the contest were Marcel, who was meant to go to WHF before a family emergency forced him to pull out, and LaSeine, with their song "Les Vagues" (The Waves), which is the Normand entry for WV71.

LaSeine are a Normand rock band, who began their career during the 1970s and carrying on into the early 80s, having a slew of number 1 singles and albums and being considered legendary figures amongst the Normand music scene. They recently made a very successful comeback, reaching number 1 in the charts once again and capturing a new generation of fans in the process. They are currently comprised of lead singer Marie LaComte, drummer Michel LaComte (the two are married), guitar player Ultimo (real name Jean-Jacques Roussel) and keyboardist André Manon, who have formed the core of the group since it first formed in 1976. Their entry for WorldVision, Les Vagues, is from their critically acclaimed new album, "Des Problemes", which won Best Album at the annual CCAMA awards (Cherbourg College Awards for Music and the Arts, the most prestigious arts award ceremony in the country), and which had a decidedly more orchestral feel than their earlier work, perhaps due to Marie's work with the National Orchestra in the time between the band's original success and their return. Whilst they had used a more stripped back sound more like their original work for Notre Chanson, they decided to use the more orchestral version for WorldVision itself. Although the song has been criticised by some for seeming to almost glorify suicide, with the lyrics referencing someone considering how it would feel to fall from a cliff into the waves below, Marie recently explained that, "This song was written to think about how lost we can sometimes feel in the modern world. Events seem to happen at a distance despite us being so connected, as wash over us wave after wave. The waves are a symbol, yes for emotional turmoil, but also for the modern world itself. It's about frustration with the world as it is, both personally and on a wider level, and we hope it makes people consider if they are happy living as they are, or whether we need change".

The group, buoyed by the loud support of the Normand public, made the journey to Main Nation Ministry for the contest on a wave of local hype, although the response worldwide has not been as enthusiastic, and both the band and RTN have been keen to contain expectations. The question is, will they be able to live up to their fans at home? Let's see...

Note: The French bits are in Normand French (ie. me doing French as much as possible but either grammaring wrong or forcing stuff to fit the song). Translation to the right in italics, I have taken a little artistic licence in places

The curtains were closed on the main stage. Everything was dark. The suspense was tangible, you could almost slice through it, although if you tried you might end up being done for murder, or at the very least insanity as you waved a knife about at a live music event. Nevertheless, the phrasing stands. Then, suddenly, there was a flash of light and the curtains began to open, resulting in a very large cheer from the unusually large Normand section of the crowd (who I can assure you weren't wielding knives of any sort, metaphorical or otherwise). As the curtains were pulled back, the large orchestra which the Normand delegation had drafted in emerged, being no less than the National Orchestra of Normandy and Picardy, alongisde the three members of LaSeine who weren't Marie. Ah, the struggles of the other band members who aren't the main singer! Anyway, a series of searchlights darted their way around the theatre itself, whilst the cameras gave a series of wide shots, alongside flying shots around the orchestra itself who played away with quite the intensity. As the verse began and the orchestra died down the lights subdued a bit, gaining a noticeably blue tinge. A single spotlight showed Marie was on the lefthand staircase, on the section after the first section of stairs, looking over the audience. It's almost as if she was atop the cliff mentioned in the song, although quite evidently she wasn't. The camera view changed to focus on her for the duration of the first verse.

En étant debout bord d'la falaise
Whilst standing on the cliff edge

Je pense de la chute
I think about the fall

Vers les vagues qui m'attendent
Into the waves which wait for me

Et les profondeurs en dessous
And the depths below

She turned and began to walk down the spiral stairs during the pre-chorus, reaching out to the camera as she did so, as if appealing directly to the audience themselves. In the background the audience could be seen playing on, whilst the two LED screens/objects behind them showed a windswept coastal scene from Normandy and Picardy, the wind visibly strongly blowing and the waves crashing against the chalk of the cliffs.

Pensez-vous un peu comme moi,
Do you think a bit like me

Sur les falaises, sans ton sang-froid?
up on the cliffs, without your sangfroid?

As the chorus began and the sound of the orchestra swelled, there was a flying shot which began at the back of the theatre and went over the crowed, turning up to show the orchestra playing away, whilst Marie - walking towards the front section of the stage - sang away. The image of the cliffs gave away to a series of blue and white circular "waves" which were matched by the lights turning on and off and the spotlights moving around the theatre as at the beginning of the song.

Les vagues!
The waves!

Les vagues qui nous étouffent en douceur
The waves which softly smoother us

Avec tendresse
So tenderly

Les vagues!
The waves!

Qui s'écrasent, une bruit qui résonnera jusqu'à fin
They crash with a sound which will echo on until the end

Les vagues
The waves

As the second verse began, the lights again died down, and the background LED objects changed to showing a series of blue and white waves moving and flowing about each other. Marie had reached the front "catwalk" section of the stage. The camera shot used for this verse was such that she was perfectly framed by the stage background, with the curtains moving about slightly, again to represent waves, thanks to the use of some handy hidden wind machine usage, and the orchestra behind her, bathed in blue.

In between the silent moments
The endless crying calls
Reach across the bay towards us
Trying to come ashore

The camera lifted up to show Marie from above, revealing she was on top of some sort of LED platform that the Normand delegation had brought in especially - this staging was not cheap, and indeed the costs had given RTN Accounting a collective heart attack - which currently showed the same wave-like graphics on the background LEDs. As it lifted it it seemed to move around her in a corkscrew type manner.

And if you're thinking just like me
It's dangerous, but count me in

The camera was directly above her as the chorus began once more, and the wave graphics were washed away by the blue and white widening circular patterns from the first chorus which heralded its start, alongside a small burst of water jets around the edge of the stage. The lights moved around rapidly as before, and again variety was mostly provided by the series of camera shots and pans around the stage, but beyond that not much had changed. The orchestra played with the same deep intensity, whilst Marie carried on belting out the chorus.

Les vagues!
Les vagues qui nous étouffent en douceur
Avec tendresse
Les vagues!
Qui s'écrasent, un bruit qui résonnera jusqu'à fin
Les vagues

As the bridge began, Marie lied down on the fancy LED platform majig that had cost RTN a lot of money. Around her, as seen from above, waves appeared to crash around her, actually reflecting and diffracting around her as proper waves would, and their apparent strength and ferocity increased as the bridge carried on. A ring of alternating blue and white lights could be seen appearing to spin rapidly around the platform as the camera slowly zoomed out.

Ooooooooh
Comme une étalon au galop, ouais
Like a stallion galloping away, yeah

Ooooooooh
Comme la mer, c'est sans fin
And like the sea, it's without end

Ooooooooh
Twisting, turning

In that moment in time when it all seems to break
We will all face the waves that will bury our graves
Our graves, yeah yeah yeah

The camera view rapidly changed, providing a quick panning shot over the audience who played the instrumental brilliantly, clearly devoting all their energy to it (in no small part thanks to the large pay check they were getting from RTN for playing WorldVision). The orchestra were the main focus during this section of the song. As the final chorus began there was a sudden burst from the water jets, which were to remain intermittently bursting into life again for the remainder of the song as it began to come to a close, adding to the whole atmosphere, and of course being a not so subtle nod to the lyrics of the song. The lights, and indeed the orchestra, were as intense as ever, whilst the cameras changed shots over and over again, covering the entirity of the stage. The curtains moved about rapidly, although not so much that they would get in the way of and distract the orchestra of course, although it would have been funny to have seen half the orchestra knocked over by the thick theatre curtains.

Les vagues!
Les vagues qui nous étouffent en douceur
Avec tendresse
Les vagues!
Qui s'écrasent, un bruit qui résonnera jusqu'à fin

Les vagues!
Les vagues qui nous étouffent en douceur
Avec tendresse, avec tendresse, avec tendresse, avec tendresse
Les vagues
Qui s'écrasent, un bruit qui résonnera jusqu'à fin

Les vagues!
Les vagues qui nous étouffent en douceur, en douceur, en douceur
Avec tendresse
Les vagues!
Les vagues, les vagues, les vagues!

by **Talvezout** » Sat Feb 16, 2019 2:39 am

TALVEZIAN MUSIC TELEVISION NETWORK PRESENTS:
LIVE COMMENTARY AT WORLDVISION 71 WITH VERÓNICA AXOCHITL YEJ SUSEN

"Hello, hola, hei, geia sas, welcome to Worldvision 71, being held in Freedom Plaza, here in Worldvision 71! We are here in the very comfortable Freedom Plaza Theater, where me and my technician Tlayolotl are sequestered in a not so comfortable commentator's box. It's a far cry from Laugardalshöll and Harpa, that's sure. Speaking of which, shout to TRT for absolutely botching it last year and somehow forgetting to actually do the voting right! Now no one wants to touch Worldvision here in Talvezout and a MTVN channel has to pick up slack. Oh well, at least we have some representation here in MNM, even if it's just commentary."

OPENING: "This whole nation is giving me Estado Antiguo vibes... or is it just me? Anyway, we had a power metal song to open up the contest, how appropriate for a rather urbanized and industrialized nation. It's a smaller contest this year, but given how Worldvision does ebb and flow, it is to be expected. The whole opening act is very 2008 MySpace-ish, which should make some rando teen girl in Ylfa happy I suppose. I personally do not like it, but hey what am I to say. The contest is now gonna begin!"

by **Saviera** » Sat Feb 16, 2019 10:43 pm

18. Saviera
Instant Graphing, by Lambia Torah
To The Tune Of Juice By Lizzo (Jimmy Fallon Performance)

Savierans were Really Happy when Simonella E. Kohlee ft. the Tall Barnacle Choir Brought the Nation Its Best Ever WorldVision Result. They Truly were Not a Failure. So Naturally, People Got Excited.

Although Simonella is Not Back, This Song is Also a Bop. Can Lambia Top Simonella? Or Will She Have a Bottom Result? Only Time will Tell.

As the Song was Starting, Lambia Runs on Stage Wearing a Very Fashionable Outfit. Clearly She is Ready to Party. She Shouts: Main Nation Ministry! Are You Ready to be Blessed by Saviera!!!

Everyone Cheers. And Then the Singing Begins.

Follow, followed, post a pic
I know you will say I’m cute
Hashtag model hashtag thicc
They’ll discover my roots

As the Dim Lights Flash to the Beat Like in a Nightclub, You Can See the Backing Performers on Stage. There is a Hot Male and Female Model Whose Moves Alternate Between Working Out and Just Posing and Being Pretty. There is a Hipster Photographer Who Just Goes Around Taking Pics. There is a Pretty Thicc Asian Woman Sitting in Front of a Table Full of Food, a 10 Course Meal and 10 Microphones All Pointed Close to Her. Then There is a Young Office Employee Lady (Her Name Tag Says "Social Media Manager") Sitting at a Desk Which Faces a Table that Looks Like a School Desk, Where a Skinny Teenager is Sitting. They're Both on Their Phones but the Employee Looks More Professional While the Teenager is Laughing Every Few Seconds.

How they voting on the polls?
My location set to this mall
They be filling up my views
Cause they wanna know what’s new
(That’s how it be)

You Can Also See the Backing Singers. They Have Professional Microphones as if They were Recording in a Studio, but These Microphones are Rather Small or Portable and Placed on a Desk.

Post a story, everybody’s time to shine (We been knew)
Wasn’t born like this, I only gotta try (That is true)
With some practice, you’ll get better over time (Don’t be lewd)
I am simple, I see all your pics, I like

Now It's Time for the Chorus. Lambia Torah does an Iconic Dance and All the Other People on Stage Groove Accordingly to What they Do. The Thicc Asian Lady Bites into an Equally Juicy Piece of Chicken and Then Some. Kronch

Instant graphing
I’m scrolling through my feed
Giving into the machine
I am out here being seen, baby

Photo sharing
My close friends hot as hell
Lo-fi, Hefe, or Inkwell?
Who will like it? Time will tell

The TV Camera Goes Around and Shows What All the People on Stage are Doing.

Ya-ya-ee, ya-ya-ee, ya-ya-ee, ya-ya
Scrolling through my feed, giving into the machine
Ya-ya-ee, ya-ya-ee, ya-ya-ee, ya-ya
Close friends hot as hell, who will like it? Time will tell

Now Lambia Goes Around the Stage and Attempts to Interact with Each of the Other Performers. She Photobombs the Models and Poses for the Photographer.

Be a business, be a blog
Promote the crap off your shitpost
Get a mention, get a share
I know that I’ll get to boast!

Lambia Takes a Piece of Food from the Thicc Lady's Table, Takes a Piece of Paper from the Employee's Desk, Marked F-, and Places It on the Student's Desk.

It’s all some paid promote
That the sponsor made and wrote (Like this, like this)
Hold up, Kevin please!
Don’t make me have to do a cleanse
(That’s how it be)

Lambia Walks to the Front of the Stage Again.

Post a story, everybody’s time to shine (We been knew)
Wasn’t born like this, I only gotta try (That is true)
With some practice, you’ll get better over time (Don’t be lewd)
I am simple, I see all your pics, I like

Now It's Back to the Iconic Dance Moves.

Instant graphing
I’m scrolling through my feed
Giving into the machine
I am out here being seen, baby

Photo sharing
My close friends hot as hell
Lo-fi, Hefe, or Inkwell?
Who will like it? Time will tell

Ya-ya-ee, ya-ya-ee, ya-ya-ee, ya-ya
Scrolling through my feed, giving into the machine
Ya-ya-ee, ya-ya-ee, ya-ya-ee, ya-ya
Close friends hot as hell, who will like it? Time will tell

Now the Stage Lights Go All Funky and You Can See Lambia but You Can't Really Tell What Else is Going on Stage.

Aha!
Somebody come get this man!
I think he got lost in my DMs (What?)
My DMs! (What?)

You better come get your man!
I think he wanna be way more than friends (What?)
More than friends!
What you want me to say?

Now the Background Lights Really Shone Like a Disco Ball and Before You Knew It Everyone was in Front of the Stage with Lambia. They were All Doing Iconic Dance Moves Together.

(Instant graphing)
(I’m scrolling through my feed)
(Giving into the machine)
(I am out here being seen, baby)

Yes, You Just Heard a Sample of Kiribati by Saint Vincent and the Grenadines, an Iconic Savieran Entry that was also a Favourite of Lambia. Some Vocalizations Later, She Continues.

Photo sharing
My close friends hot as hell
Lo-fi, Hefe, or Inkwell?
Who will like it? Time will tell

Finally, Lambia Finishes It All Off.

Ya-ya-ee, ya-ya-ee, ya-ya-ee, ya-ya
Scrolling through my feed, giving into the machine
Ya-ya-ee, ya-ya-ee, ya-ya-ee, ya-ya
Like it? Time will tell

Instant graphing, yeah

Yas gurl!!! She Just did #That!!!!! Everyone's Wigs were All Flown and They Also Cheered. Lambia Said: Thank You Everyone! God Bless Saviera!!!

by **Britonisea** » Sun Feb 17, 2019 3:16 pm

#19 BRITONISEA
Younes Wright-Harel - "Where is He?"
Tune : Irama - "La ragazza con il cuore di latta"
Music: Younes Wright-Harel, T:Rodden, Zephanie Dalton Lyrics: Younes Wright-Harel, Ronda Hills, Jamie Banks

Alternative Link

Younes Wright-Harel and his WorldVision Journey: Younes Wright-Harel will be Britonisea's 32nd participant, representing his country with the song "Where is He?". He has been long rumoured to represent Britonisea at WorldVision.

Britonisea returns to the WorldVision Song Contest after taking another hiatus from the musical madness. BITC has returned as the broadcaster for Britonisea at the WorldVision Song Contest for another five editions (61-65) before deciding whether to continue...

The last time Britonisea stepped foot on the WorldVision Song Contest stage was in WorldVision Song Contest 68 which was held in Axuva, a relatively new nation at the time. BITC had backed the bid by Axuva and wanted to participate and cheer the nation on. Lucie Dagenham, who was initially supposed to represent Britonisea at the 66th WorldVision Song Contest before the nation decided to bid for it. Sending her to the WorldVision Song Contest was the right thing to do according to BITC even though the song might not have received the reception Britonish entries usually do - especially during the WorldVision 60s. People thought that the entry could go either way, it could do well or it could end up on the bottom half of the scoreboard which would have been a very poor end to what has been a string of success for the nation. Nevertheless, Lucie arrived in Axuva with high hopes, ignoring what the critics might have said about her song. As the week of rehearsals went on, Britons started to become more optimistic when the rehearsal footage of Britonisea's performance was shown, improving on the odds for who will win the contest. 26 nations in total participated in the WorldVision Song Contest in Axuva and it was Lucie's mission to win the hearts of the 25 other participating nations.

By the time it was the voting stage, Britonisea had received a few high points, receiving ten points from Polkopia and Adab and even eight points from eventual winners, Normandy & Picardy. Though, the real points came from Titaniumland and Scottish Socialists who gave the nation twelve points, continuing Britonisea's flurry of 12 points over the past eight editions. By the half-way (kind of half-way) point, Britonisea was first on the table once again with another Britonish victory looking more and more likely with not that many nations left to vote. Though, Britons know that the second half seems to be where Britonisea struggles, only for nation's to catch up and overtake the nation - it happened recently at the 67th WorldVision Song COntest. Essentially, that is what happened again. Three nations, Normandy & Picardy, Izmedu and Adab all managed to pass Lucie before the final vote came through, though despite this Britonisea scored it's third highest score ever - 124 points - placing 4th. It made it Britonisea's 10th best entry ever but with the performance Britonisea is sending to the 71st WorldVision Song Contest, BITC is hoping to knock Lucie's 10th best entry place down one.

With Younes Wright-Harel as the official participant for Britonisea at the WorldVision Song Contest, the media has reacted rather positively what could come of Britonisea's participation in what is due to be the 40th anniversary since Garange L'Iwes participated at the contest with "Be the one to win". The decision to send Younes Wright-Harel, as much as BITC might want to admit, was not an easy decision with multiple entries being good enough to be sent to Main Nation Ministry, where the contest is taking place. Rumours had said that a female was set to represent Britonisea at its 40th anniversary and that might have been the case but in the end, BITC was very happy with Younes and his ballad - a strong song to send to the WorldVision Song Contest. Younes himself is a 29-year-old male from the capital of Britonisea, Doportedas. Doportedas, which perhaps isn't known for its music industry as much as cities such as Kyvivre and Quickenden, has a different taste when it comes to music and one could argue that Britonisea's entry into the 71st WorldVision Song Contest isn't actually like what the nation has sent to the contest before. Male songs are either upbeat, like "Cy Ecouto Teuten Vokse" or mellow like "The Pink Mist". Younes is a singer who has kept away from the WorldVision Song Contest bubble, making his own music and his own impact on the Britonish charts sometimes appearing on the Top 40. Fairly known from his appearance for the Brito Day celebrations recently, Younes' singing capability was highlighted by multiple Britons who also happened to be fans of the WorldVision Song Contest. Introducing Younes to the Britonish WorldVision family had lead to questions being asked directly to Younes as to whether he would be participating and whether he would consider it. "No, and maybe" would be his response to those questions but he is finally here to make an impact on the stage...

The two times in which Main Nation Ministry and Britonisea participated in the same contest, the 67th and 68th WorldVision Song Contests, neither nations traded points with each other, with Main Nation Ministry ending on the lower end of Britonisea's ranking - especially in the televote. However, the host nation seems to have scored rather highly at the recent contest which caught the eyes of Britons watching the contest on BITC. Once Britonisea announced it would return to the contest (Britonisea was one of the first to announce it's participation), BITC seemed to back the bid by Bright Falls despite rumours brewing that Britonisea would bid to host the competition again. Insider information revealed, however, that hosting the 71st WorldVision Song Contest wasn't in the interest of BITC especially so soon after hosting the 66th edition very successfully. After Main Nation Ministry was announced as the hosts of the competition, both Younes and BITC were excited to go to a new country to participate in one of the nation's favourite contest. It certainly felt right that Britonisea was back participating again.

Younes arrived at the WorldVision Song Contest in Main Nation Ministry with excitement and started to work with the stage presence to bring to life exactly what he was thinking in his head. He cannot wait to show the world what he has come up with... He knew he was going to perform 19th in the Grand Final and was ready for the challenge.

Younes Wright-Harel was about to grace the WorldVision Song Contest stage but unlike the times before where he has performed on this very stage, this time he knew that this could be the last time that he was going to perform his emotional ballad, "Where is He?" and so he walked up on the stage with the intention to wow his audience. He didn't know whether he wanted to cry, shout, laugh or do a combination of all three emotions in one. All he kept on thinking as he walked closer and closer to his position was...I am actually here, I am actually at the WorldVision Song Contest! The audience had finally calmed down while they all enjoyed the postcard for Britonisea - a nation which has hardly had any contact with them. Younes Wright-Harel didn't mind this though. He thought that the fact that hardly anybody in the theatre knew of Britonisea was exciting and a great way to win over a crowd. He wasn't wearing anything too extravagant, going for a safe bet in clothing; it was a jean button-up shirt with black trousers and the cleanest white shoes you could possibly find, a similar outfit to what this man is wearing. He didn't feel threatened on the WorldVision stage, the large arena wasn't terrifying and as for the other performers, he would rather enjoy his time at the contest rather than worry about the rivalry, making friends with many of the acts from different nations. Younes, however, realised that now it was his time to shine. We had already had 18 performances from 18 different nations and now it was time for Britonisea to return to the WorldVision Song Contest. It was the end of the postcard. The time had come. The people in the theatre all gave Younes and Britonisea a large round of applause and Younes gave himself a pat on the back as the people at home were invited into the theatre for the performance from Britonisea.

Younes' stage performance is going to be a rather interesting one. BITC, the broadcaster for Britonisea at the contest, wanted the attention to be on him for most of the performance and so elected that there wouldn't be any dancers in complete contrast to the entry Britonisea sent at the 68th WorldVision Song Contest. There were multiple props around the large stage that Younes would come in contact with, though as we get to each of those props we will be sure to mention them in the stage directions. As the audience died down, the camera focused on a chair at the end of the stage. Nobody was sitting on it, it was vacant yet it was still rocking. The lights around the arena were off, except for the spotlight which lit the rocking chair up. As the performance continued, the camera turned around with Younes looking at the chair, staring at it even. Similarly to the lone spotlight on the rocking chair, there was also one on Younes too. He winded the crib bell up. The camera slowly moved backwards to show more of Younes' body. The main music started, there was a shot from far away showing him walking towards the rocking chair before taking a seat on the stage floor in front of the chair, still rocking. As Younes started to sing, the camera focused on him looking up at the chair.

I speak nonsense, and yes, I know that I do that
I also know I am not one to wait around
I get so frustrated when my wishes, they just don’t come true.
Have I done something wrong? Have I sinned? Please, tell me is that why?

As Younes sang "I am not one to wait around", the camera that was focusing on his face started to move around the stage and his eyes followed as the camera moved around, past other objects which weren't lit up by the stage lights before. By the time the camera had passed the obstacles that weren't lit, Younes was stood up, singing the last line of the first section of the verse. The lights in the arena were left unchanged, with Younes still standing in the spotlight. This first section happened rather quickly. As the camera did go around the obstacles, he looked down at the stage floor before continuing to sing the rest of the verse. The camera briefly stopped for a second as he asked the question "tell me is that why?". Though, as he continued to the next part of the verse (the way he was singing, it didn't really sound like there was a break between the first and second section of the verses).

The camera started to move back towards the stage wall with Younes following the movements of the camera. He looked straight down into the lens of the camera, directing all of what he was saying straight down the lens and to the audience at home. As he continued to sing and walk, more of the stage was being lit up by the stage's lights. When singing "I've defended myself." he put his hand towards his heart before stopping and looking up. He then continued to walk, putting his hand to his ear when he sang "I listened to your advice". There was a cut-away shot of the rocking chair from a different angle as the lights faded away from it. The camera went back to Younes...

Throughout my life, I’ve defended myself.
And some help would’ve been nice - I listened to your advice so
I prayed every night, every morning - years later, I’m waiting.
Don’t know if it does take years or maybe I am so impatient
Should I wait longer?

As it was the end of the first verse, the camera that was following Younes around the stage slowly made it's way off the stage with Younes holding his hand out towards the camera running away from him. As that camera faded to black, he rapidly turned around to the main stage. By that time, the stage presence had gotten rid of the rocking chair and other objects that were on the stage and so from where he was standing, all he could see was his audience staring back at him on the stage. As he finished his sentence and started the pre-chorus, you can tell that the music was progressing, going to what was going to be one of the most explosive choruses that Britonisea has ever sent to a WorldVision Song Contest. Another camera greeted him as he was faced towards the audience of Bright Falls.

The camera focused on him, zooming out at a rather quick pace - a nice pace compared to the beat of the music. People in the audience started to sway along to the song as it picked up in instrumentation. The lights in the arena, which were a bunch of spotlights being put adjacent to each other slowly increased before quickly decreasing in intensity in a soft way. He looked to either side of the stage, focusing on his audience on both sides of the arena. The camera shot changed at each sentence. As mentioned before, the first camera was focusing on him. The second chorus at the end of the first sentence was an over-the-shoulder shot of him singing to his audience. At the end of the second sentence, he clicked his fingers with the lights quickly flashing to gold before returning to a normal spotlight colour. The shot at the start of the third sentence was of him from the angle he was looking but not directly looking at him while the camera joined his eyes back in the middle as he sang "Crying out my eyes, I wait as my problems shadow me". He looked down as he continued singing the pre-chorus on the song.

And multiple times I have been let down - I have asked for God
I used to stay up all night, waiting for his Golden light
Eventually, I would fall asleep - awoke to nothing
Crying out my eyes, I wait as my problems shadow me.

You tell me to keep the faith, okay - but I can’t do that,
I am lied to, I hate lying, don’t lie to me.
So, how can I keep dreaming if nothing will happen
I can go on no longer.

As he started to speak-sing again, he turned his back towards the audience in a similar fashion to how he was before. He walked with a bit more passion that he did before, walking closer and closer to the stage wall all the way on the other end of the stage. During this time, the stage presence moved the rocking chair and the other obstacles back to where it was before. BITC didn't want this to be a huge mess of a performance, but it was rather complex and it was done in the dark and so it wasn't noticeable to those watching Younes blocking what was happening with his body. He stopped walking as he sang "I keep dreaming if nothing will happen" he pointed down the lens of the camera once again, before holding his hands out at which the camera quickly zoomed out to show the man's large span. The camera went from the level as him to a low angle shot of him holding his hands out. One of the lights was right next to his face, blocking his expressions and filling the screens of those watching with white.

There was another shot which was directly above him, right at the top of the theatre. It slowly zoomed into him as he was singing the first line of the chorus of the song. The audience could tell that the song was somehow being enhanced by other voices as the start of the chorus sounded much more powerful than just Younes singing by himself. The camera increased in speed, dropping to Younes' level by the time he sang "ex-" with another camera zooming in to his foot as he slammed it down on the floor at "-ist". The lights on the stage quickly changed from the spotlights that it was before to hues of purple and pink with the LED wall at the back of the stage following suit. The next shot after Younes slammed his foot on the ground was of one showing him on the stage, exposing the LED wall for the first time in this performance. It was the same shot for some time before he sang "I need his attention, I crave for his love", where another camera followed him from behind (as he had turned towards the audience while the camera from far away was showing the whole stage). There was a figure near sitting on the chair that once had no one on it. The camera focused on this for a couple of seconds before circling around him...

So if He does exist,
Why have I never seen him, where is he hiding?
I need his attention, I crave for his love.
And you tell me to keep the faith - tell me how to!
You cannot change my mind, no you can’t - no!
It’s not right in mind - it’s not.

He looked at the camera as it circled around. He continued singing the chorus of the song, singing deep into the camera before looking up occasionally to see whether the figure was still there or not. As he reached the end of the first chorus, the camera carried on spinning around him before making a stop behind his shoulder again. He sang the last section of the chorus as the focus shifted from behind his head to the rocking chair where the figure stood no more. By the time the chorus finished and the camera focused on the rocking chair with nobody in it, the camera faded to black once again and the lights in the theatre returned to the spotlights filling up the stage - void from any colour.

Another camera zoomed in on his face as he looked down the centre of the stage towards the audience. The camera movement was slow as he went back into the half talking/half singing that he was doing. He walked closer towards the camera when singing "I get so frustrated" while also bashing his head downwards at "frustrated" to represent his frustration. When singing "they just don't come true", he looked up into the arena, before returning his head back down to meet the camera's lens again by "Have I sinned?". He then turned around to walk closer to the LED wall at the back of the stage before coming across a few rows of long benches that you would find at churches. He noticed that there were a few figures sitting behind him ominously, but he pretended as though he didn't know. The camera zoomed in and out of him as he sat down and continued to sing the section of the verse.

I speak nonsense, and yes, I know that I do that
I also know I am not one to wait around
I get so frustrated when my wishes, they just don’t come true.
Have I done something wrong? Have I sinned? Please, tell me is that why?

I know I am not perfect, I admit!
I don’t have the most perfect past, I worked on it, I’m better.
Perhaps if we’ve wronged, we can’t right-
If that’s the case, I don't believe in him - Ha!
My mind’s unchanged, he didn’t help me in time
Tell me, what can I do?

The camera started to down the aisle of the church with Younes following with his eye when singing "I know I am not perfect, I admit!" before getting up and standing in the middle of the small aisle. The camera kept on walking down the aisle before stopping. The figures weren't there anymore. Younes turned around once again to look to at his audience. He looked at the camera with the same frustration that he had before - eyebrows downwards. Perhaps getting very emotional after shouting "Ha!" down the microphone, he walked out of the church section towards the LED wall at the back of the stage. The pre-chorus of the song was about to come up once again with only minor changes at the end of it.

Similarly to what had happened before, the spotlights that he was standing under increased before suddenly decreasing in intensity, but this happened over and over again. He stood in one position as the camera continued to circle around him, with the lights from the phones of those around the audience making it look as though he was trapped in some sort of stary vortex. As he came up to the line "Golden light", he clicked his fingers in a similar way to how he did it before and the lights changed to gold. Though, unlike the last time where the gold flashed on and off, the gold light remained on for the rest of the pre-chorus.

And multiple times I have been let down - I have asked for God
I used to stay up all night, waiting for his Golden light
Eventually, I would fall asleep - awoke to nothing
Crying out my eyes, I wait as my problems shadow me

You tell me to keep the faith, I cannot.
‘Cuz I am lied to, I hate lying, don’t lie to me - it hurts.
So, how can I keep dreaming if nothing will happen - I cannot go on.
Why have I never seen him, does he exist?

A camera zooms in to Younes as he finishes the pre-chorus. All of the lights in the arena turn off except a lone golden spotlight which he is now under. As he is singing his song, he shakes his head not only to the beat of the music but also because of the words that he is saying. As the music is stripped back when singing "Why have I never seen him, does he exist?" he stood without moving with the camera slowly moving outwards and fading to black as it has done in previous times. You could hear some members of the audience cheering as we were about to go into the next chorus of the song. Younes couldn't believe how he was feeling this far into the song, but he wanted to continue this - he is very much enjoying himself knowing that millions of fans are enjoying the performance with him.

Another overhead shot was shown from the fade-to-black moment. He the overhead shot showed a few more dark figures standing still - in odd angles - around the rocking chair and the church benches. Another shot zoomed in to his foot as he remembered to stamp his foot on the ground when he came to singing "-ist". At that point, in a similar fashion to early, the whole stage was filled with colour with everything on the stage being exposed. The audience started to cheer as the theatre filled with colour once again. Younes sang into the hand-held microphone that he was holding with his other hand reaching the furthest particle of air that he could grab. The camera zoomed into and out of Younes during the chorus as the figures around him started to move closer and closer to him.

So if He does exist,
Why have I never seen him, where is he hiding?
I need his attention, I crave for his love.
And you tell me to keep the faith - tell me how to!
You cannot change my mind, no you can’t - no!
It’s not right in mind - it’s not.

I speak nonsense, and yes, I know that I do that
I also know I am not one to wait around
I get so frustrated when my wishes, they just don’t come true.
Have I done something wrong? Have I sinned? Tell me is that why?

During the previous section, the lights in the arena had turned off with a Steadicam circling with him. He followed the Steadicam around, pivoting in his position. During this time, the dark figures walked closer and closer to him. He made his way to centre stage. The camera quickly zoomed in as he stamped his foot on the ground once again - along with the song.

(You cannot change my mind, you can’t)

Younes was stood right in the centre of the stage with these dark figures all around him. As they all started to sing, the strongest most intense lights all shone where Younes was standing. He looked up towards the sky as the singing got louder and more dramatic. The camera zoomed out from all of this, flying over the audience and viewing this intense scene from afar. Younes spread his arms out as the song reached closer and closer to the final chorus of the song. By the time that they did reach the final section of the song, Younes brought the microphone back to his mouth and started to sing. The figures that stood in front of him all rhythmically moved out of the way to make the circle of figures into the line of figures behind him. Behind him, as he started to sing the chorus to the song again "Why have I never seen him", the pyros started to fall - it seemed as though it was the right type of song to have a shower of sparkles falling behind him. The camera panned from the left of the theatre to the right before doing the same at a closer position.

So if He does exist,
Why have I never seen him, where is he hiding?
I need his attention, I crave for his love.
And you tell me to keep the faith - tell me how to!
You cannot change my mind, no you can’t - no!
It’s not right in mind - it’s not.

At the end of the song and at the roll of the drum, the camera quickly zoomed in to him from the end of the arena as he took a bow. The lights were just focused on him, with the figures disappearing as the stage turned dark. The audience came in and applauded him. He spoke, "Thank you very much, everybody! Thank you so much!" It was now time for the next performance...

by **Nekoni** » Sun Feb 17, 2019 3:38 pm

Entry No.20: NEKONI
Gravity
Alain Lavoile
Based on: Supreme by Robbie Williams

Winning is a weird experience for the NTR staff. Sure, they had tasted decent rankings before, but...win the bloody thing? With a song that they didn't think was tailor-made to suit the contest at all!? Truly, that night was a shock to the system, not least to the selection committee's treasurer who didn't expect most of the budget this year to have been taken up by bulk purchases of champage and party hats. Of course, nobody remembered what had happened the next morning, with only angry headaches as proof that anything happened at all!

So, the 71st version came, and with it, a new host nation - one which (in stark contrast to the previous few contests) would ensure the NTR staff would have to be on their best behaviour to escape alive and free men or women. The selection was, again, internal. Despite the new-found national interest since their win, it worked last time, surely it would work again, no? The choice was a fairly simple one. Enter Alain Lavoile. Before the 70th contest, the plucky 25-year old pop-rock singer had come out against NTR, suggesting that he would have been a better choice for the contest. After all, he had a career in the music biz, unlike Les Dahlias Noires. Three albums under his belt, all around the top fives, thanks to scoring high in one of Nekoni's multiple faceless talent shows way back when in 2013. He was successful enough on his own merit that nobody remembered his roots, really.

In Alain's postbox that morning came a package containing three items. The first was a return plane ticket to Bright Falls. The second was the official DVD of WVSC70. The third was a note, simply stating "You said you could do this. Prove it."

Alain Lavoile (2018)

The song begins with almost the full band playing on the top gantry: drummer, a couple of guitarists, a bassist, a keyboardist and a percussionist. There is, however, an all-female string quartet, all clad in yellow dresses, at the rear of the main stage. The curtains are drawn at the back of the stage, with Alain walking on from the back. He is wearing a slim-fit black suit jacket, with white dress shirt and jeans. The jacket is fully open, and the shirt has been loosened by a couple of buttons to basically show off his upper body that bit more.

As the song opens, the camera pans from the cellist outwards to catch Alain reaching the centre of the circular part of the stage with the microphone stand waiting for him. The lighting is slightly red toned. The first verse has him stay at his stand, one hand on the stand, one on the microphone. The camera is fixed on this one frontal shot, cutting occasionally in on parts of the band in the gantry.

(0m13)
I remember like it was yesterday
Threw my suitcase out the window
Took a taxi far away
Couldn't see you in the horizon
No teary begging for me to stay
Was that a lie?

As Alain sings, the camera pans slowly around the circle, starting the second half of the verse on his right side and ending on his left. There is more cutaways to the band members to break up the shot.

(0m31)
Yeah, and I know friends of your friends
Who saw you crying on your birthday
Screaming my name until the end
You were convinced that you were tough
But now the mask is slipping off
Why do you lie?
Why do you lie?

As the chorus begins, two long black silks descend from the rafters. As they fall, we can see that there are two trapezes behind them, and on these trapezes, two all-white clad gymnasts are swinging back and forth by the legs on them in time to the music.

(0m51)
And you know that when you were down
You knew that my smile would bring you around
There's no hiding from what it means
When you can't escape my gravity
My gravity

As the second verse begins, the camera work is the same as the first verse, however on stage, the piano raises out of the floor.

(1m16)
Oh, you need to learn that in this game
It's not a sign of weakness
To press restart and try again
Why do are you lying to yourself
Please restrain your mental health
You can call me

The trapezes lower, bringing the gymnasts now properly into the view of the audience. They have moved from using just their legs to swinging by their arms, occasionally completing full loops on the bar perfectly synced with each other.

(1m33)
Yeah, I've never seen you quite like this
You used to slam your head against the wall
And blame it on the bricks
I can see it in your eyes
Are you're too proud to apologise?
It's up to you
You know what to do

As the second chorus starts, the gymnasts swing from the trapeze and grab a dangling silk each in mid air. As they fly, they both lock a leg around the silk, then use that leg as a pivot to swing around the silk as if it were a pole. They both swing around these silks with grace, yet with the strength to make the silk itself appear like it was made of solid steel.

During the chorus, Alain unclips the microphone from its stand and makes his way over to the piano. As he gets there, he sits at the stool in front of it, and just as the chorus ends, places the microphone on the piano.

(1m53)
And you know that when you were down
You knew that my smile would bring you around
There's no hiding from what it means
When you can't escape my gravity
My gravity

During the instrumental, Alain plays the piano whilst the camera does a full 360 rotation around him.

With the descending piano scale, the gymnasts, with their legs locked in place, slide down the silks, head first. When they reach Alain's level, they straighten their backs out, slow their descent, and land on the stage on one knee. The lighting drains colour gradually as they do, with the red steadily fading to white.

Alain has the microphone in his hand, walking towards the place he once stood with the microphone stand, camera up close on his top half. As the pseudo-rap section commences, the screen has a faux-film grain effect that Nekoni really likes doing as of late.

(2m38)
9 weeks since you turned from me
Each night you're waking up...I'm not back yet
Convincing yourself to move on hasn't done the trick yet
You know you're wrong but you don't want to admit it

During the bridge, the gymnasts, now on the stage itself, on one knee crowd around Alain, trying to grasp onto him. During the fourth line, Alain moves his hand harshly outwards, with the gymnasts reacting by rolling backwards.

(2m48)
I know you, girl, you don't want to seem weak
But even a strong woman can get caught in the gravity

As the section ends, the patented film-grain effect ends, and the lights change back to their light red. Some day Nekoni will be original with their staging. Today, however, is not that day. Alain moves back to the piano, as the chorus begins for the final time. The gymnasts in the centre of the stage do an elaborate floor routine, much like one would see at the Olympics, lots of flips, gracious movements, using another's body as a springboard to gain greater airtime, that sort of thing.

(2m54)
And you know that when you were down
You knew that my smile would bring you around
There's no hiding from what it means
When you can't escape my gravity
My gravity

The final part of the song has him repeat the same phrase, whilst playing piano. During the outro (OOC: this isn't on the video), the band gradually fades out, leaving his piano, the string quartet, and the percussionist on tambourine as the sole musical background. The final time is sung without any musical backing at all.

(3m15)
Can't escape the gravity
I don't wanna break you down
But why can't you say you're wrong?

As the song ends, the crowd cheer as they have been forced to by The Leader under duress, and Alain bows to them silently. Whilst he knows that repeating the feat the girls did in Talvezout may be highly unlikely, he knows that he can't have played his part any better.

WorldVision Song Contest 71 | IC | Main Nation Ministry

WorldVision Song Contest 71 | IC | Main Nation Ministry

01 | Estogium | Kelly Foster - Prove You Wrong

19 | Britonisea | Younes Wright-Harel - "Where is He?"

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